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Pink Floyd – The Massed Gadgets Of Hercules 1970 – 1974 (Godfather Records GR BOX 09)
By gsparacoon March 18, 2012
The Massed Gadgets Of Hercules 1970 – 1974
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
(Godfather Records GR BOX 09)
Just like all good bands, Pink Floyd retained seeds of creativity despite reaching some level of success and weren't afraid to experiment with music idea in order to advance their musical vision. By the end of the sixties they reached the pinnacle of psychedelic rock to the extent where the press were writing about "How The Pink Floyd Defeated Psychedelia" (Disc And Music Echo; February 15th, 1969) and used the epithet "space rock" to describe their music, utilizing headlines such as "Pink Floyd Take A Shot At The Moon" (Melody Maker; July 19th, 1969) and "Are Spacemen Floyd On Their Way Back To Earth?" (Disc And Music Echo; November 19th, 1969).
Ummagumma is both the definitive statement and deconstruction of that genera and would never to be approached by anyone again.
At the time, when interviewed by the press, the band pointed out their future direct lay in film scores. They scored films such as More and Zabriskie Point, and were looking forward to more work in that direction. Roger Waters spoke enthusiastically about scoring the Rollo animation cartoons by Alan Aldridge and said his biggest desire would be to score Arthur C. Clarke's next screenplay.
At the time David Gilmour was asked whether the band had a strong future direction. He replied, "I don't know. Possibly. I really can't say which way we are going. We'll carry on and produce a new Pink Floyd classic or two."
Besides their soundtrack recordings, their original compositions also had a film quality appreciated by Stanley Kubrick, who wanted to use "Atom Heart Mother" for his 1971 film A Clockwork Orange. But as the decade progressed, Pink Floyd become much more confident in their abilities in writing long-form musical narratives such as "Echoes," Dark Side Of The Moon and "Shine On You Crazy Diamond."
The Massed Gadgets Of Hercules 1970-1974 is the amazing new box set by Godfather documenting Pink Floyd's greatest tangent of creativity from Atom Heart Mother through to Wish You Were Here and Animals.
Four of the five shows have never been pressed on silver disc before and the fifth was released almost a decade ago and is now out of print and impossible to find today. Godfather utilize the best available generations for the shows and all of them are listenable and enjoyable.
Nuremberg 1970 (G.R. BOX 09 A/B)
Meistersinger Halle, Nuremburg, Germany – March 14th, 1970
Disc 1 (46:37): Astronomy Dominé, Careful With That Axe Eugene, Cymbaline, A Saucerful of Secrets
Disc 2 (58:24): The Embryo, Interstellar Overdrive, Set The Controls For The Heart Of The Sun, The Amazing Pudding (Atom Heart Mother)
Pink Floyd spent much of 1970 on the road and working on the tracks that would be released on Ummagumma's follow up Atom Heart Mother. First was a quick tour of the UK followed by two weeks in Germany and Scandinavia. The March 14th show in the Meistersinger Halle in Nuremburg circulated in the past under the name Masters Of The Mystic Arts.
Godfather utilize the second generation tape which surfaced afterwards. It is a big upgrade over what has been out before because of the improved sound quality and because "A Saucerful Of Secrets," cut in the past, is now present in its entirety.
Before the upgrade some copies circulated with "The Amazing Pudding" at the start of disc two, before "The Embryo." But the setlist during this tour was unchanged, and the tapes from Hannover and Lund, Sweden from this period have the long track at the very end so Godfather have the correct sequence of tracks.
The long set sounds like a hangover from the sixties. Every song is expanded with long instrumental passages. Only "Careful With That Axe, Eugene" clocks in under ten minutes long. They play slow and with deliberate. Each passage seems to linger in space as the band take their time to express their ideas.
"Astronomy Domine" starts off the long trip with the most playful and self-conscious performance of the night, but the following song "Careful With That Axe, Eugene" is much more dark and serious. It moves along at a snail's pace until the middle scream section. Gilmour's guitar is particularly loud and abrasive, spitting out much anger and hostility.
"A Saucerful Of Secrets" is a definite highlight of the night. Richard Wright plays abrasive atonal piano during "Syncopated Pandemonium" and the others try to give as abstract a performance as humanly possible until they get to the final section where the church organ gives a heavenly climax.
"The Embryo" is quite interesting for Waters' melodic bass at the beginning of the middle improv. The babies are replaced by a tape of chirping birds beneath Gilmour's seabird calls. They follow with "Interstellar Overdrive" which features a strange heavy metal improv by Gilmour in the piece's middle. He piles on the power chords, but then the improvisation mutates into a placid contemplative sound scape.
The set ends with their brand new piece of music. Called "Consequently" when Waters introduces the song the following night in Hannover and "The Amazing Pudding" in other shows, it would eventually assume the title "Atom Heart Mother" in July. But in Nuremburg, Waters describes it as a new piece that will take up an entire side of the new album and titles it "I Don't Know What It's Called."
Reaching twenty minutes in length, it is obviously a band performance without the orchestra and choir that would augment future performances. Hearing the suite in context of an early 1970 show lends a different appreciation. Instead of the free form psychedelia of the preceding hour and a half, "Atom Heart Mother" is much more tonal and traditional.
Farnborough 1971 (G.R. BOX 09 C/D)
Student Union Bar, Technical College, Farnborough, Hampshire, England – February 13th, 1971
Disc 1 (54:27): Atom Heart Mother, The Embryo, Careful With That Axe Eugene, Cymbaline
Disc 2 (36:42): Astronomy Domine, Set The Controls For The Heart Of The Sun, A Saucerful Of Secrets (cut)
Pink Floyd were almost always on the road in 1970 and 1971. It remains to this day their most busy period of live activity. So much so that the press at the time were speculating that the road would be the musical suicide of the band.
They wrapped up recording their fifth LP Atom Heart Mother at Abbey Road Studio in August and immediately hit the road with shows in France, followed by a tour of the US (their second of the year), a short tour of Germany and the UK.
Their only real break was about three weeks off in January 1971. They returned to live performance with shows scheduled for universities in England including Leeds University, University of Essex, University of Exeter, and the Technical College in Farnborough, south of London.
The show in Farnborough is the fifth live date of the year. The recording circulates as Close The Blind on Pink Floyd ROIO torrent sites and, many years ago, was pressed on CDR on Live At Technical College (Ayanami-221), but Farnborough 1971 is the first silver pressed edition.
Godfather utilize a good but dull mono audience recording taped very close to the stage. The audience are very quiet during the music, so there is no interference in enjoying the music. Three are also cuts after "Careful With That Axe, Eugene," and thirteen and a half minutes in "A Saucerful Of Secrets" omitting the rest of the piece.
Pink Floyd start the show with their new piece. By this time it had been in the live set for a year and achieved definitive form on the LP. During these early British dates they play a sixteen minute band version which omits the sound "collage" sections and the reprise of the main theme at the end. The follow with "The Embryo," the other constant in the setlist at this time.
Good performances, but there is a strange coolness in the air. It seems as if the audience don't really care for the new and unfamiliar tunes. After "The Embryo" Waters is audible having a conversation with someone in front of the stage. Much of the conversation is inaudible, but he can be heard asking the person "are you having a good time? This is a radically different piece. It's called 'Careful With That Axe, Eugene.'"
Waters is answered with the loudest applause of the entire night. They play a laid back version of the piece. A cut in the tape seems to suggest it segues directly into "Cymbaline."
"Astronomy Domine" sounds upbeat and happy in this performance. At times, Waters plays a happy and melodic bass line similar to the opening to "Let There Be More Light" (a tune that would fit quite nicely in these set lists). "A Saucerful Of Secrets" ends the night with a long dose of spook. Mason on drums plays very primitive, jungle like drums in the "Storm Signal" section only to be met with long groans from Gilmour's guitar. There is a fine transition into the "Celestial Voices" section featuring Wright's church organ, but the entire passage leaves the audience (and listener) with an unsettling mood.
Columbia 1972 (G.R. BOX 09 E/F)
Township Auditorium, Columbia, SC – April 16th, 1972
Disc 1 (43:09): Breathe (In The Air), On The Run, Time/Breathe (Reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage (cut)
Disc 2 (66:39): One Of These Days, Careful With That Axe Eugene, Echoes, Atom Heart Mother
Pink Floyd debuted their artistic milestone Dark Side Of The Moon in January 1972 and featured it as the first half of their show for the rest of the year. After touring the UK and visiting Japan, the band came to north America for a three week tour in April. The third stop was in Columbia, South Carolina on April 16th at the Township Hall.
Columbia exists on a fair to good but distant audience tape of most of the concert. There is a loud echo surrounding the vocals. It is missing the beginning "Speak To Me" and cuts out at the end of "Brain Damage" omitting the final number of the piece "Ellipse."
It has been released previously on CDR on Columbia Sonicwave (Blue Cafe -47AB), but Godfather is the first silver representative of the show.
The taper turns the recorder on at the start of "Breathe." Gilmour gives a nervous vocal performance, but compensates with interesting guitar parts in the solo. The noises that come out of his guitar are similar to those that he would play in the "Storm Signal" section of "A Saucerful Of Secrets."
The transition from "On The Run," still called "The Travel Sequence" at this point, into "Time" is quite long and engaging. And "The Great Gig In The Sky," called "The Mortality Sequence," features the Malcolm Muggeridge tape (they would alter this track several times through the year).
Up to this point the audience have been very quiet while paying attention to the demanding new music. But "Money" elicits some reaction from them. Although it's still lacking the awesome sultry saxophone of the final version, it's still a fascinating live piece and the audience connects to it almost immediately.
They temper their reaction again to the contemplative "Us & Them" and "Any Colour You Like." It's a shame the end is cut off because it would have been nice to hear their reaction to the first half of the show.
In the show's second half, Pink Floyd return with more familiar songs. "One Of These Days" from the latest LP Meddle is played first. The opening bass Wright plays heavy sounding scales on the keyboards, rising and falling creating a wave effect underneath the explosions and Mason's threatening vocals.
"Echoes" interesting Wright plays the opening keyboard melody not with the high pitched metallic sound, but with a more soft piano sound. The track lasts for twenty-five minutes and closes the set.
The taper leaves the recorder on for several minutes while the band leave the stage and return for the encore, almost five full minutes. While the band are getting ready to play, the tapers (among others) shout out requests. They pick really old and obscure numbers too like "See-Saw" from A Saucerful Of Secrets and "Take Up Thy Stethoscope And Walk" from Pipers At The Gates Of Dawn. There are some giggles from the audience and, one can imagine, from the band too.
Instead of being adventurous, the band reward the audience with the sixteen-minute band arrangement of "Atom Heart Mother." At the very end the mc comes onstage, cheers the band ("let's hear it for Pink Floyd!") and tells everyone to drive home safely. Overall it's a good show with interesting little variations.
Munich 1973 (G.R. BOX 09 G/H)
Olympiahalle, Munich, Germany – October 12th, 1973
Disc 1 (65:06): Obscured By Clouds, When You're In, Set The Controls For The Heart Of The Sun, Careful With That Axe Eugene, Echoes
Disc 2 (59:50): Speak To Me, Breathe, On the Run, Time, Breathe (reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse, One Of These Days
Unlike 1970 through 1972 when Pink Floyd couldn't stay off of the road, 1973 was a relatively light year for live performance. They returned to France for and eight show reprise for the Roland Petit Ballet, but this time in Paris instead of Marseilles. When Dark Side Of The Moon was finally released in March 1973, they toured north America in March and again in June.
After taking a four month break, they returned to the stage to finish out the year with two shows in Europe: October 12th in Munich and October 13th in Vienna. The set list remained the same as it was in America. The first half of the show opened with the title track from Obscured By Clouds and some older songs, the second half was the complete Dark Side Of The Moon suite and "One Of These Days" was played as an encore.
The Munich show is one of the better sounding of the era. It was taped very close to the stage. The only weakness is a bit of dullness in the upper frequencies. But it manages to capture the dynamics of the performance very well. It is complete except for the ending of "One Of These Days."
The first silver pressing was almost a decade ago on Munich 1973 Collector's Edition (Siréne-006), a four disc release with the same tape unedited on the first two discs and edited on the second two. Godfather use the unedited tape which includes all the tunings.
The first half of the show serve as an effective vehicle for Pink Floyd's unsettling dramatic aural narrative. Through the use of drones, screeches, echoes and their tension-imbued keyboards, they transform the Olympiahalle into a hall of spook.
Drones start off the show with the instrumental "Obscured By Clouds" and "When You're In." It is particularly dramatic in Munich with the loud, crashing heavy metal riffs in contrast with the pastoral feeling of the rhythm section. It is one of their most effective show openers and would be played for the last time the following night in Vienna.
"Set The Controls For The Heart Of The Sun" relies upon a nasty, noisy middle improvisation.
The following number, "Careful With That Axe Eugene," has been played in every show in the box set up to this point. It was an almost constant in the set since 1968. By 1973, Waters dominates the song by whispering the title throughout most of the piece with his blood curdling scream being the song's climax. Munich is one of the final live performances of the piece (the following night in Vienna and as a special encore in Oakland on the Animals tour in May, 1977).
The second half of the show is devoted to the Dark Side Of The Moon suite. Now almost two years old, it is played in its definitive album arrangement but with David Gilmour adding a touch of lyricism to the piece, adding fills to "Breathe" and "Time."
"Us & Them" becomes a highlight in this performance, striking a careful balance between haunting tension and a modicum of hopefulness. The jam on "Any Colour You Like" reaching eight minutes in length. At the end, when they play "Ellipse," subtly is bypassed by Gilmour's shouting the lyrics over the bombastic finale.
The only encore is "One Of These Days," cutting out after five and a half minutes.
Bristol 1974 (G.R. BOX 09 I/J)
Colston Hall, Bristol, Somerset, England – December 14th, 1974
Disc 1 (73:36): Jimmy Young Intro, Raving And Drooling, You've Got To Be Crazy, Shine On You Crazy Diamond, Speak To Me, Breathe, On The Run
Disc 2 (69:53): Time/Breathe (reprise), The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse, Echoes
1974 was an even lighter year than 1973 for Pink Floyd's live schedule. Outside of some dates in Paris in the summer, the only tour was a short trip around the UK in November and December. Not only was this the debut of their newest songs, this was also (ironically) the first live performances in the UK of the finished Dark Side Of The Moon, close to two years after its release.
The short tour ended with two nights in Bristol on December 13th and December 14th. The final live show of the year exists in a good to very good audience recording. It is clear but a bit flat, lacking in significant dynamics. There are several drop outs in the left channel during the show, most noticeable during "You've Gotta Be Crazy" and "Shine On You Crazy Diamond."
Godfather use a remastered version of this tape where the channel problem was addressed and not so pronounced.
The recording begins with the MC on stage introducing the band for the final night of the tour. Before the first song they play their Jimmy Young introduction. This was a short piece of tape cutting bits and pieces of the BBC DJ's voice into little pieces into an absurd collage. Young was the object of Mason's threat in "One Of These Days" and this tape is the band's threat being carried out.
Just like in 1972, Pink Floyd play all new music in the first half of the show. Unlike that tour, however, the three new songs don't have any cohesive idea linking them together into a suite. Rather, all three are reactions to their sucess and describe the result of when art meets commerce.
The first tune, "Raving And Drooling," the first draft of "Sheep" on Animals, is the most polished of the three and closest to its final form.
The second track, "You Gotta Be Crazy," sounds much different even from the form it would take the following year when Pink Floyd would tour the US twice. It's a might more light and airy arrangement with Gilmour rapping out the lyrics.
The final new song, which Waters introduces as being about Syd Barrett, is twenty-two minutes long and had yet to be split into two sections. It starts off with a much more diatonic keyboard riff, although the four note guitar motif is present. It is a compelling piece even at this early stage, but it would become even more so in the coming year.
Dark Side Of The Moon is played in full for the second half of the show, and a long and impressive version of "Echoes" is the only encore. Their conceptual piece had already been sitting at number one and been proclaimed a masterwork. The performance in Bristol doesn't differ from the other performances on this tour.
The Massed Gadgets Of Hercules 1970 – 1974 is a fascinating box set by Godfather. It doesn't have the same unity as their other two Pink Floyd box sets, but that is its strength. There is much more variety in the music and arrangements. After hearing the more than ten hours of music, it's much easier to understand and appreciate their development from the psychedelic "space rock" band to commercial arena rock superstars.
Godfather package each show in its own gatefold sleeve and are all housed in a box. The box for this set is thicker than the others to accommodate the additional show. Plus, they include a thick booklet with detailed liner notes and anther insert called "Eclipse (A Piece For Assorted Lunatics)" containing an essay and the lyrics to Dark Side Of The Moon.
The subtitle, Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy is a riff on the Roger Waters song on Ummagumma called "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict." It's silly, but in keeping with the bootleggers tradition of coming up with absurd titles for their releases. Given the rarity of this material, this is a very good collection.
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gsparaco
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sionxxii February 18, 2014, 7:41 am
Has anyone heard Sigma's version of the Columbia show? Does it have the complete DSTOM on it? Hokafloyd has photos of it and the 72 Dusseldorf show. Both sport fake Harvest labels.
sionxxii December 4, 2013, 7:34 am
Thanks Eugene. I was using wikipedia to match venues with tour dates and thought that Colston Hall looked too "Upper Class" for a rock show in 74.
Careful Axeman Eugene December 3, 2013, 8:02 pm
when i said "confirms it", i meant that it appears that Godfather's venue for that 1974 show is an erroneous mistake
i had always thought that the last 2 nights of Floyd's 1974 tour, both Dec. 13 & 14th, were at the Hippodrome, and i just checked Povey & Russell's "In the Flesh" book, which confirms it
Is the venue wrong on the 1974 set? I've seen that show being listed in 2 different places. The Hippodrome seems more like the place wher the gig would have happened.
sionxxii November 11, 2013, 9:16 am
All of these shows sound great when cranked through a good stereo.
gig addiction January 28, 2013, 4:26 pm
Cheers for the info Argenteum Astrum
Harperspace January 27, 2013, 1:38 pm
Well Godfather's "Rainbow 72" box is now unavailable/discontinued/out of print/sold or however you want to put it. I hear this one won't be around for much longer either (certainly not from the supplier). That was the point of my last post really.
chambau January 27, 2013, 1:34 pm
The reissueing of titles by Godfather is not a regular practice. However, as far as I know, they reissued David Gilmour's "Let The Night Surround You" in 2012. I spent one year looking for a copy of it. Once I did get it, all the Godfather suppliers from a sudden had it available again.
Argenteum Astrum January 27, 2013, 6:45 am
It depends on label/release.
Most of Japanese titles are ca. from 100 (EV, T2K) to 500 (Sigma etc.).
Many European/US labels are ca. 500 to 1000 copies per each title (depends on title).
Some of labels are much practising in "re-issuing" their previous titles (EV for example), and they're often using unselled copies, sometimes changing the artwork only.
From what I know Godfather do not reissue their titles.
gig addiction January 27, 2013, 3:18 am
Any idea just how many are pressed for the Godfather runs? I'm guessing it wont be in the thousands,but, just out of interest, it would be nice to know. Can anyone find out?
gsparaco January 26, 2013, 6:32 am
It's not being deleted per se. Every title has a very limited run and Godfather don't keep things in print. Once they're sold, they're all gone. Sometimes labels may reprint a past title, but Godfather probably will not do that with the box sets.
Harperspace January 26, 2013, 3:32 am
I've just taken delivery of this wonderful set. Thanks to Gerard for his informative review. The packaging is amazing, one of The Don's best ever productions. Of course the music is the important thing, and all the tapes are very listenable & enjoyable. The tape issues with the Bristol show have already been documented, but Godfather's new pressed edition handles these very well, and my enjoyment of the show has not been affected.
At the moment I'm really enjoying the Nuremberg set, which is a bit of a revelation & worth the price of entry alone. I now fully appreciate just how important Rick Wright's contribution to the Pink Floyd sound was. Just brilliant.
For anyone who is wondering whether or not to pick this up, I say buy with confidence. I'm also led to believe the set is due to be deleted, so get in quick before prices soar. Floyd silver collectors will be seeking this one out for years to come. Superb!
sionxxii October 22, 2012, 6:58 am
Cymbeline on the Farnborough show has a real short footsteps sequence.
relayer67 April 4, 2012, 4:44 pm
Well call me a dumb @$$ for hitting the mouse to soon, a five star effort for sure
I am listening now to the fantastic Munich 73 show and only have the Bristol show yet to enjoy, I would give this box set high marks in the enjoyment catagory. The sound quality is over all great for audience sources and the performances exceed the quality. Although I loved the Rainbow 72 and Nassau 80 boxes I find this set much more satisfying due to the diversity of the material, going from early 1970 to late 1974 makes for fun listening. Now if we can only get a box set covering Jan – Feb 1970, we collectors would fall down and rejoice. Great review and box set , Highly recomended !
J-Bird March 22, 2012, 9:20 am
This Box Set is simply Epic. Without question the most impressive Floyd release ever. To put together this many great sounding and strong performances that have not circulated before!! Not to mention isolating the Floyd's most exciting period of growth and inspiration, shows that Godfather totally appeals to the die hard collectors and they know their stuff! I have been anticipating this release since it was announced, but remained skeptical. After listening to this completely through (twice!) and reading the excellent booklet all I can say is "WOW". If you are a longtime collector you will want this, or if you are new to the glory of live Floyd circa 1970-74 then this is an excellent way to experience this era in one spot. All the cds sound very good and the performances are all truly inspired. THANK YOU GODFATHER!!!
gsparaco March 20, 2012, 2:49 pm
Thanks for the clarification. I've never actually heard the Ayanami release of the Farnborough show (I don't collect CDRs), but I can say that the tape Godfather use is very listenable and enjoyable.
ROBERTO March 20, 2012, 2:41 pm
This boxset is one of the most intriguing PF releases i've ever seen in the boot market and surely one of the best all-time, every pf collector should have one !! I agree with Sparaco that the overview of these concerts is a great way for understanding the development of the group on the stage, however i shall add that the AYANAMI cdr( N.221)" live at tecnichal hall " is quite unlistenable and the " farnborough 71″ ,here included, had a great mastering work that gave a substantial improvement to sound, it seems a different concert! The other thing to clear is that the mentioned insert, included in the box, is not a common one put inside without concept: in fact it is a perfect mini reproduction of the very,very rare tour programme for the 1972 U.S.A. tour , i've seen this programme only a couple of times in over twenty years collecting Floyd memorabilia, so i guess that's really wonderful that "godfather." gave the chance to collectors to see a relly elusive item!!
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Q: iOS: How to execute functionn in other task without lagg I have a problem. I have a UITableViewCell with images. The images are dynamically loaded from the application bundle. The function is about 200 lines with a lot of if satements in it. I basically extract the icon of the file acording to the suffix of the file, if the file is an Application I parse the info.plist and extract the filename of the icon. if the filename in the plist has no suffix I append it and then I chose the biggest icon. The function then returns the fileURL of the file either in my app bundle or in the app bundle of the app I parsed. I also do more stuff, but thats to complicated to explain.
I am already using SDWebImage, thats why I return a NSURL and not the UIImage.
The problem is, that the scrolling is lagging very hard on older devices without the A7 CPU.
My thought is that I put the function in another NSOperationQueue, but I am not quite sure because I am already using the SDWebImage with compblock. The images dont have to be loaded instant, it can take some, meanwhile I display a placeholder image.
Does anyone have an idea how I can make this fluid?
Thanks, David
I just fixed my issue, I executed my own NSUserDefault with costume en- and decryption multiple times in on function! I fixed it by minimizing it and calling it once and store the value. Thanks for all your help!

A: This sample may help you:
https://developer.apple.com/library/ios/samplecode/LazyTableImages/Introduction/Intro.html
The general rule is: the main thread is just for changing your UI. Other works should be done in another thread. Try to move your code to a background thread.

A: are you parsing the plist file each time a table view cell is displayed? if yes => parse the plist file only once, save the result somewhere in memory, and use that instead. this is "lazy/cached loading". an NSDictionary is probably a good choice for this. keys are the keys that you are using to decide which image to display. and the values should be NSURL objects.
This should make the whole process much faster.

redpajama_set_name: RedPajamaStackExchange


Sift together flour and 3/4 cup sugar. Beat egg whites, cream of tartar, and salt in a large bowl until foamy. Gradually add 3/4 cup sugar and beat until stiff. Fold in vanilla, almond extract, and flour mixture. Split the batter into two separate bowls. Beat egg yolks until thick and a lemon color. Fold egg yolks into half of batter. Spoon the white and yellow batters alternately into ungreased 10-inch tube pan. Swirl batter with a knife. Bake at 350 degrees on the lowest shelf in the oven for 35–40 minutes.


A 28-year-old photography student from Nigeria allegedly committed suicide after jumping off the second floor of his rented accommodation in Sector 41. Police said preliminary probe suggests that the deceased, Kelvin Lakoju, was in depression. Meanwhile, the Nigerian Embassy and the deceased's family have been informed about the incident.
Kelvin had been living in Noida since 2009 and was pursuing a photography course from an institute in Film City. Cops said he jumped off around 11pm on Wednesday. "We have questioned some people and came to know that he was upset for some reasons," said deputy SP, S Chinappa.
"His friends said Kelvin was good at studies. Some personal problem could be the reason for committing suicide," said a senior police officer. An FIR has been lodged with Sector 39 police station.
Close friends of the deceased say they believe Kelvin didn't commit suicide. They believe he was killed then pushed.


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Sherwood Park News: Explosive chemical leaked from Shell Scotford
No injuries in incident as crews contain vapour to plant site
by Dave S. Clark
Residents and businesses in northern Strathcona County were in lockdown on Sunday afternoon due to the release of an explosive chemical at the Shell Scotford Upgrader.
According to Erin Carrier, a spokesperson for Alberta Environment, the plant began leaking a chemical called polyethylbenzene. Beverlee Loat, spokesperson for Shell Chemical, said the leak was noticed at about 12:15 p.m.
Carrier said once the release was noticed, Shell enacted its emergency call out system, calling over 185 residents and businesses in the area and notifying them to stay inside in an internal room where there are no windows. Carrier said since the chemical is explosive, all precautions were taken.
Carrier said that crews at the plant began to fog the leak, by dousing it with water.
By 3:40 p.m. the leak had been isolated and Alberta Environment were on scene to investigate.
At 4:45 p.m. the leak was stopped and air monitoring at the plant and in the surrounding area found that there were no adverse effects and the all-clear was given.
Loat said air monitoring occurred throughout the incident and no hydrocarbons from the leak were found outside of the plant site.
RCMP were also called to the scene to block off traffic. They closed sections of Range Road 214 and Range Road 215 near the plant. The roads remained closed until about 5 p.m. after the all-clear was given.
There were no injuries in relation to the leak.
According to Loat, Shell is continuing to investigate the incident. She said there are several indications on why the leak may have happened but the investigation is still continuing. She said investigations into these types of incidents typically take a few weeks.
Shell has recently switched its emergency call-out system provider after the old system was deemed to be ineffective after two leaks at the upgrader in September.
Loat said it took the new provider about 10 minutes from start to finish, to notify all the surrounding people with a prerecorded message. A second message was also sent out to notify residents that everything was all-clear.
She said the company was satisfied with the performance but it will be getting feedback from the residents to get their thoughts on the new system.
Mechanical failure was the cause of the previous two leaks
← New Straits Times, Malaysia: High seas drama: Helicopter crashes off Bintulu, nine rescued, one missing
Indymedia: Irish Embassy protest against Shell Hell →
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Can't figure out how to display placeholder option values in my react components I have three react drop down react components that work together to create the drop downs in this screen shot. I need help to modify it to insert placeholder values into the dropdowns.

I am trying to figure out how to add placeholder values to the options that are displayed when you hit select. Here are the components.

import {Dropdown} from 'react-bootstrap';
import {FontAwesomeIcon} from '@fortawesome/react-fontawesome';
import {faCaretDown} from '@fortawesome/free-solid-svg-icons';
import classNames from 'classnames';

import {CustomToggle} from 'shared/components/CustomToggle/CustomToggle';

import './style.scss';
import {PaymentsDropdownSelectItem} from './PaymentsDropdownSelectItem';

export interface IPaymentsDropdownSelectOption {
    title: string;
    // eslint-disable-next-line @typescript-eslint/no-explicit-any
    value: any;
}

interface ICommonPillSelectProps {
    id: string;
    onChange: (value: string) => void;
    options: IPaymentsDropdownSelectOption[];
    value?: string;
    block?: boolean;
    variant?: 'pill';
    disabled?: boolean;
    isInvalid?: boolean;
    className?: string;
    size?: 'sm' | 'lg';
}

export const PaymentsDropdownSelect = ({
    id,
    onChange,
    options,
    value,
    block,
    variant,
    disabled,
    isInvalid,
    className,
    size,
}: ICommonPillSelectProps) => {
    // className for the main toggle button
    const toggleClassName = classNames('PaymentsDropdownSelect__toggle', className, {
        [`PaymentsDropdownSelect__toggle--${variant}`]: variant,
        'form-control': !variant,
        [`form-control-${size}`]: size,
        'PaymentsDropdownSelect__toggle--has-error': isInvalid,
        disabled: disabled,
    });

    // className for the outer dropdown container
    const dropdownClassName = classNames('PaymentsDropdownSelect', {
        'PaymentsDropdownSelect--block': block,
    });
    const dropdownMenuClassName = classNames('PaymentsDropdownSelect__menu', {
        [`PaymentsDropdownSelect__menu--${variant}`]: variant,
    });

    // offset the dropdown menu by 9px. This accounts for the size of the "triangle" on the dropdown menu
    const popperConfig = React.useMemo(() => {
        return {
            modifiers: [
                {
                    name: 'offset',
                    options: {
                        offset: [0, 9],
                    },
                },
            ],
        };
    }, []);

    const title = React.useMemo(() => {
        const selectedOption = options.find((option) => option.value === value);
        if (selectedOption) {
            return selectedOption.title;
        } else {
            return 'Select';
        }
    }, [value, options]);

    return (
        <Dropdown className={dropdownClassName}>
            <Dropdown.Toggle as={CustomToggle} id={id} block className={toggleClassName} disabled={disabled}>
                {title}
                <FontAwesomeIcon className="DropdownSelect__caret ml-2" icon={faCaretDown} />
            </Dropdown.Toggle>

            <Dropdown.Menu className={dropdownMenuClassName} popperConfig={popperConfig}>
                {options.map((option) => (
                    <PaymentsDropdownSelectItem
                        key={`${id}.${option.value}`}
                        option={option}
                        onClick={() => onChange(option.value)}
                        active={option.value === value}
                    />
                ))}
            </Dropdown.Menu>
        </Dropdown>
    );
};

and

import {Form} from 'react-bootstrap';
import {Control, Controller, FieldValues, Path} from 'react-hook-form';

import {IPaymentsDropdownSelectOption, PaymentsDropdownSelect} from './PaymentsDropdownSelect';

interface IPaymentsDropdownSelectControllerProps<FormType extends FieldValues> {
    disabled?: boolean;
    className?: string;
    control: Control<FormType> | undefined;
    name: Path<FormType>;
    options: IPaymentsDropdownSelectOption[];
    block?: boolean;
    variant?: 'pill';
    size?: 'sm' | 'lg';
}

export const PaymentsDropdownSelectController = <FormType extends FieldValues>({
    disabled,
    className,
    name,
    control,
    options,
    block,
    variant,
    size,
}: IPaymentsDropdownSelectControllerProps<FormType>) => {
    return (
        <Controller
            name={name}
            control={control}
            render={({field: {onChange, value, name: controlName}, fieldState: {invalid, error}}) => (
                <>
                    <PaymentsDropdownSelect
                        id={controlName}
                        options={options}
                        disabled={disabled}
                        onChange={onChange}
                        isInvalid={invalid}
                        className={className}
                        value={value}
                        block={block}
                        variant={variant}
                        size={size}
                    />
                    {error && (
                        <Form.Control.Feedback type="invalid" className="d-block">
                            {error.message && error.message?.includes('Invalid enum value')
                                ? 'Please select proper type.'
                                : error.message}
                        </Form.Control.Feedback>
                    )}
                </>
            )}
        />
    );
};

and

import {Dropdown} from 'react-bootstrap';
import {IPaymentsDropdownSelectOption} from './PaymentsDropdownSelect';

interface IPaymentsDropdownSelectItemProps {
    option: IPaymentsDropdownSelectOption;
    onClick: () => void;
    active?: boolean;
}

export const PaymentsDropdownSelectItem = ({option, onClick, active}: IPaymentsDropdownSelectItemProps) => {
    const onItemClick = (e: React.MouseEvent) => {
        e.preventDefault();

        onClick();
    };

    return (
        <Dropdown.Item key={option.value} href={`#/${option.value}`} onClick={onItemClick} active={active}>
            {option.title}
        </Dropdown.Item>
    );
};

any help is appreciated


The booklet linked below is "Protestant Christians in Thailand 2009", a 14 page summary of Marten Visser's research on conversion growth among Protestant churches in Thailand. It is a very quick read and worthwhile for anyone wondering what the most relevant factors for Thai people coming to Christ and churches growing.
Chapter 3 - Who become Christians?


Paella is one of those comforting dishes I like to make when I want something with a little more kick. Very similar to a risotto, paella is a Spanish dish that uses spices such as saffron and paprika. It is a slow cooking process, usually taking about 30 minutes total, but the finishing product is always delicious.
I love to sprinkle shredded manchego cheese over the top for a little kick. Manchego is basically the Spanish version of a parmesan cheese, giving the perfect nutty, peppery flavor to this dish.
You can use whatever vegetables you have on hand - peppers and red onion are the perfect base for this dish, and I added in some fennel, carrots and eggplant that I picked up the farmers market.
Roast them slowly for the perfect charred flavor, seasoning them with salt, pepper and garlic. If you have a seasoning salt, use that - I love using Hippie Pilgrim seasoning salts, in particular the shallot one that has the perfect blend of shallots, garlic, salt and pepper.
It's important to use the right kind of rice for this dish as well. Pictured below is the kind I like to use. You might notice it looks a lot like a risotto style rice, and you're right, this dish is very similar, and you will cook this rice just how you would cook a risotto, by slowly adding in cups of broth at a time, allowing the rice to absorb the broth before adding more.


text:
Leather and Lace Review
DiAnn Mills lives up to her slogan, "Expect an Adventure" with her first in the Texas Legacy Series, Leather and Lace. From the very first page when outlaw Casey O'Hare decides to stop running from the law, until the surprise in the last chapter, her story will keep you turning pages way into the night. Casey exemplifies the term leather and lace in her struggle to become a respected member of society, but her rough and rowdy past haunts her. With a bounty on her head from riding with the notorious Jenkins gang, she meets up with Morgan Andrews, who has his own score to settle with Jenkins, intending to use her as his pawn. Romance is soon intertwined in this fast paced adventure with twists and turns that makes this a delightful read.
Strengthened by recommitment of faith and forgiveness, along with the support of great secondary characters, Casey and Morgan strive to rectify the wrongs and put the past behind them. The characters are believable and faith is told in true life fashion. It's great tale of the Old West, trust and God's grace. This story will take you on the ride of your life.
Anita C. Lee said...
Brenda, I'm so glad to find your blog. Please keep describing what's going on in Atlanta. I miss friends there. BTW, I ran into Diann Mills at Glorieta as we were all leaving. Haven't read her latest stuff yet, but as a Texan I enjoyed an earlier book. Blessings to you and yours.
Review of Hart's Truth
Three Brunettes
Leather and Lace Review DiAnn Mills lives up to ...


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If You Find This Letter: My Journey to Find Purpose Through Hundreds of Letters to Strangers
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Evaluare: 3 din 5 stele3/5 (12 stele)
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Howard Books
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A heartwarming memoir of love and faith from Hannah Brencher—founder of The World Needs More Love Letters—who has dedicated her life to showing total strangers that they are not alone in the world.
Fresh out of college, Hannah Brencher moved to New York ready to change the world. Instead, she found a city full of people who knew where they were going and what they were doing and didn't have time for a girl still trying to figure it all out. Lonely and depressed, she noticed a woman who looked like she felt the same way on the subway. Hannah did something strange—she wrote the woman a letter. She folded it, scribbled "If you find this letter, it's for you…" on the front and left it behind.
When she realized that it made her feel better, she started writing and leaving love notes all over the city—in doctor's offices, in coat pockets, in library books, in bathroom stalls. Feeling crushed within a culture that only felt like connecting on a screen, she poured her heart out to complete strangers. She found solace in the idea that her words might brighten someone's day.
Hannah's project took on a life of its own when she made an offer on her blog: She would handwrite a note and mail it to anyone who wanted one. Overnight, her inbox exploded with requests from people all over the world. Nearly 400 handwritten letters later, she started the website, The World Needs More Love Letters, which quickly grew.
There is something about receiving a handwritten note that is so powerful in today's digital era. If You Find This Letter chronicles Hannah's attempts to bring more love into the world—and shows how she rediscovered her faith through the movement she started.
Memorii personale
Hannah Brencher is an author, blogger, TED speaker, and entrepreneur. She founded The World Needs More Love Letters, a global community dedicated to sending letter bundles to those who need encouragement. Named as one of the White House's "Women Working to Do Good" and a spokesperson for the United States Postal Service, Hannah has been featured in the Wall Street Journal, Oprah, Glamour, USATODAY.com, the Chicago Tribune, and more. Find Hannah at hannahbrencher.com.
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BJ Fogg
Adrienne Brodeur
Sarah Mackenzie
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If You Find This Letter - Hannah Brencher
Make Me Come Undone
Sticky Love
The day I moved to New York City is way more poetic in my memory than it actually was. My mother would tell you the air was dry that morning and we didn't talk the whole car ride to the train station. I tend to exaggerate the whole thing and say I witnessed the birds chirping and the mailboxes waving good-bye with their little red flags as we rolled through New Haven, Connecticut, to get to the station. She would tell you I left stray bobby pins in the corners of my bedroom. I would say I packed everything I needed that day—dreams tucked beside cardigans and wishes packed up against rain boots.
That's always been my downfall, the thing my mother always calls me out on. I romanticize things. I insert heartbreak where there shouldn't be any. I feel things too deeply. I hold on much longer than I should. All of life has always been one big book of poems to me. I think every person is a living poem—from their hopeful heart to their ugly habits. Life is just too busy to ever stop and dwell on one thing for too long.
In actuality, the back wheel to one of my suitcases broke and everything was off balance after that. The wheelless luggage taunted me from the backseat as my mother and I took exit 1 off the highway and approached the New Haven train station.
I refused to tell my mother about the broken wheel. She's never been the anxious type, but she would have worried. And she would have tried—with every last motherly shred in her—to help her baby out.
That was me—the baby of the family. There was my older half brother, my real brother who I used to claim was my Irish twin (he isn't), and then me. I always tell people I am a balance between my mother's whimsy and my father's dirt-beneath-the-fingernails work ethic. I'm drawn to deep conversations with people and good-looking Spanish men because of my mother. I'm sucked into collecting things because of my father. The two of them make a good team. My father has been bringing things into our house for years, hoarder-style, and my mother has been waiting for him to fall asleep on the couch to cart all of it off to Goodwill. I'm somewhere in the middle—always wanting to hold on to everything that comes into my orbit and let it go all at the same time.
For the longest time growing up, a lot of people didn't even know I existed. People were surprised to learn the gangly, redheaded child who was silently weaving friendship bracelets beside the fences at baseball games was the sister of these boys who were town legends when it came to diamonds, or courts, or any kind of arena that was competitive. I lived in their shadows a lot. It wasn't anything I did on purpose. I just kept to myself. And I liked constructing my own little worlds where I could control all the elements and pretend I was best friends with all the good-looking men and women in the JC Penney catalog, models I cut out and pasted into my little-kid diaries.
I was the last one of the family to leave the house with the turquoise shutters and morph my parents into empty-nesters. My oldest brother had gone off to college and then moved in with his girlfriend. He and I were different in the sense that he's always known just what he wanted and gone after it. And me? I'm more of the type to have an existential crisis over selecting a coffee flavor for the morning. My other brother struggled with addiction at the time, so he lived in the house when he was sober and out of the house when he was not.
As we waited for the train, I watched my mother wedge something into the belly of my suitcase, with the hope I wasn't looking. I tried to force myself to forget it was there. I fidgeted and folded my ticket, waiting to leave. I knew it was a letter. It was always a letter.
My mother is a nostalgic creature. There are three things you should know about my mother: The first is that she is always, somehow, the life of every party. The second is that any person my mother has ever loved could tell you the exact way a kazoo sounds when it's left in a voice mail on your birthday. It's nailed tight to my memories of growing up—watching her flip through the pages of her address book and find the name of whoever it was she'd marked on her calendar. I remember hearing the dialing of the cordless phone. My mother would wait. And then the sound of a kazoo being played to the tune of Happy Birthday would stream throughout the house.
The third thing to know about my mother is that she's a nostalgic creature and I have to believe she made me into one too. She's hidden love letters for me to find all my life. There was a note tucked on top of a piece of chocolate cake when heartbreak visited my freshman dorm room for the first time. There was a card left on my dashboard the day after Whitney Houston died. Confetti fell out from the inside. Musical notes skittered across the front. She wrote six words to me in red Sharpie: And I will always love you. I am the product of my mother's bread crumb trails of love letters.
Every coming and going we've ever shared has been built up with letters, notes, trinkets, and the like, as if tiny wedges of paper and confetti could keep a person always coming back. She'd trailed tiny clues four years earlier as we moved me into my first dorm room. I found letters tucked in plastic Tupperware bins and notes within books I hadn't even opened yet. Pieces of my mother would pop up and appear throughout the semester. In random classes. At staff meetings. On retreats. My mother is an expert at leaving evidence she was here in the lives of everyone around her.
One of the notes she mailed to me in my first week of college included a long quote she'd copied from O, The Oprah Magazine while sitting in a waiting room of a doctor's office. The quote was about a mother and a daughter. The final point of release. The girl was leaving, marching into adulthood without her mother's steady hand to hold. The girl turned at the door and the mother went to reach out, wanting to tell her daughter one last thing, but she pulled back instead. It was that moment when the mother finally had to say, I've given everything I can and I have to trust it is enough. She must go out there and see and feel and understand the rest on her own.
The breath fell out of me when I read that quote for the first time. I kept reading it out loud. I felt bare and exposed through my mother's scratchy handwriting whenever I read it. The card with the quote inside of it somehow got lost and my mother couldn't remember what issue of O she found it within. I spent the next summer going through every O magazine at the town library, looking for any last evidence the paragraph ever existed, but I never found it. I'm still looking.
The letters from my mother kept coming throughout college. I was one of the only students who had a reason to go to their PO box at the end of the day, and that was mainly because my mother didn't have a cell phone or text messaging or any kind of social network to check into. I'd told her a bunch of times she should get a cell phone but she only ever said the same thing back to me: I've gone over fifty years without anyone needing to find me. Why start now?
I guess I never understood the power in her letters, or the reason why she sent them, until my grandmother died. I was a college freshman when she passed. It was September. The air was changing. My grandmother had spent that whole summer sitting in a hospital bed, delirious. She was like a stranger who borrowed the eyes of someone I loved. I knew my mother and all her siblings were just waiting for the release, a way to tell one another she was finally gone and in a better place.
I moved into my first dorm room with the assurance I would get the phone call about my grandmother soon. You know the kind of phone call. I remember sitting in my orientation program on the first night of college while leaders clad in matching outfits pranced around, strumming guitars and rapping like only white people can, initiating icebreakers that made us reveal the layers of our summer vacation like an onion. When it came time to share about my summer, I fought the urge to say, This summer I learned how death unbuilds a house. Brick by brick. Shingle by shingle. Death shows up like a worker who rises to beat the sun and spends his days undoing a person you learned to love with your whole body. He unchisels and unscrews until nothing is left but the skinny frame and eye sockets of someone you used to know. That's what I learned. Do you want to sing a song about it?
The call came three weeks into the semester. In the span of a weekend, I heard my father deliver the news, packed a duffel bag full of all the black clothing I owned, traveled home, tried to apply mascara to swollen eyes, laughed until I couldn't help but cry, swapped stupid memories with cousins, watched my grandmother get closed in a casket, and learned that missing someone is just the beginning of grief. Then I traveled back to college to push forward into my fall semester. It happened quickly, like ripping off the Band-Aid, trying to pretend there was no sting. Death is like that—it can teach you more in forty-eight hours than you've learned in a lifetime.
The letter from my mother came in a golden envelope just a few days later. The envelopes never matched the cards but they were always the brightest colors she could find in the card aisle. Silver. Indigo. Lilac. A small sun—gold and stenciled—was on the front of the card. I stood there, in the middle of my college's post office, sucking in my mother's words:
It's beautiful outside. We took Scarlett and Chloe for a hike the other day. I've started crying. Finally. I find myself going into the bathroom, shutting the door, and spitting on the bathroom floor. Something feels freeing about that.
I pictured my mother hocking wads of saliva onto the tile floor. Spitting and crying. Spitting and crying. Trying, through the spitting, to let her sadness release. Letting loose on the linoleum. The image in my mind looked pitiful. Desperate. Too hard to watch for a girl who'd only ever allowed her mother to be strong in her eyes. It was one of the first times I realized you can tell a completely different story to someone when you've got all the vulnerable space of a page to back you up. You can say things you might not have the courage to say elsewhere. You can let honesty loose on the page and then fold it up and drop it in the mailbox. Away, away the release of your troubles could fly.
That letter is still the most treasured chunk of my mother I hold. Like a secret only I know. I kept the card on my wall all four years of college. I packed it with me on the day I moved to New York City.
Do you need any help? she asked as I bustled the suitcase with the broken wheel onto the platform.
No, I told her. I have this.
She tried to reach for the handle but I snapped at her. I need to do this on my own. You need to learn to let me go.
She got real quiet. I wasn't being nice. I get snappy when I know a good-bye is coming. I sort of shut down and close off. The last thing I wanted my mother to know was that all of this was hard for me.
Realistically, I would only be a couple hours away from her. But somehow we both knew something different was happening this time. It wasn't like the kind of good-bye you said before college or summer camp. It sat in the throat for a very long time and made you hope you'd learned enough from the other person to be okay on your own.
You have everything you need? she asked. I nodded. I made this for you. For the train. If you get hungry. She pulled out a thick wedge of tinfoil from her red pocketbook and placed it into the side pocket of my carry-on bag. Without unfolding the square mess of silver, I knew it was two peanut butter and jelly sandwiches. Four slices of whole wheat bread. Peanut butter from Trader Joe's. Raspberry jelly.
She'd handed me those wads of tinfoil for the last fifteen years. They were the first form of religion I ever knew, before a Bible or a pew. Just several sandwiches she carried with her always to pass out to hungry people she would see along the way in New York City. She never took a train into the city without them. She taught me to be a brave little child who walked up to bums and handed them peanut butter and banana sandwiches. No matter how many sandwiches she packed to hand out, there was always one left for me. It was her way to tell me, You've got this. You've got this day, but you'll grow hungry along the way. All those years, we called it Sticky Love.
And that's just what my mother always told me to aim for—Sticky Love. It's different than a skinny kind of love. It is a love so much rarer than the kind your eighth-grade boyfriend could give you. It's big. It's loud. It makes you into the kind of person who leaves something behind when they finally turn to walk away. And though no one can quite touch it or understand the DNA of it, everyone can still tell, by the way the atmosphere has shifted in the room, something was left behind.
As the train pulled into the station, she reached in for a hug. I love you. Be good. Be safe, she whispered. It felt like we'd been on that train platform for hours.
I love you too, I whispered back. We pulled away and I walked toward the train.
I hoped the engine would start and pull away quickly. I needed her to go home. Like I said, good-byes have never really been my thing. I'd rather go in the night. Leave a note. Walk away quickly and not linger in a hug. I don't want to be the one left standing there. It's the hardest part about making new friends and giving them rent space in your heart; you have to be okay when they tell you it's time to go away.
I tried to focus on the passengers around me. They were staring down at their newspapers. There were businessmen wearing suits that looked stifling in the August heat. I noticed a woman two rows up standing outside the train. She was putting her hands up against the window and leaning her forehead against the tinted glass. It was my mother. Trying to find me. One last time.
She looked crazy enough to scare the people sitting in the seats ahead of me, with her head of gray hair and plain desperation painted across her face. She didn't look like poetry in that moment. She looked like someone who didn't know how to say good-bye.
She went window after window until she came up next to mine. I sat back as far as I could in the seat and sank down low so she wouldn't see me. If she found me, she would see the tears dribbling down my cheeks. She would know I was afraid of everything ahead of me. Of never finding significance. Of missing the point. It was like I packed each emotion up the second I felt it, not wanting to look it in the face. That sort of stuff becomes baggage if you don't take the time to unpack it.
She peered for a few moments and then walked back to the middle of the platform, her red satchel at her side and matching red flip-flops on her feet. I put my hand up against the window and scripted a letter to her silently in my mind.
Mama,
Life is looking brighter than it ever has before. Even with you looking a bit pathetic with your face smashed up against the train window, we both know that life is looking bright for me.
This is my chance to make you prouder than you've ever been before. I know you'd tell me you're proud already, that no motive in life should ever be about making someone proud, but I can't help but want it.
Now is my chance to show you that I can find my place in the world. Maybe find God too. (I know that you and I haven't always agreed on Him—how He looks or how He smells—but I still thank you for at least giving me something to believe in that's bigger than my own body, even if I don't fully understand it. I'll keep my eyes open for Him in Manhattan.)
I know you're worried about me. Not because you think I am incapable but because you secretly have always worried that life would go by without my ever learning how to stomp in the puddles or fall in love. I can promise you I'll learn. If anyone is a teacher for that kind of stuff, it has got to be New York.
Thank you for letting go. Even if we both could have held on longer, thank you for letting me go.
I never did say those things to her. So many of the things you think and want to say to a person never spill out in real life. They stay locked in secret rooms inside of you. They live for tiny lifetimes inside the hearts of people who don't have the courage to say what they meant this whole time. Some people leave, and go, and die, and change, without your ever getting to tell them how you truly feel about them.
My mother began to wander away from the platform. The train started pulling away slowly. I watched her body get smaller and smaller on the platform. I made quiet promises beneath my breath I hoped would float out from the windows of the southbound train and get stuck in her hair. I'm going to try to make you proud. So proud.
Dotted Lines and Destinations
There's a common story that gets told about girls who move to New York City to follow their dreams. Their days are detailed by long work hours squeezed down to the second by fascist fashion editors, sweeping racks of the fall's runway trends, and dozens of errands to master—all while balancing a cardboard tray of piping-hot lattes on pencil-thin heels. The protagonist is beautiful in a way that is hard to lay a finger on. She's known to be awkward and clumsy but roars into every conversation with striking ambition. She knows what she wants. She's the underdog in a lot of ways. And there's a dream that's heavy and twinkling in her eyes.
I memorized that story line. Swallowed it whole. Spent years consuming it as if it were a dessert plate I couldn't quite lick clean. The day The Devil Wears Prada came out and we all got our hands on some sort of Holy Grail insight into the fashion magazine world, I got even hungrier. I wanted the long to-do lists, the longer days, and a role that would bring me to the top of my field with a lot of hustle and hard work. I wanted to be the New York City girl who could hail a cab with a slight flick of the wrist, walk across the street with reckless abandonment, and parade around in clothes from every notable collection while being chic enough to know black comes in more than one shade.
But there was something about those stories that always pricked me. They always left this deep, unsettled feeling in my stomach. Right at the end, the girl—no matter her ambition—would always fall in love. She fell in love or her love fell apart and then came back together, but the closing scenes were never just of her. I'd followed her all the way there, clutching my pillow, thinking, That's me, that's me. But I always felt abandoned at the end of those movies.
In a world that has always made me feel like I need to constantly be looking for the one —to find my missing puzzle piece of the sky in a sea of blue cardboard cutouts—I wanted something else. It's no one's fault we operate like this. There are enough movies and books and advertisements out there to convince all single people that we are missing pieces. That we haven't arrived yet. That we must hurry to meet someone, even if we are floundering to just figure out who we are in all of this. I wanted the kind of love story that made me stop and count the wrinkles in the hands of the saxophone player in Central Park. To say thank-you and really mean it. To know in my gut there was a reason to hurdle suitcases in the middle of Grand Central to just catch that train in time. To wake up believing there might be magic for me. I wanted to find something in this lifetime to make me know it's all worth it.
I wanted to learn to live inside of a life that said, Girl, this whole dang thing is your love story. It's not a tragedy. It ain't a victim song or a blank notebook waiting for a pen to scribble inside of it. It's a love story, ready to climb on up those silly castle walls you've built. So, baby, let down your hair.
There was a guy at the beginning, though. And the reality is pretty simple: I fell for a guy who never chose me. It's not the prettiest story. It isn't really the thing you bring up over Thanksgiving dinner or while dyeing Easter eggs with your relatives. But that was the story I carried at this point in my life.
I met him in my last semester of college. Chaotic and messy, the tail end of senior year is like a war zone. It's like the Hunger Games with résumés and career fairs and good-bye dinners. Everyone starts clawing to just stretch out the semester. People act all sorts of irrational. They start professing their love to each other because either (a) they don't think they'll get another chance to, or (b) they're just so desperate to hang on to someone they think might hold them longer than the flimsy few days left on the calendar before the real world comes stomping through.
The real world. That's what we called it up until graduation. They were taboo words no one was really allowed to say out loud. It was like talking about Voldemort square in the middle of Hogwarts. We bought suits for job interviews. We prepared résumés and learned how to balance cheese plates and wineglasses while passing out business cards so we could look really prepared and at ease when we attended cheesy networking events. We tiptoed around the subject of what's next over Natty Ice and Barefoot wine until someone got too drunk and started crying. As graduation loomed in the near distance, someone always took it upon themselves to quiet the circle.
Shhhh . . . We can't talk about it anymore, they'd say. We need to stop talking about the 'real world' and just enjoy this moment.
We were all just trying to avoid the inevitable: What's next?
His name was Ryan. I met him in an English class. He asked me for a spare sheet of notebook paper. That single sheet of loose-leaf paper was like a bridge between us. It spurred the occasional walking out of class together, talking about assignments and other surface-level things. I liked the way he laughed and his whole face would get red. And half the time I hadn't even planned to walk in the direction he was walking in but I made up all sorts of excuses just to talk to him for a little while longer. Without even trying, the ten minutes between 10:20 and 10:30 in the morning—when we would walk and talk on the way to all the places I never needed to go—became the best part of my day.
We were sitting in my car one night after I'd offered him a ride up to his apartment. It was pouring outside. The drive was only two minutes but the conversation kept going. The engine sat idle. I turned the car off. The connection was effortless. The rain didn't stop. My cheeks were burning. I was afraid to even move, afraid whatever this thing was would be gone. His lips kept moving but I felt like I'd disappeared from the car. Like, can it really happen that way? Can you really just meet someone—get sucked into a conversation that feels like both a second and a decade all in one breath—and never be the same again? Can a connection to a stranger be that powerful?
I felt my stomach flipping. And when I write stomach, I really mean heart, but I am not so sure why people say you feel something in your heart when, really, you just feel nervous enough to vomit all over the other person. My stomach was in knots the entire conversation. And it was my stomach that flipped when he said her name.
She had a name. He already had someone. They had a history. And as he told me more and more about his girlfriend, I didn't find myself angry or even jealous. I just kept thinking to myself, She's a lucky girl. She's a really lucky girl to have you.
Listening to him talk about her stirred a tiny hope inside of me that one day someone out there would talk about me the same way. His cheeks would glow, and his eyes would get real big. I knew I wanted that.
Hope. I kept thinking it was hope at one day finding that as I
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*Free e-book ARC provided by the publisher through Edelweiss/Above the Treeline. No money or goods were exchanged, and all views are my own.*Just out of college, Hannah Brencher embarks on a year of service in New York City, living on $25 a week at a place that serves immigrants and working with the United Nations. She starts out with really vague ideas of who she is and want she wants to do, and in this memoir discusses her personal journey as a young adult finding God and meaning and purpose in life.When I first downloaded this book, I thought the description sounded interesting. Oh, I like writing letters, I thought. A story about a woman deciding to leave letters to strangers all over NYC sounds intriguing. And yeah, that's part of the story. But it's also about her hitting a personal rock bottom and finding her way. It's about feeling lost and alone and unseen, getting outside of yourself and discovering love. Not the "I fell in love with you" love, but the kind of love that makes you want to give yourself up. She talks about her off-again, on-again relationship with God and moving from believing He's the rule-giver to knowing He loves her. She talks about friends and family, and the impact she learns she can have just by showing love to others. You might not find the story the best written or the most original, but it's heartfelt and true and it hit me at the perfect time.


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Edmonton-based Raygun Cowboys heading to The Vat
Raygun Cowboys are described as a 'psychobilly rock band' that serves up energetic rockabilly that wields an irresistible urge to hit the dance floor.
They play The Vat May 16.
Wielding a engaging sound quite unlike much out there these days, the guys first formed back in 2000, and in 2005 released their first recordings on a compilation. Their own debut, Underworld Boogie, was unveiled in 2006.
The following year, they added a horn section to the traditional three-piece rockabilly line-up. In 2008, they recorded a follow-up album and signed a deal with Stumble Records, and promptly hit the road in 2009 criss-crossing Canada.
Since that time, they've been busy touring and in 2010, ventured across the pond for a three-week trek across Europe. Their last CD, Cowboy Up! was released in 2012.
"In 1999, I was really into rockabilly," explains frontman Jon Christopherson, describing how at the time he was listening to lots by everyone from the Stray Cats to Chuck Berry to Elvis Presley. "So I wanted to put together a rockabilly band." He hooked up with drummer Derek Thiesen, who, like Christopherson, was a big fan of punk as well.
The guys started playing in 2000, and performed mostly cover tunes. Their bassist moved away, and it seemed that once a replacement came along (Oakland Valleau) the band's creative energies continued to emerge.
"We started writing more songs and doing more original material."
By 2005, they had enough material for a CD. "I wanted to do a traditional rockabilly CD, but because I came out of the punk scene, things sounded a little more 'punkified'," he laughs. "So there's this offshoot of rock called psychobilly – horror kind of themes – so we kind of went with that vein.
"Bringing in the horns (Nate Connolly and Michael Johnson) added more fuel to what we were doing, too. Things sound much 'bigger', and it made us more versatile as a band."
Since they added the horns, they've toured Canada three times and also did a European three-week trek which included stops in the U.K., Belgium, Croatia and Germany.
"We also did a couple of shows in Romania, and they knew who we were," he says with a laugh. "They were singing along to some of the songs, and I was thinking this is kind of mind-blowing."
They've hit up much of the west coast of Canada and the U.S. as well.
Looking back, music was just a part of growing up.
"My mother was adamant I play an instrument. So from the time I was four years old, she had me playing the violin." The lasted for about six years, then along came the guitar. And he was hooked.
"I really got into it. And throughout my teens, I just went on my own learning punk songs and power chords. And when it came to rockabilly, it was a little more involved in the guitar aspect of playing than was punk, so I started learning more. Then I got into the blues as well. That's where the bug really bit me, and I realized that I had to do this."
He went on to teach guitar, but the draw to play in bands was always at the forefront as well. And today, he wouldn't have it any other way. A new CD is in the works, for tentative release either late this year or early 2015 as well.
"The most fun I have is on stage with my buddies," he explains of the life of a musician. "When it's a good show and everyone is dancing and having a good time, it's an amazing feeling."
Local singer gearing up for new CD release
Former City actors behind new web series


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Golda Och to honor Landaus at Spring Gala
By Special to NJJN	May 18, 2017, 12:00 am 0 Edit
Michele and Jeffrey Landau
GOLDA OCH ACADEMY parents and leaders Michele and Jeffrey Landau will be honored at the West Orange school's annual Spring Gala on Thursday, June 8, at 6:30 p.m. at Temple Beth Shalom in Livingston.
Jeffrey, who has been a member of GOA's board of trustees since 2009, served as board chair from 2014 to 2016 and is now a member of the finance and investment committees. "As parents, we chose Golda Och Academy for its outstanding curriculum," he said, "and it has instilled in our children, and all of our students, strong Jewish values and a love of Israel."
Among her leadership roles, Michele served as GOA lower school Parents Association president in 2006, cochaired the Great Auction in 2009, and in 2010 became cochair of the Building on Tradition Campaign, which was successfully completed in 2015. She has continued as development cochair.
"We are so pleased to be honored at the Golda Och Academy Spring Gala," said Michele. "Providing our children, Rebecca, Ally, and Ethan, with a GOA education is the most valuable gift that we could ever give them."
Tickets to the gala cost $100, with many patron and ad journal opportunities available. Contact 973-602-3612 or sbashsoudry@GoldaOchAcademy.org or visit goldaochacademy.org/gala17.


Download exam stock photos including images of test, laboratory, lab and check. affordable and search from millions of royalty free images, photos and vectors.These are great free infographic vector templates and kit for you to start fiddling around and build your own infographics. infographics are incredibly useful . Bibme free bibliography & citation maker mla, apa, chicago, harvard Write & submit with overleaf. use this cloudbased scientific authoring platform that allows seamless collaboration and effortless manuscript submission.


To gain a competitive advantage, businesses are putting significant effort into finding and retaining the best employees possible. However, no matter what your company does to nurture your top talent, sometimes they leave your organization. And the cost of losing an employee might be greater than you think.
Turnover can have a negative impact on employee morale and productivity, but the longer-term impact is on company revenue. Recruiting and training new team members requires time and money, and this expense is even greater when you don't have an effective knowledge sharing tool in place to retain company information.
Studies have found that the average expense to replace an entry-level employee can be up to 50% of that employee's salary. For a supervisory role, that replacement cost could go as high as 150% of the annual salary.
Many factors contribute to this high cost, including the recruitment fee paid to recruiters, the time it takes to interview and hire, and the possibility of a demand of increased salary (the University of Pennsylvania has found that external hires demand 18-20% more in salary than internal hires).
And if these direct, hard costs are intimidating, what about the indirect costs that result after losing an employee and the company knowledge they have?
As an example, if the lost employee is a salesperson who typically brought in $100,000 in annual revenue, your company will incur a $25,000 revenue decrease for every three months without a fully-trained replacement (and given the maximum time stated above, it may take five months to reach full capacity).
During those first one to two months of onboarding a new team member, one of your best people will typically be tasked with training. Tasking top talent with training may ensure excellent results from your new hire, but you'll also encounter hidden labor costs that can quickly add up to tens of thousands of dollars.
What makes your existing team so good at their jobs is the unique skills and knowledge that they have cultivated in their positions. During their time at your company, they have developed relationships internally as well as with customers, gathering insights that are beneficial to the ongoing success of the organization. When an employee leaves your company, they theoretically take that knowledge with them.
When you've had the same employee in a position for years, their job is easy for them — they probably don't consult process guidelines and have developed shortcuts to make their tasks quick and efficient. Although these employees are working at their peak productivity levels, these processes and efficiencies don't live anywhere but in their mind.
To avoid losing all of this information, make knowledge sharing a priority. Implement a knowledge sharing platform that is intuitive and easy to use. Consider making documentation and process updates part of employees' job descriptions. Foster an environment that encourages collaboration, coworking, and cross-training to facilitate the transfer of knowledge more seamlessly.
With the amount of knowledge a long-time employee accumulates, the industry expertise and understanding of the organization that leaves with them is invaluable. That makes the investment in a knowledge sharing platform and strategy worth every penny.


Keith D & Patrick Carlin St Patricks Day 2017 on The Edge!
On this webisode of The Edge of Insanity on Mutiny Radio, Sunday March 12th, 12-3PM P.S.T. Paul Brumbaugh, Kitten Marie with EdgeCrew Brandon Ray & Mistress Christine are joined by in studio guest , comedian Keith D! Keith calls the bay his home, but tours nationally. The 420 SHOUTOUT! with Patrick Carlin with our St. Patrick's Day dose of Reality 101 and other rules of the road, of course some George Carlin, plus other local flavors in the form of Patton Oswalt, Brian Posehn, Jefferson Airplane band, Journey & more from Paul's Private Stash of Music, Comedy & Weird Stuff along the way.
Please listen Live and Download every webisode of The Edge before they get stuffed in a time capsule & shot into the stratosphere for future civilizations.
Listen or Download on paulbrumbaugh.com & pcrcollective.org & NOW on iTunes!
Brumbaugh's crazy brand of humor with Kitten Marie, Mistress Christine & Brandon Ray's unique perspective on the forever changing landscape of entertainers in our midst along with a variety of interesting guests that will keep you on the edge of your seat wondering where they may go next. Stayed tuned to keep your finger on the pulse of what people are calling the road map to entertainment here on the interwebs! Ready to conquer the world & beyond, 1 Sunday at a time!.
2017 Mutiny Radio Comedy Festival, March 1st – 5th!
Tour 25 shows in 5 days featuring 50 comedians from the entire US! From Washington and Portland to Los Angeles, New York to Indiana, Tennessee to Pitsburg PA these comics will join some of San Francisco's BEST underground comics at Mutiny Radio. All shows will be live streaming and podcast post at www.mutinyradio.fm SO YOU CAN LISTEN ANYWHERE IN THE WORLD, but YOU can see them LIVE in our intimate 30 seat performance space.
Day Passes and Festival passes available for discounts.
How many people I've been with…..


Da Afghanistan Breshna Sherkat (DABS), Islamic Republic of Afghanistan has received financing from the World Bank toward the cost of the DABS Planning and capacity support project (DPCSP), and intends to apply part of the proceeds for hiring Senior National sub -station electrical engineer .
The engagement of the Senior National sub -station electrical engineer to to train DABS engineers in designing of sub -station and other electrical activity.
1. Designing of sub-stations as per international standards.
2. Reparation of technical specification and drawings along with cost estimations.
3. Preparation of calculations through software's such as ETAP.
4. Maintaining safe and healthy work environment by establishing, following, and enforcing standards and procedures; compliance with codes and legal regulations.
5. Review of test requirements and electrical equipment checkout and startup.
6. Review the project engineering drawings and working with contractors.
7. Support accomplishment of End User requirements for operability, maintainability, compatibility and reliability with existing facilities in installation of new facilities.
1. Internal monthly training reports to project manager and project director.
2. Handover report after completion of contract to project manager.
At least Bachelor's degree, in electrical engineering.
Must have seven years' experience in planning, design and implementation of substations and/or switchyards.
Work experience with international donors such as World Bank, USAID, and ADB is preferred.
Experience in design of substation projects.
Experience in preparing scope of supply and employer's requirements is preferred.
Excellent English language skills are required.


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Everyone Is Doing It! Critics' Choice Awards Goes Vegan for 25th Annual Ceremony
Morgan Raum
It's official: 2020 is the year of vegan awards show ceremonies.
The Critics' Choice Awards announced on Thursday that they will be following in the 77th annual Golden Globes' footsteps and opting for an exclusively plant-based menu in order to shine a light on sustainability and the climate crisis.
According to a press release, vegetarian tacos and burritos from Baja Fresh and plant-based burgers from The Counter will be served hot and fresh during the show. There will even be vegan desserts from Pinkberry and Cold Stone Creamery.
"When planning this year's awards show, we wanted to be mindful of the impact that our event has on the environment," said Joey Berlin, CEO of the Critics Choice Association. "Baja Fresh and The Counter were able to step up in a big way to support our decision thanks to their diverse menus of tasty food options. Together we are looking forward to providing our incredible honorees, nominees, and guests with delicious, and thoughtful, food during our show."
RELATED: 'I Mean, That's Bad': Golden Globes Host Ricky Gervais' Most Provocative Moments of the Night
The announcement comes less than a week after the 77th annual Golden Globes ceremony, which made headlines for switching to a vegan menu only two weeks before the event.
Lorenzo Soria, president of the Hollywood Foreign Press Association, elected to serve a plant-based meal at the Golden Globes to raise environmental awareness about food consumption and waste. HFPA also partnered with Icelandic Glacial to eliminate single-use plastic and utilize glass water bottles.
WATCH: JAY-Z and Beyoncé Send Reese Witherspoon a Case of Champagne After Golden Globes Run-In
"The climate crisis is impossible to ignore and after speaking with our peers, and friends in the community, we felt challenged to do better," Soria said in a statement regarding his decision. "We're hoping to raise awareness around small changes that can have a greater impact."
All 1,300 guests in attendance were served a three-course meal curated by the executive chef at the Beverly Hilton Hotel, Matthew Morgan. The first course featured a creamy, chilled golden beet soup with citrus oil and pistachio, while the main course was a king oyster mushroom "scallops" featuring a wild mushroom risotto with roasted baby purple and green Brussels sprouts and carrots, and the dessert a vegan opera dome with a praline gunaja crumble and caramelized hazelnuts.
RELATED: Golden Globes Dinner Will Be Vegan for the First Time—Get the Soup Recipe the Stars Will Be Eating
Thank you HFPA @goldenglobes 👏 https://t.co/WQ1yCKd57i
— Leonardo DiCaprio (@LeoDiCaprio) January 2, 2020
Environmental activist and actor Leonardo DiCaprio applauded the association for their choice: "Thank you HFPA @goldenglobes," he tweeted prior to the show.
In what appeared to be a nod to the plant-based meal, it looked like most of the celebs in attendance also ditched their tradition of treating themselves to In-N-Out after the ceremony.
In previous years, stars including Julia Roberts, Reese Witherspoon, Adele, and Padma Lakshmi have been spotted chowing down on the famous burgers as a little post-show treat.
Bob: "New York City will not change the policies that have made us the safest big city in America," spokeswoman Freddi Goldstein said in an email. They should ask Maria Fuertas how safe it is.


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Popular diner owner killed on Merrick Road
Posted Thursday, July 11, 2013 10:12 am
Athanasious Cheliotis
Courtesy Cheliotis family
Athanasious Cheliotis was pulled from his Toyota Camry before it burst into flames after the collision on Merrick Road in Bellmore.
Courtesy Vincent Scaduto
By Julie Mansmann
The co-owner of a Valley Stream diner was killed in a car crash in Bellmore on July 4, police said. His family members, neighbors, colleagues and a Merrick church community are mourning the loss of someone they described as "a very good man."
Athanasious Cheliotis, a 66-year-old Wantagh resident and the co-owner of the popular Concord Diner, was driving his Toyota Camry on Merrick Road in Bellmore at 6:39 a.m. last Thursday morning when his vehicle crashed into another car. Although he was pulled from his car before it burst into flames, he was pronounced dead at 7:13 a.m. at Nassau University Medical Center in East Meadow.
Cheliotis, a member of the St. Demetrios Greek Orthodox Church in Merrick, collided with a vehicle driven by a 23-year-old woman near Soma Avenue, according to Nassau County police. The unidentified driver sustained non-life-threatening injuries. As the Herald went to press, officials said that an investigation was continuing.
Services were held last weekend at N.F. Walker Inc. Funeral Home in Merrick and at St. Demetrios, according to Kostas Cheliotis, one of Athanasious and Kanella Cheliotis's two children. Kostas, 35, noted that dozens of people who knew his father through his business or the church came to pay their respects to the man they knew affectionately as "Tommy."
Kostas said that his father, who emigrated from Tzoumou, Greece, in 1969, was the eldest of four children. He is survived by his siblings, Demos and George Cheliotis and Maria Andonakos, who still live in Greece. Their family was poor, Kostas said, and his father worked to help support them from a young age.
Once in the U.S., Athanasious pursued the American dream, his son said, working at coffee and doughnut shops in New York City and on Long Island. He moved to Valley Stream in the 1970s and worked for five years at a local diner, which he came to co-own for more than 30 — the Concord.
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