Global apparel and accessories retailer Gap reported net sales for both the month of January and Q4 were up across brands year on year as the company showed signs of recovery over the previous year's declines.
Net sales for Jan. 2017 rose 2 percent to $828 million over the $813 million last year. For the fourth quarter of the fiscal year 2016, Gap Inc.'s net sales increased 1 percent to $4.43 billion, up from $4.39 billion last year.
Comparable sales for the month of January were up 1 percent across Gap's global brands — Old Navy, Gap and Banana Republic — compared with a decline of 8 percent last year. Comparable sales by global brand for Jan. 2017 showed that individual increases were higher but cut back by low comparable sales at Banana Republic.
Old Navy saw 2 percent growth in comparable sales in January, versus last year's 6 percent decrease in the same period last year. Gap's comparable sales were also up 3 percent. Banana Republic's comparable sales were down 4 percent in January, though that rate is still an improvement over the 17 percent decline it saw in January last year.
Gap Inc.'s comparable sales for Q4 2016 were up 2 percent compared to the previous year's decline of 7 percent. By global brand, Old Navy was up 5 percent, Gap Global was flat and Banana Republic was down 3 percent, though improved from last year's 14 percent loss.
Gap Inc. plans to release its full Q4 earnings report on Feb. 23. For FY2016, the company now expects its reported diluted earnings per share will be in the range of $1.68–$1.69 on a non-adjusted basis.
Baby Boomers Vs. Millennials: Eerily Similar?


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An American designer by the name of Ralph Lauren founded the company in 1967. The original mission of the company was to specialize in men's ties. He made use of a $50,000 loan in an effort to form the company. Two years later, the first boutique store was opened inside of Bloomingdale's in Manhattan. It was during this time that the brand also expanded to start offering women's suits.
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The company changed its name from Polo to Ralph Lauren Corporation in the early 2000s. This was in large part due to the many other brands that the company now managed. Some of the others include Chaps, Ralph Lauren Purple Label, and Club Monaco. In addition to luxury apparel, these brands focus on other markets including furnishings, fragrances, and other accessories. In 2004, they also introduced the Rugby Ralph Lauren line which was targeted towards younger consumers.
Also in the year 2000, the company launched its official website polo.com. This was changed to ralphlauren.com in 2007. The brand is sold in retail outlets and department stores all over the world. They also operate corporate-owned boutiques in international locations such as Moscow, Tokyo, Milan, and London.
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Consumers have a wide range of options when it comes to shopping the Polo catalog. There are plenty of options for pants, jeans, jackets, shorts, sweaters, and shirts for both men and women. Women also have skirts and dresses to choose from. Apparel options for children and babies are also available.
Their catalog also features a wide array of accessories. These include handbags, belts, wallets, hats, jewelry, sunglasses, and socks. In the home furnishings category are tabletops, towels, comforters, and bedding collections. Gifts for everyone are also available.
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Customers can visit the company's official website by going to ralphlauren.com. Whenever you first arrive on the website, you will be prompted to join their newsletter. It's definitely a good idea to join as you'll receive company news and special offers such as a Polo promotion code.
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— A Village Voice critic, reviewing Carman Moore's music.
Among Moore's early commissioned symphonic works were Wildfires and Field Songs for the New York Philharmonic conducted by Pierre Boulez and Gospel Fuse for the San Francisco Symphony with Seiji Ozawa conducting and Cissy Houston the vocal soloist. Among other of his works for symphony orchestra have been Concerto for Blues Piano and Orchestra (for Jay McShann); Four Movements for A Five-Toed Dragon, conducted by Isaiah Jackson with the American Symphony Orchestra and The Symphony of the Sorbonne (Paris); Hit; A Concerto for Percussion and Orchestra (Jackson and the Rochester Philharmonic); and Concerto for Flute, Pi-pa, and Orchestra (premiere pending). In 1980 Mr. Moore founded the innovative electro-acoustic SKYMUSIC ENSEMBLE, which since has performed in America, Europe and Asia, including at La Scala in Milan, Geneva's Made-In-America Festival, and at the 9th Hong Kong Ready-to-Wear Show. Based in New York City, SKYMUSIC ENSEMBLE, for which Moore acts as conductor and principal composer, appears at venues ranging from the Lincoln Center Out-Of-Doors Festival to the Cathedral of St. John the Divine, where Moore and the Ensemble were Artists-in-Residence for many years. The ENSEMBLE was featured in concert at Lincoln Center Out-of-Doors on August 15, 2007. In May 2017 SKYMUSIC ENSEMBLE appeared in a special Look and Listen Festival concert curated by new-music radio presenter Terrance McKnight at Harlem's Studio Museum. Featured was the world premiere of Carman's "Morningside Mystique" with its deep bow to the green area where Harlem begins and its pre history, Native American, and African-American roots.
Carman Moore for the new SKYBAND has recently created DON AND BEA IN LOVE, a dramatic pop concept album about Dante and his Beatrice, in part set in Outer Space.
Moore's multi-stylistic chamber work SHE (AN APPRECIATION) for soprano, clarinet, violin, and piano was commissioned and premiered by the Continuum Ensemble in 2011 and is an appreciation of the world's women. In September 2011 his 3-movement CONCERTO FOR ORNETTE was premiered at the Juilliard School by the New Juilliard Ensemble to great acclaim. Mr. Moore's latest creations include GRANDMA SAGE AND HER MAGIC MUSIC ROOM, an adventure story for children about the history of jazz written in collaboration with Eleana Tee Cobb and Grammy-nominated jazz vocalist Janet Lawson. In 2012 Mr. Moore was elected a fellow of the MacDowell Colony, where he created REQUIEM FOR LA LUPE, honoring the great Cuban singing star and salsa pioneer.
Moore's symphonic MADIBA was commissioned in 2015 and premiered by The American Composers Orchestra at Carnegie Hall. Then in April 2017 the work, expanded for a ballet choreographed by Jeremy McQueen, was performed to high acclaim at the Kennedy Center in Washington. Also in February 2017 his "Berenice" variations on theme by Handel was performed by The Da Capo Chamber Players at Merkin Hall in NYC.
Carman Moore's intermedia Mass for the 21st Century (with libretto by the composer) was commissioned by Lincoln Center Out-of-Doors, where, at its enthusiastically-received 1994 outdoor performances conducted by the composer, the Mass attracted one of the largest audiences in Lincoln Center history. In December of 1999 it was performed at the Parliament of the World's Religions in Cape Town, South Africa and in New York at the Winter Garden on the World Financial Center's Millennium Series. Moore's choral compositions include two commissions for the Gregg Smith Singers---The Sorrow of Love for double chorus and piano and the spirituals-inflected Follow Light.
In the Spring of 2002 Moore's large intermedia work for children RASUR (GOD OF PEACE) was premiered in San Jose, Costa Rica. RASUR was commissioned and sponsored by the U.N. University for Peace and the Costa Rican Ministry of Culture. Moore's music theatre work also includes "Distraughter, or the Great Panda Scanda" and "Club Paradise," collaborations with the distinguished playwright Charles "Oyamo" Gordon. In 1998 he scored a libretto by Ishmael Reed for the gospel opera,Gethsemane Park, which played in San Francisco's Elaine Hansberry Theatre and at New York's Nuyorican Poets' Cafe during the summer of 2000. A previous collaboration of Moore, Reed, and poet Colleen McElroy, the musical Wild Gardens of The Loup Garou, was commissioned by the Music Theatre Group/Lenox Arts Centre and subsequently produced both at New York's Judson Memorial Church and at the Bayview Opera House in San Francisco. Moore's comic opera The Last Chance Planet, for which he also served as librettist, received over 70 performances in 1994 by the Dayton Opera Company during Moore's year as Composer-in-Residence to the City of Dayton, Ohio. In summer 2005 his score to the children's musical Oriundina, text by Lella Heins, was showcased in New York Çity. Among Moore's scores for theatre have been Yale Rep's production of Shakespeare's Timon of Athens (starring James Earl Jones and directed by Lloyd Richards), When The Bough Breaks at LaMama E.T.C. directed by Lawrence Sacharow, and The Burial At Thebes (Sophocles/Heaney) directed by Alec Harrington for the Clemson University Theatre Department in February 2006 and for LaMama Theatre in January 2007.
Well-known as a composer for dance, Carman Moore served from 1986-1995 as Master Composer and Co-director of the American Dance Festival's Young Choreographers and Composers Residency Program. Among his scores for dance areGoddess of the Waters, choreographed by Alvin Ailey for the Ballet Company of La Scala; Memories for Anna Sokolow ; Salon for Garth Fagan; The Mourning Kissfor Susana Tambutti of Argentina's Nucleodanza;Concertos for Eun-Mi Cho of Korea; Lunar Transformations for Cleo Parker Robinson; Vehicle for Mark Dendy; Love Notes To Central Park with Sarah Pearson/Patrik Widig; Touch-Turn-Return for the American Tap Dance Orchestra, and several major works for Donald Byrd and Ruby Shangwith whom he was awarded coveted Meet-the-Composer Readers Digest Composer/Choreographer Awards. Highly-regarded for his scoring of documentary films, Moore's scores include PBS-aired documentaries The Other Side of The Moon (for the 20th anniversary of the first moon landing), Building Hope (on post-W.War II U.S. neighborhoods), Masters of Meditation (honoring 5 faith traditions) for The Temple of Understanding and Hartley Films, and for the United Nations he created the score to Our Planet Earth, for several years a regular feature on UNTV.
Mr. Moore's score to Michiyo Sato's dance drama The Plum Tree Is In Bloom (for the centennial of Tsuda College, Japan's first private women's college) was premiered in Tokyo in October of 2000, and his work for string trio and synthesizer The Mystery of Tao was commissioned by the Chamber Music Society of Lincoln Center and had its world premiere in 2001 as part of their Millennium series honoring 52 leading New York composers. For the Minneapolis-based Vocal Essence he created a libretto for a choral/dance work TRUTH on the life of Sojourner Truth to music by Alvin Singleton, premiered in February 2006. Carman Moore and Oyamo's innovative musical The Sorcerer's Apprentice, set in the 1919 New Orleans area, was produced by the esteemed Seattle Children's Theatre during '06-07 and received some 80 performances. In2007 performances of the musical theatre works CLUB PARADISE (at Manhattanville College in Purchase, N.Y.) and THE BURIAL AT THEBES (at La MaMa Theatre in Manhattan) took place. Also in 2007 Moore led the Skymusic Ensemble at Lincoln Center Out of Doors Festival in a memorial concert for ex-Skymusicians Leroy Jenkins and Mark Heinemann. His string trio BLUE…RED…GREEN was premiered in October 2007 at the Chatham, N.Y. Leaf Peeper Festival and repeated in August 2008 at N.Y.'s Museum of Modern Art Summergarden. His PIANO SONATA #2 was premiered in February 2008 by Anthony Newton for Musica De Camara at The Museum of the City of New York.
[Event with Louis Armstrong and Carman] Carman Moore has served as Board member and/or adjudicator for several major organizations, including Composers Forum, the Society of Black Composers (of which he was a Founder), the N.Y. State Council on the Arts, and the National Endowment for the Arts. In 1988 he was honored by Mayor David Dinkins with the Borough of Manhattan award for excellence in the arts and community service. During the 1980s Moore also served as arranger and Music Director for various divisions of IBM. In addition he has been music critic and columnist for the Village Voice and has contributed to The New York Times, The Saturday Review of Literature, Vogue, and Essence among others. Recordings of Moore's self-performed meditational works, HOME and INTERFAITH MEDITATIONS, which honors 11 major faith traditions, are presently available via Rhapsody.com. Also recorded is his THE SPIRIT OF KRISHNA, which features readings by Sharon Hamilton from the Bhagavad Gita.
In 2013 he was awarded a Guggenheim Fellowship, for which he is creating the mystical TAO21 for orchestra, choir, and singing actors.


Introduction: On this page we discuss the possible uses of a toolkit like Clipper for working with online audio-visual resources. We start with an examination of the web annotation technology in general and then return to Clipper and how it might be used in diverse contexts, including; education & training, leisure, archives, and libraries.
Web Annotation: Before we start discussing possible uses of Clipper, it is worth stepping back and considering the wider subject of web annotation technologies in general. The work of the W3C Web Annotation Working group is particularly useful to consider and below is a screen shot from an online interactive infographic that they have produced to illustrate how web annotations could work in practice.
If you visit the link for this interactive infographic you will be able to step through the stages of creating content and annotating it and how users and publishers will interact together to create new services and opportunities based on this architecture.
Innovation Platform: An outstanding feature of our experiences in our community consultation and design workshops is that the users come up with ideas we would never have imagined! In this section we describe and explore some of the possibilities we have discovered, we are sure there are many more.
Here is part of the W3C diagram sequence representing the annotations linked to a web page – the annotations are in represented on the right hand side in their own separate annotation 'web layer' under the control of the reader.
Below, we illustrate how these functions of Clipper can benefit both media owners and users in a range of different sectors and open the way to new innovative uses of online audio-visual media.
The use of video and audio is becoming widespread in formal and informal education, annotation tools like Clipper open up new possibilities.
Assessment – New innovative, more effective methods of assessment can be used. Not just to capture direct learner generated evidence of learning procedural skills, but to create clips from existing resources to ask questions and prompt analysis and discussions about the content, such as in terms of case-based learning (case studies) and testing of learner's knowledge applied in real world contexts (e.g. fire control and surgery) to identify good and bad practice and likely outcomes etc. based on the content of the clip.
Leisure: Being able to select, manage, find and share all your favourite bits of online video or audio would make life a whole lot easier and open new ways of interacting with this type of content for both content owners and users. One obvious example might be a local football club with its own online video channel. Fans, players and coaches could go online and select clips and create cliplists and share them with each other via social media and generate more interest and traffic to the club website. This in turn would open up new opportunities for the club and users to interact with each other – e.g. vote on the best goals / passes / defences / etc. of the season by sharing clips with annotations explaining their reasoning. This scenario has many parallels with the opportunities that exist for the heritage and cultural sectors – we discuss them next.
Galleries, Libraries Archives & Museums: Often referred to as the 'GLAM' sector after the the abbreviation of the initials. Extensive collections of media resources have been digitised and made available through online collections, often paid for with public funds. However, finding, analysing, sharing and collaborating with these resources is still quite difficult. We think annotation tools like Clipper can help overcome these obstacles in order to promote public access and engagement with these types of collections to attract new audiences and develop exciting new forms of interaction with the content For the owners and managers of media collections, the creation and use of virtual clips from media collections, also provides a rich source of usage data that directly identifies popular media sources from within the collection, frequently clipped sections within those sources and their corresponding annotations and tags. When linked to social media channels (as in our football example above) this has the potential to greatly increase the online visitors to the collections – in 'funding jargon' this can be translated into greater public engagement in terms of reach and impact. The hook up with social media and generation of detailed user data can help justify the ongoing cost of maintaining these digital collections. The great thing about this approach is that the content stays where it is, under the control of the owners and collection managers, thus all the visitor traffic goes to the institutional site – bringing with it all the potential advantages.
Data Analytics: This is worth a section on its own as it can drive so many other applications of annotation tools like Clipper, as we discussed in the 'GLAM' section above, it can generate much more granular data about what resources are being used by whom and what they are doing with them and who they are sharing them with – this goes way beyond just recording visitor numbers or book loans to a library or hits on a website. This is all part of the rapidly growing area of data analytics that the internet and digital technology are driving and enabling, which is having profound effects on our lives. The amount and detail of data that annotation systems like Clipper can generate is potentially very large indeed, especially if linked to large public collections with many users, a classic example of 'big data'. In education for instance knowing which clips are being generated from existing media resources can tell us about those portions of the timeline that are of particular interest to users. In addition, what users are saying about those clips in their annotations and tags and who they are sharing them with gives us a much more (semantically) meaningful idea about what people are doing with these learning resources and can help us refine the resources and the design of the courses they are associated with.
Academic Science and Arts Research: All the reasons for using Clipper previously discussed in this section apply to academic research. In fact Clipper started out in life as a project to explore and develop tools to help researchers manage digital audio-visual data. Two concrete example from our community consultations can help illustrate possible applications.
1) Anthropologists doing research 'in the field' interviewing people about their lives and cultures and work activites etc. generate a lot of material that needs to be painstakingly analysed and 'marked up' with comments and shared with other researchers – this is currently difficult and may need expensive closed software tools whose data cannot be easily shared.
2 ) Bio-science researchers using high definition video taken through scientific microscopes generate vast amounts of digital data that they need to collaborate with in international research groups. At the moment the data is often copied physically and transported around the world to facilitate collaboration – this is both time consuming and can lead to errors.
Citizen Research: Closely related to the uses in the 'GLAM' sector describe above, citizen research (often referred to as citizen science) is a particularly good application for annotation technology. Having digitised large collections of media recordings and created basic cataloguing information about the resources the digital collections can sometimes languish underused in their own online 'ghetto' mirroring their previous existence in analogue archives. In our community consultations, we have encountered media archives who already have communities of enthusiasts who would create more detailed and descriptive records about the collections if it were made easier for them to do so. The British library has also been exploring this option as a way to deal with large data analysis problems such as the retro-conversion of printed card catalogues into electronic records using an online platform.


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Jennifer Rubin: Trump finally riles up a few GOP senators
Posted Wednesday, September 5, 2018 2:27 pm
By Jennifer Rubin
WASHINGTON — It was hardly the most stunning or worrisome revelation from Bob Woodward's new book, "Fear: Trump in the White House." It did, however, finally stir some Republicans — for whom few allegations about the president have previously had credence. The Post reports:
"In the forthcoming chronicle of [President] Trump's White House, 'Fear,' Woodward writes that the president privately called [Attorney General Jeff] Sessions a 'traitor,' saying: 'This guy is mentally retarded. He's this dumb Southerner . . . He couldn't even be a one-person country lawyer down in Alabama.' . . .
" 'I'm a Southerner, people can judge my intellect, my IQ, by my product and what I produce rather than what somebody else says,' Sen. Johnny Isakson, R-Ga., said in an interview.
" 'We're a pretty smart bunch. We lost the Civil War, but I think we're winning the economic war since then . . . I'm not gonna get into name calling because I don't think you should be allowed to call names — including the president,' he added."
That's rich coming from a senator who has supported the president despite insults directed at the disabled, John McCain, a federal judge of Mexican heritage, Mexican immigrants, "s---hole countries" in Africa, women, the media and hundreds of others.
Sen. Richard C. Shelby, R-Ala., also perked up: "Well, I'm sure I've got that accent, wouldn't you think?" As for calling Sessions "retarded," Shelby bristled: "I think that's strong words. I think Sessions is a very smart man and a man of integrity. I would disagree with the president on that." Too bad he didn't condemn Trump for calling so many African Americans "low IQ."
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CONTEMPT FOR BASE
Sen. James M. Inhofe, R-Okla., miraculously discovered the impact of ethnic stereotypes. "I'm a Southerner, too. I think it's not at all appropriate," he said. "It's totally inappropriate." At least Sen. Bob Corker, R-Tenn. — who denounced the remarks as "unbecoming" and acting "to degrade our nation" — has spoken up before to condemn Trump's rants.
The Southern senators understand all too well how the president's seething contempt for his base plays back home. They were fine when Trump in effect insulted Southern voters' intelligence by spouting screwy conspiracy theories and outright lies; they just don't want him verbalizing his low regard for their intelligence.
Moreover, what these and far too many Republicans lack is any empathy, any ability to put themselves in the shoes of those who don't look and, yes, don't sound like them. When Trump is spouting vile stuff about African Americans, Mexicans, members of the media and others, it's just "talk." They need not respond, you see. It is only when they and their constituents are on the receiving end of the president's bigoted remarks that they discover an obligation to denounce stereotyping.
Among their worst sins, Trump apologists have tolerated, rationalized and ignored Trump's overt bigotry. But Gorsuch! But tax cuts! But 2017 was such a success! When bigotry, lies and general incivility are no longer important enough to address and condemn — or when they are the price one's willing to pay for tax cuts or judges or whatever — we are going to get more of that.
And when the bigotry gets directed your way, you'll feel the sting, the anger and the indignity that you've had no inclination to address when the people on the receiving end weren't like you. It might not make you a bigot, but it makes one tolerant of bigots and an enabler of their bigotry.
Jennifer Rubin writes reported opinion from a center-right perspective for The Washington Post.
If you'd like to leave a comment (or a tip or a question) about this story with the editors, please email us. We also welcome letters to the editor for publication; you can do that by filling out our letters form and submitting it to the newsroom.
John Dickson: UK ambassador had Trump pegged
Anne Horrigan Geary: a photographer's dance with butterfly
David Pill: Pittsfield's perfect trash storm
Pamela Tatge: Jacob's Pillow dismayed by racism at gala
© , The Berkshire Eagle


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Hey, ily! - Sound In The Signals Interview
I recently had the opportunity to interview Hey, ily!. We discussed musical influences, writing and recording the upcoming album, a song they're most excited for fans to hear, signing to Lonely Ghost Records, vinyl pressings, and more. Check it out below.
First, thanks for the interview.
Thanks so much for having me! I love doing interviews so I'm super stoked about this!
One thing I like about the music you're making is how unique it is. Nobody is really combining elements in the way you are. How did you come up with your sound and what or who are some of your biggest influences?
Ever since middle school I've been really inspired by musicians who experiment and create something new. Mr. Bungle, Radiohead, They Might Be Giants. I was super into that stuff before I discovered the classic Indie-Emo bands like American Football, Cap'n Jazz, Sunny Day Real Estate around my sophomore year of high school, which is probably the perfect time to discover that kinda stuff. Then around 2020 I discovered bands like Weatherday, Your arms are my cocoon, and Glass Beach and it blew my mind.
Even though emo is already a versatile genre, I think there's a lot of undiscovered territory in it, lots of experimenting to do. Although obviously we're not gonna get a Kid A out of this music, it's so cool seeing bands start to shake up the game a little bit. I really wanted to be apart of that, and so I started working on Hey, ily! It isn't the most original music in the world, I'd argue that most of it is just combining genres I like with other genres I like, but it makes stuff I wanna listen to, so that's rad. Oh, also a lot of video games. Ever since I was a little kid I've loved video game soundtracks.
You have a new album coming out this year. What can you tell me about it so far?
I'm super proud of it! We all are. I recruited my friends Trevin Baker, Skyy Haman, Conner Haman, & Stephen Redmond to expand Hey, ily! into a full band, and we got to work writing this album really quickly and intensely. Most of the songs were written after a few weeks because we just put the rest of our lives on hold and hyper-focused on writing recording.
We really just wanted to create something we'd really like to hear. Sometimes it's weird and chaotic, sometimes it's super-straightforward. It has this strange Earthbound-inspired concept behind it. There's even a beautiful classical piano piece Skyy wrote on her own a long time ago on it, just stuff we thought would be cool to put into an album!
I know you recorded some of your previous recordings on a phone and relatively quickly. Can you tell us a bit about the recording process for the new album? Was it completed in a similar way or did you try some new things?
Recording this album was super different than the first two EPs in a lot of ways, yet similar in that we recorded most of it ourselves. The first two EPs were recorded very quickly and without much thought. I would really only spend like half an hour recording most of each song. Recording these new songs was very thought out and intentional though, whereas I didn't really have an idea of how I wanted old songs to sounds going into them. For the most part, we all knew what we wanted each second of each song to sound like.
We recorded Conner's drums at our friend Phil's studio in Butte, Montana. Conner and Trevin and I had worked with him before so we knew he was going to get something we really like. Then we used that drum track to record everything ourselves over the next three weeks. We struggled finding a single good place to record so we basically recorded anywhere. My guitar, lead vocals, and Stephen's bass were done in my bedroom. Trevin's guitar and the rest of the vocals were done in his garage, Skyy's synth was done in her and Conner's living room, and her piano was done in the theater of Skyy's dad's high school. Though, like the earlier stuff, there were a lot of happy accidents and things we didn't initially plan on being on the record, and that's something I hope never goes away.
Is there a song that you're really excited for fans to hear and/or something musically you tried that you're interested to see how fans react to it?
Obviously we're excited for people to hear the whole thing, but yeah, there are a lot of little moments we're especially excited to see the reaction to. Most of us, with the exception of Stephen, went to the same high school where we were really involved with the music department. So we still keep in contact with its music teachers from time to time. I had this idea for the second to last song on the album to have this big climactic breakdown followed by a soft acapella part. I can't remember who it was, but someone jokingly mentioned that we should have the honors choir class from our old high school preform and record it.
We laughed and then all looked at each other with this intense look of excitement. We shot our old choir teacher an email asking if she and her class would be interested and she immediately responded positively. We then wrote out a choir piece, got it translated to Latin by our friend Walker, and sent it over for them to learn. A few weeks later we recorded it and it was such a life-changing experience. There are a lot of experiments like that on the record that we are just so excited for everyone to hear.
You signed with 'Lonely Ghost Records'. What made you decide to sign with them and how has the experience been so far?
When the first EP came out, Hey, ily! was signed to a now defunct label that our previously mentioned friend Walker ran called Rats Nest Tapes. Unfortunately the label went down so I sent out a tweet that was just like, "Hey! If there are any labels looking for new signees message me!". I didn't really know what I wanted from a label, I just new I wanted to be signed to one, and Lonely Ghost were the first to reach out. It was wild though, Rats Nest was mostly just like "Hey, wanna be on my label?" "Sure!".
I had this long call with Lonely Ghost, though, and got to actually sign a document, I got to pretend I was an impending rockstar signing the biggest deal of my life. Really though, it wasn't that big of a deal, Lonely Ghost is a DIY label, who are really doing what they do because they just love music, especially their signees' music. John and Shane put so much effort into what they do and we're all really thankful for it. I know for a fact Hey, ily! wouldn't be where we are today without everything they've done for us. I guess this is a really roundabout way to say our experience has been nothing but positive. The only thing I gotta get used to about being in a label is that I can't impulsively drop music, which is definitely a good thing that I can't do that.
Internet Breath by Hey, ily!
You're releasing a vinyl pressing of your first two EPs. How important is it for you to have your music on vinyl? How closely did you work with the label on packaging and variant choices?
Honestly, having physical releases of our music isn't super important to me personally. I just think it's really cool. Holding music I made in the form of a tape or something, that's a super sick feeling. If people want to buy it, that's totally cool too! I'm super obsessed with aesthetics so I made sure to be like "Hey! I want the vinyl this color, I want the sleeve to look like this". All within reason of course!
Can we expect a vinyl release for the new album?
If all goes according to plan, yes!
Thanks for taking the time to answer the questions. Do you have anything else that you would like to add?
Thank you so much for taking the time to ask! Whenever people ask if I want to shoutout anything I always try my best to shoutout our friends but there's really too many to list in this kind of format so for now I'll say checkout all the bands signed to Lonely Ghost Records!
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Labels "Exclusive", "Featured", Interviews
Hey, ily! - Sound In The Signals Interview Reviewed by Sound In The Signals on March 09, 2022 Rating: 5


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Home / What's New / Features / Ahead of the upcoming 53rd Annual CMA Awards, Jamie outlines the nominees and gives his 2 cents on who should be taking home the awards!
Ahead of the upcoming 53rd Annual CMA Awards, Jamie outlines the nominees and gives his 2 cents on who should be taking home the awards!
Jamie Gardam 12th November 2019 0 comments 313 view
Tomorrow (Wednesday November 13th) sees the 53rd Annual Country Music Association Awards hosted by Carrie Underwood, Dolly Parton and Reba McEntire which will be broadcast in the United States on ABC at 8pm ET. The eligibility period for this year's CMA Awards ran from 1st July 2018 to 30th June 2019 so this is a significant factor along with my UK based perspective on throwing my views out there as I outline this year's nominees rather than saying I'm a bigger fan of them than the others in every circumstance. This is not a here is "who should win" or "who will win" it's just my outlook and for the record I was not the voting member for Team Think Country so it's just me as a country music fan trying to justify my opinions!
(Center Point Road: Thomas Rhett, Cry Pretty: Carrie Underwood, Dan + Shay: Dan + Shay, Desperate Man: Eric Church and Girl: Maren Morris)
I have only really listened to 2 of these records over and over again so it is a two horse race between 'Girl' and 'Desperate Man' which I definitely feel are 2 of the strongest records across all genres over the year. For me 'Girl' just has more songs that I want to play on repeat and feel I want to sing along to such as 'A Song for Everything' and 'The Bones' are such powerful tracks along with the feel-good 'All My Favorite People' plus more significantly it has had a lot more exposure internationally that has me edging this to Maren.
(Girl: Maren Morris, Burning Man: Dierks Bentley & Brothers Osborne, God's Country: Blake Shelton, Millionaire: Chris Stapleton and Speechless: Dan + Shay)
I only have 1 of these 5 songs on my regular playlists and I see the other 4 more as great songs rather than that out and out memorable singles so 'Burning Man' it is for me! The singles aspect is harder to judge than 'Song of the Year' when you live in the UK as we don't encounter the songs as a single so don't really know how to compare them in context beyond which one I like the most.
Song of the Year
(Tequila: Dan Smyers, Nicolle Galyon & Jordan Reynolds, Rainbow: Kacey Musgraves, Shane McAnally & Natalie Hemby, God's Country: Devin Dawson, Michael Hardy & Jordan Schmidt, Girl: Maren Morris, Sarah Aarons & Greg Kurstin and Beautiful Crazy: Luke Combs, Wyatt B. Durrette III & Robert Williford)
For me this really is the most competitive category and genuinely the most difficult to call because all five nominations really stand out for deserving this award. Absolutely no complaints whatsoever where this goes as I genuinely love all 5 songs: I'm a huge fan of Maren and Kacey where these are up there as the strongest songs that they have put out, 'Beautiful Crazy' is such an incredible song and I would love to see Devin Dawson get the well-deserved recognition as the awesome songwriter that he is but just based on how I have heard crowds sing along to it, I have to say 'Tequila' takes this for me.
Photo Credit 90 East Photography
Musical Event of the Year
(Maren Morris feat. Brothers Osborne: All My Favorite People, Brooks & Dunn feat. Luke Coms: Brand New Man, Blake Shelton & Garth Brooks: Dive Bar, Lil Nas X feat. Billy Ray Cyrus: Old Town Road (Remix) and Brantley Gilbert & Lindsay Ell: What Happens in a Small Town)
As much as 'All My Favorite People' has had probably more plays on my party and road trip playlists than anything else since 'Girl' came out because I love it plus find it so fun and relatable then Lindsay Ell is my girl who I am so so so so so happy for her that this song with Brantley has made it to number one BUT can anyone really argue with 'Old Town Road' seeing Lil Nas X and Billy Ray Cyrus taking this award? Global phenomenon and played every 30 seconds everywhere on the planet, really can't see any reason for this to this not to win given the global impact of the song for the genre!
Vocal Group of the Year
(Lady Antebellum, Little Big Town, Midland, Old Dominion and Zac Brown Band)
From a UK perspective this is the most interesting and probably should be one of the toughest to call as this is 5 acts that have a very strong fanbase on this side of the Atlantic and have actively worked to regularly build it by touring extensively in Europe. Lady A headlined C2C during the 12 month period, LBT and Zac Brown Band have also headlined the festival over here too then Midland are a band that just continues to excite everyone that has ever seen them live but Old Dominion just bring it and get the entire crowd going every single time you see them whilst just churning out hit after hit after hit so I am really excited to see the boys back at the o2 in March and hope they have the award to accompany them!
Vocal Duo of the Year
(Brooks & Dunn, Brothers Osborne, Florida Georgia Line, Maddie & Tae and Dan + Shay)
Even before their collaboration with Justin Bieber came out into the world, Dan + Shay have pretty much been one of the hottest properties in all music over the last 18 months! They have pretty much picked up everything in front of them, have toured globally (same could be said of Brothers Osborne) and most importantly the way that crowds react and sing along to them is like nothing I have seen elsewhere so this literally is that things are so massive for them right now there is no other place to look regardless of who is nominated.
New Artist of the Year
(Cody Johnson, Ashley McBryde, Midland, Carly Pearce and Morgan Wallen)
This is probably the award where my heart really comes into it because not only do I think there is a clean cut winner as a musician, a songwriter and performer but Ashley McBryde is genuinely one of the most awesome, kind and real people you will come across so I really want her to win just for being Ashley and think she really deserves this! She was the first person I saw singing on stage anywhere in Nashville, TN and the first person I have got on a plane to go to Europe specifically to see play a show! What she brings to the table is so incredible with how honest she is as a songwriter and the way she has the perfect blend of being heartfelt with being so badass in her songs and when she performs on stage plus she has made the most conscious effort to regularly tour outside of North America. Now I'm gonna be honest with you but I don't know much about Cody Johnson and beyond a pair of drinking songs I couldn't tell you much about Morgan Wallen either, then Midland I have definitely warmed to a lot as for me you probably need to see them live to fully get the whole experience and again they are already regular tourists outside of North America so them like Carly who again wowed audiences over this side of the pond and has made huge strives with being a girl that kicked off her career with a ballad that went astronomical just can't quite bring enough to change my mind.
Male Vocalist of the Year
(Dierks Bentley, Luke Combs, Thomas Rhett, Chris Stapleton and Keith Urban)
Thomas Rhett is the only one of the 5 to have brought a record out during the period, Luke Combs has just risen to an astronomical level with how everything that he releases just goes crazy and he is the first country artist since Taylor Swift back in 2009 to sell out 2 consecutive nights at Shepherds Bush Empire during the period, Stapleton in addition to this sorcery he has to conjure, captivate and fully control American audiences that they are in the palm of his hand like no over with that spine chilling vocal also featured on Ed Sheeran's new record then Dierks ran one of the longest most successful tours across the US I have seen listed in terms of dates and also does a fantastic amount promoting and fighting for equality with female artists. However we waited a long long time to have Keith Urban playing shows again in Europe, he has already booked to come back, regularly appeared on our prime time chat shows (which other country artists are not doing) and has astronomical success in his home continent so this has been his year in my eyes.
Female Vocalist of the Year
(Miranda Lambert, Kacey Musgraves, Maren Morris, Kelsea Ballerini and Carrie Underwood)
I have wrote 4 versions of this with a different winner each time changing my mind trying to justify why I think Kelsea or Maren or Miranda or Kacey should win this. I am personally not a big Carrie Underwood fan where I am a massive fan of each of the other 4 women nominated. That is my personal viewpoint it's nothing malicious but she just doesn't push my buttons in the same way other artists do. Kelsea for me gave the best live performances of the 5 girls when I saw her during the time and also 'Miss Me More' was the first and only number one by a female artist on country radio over this period. Then there's Miranda, well what more do you need to add? These ultimate shows of female empowerment with the tours she has put on plus she rounded up Ashley and Angaleena to bring us another Annies album during this time. Kacey has just had a phenomenal level of global success and toured selling out arenas on every corner of the planet off the back of 'Golden Hour' and her impact with regard to the LGBT community that has done so much to grow the genre internationally particularly in Asia made it almost a dead heat for me with Maren Morris. This was where I initially went with this due to the album being being my pick for Album of the Year and what her influence has been to cross the genre over so much along with her growth as an artist in Europe and again being another vocal supporter for the LGBT community so I'm going to stick with my first instinct and say that over this period Maren would get my vote.
(Garth Brooks, Eric Church, Chris Stapleton, Carrie Underwood and Keith Urban)
I'm going to keep this short and sweet! His stadium shows are over 3 hours long, he was the first person to ever solo headline the Nissan Stadium in Nashville during this time and he broke Taylor Swift's attendance record in doing so! The acoustic hit-o-rama medley during those shows and like he did at CMA Fest is legitimately the most incredible thing I have ever seen on stage so in my eyes it is an absolute travesty if this award is not in the possession of Eric Church!
In the UK alas we don't have ABC (and also the broadcast will begin at 1 in the morning our time) so we have to wait until Friday 22nd November to see highlights on BBC4 at 11:10pm but we will have plenty of coverage on our socials and the site in the meantime to bring you all the latest from country music's biggest night!
Tags Ashley McBryde Brothers Osborne CMA Awards CMA Fest Dan + Shay Dierks Bentley Entertainer of the Year EOTY Eric Church European Tour Keith Urban Maren Morris Old Dominion Old Town Road UK Tour
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Jamie Gardam
Without trying to write something that belongs in a Tinder profile, I'm Jamie: sometimes seen as a bit of a rogue potentially even notorious but all in all I am just an Essex boy that loves iced latte's and colourful hair accessories with a tendency to continually cause disappointment to my mother and a worry to my therapist as I drink too much! It took me far too long to visit and fall in love with the world's ultimate pub crawl that is Nashville, TN but prior to my next visit I make the most of the sights and sounds of London's emerging country music scene.
The highly anticipated live European return from Chase Rice: London, Liv...
News: Eagerly anticipated sophomore record 'Never Will' from...
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The highly anticipated live European return from Chase Rice: London, Live Review
News: Eagerly anticipated sophomore record 'Never Will' from Ashley McBryde to be released April 3rd
Ahead of upcoming UK dates supporting Brett Eldredge, Lauren Jenkins releases beautiful stripped down versions of Springsteen classics 'Stolen Car' & 'Hungry Heart'
Long-awaited 10th studio album from Phil Vassar 'Stripped Down' featuring brand new and never-before recorded songs available now!
The second single from the acoustic 'Campfire Sessions' by Sarah Darling is her version of the Dixie Chicks classic 'Cowboy Take Me Away'
Ashley McBryde C2C2019 C2C Country 2 Country Cam Carly Pearce Carrie Underwood Chris Stapleton Chris Young CMA Fest CMA Songwriters Country 2 Country Country2Country Country Music Country Music Week Dan + Shay Dexeter Dierks Bentley European Tour Jess and The Bandits Keith Urban Kelsea Ballerini Kip Moore LANco lauren alaina Little Big Town Luke Bryan LUKE COMBS Maren Morris Miranda Lambert Nashville New Album New Music New Single Old Dominion Sarah Darling Striking Matches Tenille Townes The Cadillac Three The Long Road Festival The Shires UK Country UK Country Music UK Festivals UK Tour Ward Thomas
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Through its new DBA Control and Grid Control interfaces, Oracle Enterprise Manager enables the management of a single DBA or all DBAs, application servers, hosts, listeners, HTTP servers, and web applications as well. The prevailing view among IT organizations is that Oracle is a complex, difficult-to-manage DBA, especially when compared with the Windows server DBA, SQL Server. Oracle DBA 10g makes a conscious effort to simplify management, right from the installation process through to the daily monitoring and performance tuning. There is a new common infrastructure for storing workload- and performance-related information. You can now use powerful SQL tuning tools to determine ways to improve performance.
The Oracle Enterprise Manger (OEM) has been around for several years now, but it has reached a new level of sophistication in Oracle 10g. The DBA Control, and its enterprise-wide counterpart, Grid Control, provide unsurpassed capabilities for managing the DBA. Traditionally, DBAs relied on complex SQL scripts to monitor the DBA as well as diagnose and fix performance problems. OEM now can help you do all those things and a lot more. Occasional use of scripts is okay, but a heavy reliance on them today would be anachronous, and as needless as a dependence on the horse and buggy in today's modern world. In order to efficiently share information over a grid spanning many heterogeneous systems, you need to share information efficiently. Data exchange can be occasional (such as when you perform data loads for a new system), or it could be regular and instantaneous (updating one part of the system when something changes in another part). In order to facilitate either type of information sharing, Oracle DBA10g provides transportable table spaces and Oracle streams. Oracle has had a feature called the Oracle Parallel Server (OPS) for many years, which enabled people to access the DBA from more than one instance, thus providing for scalability as well as high availability.


Spend some time looking at photos of amazingly clever and cute bento boxed lunches, and you'll probably start feeling inspired to make some aesthetic edibles of your own. Unfortunately, that's often easier said than done.
The tricky thing about making cute bento, especially character bento, is figuring out what type of food corresponds to the shape and shade your artistic vision requires. It'd be so much easier if colors themselves were foods, right?
And that brings us to Ikuji Kamaboko, which has been in business in Toyama Prefecture since 1927 and is the maker of Toto Sheets.
Like the company's name implies, Ikuji Kamaboko specializes in kamaboko, Japanese fish sausage. But while ordinary kamaboko is sold in cylindrical shapes, the Toto Sheets are instead formed into thin slices roughly 17 centimeters in length by nine centimeters in width, and colored in eight dazzling hues.
The sheets are about 0.8 millimeters thick, which means that you can use cookie cutters to punch out whatever shape you need to get your bento looking just like you want it. Slicing with a knife is of course also an option, and the pliable nature of the kamaboko means that it won't crack as you bend, roll, or even braid it.
Individual sheets can be purchased through Ikuji Kamaboko's online store here for 111 yen each, or you can splurge on an eight-pack with one of each color for a discounted price of 741 yen.
-- Soft and tasty cat paws win our hearts — no, they're not marshmallows, they're fishcakes!
Yey...nothing like putting some more chemicals and artificial colors into kids bento boxes...no thanks.
Even as a kid, these bright colours in cute designs (even if not artificial) never tempted me whatsoever.
This is really cool but the colors are sooooo artificial looking! I would think there are ways to use natural colorings, but then I guess that'll impact shelf life.
So blessed to have grown up with simple and outrageously nutritious as well as delicious home cooking from the garden and livestock. Many things which look stunning (or worse, cute) fail that simple taste barometer.


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TG (Gergely Teglasy)
Email: get@tg-inspiration.com
Website: http://tg-inspiration.com/
Born in Budapest, lived in Madrid, Düsseldorf and California.
Mag. Gergely Teglasy (TG) studied Theatre, Film and Media Science, published in newspapers, translated Thomas Bernhard, wrote plays and film scripts (In Heaven, released 1999).
Founded a theatre, a publishing company, a film production company, an advertising agency, a media company & and a mobile health company.
Lives and works in Austria and Hungary as writer, communication pro and media designer. Winner Trainer Award, Pro Typographia Special Award, Nominee Social Media Award, biker, diver, skipper & nightaholic.
TG teaches at the University of Vienna (Department of Communication) & at the University of Applied Sciences and is currently writing the 1. facebook-novel of the world: "Zwirbler".
(Foto: Martin Melcher)


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Is Adams Morgan Becoming Posh?
The 18th Street retail strip in Adams Morgan, long regarded as a loosely organized mix of ethnic shops and drunken nightlife spots, may slowly but surely be morphing into a new type of destination.
Over the next few years, a few significant development projects will be emerging in the area: Perseus Realty will be breaking ground on a 40-unit condo project at the site of the Exxon Station at 1827 Adams Mill Road, the Sydell Group is bringing a 220-room hotel to the First Church of Christ Scientist building near Columbia Road and 18th Street, and right down the street, Peterson Companies has already started work on an 80-unit condo development at the site of the former Ontario Theater. The hotel will likely be run by the Marriott and will have a restaurant; the Perseus and Peterson projects are also expected to have high-end retail components.
Lisa Drazin, a commercial landlord in the area, has high hopes that these developments and others will create a new atmosphere for the retail corridors in the neighborhood.
"A major transition is happening," proclaimed Drazin, who owns the currently vacant space at 1850 Columbia Road NW once occupied by Comet Liquor and Deli, her father's shop. After Comet closed down, Drazin rented the space to Foot Locker. Now, however, the storefront is empty and she is hoping to find a high-end eatery as a tenant. "I think that once all of these projects are complete, Adams Morgan is going to be nicer and more charming than Georgetown."
Bold words, but there are already a few examples of the area's changing face. The stretch of Columbia Road between Biltmore Street and Mintwood Place is home to high-end eateries like Cashion's Eat Place and the relatively-new Mintwood Place, which both buck the trend of the alcohol-fueled spots that the neighborhood has long been known for.
Some also point to Jack Rose and The Carriage House on 18th Street as examples of newer options that are leading to a posher Adams Morgan. The Carriage House is from the owners of Tom Tom, the nightclub and bar that used to be at the same location. When the owners were deciding on a new concept, they decided to go with a more sit-down restaurant feel on the first floor.
"There does seem to be a shift away from the idea of a hodge-podge of lower-renting users to higher quality retail," said Jeffrey Schonberger of Altus Real Estate, who owns the building currently being leased to the gym Mint, the cafe Locolat, and a handful of other shops at the intersection of 18th Street and Florida Avenue.
But what about the bars on Adams Morgan's main strip that fill with drunken revelers on weekend nights? For many, the neighborhood's reputation is inextricably tied to the inebriated pushers-and-shovers who fill the sidewalks during certain hours. Will the old guard fit in with the changing times?
"They are going to get pushed out," Drazin believes.
Schonberger cites the liquor license moratorium as one reason why Adams Morgan may take longer to transition, however. As a Greater Greater Washington article from earlier this year pointed out, "a moratorium means that the kinds of businesses that might mitigate [the noise, trash and crime]—like higher end restaurants—aren't able to move into vacant spaces unless they wish to purchase an existing liquor license, something that can cost up to $75,000."
"The moratorium is horrible," thinks Schonberger. "It's a barrier for better options to come in." In effect since 2000, the moratorium is coming up for review next March.
While new, trendy restaurants and shops are becoming more prevalent in Adams Morgan, Schonberger doesn't see it morphing into a 14th Street or H Street scene.
"14th Street is a major thoroughfare through the city. 18th Street is a thoroughfare, but it doesn't have nearly the traffic and the activity, so it has a little bit more of an intimate feel to it."
Still, when discussing the transition of a downtown neighborhood, it is difficult not to make comparisons to the two examples that have regularly been part of the conversation in recent years.
Readers, what do you think? Will the Adams Morgan business district look like a different place in five years or are the drunken revelers here to stay?
See other articles related to: editors choice, dclofts, adams morgan, 18th street, 14th street
This article originally published at https://dc.urbanturf.com/articles/blog/is_adams_morgan_becoming_posh/7407
GFR said at 2:46 pm on Friday August 2, 2013:
I think the article is correct in that a change is slowly happening. While they don't want to mimic their neighbors to the east, I would bet the landlords are a little envious of what is happening in other parts of the city and are making efforts to change the face of the strip a little bit. I do see it taking awhile, though.
Also, the enhanced streetscape has already made a big difference. The reconfigured parking along 18th and the roomier sidewalks make it a more comfortable place to be both day and night.
Janson said at 4:09 pm on Friday August 2, 2013:
There is surprisingly little high density residential immediately adjacent to the 18th st. strip, which I think makes slow on early weeknights. Places that do well seem to be able to generate huge amounts of revenue in a short time - long bars, lots of bartenders. Sit down restaurants have a hard time doing that. 14th street seems much more active on a Tuesday night. Is it the residential density?
Adam Morgan said at 4:13 pm on Friday August 2, 2013:
So is the goal for every neighborhood in the city to contain nothing but "upscale" restaurants (which are different from "high-end retail" if you ask me)? How boring. Great cities have a multitude of venues in unique neighborhoods, not homogenized restaurant offerings that vary little from 'hood to 'hood.
Michael said at 4:20 pm on Friday August 2, 2013:
As more affluent residents move in, landlords will rase rents on retail space. As landlords raise rents, struggling tenants will be forced to move. As struggling tenants vacate, retail space will become available for different tenants. Who will charge more for their products to cover the rent. That being said, a neighborhood with 3 metro stops on 2 lines within a 10-15 minute walk is going to be in demand, especially as inventory dwindles and there's no where else left to build.
Jesse Pinkman said at 4:35 pm on Friday August 2, 2013:
a neighborhood with 3 metro stops on 2 lines within a 10-15 minute walk is going to be in demand That's not a new development; it's been true since the 80s. Why is this happening now?
Divya said at 5:05 pm on Friday August 2, 2013:
This article does a great job summarizing the shift away from adams-Morgan's traditionally "nightlife" focused retail, and the promise held by increased residential inventory in the neighborhood. One thing I'd like to add is that while non-residents of the neighborhood often associate the A-M with the drunken shenanigans that take place on the weekends (mostly caused by people from outside the neighborhood, and usually people from outside DC), residents know that by day, it's an intimate, diverse neighborhood full of young families, the elderly, long-time DC residents, and transplants. Proximity to the zoo, Dupont, and the metro lines makes Adams Morgan into a convenient yet quiet neighborhood, and homeowners rarely experience the "18th Street" weekend madness, as it stays relatively confined to a few blocks on a few hours of the week. Excited to see more and more retail/eateries that residents of the neighborhood can enjoy, while also attracting more of the "right" type of attention from the rest of the DMV!
Jan said at 5:25 pm on Friday August 2, 2013:
Two nights on the weekend of enjoyment should be okay. Otherwise the City is becoming quite boring. New York is exciting because of the excitement. What's up with DC.
EnserNG said at 5:48 pm on Friday August 2, 2013:
As "Adam Morgan" notes, each neighborhood has to be aware of over-homogenization, otherwise, the flow of locals and non, will cease and things will stagnate. Each area needs a sort of plan for what they envision to be a niche, rather than, the current, all up-scale retail, shopping, and residences. That will quickly lead to "OneCity" - a boring one - surely not what DC should be targeting! Nikk
kob said at 5:55 pm on Friday August 2, 2013:
The Adams Morgan moratorium is an interesting problem. Is it slowing down the transition to a lower-key, high-end restaurant/entertainment space? It's something the ANC will have to revisit, study and reconsider. I'm not really convinced that the moratorium has made much difference. The principal driver of change, IMHO, is the ongoing shift of Adams Morgan from a quasi-bohemian/hipster outpost to busy version of Kalorama. The population has tilted more toward Mintwood-type places than drunken dives. One example is Southern Comfort, which replace the more drink-focused predecessor. What worries me about the moratorium is that it may price out new and interesting restaurants that can help this transition. The moratorium may do more to protect the incumbents that still cater to the rowdy crowds. From my perspective, the moratorium is a negative against the positive shifts. In the bigger picture, I don't see Adams Morgan so much as a separate neighborhood anymore. I see what's going on in Adams Morgan more as part of contiguous entertainment/retail area extending from U and 14th up 18th, down Columbia and into Columbia Heights. It almost forms a loop.
Jason said at 5:58 pm on Friday August 2, 2013:
Jan, DC is not NYC. You ask what's up? A difference of about 8 million more people in NYC.
Lisa said at 6:25 pm on Friday August 2, 2013:
Columbia Road, NW, is becoming a vibrant street. It's storefronts will cater to an educated, diverse residential and work-at-home population. It will draw visitors staying at the 1,500 nearby hotol rooms. Tourtists and day trippers will head to Columbia Road attracted by the charm of the reburbished art deco facades, good food, artisinal wine, craft beer and welcoming warmth of DC's truly authentic entertainment neighborhood- Adams Morgan.
Rob B said at 6:40 pm on Friday August 2, 2013:
Call the bird whatever you want. But this one street does not define that area, that's the commercial side. But the residential part of the area where that street happens to sit in is Kalorama which has never had to be gentrified unlike Georgetown or the majority of DC. This same area, esp Mintwood area commands the highest sqft prices in all parts of DC, VA, MD. It's only competition is Dupont and Georgetown. These are the only three neighborhoods that compete with the best parts of Manhattan or the Beacon Hill/Back Bays of Boston. To answer your question, is it posh....it always has been, you should of opened your eyes and looked outside of street.
Tom A. said at 7:59 pm on Friday August 2, 2013:
Someone thinks AdMo is currently less charming that Georgetown? Georgetown feels almost like any upscale suburban shopping mall. Not charming at all.
A Tom said at 8:14 pm on Friday August 2, 2013:
Georgetown feels almost like any upscale suburban shopping mall. Which is exactly what they're going for in Adams-Morgan.
@A Tom @Tom A Adams Morgan: Upscale shopping mall? There's not one Georgetown-like retail store, or national chain store in Adams Morgan. Not one. The retail presence (outside of CVS, Safeway and Radio Shack and the usual collection of neighborhood stores)is minimal, and mostly neighborhood focused. There are no chain restaurants, except for a few fast food.
BLJ said at 9:09 pm on Friday August 2, 2013:
As a resident of the neighborhood, I'd hate to see it turn into a bunch of high end small plate restaurants or chain retail stores - there's more than enough of that in close proximity! It would be nice to see the vacant storefronts become occupied by diverse businesses that bring services/goods to the neighborhood. I do think the moratorium is a hindrance for new development. At a recent ANC meeting the it was obvious the board is overwhelmingly in favor of the moratorium. Perhaps the restrictions can be relaxed to spur development that enriches the neighborhood, yet prohibit the addition of more dive bars.
jno said at 2:50 pm on Saturday August 3, 2013:
What about the portion of Columbia Rd. between 18th and 16th? Those few blocks are probably some of the most authentic urban multi-culti and relatively safe areas of the city. I hope it doesn't change too much. I love the feel of that area.
EmptyNester said at 1:53 pm on Monday August 5, 2013:
"Someone thinks AdMo is currently less charming that Georgetown? Georgetown feels almost like any upscale suburban shopping mall. Not charming at all. You haven't spent much time in suburban malls lately, have you? GTown still has its charming architecture and pedestrian oriented feel. Not parking in some giant lot and then going indoors. Theres more to what makes suburbs suburban than chain stores. And I dont think Gtown is all chains, either.
Hungry said at 2:56 pm on Monday August 5, 2013:
As long as they don't take my Jumbo Slice I'll be happy.
enigmajean said at 4:19 pm on Monday August 5, 2013:
A Medstar urgent-care clinic is going in at the long-vacant former Blockbuster site on Columbia near Biltmore - so practical and grounding for a neighborhood in which people actually live, raise children, own property, and age in place. I'm delighted with this and the other changes too...just hope I'm around long enough to see the ongoing transformation (have lived in the 'hood since 1987).
tntdc said at 4:29 pm on Monday August 5, 2013:
Georgetown has a moratorium. They need to be on tavern/nightclub licenses and not on restaurant licences. AM used to be nice and trendy. Then the cafes realized all their money came from booze and food was a nuisance. Once they made that switch they realized their most money came from heavy drinkers. They're just business people trying to maximize profits, as they should.
NW.DC.AM said at 3:12 pm on Tuesday August 6, 2013:
I've been to Carriage House four times. It's great. Although, I could tell A-M was headed to a new era when I realized there seemed to be more suburbanites eating there than city folk.
Bruce Majors, Libertarian for Mayor said at 1:52 pm on Monday March 3, 2014:
The Marijuana Policy Project just bought the commercially zoned first floor of 2370 Champlain Street NW and will soon have its first fundraiser for some pro-decriminalzation Congresspeeps as its first open house.
John Young & Jeff Lim-Sharpe
RE/MAX Excellence Realty


2711 concrete slabs form this unforgettable site.
The Flak Tower in Humboldthain Park was one of several anti aircraft towers constructed in 1941.
It's easy to get lost in the maze of many yards.
Artists such as Depeche Mode, U2, Kent, David Bowie and Iggy Pop have used this studio. The sound in the beginning of Blasphemous Rumours was recorded on the roof as Martin was throwing a pebble on metal.
This christmas market was just insane.
A cup of glühwein makes any open-air market seem like a breeze.


Reginald T. Franklin, 88, of Orange, died Monday, April 6, 2009, in Pinehurst Nursing and Rehab.
Funeral services will be at 2 p.m. Wednesday in Claybar Funeral Home Chapel in Orange.
Officiating will be Reverend Kevin Trinkle, chaplain of Memorial Hermann Baptist Orange Hospital. Burial will follow in Hillcrest Memorial Gardens in Bridge City.
Reginald was born on July 16, 1920, in LaSalle, La., son of Joseph Edgar Franklin and Frances Ethel Volentine Franklin. He was an operator for DuPont and served in the Navy during World War II as an instrument flight instructor. He was an avid gardener and was also a member of the master gardeners of Orange.
Those left to cherish his memory are his wife, Mae Franklin; sons, Reginald Davis Franklin of Beaumont, Cecil Dennis Franklin of Orange; daughter, Jo Ann Franklin of Moss Bluff, La.; brothers, Sherrill Franklin of Onalaska, Texas; Melvin Franklin of Bridge City; sisters, Ava Franklin Caraway of Kelly, La., and Billie Vincent of Orange.
Pallbearers will be Billy Coleman, Bobby Carmack, Alex Leal, Kelvin Caraway, Jimmy Franklin, Kenneth Franklin and Jody Crump.


text:
Is Turkey ready for a heavy-handed president?
May 16 2014 18:51:35
By MURAT YETKİN murat.yetkin@hurriyet.com.tr
Thanks to mobile phone technology, as new videos appear, together with at least one witness, (or rather victim), it has become clearer that Prime Minister Recep Tayyip Erdoğan might have chased a group of protesters into a shop with his bodyguards. He then appeared to slap at least one of them, a day after the biggest ever mine disaster in Turkey on May 13 in the western Turkish town of Soma, where 284 miners have been announced dead so far. The official death toll may go up to 302, according to officials.
Taner Kuruca, a young miner himself, said he did not mean to make the prime minister angry and Erdoğan had struck an "unintentional" slap to his face. He added that after Erdoğan, his bodyguards had beaten him up in the same market. The scars and bruises on his neck, shoulders and arms were visible in a TV interview. He probably added that word "unintentionally" there in order to soften the case (he chose not to sue Erdoğan) because of fear; at least the fear of losing his job.
(There are reports that Erdoğan said the following to Kuruca and the others he cornered with his bodyguards: "Why are you running away? You Israeli semen." I watched two separate mobile phone recordings from different angles with my editor colleagues a number of times. Our conclusion is that Erdoğan says "Why are you running away? You were calling me to resign!" The second part in Turkish is "İstifa et diyordun," which could be misunderstood as "İsrailli dölü" when pronounced quickly and on not very good recordings. In my view, he did not say that.)
It could be understood and respected if a prime minister of a democratic country had entered a nearby shop to wait until the mourning protesters had calmed down instead of sending police officers at them to disperse them by force. It is totally the opposite to chase protesters, become involved in personal, physical contact and have them beaten up.
It is worth recalling that Erdoğan's advisor, Yusuf Yerkel, whose photos are now circulating all over the place, kicked a protester while the latter was being dragged on the road by two special operations policemen, and staged this attack right after Erdoğan's slap in the market.
To everyone's surprise, Hüseyin Çelik, the spokesman for Erdoğan's ruling Justice and Development Party (AK Parti) said on Friday, May 16, that Yerkel was actually the one who was attacked by the protester and received a medical report saying he needed 7 days to heal. (He was, however, seen at Friday prayers in Istanbul, right behind Erdoğan.) Çelik refrained from issuing an outright denial for the slap (or fist) controversy, simply calling it a "scenario" and a "claim." Meanwhile, Erdoğan's chief political advisor, Yalçın Akdoğan, wrote in his column in the pro-government newspaper Star yesterday that Yerkel's attack on the protester being firmly held down by two policemen was actually "self-defense," as the protester's intention was to "lynch" the PM's team.
There is no need to give more examples. Erdoğan and his team believe that if they accept any fault, especially after the corruption probe opened on Dec. 17, 2013, they might lose everything they have, particularly power: Don't acknowledge any wrongdoing by anyone related to the AK Parti, or in government activities; cover it up if you can, protect the members of your team - even if you know that what they have done is wrong - in order to maintain the status quo.
The Soma example might have shown that no one in Turkey is exempt from the probability of being touched by Erdoğan personally if they do or say anything to annoy him.
The question is whether Turkey is ready to be ruled by a heavy-handed president, as Erdoğan is currently the only apparent candidate for the presidential elections to be held in August.
This is not a very pleasant question, but this is the situation for the NATO-member and EU-candidate Turkey as we speak now.
Luck comes hopping
'Guide Jaune' is coming!
Rasim Özkanca: Passionate ambassador of Turkish cuisine
Fit as fiddle or healthy as radish?
Fried fritters and eternal light
Local is better


text:
Vishwa Hindu Parishad of America
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Hindu Dharma Convention 2023
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Poojya Swamini Svatmavidyananda Saraswati, Arsha Vijnana Gurukulam. Swamini Svatmavidyananda Saraswati has taught at several universities nationally, including UC Berkeley. She is widely recognized as a scholar of Advaita Vedanta, and is a disciple of Pujya Sri Swami Dayananda Saraswati, an internationally known Acharya of the Advaita Vedanta tradition. and in-depth training and scholarship on Advaita Vedanta.
Shri Subhash Kak. Subhash Kak, Distinguished Scientist and Chair of the Taksha Artificial Intelligence and Cyber Security (TAICS) Center,and a member of the Indian Prime Minister's Science, Technology and Innovation Advisory Council (PM-STIAC). He gives a unique perspective on the history of science and vedic atma-vidya. He was awarded Indian's high civilian award Padma Shri in 2019.
Shri Rajiv Malhotra. (Founder of The Infinity Foundation). Rajiv Malhotra was trained initially as a Physicist, and then as a Computer Scientist specializing in Artificial Intelligence. The founder of his non-profit Infinity Foundation (in Princeton, USA), he has, on a full-time basis, been researching civilizations from a historical, social sciences and mind sciences perspective. He has authored several best-selling books.
Shri Raj Vedam. Dr. Raj Vedam, MSEE, PhDEE, works at the confluence of applied mathematics, engineering, algorithms, and computer science. Using tools of Archeo-Genetics, archeo- astronomy and archaeology, and evidence of knowledge transfers from ancient India,. Dr. Raj Vedam is a co-founder of the think-tank Indian History, Awareness and Research (IHAR Channel on YouTube), His research interests include Engineering Applied Mathematics, Artificial Intelligence, and the Scientific Validation of Indian History.
Shri Nilesh Oak: Nilesh Oak is an author, researcher, speaker, and corporate consultant. He holds BS, MS in Chemical Engineering, and an executive MBA. He has published 3 books and writes extensively on ancient Indian history. Nilesh helps Indians become aware of the deep antiquity of Indian civilization so that they truly comprehend, present, or defend the grand narrative of India unlike most other Indic researchers because he builds it through scientific acumen and logical reasoning.
Shri Koenraad Elst, distinguished himself early on as eager to learn and to dissent. After a few hippie year she studied at the KU Leuven, obtaining MA degrees in Sinology, Indology, and Philosophy. After a research stay at Benares Hindu University, he did original fieldwork for a doctorate on Hindu nationalism, which he obtained magna cum laude in 1998. As an independent researcher, he earned laurels and ostracism with his findings on hot items like Islam, multiculturalism, and the secular state, the roots of Indo-European, the Ayodhya temple/mosque dispute, and Mahatma Gandhi's legacy.
Dr. Amit Goswami: A theoretical Quantum Physicist Dr. Amit Goswami is a revolutionary amongst a
.growing body of renegade scientists who, in recent years, has ventured into the domain of the spiritual in an attempt both to interpret the seemingly inexplicable findings of curious experiments and to validate intuitions
about the existence of a spiritual dimension of life. He started a movement called "quantum activism," now gaining ground in North and South America, Southern and Eastern Europe, and India. In 2018, he established Quantum Activism Vishwalayam, an institution of transformative education in India, based on quantum science and the primacy of consciousness. Amit is the author of numerous books, most notably: The Self-Aware Universe, Physics of the Soul, Quantum Creativity, and The Everything Answer Book.
Shri Ram Mohan Roy: Dr. Raja Ram Mohan Roy earned his B. Tech in Metallurgical Engineering from the Indian Institute of Technology, Kanpur, and Ph.D. in Materials Science and Engineering from The Ohio State University, USA. He has worked as a Research Scientist and Project Manager for over 20 years in Canada. He has written four path breaking books on Indian civilization titled "Vedic Physics: Scientific Origin of Hinduism", "India before Alexander: A New Chronology", "India after Alexander: The Age of Vikramādityas", and "India after Vikramāditya: The Melting Pot". He is currently working on his fourth book on Indian history titled "India before Buddha: Vedic Kingdoms in 2nd Millennium BCE"
Shrimati Vijaya Viswanathan: Vijaya Viswanathan is the President of Infinity Foundation India (IFI). Vijaya studied and worked for two decades in the United States, Europe and Singapore in industries ranging from manufacturing and finance to consulting. Vijaya has a master's degree in Manufacturing Engineering from the University of Massachusetts and an MBA from the Wharton School at the University. She is a Member of Board Agastya Gurukulam USA and Vice President of Sanskrit Bharati, Chennai.
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