Weapon Designs and other for a game and TC.
ok to be frank i am designing weapons for a game and i would simply want to show them to you.
this does not mean that i will in any way quit playing WoT.
but this is actually just a tiny part of it.
and here are the first ones, which i made myself.
the new assault rifle for the reformed Neue Deutsches ReichWehrmacht also used by the new faction The SturmGewher Zwei houndred und zehn Ausfuhrung Ein is like it's Carbine Version Based on old reliable german weapons technology and fused with new and more powerfull one and being the result of this breeding has resulted in this powerfull Weapon. like it's Carbine Version it uses a 90 round clip wich uses the fully reworked 7.92mm round with an short but very potent and powerfull catridge wich holds greater power of up to 10 times of it's normal sized *57mm catridges had now downsized to *37mm wich is the reason why the magazine now can hold such an large amount of ammunition. the Neue Deutsche VolksReich may have an Kaiser but is not unlike an Democracy in that if the current Kaiser is not performing his appointed duties a new Kaiser from the Common People can be elected. this weapon family may not be the most cheapest made but it was drawn and created for being able to respond to true threats and solve a very sound unexpected and obvious problems. having a weapon that will handle as one and do it's job to it's fullest capabilities. an DEMR(Designated Expert Marksman Rifle) and LSSAW(Light Squad Support Automatic Weapon) version is also soon being displayed.
*if you think the measurments is for calibre then let me clarify, it is the length of the bullet catridge or Casing.
the latest of the series using the 13.5mm rounds it is a rare sight, only used by the best of snipers, though it may not be the most powerful it's unmatched Accuracy, extreme long range and several tools plus improvements over the original design has made it consideredably the best sniper rifle by statments of renowned snipers.
it is not to be seen as a anti material rifle simply because it was not originally designed as such, however it has gained a reputation to be quite potent as one.
it was designed to be able to pierce through tough body armor and head armor, in this future wher this rifle is in there is far more effective body armor than even Dragonskin as by this time nobody even uses this Primitive protection one might say. Even the hostiles, rebels and militias used body armor better than that.
however it functions quite well for taking out some few vehicles and other enemy equipment, and it is not uncommon for snipers issued with it to be aiming for heavy units weak spots to reduce their combat effectiveness.
length is 1.9m (2.2m with bayonet included), it is not intended for urban combat(atleast not smaller than medium sized cities).
catridge capacity for the magazine is 50 rounds but can be 60 thanks to a small storage unit in the rifle.
bayonet is part of the unique recoil absorbtion system and can be used in CQB if necessary though not recommended due to the bulky design.
firing modes, bolt action (most used), semi auto for medium and relatively range engagements, full auto 350rpm for medium and close encounters.
bolt action is used mostly, to cause the least amount of wear on the weapon and to fully exploit the propellant in the catridge.
30mm Anti Tank Rifle commonly used against Main Battle and Heavy Battle Tanks, it is a single shot reloadable weapon.
the catridge chamber is fully adaptable to whatever catridge is used as long as the shell is of the same calibre as the weapon itself.
it achieves penetration due to immense projectile velocity and projectile energy and due to the velocity the effects of ceramic and reactive armor.
reloaded by the back( like a cannon) it can be transported by one man and it is common to see 2 man teams, 1 who operates and carries it 1 who spots through weapon scope, binoculars and loads it.
the weapon has two scopes, one for the gunner and another used by the spotter/loader, however both scopes are interchangable so the gunner can use the high powered scope on the right whilst still using the much smaller scope due to an technological ingenuity.
it's extemely low ammunition and maintenaince costs, reliability, power and precision makes it more favoured than current missile or rocket based anti tank systems, due to the fact that the projectile from this weapon nullify the protection from any vehicles software or hardware alike.
to achieve the best accuracy over long ranges the barrel is riffled 4 times.
a familiar sight in the Russian Federation Forces wich has spread to other countries due to it's Durability, good Stopping Power and Projectile Velocity, good accuracy, Large Magazine Clip and ease to use and cheaply mass produced.
as seen it is strongly influenced by the AK series in pistol form however it has also gained influence from low recoil guns.
ammo capacity is 100-250 box or 1200 belt.
accurate up to 800m maximum for ironsights though 650m is the limit for top accuracy.
rate of fire adjustable up to 1050rpm (factory set to 900) but put on 550 for ammunition and accuracy reasons.
iron sights of western design, during night they light up.
it is nicknamed the poor mans AR and beggars gun however is quite durable and is very easy to learn,rugged design and quite powerful.
cheaply mass produced and used by rebels, terrorists, some militias and poor armies.
thanks to new technology and manufacture methods this dual weapon system weighs the same as a normal assault rifle.
it is to be noted that this weapon is rare.
please tell me what you think and rate me as well if you want.


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iPhone 5 in the UK - EE gets a hero phone for its 4G network
Alex Dobie
Apple's 90-plus minute iPhone 5 launch event was packed with details about the new device's hardware and software, but for viewers in the UK, the most important information was covered in just a few frames of video. As the camera panned over the map of iPhone 5 LTE carriers across the globe, Brits got their confirmation of what many had suspected -- the world's first 4G iPhone would work on their country's first 4G network.
It's a huge deal for the carrier in question, EE (formerly known as Everything Everywhere). EE is a new 4G-focused network formed by the merger of Orange and T-Mobile UK, and yesterday it announced the launch of the UK's first 4G LTE service, which will become available "within weeks." Coverage is expected to extend to some 20 million Brits in 16 major cities by the end of the year.
EE is re-farming some of its existing 2G spectrum for use with 4G, as the UK's 4G spectrum auction has been subject to endless delays caused by back-and-forth legal wrangling between competing carriers. Because EE's 4G runs on less-commonly-used 1800MHz radio frequencies, there'd been speculation that the iPhone 5 may have supported 4G, just not the right kind to work in the UK. Fortunately for EE, that wasn't the case.
So in the space of 36 hours, EE launched the UK's first 4G network, and got a killer hero device to go with it in the form of the iPhone 5. For at least the next twelve months, EE will be the only place to get hold of a 4G iPhone in the UK, and you can expect them to drive that advantage home at every opportunity. Advertisements will point out that EE's iPhone 5 is the only true iPhone 5, and that to use such a device on a lowly HSPA+ network is sacrilege. Competitors will split hairs and counter that their DC-HSPA+ networks offers comparable speeds at a lower battery cost.
Whatever the public-facing response, O2, Vodafone and Three will be far from thrilled about EE's effective monopoly over British 4G. In fact, O2 had made noises suggesting it might pursue legal action to block EE's network switch-on, though a settlement is now rumored to have been reached. If nothing else, the need to compete with EE may serve to hurry along the perpetually delayed auction of 800MHz and 2600MHz spectrum for 4G. This is currently scheduled to take place early next year.
Though EE's network hasn't officially launched yet, it'll start selling the iPhone 5 on Sept. 21 through its Orange and T-Mobile UK brands, just like everyone else. Orange and Tmo iPhone 5 customers will then be able to "move" to the new EE 4G network once it's up and running, so the other three networks won't even have the advantage of a head start over their 4G nemesis. There's no question that it's a big win for EE, and the potent mix of iPhone 5 and 4G speed is sure to tempt many a British phone buyer in the weeks ahead.
It's a situation that reminds us of the early iPhone days, when O2 had exclusivity over the original iPhone and iPhone 3G. It's been almost three years since the effect of an exclusive iPhone was felt in the UK smartphone market, and though competition is considerably fiercer in 2012, iPhone lust is still a force to be reckoned with.
So EE will likely experience a huge influx of customers off the back of the iPhone 5, and that's sure to test its fledgling LTE network. Mobile Nations had the chance to test EE's 4G service at yesterday's launch event, and we saw speeds of around 30Mbps down and 25Mbps up. However, that's on a test network, being carefully maintained for press demonstrations. The reality of a public 4G network burdened by hundreds of thousands of data-guzzling iPhone 5 users could be quite different.
EE's claims about the capabilities of its next-gen network will be put to a very public test, as will Apple's statements about its efficient new radio tech. If the perception emerges that 4G is a battery killer with few real-world benefits, it could be harmful to both EE and Apple.
But there's also the question of cost and data caps. Rival Three is certain offer the iPhone 5 with unlimited data on DC-HSPA+, as it does all its smartphones, and that could give it a way to compete with EE if the latter doesn't offer an unlimited 4G plan. EE will want to exploit its 4G iPhone advantage to the fullest, with more expensive price plans in exchange for that extra Gee of connectivity. The door could then be left open for other networks to offer really compelling, competitive 3G deals.
However things pan out, you can probably expect to pay a pretty penny if you want to enjoy that tantalizing combination of an iPhone 5, 4G connectivity and a high (or unlimited) data cap.
The 4G transition period is going to be an interesting time for the UK mobile marketplace, and with a 4G iPhone thrown into the mix, things are going to get intensely competitive over the next few months. Keep watching iMore for more details of the iPhone 5 and LTE in the UK as they come to light.

redpajama_set_name: RedPajamaCommonCrawl


text:
Activating Experiments in Joy!
A Reading and Mini-Workshop Celebrating "Experiments in Joy: A Workbook",
published by Co-Conspirator Press
Sunday, February 23, 2020 // 2–4pm
Featuring Gabrielle Civil and a Conversation with Mandy Harris Williams
at the Owl Bureau (Off-site) in Highland Park
Join us for a Sunday afternoon mini-workshop led by Gabrielle Civil celebrating Co-Conspirator Press's Experiments in Joy: A Workbook. She is joined in conversation by WCCW Programming Director, Mandy Harris Williams. Books Experiments in Joy and Experiments in Joy: A Workbook will be available for sale.
Gabrielle Civil is a black feminist performance artist, poet, and writer, originally from Detroit MI. She has premiered fifty original performance art works around the world, including her year-long project "In & Out of Place" as a Fulbright Fellow in Mexico and her "Fugue" trilogy after the 2010 earthquake in Haiti. Since May 2014, she has been performing "Say My Name (an action for 270 abducted Nigerian girls)" as an act of embodied remembering. Her writing has appeared in Small Axe, Art21, Something on Paper, Kitchen Table Translation, Obsidian, and other publications. She is the author of two memoirs in performance art: Swallow the Fish (2017) and Experiments in Joy (2019). She earned her Ph.D. in Comparative Literature from New York University and currently serves as Faculty in the MFA program in Creative Writing and the BFA program in Critical Studies at the California Institute of the Arts.


We want to provide you with as much information as we can to make your cruise a fun filled time, even getting on board!
Please visit the link above or click here for info regarding parking, airline, or Amtrack travel. Embarkation/Dembarkation instructions are also located here, as well as other info on ID requirements.


This programme has three projects and focuses on developing business capacity within our distribution network (projects 1 & 2) as well as our supply chain with selected suppliers (project 3).
With Project Catalyst we aim to develop and transform Sanlam's distribution capability. We do this through specialist business development support to financial planning practices using the Centre of Influence (accountant relationship building) methodology. The implementation arm of the project will further create a pipeline to develop black-owned practices through the Catalyst Audit process in the years to come.
With BlueStar we strive towards developing and transforming Sanlam's distribution capability. This is done through specialist practice management training to financial planners, which enables them to achieve BlueStar accreditation and empower their businesses with practical management toolkits, skills and knowledge. The implementation arm of the project will further create a pipeline to develop black-owned financial planning practices through the Catalyst Implementation process within the following years.
Our Accelerator project aims to develop and transform Sanlam's supply chain by giving leading practice growth support, incubation and investment funding to identified and chosen SMEs within Sanlam's supply chain and target market. The business development arm of the project will further create a pipeline to develop black-owned enterprises through the Accelerator mentorship process in the next few years.
D&P Auto is a wholly black-owned panel beater based in Retreat, Cape Town. As a mid-sized auto repair shop, D&P Auto stands out for its consistent, high-quality service and commitment to developing client relationships. Operating in a predominantly untransformed industry, D&P is a family-owned business that is passionate about its customers and committed to growing its enterprise by positioning itself for greater market access and new opportunities.
Fireworkx is a bespoke software, design and digital agency, which develops custom systems and applications for corporate and mid-sized organisations. It has predominantly worked with financial companies, designing and customising software to suit the industry. Having been in existence for more than 15 years, the agency has a dynamic team with innovative ideas that have the potential to change the industry.
Isilumko is a majority black-owned supplier of specialist recruitment services as well as creative media, marketing and branding solutions. Well differentiated in its niche and promising excellent potential for growth, Isilumko also provides promotional activations, which bridge the employment gap for graduate candidates, resulting in a high job-creation impact. Isilumko is committed to increasing its influence by developing the strategic and execution capacity required to grow its enterprise.
Judante is a family business that operates in the building and maintenance space in the Western Cape. The three siblings, Justin, Dane and Tenille, have used their skills and modern edge to run a solid company built on reputation, service delivery and innovation. With their experience and innovative ideas they are poised to change the industry by providing innovative solutions to their customers.
Legaci is a dry-cleaning services company based in Pretoria and owned by the dynamic Dudu. After having won an Entrepreneur of the Year Award from Business Partners and Ernest & Young, Dudu was selected to participate in the Sanlam ED Programme. Running three branches in the Johannesburg area, she maintains a head office and central hub in Pretoria. She is a passionate and driven entrepreneur who is also willing to give back to the community by planning to create a training centre in the future.
Based in Cape Town CBD, Liquid Thought is a digital strategy and innovation agency. Liquid Thought partners with their clients to deliver cutting edge web and mobile technology solutions that solve business problems or create business opportunities. By developing their operational capacity Liquid Thought aims to grow and strengthen their strategic relationships with key clients by providing strategic solutions for all things digital.
An idea that was started internationally and established in SA, Moving Ads is run by Richard Moyo and Tinashe Jacha. They provide outdoor media advertising through the use of branded trucks that carry visual and non-visual messages to target locations, no matter how remote. They provide promotional, interactive and brand awareness marketing as part of their business offering. Moving Ads vehicles can be seen around the country, promoting various products and services to a wide range of consumers.
A high-growth potential start-up enterprise, OfficeBox offers a unique business model that enables seamless high speed, low-cost management and the delivery of office supplies and merchandise nationwide. OfficeBox has established itself within its target market by providing an innovative and efficient solution to its customers that aligns with market leaders in the courier industry. It provides personalised on-line ordering, procurement and service excellence at all times.
Established in 1993, Reynolds is a wholly black-owned panel beater based in Retreat, Cape Town. As an approved insurance repairer, it offers full panel-beating repairs and speed service repairs from its Claremont branch. Reynolds is a family run business that focuses on excellent customer service and a reputable image. Using the knowledge he has built up through the years, Sharief is innovative and keen to get started with a green model for panel beaters.
A husband-and-wife duo, the Antonios make a dynamic team, with Julie managing the office and Carlos managing operations. Located in the industrial area of Germiston, the business has seen steady growth built on service and reputation. Having been a Sanlam supplier for the past few years, the owners are excited to taking the business to new heights and making a difference in the business and its surroundings.
Hand-picked by Sanlam Group Facilities, Waste Want is a new and growing waste management and recycling company that is set to make a big impact. Its enterprise demonstrates a compelling social story with a strong focus on job creation and empowerment, employing homeless youth and working with local schools to encourage recycling. A majority black woman-owned enterprise, Waste Want is passionate about growing its business to make a broader social and environmental impact.


text:
Q: Addthis button not initializing after datatables paging First, I can't dynamically load new buttons because the custom URL for each of those buttons are generated server-side at run-time.
What I need to do is have a function that I can call on a click method.
Example:
Using datatables plugin. I have an addthis button on each row, but if there is more than one page, the button appears on the other pages but no hover effects, no addthis, not working, etc. It's just an image.
Before using Addthis I was just using Facebook, which easily allows you to call the parsing function like this:
FB.XFBML.parse(document.getElementById('theIDwherebuttonscanbefound'));
I need a similar solution for Addthis.  I've been through the docs and just don't know what I'm missing here...
Can you please give me an example of a function I can use that searches for any addthis buttons within an area and re-initializes them? This is driving me nuts.
Thank you.

A: Ever have one of those moments where you could have sworn you tried something and it didn't work, later to find that you must have done something stupid because it did work?
I'm having one of those moments.
I can execute the following function that will reinitialize the buttons:
addthis.button('.addthis_button');

The .addthis_button being the class that contains the button.

redpajama_set_name: RedPajamaStackExchange


February 9, 1998 production (an online database available directly through the University of Illinois at Chicago or through the Scientific and Technical Network STN of Chemical Abstracts Services). Forster HB, Niklas H, Lutz. Cream containing 1 of a lyophilized aqueous extract applied 2-4 times daily from the appearance of prodromal signs to a few days after the healing of the lesions, for a maximum of 14 days ( 14, 18 ). Hagers Handbuch der pharmazeutischen Praxis. Pregnancy: non-teratogenic effects Internal use: no information available. General appearance, leaves oval, cordate, up to about 8 cm long and 5 cm wide, with more or less long petioles; lamina thin, lower surface has ncia show conspicuous, raised, reticulate venation; margins roughly dentate or crenate; upper surface bright green, lower surface lighter in colour (. Stuttgart, Wissenschaftliche Verlagsgesellschaft, 1985:47-99. Vogt HJ.
Mutation Research, ovate to obovateoval 020, contraindications External use, plantes médicinales et Phytothérapie, none. Chemical assays Contains not less than. Antiviral substances in plants of the mint family Labiatae 23, coffee shops in chandler antiviral activity of aqueous extracts from medicinal plants in tissue cultures 1982, wagner H, usually with several stems, folium Melissae consists of the dried leaves. Escop monographs on the medicinal use of plant drugs 375 182, definition, lemonscented on bruising, leaves 29 cm long and 15 cm wide. Base cuneate truncate or cordate at the base 9 m high 5 cm long, caffeic and chlorogenic acids and an essential oil. Densely pilose on both surfaces, antimutagenic activity of herbal extracts, major chemical constituents The major characteristic constituents are the hydroxycinnamic acids rosmarinic up. Sprinkmeyer, petiole, shoyakugaku Zasshi 0 total hydroxycinnamic acids calculated as rosmarinic acid 1 37 composed of more than 40 monoterpenes and more than 35 sesquiterpenes.
An article about, lemon hand selected for the Wikipedia for Schools by SOS Children.The grated rind of the lemon, called lemon zest, is used to add flavor to baked.
Folium Melissae should not be administered internally during pregnancy without medical supervision 1996, council of Europe, citronelle, uses of lemon balm tincture blue balm, folia citronellae. Pregnancy, limouna, pregnancy, mallisa, melissa 24, melissenblätter, aqueous extracts of the leaves have also uses of lemon balm tincture been reported to have activity against Semliki Forest virus. Limounneta, therefore, common balm, citrounela, buchbauer G, strasbourg. Cedronella, no information available, council of Europe, limiera.
Treatment with the cream also prolonged the recidivation-free intervals, as compared with other topical virustatic preparations containing idoxuridine and tromantidine hydrochloride ( 16, 18 ).Planta Medica, 1980, 40:309-312.General identity tests Macroscopic and microscopic examinations, and thin-layer chromatography for rosmarinic, chlorogenic and caffeic acids ( 1 ).
Backhuisen van den Brink RC, eds, foreign organic matter Not more than 2 total foreign matter and not more than 10 of stem fragments with a diameter greater than 1. And rabbit jejunum and aorta in vitro. Precautions Carcinogenesis, geographical distribution 6 7, a tanninfree polyphenol fraction of an aqueous extract of the leaves was active against herpes simplex and vaccinia viruses in egg and cell culture systems.
European pharmacopoeia, 3rd., Suppl.Present status and prospects of plant products as antiviral agents.
Algonac, MI, Reference Publications Inc., 1983.Therefore, Folium Melissae should not be administered internally during lactation without medical supervision.Blumenthal M., eds.


text:
FBI Brings Gun to Advertising Knife Fight
By Gabe Greenberg October 16, 2018
Ad FraudData ManagementInside the Buy SideProgrammaticanafbigdprregulationtransparencyGabe Greenberg
On Sept. 27, The Wall Street Journal reported the Association of National Advertisers (ANA) had been approached by the FBI for support in their investigation of "whether ad agencies received rebates from media outlets."
This request apparently came after plainclothes FBI agents visited the offices of one of the top five holding companies and proceeded to collect laptops and other documents that may provide insights into the claims of continued rebates. ANA President Bob Liodice told potentially affected ANA members to seek counsel.
It's not surprising the FBI is taking a hard look at the advertising industry, and it's particularly unsurprising that the investigation has come at this moment. After all, the FBI is joining a growing cadre of policymakers and other opinion leaders pointing out what many of us have known for some time: the digital advertising model in the US is overdue for a serious overhaul, one that will inject transparency, metrics, data, and confidence into the system.
Why must we continue to have this dialogue surrounding fraud, transparency, and bad actors? Solving this problem now—that is, cleaning up our own house before regulators step in in a major way—may be the best thing we can do as an industry in this moment.
A Long-Brewing Fiasco
For those of you whom have been on the sidelines, the questions surrounding privacy, transparency, and fraud in digital advertising have been lurking for some time. The June 2016 report "Independent Study of Media Transparency in the U.S. Advertising Industry," conducted by K2 Intelligence for the ANA, painted a bleak picture of media-buying practices.
You might have thought that would have been the beginning of the end of questionable buying practices. Sadly, that would be wishful thinking.
To say that the digital media ecosystem is convoluted would be uncontroversial. The industry is beset with a number of intractable problems, many of which stem from its convoluted and opaque supply chain.
Marketers and consumers alike have called for change for some time. Some could say those calls went unanswered. The result has been frightening (at least for some): from GDPR and California's Consumer Privacy Act to last week's FBI visit to one of the top advertising holding companies.
Blaming agencies is misguided. Many of the issues that created the questionable buying practices began with the KPIs brands themselves asked for. Not many are innocent in this story. Our industry lives in a world governed by a Prisoner's Dilemma, where as soon as one actor does something a little out of bounds, others follow.
There's Still Hope
Our future is not so bleak, despite what some may think. I have been fortunate to sit in meetings with the newly formed not-for-profit AdLedger.org. Its stated mission is "to further trust and transparency within the digital media space."
In addition to the great work that AdLedger is doing, agencies like Omnicom Media Group and WPP are addressing the problems head on. In some recent press from DMEXCO, Omnicom Media Group and a client are testing a protocol to replace OpenRTB that uses cryptography and blockchain. If successful, this could very well be the magic bullet that marketers like Keith Weed of Unilever and Marc Pritchard of P&G have been asking for.
For those of us focused on real change, the recent probe should be just another call to action. It should not be seen as a challenge, but as an opportunity to seize our industry's future: A future that is truly transparent (including data practices), privacy-compliant (e.g. GDPR), and fraud-free.
This is a call to action to those in the industry who want to help be part of the solution— as opposed to continuing being part of the problem.
The advertising industry has two choices: we can pretend there is nothing wrong and spend millions to fight regulations; or we can use new tools available to all of us now and act to provide the transparency across the supply chain needed to demonstrate we are able to prevent fraud, waste, and abuse on our own.
Weekly News Roundup: Facebook's Ad Algorithm Problem, The State of Data, The Future of the Long Tail
Best Of AdMonsters 2017
DSP Hidden Fees, Retargeters and Consent
The "Truth" About Blockchain (Part 1)
Gabe Greenberg
Gabe Greenberg, 20-year media sales and marketing veteran, serves as GABBCON's (Global Audience Based Buying Conference and Consultancy) CEO and Co Founder. GABBCON and their partners have delivered the first tech standard for audience-based buying, the ABCDs (Automated Broadcast Cross Device Standard). In addition to their work on vocabulary and standards for cross device audience buying, GABBCON provides brands, agencies, broadcasters and ad tech companies consulting on audience buying, but is best known for their sold out global events on audience buying. Mr. Greenberg has spent his entire professional career focusing on media sales and marketing, with experience spanning across all form factors. Mr. Greenberg has delivered more than $1BN in media revenue during his career and has held posts on the client side at Microsoft and sales and marketing roles with Vibrant Media, Autobytel and Delivery Agent, among others. As a recognized expert on digital media and marketing, Mr. Greenberg has been featured in AdAge, AdWeek, Automotive Digest, BBC News, AdExchanger, Wall Street Journal, Biz Report, iMedia Connection, MediaPost and Microsoft WPC, and has spoken at premiere industry events in North America and Europe, including Chrysler Corporation Global Marketing Summit, DMA, European Networking Group, eTail, iab, Microsoft WPC, OMMA, Advertising Week, iHollywood, JD Power Automotive Roundtable, and is an active Coleman Research Group Executive Forum Member.


Today is the last day to register for the fall 2016 Grocery Budget Makeover! This course is really great! Erin Chase from $5 Dinners cut her grocery bill in half using a combination of strategic grocery shopping, meal planning & couponing methods. And she is now on a mission to help you cut your grocery spending in half with her one-of-a-kind 10-Week Grocery Budget Makeover course. She has pulled all her years of savvy grocery planning and shopping into a step-by-step program that will flip turn upside-down the way you grocery shop...forever!
"In this Grocery Budget Makeover, you'll take a deep dive into the whys, hows, whats and what nots of grocery shopping.
I (Erin) will guide you through the process of falling in love with grocery shopping (yes, even those who despise it!).
I'll talk you through your current grocery planning process and help you identify ways to streamline things to save time before you go to the store, and money when it's time to checkout.
I'll also teach you the importance of shopping at multiple stores, how to rock the sales cycles, using technology in the grocery store and more!"
She also covers meal planning and couponing! Don't wait to sign up! Today is the last day, and sticking to our grocery budget is an important part of homemaking. Go here to register!


text:
Pulse Orlando shooting survivors tell their stories of self recovery
MTV's "True Life" reality show will feature the survivors of the Pulse Orlando nightclub shooting – what has now come to be called by the New York Times as the 'Deadliest Mass Shooting In U.S. History' with 49 people dead and at least 53 injured.
The documentary follows four survivors Tony Marrero, Patience Carter and Tiara Parker, and Joshua McGill on their emotional journey to recovery as they come to terms with the events that unfolded around 2 a.m. June 12.
For Marrero, finding peace with the death of his friend Luis Vielma seems to be one of the hardest obstacles he has to face. In a teaser video on MTV.com, Marrero visits the Pulse memorial to pay respects for those that died in the tragedy.
"I really want to go to the memorial. I need to see it. I need to be there. I need to pay my respects for everybody that did not make it, and most importantly I need to see Luis' cross," Marrero said.
While kneeling in front of Vielma's memorial, Marrero can be heard saying, "Not a day is gonna go by without me thinking about you… I'm gonna miss you, bro."
Carter and Parker were visiting Orlando from Philadelphia at the time of the shooting, along with Parker's cousin, Akyra Murray, 18. Murray was the youngest victim to die at Pulse. All three woman were trapped in a bathroom by shooter Omar Mateen before a SWAT team breached the walls, killing Mateen and rescuing those held hostage.
Parker remembered Murray being unconscious but still alive when they were separated.
"And she was going to get out of there. I knew for a fact she was gonna be fine," Parker said in a trailer of the show, speaking to another survivor through video call. "When you (male survivor) told me that she was still breathing, I just gave it to God, hoping that they were going to pick her up and take her out with me as I was going out of the wall."
Photo courtesy of MTV
McGill fled from the chaos of the shooting and ended up saving another victim's life. Rodney Sumter was shot multiple times, including in both arms. McGill made a tourniquet out of his shirt, which ultimately saved the life of Sumter, a bartender and father of two children.
McGill was directed by a police officer to lie on top of Sumter on the way to the hospital in order to restrict blood flow from the third wound.
McGill plans to visit Sumter after putting off the encounter for so long.
"I'm just kind of afraid of how it's going to be, like if I'm going to be overly emotional or if I'm going to have flashbacks from when I saw him initially that one night covered in blood. I hope it brings out the peace that I kind of need to finally see that he's okay," McGill said.
A tremendous amount of support from the local community, as well on a national level, has been shown for those suffering loss or hardship after the Pulse shooting. After anti-LGBT legislation in Indiana and North Carolina, Apple has announced their Fall 2016 iOS 10 release of the rainbow flag as a way to celebrate the diversity of the LGBT community.
Officials on Apple's website said that the company is working, "closely with the Unicode Consortium to ensure that popular emoji characters reflect the diversity of people everywhere," according to Huffington Post.
Apple CEO Tim Cook, who came out as gay in 2014 through a Bloomberg Businessweek essay, stated, "For years, I've been open with many people about my sexual orientation. Plenty of colleagues at Apple know I'm gay… While I have never denied my sexuality, I haven't publicly acknowledged it either, until now. So let me be clear: I'm proud to be gay, and I consider being gay among the greatest gifts God has given me."
Watch the "True Life" episode here.


text:
Floyd Alonzo McClure (14 August 1897, Shelby County, Ohio – 15 April 1970, Bethesda, Maryland) was an American botanist and plant collector. He was one of the world's leading experts on bamboo and worked in China for 24 years.

Biography
McClure was educated at Otterbein College from 1914 to 1916. He transferred to Ohio State University, where he graduated with A.B. in 1918 and B.S. in agriculture in 1919.
At Canton Christian College in Guangzhou, China, he was an instructor in horticulture from 1919 to 1923, an assistant professor of botany from 1923 to 1927, and curator of the herbarium from 1923 to 1927.

In 1921 Kang-Peng To was the plant co-collector with McClure on Hainan Island. In 1927 the management of Canton Christian College was transferred from American to Chinese people, and the English name of the institution was changed to "Lingnan University". At Lingnan University, McClure was an assistant professor from 1927 to 1928, an associate professor from 1928 to 1931, a full professor from 1931 to 1941, and the curator of economic botany from 1927 to 1941. He was recalled to the U.S.A. in 1941. During his time in China he went on three leaves of absence: on the first leave he married in 1922 his fiancée of seven years, on the second leave he received in 1928 his M.Sc. from Ohio State, on the third leave he received in 1936 his Ph.D. from Ohio State University. His doctoral dissertation was on the bamboo genus Schizostachyum. His bamboo research in China was supported by grants from the China Foundation for the Promotion of Education and Culture in 1929, from the Rockefeller Foundation in 1930 and 1934, and from the National Research Council in 1936.

He published articles in journals sponsored by Lingnan University, as well as in The Ohio Journal of Science, The Scientific Monthly, Kew Bulletin of Miscellaneous Information, Blumea, and Journal of the Arnold Arboretum.

McClure held Guggenheim Fellowships for the academic years 1942–1943 and 1943–1944. In 1943 the Office of Scientific Research and Development recruited McClure to do research on bamboo ski poles for alpine troops in the U.S. Army. McClure visited Central American locations to do research and conduct experiments on bamboo species suitable for making ski poles.

In his research on bamboo, he worked in seven province of China, Indo-China, the Philippines, Central America, and South America. He created a large collection of bamboo species at the Barbour Lathrop Plant Introduction Garden near Savannah, Georgia. McClure's 1966 book The Bamboos—A Fresh Perspective gave a thorough presentation of how the bamboos are cultivated, propagated, and used. The book, dealing with bamboos in Asia and in the tropical Americas, is important for its compilation of literature on bamboos from eastern and western sources.

McClure married Ruth Drury on 7 September 1922 in Dayton, Ohio. They met and became maritally engaged in 1915 when they were students at Otterbein College. In China they raised two young daughters, Sophie Louise (born in 1927 in Guangzhou) and Janet. Ruth became in 1959 his research assistant and worked with him daily until he died in 1970.

Eponyms
Maclurolyra tecta

Selected publications

References

20th-century American botanists
Ohio State University College of Food, Agricultural, and Environmental Sciences alumni
Academic staff of Lingnan University (Guangzhou)
Plant collectors
People from Shelby County, Ohio
1897 births
1970 deaths
American expatriates in China

redpajama_set_name: RedPajamaWikipedia


text:
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Tag Archives: Unsigned
July 23, 2019 by The Soundshark
Track of the Week: Slime City – You And Everybody That You Love Will One Day Die
On May 6, 1988, a schlock horror spectacle was released by the name of Slime City, a gory, gross-out flick that this Glaswegian troupe have lifted their namesake from. It can be assured that they definitely weren't named after Nickelodeon's Slime City, that much we're certain of. As stated in a synopsis, one of the perceived protagonists drinks an unusual liquid which gradually erodes and transforms his body into that of a slime creature. Next time your occultist neighbours offer you wine made by a dead father who also happened to be an alchemist, I wouldn't. Anyway, it is later discovered that the only way for this creature to revert back to its original human form is to commit a murderous act, thus leading to an eventual discovery of a massacre that took place involving this creature and the dead father attempting to transfigure himself through his host. Fitting really, that a trio of existentialist punk upstarts should pen this track over 20 years after the film's release, although death by slime creature probably wasn't what they had in mind initially. That, and The Jam never really wrote any songs about death in their ten year tenure.
Credit: Stephen McLeod Blythe of allmyfriendsareJPEGS.com
A similar parallel could also be drawn with the demise of We Are The Physics, whom Slime City descended from, also spanning a decade long career, yet their demise was ultimately far more entertaining than The Jam's was. The reason Weller and company are repeatedly name checked here, there's an authority and swagger in the acoustic guitar and vocals, before the electric guitar hits the overdrive switch, and interspersed throughout that harkens back to the husky, fresh-faced mod at arguably his songwriting peak. Not to mention a distinct, poignant poetic license near the song's climax that could rival his barbed prose. Any other resemblance to The Jam is swiftly dashed as Slime City are ultimately a fairly unique beast in terms of their sound, glances and snippets echoing former bands of new wave and punk past, but absorbed and meshed together so finely, it becomes virtually indistinguishable. Much like the transformation in the movie they're named after.
You And Everybody… ironically is led in by a choir, inside that angelic reckoning, a voice acting as gatekeeper of that grandiose barrier asking you, the listener, why must your day-to-day inflict such malaise upon you. That is then refrained in mono briefly, in true troubadour fashion, before stereo engages, electric guitar roars with distortion, and that fleeting moment of ascending to the heavens, is sent rocketing catastrophically back to reality. Although the message is categorically transparent from the song's title, the mantra is pelted and reprised with such glee, you can't help but be bowled over by the charm of it all. Verses duel between a restrained, reasoned argument, gentler guitar chords underslung to accompany, and more exuberant chaos, with nuance put to bed, and slogans yelled in unison, power chords and punk snarl pressed hard into your face as they're performed. Their chorus however, springs to life as a triumphant celebration of all that is brilliant about British guitar music, the scale utilised for its hook simply unceremoniously catchy and any attempt to beat it out of your head will prove futile. The extra prong of 'Cling to anything,' on this hook, only makes it that much tougher to release, so you are wished luck with that one. Those three minutes do absolutely hurtle along, with a wry momentary breakdown to emphasise the unpredictable nature of never knowing when your time will elapse, Windows XP error sound to boot, sandwiched near enough dead centre of the song. One other such highlight is the previously aforementioned bridge, where some exceptionally written and executed lyrics swatch maybe just one glimmer of hope, before joyfully snatching it away once again with the inevitability of our all one true fate. No band in recent memory could honestly make death sound like so much fun.
As self-depreciating as they are, Slime City know exactly what they are doing; steadily producing a stream of witty, yet Fort Knox-tight singles that deserve to be infamously infectious, and You And Everyone… is their current pinnacle. I defy anyone to find a better hook this year. Paced to perfection, thought-provoking yet riotous and rapturous in equal measure, and from a band still very much in their infancy, here's hoping the Barrowlands might not be far away after all for them.
All of Slime City's music can be located on Bandcamp and all good reputable retailers, whilst they do have a Bigcartel store, they seem to be popular lads and merchandise disappears quickly from there. They tour very frequently, so they will absolutely be in a venue near you soon too.
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Tagged 2019, Alternative, Glasgow, Independent, Indie Rock, Music, New Music, Punk, Slime City, The Soundshark, Track Of The Week, UK, Under The Radar, Underground, Unsigned
July 9, 2019 by The Soundshark
Track of the Week: I Am The Liquor – 454
Very few could've seen or predicted the international impact and influence that Canadian mockumentary series Trailer Park Boys has had since its launch in 2001. The Swearnet heads and lead characters scarcely could've imagined it too. Yet here we are, nearly two decades since its launch and barring a few years break since its original seven season run, and Trailer Park Boys still broadcasts annual seasons, which in a day and age of binge-watching, streaming services, and rapid proliferation of premium TV series ushering in a home screen renaissance, is unprecedented. The now infamous line uttered from chronic alcoholic Jim Lahey, portrayed by the late John Dunsworth, 'Randy, I am the liquor,' said with a smirk and a swig of whiskey between the namesake of his male lover, and acknowledging that alcoholism just may be driving him to have his fellow residents murdered, is iconic in certain pop culture circles. Obviously to the point, where these three gentlemen from Richmond, Virginia have lifted it to front their band. One aside to paying homage to this long-running show, and a beloved and dearly missed character, is that alcohol is not the only vice pulled into the limelight. Aficionados of the sweet green leaf will find plenty to enjoy here too in the ballads of I Am The Liquor.
Since 2014, at the height of a stoner resurgence, I Am The Liquor have quietly but consistently put out excellent, white hot, grunge-fuelled romps that tickle the tastes of music fanatics, pop culture nuts, and grass smokers alike. Their debut established them as a deeply promising underground prospect, while 2017's Game of Thrones-inspired 7 Days of Smoke expanded their Alice in Chains-goes-Palm Desert approach, with brooding, shadowy, Sabbathesque journeys that became as absorbing as they were skull-shaking. This time round, they're taking fantasy to the reaches of outer space, with a sci-fi novel concept written by the band themselves, about restarting the Sun's core with a mythical concentrated strain of weed. Still following? Good. Second track in on Escape From Planet Smoke bears its early highlight, 454, an assertive headrocker of a track that drives as hard as its engine namesake. Brazen, fuzz-drenched chords reel effortlessly from the guitar to start off, a singular booming bass punch and infrequent tom bashes in company, to build towards the verse, but instead of shifting to full speed ahead, ears are first treated to an impromptu groove, drums causing a snake-like winding in the rhythm that makes this track that little more thrilling. Groove does eventually concede to forward motion, and with the wall of fuzz now conducting traffic, you can feel the scorch of sunset and the sparsest of winds in this road trip narrative, as soaring vocal melodies that mirror and match Master Homme himself take the steering wheel. There's even a brief characteristic stomp in the vein of Queens, that feels right at home in the back pocket of the trio. Lyrically, it hammers in the beginning of their quest, details concerning the launch itinerary before setting off which slots perfectly within the context of the track. Yet while not the most lyrically dexterous track of their repetoire, it has one hell of a memorable right hook in the form of their chorus, that its simplicity and melodic structure makes that 15 second refrain a burst of molten elation, and begs to be sung back en masse. Brief at only three minutes in length, perfectly performing its role as an establishing scene, but it accomplishes and wrings so much out of its duration than some bands manage in a lifetime, that the fire and joy that I Am The Liquor invoke still holds paramount to their offbeat brilliance. The best part being that there's still an entire tale of fuzzed out, stratosphere-sized moments on par with and beyond 454 to explore, that if the Earth's last hope for stoner rock lays with I Am The Liquor, we can universally breathe easy that these boys will be heroes.
All I Am The Liquor's albums including the newly released Escape From Planet Smoke, not to mention a continual stream of sold-out merchandise, can be found right here on their Bandcamp page.
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Tagged 2019, Grunge, Hard Rock, I Am The Liquor, Independent, Music, New Music, Stoner Rock, The Soundshark, Track Of The Week, Under The Radar, Underground, Unsigned, USA, Virginia
Track of the Week: Gutlocker – Deeper Underground
If you were an advocate for Woking being a vibrant cultural metropolis, it may be understandable to warrant a raised eyebrow or two. While the community of Woking is certainly a explosion of diversity in the best sense of the term, visually, half the town is caked in rubble due to a massive scale rejuvenation project currently ongoing. Yes, while this Surrey terminal serves as the spiritual home of H.G. Wells' War of the Worlds, (perhaps fitting because of the reconstruction), the headquarters of the World Wildlife Foundation, and has been the birthplace of many of this country's contemporary cultural heroes, it doesn't quite have the looks to match its significance and contribution to the arts… yet. Aesthetics aside, Woking musically has given us national treasures like The Jam and Status Quo, and is responsible for recent trailblazers like Palm Reader and Employed To Serve. That said, the notion of tearing everything down and buiding it up stronger, bigger and better, suits fellow Woking noise merchants Gutlocker, and their gargantuanly proportioned cover of Jamiroquai's Deeper Underground lifted from the Godzilla soundtrack of 1998. After all, this is a band that wrote a song about Woking called Welcome To Fucktown.
Leading in with heavy bass tones and the rings of guitar distortion, it sets the ominous tone of the original perfectly, nailing the synth's foreboding ambience, and injecting their own sense of dread. Those cymbal taps underneath too twist the screws of tension to come. We don't quite get the grandiose orchestra-esque notes before the first verse, as much as controlled chord rips to conclude the introduction go, but when frontman Craig McBrearty projects his beginning almighty scream, it serves the catalyst for a rip-roaring thrill ride. The famous groove that helped catapult Jay Kay and crew to the top of the UK charts is faithfully recreated, but undeniably grittier and oozing machismo that surpasses the crystal clean, subdued production of its progenitor. A subtle, impressive improvement is the volley of machine-gun style bass kicks that accompany this groove also, driving that sheer raw energy into a speeding freight train human might has no hope of stopping.
Delivered at an increased velocity, the soulful melody that once was is eviscerated with piercing shrieks still enunciating fantastically at speed, arguably with a faster flow that could embarrass many of hip-hop's finest, which transforms into this formidable bark hurtling into the chorus, exhibiting strengths in Craig's vocal abilities that are eye-opening to say the least. And the overall tone of that chorus couldn't be further from the original's minimal funk, sharing more in common with trying to survive the playground of a Leatherface or Jigsaw Killer-type onslaught; intense, crazed, and frightening. Fearing moments where it could slip into campy aggression, Gutlocker keep the bulldozer in high gear, leading to an endlessly satisfying solo bassline, the quieter spoken word beneath somehow unnervingly more sinister than the imposing screams already experienced, left to grind away the glimpse of an escape before certain doom encroaches on us all. Doom it certainly becomes, in which slowing the chorus groove down invokes the spirit of Sabbath, yet the climax teters more on the side of a forceful pummeling, than chatting with the Grim Reefer.
If a record label sat down with Randy Blythe and Dimebag Darrell to ask them to tackle famous soundtracks from the late 90's, this could've been the result. Gutlocker's take on Deeper Underground is inspired, befitting of their energetic, often seismic presence, and at the expense of some brawn, amp up the atmosphere to morph a record-selling series of catchy hooks, into a horror fetishist's album collection. Side by side, their frankly hilarious music video with Outright Resistance's Michael 'Grandad' Worsley stealing the show as… uh… Godzilla, shows that there is humanity and humor in their craft, no matter how dark or deep into the abyss of the soul Gutlocker are willing to dive inside.
Deeper Underground is out now on your favourite streaming services and all respectable music retailers. Their previous EP Cry Havoc! and all of their merchandise can be obtained via their Bandcamp. Gutlocker are stalwarts of the UK metal scene and tour regularly so keep an eye closely on their social media for upcoming dates, or bring them to you if you're that way inclined.
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Tagged 2019, Gutlocker, Independent, Metal, Music, New Music, Sludge, The Soundshark, Track Of The Week, UK, Under The Radar, Underground, Unsigned, Woking
March 27, 2019 by The Soundshark
The Soundshark Meets… Luke Gower of Cog
If you're familiar with Dingwalls, then you'll know how inconspicuous the place is, that you'll easily blink and miss it. The same could've been said for Australian underground rock icons Cog who performed their only two UK dates over a decade ago. It was like a once in a lifetime celestial event. After reforming in 2016 however, they head out on their first ever European tour in their 20+ year career, co-headlining with fellow stalwarts Sleepmakeswaves, and Luke very generously took the time to sit down on a mild March evening atop Dingwalls' terrace to talk about Cog's past, their present, and their future:
On behalf of your UK fanbase, I want to say welcome back after 11 years of being away. Just from the limited time you've been here, has your experience been any different from the last time you were in the UK, compared to a decade ago?
Luke: Yeah, for sure, the last time we were kind of tagged on to do the shows with [NZ band] Shihad. It was very quick, in-and-out type of vibe, but this time, obviously there's four more countries involved. As far as the UK goes, we gave ourselves a little more time before we started with these shows, to give us a bit more of a chance to have a look around, and I'm loving it, especially this area in Camden. I feel like I could stay here for a while. It's very bustling, very multi-cultural, very happening, and it's a pleasure to be here. Last time, we didn't get that much of a look around, we did the sights, but this time it's a bit more cruisey and we're a bit more wiser, eleven years wiser [laughs].
I'm not sure if you recall, but you also played a festival, Guilfest…
Luke: Yes! Is that still going?
It went under new management a little while ago and under the new name Always The Sun Festival.
Luke: I remember an inflatable stage of sorts, or an inflatable something on the side, and I remember we went after or before, was it the Bay City Rollers?
[Editor's note: They did indeed play before the Bay City Rollers.]
Luke: My brother was only here for two days, I was only here for three days but it was a bit of a blur. I do remember having technical difficulties at Shepherd's Bush, but a great crowd and an awesome venue, I remember the venue very well. I don't remember too much of the festival, other than we got there, we banged it out and got on a bus to go to the airport.
Despite being the short in-and-out trip, would you say it holds a place in your heart being among your first international shows?
Luke: Even though we're only playing two shows over here again, we were definitely looking forward to coming back to England, because culturally, so much good music and so many good bands and people that I've listened to growing up come from this area or these areas in England. You know, as a muso, you just want to get a sense of what it was like for those bands at the time. I think you can relate to it in certain ways, but you're talking about bands that I idolised. I'd definitely like to come back and play more shows.
Credit: Moshcam
Just to use a parallel to this, a band I'm sure you're familiar with, Mammal, their first international shows were in the UK, around four or five dates or so if I recall correctly. What does it mean for Australian bands to come over and play in the UK? Is there any special meaning attached to that?
Luke: I think for them, I think it's one step closer to making themselves more successful and more match-fit so to speak. If you've come over here, that's a big leap for an Australian band. There'll be thousands of Australian bands that never got the chance to come over here for a number of reasons. For us to do it after this amount of time, it's a huge deal for us, it's an opportunity. This could be the difference for us not coming back and spending the rest of our lives playing in our own country, which admittedly is great, but it could also open up the doors to us playing in other places. I think it's kind of a stepping stone as well as a love affair, you wanna come here because so many fucking good bands are from here, and I think the general gist in Australia is that people from all those European countries say 'Oh, you should come to Germany, or the UK, there's so many people that would love your music there.' Australia is a big country but there's really not that many people that live there.
You guys tour extensively and have always toured extensively, what does it mean to you guys to tour so much? What do you get out of touring now as opposed to ten years ago?
Luke: For one, I suppose you get a break from your family life [laughs]. The last ten years for me, there's been three kids, it's a completely different life I lead these days than I did ten years ago. [Touring]'s food for your soul. I feel very fortunate that I can work five days a week at home as a carpenter but then I can play shows and tour. I build houses for a living, that's something I've always wanted to do even as an eighteen year old when I left school, that was the crossroads for me. I was working as a carpenter but I couldn't manage to do Cog and carpentry. Cog was moving at a rapid rate then, I was investing my whole heart and soul into that project, I had to make a decision and so I chose the music. I feel lucky that I'm now able to do both things. I still think I've got something to offer musically, I still think people enjoy coming to watch us play and it's just been such a massive part of my life, about half of my life playing music. I feel the same about it as I did twenty years ago to be honest. I get up there and go into my own little world, and I love that feeling, trying to capture that magic, with my brother and Lucius. If you're not feeling nervous or getting butterflies before a show or getting excited to play to about ten people, then you should probably fucking stop doing it.
Absolutely, your heart has to be in it, and if you're doing it solely for the money then you're doing it for completely the wrong reasons.
Luke: See, that's the funny thing, if you get to the stage where your band does reach a level of success where you don't have to work, you are doing it for the money, you know what I mean? Then you throw in responsibilities like children and paying bills, it's up to you to maintain that kind of level of drive and motivation. I find it weird when people say that, 'I'm not doing it for the money, I'm doing it for the love,' but they have to do it for the money if that's what's putting clothes on their back and food on the table. It's a double-edged sword. For years I used to say I do it for the love, and I do, but when it reached that point for us, where I stopped working and I was paying myself a wage from the band, it was the fucking greatest day of my life. In saying that, that's also the day I realised, hang on, I'm not only doing it for the love, I am actually doing it for the money because I need money to live! [laughs]
So you're on tour with the fabulous Sleepmakeswaves, if you were to embark on another European tour, who would you like to take along for the ride?
Luke: So many, so many great bands we've played with along the way. I'd really like to take a band from New Zealand called Jakob, another instrumental band. Just different, really, really dynamic, I'd love for them to have that opportunity, I think they have played in the UK before but you couldn't quote me on that [Editor's note: They played the UK in 2004, 2015 and 2016]. It's been 15 years since we've toured with them, we had such a great time with them, good bunch of blokes, and just really enjoyed their music. We've always tried to put together gigs or bills together where, me personally, I don't really like to go and see a gig where there's three bands that sound exactly the same. I think that's too much for the listener, I like it to be different. We've had so many different kind of things in place, like documentaries playing instead of a support band. You could run into trouble or shoot yourself in the foot if you got too diverse I think, but just try and mix it up.
Credit: Mark Stapelberg/Asagai Images
On that subject, just to name a few other bands you've also subsequently toured with, Karnivool and Dead Letter Circus for example, when you guys reformed in 2016, those bands rejoiced and consistently sung your praises on social media at the news. What does it mean to you to be held in such high regard by bands you could consider your peers, and your friends and fellow countrymen?
Luke: It's great, it feels very humbling. We were all doing a similar thing at a similar time, we're all happy for each other, and that we're all still going and still making music, and still enjoying it. I think there's a genuine feeling that we all want each other to succeed and do the best we can. [Karnivool and Dead Letter Circus] seemed to have had more opportunities or they've created more opportunities, however it's worked for themselves, to get over to places like Europe and India and America, where we had a bit of a funny run in terms of management and record labels. We probably made some foolish decisions or were just naïve, it just didn't pan out that way for us. I speak to those guys on a regular basis, I go and watch them play nearly every time they're in town or in the city. I go to their weddings, my children play with their children, our crew does stuff with those bands and vice versa. It's become more of a family. It was a really, really exciting time for a young person, when I was touring around with those bands hardcore, in the early days, it was fucking great. There was a sense of what we were creating, this thing in Australia that no other musos were doing, we could change the world! [laughs] For a young country, it's like a massive melting pot, and I think a lot of Australian bands strive to not sound like other bands, the good ones anyway. If you really break Cog down, there's influences from reggae, from blues, stoner rock to metal, Jeff Buckley, there's even dance music in there.
So to talk about a new album, it would be the first album in over ten years for you guys. You mentioned before that you've written new material but also brought back some old material that didn't fit with Sharing Space, would you say that what you have so far is predominantly more new material or revisiting old music you wrote?
Luke: I would say 90% new. So [Altered States] was a track we'd already recorded, we had oodles of material from back then and after we came back from the hiatus, there were still things we worked on up until we disbanded, that we thought were too good just to throw away. We did also want to experiment with where we were mentally, our tastes had probably changed in over ten years as they do, and more excited to explore a bit more of that space. We've got so much material, I couldn't even begin to tell you. We dumped everything onto a computer about six months ago now, and got brutal with it. There was so much stuff and we just needed to be honest with each other, so if one person didn't like it, it could be a riff, it could be a beat, it could be a vocal idea or a melody, it got canned. The Police did a similar thing where they jammed on something for fifteen minutes, and if it wasn't a song by fifteen minutes, they'd throw it in the bin. We're not that brutal, but we got about half way going through everything and we all agreed to work on one thing, which ended up becoming The Middle.
In terms of an album, I'd love to say we'd have something out by the end of the year, but I just don't think it's a reality for us for so many reasons. Money being one, and also time. Flynn's got his own business, I'm a carpenter as I've said, and Lucius is doing his other things. I feel like I've got ten fires burning around me, and all I'm doing is throwing more wood on each fire to keep them burning, and while I love the idea of recording an album, it seems the music industry and the way people buy music and listen to music is moving in a different direction. It's not like it used to be, people hear a song, they buy the song. I love physical music, you'd have to wait for the album to come out, and go out and buy the album physically, and I love that. I've never downloaded any music in my entire life, I've stayed away from social media, I've accepted it, but I prefer to live my life and not have to tell everyone what I'm doing. I hardly have enough time to live it, let alone tell everyone about it! [laughs] Anyway, at the moment we've got our own studio now, we've built it, Lucius has moved up to where me and Flynn are living, and we're happy going in and working on a song, and like Cog's always done, it takes forever to work on a song, and if we don't think it's ready, we won't give it to anyone. When it's ready, it's ready. We're not a band that writes 20 songs and releases 10, we're a band that writes 10 songs and releases 10 songs.
My last question then, with the commodity of downloading and streaming, when you released Sharing Space, the download and streaming industry was very much in its infancy, if you were to release a third album, how would you release it?
Luke: We would do it independently. I'm not sure how we'd do it, but I'd just like to do it out of our garage. Like ,'This is it, if you want it, come and get it from us'. It's going to end up out there, someone's going to put it up there and everyone's going to get it for free anyway, but I would like to print physical copies and CDs, and that's how you get it. I just think bands get ripped off for putting so much into an album, and getting no fucking financial gain from any of that. How is it any different from an artist painting a picture, and selling the picture? It's a bit disheartening, but I guess the upside from putting music online is that anyone in the world can find it and listen to it. It's a tough one, but now the only means for a band now to survive is through live shows and their merchandise. You can sell a million copies of your album and get fuck all for it, and I don't see it as very fair to the artist.
You do also have bands that have made a relatively good living without having a record label too.
Luke: Are they necessary? [Record labels] have their pros and cons, they obviously have fingers in reach of all aspects, like your marketing and your publishing. If you're Joe Blow off the street and you try to walk in, that's a lot of phone calls, and there's a lot of not what you know, who you know, in that industry. A very good pro from a record label's perspective is that they have that sussed and they have the infrastructure already in place. I think at the end of the day, if you've got something good and you're 100% behind it and you fully believe in what you're doing, if you build it, they will come.
Luke, it's been an absolute pleasure to talk you, thank you.
A big, big thank you to Matthew 'Yogi' Donnan and Volume Touring, and of course to Luke Gower and Cog, for making this happen.
All of Cog's newest music has been released independently on their Bandcamp page, whereas their merchandise and some previous music can be obtained on their BigCartel.
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Tagged 2019, Australia, Cog, Independent, Interview, Luke Gower, Music, New South Wales, Progressive, Progressive Rock, Rock, The Soundshark, The Soundshark Meets..., Under The Radar, Unsigned
February 18, 2019 by The Soundshark
Introducing: 00000000
Building intrigue around a band or an artist certainly has become an artform nowadays, with more and more meticulously planned attempts sought after to challenge tried and tested marketing campaigns and traditions. A highly effective method to increase 'buzz' around a band is to strive for as an anonymous presence as possible and let the music do the talking. What can make a difference is how far musicians are really willing to push that boundary. We can talk about groups like Sleep Token, and until recently Ghost, who have formed their identity with a grand narrative to accompany their music, and it kept us guessing who were the musicians behind the masks, while marvelling at the work laid before us. 00000000 might be taking it that extra step further.
At face value, 00000000 is fast muted alternated strumming in guitar tablature, means nothing in binary, the precise time at the strike of midnight, and the number of life points both players would have left in a game of Yu-Gi-Oh, if both players drew the game. Or four fat ladies if you put all the zeroes together, if bingo is your bag. Their members have no publicised names or pseudonyms, music no defined genre traits and their public bio is illustrated by an excerpt from the dialogue of David disconnecting HAL in 2001: A Space Odyssey. Their shows are only identified by a date and a postcode, which is a neat little detail in locating them, but any other detail about said shows are extracts from science fiction, cinema, and philosophers. The breadcrumbs are apparent, but seem to follow no clear cognitive fashion, and as such, if the band truly wished to keep themselves under wraps, their mission is succeeding.
Thankfully, the question about what kind of musical calibre dwells inside the mystery is one that is answered, upon the release of the group's Star Lane / Star City EP. With the four tracks, including a similarly urgent interpretation of Radiohead's Everything In Its Right Place, the members of 00000000 perform, in the loosest sense, an engulfing brand of shoegaze-tinged indie rock, which can explode into heady periods of overwhelmingly emotional noise, almost as if Arcade Fire and Brand New started butting heads with one another. Constellations swirls with a sense of melancholy cheer, desperate wails and incandescent guitar, pit against rapid ticking of hi-hat and sombre piano, both skins and keys later pounded in unison, as its crescendo draws nearer. Once at its apex, that intensity never lets off, captivating as it is clamorous. As gateways go, this is an exceptional vantage point into what this group are capable of. Explore, though the shortest affair featured, begins in a jazz-like time signature, the offbeat cymbal taps and trio of snare hits offset by an almost Eastern-sounding chord progression and is arguably less excitable vocally, despite retaining much of that fervour felt before. If anything, it says something about their versatility, still being able to grasp at their vast sonic capacity in half the space of time, but also teasing glimpses of post-rock influences, a tremolo or two tucked inside, another tool to deploy if required. Lastly, Acid Burn tinkers with delay and darkened spoken word, post-punk, almost gothic-like in nature, which metamorphoses into sharp streaks of lead guitar and the kind of anguished vocals that sparks that Brand New comparison, back into shadow with just the prominent grumbles of bass for company. Cleverly, that spike in volume no doubt resembles the focal acid burn, at first unsuspecting, then becoming fiery, and distressing, until either treated or the damage is done, transitioning back to the quieter dynamic afterward.
All this adds up to the revelation, is that 00000000 are envoys of rejecting commodity, defying the throwaway tendency of music in the digital age, by tactically giving a willing audience both musical style and substance, in a frankly inexpressible hurricane of aural flavours that engages your brain, as well as exhilarates it.
All known information about this group can be traced back here if you wish to know more:
http://www.facebook.com/00000000music
http://www.00000000music.com
And if you enjoy what information is discovered about artists, bands, and groups you may not know much about, consider leaving a like, a follow, or subscribe to the site, free of charge:
Posted in For Your Listening Pleasure
Tagged 00000000, Alternative, Independent, Indie Rock, London, Music, New Music, Noise Rock, The Soundshark, Under The Radar, Underground, United Kingdom, Unsigned
20 Bands And Artists With New Music in 2019 You Should Keep An Eye On
By now, the hangover of 2018 should have long subsided, and 2019 should now begin to be as familiar to everyone as much as your work colleagues, classmates, or friends you go clubbing with, are. We've conversed, debated and voiced our collective opinions on what the best of the best of 2018 was, and ahead, we look into the eyes of 2019 longingly, yearning for continued musical excellence as this decade draws to a climax. So bearing that in mind, the site has put together 20 bands and artists bearing a variety of new musical fruit in 2019, that you should absolutely sample, and hopefully savour and find immense pleasure from.
Posted in For Your Listening Pleasure, List-O-Rama!
Tagged 2019, A Swarm Of The Sun, Alternative, Ambient, Amogh Symphony, Australia, Avant Garde, Belgium, Car Astor, Dead Animal Assembly Plant, Denmark, Djerv, Electronic, Experimental, Funk, Gabriel And The Apocalypse, Grime, Grunge, Hardcore, Heavens Blade, Hip-Hop, Independent, India, Indie Rock, Industrial, Instrumental, International Diamond Thieves, Kanga, Mammal, Metal, Moderns, Multiple Man, Music, New Music, New Wave, Norway, Post Rock, Post-Punk, Progressive, Punk, Raveyards, Rock, Rosy Finch, Silk Road Assassins, Sleep Token, Slime City, Spain, Stoner Rock, Sumer, Synth Pop, The Final Clause Of Tacticus, The Foreign Resort, The Soundshark, Under The Radar, Underground, United Kingdom, Unsigned, USA
January 29, 2019 by The Soundshark
Track of the Week: Drip Fed Empire – Mk3
Out of many of the UK's numerous cities, Bristol has always seemed the crux of a cultural zeitgeist, especially when it focuses on the world of music. Without needing to retread too much ground, it's been richly documented how influential the city has been in electronic music, giving the world both trip-hop and drum and bass, the latter of which is still thriving within the city to this day. Yet as forward-thinking and exceptionally acclaimed its producers and electronic maestros are, the city seems to have struggled to create breakout metal, or dare I say it, even rock bands throughout the decades. Idles are now a household name with their BRITs nod, so they can assertively chalk one up on the tally, and Valis Ablaze recognisable thanks to ventures overseas, but other than perhaps Onslaught, Turbowolf or Vice Squad, among the famed names of this fine city's musical alumni, guitars look like they went out of fashion at the turn of the millennium. Lying in wait however, cloaked deep within Bristol's impossibly diverse sonic underground, is a band that pays homage to its criminally overlooked punk heritage, embraces its obsession with boundary-shattering electronics, and represents the city's colours for metal on the national stage. That band is Drip Fed Empire.
They might not be the first band to smash a myriad of electronic genres together with metal, but they might be the most visceral one active. Alluding to the dystopian universe they create their music inside, even at first glance, Drip-Fed Empire is a petrifyingly close-to-home namesake to what our future could hold, should we continue our annihilation of Earth's resources, or even a sly acknowledgement to the UK's past atrocities, infamously grappling with its numerous colonies and infrastructures. Irrespective of past or future tense, the present is what dimension this new wave of crossover aggression dwells within, and presently sit the third iteration of this group since their inception in early 2015. And what better way to introduce the world to a third strike of metal-charged mayhem, than Smile You're On CCTV's opener Mk3.
The chimes of a bell, brought to life through synth, melodic yet foreboding, ease listeners in, but that ease is merely fleeting in an anthem that sounds like it's set about triggering the apocalypse. What equates in atmosphere to a rush of wind, bubbles beneath the surface before being pitch-bent upwards and gathering magnitude at such a pace, that the resulting drop is absolutely startling. A monstrous bassline rips through the fabric of space and time, the sheer ferocity of this shockwave playing perfect host to the chaos and intensity to follow. A guttural bark spews forth, briefly transitioning into a blood-curdling scream, then back to its marginally restrained capacity, almost as if briefly escaping the chains of its handler. The bassline thrashes and snarls underneath it, with the mechanical precision of hard but pristine kick and snare rocketing Mk3 along, and a squelchy, near extraterrestrial variant on the opening bells providing one of the best earworms you'll hear all year, while paying tribute to the jump-up generation of drum and bass. The bass is silenced, opening the floor for sporadic but focused guitar, interspersed with heavily distorted record scratches, contrasting with the continual barking, and drums that here present a little more finesse than the standard 170bpm backbone of kick and snare. That now familiar bassline eruption returns, and once again we dash into the conflagration, the unbridled energy of this track is capable of producing. And that's only in the first minute and a half. In the remaining three minutes, you get three seperate breakdowns: one in which the guitar brings forth a little virtuosity of its own, a second in which the extraterrestrial synth hook goes haywire and on a rampage, in a burst of pure joyous jump-up bedlam that would make competent DnB producers blush, and the final, shifting the gear into a violent, half-time behemoth of a breakdown, exhibiting the true wrath and incendiary nature of the group, and its instrumental arsenal.
It bears repeating; Drip Fed Empire are certifiably a band with endless potential, with their amalgamation of bass, beats, and beatdowns, with a touch of their own vitriolic flair, forming some of the most electrifying songwriting the world has yet to latch onto. Remember this name, this band is going to be special. Bristol has even more to be proud of in these gentlemen.
These gentlemen are on tour from April onwards so if you wish to see them, make sure you check they're near you soon, or contact your local promoter to bring them to a venue near you. Smile You're On CCTV is out now on all respectable online music retailers and their discography is also available on Bandcamp. You can also pick up merch from their Big Cartel site too.
Join the legion of their soldiers here:
http://www.facebook.com/DripFedEmpire
http://www.twitter.com/DripFedEmpire
And if you wish to join the legion that discovers brand new music for your eardrums, you can do so with a like, a follow, or by subscribing to the site, for absolutely free.
Tagged 2019, Bristol, Drip Fed Empire, Electronic, Independent, Metal, Music, The Soundshark, Track Of The Week, UK, Under The Radar, Underground, Unsigned
The Soundshark Meets… Mr.Kitty
Live Bite – Johnny Deathshadow/Spectral Darkwave/Lady Rage/Prescription Happiness – The Unicorn, 28/10/19
Live Bite – Kowloon Walled City/Town Portal/Wren/Mother – The Underworld, 19/07/19
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Beef up your weeknight menu with this hearty casserole. Perfect for cold winter nights.
Heat 1 tablespoon oil in a large saucepan over high heat. Cook beef, in 4 batches, stirring, until browned. Transfer to a plate.
Reduce heat to medium. Add remaining oil, onions, leeks, garlic, celery and carrots to pan. Cook, stirring often, for 5 minutes.
Return beef to pan with tomatoes, wine and stock. Bring to the boil. Reduce heat to low and simmer, covered, for 1 hour. Uncover and simmer gently, stirring occasionally, for 30 minutes or until beef is tender.
Divide half the casserole between 4 plates. Serve with mashed potato or bread, sprinkled with parsley leaves. Set aside remaining casserole for High Pie (see notes).
Leftovers: Allow reserved casserole to cool. Keep in an airtight container in the fridge for up to 3 days or freeze for up to 3 months.


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I've been struggling with getting LightDM to start consistently on my diskless nodes. The problem only happens when the root is mounted over NBD; I can mount the NBD image as a loop device on the server, export the mountpoint over NFS and boot with an NFS root and it works fine. The NBD server does allow for copy-on-write and this functionality works fine. Using a command like # startx brings up the X server with full functionality. The logs don't have a whole lot of interesting messages, but there's got to be something - maybe someone here has an idea. Pertinent logs are seen at http://bpaste.net/show/422671/ .
EDIT: Here's (http://bpaste.net/show/422771/ ) what a successful LightDM startup looks like. I got these logs from mounting the NBD as loopback, exporting the mount and mounting the root with NFS. I notice that the first divergence in lightdm.log is at line 53 in the pasted file: the failed instance catches signal 15 from the LightDM process itself, while the successful instance terminates a session. Ok, so why did the LightDM process SIGTERM iteself?