text:
Hallo Spaceboy.
Hallo Spaceboy (Pet Shop Boys remix).
Hallo Spaceboy (Lost In Space mix).
Hallo Spaceboy (Double Click mix).
Hallo Spaceboy (with Nine Inch Nails, first live performance, 1995).
Hallo Spaceboy (with Nine Inch Nails, live, 1995).
Hallo Spaceboy (Later With Jools Holland, 1995).
Hallo Spaceboy (Det Kommer Mera, 1996).
Hallo Spaceboy (Karel, 1996).
Hallo Spaceboy (with Pet Shop Boys, TOTP, 1996).
Hallo Spaceboy (with Pet Shop Boys, Brit Awards, 1996).
Hallo Spaceboy (live, Phoenix Festival, 1996).
Hallo Spaceboy (live, Loreley Festival, 1996).
Hallo Spaceboy (with the Foo Fighters, 50th Birthday concert, 1997).
Hallo Spaceboy (Pet Shop Boys, live, 1997).
Hallo Spaceboy (BBC, 2000).
Hallo Spaceboy (live, 2002).
Brion Gysin died of a heart attack on Sunday morning, July 13, 1986. He was the only man I have ever respected. I have admired many others, esteemed and valued others, but respected only him. His presence was regal without a trace of pretension. He was at all times impeccable…Brion was suffering from emphysema and lung cancer. He knew he had only a few weeks to live. I was preparing to go to Paris when Brion died. I have this last glimpse through a letter in her own English, from my friend Rosine Buhler:
"…After occurs a dreamlike talk about to have a large house by the sea in August, the shadowed room where all is burning hot outside. Brion said he knew he would sleep well and was really happy of that good day. He wanted no help to lift himself up from his green armchair, and went to his room. I was watching his tall straight way to walk, his secure path…only kings and wild people have this way."
William S. Burroughs, introduction to Gysin's The Last Museum.
Brion Gysin liked to say he was a man from nowhere. Even his name was a mistake: his mother had christened him John Clifford Brian, but a passport clerk, misreading Gysin's crabbed handwriting, swapped in an "o" for an "a" in the latter name ("like the famous wine of Bordeaux, Haut Brion," Gysin said.) Born in London during the First World War, which claimed his father, he lived in Canada, New York, where he was a ship welder and Broadway costume designer, Tangier, where he ran a restaurant called The 1001 Nights, whose house band was the Master Musicians of Joujouka, and Paris, where he died.
In life and art he was transient—he was Bowie's world-roaming Lodger in the flesh. Gysin could never commit to one spouse: he was a poet, historian, mystic, painter, filmmaker, musician, inventor (of "the Dreamachine," a trance-inducing flickering light-box that he thought would make his fortune and didn't). He had a habit of leaving a city soon before something occurred—an exhibit, a new publisher—that could have "discovered" him.
For Bowie, Gysin was most obviously influential as being the creator of the cut-up method in 1959; a method that came about, Gysin said, when he tried to apply the techniques of painting and film (collage and montage) to the assembly of words, He started by slicing through a stack of newspapers and making poems out of the shreds. By the mid-Sixties, Bowie was cutting up his lyric sheets, throwing pieces in the air and seeing what came from picking them up; three decades later, he had custom-made software to do the equivalent. But Gysin also served a symbolic role for Bowie, as an image of an unrefined creativity. Gysin made being a dilettante into a noble calling. Life is a game, not a career, as he said.
He might've lived a much more traditional artistic life, but he was always outside of that, and that was very much to his advantage as an artist.
John Geiger, on Gysin.
"Hallo Spaceboy" is, among many other things, a eulogy to Gysin: a tribute to a force of motion that was stilled only by death. You're so sleepy now…your silhouette is so stationary…Don't you want to be free? Even if Bowie hadn't consciously intended to reference Gysin ("If I fall, moondust will cover me" (a line heard in the Pet Shop Boys' remix of "Spaceboy") were rumored to be Gysin's last words*), the latter's ghost still possessed the song. The Pet Shop Boys remix used Gysin's cut-up to rip a hole in the song, transforming it into a sequel to "Space Oddity," much to Bowie's initial dismay.
Unlike friends like Burroughs and rivals like André Breton (who had Gysin's paintings yanked from a surrealist exhibit in 1935), Gysin left no definitive works; there was no Naked Lunch or Surrealist Manifestos to his name, only a series of pieces scattered across various mediums: scripts, sound poems, novels, calligraphic paintings, the Dreamachine. A body of work treasured by a few, and remaining fundamentally obscure. Gysin's most public legacy was a method used by rock stars like Bowie and Mick Jagger to write pop lyrics. But Gysin had lived his entire life as a performance. Lacking commercial ambitions and any desire for a mass audience, Gysin was a free agent, a man who spent decades on this planet without having any sort of "proper" occupation (his stint as restauranteur was as domestic as he ever got); he was a figure who earned respect by keeping in flux.
On Outside, Bowie was trying to reconcile, as he'd done time and time before (see the Glass Spider tour), his ambition to be considered an avant-garde artist with his more prosaic reality: that he was a pop star who was still on a major label, and who was still mainly known for singing about Major Tom and dueting with Mick Jagger. So figures like Scott Walker and Gysin wound up in the sediment of Bowie's art-rock album, as potent but discarded influences, especially in the last stages of recording Outside, when Bowie had scrapped his Leon song-montages in favor of a fresh run of hook-filled pop songs like "Spaceboy." If he was burying Gysin, he'd do it to the sound of slamming drums.
"Spaceboy" is a negative of "Moonage Daydream." "Daydream" opens with Mick Ronson's slammed power chords and Bowie's solo vocal, a double-hook ("ALL-i-GAH-tor! BAM-BLAMMM!") so captivating that the rest of the song is a homage to it. "Spaceboy" begins with 16 bars of suspense: a swirl of synthesizer loops, an ominous chopping loop mixed right, a distorted guitar line. There's a sense that something's coming to break this into pieces, a tornado glimpsed on the horizon, and thirty seconds in the hook finally arrives. Instead of the expected guitars, it's a moving wall of percussion, a cannonade of electronic beats and crushing 4/4 drums undergirded by a low-mixed bassline and dirtied by static bursts of distorted guitar. It's a sonic cancer at the heart of the song, perversely giving it strength.
The "Moonage Daydream" intro hook was glam in miniature: here, dream this: go! "Spaceboy" wasn't open, but an imposition—the hook found you out, hunted you down, and all you could do was submit to it and bang your head. BAMBAMBAMBAMDUNNADUNNADUNNA (there's a bit of "Detroit Rock City" in it). In the choruses, two distorted guitars spit and tear, shifting from a B to a G chord and back (that's the main harmonic sequence of the song, which also moves to a brief A major progression in the bridges). When Bowie comes in for the first verse, "Spaceboy" shifts back to its initial state of dread. The beat's out there, and it's coming back. By the second verse, a muted strain of it pounds beneath Bowie's vocal, triggered by "Spaceboy!"; before the second chorus, Bowie holds off the onslaught for a few bars, whispering "moondust" before the door is kicked in. Everything in the mix serves as a counter-rhythm: there are ping-ponged electric guitars, snapping riffs back and forth; later, there's a mouse-chase across Mike Garson's piano. A muttering Bowie curses across the spectrum, his inaudible syllables sounding like crash cymbals.
One starting point was Eno's "Third Uncle" (esp. via Bauhaus); another was the Swiss industrial band the Young Gods, who were as much an influence on Outside as the more-hyped Trent Reznor. Particularly the Gods' T.V. Sky (1992): "Skin Flowers," for instance, with its buzz-swaths of guitar and its relentless beat, is an ur-"Spaceboy" (the hollered "OUTSIDE!" also might've attracted notice); see also the juxtaposition of guitar loops and percussion fills on "Dame Chance." (And Bowie's 20-minute Leon suites seem in part inspired by T.V. Sky's closer, a 20-minute song-churn called "Summer Eyes.")
Conjured up in a handful of days in the studio, "Spaceboy" was a liberating track for Bowie, who rode its beat and reveled in the trash. This chaos is killing me! he screamed, sounding delighted to die, mocking his past selves with "do you like girls or boys? It's confusing these days." And some of the song was due to Reeves Gabrels, uncredited.
In mid-1994, a few months after the first Leon sessions, Gabrels returned to Switzerland to work on overdubs and new recordings with Bowie. No other musicians from the Leon sessions were around (including Eno) except for an occasional visit by Erdal Kizilcay. Towards the end of a month-long stay in Montreux, Gabrels played Bowie an "ambient" instrumental piece, which he then recorded as a demo. Bowie recited some lines over the track, including "moon dust," which Gabrels said Bowie had found in a book of poems he was reading in the studio (he speculated the poet was John Giorno).
"After [Bowie's] vocal/spoken word tracks were done, I did a bunch of long sustain guitars thru a vocal formant patch from an Eventide 4000 signal processor (which makes it sound like a human voice) and I used a slight variation on the ava rava middle eastern scale,"** Gabrels wrote on his website. That was the end of it. On a subsequent visit to Montreux in late 1994, Gabrels asked about the track, provisionally called "Moondust," and Bowie said "he didn't feel there was anything special going on with that piece and that he'd pretty much forgotten about it."
However, Bowie seemed to have remembered "Moondust" during the final Outside sessions in New York, in January 1995. On 17 January, using Carlos Alomar and the drummer Joey Baron, Bowie broke the song down to a handful of chords, reducing the original track "to almost nothing," Eno recalled in his diary. "I wrote some lightning chords and spaces…and suddenly, miraculously, we had something." Bowie quickly came up with the "hallo spaceboy" vocal hook, and the track was completed within days.
Bowie played "Hallo Spaceboy" for Gabrels when the latter turned up at the Hit Factory. "When I pointed out the similarities in harmonic motion [to "Moondust"] and the lyrics (etc.), there was zero interest in doing what the writers I continue to work with would have done, what I have done in this situation, and what I consider to be the fair, honest, and right thing," Gabrels wrote. Having already fought Bowie and Eno to get co-credit for himself, Kizilcay and Sterling Campbell for Leon songs like "Hearts Filthy Lesson" and the segues, Gabrels felt he couldn't win on a new front. "Because…I will always owe David a debt of thanks for dragging me into the music major leagues…I eventually dropped the subject."
But a few years after an apparently sharp breakup with Bowie, Gabrels was ready to let it rip. "The track "Spaceboy" follows the chord changes of my original "ambient" track which was dismissed as just being "ambient" and not really a song or contributing to the existence of "Spaceboy" (which if it did contribute, writing credit should be shared). At its most basic level, [if] I hadn't come up with the ambient track, that ball would would never have rolled itself into a song. I found it odd to have my original piece of music treated as though ambient music has no chord changes or melody and that people who write ambient music cannot copyright their songs to protect their ideas as it isn't really writing music. (Someone should tell Eno.) What I really wonder about is the poet who wrote "Moondust"…his name isn't in the writing credits either. But then again those are just words in a certain order, right?"
Bowie has never commented on this claim, and to be fair we only have Gabrels' side of the story, from ten years ago; Gabrels has never released "Moondust" for people to make their own comparisons. From Eno's diary entry, it seems that the track was pretty heavily overhauled, from new guitar riffs to new chords, and one can see Bowie's perspective: "Spaceboy" was a new song he had alchemized out of an unpromising ambient jam track. But this begs the question of who actually "authors" rock songs, as Bowie's songwriting credits can seem arbitrary: Mick Ronson never got a single credit for songs that he obviously contributed riffs and melodies to; Dennis Davis and George Murray are credited for "Breaking Glass" but not "Stay," and so on.
But God can be an ironist sometimes: Bowie's "stolen" song was soon enough stolen from him.
Writers don't own their words. Since when do words belong to anybody? 'Your very own words,' indeed! And who are you?
Gysin, "Cut-Ups Self-Explained," Brion Gysin Let the Mice In.
Neil Tennant had started as a music journalist, so he had an eye for a lead. When Outside was released, he saw an obvious interpretation of "Spaceboy" that its author apparently hadn't considered, or had deliberately avoided. In none of the dozens of interviews Bowie gave to promote Outside did he say that "Spaceboy" was connected to "Space Oddity" and "Ashes to Ashes." (He even directly denied the connection during a press conference: "I only used [the word] 'space'—there's nothing about it that's even remotely like 'Space Oddity,' frankly."] When the Pet Shop Boys offered to remix "Spaceboy," Bowie quickly agreed, as he seemingly let anyone remix his songs. But when Tennant told Bowie he was going to sing new lyrics and would use "Space Oddity" to get them, Bowie was taken aback by Tennant's "nerve." He went into the studio with Tennant, allegedly to get the performance right, but one wonders if he was irked about it.
After all, Outside was supposed to be his fresh, pre-millennial record, crafted to speak to a new audience, and now here was Major Tom/Starman come back again. The revised "Spaceboy" threatened to convert the project into yet another spew of Baby Boomer nostalgia, to throw Bowie back into his past. What saved "Spaceboy" from being cheap audience-bait was Tennant's use of cut-up. He broke the well-worn words of "Space Oddity" into strange, fresh alignments:
Ground to major bye-bye Tom
Dead the circuit countdown's wrong
Planet Earth is control on?
Still, the remix shifted the song's axis. Bowie had written off Major Tom on "Ashes to Ashes": he'd drifted off into the inexplicable and was content to stay there, roll end credits. Now, with Tennant's new verse in "Spaceboy", Bowie had been cast as Major Tom again, against his will; he was a fly caught on wax paper. This chaos is killing me! now became the words of Major Tom, strung out in heaven, worn through with transcendence and longing for death. Bye bye love! No longer just Gysin, dying in Paris, but Bowie's own legend, being exhumed only to be buried again.
All Bowie could do was play along. The remix was issued as Outside's third single and it nearly broke the top 10 in the UK—it was Bowie's highest charting post-1995 until "Where Are We Now?" this year. In the two performances Bowie and the Pet Shop Boys gave of it, Bowie looked immaculate and ageless, thrashing about on stage, but he also looked trapped. Tennant calmly sang (or mimed) his interrogation, while Bowie struggled against a song that now seemed to confine him.
It was a fitting ending, or as fitting as you get these days. "Spaceboy," one of the last great Bowie pop moments, never quite seemed his own property; it was fluid, a coalescing held together by a beat that seemed to invade it. Bowie spent the last decade of his performing life singing "Spaceboy" again and again, trying to get it back under his thumb, sometimes succeeding (using three drummers to beat the song into shape at his 50th birthday party), sometimes seeming as though he was covering it.
Recorded ca. January-February 1995, Hit Factory, NYC. Released, in its Pet Shop Boys form, as a single in February 1996 (BMG/RCA 74321 353847, #12 UK). A 12″ remix, the Lost in Space mix and the Double Click mix were included on a promo 12″ and later on the 2-CD Outside reissue. "Spaceboy" was played on seemingly every TV show in Europe, including Jools Holland (2 December 1995); Det Kommer Mera (Sweden) 19 January 1996; Taratata (France) 26 January 1996; Karel (Dutch) 29 January 1996, and a broadcast from the BBC Radio Theatre on 27 June 2000. A recording from the Phoenix Festival in 1996 was issued on a bonus CD single that came with the French edition of Earthling. "Spaceboy" was a regular in most of Bowie's last decade of touring.
Sources: Back in No Time: The Brion Gysin Reader (ed. Jason Weiss); John Geiger, Nothing Is True–Everything Is Permitted (pretty much the only Gysin bio).
* Nicholas Pegg wrote without attribution that "if I fall, moondust will cover me" was rumored to be Gysin's last words. I've found no other reference to this, via the Internet and by rummaging through the libraries of Smith College and Amherst College, so I'll conclude this claim is false unless someone points me to a source that I've missed. Gysin did use "moondust" in his novel The Process (1969) ("a familiar indigo rag flutters out of the sand where I look for my guide to find him, too, buried in moondust.") I've found no reference to a Giorno poem mentioning "moon dust" either. The line could just as well be Bowie's.
** I think Gabrels meant the Ahava Rabbah, or the Phrygian dominant scale. Maybe not? Ava rava, anyone?
Top: Chloe Sevigny, Kids (Clark, 1995); Gysin, Burroughs and stone-faced ancestors (via BrionGysin.com); various Spaceboys.
68 Comments	| Outside: 1995	| Tagged: 1995, Brion Gysin, David Bowie, Eno, Foo Fighters, Ground Control, Hallo Spaceboy, Major Tom, Nine Inch Nails, Outside, Pet Shop Boys	| Permalink
Space Oddity (first version).
Space Oddity (Bowie and Hutchinson demo).
Space Oddity (single).
Space Oddity (first live TV performance, 1970).
Space Oddity ("1980 Floor Show" rehearsal, 1973).
Space Oddity (live, 1974).
Space Oddity (1979 remake).
"Space Oddity" is an officially sanctioned beginning: Bowie's first single for Philips/Mercury; his first Top 10 hit (and, years later, his first UK #1); lead-off and title track of the subsequent LP; lead-off track of every greatest hits compilation from ChangesOneBowie on; lead-off track on his Sound and Vision career retrospective. When Bowie dies, the TV tributes will lead off with it.
So it's "classic" Bowie, its now-iconic status won slowly and circuitously, but then "Space Oddity" has always seemed slightly out of time (its biggest chart placings, both in the US and the UK, came years after its first release). It began as a novelty song with a sell-by date (the first moon landing in July 1969), something like a grandiose, more dignified "Laughing Gnome," and Tony Visconti, for one, refused to have anything to do with it, considering the song a cynical sell-out. Which it was. "Space Oddity" is close company to early Bee Gees hits like "New York Mining Disaster 1941" and Zager and Evans' dire "In the Year 2525": it's a gimmicky folk song dressed up in extravagant clothes.
"Space Oddity" has come to define Bowie, perhaps because it's as protean as its creator has tried to be. It's a breakup song, an existential lullaby, consumer tie-in, product test, an alternate space program history, calculated career move, and a symbolic end to the counterculture dream—the "psychedelic astronaut" drifting off impotently into space (Camille Paglia suggested the last); it's a kid's song, drug song, death song, and it marks the birth of the first successful Bowie mythic character, one whose motives and fate are still unknown to us.
Stanley Kubrick's 2001: A Space Odyssey opened in London in May 1968 and played for months. As in many cities, its most frequent repeat viewers were the young and the altered. Visconti, in his autobiography, recounts a typical 2001 viewing—while high from drinking cannabis tea, Visconti had to talk down the tripping couple behind him who were terrified by the film's "Star Gate" sequence. Bowie saw the film (stoned "off my gourd" he recalled) several times that summer and was especially struck by the final images of a "child" floating in space over the Earth.
So when at the end of 1968 Bowie's manager asked him to write a new song for his Love You Till Tuesday promo film, Bowie had a scenario in mind. While 2001 was a primary influence, Bowie, an SF fan (e.g., "We Are Hungry Men"), may have raided other sources. One candidate is Ray Bradbury's The Illustrated Man story collection, which includes "The Rocket Man" (later used by Bernie Taupin), where an astronaut's life is as dull and isolating as a traveling salesman's; "Kaleidoscope," where astronauts burn up in space, their dying embers seen as a shooting star on Earth; and, most of all, "No Particular Night or Morning," where an astronaut in deep space doubts whether the Earth or even the stars are real and kills himself by going out the airlock:
Clemens blinked through the immense glass port, where there was a blur of stars and distant blackness. "He's out there now?"
"Yes. A million miles behind us. We'd never find him. First time I knew he was outside the ship was when his helmet-radio came on on our control-room beam. I heard him talking to himself…Something like "no more space ship now. Never was any. No people. No people in all the universe. Never were any. No planets. No stars…Only space. Only space. Only the gap."
And of course there was the ongoing Apollo moonshot program, which many hippies and New Left types detested for embodying the absurdities of "plastic America": a made-for-TV waste of resources undertaken at a time of war, repression and political chaos. Bowie wrote "Space Oddity" around the time of Apollo 8 near Christmas 1968, the first manned rocket to the moon, which made two TV broadcasts during the flight (on Christmas Eve, the three astronauts read from the Book of Genesis, a performance immediately followed by a rocket-eye view of the Earth hanging cold and alone in space).
The disaster that befalls Major Tom (is it a disaster at all?) also reflects the general, if unspoken, fear at the time that the Apollo missions could go terribly wrong, with gruesome death or exile shown on live global television. Richard Nixon had on his desk a memorial speech in case the Apollo 11 astronauts were stranded on the moon (its author, William Safire, had suggested that a clergyman should "adopt the same procedure as a burial at sea").
The musician
When Bowie began writing the song, working with his then-partner John Hutchinson (who likely came up with a few of the chord sequences), he was at low ebb. His prospects as a pop singer had faded and his intense relationship with Hermione Farthingale was ending. (During 1968 Bowie also had "a flirtation with smack," he admitted years later, and some have argued the icy majesty of "Space Oddity" suggests it's really a heroin song, the "liftoff" section marking when the needle hits the vein.)
So it's not surprising that Bowie created a character who's been sent into orbit by Establishment figures, who monitor him, give him orders and want him to do his share of media promotion. The line "Now it's time to leave the capsule—if you dare" suggests Major Tom could even be a contestant on a television show. Bowie made the first recording of the song the day after his final break with Farthingale, which has led biographers to speculate that Bowie's state of mind at the time reflected Major Tom's blissful sense of isolation, a desire to free himself entirely from human entanglements and just drift off into the void.
Yet while alienation is key to the song, it's not a bleak or despairing track at all, as it has childlike qualities: the lyric at the start sounds like a game played by two boys on walkie-talkies; it has simple wordplay based on common sounds (the way "Can you hear me Major Tom? Can you hear" segues directly into "here am I floating round my tin can") and as David Buckley notes, Bowie often uses a child's word to replace an "official" one: so "spaceship" instead of "rocket," "countdown" instead of "ignition sequence," and even the name "Major Tom" seems that of a '50s action hero rather than of a legitimate astronaut.
I'm always trying to find that special thing in pop music. For me, it started with Space Oddity by David Bowie—it has that semi-tone shift which fascinated me. I played it endlessly to my mum and it made me feel this yearning. It's a kind of sweetness, and it can turn up in the strangest places.
Roddy Frame, 2002.
"Space Oddity" was the most intricate song Bowie had yet written, and you could consider it a neatly controlled collision of two forces—the often-simple lyric, with its memorable, childlike lines ("the stars look very different today"); and the density and complexity of the song's structure.
In the span of five minutes, there's an intro, two verses, two bridges, two four-bar acoustic guitar breaks, a "liftoff" sequence with guitar and strings, a 12-bar electric guitar solo, a third extended verse that's partially a refrain (the "Can you hear me Major Tom?" bit) and a long outro which also contains a second guitar solo. There are something like 15 different chords used and the lyric at times seems synchronized to the changes (in the bridge, when Major Tom is floating alone in space "far above the world," the first chords are Fmaj7 and Em7, the two chords that the ominous intro had moved between). Despite this complexity, the song has atmosphere and space; constantly in motion, it has a stillness at its center.
It was intended to be a duet: the opening verse was originally sung by Hutchinson (as you can hear in the demo), who had a lower range, while Bowie harmonized an octave higher. Hutchinson as "ground control" again opened the second verse until the big reveal: Major Tom speaks at last, with Bowie finally appearing in his most resonant tone. Hutchinson recalled that he and Bowie loved Bookends, and here Hutchinson keeps to the ground as "Simon" while Bowie wafts in as "Garfunkel." Bowie's skill as a singer had developed enough, however, that he could play all the roles when he recorded the song as a solo vocal a few months later.
The song is a series of neatly-designed stages, as though it was a rocket itself—the way the "countdown" verse (a descending number marking the start of each bar) is met by the eight-bar liftoff (something of a neatly-tailored version of the orchestral upward sweep in the Beatles "A Day in the Life"); the bridge that begins weightlessly and then slowly falls to earth in its last four bars; or the way Bowie's sharp acoustic break (C-F-G-A-A, strumming hard on the last two chords) serves as stage-clearing, first to set up the dreamy electric guitar solo, then to prepare for the long outro.
"Space Oddity"'s first recording, cut for the Love You Till Tuesday promo on 2 February 1969, sounds like a tentative full-band rehearsal. While it shows that most of the song structure was in place at an early stage, the rhythm's not right, much of it sounds thin and reedy, and a few sections are just lousy (the flute squawk solo was thankfully replaced by electric guitar). By the time Bowie and Hutchinson re-recorded the song as a demo (as part of Bowie's successful audition for Philips/Mercury) in March-April 1969, Bowie had introduced the Stylophone, which would become one of the track's defining sounds.
The Stylophone, whose manufacturer had sent a promotional copy to Bowie's manager, was a primitive portable synthesizer that had two settings, "normal" and "vibrato." You played it by touching a stylus to a tiny keyboard, which closed a circuit and emitted a tone. Bowie toyed with it for a bit and figured out how to create a basic droning progression that would become the backbone of the song's early verses. (It naturally gave the song some SF cred to have an "alien" computer noise in much of the mix.)
The Stylophone was just one facet of Gus Dudgeon's production for the Philips/Mercury single (Visconti had turned Bowie down, saying he'd produce the LP but not the cheesy single), a session that Dudgeon plotted like a military operation, mapping the song's progress out on paper—Dudgeon couldn't write music, so he used colors (cellos were brown, for instance) and squiggly lines to indicate where various instruments came in. Paul Buckmaster had to translate it into charts for the players.
This past summer Bowie re-released "Space Oddity" as a digital EP, including, wonderfully, the original eight-track Dudgeon recording now broken into its separate tracks, revealing some of the production's tricks—for example:
The signal: Bowie's Stylophone and Mick Wayne's electric guitar share the same track. In the opening, the two instruments seem an extension of each other, the drone of the Stylophone pricked, every two bars, by a plucked note on the guitar. It sounds like an interstellar radio transmission. The Stylophone is the defining instrument of the song: it plays only three tones in the opening verse, the highest setting held and "waggled" as the verse gives way to the liftoff sequence; it plays a repeated two-note pattern that sounds like a police siren whenever Bowie extends a line (for example, on "made the GRADE" or "most peculiar WAY"); it underpins the guitar solo with a single held note. And in the outro sequence, while the guitar spirals out a string of notes the Stylophone frantically taps away as if making an SOS call.
Strings, old and new: Much as the song is a balancing act between its lyric and its knotty chord structure, the recording contrasts traditional orchestral instrumentation (eight violins, two violas, two celli, two double basses and two flutes) and the synthesizer future. The synths serve as the primary colors (while the Stylophone appears in the first verse and extends through most of the song, the richer-sounding mellotron (played by Rick Wakeman) is held back until the bridge, then replaces the Stylophone for much of the third verse). The orchestral instruments are used more as sound effects (the note-by-note string buildup during the liftoff sequence, the darting flute and moaning celli and basses in the bridges) and backdrops.
The bottom: One revelation is the isolated track of Herbie Flowers' bass and Terry Cox's drums. This was Flowers' first-ever session (he'd go on to craft the trademark bassline of "Walk on the Wild Side" and played on Bowie's Diamond Dogs), and he's a marvel—buried under the layers of "Space Oddity" is a bassline that goes from a stark single-note repetition to a jazzy fluid movement in the later verses to a full-on bass solo during the song's outro. Cox's drumming isn't very funky—he was the drummer for Pentangle, after all—but it serves the material well, from the parade-ground snare warmups at the beginning, to the bolero pattern Cox develops in the first verse, to coming down hard on the third beat in the later verses.
The single
The Philips "Space Oddity," recorded on 20 June 1969, debuted over the PA system at the Rolling Stones' free Hyde Park concert on 5 July, which had become an impromptu funeral service for Brian Jones. The BBC did play "Space Oddity" during the moon launch (though they mainly used "Also Sprach Zarathustra," which had become the official soundtrack of outer space thanks to 2001). It's impossible to verify when or how often "Space Oddity" was played during the coverage, however, as the BBC later erased its recordings of the moon landing (along with scads of Patrick Troughton and William Hartnell Doctor Whos, performances by every British band of the '60s, early appearances by pre-Python Michael Palin and John Cleese, etc., etc.).
"Space Oddity" didn't chart upon release, however, and initially seemed yet another Bowie flop. Then (possibly due to Bowie's manager Ken Pitt, who offered some payola) the single rebounded in the fall and finally hit the UK Top 10, reaching #5 in November 1969. Mercury had released the single in the U.S. to utter indifference, but when Bowie finally broke in America in 1972, his then-label RCA (which had purchased most of Bowie's Mercury material) re-released "Space Oddity," forcing an exhausted Bowie to make a Mick Rock promo film while in full Ziggy garb. This reissue hit #15 in the US in 1973.
And in 1975, a slack year for pop music, RCA boosted its back catalog in the UK with its "Maximillion" series, repackaging singles by Elvis and reissuing "Space Oddity" backed with "Changes" and "Velvet Goldmine." Whether it was due to a lack of chart competition, or whether the record had gone from being the voice of an ominous future to the sad, reassuring sound of a lost past, "Space Oddity" at last hit #1 in the UK.
Space Oddity (Langley Schools Music Project version, 1976).
The record's one real insight: "Planet Earth is blue and there's nothing I can do"—the idea that near-space exploration is not a frontier but instead the limit of human endeavour, revealing nothing so much as impotence.
Tom Ewing, Popular entry on "Space Oddity".
Once during the mission I was asked by ground control what I could see. "What do I see?" I replied. "Half a world to the left, half a world to the right, I can see it all. The Earth is so small."
Vitali Sevastyanov, USSR cosmonaut, Soyuz 9, Soyuz 18.
When I originally wrote about Major Tom, I was a very pragmatic and self-opinionated lad that thought he knew all about the great American dream and where it started and where it should stop. Here we had the great blast of American technological know-how shoving this guy up into space, but once he gets there he's not quite sure why he's there. And that's where I left him.
David Bowie, interview with NME, 1980.
Bowie cut a new version of "Space Oddity" in late 1979, which he debuted on Kenny Everett's New Years Eve Show; in it, he sheared the song down to its skin—just Bowie's harrowed voice, acoustic guitar, basic accompaniment and, in place of the liftoff sequence, 12 seconds of silence. He performed the song with an intensity it had never had before, and soon afterward, he decided to exhume Major Tom and see what had become of him (but that's a tale for later).
"Space Oddity" is forty years old, and listening to it now it seems prematurely but accurately mournful. Few at the time of its birth, not even its creator, could have imagined that after the moonshots, the American space program would decline into irrelevance, waste and pointlessness; that the year 2001 would not be marked by lunar bases and a Jupiter mission, but the barbaric destruction of NYC skyscrapers and fresh, endless war; that in 2009 mankind would have gone no further into space than it had when "Space Oddity" first charted.
Major Tom's fate is a resignation of sorts to the cosmos—Bowie had intended it to be the technocratic American mind coming face to face with the unknown and blanking out—but the song wound up being a harbinger of our cultural resignation, predicting that we would eventually lose our nerve, give up on the dream, and sink back into the depths of the old world. Perhaps we aren't built for transcendence, and the sky sadly is the limit. Or as the song goes, "planet Earth is blue, and there's nothing I can do."
Photos (top to bottom): Neil Armstrong, en route to the moon, July 1969; Dave Bowman (Keir Dullea) meets fate, and the last spacewalk of Frank Poole (Gary Lockwood) in 2001: A Space Odyssey, 1968; the original Philips single, BF 1801; Bowie's 1969 self-titled LP, later renamed after its hit single; a spacesuit-clad Bowie demonstrates the Stylophone to the world; Dutch single, 1969.
30 Comments	| Space Oddity (David Bowie) LP: 1969	| Tagged: 1969, 2001: A Space Odyssey, David Bowie, Ground Control, Gus Dudgeon, Herbie Flowers, John Hutchinson, Major Tom, Ray Bradbury, Rick Wakeman, Space Exploration, Space Oddity, Stanley Kubrick, Stylophone	| Permalink


A very inspiring trip to Liverpool in june 2017 made me write and record some new songs.
The city breathes a very special musical history. It is the birthplace of the Beatles and the Mersey Beat of the early 60s. Even today, places like the Cavern Club exude a certain aura. Through the trip I have worked intensively with the British beat music.
In my last band (Ramington Flashride) we always played a very hard and heavy music. The lyrics were very thoughtful and rarely dealt with loss, pain and anger.
That's why I've always been looking for a project where I can live my poppy, happy and melodious side. The typical Singer & Songwriter things with acoustic guitar was not so much my thing. With the Liverpool Trip I have finaly found the right Beat for my songs!


On this day in 2017, Ben McAdoo announced he would start Geno Smith over Eli Manning. One year later the Giants sit at 3-8, Eli is still starting, and he might still be starting in 2019.
According to Ralph Vacchiano of SNY, there's still a possibility that Eli Manning could return to the Giants in 2019, potentially as their starting QB.
A decision regarding Manning's has "absolutely not" been made and management is open to the idea of another year with Manning.
Manning is signed through 2019 with a salary of $11.5M and is due a $5M roster bonus in March, and has a salary cap number of over $23M. He also has a no trade clause. The Giants selected Richmond QB Kyle Lauletta in the fourth round (108th overall) of the 2018 NFL Draft. He's been inactive all season and fell into some off the field trouble recently.
The Giants could look to the draft to add a QB and are in position to get a high draft pick once again. Oregon QB Justin Herbert is believed to be the top QB in the upcoming draft but there's no guarantee he leaves school. There could be other QB options available via free agency (Teddy Bridgewater) or via trade (Raiders QB Derek Carr).
According to the report, those who know Manning best don't think he'll consider retiring if the team is willing to commit to him being their starter.
Cutting Manning would clear $17M in cap space while creating $6.2M in dead money.
The Giants' original plan when GM Dave Gettleman and coach Pat Shurmur took over was to try to rebuild the offensive line, draft Saquon Barkley, and attempt to make one last run with Manning over the final two years of his contract. Year 1 of that plan has turned into a disaster. But no one has ruled out taking another shot at it in Year 2.
Follow @MySportsUpdateon twitter for all the latest info from around the NFL.


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Taliesin West/ Frank Lloyd Wright
Signature Red and Blue is synonymous with the property, Photography: Marcus Hay
Left: Dining Room, Right: Detail of Light fitting, Photography: Marcus Hay
Left: Detail, Right: Inside Projection Room, Photography: Marcus Hay
Left: The Gate, Right: Signage, Photography: Marcus Hay
Left: Detail of the gate, Right: Detail, Photography: Marcus Hay
In side The Theatre, Photography: Marcus Hay
Inside the Theatre, Photography: Marcus Hay
Exterior, Photography: Marcus Hay
Exterior details, Photography: Marcus Hay
Some sculpture around the property, Photography: Marcus Hay
Left: Chinese sculpture is scattered around the property, Right: Exterior, Photography: Marcus Hay
Left: Sculture Garden, Right: A Pool, Photography: Marcus Hay
Inside the Music Hall, Photography: Marcus Hay
Left: Mrs Wright's room, Left: Lighting fixture, Photography: Marcus Hay
Left: Original Indian carvings, Right: Stairs, Photography: Marcus Hay
In Arizona Frank Lloyd Wright would spend his winters, advised by his doctor that it would promote a longer life avoiding the harsher winters of Wisconsin. He lived well into his 90's, so perhaps his doctors advise rang true. Currently in Arizona for Design Within Reach, On my one down morning last Sunday, Studio Marcus Hay scooted off to Taliesin West, the property built by Frank and his fellow men, what he called his students of architecture. Built by hand, the property is truly spectacular and regarded as one of the top 10 pieces of modern architecture in the world.
Taliesin West was architect Frank Lloyd Wright's winter home and school in the desert from 1937 until his death in 1959 at the age of 91. Today it is the main campus of the Frank Lloyd Wright School of Architecture and houses the Frank Lloyd Wright Foundation. The complex drew its name from Wright's summer home, Taliesin, in Spring Green, Wisconsin.
The structure's walls are made of local desert rocks, stacked within wood forms, filled with concrete. Wright always favored using the materials readily available rather than those that must be transported to the site. In Wright's own words, "There were simple characteristic silhouettes to go by, tremendous drifts and heaps of sunburned desert rocks were nearby to be used. We got it all together with the landscape…"
Throughout the years he added an addition to the dining room, the cabaret theatre, music pavilion and numerous other rooms. All of the furniture and decorations were designed by Wright and the majority built by apprentices.
It felt like such a privilege to wander the grounds and rooms at Taliesin West, Wright is known as the Grand Daddy of Modern American Architecture, His work was truly revolutionary, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time."
Labels: Arizon, Frank Llyod Wright, Taliesin West

redpajama_set_name: RedPajamaCommonCrawl


Asteroid 2014 J025, the largest asteroid to date to have ever approached Earth, passed the planet yesterday morning (19) at a distance of about 1.8 million kilometres, according to NASA.
Although there was no possibility of the asteroid colliding with Earth, this was a very close approach for an asteroid of this size. It is roughly 2,000 feet (650 metres) in length and its surface is about twice as reflective as that of the moon.
At this time very little else is known about the object's physical properties, even though its trajectory is well known.
Smaller asteroids routinely make closer passes to Earth, but 2014 J025, discovered in May 2014, was the largest asteroid to come this near to the planet since 2004, flying by at only about 4/6 the distance from the Earth to the moon.
Yesterday's encounter provided an outstanding opportunity to study this asteroid, and astronomers had planned to observe it with telescopes around the world to learn as much about it as possible.
Radar observations were planned at NASA's Goldstone Solar System Radar in California and the National Science Foundation's Arecibo Observatory in Puerto Rico, and the resulting radar images could reveal surface details as small as a few metres.


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Exploring the Use of MET Inhibition and Targeted Therapies in Lung Cancer
Roman Perez-Soler, MD
Roman Perez-Soler, MD, discusses the use of MET inhibitors as treatment of patients with lung cancer and the evolving role of targeted therapy in the lung cancer setting.
Roman Perez-Soler, MD, professor in the Department of Medicine (Oncology) and Department of Molecular Pharmacology, and chief of the Department of Medicine Division of Oncology, Albert Einstein College of Medicine, discusses the use of MET inhibitors as treatment of patients with lung cancer and the evolving role of targeted therapy in the lung cancer setting.
There will be different applications for MET compounds that are approved for patients with MET alterations, according to Perez-Soler. MET inhibition has been discussed as an option after patients become resistant to other therapy options, such as in patients with other alterations. MET has been identified as an alteration that drives tumor growth, as well as a mechanism of resistance. This needs more investigation since researchers have seen activity with MET inhibition so far.
Perez-Soler says in the field of targeted therapies, he has seen new compounds work in most patients, but eventually some develop resistance, so many studies are based on understanding that resistance. Other alterations will receive a method of investigation similar to what has been done with EGFR inhibitors, where investigators found a mechanism of resistance and then created a targeted therapy for it. Some of these will be combinations, the same way there were compelling data for chemotherapy and an EGFR inhibitor rather than the targeted therapy alone in the subset of patients with EGFR mutations. This method could also be applied to other alterations in these subpopulations.


At Dohrn Transfer we take pride in the care we give to our customers and their freight and cold weather days are no exception. Dohrn Transfer's Protect From Freezing Service, Heat Track, is designed to protect products capable of freezing between October 1st and April 30th.
Dohrn Transfer will develop a cost-effective solution to protect your freezable shipments capable of freezing below 32°F from the moment of pick up to final destination.
◆ We guarantee your freight will be protected from the cold with heated trailers, blankets, portable heaters and warm storage spaces inside our terminal buildings.
◆ 1,300+ heated trailers, the largest fleet of heated trailers in the Midwest and Mid-Atlantic regions.
◆ Your shipments will receive priority in our system because of our extensive technology capabilities. We will identify these shippers who have freezable shipments right at the point of pick up and monitor these shipments all the way through to delivery.
◆ We monitor and compare weather conditions through a variety of online sources and technologies to manage forecast predictions and determine special handling procedures for your freezable shipments protected by our Heat Track service.
◆ Your freight is guaranteed against freezable damage.
◆ You will receive a cost-effective solution to protect your freezable goods 7 days a week. Pickups and deliveries made Monday through Friday.
◆ Our reliability is backed by our industry leading claims ratio of .0002%.
◆ Any customer can use Heat Track to guarantee freezable protection. Contact your Sales Representative so they can work with our Operations team to move your freezable goods, even on the coldest days.
◆ When you need Heat Track service, shippers need to communicate in advance of tender and clearly and boldly mark "Protect From Freezing" on the freight and shipment Bill of Lading (BOL).
◆ A Heat Track surcharge will be applied on all shipments that are marked "Protect From Freezing" during Dohrn Transfer's Protect From Freezing season, which runs October 1st through April 30th.
◆ Want the convenience and peace of mind on all of your Protect From Freezing shipments? Ask your Dohrn Transfer Sales Representative how you could benefit from our new "PFF Pass" program for the entire Heat Track season. Please email kris.jackson-perry@dohrn.com to receive additional information on the PFF Pass.
Dohrn Transfer protects all shipments from freezing while in our possession. However, in the case of extreme weather conditions, service standards may be extended. In the event a Heat Track shipment freezes and is unsalvageable, Dohrn Transfer will pay up to $5.00 per pound for the damaged portion of the shipment subject to a maximum claim of $5,000 per shipment.


CloudHealth Technologies, the leader in cloud service management, and ParkMyCloud, the leading enterprise platform for continuous cost control in public cloud, today announced they are partnering to marry the hybrid cloud governance of CloudHealth with the automated cost control of ParkMyCloud.
Customers leveraging the integrated solution will experience greater return on their cloud investments. They will be able to automate cloud cost control, simplify management, and consequently free up teams to focus on driving more strategic projects within their organizations.
Public cloud provides agility, efficiency and flexibility; however, as organizations ramp up in the public cloud, they often find consumption growing rapidly, leading to overspending and inefficient resource utilization. For many, this rising cost is unaccounted for. According to Gartner, "With increasing business unit IT spending on cloud services, IT leaders must prevent new risks, sprawl, cost overruns and missed SLAs. Dynamic optimization technology can help balance the benefits of agility with required governance controls for cloud services and virtualized infrastructure."
Improved Cloud ROI: Users will realize immediate cost savings with non-disruptive, policy-driven automation that helps to eliminate tedious tasks and enable teams to roll out new offerings and updates faster to market.
Ability to Drive More Strategic Projects: Rather than focusing on "keeping the lights on," technical experts can shift their efforts to continuously innovate and thereby maintain a competitive advantage-not just business as usual.
Simplified Hybrid Cloud Governance: Broken down by environment, department, application, resource and more, this integrated offering empowers teams to implement better resource management through simple and easy-to-use, customizable dashboards for different personas such as CFO and CTO, among others.
Better Analytics: Users gain unparalleled insight and can use this visibility to make smarter business decisions.
"There are huge business gains to be reaped in the public cloud, but business transformation also brings complexity," said Tom Axbey, CEO and President of CloudHealth Technologies. "In partnering with ParkMyCloud, we're eliminating cloud management inefficiency and bridging the divide between cost and utilization. We're uniting disparate cloud environments, business ops and DevOps teams by equipping them with the tools they need to be agile and productive."
"Our goal at ParkMyCloud has always been to help our customers do more with their cloud by saving time and money," said Jay Chapel, CEO and Founder of ParkMyCloud. "That's why we provide them with automated cost control, which we do by finding and turning off idle resources in AWS, Azure and Google Cloud. By collaborating with CloudHealth Technologies, we are providing customers with end-to-end visibility and control over their environments for optimized cloud usage and spend."
"With ParkMyCloud, anyone in your organization can be responsible for their own cloud costs," said Reed Savory, Connotate. "That's immensely valuable and brings real cost savings. CloudHealth offers unparalleled rightsizing capabilities, among other things, so we know we aren't leaving money on the table. Integrating these solutions will only further the simplicity and efficiency with which our team operates – even as we manage a rapidly scaling cloud environment."


Told from three diverse points of view, this story of life and love after loss is one Angie Thomas, author of The Hate U Give, calls a ´´stunning, heart-wrenching look at grief that will stay with you long after you put it down.´´ We´ve lost everything...and found ourselves. Music brought Autumn, Shay, and Logan together. Death might pull them apart. Autumn always knew exactly who she was: a talented artist and a loyal friend. Shay was defined by two things: her bond with her twin sister, Sasha, and her love of music. And Logan has always turned to writing love songs when his real love life was a little less than perfect. But when tragedy strikes each of them, somehow music is no longer enough. Now Logan is a guy who can´t stop watching vlogs of his dead ex-boyfriend. Shay is a music blogger who´s struggling to keep it together. And Autumn sends messages that she knows can never be answered. Despite the odds, one band´s music will reunite them and prove that after grief, beauty thrives in the people left behind. 1. Language: English. Narrator: Michael Crouch, Jackie Chung, Alisha Wainwright. Audio sample: http://samples.audible.de/bk/lili/002976/bk_lili_002976_sample.mp3. Digital audiobook in aax.


Graveside services for Pauline Faye Prell, 75, will be held at a later time at the Greenwood Cemetery in Newcastle, Wyo.
Pauline Prell passed away Friday, Feb. 26, 2010 with family present at the Douglas Care Center in Douglas, Wyoming after a lengthy battle with cancer.
Pauline was born Aug. 22, 1934 the daughter of John Sheldon and Dorthey Adaline (Watson) Phillips in Upton, Wyoming. She attended school in Upton and Newcastle, Wyoming.
Pauline married Alex Mitich and later married George Prell. Pauline and George lived many years on a ranch north of Lance Creek, Wyo., until George's death in 1979. Pauline later lived in Lusk, Newcastle, Riverton, and finally Douglas.
Pauline enjoyed reading, crocheting, needle point, ceramics, dancing, and bowling. She was very artistic and won many ribbons at the fairs, leaving many mementos for her family to enjoy.
She was preceded in death by her parents; husband, George Prell; step-son, Jerry Prell; brother, Norman "Red" Phillips; and immediately by her grandson, James Mitich.
Pauline is survived by her son, Andrew (Bev) Mitich of Riverton, Wyo.; daughters, Alexis Mitich (Carl) Smith of Lusk, Wyoming and Joni Prell Moore of Douglas, Wyoming; step-daughter, Janette Prell Scott of West Monroe, Louisiana; eight grandchildren; fifteen great grandchildren; and two great-great grandchildren.
A memorial to the American Cancer Society in care of Converse County Bank, P.O. Box 689, Douglas, WY 82633 would be appreciated by the family.
Gorman Funeral Homes - Converse Chapel of Douglas is in charge of the arrangements.


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Prez offers olive branch
New Delhi: In a bid to offer an olive branch to various disgruntled elements in Jammu and Kashmir, President of India, Ram Nath Kovind Monday said that the government was ready for a dialogue with anyone who shunned violence and reposed faith in the Constitution.
In his maiden address to the joint sitting of both Houses of Parliament, Kovind also said militant violence in the interiors of Jammu and Kashmir is directly related to cross- border infiltration.
"With better coordination, our Army, Paramilitary forces and Jammu and Kashmir Police are giving a befitting response to the perpetrators," he said.
The President said security situation in Naxal-affected areas and insurgency-hit Northeastern states has improved significantly.
"My government has kept open the path of dialogue with those who wish to shun violence and join the mainstream, while reposing faith in the Constitution of India," he said.
The Centre has already appointed a representative, Dineshwar Sharma, to hold dialogue with all stake holders in Jammu and Kashmir.
Kovind said due to regular efforts of the central and state governments, there has been a significant improvement in internal security of the country.
"The Northeast has also witnessed an improvement in the security situation. There has been a reduction in incidents of Naxal-Maoist violence. For this, the enlightened citizens of the region, our military, paramilitary and police forces deserve to be congratulated," he said.
The president said in the past three years, maximum number of youth influenced by the Naxal-Maoist ideology, have surrendered and joined the main stream.
Paying heartfelt tribute to the martyrs of the security forces, he said the government has also recently sanctioned a scheme of more than Rs 18,000 crore for the modernisation of police forces. (PTI)
Prez offers olive branch added by Guest on 1:30 am January 30, 2018


At the age of 2 Evan received his Lightning McQueen Powerwheel for christmas of 2009. After three years of use he had worn through the plastic wheels. We decided to upgrade the oem plastic wheels to metal rims with rubber tires. From that point more modifications were added every few weeks.
Now, Evan's Lightning McQueen Powerwheel is equipped with an aluminum back half chassis, dual sealed gel batteries with an output of 24 volts, a 500 watt .66 horsepower electric motor, disk brake, throttle modulated variable speed control with reverse and sparco battery cut off switch.


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Q: Write/Read then Save text file Basic4Android I'm creating an application on Basic4android that collects GPS coordinates and equipment deficiencies in a dropdown list (Spinner). The GPS coordinates consists of latitude and longitude shows up on a label field when GPS is ON and the deficiencies shows up under a Spinner field (e.g. dropdown of "Broken cross arm", "Broken Insulator","Rusty Structure"). I was able to get all that done and create a "Submit" button that should copy the three fields (Longitude, Latitude and deficiencies) into a text file. Any idea how to store these fields everytime I press submit? I will be using this application for inspection when I walk by a transmission tower, I will record the coordinates and the obvious deficiency into a file on android.
Thank you,
Eli

A: There are some solutions. one of them is writhing a list file .add a character as delimiter between Longitude, Latitude and deficiencies.
declare list in global section
 Dim list1 as list

initialize list on create activity event
 List1.Initialize

On submit button click
newstring=longt &"|" &lat &"|"& defi
If File.Exists (File.DirInternal & "/","Log.txt") Then
List1 = File.ReadList (File.DirInternal & "/","Log.txt")
end if
List1.add(newstring)
File.Writelist(File.DirInternal & "/","Log.txt",List1)

You can split every line  int to seperated Longitude, Latitude and deficiencies later when you  need.

A: There are several ways to do it. The simplest is to add the values to a Map and use File.WriteMap / ReadMap.
See this tutorial: http://www.basic4ppc.com/android/forum/threads/6690/#content

redpajama_set_name: RedPajamaStackExchange


The PPP dissector could crash.
The NFS dissector could use excessive amounts of CPU.
The DCP ETSI dissector could trigger a zero division.
The MongoDB dissector could go into a large loop.
The XTP dissector could go into an infinite loop.
The ERF dissector could overflow a buffer.
The AFP dissector could go into a large loop.
The RTPS2 dissector could overflow a buffer.
The GSM RLC MAC dissector could overflow a buffer.
The CIP dissector could exhaust system memory.
The STUN dissector could crash.
The EtherCAT Mailbox dissector could abort.
The CTDB dissector could go into a large loop.
The pcap-ng file parser could trigger a zero division.
The Ixia IxVeriWave file parser could overflow a buffer.


It was thrilling to the very end! Who would win the Swedish Song Contest 2011? It turned out to be between the teengirl favourites Danny and Eric Saade – just as I guessed. Personally I crossed my fingers for Eric, so I was definitely happy when he won!
A good song to start the contest with. One of this year's favourites among the Swedish people, and I think this song will be played a lot at clubs this summer. Personally I find the chorus to be too repetitive and boring, but my overall impression is that it's an okay song to listen to in the background. Happy, up-beat, pop.
This sounds like a classic Swedish folk song, and I like it! In between all brightly colored and modern pop songs it's great to find something that sounds genuinely Swedish. Sara Varga was very beautiful in her long white dress, she's got a great voice with a lot of emotion and I liked the song.
I have to admit I'm starting to like this song – a lot. The first time I watched him perform it I was shocked by all the colors, shapes, weird clothes and the whole performance. I laughed at the monitors in the background: "That's sooo Monty Python!" But now I've heard the song a few more times I find it hard to not like it. I'm dragged along in all the bubbling happiness, and give The Moniker a hight marks despite his original performance.
Brolle disappointed me this time. His style (which is obviously inspired by Elvis) and voice didn't save the song or the performance tonight. The song isn't strong or powerful compared to the rest, and singing out of tune was not the best way to end the song. A disappointment.
Linda Bengtzing – E de fel på mig?
This song is just as happy-sounding and pop as all the other songs she's participated with earlier, and it was wonderfully colorful. But I'm sceptical about the lyrics and I think I'm not the only one – maybe that's the reason she didn't do very well this year?
The surprise of the year. He's getting negative points from me regarding his clothes, but the song is good and his voice is okay. Sadly his voice cracked slightly now and then, maybe because he's been practicing so much for the final round? I don't know. This is not the kind of song I expected him to sing, but he does it well!
What a great song! Now when I've heard it a few times. This is also one of the songs I didn't like when I heard it the first time, but it's getting better and better. I agree with those who think that the performance is confusing. There are a lot of colors and shapes and patterns, and there's a lot going on on the stage. But this feels like a summer hit – at least I will be listening to it a lot! It was fun that he lives outside of Örebro – and such a cute kid he has!
One of my personal favourites. Sanna is known for singing ballads. This is also a ballad, but it's an up-beat ballad. I liked her clothes, I like her voice, I like the song. This will also be heard a lot at my place. I'm in love!
One of the fun songs of this year. The Playtones became famous thanks to them participating in Dansbandskampen and I didn't expect to see them here. I still don't think they fit in the Eurovision Song Contest but their performance was a fun element in the contest. The song has a lot of influences from the 1950′s (a musical period I personally like) and they did right in dressing alike. The question is whether blue was the right choice of color… But the song is good.
And finally, my favourite! I think that both the song, the dance – the whole performance, in fact – is on at least the same level as his performance last year. But as Eric himself says, this year it's a more "grown up" pop song compared to Manboy and that should be good as he himself has grown since last time… The song is easy to learn and sing along with. He and his dancers are incredibly good, they had they best performance of the night, without a doubt. The glass cage is a cool element that strengthens the message of the song, and I do hope he will be allowed to bring it with him to Düsseldorf. But despite the great song, I think that a lot of Eric's success lies in his incredible charm, energy on stage and his dark glittering eyes. It will be interesting to see if he is as successful in Europe as in Sweden!
← Hanson @ London – x5!


Yes, it was about as cold as this image looks. These walkers were out there for quite a time. They went so far as the narrow portion of lake that's in the distance--at the base of the mountains. They eventually progressed back here. I shot a couple of images with my Nikon and finally reverted to my phone. Yes, this image was shot with the phone and probably is the best of the morning. The overall composition and light tells the whole story of the morning.
As I noted in the first picture, the environment here was compelling whether shooting the wide view or very narrow. That's what this image highlights, the narrow view. The constant stream of snow in the air adds a dramatic effect on the terrain far in the distance. The close trees are very detailed while the far mountains just beyond are a bit more obscured by the snow. This all combines to made a 3d effect which looks pretty awesome.
These environmental effects contributed a lot to these images. You'll see more when I show what happened later on in the morning when I thought I was done shooting.


text:
Record Collectors
Record Collector: Tim McMahon (Search, Mouthpiece, Hands Tied, Face the Enemy, Triple Threat)
By Carlos Ramirez | @MusicQuizKing | 4.25.2017
Photo: Todd Pollock
In the first installment of Record Collector, we speak with a hardcore music lifer. Currently fronting Search, Tim McMahon has also sang for the bands Hands Tied, Face the Enemy, and Triple Threat, but he's probably best known for his work in Mouthpiece. A man with quite the impressive vinyl collection, we decided he would be a great person to highlight for the series kick off.
How long have you been collecting hardcore vinyl?
I got seriously into hardcore in 1986, but started off that first year only buying cassettes. At some point during 1987 and into 1988, I got a decent record player and I started buying vinyl. So I'd say I've been on and off actively collecting hardcore vinyl for 30 years.
Never has a third pressing GB 7" looked cooler. I've got an extra glow in the dark version, if anyone has a first or second press version for trade, hit me up.
A post shared by Tim McMahon (@doublecrossxx) on Feb 12, 2017 at 5:26pm PST
Where/how do you usually find your hardcore records?
For those first few years, I was just buying what was coming out and available in the local record stores. Princeton Record Exchange in Princeton NJ, The Trenton Record Collector in Trenton NJ, those were two of my go-to spots. Other than those local stores, I was doing a lot of mail order. Maximumrocknroll was always a great source for info on the latest bands and releases. I was big into fanzines in those early years, so I was always checking out every ad very closely and ordering whatever I could. Mail ordering to Revelation, Schism and a handful of smaller labels (Hi Impact, Axtion Packed, Stepforward, New Age, etc.) was common practice for me.
Stoked to add this fella to the collection.
A post shared by Tim McMahon (@doublecrossxx) on Jan 14, 2017 at 11:44am PST
What is the most you paid for a hardcore record, where/how did you obtain it, and what was it?
I think the most I have ever paid for a record was the Youth of Today Break Down the Walls Wishingwell Records test pressing I bought off Mike Gitter. I'm pretty sure I paid close to a grand for that. You don't see test pressings for that record come up too often and considering Youth of Today is my all-time favorite band and Break Down the Walls is one of my all-time favorite records, it felt like something I should have. This was before I had kids, so bills and responsibilities were fewer. Problem was, during shipping, the record broke into about 15 pieces. Mike ended up giving me my money back and somehow or another, miraculously, my wife Traci found another, which she paid less for, but has never really told me exactly.
Pissed Happy Children, the track "Vigilante" off this 7" destroys. So heavy, so good, a hidden gem from 1989.
A post shared by Tim McMahon (@doublecrossxx) on Nov 20, 2016 at 5:55pm PST
What is your most prized hardcore record and why?
In general, my most prized hardcore records are my Revelation Records test pressings. I've tried to collect tests for the first 10 Rev releases as well as a few of my other favorites from Rev, but there are still a couple holes I need to fill. If I had to pick one Rev test out that is probably my most prized, it would have to be my Judge Chung King Can Suck It test pressing. The Chung King is a hard enough record to get in it's self, so a test pressing of that record is even harder to come by. I was pretty much in the right place at the right time to even get that record. [Judge guitarist] Porcell had just sold his collection to Reconstruction Records in NYC and a few of us walked in and bought up a handful of them. The Chung King test was in that collection, as was a standard Judge Bringin' It Down test that I ended up getting as well. I don't recall exactly what we paid for each record, but it was in the low hundreds, if that.
#testpresstuesday Judge - "Chung King" test press and Judge - "Bringin' It Down" test press.
A post shared by Tim McMahon (@doublecrossxx) on Jan 15, 2013 at 12:52pm PST
Outside of the money you spend, what do you hate most about record collecting in the hardcore world?
I think "hate" would be a strong word, I'm not sure there is anything about record collecting that I legitimately hate. To be honest with you, I'm not sure I'd even call myself an active record collector all that much anymore. I still buy records and if I find something I've been looking for and the price is right, I'll buy it, but I don't actively search for much these days. I guess if I had to pick an aspect of record collecting out that I didn't care for, it would be people snatching up multiple copies of rare releases, just to flip on eBay.
It's official, the first pressing of all clear and blue vinyl is now sold out through Revelation. The green vinyl, which is the second pressing, is up on @revhq and for sale now. Thanks again to everyone that has picked up the record to date. If you haven't picked up the record and missed the first pressing, there should be plenty of these. Oh and this green is just in time for St. Patrick's day, not that it was intentional, but a nice coincidence anyhow.
A post shared by Tim McMahon (@doublecrossxx) on Mar 17, 2017 at 11:31am PDT
Which record(s) are still on your want list that you've had a tough time tracking down through the years?
There are a few records that I still need, a Warzone Lower East Side Crew 7" test and a Gorilla Biscuits 7" test, but those two are probably my biggest wants and you just don't see them around.
Revelation : 11
A post shared by Tim McMahon (@doublecrossxx) on Aug 17, 2016 at 10:25pm PDT
Follow Tim on Instagram and make sure you pick up Search's debut 7" directly from Revelation Records.
Tagged: face the enemy, hands tied, hardcore, mouthpiece, record collector, triple threat
Owner of No Echo, Carlos Ramirez has played in the bands Black Army Jacket, Lakota, Hope Collapse, and Deny the Cross. In addition to No Echo, he hosts a weekly show on GimmeRadio.com called Street Ready. Born and raised in Queens, N.Y., Ramirez resides in Los Angeles with his wife and two kids, and is the co-owner of Fascination Street Films, a television production company.
Environmental Contributions to the Midwest Hardcore Punk Sound
Immortal, Northern Chaos Gods (Nuclear Blast, 2018)
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All of the articles that we post, do not matter, if you don't go out and vote.
Please feel free to browse through our content and make your decision on who to vote for. We obviously would prefer you to vote for our candidates, but what really matters is that your voice is heard.
Did you know that the HRC Candidates signed the League of Women Voters (Rochester Metropolitan Area) 2017 Fair Election Campaign Practices Pledge?
All three of the Candidates signed the pledge. See for yourself here.
This pledge is part of the Fair Election Practices Campaign, that was established in the 1970s to promote issue-oriented and civil campaigning among candidates for public office. All candidates have been requested to sign a pledge to that effect. The FEPC Committee was established to hear complaints from those who feel their opponent has violated the pledge. The League of Women Voters/Rochester Metro Area (LWV/RMA) and The Interfaith Alliance of Rochester (TIAR) select the FEPC Committee members. Two members who have been politically involved as Republicans and two as Democrats are selected. In the search for the four members of the committee, a major effort is made to select those individuals who are known for their fairness and sound judgment, and who can be relied upon to give the facts of any case their due consideration and reach conclusions based only on the evidence and not their partisan leanings.
More information about the FEPC is available here.
For those who are interested, the Fact Sheet was paid for by the Henrietta Republican Committee.
Where there is awareness, there is cooperation. Where there is cooperation, there is change. We need to make sure that our voices, the voices of 21st century pro-life women, are recognized.


Released in 1981, Nightclubbing is the fifth studio album by the model, singer and actress Grace Jones. Born in Jamaica, Jones moved to New York at the age of 13 and a few years later began a career in modelling, where her striking looks soon lead her to stints in Paris working for the likes of Yves Saint-Laurent alongside with some legendary photographers, such as Jean Paul Goude and Helmut Newton.
By 1977, Jones had become involved with the disco scene that was emerging around clubs like New York's famous Studio 54, bagging herself a record deal on Chris Blackwell's Island imprint and releasing a trio of disco albums – Portfolio, Fame and Muse – in the three years that followed. By the turn of the decade, however, a backlash against disco was well underway and its popularity was on the wane, and in 1980 Jones released Warm Leatherette, a covers album that represented the beginnings of a change in direction for the singer, mixing reggae, new wave, funk and R&B.
By the following year, Jones had teamed up with production team Compass Point Allstars, based at Blackwell's studio in Nassau, Bahamas, where work began on Nightclubbing. Comprising a mix of cover versions by a range of artists from Bill Withers to Iggy Pop, plus some of her original compositions, Nightclubbing was a more mature offering than any of her previous records, continuing to blend the reggae, funk and R&B vibes on Warm Leatherette with electro and disco influences.
Despite the radio ban in several countries, the song's popularity grew on the club scene and became one of her biggest hits when it was re-released in 1985, helped by a boost in popularity following her appearance in that year's James Bond film A View to a Kill, playing the part of Mayday alongside Roger Moore and Christopher Walken.
For a long time Grace Jones was somewhat overlooked as a recording artist, better known to most for her modelling and acting careers, but in recent years she has begun to receive the recognition she deserves. Along with the Trevor Horn-produced Slave To The Rhythm, Nightclubbing is one of the decades most influential albums from a female artist and although it barely grazed the UK Top 40 on its initial release, it was well received by critics, even being named as the NME's Album of the Year in 1981, and its popularity as a cult classic has grown over the decades that have followed.
Pre-dating the likes of Madonna by several years, Nightclubbing's influence can be traced to a host of artists like Lady Gaga and M.I.A., not just in terms of its musical qualities but also in terms of Jones' whole style and appearance. The iconic cover features a typically androgynous Jones dressed in a shoulder-padded Armani jacket and she became a true icon for female artists looking to express their individuality.
With so many styles on offer there really is a bit of something for everyone here, but if you're a particular fan of disco, funk, reggae and electro, or even the new wave scene, you'll enjoy Nightclubbing more than most.


Looking back, we've all gone through many makeup fazes, from testing out our moms lipstick, to finally mastering that perfect smokey eye. For most of us , it was a long, expensive and sometimes cringe-worthy journey to get where we are today. Now, if we aren't sure how to get the newest makeup looks of our favorite celebs, we can simply scroll through our favorite YouTubers tutorials to find exactly what we're looking for.
Jenna Marbles decided to take a hilarious trip back in time and revisit her journey through some of her middle school, high school and college makeup phases, and takes us along with her. This video will make you want to pull out your old yearbooks, and reminise over some cotton candy pink lipstick, blue eye shadow and banana clip.
This video may not be the most informative tutorial, but it is the funniest.


If a user has rox-1234ABCD.somehost.com, and gets the vhost oper.mynet.com, he will have umodes +xt. If he unsets the +t leaving him with just +x, his host should return to rox-1234ABCD.somehost.com.
I think this would be better than having to -x and +x, it is cleaner and more simplified with just having to -t.
I second this proposal. The current HS OFF method is a royal pain.
I think this might actually be possible to implement now, given that services coders now can know the cloakhost.
What I'm not sure on however is if this should be dependent on PROTOCTL CLK.
that's rough pseudo code tho.
Also, can we count on getting UMODE updates for umodes +x & +t now, or do we have to hack it ourselves for our umode tracking?
If we don't receive it, can we safely assume that for any CHGHOST/SETHOST we receive, that we can set +xt ?
and promptly think to himself.. WTF!? and disconnect/connect. Sure, you can argue that you could ban it, but, is banning really the answer to everything?
Thank you for that education on CLIENT PROTOCOL. I am speaking in terms of SERVER PROTOCOL.
Additionally, I am speaking of when a CHGHOST occurs, we don't receive a UMODE2 update. I even checked, just to be sure. with 3.2.5, with CLK enabled.
Back on topic about MODE -t, I really do think it'd be nice to have. It's annoying to have to -x, then +x, and have that <1sec of exposed realhost/realip. Even more annoying with set::allow-userhost-change = force-rejoin. Then EVERYONE gets your realhost/realip without even having to whois you within the one second for it.
Well, we wouldn't necessarily require that users be able to -t themselves.
We could only allow HS OFF to do it. It's not as if users can manipulate it directly now, any more than they can manipulate +r.
How difficult/trivial is this? Is this as obvious as it sounds? Insert some changes to the SVSMODE handler in the ircd?
This is pseudocode, in a C style. Please don't hurt me.
bump. still an issue? if so, the suggestion of this bug report seems like a logical change.
While working on something else I noticed this is still the case. I'll change it so -t does what -tx & +x does right now. As discussed in this report.


Sawyer, Tim, Sandy and Rebecca Naasz, owners of TSN Simmentals near Platte, South Dakota.
TSN Simmentals, owned by Tim and Sandy Naasz, their daughters, Sawyer and Rebecca, and Shad, hosted a nice crowd for their annual bull sale at Platte Livestock. Most of the crowd were repeat buyers and neighbors who were also buyers.
I thought this was a really strong set of bulls. Very gentle, containing a lot of volume, they were very good on their feet and legs. Packed full of muscle, they looked like they would sire cattle with extra grade and yield.
The bulls were not overfed, and were presented in modest condition.
I've been told several times that Tim and Sandy are very good to deal with, and the buyers seemed very willing to bid on the bulls that they picked out.
Top selling bull of the day was Lot 27, selling for $8,000 to Leachman Cattle from Colorado. He was TSN Prophet C366, a son of GAR Prophet, and out of a Top Grade daughter. He was half Simmental and half Angus. With a 75 pound birth weight, he weaned at 624 pounds to ratio 103. His EPDs were CE 16, BW -2.0, WW 74.5, YW 124.9, MILK 32.2, MARB 1.47, REA 0.73, and CW 41.5. He had an API of 199.2 and TI of 109.1.
Lot 31 sold for $6,750 to Wally Zylstra from Geddes, South Dakota. This son of Prophet was out of a Triple C Singletary daughter. He hit the ground at 87 pounds, weaned at 643 pounds, and posted a present day weight of 1,208 pounds. He was black and polled, being half Simmental and half Angus. His EPDs were CE 14.3, BW -0.2, WW 79.7, YW 128.8, MILK 32.5, MWW 72.3, CW 46.1, MARB 1.19, and REA 0.76. He had an API of 176.9 and a TI of 102.5.
Doug Roggow from Gregory, South Dakota, bought Lot 20 at $6700. This was another son of Prophet, and he was out of a daughter of TNT Ever Ready. His EPDs were CED 16.9, BW -1.0, WW 80.3, YW 131.9, MILK 26.9, MARB 0.98, and REA 0.95. Born at 77 pounds, he achieved a weaning ratio of 103. His API was 174.9, and he had a 14.3 square inch ribeye.
Lot 28 sold for $5500 to Dean Schrag from Parker, South Dakota. He was by ASR Augustus and out of a daughter of Mytty In Focus. He was ¾ Simmental and ¼ Angus. His EPDs included BW -1.9, WW 59, YW 98.7, MILK 20, and REA 0.81.
Tom Freidel from Ethan, South Dakota, chose Lot 30 at $5,250. This son of CCR Frontier was a half blood bull, with a 76 pounds birth weight. This good looking bull ranked first of his contemporaries for REA.
Lot 19 brought $5,250 from Jim Munsen from White Lake, South Dakota. This black polled bull was a son of ASR Augustus and out of a Triple C Singletary daughter.


Cook the bulgur according to the instructions on the packet.
Meanwhile, cut the peppers in cubes, the cherry tomatoes in halves and the radishes and spring onions in slices. Chop the parsley and put all of the vegetables in a bowl. Grate the ginger into the bowl.
Leave the bulgur to cool or rinse with cold water. Then add to the bowl of vegetables. Season with salt and pepper and give all the ingredients a good stir. Refrigerate.
Grill the pork schnitzels for approx. 5 mins. on each side. Place the naan bread on the grill and heat for 3-4 mins. Break the naan into small pieces.
Serve the pork schnitzels with bulgur salad and naan.
This recipe can also be prepared indoors with the pork schnitzels cooked in a frying pan and the naan heated in a toaster/under the grill.


text:
Shop Barton County
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MFG Day #creatorswanted
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#GBChamber100
They called themselves "Boosters for a Greater Great Bend."
BY DALE HOGG
dhogg@gbtribune.com
In May of 1921, a band of dedicated local business owners and civic leaders, men and women, came together to form the Great Bend Chamber of Commerce. A month later, a roster of the membership went out with such names as Charles Lischesky, Earl Moses and Will Townsley (owner of Tribune Publishing).
This year marks the 100th anniversary of the chamber's service to the businesses community. Members are using this year as lead-in to the centennial observance, a milestone that will take center stage at next year's annual banquet.
In the meantime, the chamber held an anniversary celebration on Thursday during the annual Art and Wine Walk in downtown Great Bend.
A long legacy
"A chamber's legacy will hold lasting value and impact when the chamber acts as the voice for positive growth and change, as well as for the overall economic prosperity of the communities we serve," current GBCC President Megan Barfield said. "We promote and serve. We connect. We create opportunity. We convene, champion and act as a catalyst."
For Great Bend, joining the Chamber has been a long-standing tradition for any new business, she said. "'It's just what you do.' I've heard this from many over the years."
But, that isn't necessarily the case in 2021, she said. Still, in comparison to most chambers, the GBCC does have a large membership count in relation to the city's population, with 550 members as of May, 2021.
"The reputation of the Great Bend Chamber has been strong," Barfield said. "But, like many chambers across the country, as new generations begin opening their businesses or taking over established businesses, the mindset has shifted to more of an independent approach."
A changing landscape
Nonetheless, "while this is true for some in Great Bend, overall the mindset is collaboration, and connecting is key," she said, noting the chamber remains a very relevant force.
"This is how our Chamber continues to evolve and grow – by creating opportunities for businesses to come together, by being present in the community, and by championing the businesses and their successes," she said. "The Great Bend Chamber of Commerce can and wants to be the best friend to the business community. With friendly faces and a commitment to their success, we build bridges connecting the community to their business eco-center."
The Barton County Historical Society has a treasure trove of information on the chamber over the years. It includes such memorabilia as the original 200-plus name membership list, photographs, and visitor guides and city maps.
A trip through the bulging folder is a journey through the changing business landscape. From buggies and dirt streets to automobiles and the bustling paved streets of today, progress is demonstrated.
Businesses came and businesses went. But, while the pictures show how the retail and industrial scene has evolved over the century, the chamber's mission has remained the same.
The term "chamber of commerce" can be dated clear back to 1599 in Marseille, France. "It's amazing that over four centuries ago, it was recognized that when a collective group comes together, moving beyond individual interests, forward momentum and action will result," Barfield said. That was true in 1921 and is true today.
"The establishment of the Great Bend Chamber of Commerce in 1921 provided the merchants, traders, craftsmen and industrialists a public forum to discuss issues facing them as a business community," she said. This representation of common interests became, and remains, the foundation of chambers of commerce worldwide.
"To that end, our mission has stayed relatively the same in our efforts to maintain our fingers on the pulse of our members and the issues they face, and promoting the developments."
The difference is in how that is done, she said. "The mission stands as is, yet how we approach it evolves with the businesses and community."
It's mission is simple: "The Great Bend Chamber of Commerce will promote and improve the business climate in the city of Great Bend through its services and partnerships that encourage growth and assist existing and new businesses in reaching their business goals.
What about the future?
"I do believe the chamber is here to stay," Barfield said. "We will continue to bring together businesses over common interests and working to engage not just the business owner, but their staff as well. Doing so is a must as it allows a higher chance of employee retention within the business and community."
The Chamber world is a spider web of resources and connections, a hub, if you will, she said. "There's fun. There's hard work. There's hours of conversations learning and listening, all in an effort to continue forward momentum alongside the business community."
It will be vital to maintain relationships with each other inside Great Bend (Barton County, the city, Great Bend Economic Development Inc. and the Convention and Visitors Bureau) and outside Great Bend (state and federal delegations). "Doing so enables us to be a voice for Great Bend and Barton County," she said.
This works both ways, as new ideas are brought in as well. We have to be willing to think and work "out of our 'silos' to mobilize businesses, employees, volunteers and the community-at-large. Forward momentum takes a village. It is not a one-person or one-organization job and the Chamber is in a position to serve as a catalyst and connector."
Speaking for rural chambers, they will most likely shift to serving not only their memberships, but serving those needing assistance with regard to all facets of commerce, mobilizing more individuals and bringing diversified communities togehter.
These areas include agriculture, manufacturing, retail, quality of life, training, workforce, employee engagement, recruitment and retention of employees, entrepreneurship, etc.
This is what Barfield meant by the chamber being a hub.
For information, visit greatbend.org or call 620-792-2401.
COMMUNITY MARKETING
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- Chamber Chat & LIVE Coffees
© 2020 by Great Bend Chamber of Commerce. Site created by Marketing Maven Consulting.


At Sussex Conservatories we provide impartial advice and access to a number of recommended conservatory, veranda, orangery and extension suppliers in the Brighton and Hove area of East Sussex and in the West Sussex area.
is for a conservatory, veranda, orangery, garden room, extension or any other extension type a plan will be developed.
planning / building regulation departments and on listed buildings and in National Park situations.
Conservatories in Brighton … Whatever your conservatory requirements in Brighton we can help. To ensure your can use your conservatory during hot weather we suggest treated glass to help reduce the glare and heat from the sun. The conservatory design does not have to be restricted to follow a set design like Victorian, Georgian etc. We can help you develop and conservatory solution to suit your exact requirements. Then we can help you with interior design and landscaping etc.
Verandas in Brighton - A great alternative to the conservatory is the veranda that offers a protective glass wall and roofed pocket on your terrace or other outside area where you can be protected from hot or cold weather. Space can be controlled by using large inline sliders or bi-folding doors. When equipped with additional options, such as heating and light you get year-round- function. Space can be controlled by using large inline sliders or bi-folding doors. The Veranda looks stunning, coming with a choice of a number of colours to suit your requirements be they green, grey, white or others.
Beautiful on the outside as well as inside an orangery comprises of an elegant structure which suits both period and modern homes, and an insulated, cosy interior. Use it as space to entertain, to relax or simply to enjoy all year round. Orangeries are available in the a variety of styles and internal finishes and utilising various technologies such as solar control glass, security products etc. We can help you choose the best orangery design for your particular requirements.
Be it a place to work or a place to relax we can ensure you get a garden room or extension to suit your requirements. Construction could be of brick and tile construction or similar. Obviously a glass extension would comprise a lot of glass and very little structure. Choose between bi-folding doors or French windows and create the ideal space for entertaining or day-to-day living.


The circuit will apply for an International FIA Grade "III" license that will allow it to hold F3, A1GP and WTCC races.
Do you know if anyone is doing Penbay in Taiwan??
When is it going to be ready??
Good to see you do Quangdong Mario - in Chinese forums they were already asking if this track had been made yet - I had it in the planning myself, but am sure you'll be able to do a much better job!


text:
Jamaican Man May Have Started Fire With Killed Woman And 2-Y-O Daughter
The deaths of two Jamaicans and their two-year-old daughter in a house fire in Columbus, Ohio, USA earlier this week, are now being treated by investigators as a double murder and suicide.
The three were found dead after an explosion and subsequent fire at their house in Southeast Side in Columbus on Wednesday.
The deceased are 33-year-old registered nurse, Nerissa Distin; 42-year-old Gary Morris; and their child, Serena Morris.
According to a release from the Columbus police homicide detectives, the deaths of Distin and young Serena "are now being considered the subjects of homicide investigations".
The release added that "Preliminary investigation efforts have determined that Gary Morris' actions resulted in his own death."
US media reports said Fire Battalion Chief Steve Martin revealed that "at least one of the three died from a cause other than the fire". However, he would not state the name of that victim or share any details.
It is reported that neighbours heard a loud explosion coming from the house sometime after 7pm. The house was then seen on fire and the fire department was alerted.
During cooling down operations, the bodies of Distin and Morris were found, but it took firefighters more than 90 minutes to find the child's body.
The couple's two other children were not injured in the blaze, as they were visiting other neighbours at the time, police indicated.
Neighbours said the family had Jamaican roots.
Distin's Facebook page indicated that she was from Old Hope in Westmoreland, but had resided in Columbus.
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text:
Fannia ceringogaster är en tvåvingeart som beskrevs av Chillcott 1961. Fannia ceringogaster ingår i släktet Fannia och familjen takdansflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Takdansflugor
ceringogaster

redpajama_set_name: RedPajamaWikipedia


text:
Threatening man told woman her dad was on his list of people he was going to sort-out
A threatening man told a woman in a Facebook message that her father was on his list of people he was going to sort-out but he would be spared if she gave him £5,000.
Chesterfield magistrates' court heard on June 25 how Jason Allen Carman, 33, of Church Walk, at Wirksworth, Matlock, had been involved in a confrontation with the woman's father while he had been walking on private land where the woman's father had been working for the Forestry Commission.
Chesterfield magistrates' court.
Prosecuting solicitor Robert Carr told a previous hearing on June 19: "Mr Carman was told it was private land and should not be there and he did not take that well."
Carman went on to write comments on his Facebook account, according to Mr Carr, about wanting to sort people out and because this woman knew him she messaged him to see if he was okay.
Mr Carr said: "He said he wanted to kill everyone and he had had enough and he said he was going all out like he used to and she thought he was going to hurt people and he said her father is on the list and he is in his range."
Carman also said he wanted £5,000 to stop, according to Mr Carr, but the woman said she could not get £5,000 and she was concerned.
Mr Carr added that the woman tried to explain to Carman he had been on private land and if his dog had been there the pet could have been shot to which Carman replied: "We will see who gets shot."
Carman admitted to police in an interview he had sent the messages and said it had been fuelled by alcohol and it was mainly about a current disagreement with another couple.
The defendant added that he did not think the woman would take the threats seriously.
Carman, who has previous convictions, pleaded guilty to sending a communication by Facebook which conveyed a threat to cause distress or anxiety on June 4.
Here's who has appeared before Chesterfield magistrates in our latest round-up from the courts
Defence solicitor John Last told the previous hearing: "He did send threatening messages which he deeply regrets and the transcript of the interview said he did not expect her to take the threats seriously but he understood they could have been perceived differently."
Mr Last added that Carman had been seriously ill and had nearly died and it had been his dog that had given him something to live for and this pet helped get him through a period of homelessness.
Carman also claimed that the woman's father had tried to run over his dog in a tractor and had made a hand gesture towards him, according to Mr Last.
Mr Last told magistrates: "The defendant realises he's put himself in a perilous position and he hopes you will look at a report because he has no desire to go back to prison."
Magistrates, who considered a probation report, sentenced Carman on June 25 to a community order which will last until March 24. 2020, with a Rehabilitation Activity Requirement.
He was also fined £40 and must pay £300 compensation and an £85 victim surcharge.


Keep this Book of the Law always on your lips; meditate on it day and night, so that you may be careful to do everything written in it. Then you will be prosperous and successful. Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go.
Love the Lord your God with all your heart and with all your soul and with all your strength. These commandments that I give you today are to be on your hearts.
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