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/Countdown/2021/Tracks
Posted on December 7, 2021 February 26, 2022 By adam
Continuing the amodelofcontrol.com review of 2021, which this week turns attention to the best tracks of the year. Next week will be the wrap of the best albums of 2021.
/Playlists /Spotify / /YouTube
/Countdown/2021 /30-Nov/Comps & Reissues /07-Dec/Tracks /14-Dec/Albums
/Countdown/Tracks/History
/2021/ACTORS/Killing Time (Is Over)
/2020/seeming/End Studies
/2019/SCALPING/Ruptured
/2018/IDLES/Television
/2017/Zola Jesus/Siphon
/2016/School of Seven Bells/Signals
/2015/CHVRCHES/Playing Dead
/2014/seeming/The Burial
/2013/Seabound/Nothing But Love
/2012/Death Grips/Hacker
/2011/Frank Turner/One Foot Before The Other
/2010/In Strict Confidence/Silver Bullets
/2009/Yeah Yeah Yeahs/Zero
/2008/Mind.in.a.box/What Used To Be (Short Storm)
/2007/Prometheus Burning/Battery Drain
/2006: No tracks of the year list
/2005/Grendel/Soilbleed / Rotersand/Exterminate Annihilate Destroy
The tracks of the year post is often the hardest to collate and write. It is perhaps because I have so much choice – even from just the /Tracks of the Month posts in my /Tuesday Ten series this year, I had 113 tracks to choose from (needless to say, it's not unusual for me to be writing about more than ten tracks each month!), and it's also not unusual for a few more to pop into consideration in one way or another. For example, the release list file that I keep recorded 286 relevant releases to consider. In other words, there's been a whole lot of new music this year.
Like 2020, too, at least in terms of my musical consumption, I have once again listened to an enormous amount of music. Even just going by my Last.fm stats, I've listened to over 14,000 songs during the "qualifying" period for this list. Working from home, for the most part, helps – music has long soundtracked my working day when I'm not on calls – but it has also helped me get through the more monotonous moments of this year. I've also continued DJing (in livestream form!), although that waned in the second half of the year as I, never mind my listeners, got something of streaming fatigue – but it did continue to widen the reach of what I might write about this year. Once again there is less of an emphasis on industrial music, but perhaps a bit more than last year.
Once again there is no gig round-up this year. The continued lockdown and swathe of rescheduled shows (I've already got six in the diary for 2022, as well as one more next week in 2021) has meant I will have attended just four live shows in 2021 – the least since I started gigging, I reckon. So it'll just be three posts this year (and they've taken me long enough to write). A note, too, on "eligibility" for this list. If the song was released between 01-Dec 2019 and 30-Nov 2020 or featured on an album of new material in that same timeframe, it counts.
I run /amodelofcontrol.com as what might be called a "labour of love". I've written about music for twenty-four years, seventeen of those years under this website banner, and I continue to want to celebrate all that is great about this corner of the musical realm. So this site continues to exist – with no external funding and no paid-for advertising – and I will continue to do so as long as I want to do it, and as long as people want to read it.
So thanks for reading, contributing, offering comments, or being one of those people that makes the music I want to write about. Who the fuck knows what's to come in 2022.
My Spotify playlist was built initially by using my friend Dylan Beattie's excellent utility.
/50-/41 – /40-/31 – /30-/21 – /20-/11 – /10-/01
/Eximperitus
/(Eximperituserqethhzebibšiptugakkathšulweliarzaxułum)
/Utpāda
/Šahrartu
For a start, Eximperitus (no, I'm not writing their full name every time) have hit the jackpot with their gloriously ridiculous band name. I mean, we're all going to remember them, right? We should be remembering them for how these Belarusian metallers sound, too. Ridiculously fast and heavy tech-death that sounds like it is ready to swallow you whole into the abyss, this is the best track on the album that chugs, grinds and roars like the best of them, and for those double-bass kicks through the entire seven minutes, their drummer should be showered in awards. Solid stuff.
/AUTARKH
/Turbulence
/Form In Motion
Formed by some ex-members of DODECAHEDRON, this Dutch outfit take the electronic elements even further, with little of the percussion work done by humans, and the resulting release is a heavy, mechanised piece of work that didn't always fully work. The lengthy Turbulence, though, raises from the electronic wreckage of the short intro track into a pummelling industrial black metal piece, with blast beats faster than most human drummers would be able to deliver, and enough dynamic shifts and instrumental elements to impress as the band chug through. Now they've made their opening statement, they could well be one to watch if they can refine some of their sound.
/The Colour Fades
/Our Ascension
/Self Sabotage EP
Lockdown has had one benefit for many musicians: time. It has allowed quite a number of artists to explore ideas that they've maybe never really had the chance to before, and the result has been a multitude of solo and side projects. One particular project that intrigued me has been The Colour Fades, the work of Daevid Jael (otherwise known for their work in Rome Burns and Quasimodo). I've known Daevid for many years, and their love of shoegaze as much as goth shines through in this project. Doomy basslines – and programmed drums – point to the goth side, but the treated, shimmering guitar(s) (and is that a tremolo I hear?) gives a lovely, shoegaze feel to the track, and Daevid's vocals are rich and warm. I want to hear more of this.
/KAUAN
/Raivo
/Ice Fleet
Post-metal can sometimes fall into the trap of well, sounding all a bit the same. So props to Russian band KAUAN, whose excellent new album this year even linked into an RPG game and story around an abandoned fleet of ships in the ice (so far, so The Terror). This was the pick of the tracks on the album, and something of the unsettling isolation out on the ice does filter through, the minor tones of the track making for a lonely, sad feel to the entire track, especially as the main guitar melody feels so…crestfallen. At least until the meat of the track crashes in, all peaks like the crashing of the waves, and a forlorn voice howling over the screaming winds.
/Throat
/Shots
/Smile Less
Finnish band THROAT came back raging this year, their ostensibly noise-rock sound augmented by brutal blasts of noise and other experimentation, but they were at their best sticking to basics, like on this rampaging beast of a track, that made me want to get up and punch the walls. Everything about this track is designed for maximum impact, those thunderous drums in particular, but also the squalling guitars and the bellowed vocals. There is something of a reminder of Icelandic nutcases Mínus in their noisy days, too, which is no bad thing.
/Lycia
/Except
/Casa Luna
US darkwave icons LYCIA have never really been away over their thirty-plus year career, but it is true that they've regained some of their prior importance in the scene, perhaps. As well as a gorgeous reissue of the landmark Cold this year (which turned twenty-five years old!), they have continued looking forward with new material and continuing too to explore different facets of their sound. The EP they released this year, Casa Luna ("Moon House") has an after-dark, mellow feel to it. Except sounds like a goth-dancefloor hit where the extremes were rubbed away – and is interestingly a re-recording of a previously discarded 1989 (!) demo, leaving a soothing, gentle post-punk sound with an equally swooning vocal from Mike VanPortfleet. Still relevant, still brilliant.
/Dot Allison
/Long Exposure
/Heart-Shaped Scars
Dot Allison was once the frontperson of a Scottish group expected to make it big – One Dove. A fascinating what-might-have-been, their glorious, dreamy ambient-dub-pop managed one album in 1993 after a brace of exceptional singles, and even that was subject to label interference, and Allison struck out as a solo artist later in the nineties and onward. Never one to stand still, she explored a number of styles, but after the end of the 2000s, there was effective silence. It turns out that Allison was raising a family out of the glare of publicity, and her new album was a delicate album of pastoral folk. The gorgeous opening track and single, Long Exposure, appears initially to be a sun-dappled folksong until you listen in more detail to the lyrics, where you find that Allison is telling a folk tale of abandonment and the breakdown of love, and suddenly, it all feels deeply sad.
/Alabama 3
/Whacked
/Step 13
For their first new material since the untimely death of The Very Reverend Dr. D. Wayne Love, Alabama 3 just wanted to get caned. An upbeat, entertaining song that unusually for A3, cut back on the acid country and just stuck with the techno(pop), celebrates the human ability to use some substance or another to help them get them through the day, and it works partly as a character sketch as Larry Love observes those getting by around him, and partly as a celebration of the band getting stoned out of their minds. Crucially, though, it's basically a surprisingly feelgood track, with euphoric backing vocals and a big, catchy chorus – although with the subject matter and the puritanical nature of just about everything these days, it's perhaps understandable this didn't get too much mainstream airplay…
/Tombstones In Their Eyes
/Quarantine Blues
/Looking for A Light
A band that I would have missed entirely were it not for an unexpected promo invitation, and it was a well-directed contact, too, as this kind of sound is right up my street. Dusty, shoegazey psych-rock from Los Angeles that has a blissed-out, sun-drenched feel to it, something in my mind suggests that it should all be a cliched mess, but it really doesn't work out like that. The droning fuzz of the basslines provide the momentum, the vocals are laid back, even the fact that in these (continuing) times of COVID that it's called Quarantine Blues doesn't annoy me as it should. A glorious, elegant song.
/THE LSD
/The Fall
With Jeremy Inkel having passed, frankly, I was surprised to find that Left Spine Down (now known as The LSD in the main) resurrected at all, but then, maybe it's a nice tribute to him. Especially when the first new tracks back are shit-kicking cyber-industrial-punk, with the right level of glitch and grime, and a bruising guitar sound that rips through the groove. Kaine Delay drops into the background a bit, but with musical backing as fucking great as this, who wouldn't be overshadowed just a little?
/Ungraven
/Defeat The Object
/Ungraven / Slomatics Split
Five minutes of doomy metal sludge almost entirely made of Riffs, hearing this for the first time earlier in the year was one of the reasons I had resurrected /Stormblast for: playing new extreme metal of almost all forms, and getting excited by new music in the realms again. Ungraven delivers on all fronts. This track is furiously heavy, slow-paced nastiness, with the best metal riffs I heard all year and a boot-on-face heaviness that just keeps delivering in the way that Electric Wizard used to be untouchable at. As always with this kind of metal, volume is key: turn that dial to eleven and stick your head between the speakers. You won't regret the aural battering you get.
/Front Line Assembly
/Unknown
/Mechanical Soul
While it was by no means as lacklustre as Wake Up The Coma, there was still a sense of disappointment and, maybe, treading water by Front Line Assembly on Mechanical Soul – something made especially frustrating when it turned out that the first new Noise Unit album in ages was so much better. Still, there were moments on this album that felt like vintage FLA, and Unknown was one. Great programming and a solid, cyberpunk feel to the lyrics fed into a stomping, massive electro-industrial chorus that I really can't wait to hear live, one day.
/Noisome
/Darkest Days
/Darkest Days EP
The ever-fertile ground that is the scene that revolves around Drøne in Manchester has revealed another few great artists this year, and Noisome – a project by an ex-member of noise terrorists Kollaps – takes a similarly harsh approach to their work in their former band. Metallic, sharpened drum patterns stomp out of the speakers, complete with an ominous ambience, vocal samples and a general sense of industrial terror, only exacerbated by the distorted voice of New Zealand PM Jacinda Ardern responding to the Christchurch Shootings, which get multitracked before getting lost in a brutal rhythmic assault. This is top-quality industrial noise, and I'm here for more of this.
/Gift of Blindness
/Hide
/The Lake
This remarkable track – and notably, even at fourteen minutes long is only the third longest track featuring in this list – comes from the work of one person, Umair Chaudhry, who is Gift of Blindness. An Oxford-based studio engineer with a history in various other bands too, it's obvious from just this titanic track that his musical interests stretch way further than just post-metal. Large sections of this track are ominous, picked-guitar ambience, giving a nervous feel as you wait for the noise to come crashing back through, leaving the wall-smashing heaviness to be used sparingly and to devastating effect.
/Pixel Grip
/ALPHAPUSSY
/ARENA
The thrilling pulse of this track hooked me immediately, even before I listened a little closer to the lyrics. Pixel Grip is a trio from the Chicago underground, whose work takes in industrial, minimal synth and the sweaty throb of club-bound Techno. But as well as that, there is also a politic to their sound, especially in this exceptional song, where vocalist Rita Lukea claps back against those who use "pussy" as a pejorative, weak term, instead celebrating the word and using it as a definition of power. Their music, too, has similar power and is one to celebrate in every way.
/LEATHERS
/Reckless
/Reckless EP
In between her work in ACTORS (and her dayjob), Shannon Hemmett has her own project under the name LEATHERS, and after a handful of demos, the first LEATHERS EP finally broke cover in 2021, and the wait was worth it. Sleek, neon-drenched minimal synthpop is the style here – and interestingly there are links to her contributions to ACTORS, too. But here, it's entirely synths and vocals, and there is an intriguing, laid-back style to it, with smooth rhythms and lush vocals, and a general sense of deliberately holding things back a bit – a classic case of less is more, and it very much works brilliantly.
/St. Vincent
/Pay Your Way In Pain
Annie Clark has been one of the most fascinating artists in music over the past decade, her forays into different styles showing a chameleon-like ability to adapt and change, but sadly Daddy's Home felt like a step too far. Apparently inspired by the release of her father from prison (involved in what might be called "White collar crime", as I recall), that inspiration seemed to blind Clark to the fact that most of the music she was creating was a frustrating 70s pastiche at best. What makes it all the more infuriating is that the first single, Pay Your Way In Pain, pointed toward something so much better. Prince-esque lounge-funk and Young Americans-era Bowie plastic soul are the main two reference points here, as Clark's voice drips with seduction and glee through the song. Sadly, though, these three glorious minutes were better and more interesting than the rest of the album as a whole.
/V▲LH▲LL
/Eversleep
/Neversleep
The path taken by V▲LH▲LL since their early releases has, perhaps, been a very different one to what some of us might have expected. Having shed their anonymity, they've steadily stripped back the vocal treatments, too, to begin making much more human-sounding music – in their early days, they barely sounded human whatsoever (indeed they sounded terrifying at their best). Unexpectedly, their current style still suits them well, as while the vocals are sweeter and very much more discernable, the music itself remains creepy and just plain strange. Eversleep has high-pitched synths, and even drum patterns that move above a walking-pace tempo, injecting an urgency that, to be charitable, this Witch House-originating duo has never really felt the need to have in the past. This road they are travelling on remains one to follow, but best check out of the window to see where we are, just in case.
/Pupil Slicer
/Stabbing Spiders
/Mirrors
The shortest track to feature in this year's list is just forty-seven seconds long, and they pack a lot in during that time – as this young band demonstrates their grindcore influence neatly. As befits a track this short, it blasts through, heralded by a guitar sound like a fucking air-raid siren, as vocalist Katie delivers a shrieked, chaotic vocal of mental collapse as she and her bandmates ebb and flow through the vicious climax and deep, heavy breakdowns without taking a breath. A mental note to see this band live in 2022.
/ESA
/I Detach
/I Detach EP
We know what to expect from Jamie Blacker these days, and yet he still impresses, has never rested on his laurels. This quite brilliant single earlier in 2021 was another example of this, a song that had a beat that didn't quite sound…right. There's something being distorted and twisted on the fringes of it, that adds to the intrigue, while Blacker's vocals have a disassociative feel, the matter of fact delivery upfront, and a raging one in the background. Then there's the odd, jazz/swing samples in the breakdowns, not to mention the extraordinary video…
/Årabrot
/The World Must Be Destroyed
/The World Must Be Destroyed EP
One of the surprise highlights – at least to me – of 10 Years of Chaos before lockdown, in early 2020, was Norwegian duo Årabrot, who did two sets, one of deep, immersive ambience, and the other of enthralling stripped back rock. One of the first tracks released by the band subsequently, on an EP early in 2021, was this fantastic track. It seemed to cross the worlds of groovy garage rock and dank No Wave, and in subject terms, comes from an EP inspired by Antonin Artaud's 'biography' of child emperor Heliogabalus, who ruled for just four extraordinary, scandal-filled years (even by the standards of Roman rulers). This song drips with disdain and a sparkle in the eyes, as if the duo know the time of this song has come…as the world is ravaged by a pandemic, and they are retelling tales of leaders who partied and enriched themselves while the world burned. Funny old world.
/Artillery Nightspace
/Who's Afraid of a Good Time?
/ausgang
LA-based electronic artist Shane Talada has moved on from his work under the names Marching Dynamics and The Operative in recent years, now working under the name Artillery Nightspace, but the concept remains similar. That is noisy and damned loud electronics, digging into dancefloor industrial/techno, rhythmic noise and even at points dub. But as a DJ, Talada remains at his greatest when he is unleashing weapons-grade dancefloor material, and this album peaks with the outstanding who's afraid of a good time?. It near bounces through five minutes of hard-hitting, elastic techno-industrial, it's groovy as sin and fantastic entertainment at home, never mind at club levels of volume.
/Quicksand
/Inversion
/Distant Populations
The first single from what turned out to be the second Quicksand album since their reformation immediately – as soon as those thick riffs kick in – signalled more of a callback to their earlier material, which was fine by me. Apparently a song about emotional distance in an era where we are more connected in other ways than ever, Walter Schreifels delivers a wonderful, melodic vocal to a dense, heavy rhythm, and retains that instantly catchy feel of the best Quicksand material – Quicksand were always so much more than "post-hardcore", willing to explore all kinds of other sounds, and this track reminds me of the outstanding Hum comeback album from last year (it has a similar, shoegaze-influenced density), which is no bad thing at all.
/Tunic
/Exhaling
Apparently, a band formed out of sheer spite after previous projects fell apart, that anger shines through in every single short track that this band release. This, the lead track on a compilation of their previous material as their debut on Artoffact, has guitars that ring like alarm sirens as well as choppy, noisy riffage such that you can almost see the band throwing themselves around the studio as you recorded this. John Lydon once noted "Anger is an energy", and Tunic are a living embodiment of that.
/C R O W N
/Illumination
/The End of All Things
French duo C R O W N blindsided me a bit with this exquisite track – particularly as other tracks on this album turned out to be, shall we say, "well versed" in the sounds of early Misery Loves Co.. Here, though, they dialled back the electronic elements to a wash of synths, as guitars wail like lights across the dark sky, and vocalist Stéphane Azam's rich, deep vocals provide an impressive gravitas to a song that seems steeped in sadness, from the mournful guitar that opens the song alone to the soaring chorus.
/Randolph & Mortimer
/Repent
/Torque Force EP
Released on an excellent split EP with US-based Industrial Techno artist and DJ Andi, this track neatly defines the enormous strides R&M have taken since their early material (collected on an EP released this year, and featured on /Countdown/2021/Compilations and Reissues last week). The palette for much of their work these days is built around club-bound industrial techno bangers, so it is interesting to see the hits dialled down a bit here, as a sleek, powerful rhythm gradually gains in power across the track, a recurring synth hook burrowing into your skull along the way.
/Mogwai
/Drive The Nail
/As The Love Continues
Over their now quarter-of-a-century (!!) career, Mogwai has expanded their sound a long way beyond the initially savage post-rock crescendoes of yore, displaying a delicate touch and mastery of electronic music to find a parallel career as in-demand soundtrack artists. But, every album still draws them back to the odd stab at that slow build and overwhelming release that is always so thrilling (and utterly deafening!) live, and in some respects, it should be celebrated that they are still finding ways to make this concept seem fresh and new. Drive The Nail – all seven minutes of it, a relative pop song length by this band's standards – is that moment here, that stalks quietly for a period, building an atmosphere that you just know, the first time you hear it, is going to explode. And explode it does – repeatedly – as the multiple guitars (and bass) get louder and louder but with an elegant melody, before cutting away into almost nothing, and leaving that usual feeling after listening to Mogwai loudly. A gentle ringing in the ears, the sign of Mogwai doing what they do best.
/FORTÍÐ
/Insignificant is the Wormking's Throne
Ripping blackened metal from Iceland, Einar Eldur Thorberg's band here delivered a ferocious, lengthy assault on the senses that was easily the best thing on the album. Iceland has for some time been one of the more interesting places for new Black Metal – there's a darkness and violence to the sound that so many bands seem to tap into – and FORTÍÐ here are unusual here in singing in English (at least as far as I can tell) but also bringing in classic Thrash influences to create a kinetic, fast-paced sound. As a drummer friend noted, we should all be in awe of the drum work here, but it's not just that – everything gallops forward at a neck-snapping pace, and frankly nearly seven minutes of this is not enough.
/VRMS
/VRMIVOR
Released in autumn 2020, I'm making a rare exception for qualification for this list, mainly as the first time I heard about it at all was at Stay-In-Fest. As far as I can tell, it is the work of someone (who has chosen to use a pseudonym, so I'm not going to reveal their name here) that I've known for some time, and this is their first – and so far only – single. On the evidence of this monstrous track, I'm very much hoping there is going to be more. This is a stripped-back, punchy EBM track that ticks all the boxes of the classic elements of the style, before ripping into a dancefloor-levelling, anthemic chorus that Nitzer Ebb would be proud of.
/Nuovo Testamento
/Michelle Michelle
/New Earth
A belter of an italo/synthpop track that couldn't be more "on brand" right now if it tried, but those fashionista considerations rather melt away when you realise your feet are tapping away within ten seconds, and you're singing along by the time you hear the chorus the second time around. One of those tracks that hits like a bolt from the blue, but then has an impressive staying power on successive listens, such is the brilliance of the pop-hook songcraft on display here. This is a group that utterly understand classic pop music of the past, but also have enough of their own ideas and skills to take a leap forward like this. A truly brilliant song.
/Zeal & Ardor
/Run
Manuel Gagneux – for he is the core of Zeal & Ardor – has been drip-feeding singles across the latter half of the year, in preparation for the next, self-titled album in early 2022. And while previous material seemed to keep to a more conciliatory tone, there's been a distinct feeling that Black Lives Matter and other political events over the past couple of years has hardened his attitude (and so it should). Run is the perfect summation of this change, from the off it feels breathless as if it is chasing down the listener to grab them by the lapels and pin them against the wall. Drums tumble like an army streaming down the hill, guitars slash through the speakers, and Gagneux is howling vengeance on those who continue to oppress, particularly those, it seems, who justify it by religion: "Where's your fucking God?". Zeal & Ardor might be the most vital voice in metal right now.
/Garbage
/The Men Who Rule the World
/No Gods No Masters
Shirley Manson would like a word with the powerful men of the world, and it's clear that she's had e-fucking-nough. Entirely fair really, as the rich and powerful have got much fucking richer, and everyone else has been left to scrabble for the crumbs, watching as people like Elon Musk spend their apparently tax-free wealth to go into space, rather than paying what they (should) owe in tax. Manson seethes her way through this spiky, stuttering song, spelling out what we all know, and also their attitudes to women (which often haven't passed much beyond the stone age). Garbage hasn't sounded this vital in years.
/Cannibal Corpse
/Inhumane Harvest
/Violence Unimagined
Cannibal Corpse has long been one of those Death Metal bands that I've always seen as an ever-present in the scene. Very much, lyrically, the splatter-horror end of Death Metal, and always reliably…good. So it was perhaps a bit of a surprise when this single dropped earlier in the year, as it made us sit up and take notice from the off. Erik Rutan has joined the band recently, and his input seems to have revitalised the band – and Inhumane Harvest, seemingly about the clandestine harvesting of human organs in some parts of the world, was the first evidence of that. Everything about this song is crushingly nasty. The riffs are the size of icebergs, the rest of the band provide a solid, heavy-as-shit backing, and vocalist Corpsegrinder sounds like he is relishing just how vicious the band are again. The video is every bit as grim, by the way.
/CHVRCHES
/Good Girls
/Screen Violence
This song contained without a doubt the best opening couplet this year: "Killing your idols is a chore / And it's such a fucking bore", a reminder of the razor-sharp lyrics and equally sharp songcraft that has characterised CHVRCHES' best work since they first crashed into our consciousness less than a decade ago. Vocalist Lauren Mayberry went on record about this song, noting the double standards around problematic artists – especially as too many people tie themselves in mental knots trying to excuse male behaviour, but women never get such a free pass – thus the cutting hooks here about "Good Girls". The reality is, of course, much more complex and nuanced, and CHVRCHES know that full well. That it is wrapped into a fantastic, catchy pop song that has some sharp teeth is part of the wonder here.
/MILDREDA
/Blame It On The Moon (feat. Cyan)
/I Was Never Really There
The most immediate song on the excellent album by Mildreda this year, the pounding beats and futurepop-esque synth sweeps are only enhanced by the powerful, dramatic vocal delivered by Cyan of German veterans The Eternal Afflict. There were the seeds of what felt like a gradual return to such futurepop stylings pre-COVID, as some of the original stars of such began to look back to their own pasts for inspiration – and some younger bands began to mine their influences similarly, but I can't help but feel that COVID has robbed us of progress on that front (and perhaps understandably so). At least we can enjoy this exceptional song in the meantime.
/HEALTH + NINE INCH NAILS
/ISN'T EVERYONE
HEALTH have had an extraordinary touch with collaborative tracks in recent years, having an uncanny ear for knowing exactly how to mesh their sound with whomever they are working with. Even so, a collaboration with Nine Inch Nails – a band HEALTH owe at least part of their more recent sonic stylings to – was an unexpected treat this year, and indeed it was so good that it wasn't long before voices started asking for an entire album of it. ISN'T EVERYONE begins like a NIN track before HEALTH take over, and then both of their styles come together for an awesome, lighters-in-the-air chorus and climax. HEALTH wisely avoid the blasts of noise they've long peppered their work with, instead weaving their ideas around a heavily distorted and glitched, slow-pace rhythm, and providing the more melodic vocal counterpoint to Trent Reznor's world-weary growl. That said, it was far from the only collaboration Reznor released this year…
/The World Is a Beautiful Place & I Am No Longer Afraid to Die
/Fewer Afraid
/Illusory Walls
Now pared down to a five-piece, after having as many as eight members at points, this post-rock/indie/emo band have not pared back their vision and scope one bit. Their fourth full-length album is full of songs that are less triumphant, and more about overcoming insurmountable odds (which reading between the lines, could well be about the turmoil the members of the band have been through in recent years), and between them, vocalists David Bello and Katie Dvorak sell every moment of this album through their contrasting, impassioned vocals. The extraordinary closing track, though, towers over every other part of this album. A true epic track that begins with spoken word, and then the instrumentation gently swells beneath Bello's soothing words that are oddly dramatic (considering the end of the world and how we might escape it for something, somewhere, better – and escaping a world full of conspiracy theories and people willing to believe anything without questioning), before finally petering out with five minutes to go: as the final, jaw-dropping coda needs heralding. Guest vocalist Sarah Cowell has words for us – oddly defiant, she admits the world is fucked, but we can fight through it, and it rolls back to the band's name and album title in a curious way – the world is a beautiful place, and we're no longer afraid if we have others to help us. Sure, a little bit utopian, maybe? But a bit of light in these times is welcome, and the rest of the band join Cowell for a rousing, closing singalong, the feeling is that I need to hear this song live, as I suspect it will be amazing. It's amazing enough on record.
/Desperate Journalist
/Fault
/Maximum Sorrow!
Everything about the lead single from Desperate Journalist's fourth album dripped with bitter fury. From the first seconds, it was noticeably darker in tone than anything they've done so far – Simon Drowner's fast-paced, grimy bassline pushed to the fore, while Rob Smith's guitar simmers in the background – and it seems to gather steam, bubbling away to an explosive force that never comes, but the tension here is key as Jo Bevan howls her rage at everything, musing that it must be someone's fault, before eventually turning that rage inward, suggesting it must be her after all – nodding to The Undertones' greatest song along the way.
/Herbert Grönemeyer feat. Alex Silva
/I Love A Man In A Uniform
/The Problem of Leisure: A Celebration of Andy Gill and Gang of Four
The Gang of Four tribute album that arrived this year was a genuinely heartfelt, powerful set of songs by a bunch of artists who made a great job of showing just how influential Gang of Four were, but the best take on the sprawling compilation was perhaps a little surprising. German singer Herbert Grönemeyer – better known to English audiences as one of the stars of the claustrophobic, draining Das Boot – was not someone I'd have expected on here, nor to absolutely own an electro-funk take on the sneering I Love A Man In A Uniform, a song about the use of the working classes to fill military roles and the ultra-masculinity that results (particularly in the UK, but it works elsewhere too). Everything about this works – from his vocal delivery to the soaring, barnstorming chorus, that maybe, just maybe, tops the original. Some feat.
/Dubstar
/Tectonic Plates
The eternally-underrated Dubstar inch another step forward toward their fifth album with Tectonic Plates (potentially confusingly, the album will be called Two, following their first comeback album being One, suggesting a reset of sorts). The more I think about it, this is their best song since they've resurrected. A sharp, powerful groove underpins colourful, punchy synths, and a funky rhythm guitar that joins later into the song only enhances the funk that this song has. Sarah Blackwood's delicate vocals offer the usual sweet counterpoint, spinning a tale of perhaps inevitable love, using tectonic theory as a neat metaphor for the endless courtship. Everything about this song is an utter thrill.
/Imperative Reaction
/Like Swine
/Mirror
Aggressive negativity is the common currency on social media these days, as people can't wait to tell you how shit something is, or how much they don't like something for some spurious reason – and more amazingly, many people think it's ok to say this directly to artists as if they need to know. I've for some time now decided that I will only write about the good for the most part (unless there's a really good reason to do so otherwise), as most musicians have got more than enough to worry about otherwise – and so if it ain't any good, I'm unlikely to write about it (that said, it could simply be time that has meant I didn't write about it, so…). Ted Phelps is clearly sick of similar attitudes, as he tears into the subject on the savage Like Swine, the hyper-furious, killer electro-industrial highlight of the Imperative Reaction comeback Mirror. Everything about this is crisp and tight and is capped by the breakdown into a massive rampaging chorus that is IR at their very best.
/Halsey
/I'm Not A Woman, I'm A God
/If I Can't Have Love, I Want Power
The towering, formidable highlight of Halsey's excellent album that muses on her recent pregnancy and motherhood, it simmers on a mid-paced rhythm that has all kinds of unusual, throwaway elements cascading through the mix (thanks to NIN-members Trent Reznor and Atticus Ross), but really? This is all about Halsey. In interviews, she explained that this song deals with the Madonna-Whore complex ("Socially, we've been reduced to two categories, you are the Madonna or the whore," she told Zane Lowe. "So if you are sexually desirable or like a sexual being, you're unfit for motherhood. You could never be someone's mom. But the second you are motherly or maternal and somebody does want you for their mother or their wife, you're unf*ckable." source). And as a kickback to the way women are sexualised and demonised at every turn, there's rarely been a better song than this to make it clear.
/RED MEAT
/Eat Me Beat Me
/Homo Vulgaris
Rhys Hughes has been involved in the UK industrial scene for many, many years – I've known them for the best part of two decades – and maybe, they've finally found the musical output that suits them best. The now-defunct ded.pixel was an interesting diversion into spaced-out, industrial prog, but plainly and simply, RED MEAT is a much more arresting sound. Rhys describes it as a "queer EBM electronic project", and perhaps that is underselling it a bit. This edges into rhythmic noise territory, especially on the barnstorming EAT ME BEAT ME, which pulls together relentless rhythms, samples that sound like the scraping of metal, howled vocals and smart-ass samples. There has always been a queer element to industrial – anyone who tells you otherwise is a bigot and a liar – and kudos to Rhys for kicking the closest door through with this excellent release, our only surprise around this project was that Rhys didn't wear assless chaps on his debut performance at Stay-In-Fest…
/Akhlys
/Somniloquy
/Melinoë
By some distance the most thrilling Black Metal track I've heard in the past year, this became a regular track on my /Stormblast livestreams across the first half of 2021. Less an "atmospheric" Black Metal band than an entire fucking hurricane, this is an eight-minute tour de force of howling vocals, screaming guitars and absolutely pummelling drumming. The latter in particular, by Colorado-based drummer Eoghan, deserves all the awards possible (and probably the funding for another drumkit, as the story goes that he destroyed a kit recording this – listening, it's not hard to see why), as it is fucking relentless. Eoghan mentioned in an interview prior to release that he wanted to contribute to a "Wall of Sound" (yep) and that the drumming pushed him to his limits (I can see that too), and his work here helps to create the base for Akhlys mainman Naas to create an extraordinary modern piece of Black Metal that stands aside all of the classics that came before it.
/Royal Blood
/Boilermaker
/Typhoons
I've not always been a massive fan of what Royal Blood do, but certain songs of theirs really are quite great – and Boilermaker is their best moment so far. Josh Homme produced the track with the duo, and it shows – a filthy, groovy, staccato rhythm underpins the track as Mike Kerr uses unexpectedly good cocktail metaphors to describe a romantic encounter that he probably shouldn't get involved in. Thing is, the lyrics aren't the key here – that monster groove, and the ultra-catchy chorus are, and they deliver hooks for weeks, never mind days. Fun fact – remember Liam Lynch (you'll probably know United States of Whatever)? He was responsible for, and is in, the video.
/Arab Strap
/Fable of the Urban Fox
/As Days Get Dark
An unexpected element of the reunited Arab Strap's first album in fifteen years was a rare foray into political comment, even if it was couched in many, many metaphors. But the message was impossible to ignore and was made absolutely clear at their London show in September when Moffat proclaimed "Refugees Welcome" before starting the song. Fable of the Urban Fox at face value is telling the tale of a family of foxes trying to find a home in the noise and light of the city, but when you know that Katie Hopkins called refugees "vermin" in The Sun a few years ago, the message becomes abundantly clear, as Moffat tells the tender tale of a family of migrants simply trying to find a safe home for them and their children – something that should, and is a human right. The sad reality is that too many on the right don't seem to see refugees as human any longer – as seen by the horrific treatment of them on the borders of Europe, and of course here in the UK, especially those crossing the channel in recent months, and those being caged up in unsuitable old barracks just down the road from us in Folkestone. Thus Moffat is giving an oblique voice to an apparently unpopular minority, but one that needs all the help it can get in the face of unfathomable adversity, and this song is an elegant, restrained voice of protest from a most surprising source.
/Odonis Odonis
/Salesmen
/Spectrums
Toronto-based band Odonis Odonis took an unusual route with their fifth album – they steadily released nine of the ten tracks in advance of the actual release, but perhaps that was simply an excited band knowing full well how good their new songs were, and just wanted to get them out there. One of the first songs released from it was this scorching track, which has a heart-racing rhythm and disorienting synths, as the hissed vocals swirl through a track that appears to be smacking down men that treat the opposite sex as just another transaction to complete. The disgust and fury simply burst out of the track in every way, especially as it is mixed in such a way that the track gains in volume and intensity every few seconds at points (some feat). Industrial music continues to evolve, and right now Odonis Odonis might well be the most impressive practitioner of the style as we close out 2021.
/Godspeed You! Black Emperor
/A Military Alphabet (five eyes all blind) (4521.0kHz 6730.0kHz 4109.09kHz) / Job's Lament / First of the Last Glaciers / where we break how we shine (ROCKETS FOR MARY)
/G_d's Pee AT STATE'S END!
The titanic opener to the seventh Godspeed album arrives amid radio chatter before a chiming guitar riff sounds an alarm that gently recedes – and then the band gently, imperceptibly, gather pace and steam like only they can. Despite legions – and well over two-decades-worth – of imitators and bands they've inspired, no one quite has the finger on the pulse of what GY!BE can do. A Military Alphabet (five eyes all blind)… at points feels like the soundtrack to a stately march to take back the world from relentless capitalism (the staggering mid-section Job's Lament), and the sudden key change into a triumphant, recurring chord sequence almost inspires me to want to storm the barricades RIGHT NOW. Where this piece differs, though, is that rather than drifting into an ambient piece, the element First of the Last Glaciers rips into a piece that feels like a waltz on a rocking boat as a storm rages above, and it's only as …(ROCKETS FOR MARY) washes in that the band find piece…of a sort. Peaceful sounds of the country are interrupted with what sounds like distant explosions, a reminder that peace in this world for many is far, far away. As ever, Godspeed themselves say nothing, while providing a clear, sometimes inspiring, sometimes furious message. Their best song in a great many years.
/Where We Sleep
/Broken Things
/The Scars They Leave
Beth Rettig took her time post-Blindness to release new material, and when she did, it was small-scale releases under the name Where We Sleep, and it took until this year for the first full album – and it was worth the wait. The pick of the album for me was the fierce Broken Things, one of a few songs on the album where Rettig picks up the strands from Blindness and takes them in a subtly different direction. A choppy, jagged riff dominates parts of the song, where otherwise all but the bass and drum pattern are stripped away, leaving her voice to stand alone in a song where she seems to be dealing with fight or flight, each line of the striking, powerful chorus seeing her pull in opposite ways ("I tried being pretty / but the ugly broke through / I tried being still / but I'm compelled to move") and like her old band's best moments, that mental tension adds the seething power to the heart of another brilliant song.
/ACTORS
/Killing Time (Is Over)
/Acts of Worship
Have we reached peak Post-Punk yet? Judging on the continuing torrent of releases in 2021, perhaps not. Interestingly, though, ACTORS – one of the most prominent and popular, it seems, bands of the style in recent years – seem to have decided to push their sound that bit further, and the results vindicated it. The pick of an excellent album, though, is Killing Time (Is Over). It digs that bit further into early-eighties synthpop and goth than their usual slick post-punk, and it thrills. There's everything here – interesting drum programming, the occasional fist-punching "Hey", that power-chord that introduces the glorious, smooth chorus, guitar solos, not to mention Jason Corbett's greatest vocal performance yet. Basically, even though it is perhaps a bit of a departure from what they do, it might, bizarrely, be the best summation of what ACTORS do. By ignoring traditional genre boundaries, and picking the bits they think are the most interesting, it has resulted in an astonishing song and was an easy choice for the /amodelofcontrol.com best track of 2021.
Posted in /2021, /CountdownTagged ACTORS, Akhlys, Alabama 3, Arab Strap, Årabrot, Artillery Nightspace, Autarkh, C R O W N, Cannibal Corpse, CHVRCHES, Desperate Journalist, Dot Allison, Dubstar, ESA, Eximperituserqethhzebibšiptugakkathšulweliarzaxułum, FORTÍÐ, Front Line Assembly, Gang of Four, Garbage, Gift of Blindness, Godspeed You! Black Emperor, Halsey, HEALTH + NINE INCH NAILS, Herbert Grönemeyer, Imperative Reaction, Kauan, LEATHERS, Lycia, MILDREDA, Mogwai, Noisome, Nuovo Testamento, Odonis Odonis, Pixel Grip, Pupil Slicer, Quicksand, Randolph & Mortimer, Red Meat, Royal Blood, St. Vincent, The Colour Fades, The LSD, The World is a Beautiful Place & I am No Longer Afraid to Die, THROAT, Tombstones In Their Eyes, Tunic, Ungraven, V▲LH▲LL, VRMS, Where We Sleep, Zeal & Ardor
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Looking at music of an alternative persuasion since 2004.
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My photography work is on Flickr.
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VALLEY likes to believe that a childhood isn't complete unless you, at one point, wore a bandana, most likely red, wrapped around the top of your head to cover your hair. No matter how you wore it, we're sure you definitely rocked it.
Along with that classic bandana look, we've compiled four looks that can bring the bandana back into any modern summer outfit (or any season of your choice). We love that classic look, but if you're looking for an updated way to wear a bandana, you've come to the right place!
If you're hesitant about straying too far from the classic bandana look, try wearing a bandana as a headband. It may seem really simple, but a bandana headband can really add to any kind of outfit. Whether you're trying to add a simple accessory to a more casual outfit or trying to spice up something dressier and fun, a bandana headband is perfect for both!
If you're feeling adventurous, try wearing a bandana as a shirt! It's a cute alternative to a simple crop top, especially because it adds a fancy touch when paired with jeans and an awesome jacket. VALLEY hasn't found any bandanas without a pattern yet, so you're guaranteed to add a colorful, patterned touch to any outfit if you wear one as a shirt.
This look is slightly harder to pull off because most bandanas aren't big enough to completely cover your torso, but if you're lucky, you might have one that works! If not, it's also cute to wear two bandanas tied together (the sides are the best place to tie them) or to try and safety pin the back.
If you're looking for a cute alternative to a classic brown or black belt, try tying a few bandanas together and wearing them as a belt instead. We styled two white bandanas with a white shirt to create a matchy-matchy look, but you can absolutely wear bandanas that differ in colors from each other, as well as your top. Feel free to rock it either way.
Last but certainly not least, you can spice up any outfit by wearing a bandana as a scarf. This style has been super trendy recently and looks absolutely amazing. It's super versatile too! You can wear this style to festivals, around town, or out for the night, and it looks cute no matter what.
Style it with a cute fiddler's hat, like we did, or with a cute V-neck t-shirt! The options really are endless.
As an added bonus, you can also match your pet!
Jordan Pietrafitta is a web writer and photographer for Valley Magazine. She is a sophomore currently studying English, Sociology, and Advertising/PR, with a photography minor. She is a member of Ohana's executive team, and she also loves to read, write, sing, and put together killer outfits. You can usually catch her laughing at everything, dancing around awkwardly, or taking pictures of her friends around campus.
If you've been paying attention, you know that pop culture has been very active this Black History Month, and with good reason.


Journeys women's athletic shoes and sneakers collection has the newest styles from the hottest brands like Converse, adidas, Fila, New Balance, Puma, Vans, and Reebok. Choose womens sneakers in many colors, patterns, and styles. Over 300 shoes and sneakers from which to choose. Filter shoes by style such as running. Whether you love high tops, low tops, or the latest in footwear fashion there is a shoe for you at Journeys.


We love this playful home in Vesterbro, Denmark created by the architect and design practice RUM4 in Copenhagen. It's full of retro charm, but manages to keep a minimalistic and modern feel that's so typical of Nordic design.
The white walls and floors really bring out the strong colours in the feature pieces, creating a bold, striking look. The use of picture clusters is particularly effective at creating this feel, and we love the colour co-ordination which creates maximum impact.
The de-cluttered, simple style of this apartment means that every item has a role to play in creating the overall feel of the home. Here the birchwood-effect shelving is a modern but functional furniture piece, with the 1960s inspired night stand decorative items a nice, colourful set-off.
A fantastic splash of orange colour - it adds a real warmth to this bedroom.
Adorable kids room - the monochrome wall paper adds an extra bit of fun!


Outstanding design defines the 2019 The BMW 530i This 4 door, 5 passenger sedan offers the features and options for which you've been searching. Smooth gearshifts are achieved thanks to the 2 liter 4 cylinder engine, and for added security, dynamic Stability Control supplements the drivetrain. A turbocharger further enhances performance, while also preserving fuel economy. Top features include power front seats, a tachometer, a leather steering wheel, a built-in garage door transmitter, an automatic dimming rear-view mirror, fully automatic headlights, power moon roof, and seat memory. Passenger security is always assured thanks to various safety features, such as: dual front impact airbags with occupant sensing airbag, head curtain airbags, traction control, brake assist, ignition disabling, an emergency communication system, and 4 wheel disc brakes with ABS. You'll never lose visibility with rain sensing wipers, which activate automatically when the drops start to fall. We pride ourselves in the quality that we offer on all of our vehicles. Please don't hesitate to give us a call.


Senior legal studies and creative writing major recognized for human rights activism and promoting freedom of speech.
Polin, Sabrina, "A First for RWU, Ashley Barton '15 Honored as Newman Civic Fellow" (2015). Featured News Story. 485.


The following is a short study of all the uses of the word "light" in the Gospel of John. Since the Gospel of John and the Epistles of John are interconnected, understanding "light" in the Gospel will shed important light upon the meaning of "light" in the epistles; upon such critical verses as "God is light" (1 John 1:5), "walk in the light" (1 John 1:7), and "whoever says he is in the light and hates his brother is still in darkness. Whoever loves his brother abides in the light, and in him there is no cause for stumbling." (1 John 2:9-10) Meditate upon these verses, and may God grant us all wisdom to understand His rich words.
>What was Jesus doing when He was ministering in the world? He was teaching us about God.
>a general principle: having light = not stumbling. Stumbling = not having light.
Stumbling around in darkness without light is a scenario we can all relate to. We know what that is like physically, and we must realize that is what things are like spiritually. The Christ-less world is in darkness, not knowing the truth about God. Men stumble around, not knowing what they are doing and will eventually end up destroying themselves.
Jesus Christ came into the world as the light, to give to this world the true knowledge of God. The true knowledge of God is the life (health, well-being, joy) of this world. With this knowledge we are saved and possess true joy. It is the knowledge of God as He is: the God of true righteousness (other than man's idea of righteousness) and true love (other than man's ideas of love). Believing in Jesus and what He taught us makes us the sons of light who know God and who possess eternal life.
But men hate the light because the light exposes them to be sinners. Men prefer self-righteousness and their false gods rather than true righteousness and the true God. Men reject the light and seek to extinguish it forcibly (i.e. killing the light-bearers) because they cannot overcome the truth.
The light, then, is the truth—the truth about God (His righteousness and love) which brings life.
These four things are inseparably connected, linked one after another as a chain: Light—Truth—Righteousness—Life. If you have one of them you have them all.
Mysteriously, God Himself is all of these things by nature. He doesn't merely possess them, but they are qualities of His eternal Being. "God is light" means God is truth, God is righteousness, God is life. In Him is no lies, no unrighteousness, no death. "God is light" captures all these things.


text:
Clippers-Grizzlies game coverage
Contributors: Danielle Greenberg and Steve Perrin
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The Clippers brief winning streak will be put to the test today in Memphis against a Grizzlies team that is a perfect 7-0 at home.
Nov 23, 2014, 12:00am PST
Grizzlies Maul Clippers, 107-91
By Danielle Greenberg
It was going to be hard to defeat the Memphis Grizzlies on their home court, as they have now won eight in a row this season (and 22 in a row going back to last season) at "The Grindhouse." The Clippers were outplayed and outclassed by Memphis.
Clippers-Grizzlies open thread
By Steve Perrin
The Clippers have developed a few other rivalries in the last couple of seasons, but the Grizzlies are the real nemesis of this team. Today's game in Memphis will be a real test for the Doc Rivers' newly functional team.
Clippers-Grizzlies Preview
After a slow start to the season, the Clippers will try to increase their current win streak to three by defeating the Memphis Grizzles, the hottest team in the NBA at the moment.

redpajama_set_name: RedPajamaCommonCrawl


They usually work under circumstances whereby they will have to either face clients or work with directors to give out the best look . Especially working under long hours of production shoot, they would require to standby all times to either touch up or even change the look.
Of course, they cant have any excuse, nor complains cause Clients come first.
as they can handle any changes made within the plans.
Like most artists, MUA are not much different apart from expressing their art on human instead of a canvas.
What more can I say, get to know them for real and they will blow your mind.
3) MUA are Mood Boosters!
Of course, transforming people making them prettier physically is the Obvious Job of a makeup artist.
But what most wouldn´t know is that the Best makeup artist works with their Mouth.
Hours of transforming a person would require a makeup artist to be get to know their client and give out the best look which suits their personality.
it is the job of the makeup Artist to convince the Client to believe them that such Change would make them more Beautiful . Same goes to Hair stylists, they would usually be the client´s therapists or confidantes.
With all these tough training at work, they would sure know how to lift your tired days from work and flourish you with so much optimism and joy ! Moreover, their great people skills would amaze you .
4) MUA are good with their hands!
Well, don't take it in the dirty way but most MUA are precise and Gentle with makeup at work. They sure do have a huge responsibility to touch their client´s face and hair. A slight mistake using heating hair tools or make up might tarnish their profession!
What can I say, Just relax and Trust them cause MUA would be able to professionally shape your brows or even cover the pimples on your face without ruining it !
Well, this would probably only apply to those Special Effect MUA that works a lot in the FX makeup Industry.
Such MUA will transform you with so much fun in progress .
Not only that, the probability of you getting so much attention for your super cool makeup might make you famous on the night in the Club !
So, Get ready to be popular !
Well don't be shocked to get pranks from her in the makeup pretending she got a cut or broken finger etc !
She would sure know how to put on realistic makeup that would freak you out at that time.
But then, it would then break out into such a memorable thing that you cant possibly forget ever.
Regardless of their job, most Makeup Artist know the fact that Makeup is Not good for the skin.
They take care of their skin , know how to dress up to proper event and also know when to makeup for the proper occasion. And they would sure know how to spend on their hard work earn money on a massage or spa as self reward.
How can you love someone when you don't even love yourself ?
Well, wouldn´t you be confident to know the person you date takes care of herself well ?
They are confident and independent which what makes them charming in their own way.
MUA looks at life in a creative manner, always seek to be inspired and knows how to appreciate the beauty of life. They are passionate in what they do and always keen to learn more styles and come up with something new.
Come on ! We all know that a relationship needs passion and emotions.
They can be surprisingly romantic and cheer your days with joy and laughter.


A series of weekly posts, sharing some of my favorite internet finds.
This gorgeous dining room. I've found that my tastes have changed during the past year. I've been gravitating more towards neutrals and pastels. Rooms like this one make me weak in the knees.
A fun, ruffled apron. Click on the source for the tutorial. I'm not sure that it's geared towards a beginner since the comments on it point out that diagrams would have been helpful.
A beautiful quilt made from vintage sheets. I've just finished collecting a stack of sheets for a quilt of my own.
I'm in love with this gorgeous ring from Madelynn Cassin Designs! Click on the source to see all of the gorgeous pieces in her shop.
This is my favorite outfit this week. I love that coat!
Zoe, who will be turning 2 in a month, has really enjoyed playing with play food and her little grocery cart lately. I ran across this adorable Market Stand on Ana White's site, and I'm pretty sure we'll be having something like this in our house by Spring! This was submitted by a reader of Ana's site, but you can access the plan they used by following the links found through the source (below photo).


Attackers struck another group of Romany campers amid an escalating trend in Ukraine, leaving one man dead.
She fought for justice in her sister's killing and earned a rare victory. But Iryna Nozdrovska's own demise is a powerful symbol of deep and lasting failures in Ukraine.
With constitutional changes poised to introduce an all-powerful presidential system, Turkey's elections on June 24 are arguably the country's most important in recent history.
With the World Cup under way in Russia, political players of various stripes are seeking to galvanize their bases with opposition to a controversial government plan to raise the retirement age.
The opening of a restaurant a few dozen meters from a Stalin-era killing field in Belarus has sparked uproar among those who say the crimes that took place there should never be forgotten.


How fast can you get from no levels to 30 easily?
Wow! That's a lot of spawners!
You can also take screenshots in Minecraft with the F2 key. This way we don't see your whole desktop ;).
How did you even manage to get that many ?
Does anyone remember the time before we had the SilkSpawners plugin?
When you found a spawner and that was it's location. So you could either break it, build a farm around it or leave it for someone else.
You had a single spawner, or if you were lucky, two or maybe three close two each other and connected them together.
I'm not saying it's a bad thing, but maybe a bit OP? But it's definitely nice not to be bound to a fixed location anymore when building farms.


text:
US charges 2 Iranians in plot to disrupt 2020…
US charges 2 Iranians in plot to disrupt 2020 election
The U.S. Treasury also announced it was imposing sanctions
FILE – In this Feb. 25, 2015 file photo, the Homeland Security Department headquarters in northwest Washington. An advisory issued by officials in the United States, United Kingdom and Australia warns that hackers linked to the Iranian government have been targeting a "broad range of victims" inside the U.S. with ransomware and other malicious cyber activity. (AP Photo/Manuel Balce Ceneta, File)
PUBLISHED: November 18, 2021 at 12:24 p.m. | UPDATED: November 19, 2021 at 4:17 a.m.
By Mark Hosenball and Sarah N. Lynch | Reuters
WASHINGTON – The United States announced criminal charges on Thursday against two Iranians it accuses of launching a cyber disinformation campaign to meddle in the 2020 U.S. presidential election that targeted voters as well as elected members of Congress and a U.S. media company.
The U.S. Treasury also announced it was imposing sanctions on six Iranians and one Iranian group for trying to influence the 2020 U.S. election.
Seyyed Mohammad Hosein Musa Kazemi, 24, and Sajjad Kashian 27, are each charged with obtaining confidential U.S. voting information from at least one state election website and conspiring with others to sow disinformation to try to undermine Americans' confidence in the election's integrity.
A spokesperson for Iran's mission to the United Nations did not immediately respond to a request for comment.
Senior U.S. law enforcement officials told reporters on Thursday they had no evidence to suggest that any of the alleged hacking activity had an impact on the election results.
The indictment alleges the Iranian hackers gained access to an unnamed U.S. media company's computer network in a plot to disseminate false claims about the election, but their plot was foiled through intervention by the FBI and the company, which the indictment did not identify by name.
As part of their alleged conspiracy, they also sent Facebook messages purporting to be a group of volunteers from the far-right Proud Boys group to Republican members of Congress and members of then-President Donald Trump's campaign, the indictment alleges.
It also alleges they tried to access voter registration data from 11 state websites, and in one case managed to download data from one state website that contained information about 100,000 of its registered voters.
"This indictment details how two Iran-based actors waged a targeted, coordinated campaign to erode confidence in the integrity of the U.S. electoral system and to sow discord among Americans," said Assistant Attorney General Matthew G. Olsen of the Justice Department's National Security Division.
U.S. suspicions about Iranian interference in the 2020 presidential election surfaced in October of last year.
Two weeks before the November election, top intelligence officials in the Trump administration alleged that both Russia and Iran were attempting to interfere in the election, and had gained access to some U.S. voter registration data.
Some voters had reported receiving emails purporting to be from the Proud Boys, a self-proclaimed club of "Western chauvinists" who have since come under scrutiny after some of its members took part in the Jan. 6 riot at the U.S. Capitol.
Coach Nick Saban, others, urge Manchin to pass voting bill
Rudy Giuliani, associates, subpoenaed by Jan. 6 committee
New Texas voting law rejecting US citizens from rolls
RNC threatens to boycott commission's presidential debates
While the Proud Boys deception was previously known, the details about the hackers' efforts to break into a media company were not made public until Thursday's unsealing of the indictment.
According to court documents, the hackers hoped to leverage their access to the media company to spread disinformation about the election. But the FBI had warned the victimized company, helping it to kick out the hackers.
U.S. officials and election security experts have long feared such a cyber attack after a series of similar incidents occurred over the last two years in Eastern Europe.
Your Netflix bill is about to go up
Asian stocks follow Wall St up as Powell says rates to rise
Tesla's most prominent Black executive steps down
Stocks end lower after mixed jobs data as tech sinks again


Try and match the wedding customs, superstitions and practices to the historical reason why. Answer key included.
Perfect for bridal showers, weddings, engagement parties, anniversary parties and more.
Each sheet is generously sized to approx. 8.35″ high x 5.35″ wide. Answer key included. Coordinating items available.


Fritz!Box is a series of home routers from AVM, which can do a lot. Among the features is VPN support: site-to-site and client-to-site (road warrior).
I wanted to play with the road warrior setup, because it is always practical to have a way back into a network: for privacy if on a hot spot or just to be able to access hosts on it.
Fritzbox deliverers it own Windows / Mac VPN client (FRITZ!Box VPN Connection) which works pretty good, but as a Linux user I would really enjoy native support (so I don't have to get access through a VM, which works pretty well by the way).
After multiple failing tests and toggling all possible vpnc configuration options, which aren't that many by the way, it was time to play: find the differences!
I've had some problems recently (the last couple of weeks) with Empathy on Ubuntu 10.04. All my MSN accounts just started giving my an "Authentication Failed".
I'm not sure why this happened, but at least it's working again.
I've been working with Ubuntu lately at the day job and the Open Office setup is different than on Fedora. One special case is the opening of .pps files, which per default go into "presentation mode" which I normally hate to see (it just takes to long to see what you really what to see in the presentation.
Use it when ever you think you need it. I set it up as default behaviour in the browser.
As most of you know I'm a Fedora user, well started out some time ago as a Redhat user until they decided to have to spins: Redhat (stable for the enterprise) and Fedora (bleeding edge for the community). Back to the point, my main distro is Fedora but I like to give other distributions a spin to find the pros and cons.
I decided to install the new and shiny Ubuntu 10.04 "Lucid Lynx", but there is no way I want to affect my main partitions!! Why should I this is Linux after all, it can boot from a secondary partition I can even put the bootloader at the beginning of the partition to make it totally independent!! Having done that already with Backtrack 4, Ubuntu 9.10 (karmic) and CentOS 5.x it should be as easy as 1 – 2 – 3 (Or simple as… got Jackson 5 ringing in my ear right now).
I had a couple of scripts working in the back end of an application to create users and set the passwords. So instead of reinventing the wheel I used the ?trusty? useradd.
Until recently one could pass the users password in clear text as a parameter. I assume that someone thought about all the passwords that word saved in history files and decided to change it. The problem is that the used the same parameter but now it expected the password to be encrypted, so it basically stopped working but didn't generate errors.
After some debugging and some man reading the problem was nailed down, but now I had to generate and encrypt the password. I looked and tried many solutions but the best I could find was the crypt library and decided to access is through perl. What I liked the most about the solution is that I could use all the same native algorithms that the system has installed.
To create a good salt I used the mkpasswd utility that comes with the expect package (yum install expect). In this case the $1 is not a variable, but the way of telling crypt to use MD5.
That does the job. If you need to get it working on your Gnome installation follow the instructions here.
Have you ever scanned a pile of documents on a "non enterprise" o home scanner, or just got distracted when using the big Xerox machine in the office. You'll end up with a ton of individual pdf files. After a little google and man reading I found these 2 solutions.
Well it's official I'm a published writer!
About a week ago I finally got my copy from the editor of Hacking Linux Exposed 3rd Edition. This was a really interesting project I worked on last year. The book was writen in collaboraton, and organized by ISECOM, so I got a chance to work with a lot of top notch guys and gals in the security / Linux area.
It's a shame I couldn't have some face time with them, but I hope we'll meet somewhere along the line to match a face with the name.
I started out helping as a technical reviewer on the book, basically I got the chance to read the book in advance and give some feedback. After some time major changes had to be made on some chapters, complete rewrites in some cases. Pete Herzog asked me if I could help out with one of the chapters.
So to make a long story short, if your read chapter 14: Mail Services; that will be me.
I haven't had time to read the published edition, but all the chapters I got to review were just great.
The book will help people focus on securing their Linux systems no matter what they do with it– desktop, services, coding workbench, wireless node, PBX, VOIP, etc. by hacking them, it just doesn't waste your time with old exploits.
Have fun and get ready for a hell of a ride!


It's no shock to anyone that an R-Rated cartoon 10 years in the making from Seth Rogan (screenplay and voice of Frank and Sergeant Pepper), Evan Goldberg (screenplay), and Jonah Hill (screenplay and voice of Carl) is rude, crude, and subversive. What may shock you a little more is that they can write a movie with quite a bit of depth. There is no subtlety whatsoever as the metaphors club us over the face the entire running time, but the allegories run surprisingly deep in Sausage Party.
The main story line in Sausage Party is that all the food at Shopwell's Supermarket believe that they are on the shelves so that they can one day be chosen by the gods to be taken out of the store and off to the Great Beyond where life will be a paradise. Frank and Brenda (Kristen Wiig) are a sausage and a bun who are next to each other on their shelf, and they hope that one day they will be chosen by the same god so they can be joined together. They are chosen together as they'd hoped, but a freak mishap leaves them stranded together outside their packaging along with Sammy Davis Bagel (Edward Norton), Kareem Abdul Lavash (David Krumholtz), and a douche (Nick Kroll) and our foods have to make their way back to their shelves in the hopes they can be chosen again – but, along the way, Frank starts to learn the truth about what happens in the Great Beyond.
The main theme here is a look at religion, particularly monotheism. Politics and culture are also jabbed at here and there throughout Sausage Party, but the focal point of the satire is the big three monotheistic religions. It never even attempts to use subtlety in its skewering of religious belief, as I mentioned in the opening statement, but it's also a far deeper look into religion than just the "religion is dumb" that you may expect. Yes, it does show the dangers and stupidity inherent in religious belief, but it also looks at what could be the roots of how those beliefs came to be, and the very real purpose they serve, as misguided as they often are. One of the final jabs in the movie, in fact, is turned around to point the finger at atheists, agnostics, and in particular those who mock others with religious faith, and even though everyone is covered, and nearly every belief system is mocked, Sausage Party always has a purpose and never falls into the trap of being mean satire purely for the sake of being mean.
Yeah. We're mean with a purpose.
As to the humor in Sausage Party, if you can think of a sexual innuendo, racist slur, or raunchy pun that involves food in any way you can bet it is in here somewhere, and used pretty cleverly, at that. While the jokes themselves are obvious, the set ups only occasionally are, and even on those occasions the writers were making it obvious for a reason. It cannot be overstated just how crude the screenplay is, every four letter word in the book is used over and over again and every body part and function gets joked about on a regular basis, as well, so if you can not abide crassness, then you will not find Sausage Party funny. For those who fall into the not easily offended camp, however, the jokes are the peak of foul humor. It's rare that a movie can make someone grimace and belly laugh at the same time continuously for nearly its entire length, but Sausage Party is that rarity.
One aspect of Sausage Party that does fall on the underwhelming side, unfortunately, is the CGI. There is nothing wrong with the quality of the animation itself, it's quite crisp and fluid, in fact, but there is also very little imagination to it. All the characters are very basic food stuffs with little arms and legs that nearly always face toward the audience in a neat little line. There are exceptions to this, such is scenes inside shopping carts when food is piled on top of each other, but the majority of the time you are just watching boxes and tubes with spindly arms and legs making what may as well be a chorus line. This is, in my opinion, a case where making the movie's characters look so much like their real life counterparts was a mistake, and I wish the directors and animators had made some bolder and more creative visual choices to match the bold directions the script takes.
We're always used to facing toward people on our shelves. It's a hard habit to break.
Sausage Party is not a film I'd recommend to everyone, as it is immensely vulgar and less subtle than a jackhammer in a library, but to those who don't mind those caveats there will be very little here not to like. It's both hilarious and intellectual, and that's a combination that just isn't seen often enough and needs to be taken advantage of when it appears.


In addition to Pan American, American First also appears to be an early line from Conn aimed at secondary markets. In the ad in School Music Jan 1922.
This 1922 ad in Pacific Ports April 1922 shows their marketing approach for selling Pan American and International brand instruments for stenciling and/or export.
This ad from 1923 in Music Supervisors Journal Mar 1923, It shows that the campaign was to focus on institutions, schools, colleges, youth organizations rather than on individual customers.
Click on back button to return.


C-2 zone. 3 separated residential one level income property located in desirable city of Temple City. Each unit has their own garage plus open space of parking. Long term tenants with month-to-month leases. Immediate neighbors are Restaurant and Education Center. Potential to rebuild commercial retail or office. Please double check with the city for zoning use. Close to Sam's Club, restaurants, shipping centers, plazas, Home Depot. Elementary School. Convenient location, easy access to FWY 10 and 605.


Synerise is a fast-scaling technology company providing businesses with AI-driven solutions that makes them grow through real digital transformation.
Recognized by Satya Nadella and officially partnered with Microsoft, Orange and EY, Synerise delivers outstanding revenue uplift by creating ultra-personalized customer experience, leading people to purchase more often.
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The best of the best already use the Synerise platform to overcome their competitors thanks to Artificial Intelligence and Machine Learning algorithms powering this all-in-one, must-have rocket engine.
The company's mission is to turn customers into brand ambassadors through enhanced satisfaction from their shopping experience. The core values behind Synerise are investing in high intellectual property and employing only the best innovators of tomorrow.


I recently received an email from a known habitual liar & manipulator known as Sacerdotus, which I posted below. Here is his background: https://sacthevirus.wordpress.com/2014/12/01/warning-online-virus-of-a-person-called-sacerdotus/ A rather large number of people both Christian and nonbelievers have challenged his lies and caught him in many deceptions. In fact this email is from a proven fake identity controlled by Sac himself. His veiled threats are very common. He vaguely promises all kinds of legal action to get challengers to back off. Since I don't care for his threats and stealing of my graphics, I have asked for his case number for my lawyer to review. I expect he will make many excuses as always to not share ANY details of his claim. After all a liar lies. And by the way, I haven't been bothering with him at all recently, so this is probably ALL to drum up attention for his blog. So anyway, here is the email… what would you do?
I really don't understand what is your problem with Michael. You really need to stop it. He has already contacted an organization of Catholic lawyers who assist Catholics pro bono. Others are documenting every tweet and blog post that you and your friends produce and are clearly aware that you and your friends are the problem. Do you really want a legal case against yourself? Can you afford legal fees etc? Think about this carefully. Is all of this worth it? All Michael does is post blog links. While they may be extremely critical of atheism, there is no harassment. He never mentions people randomly insulting them and often ignores mentions and comments on social networks. There is no way you can claim that he is abusive. The evidence is just not there for your case.
On the contrary, he has lots of evidence via tweets, appearances by you and Ellif on his Google +, blog posts etc showing the abuse, libel and harassment against him. In a court of law, you and your friends will lose. Depending on your area and its statutes, you can be liable for millions if a case is won against you. In light of the lawsuits regarding religious freedom, Michael can really do damage against you and your friends. Again, think about this. Is this worth it? My advice is for you to let it go, remove all of the defamatory and harassing content which can and will be used against you in a court of law. Again, Michael has done nothing wrong and you know this. Each of you are spiteful because he managed to get Esther permanently suspended. Had this not occurred, none of you would have taken time out of your lives to dedicate to libelous blog posts and tweets; not the mention the stalking on Google +. The pattern is clear.
After his suspension, he went to Google + and immediately Ellif followed him, joined the same community and began harassing him there. He would even spam threads created by Michael with links so that members would not view his original post. This is clearly malicious intent and is considered damages. Then you appeared a month later attacking him over a debate which had nothing to do with you. All of this is being documented. You and your friends may think we are just ignoring it, but we are all collecting the information and forwarding it to this Catholic lawyers organization. In regards to the graphic you claim Michael misused, you are incorrect. I have explained to you about fair use in regards to parodies. You do not have a case of copyright infringement, moreover, you have not demonstrated legal copyright ownership.
I am hoping you will be an adult about this and let it go, remove all the harassing content and try to be at peace. Michael is a good person. He may appear abrasive, but he is a good person and will help anyone even another atheist. Unfortunately, you are only seeing things via this child's play game Esther (Rosa) created. It has to stop before it gets worse, legally speaking.
ATTN Sacerdotus… Rosa Rubicondior (who reveals your long term dishonesty HERE) never agreed to your Easter 2015 debate changes. This is a fact. What happened was you never agreed to Rosa's terms and then set up a STRAWMAN DEBATE, which was your venue and rules, 100% without Rosa's agreement. You then promoted this event as agreed upon by both parties. A CLEAR LIE. Obviously you were afraid to face Rosa and, like a child, had to manufacture the only debate in which you could ever defeat her… a fake one. Pure cowardice.
As anyone can review here https://plus.google.com/u/0/+EllifDWulfe/posts/cPHRbLnqDzh around 2/3 of the way down the thread, Rosa issued a formal debate offer with FULL DETAILS and you immediately changed the venue WITHOUT Rosa's agreement. You also never agreed to the rest of her parameters, rules or content. You, like a demanding 4 year old, insisted that Rosa HAD accomodated you, even making a self narrated video STATING THAT SHE AGREED!? The video "evidence" never shows Rosa's agreement despite you claiming it does… An OUTRIGHT LIE.
So you posted that the debate was arranged and agreed upon and you predicted that Rosa would back out. BACK OUT OF WHAT you lying turd? She never agreed to your FAKE & DISHONESTLY arranged changes or venue. Now that Easter had come and gone you victoriously post claims that Rosa has run away from debate again, when all you've done is create a type of STRAWMAN DEBATE! You pretended that YOUR venue and rules for debate were actually what was taking place. Your dishonesty and despicable behavior, just to make some folks believe that you are winning or are an intellectial, is absolutely mind blowing!
Clearly you are not one to be trusted with things that require integrity. Its a good thing that there are people like Rosa who challenge such childishly dishonest, religious folks as yourself.


Melodic death metal has always been a large metal subgenre ever since its origin in the early nineties. Nowadays there is a clear line between old school and modern melodeath. The old school sound is more raw and unpolished while the modern sound is characterized as clear and well produced, also due to the use of clean vocals and the addition of samples. Now in front of me lies Degradead's debut record Til Death Do Us Apart. A disc of which I can already reveal that it falls in the latest category.
The first words that came up in my mind after my first listening session with this record were 'uninspired', 'not original' and 'very predictable', and although announced as "the future of metal" by In Flames guitarist and Degradead producer Jesper Strömblad, a short description of Til Death Do Us Apart at this point would be 'In Flames-rip off'.
I unfortunately still have to stick to this opinion after a few more spins. The explanation is simple; everything on this record has been done before. Not one song on Til Death Do Us Apart is ever becoming truly interesting or exciting. The opposite is true. Clean vocals that usually don't really bore me do now, while the - also clean - backing vocals in for example 'Pass Away' and 'Day Of The Dead' are even more annoying and remind me of a weak Trivium song. This album is just a passage in which they'll show us their skills (because these youngsters do have the ability to play), but also that they're way too much influenced by their discoverer.
I'm really not awaiting anymore clones and therefore definitely hoping for some bands to be formed that are able to bring back some creativity and brutality back into the genre, 'cause most of what I heard last time wasn't really worth the try. My advice to Degradead would be that they pick someone else as producer for their next record, a person not too influential that will let them work on their own sound.


text:
The Global IP Practice at K&L Gates
Tag: trademark infringement
Battle of the Bentleys: Bentley Motors loses trade mark appeal against Bentley Clothing
Show me the money: Supreme Court rules that trademark infringers may disgorge profits even if the law was not willfully violated
Consumer & Retail, Court Decisions, IP Litigation, Trademarks
Tagged with consumer & retail, luxury, Trademark, trademark infringement
Luxury car manufacturer Bentley Motors has lost its appeal against a ruling which found it infringed the trade marks of a small, family company called Bentley Clothing. A full copy of the decision can be found here.
Following the ruling, Bentley Motors must stop using the trade mark BENTLEY and their combination sign – the B-in-Wings logo and the word BENTLEY (shown below) – on clothing.
Trademarks, United States
Tagged with Apparel, China, consumer & retail, Counterfeit goods, counterfeiting, false or misleading representations, Fashion, Lanham Act, Trade mark, Trademark, trademark infringement, US Supreme Court
The U.S. Supreme Court confirmed that brand owners are not required to prove willful intent before obtaining a defendant's lost profits. On April 23, 2020, the Supreme Court resolved a longstanding circuit split and unanimously held that trademark infringers may have to hand over their profits even if they did not willfully infringe.
In Romag Fasteners, Inc. v. Fossil Group, Inc., the Supreme Court was tasked with determining whether the rule that a plaintiff can win a profit remedy only after showing a defendant willfully infringed its trademark can be reconciled with the statute's plain language. Ultimately, the Supreme Court sided with the plaintiffs, Romag Fasteners (Romag), holding that:
"[a] plaintiff in a trademark infringement suit is not required to show that a defendant willfully infringed the plaintiff's trademark as a precondition to a profits award."
Are Pre-Launch Statements Now Within the Range of the National Advertising Division?
Battle of the ballet shoes: UK court finds infringement of registered community design
U.S. SPENDING BILL INCLUDES SWEEPING NEW COPYRIGHT AND TRADEMARK MEASURES
Neoprene Tote Bags: Watertight Not Copyright
IP Law Watch
State Street Financial Center, One Lincoln Street


No profit to anyone except developers and big retailers.
Great trouble for all other inhabitants with horrid housing, transport, loss of amenities and fertile farmland, more landfill etc.
We must keep our population low while we still can.
Climate change requires a smaller population to survive.
No more baby bonuses after the first two children is easy to do, for example.


text:
New year is one of 'recovery, regrouping,' says Greek PM
TAGS: Politics
In his New Year's message to the nation, Greek Prime Minister Alexis Tsipras said 2016 will be a year of "recovery and regrouping," adding that 2015 was the year that "the Greek people raised their heads high and boldly asserted their rights."
"We are putting behind us a tough period of crisis and entering the next five-year stretch of our nation's rebirth. These five years will be about regrouping and making the major inroads, changes and reforms that the country needs," the prime minister said in his address.
"Five years from now, when we celebrate the 200th anniversary of Greek independence, we will have built a Greece that is deserving of its history and its people. A modern European nation, with deep roots of equality before the law, meritocracy and social justice," Tsipras said, calling for "humanity and solidarity" in the battle against the humanitarian and refugee crises, as well as unemployment.


Raw State highlights artists prints published by 10 Grand Press added with artworks that explore practices related to color. The artists expand color across mediums to invent a visual language, tease out vibrant optical illusion, or to hover around the mysterious. Featuring work by Eric Aho, Rosanna Bruno, Patty Cheng, Leidy Churchman, Jeff Gibson, Sam Gilliam, Karen Heagle, Lou Hicks, Jennie Jones, Siobhan Liddell, Antje Manser, Jeff Morin, Doug Morris, Carrie Moyer, Sheila Pepe, Linda Plotkin, Emily Roysdon, Erica Svec and Erika deVries.


The LLPX-H Series is Smart Vision Lights' second generation of LLP-H ring light panels that allows for more intensity with the same familiar ease of mounting. A new optically clear internal light dispersion grid and matte white–finished backing plate allow more light to reflect up and out through the diffusion acrylic. Custom hole placement and two hole size options add to its versatility. The LLPX-H Series' new Multi-Drive™ driver allows users to operate the product continuously or in OverDrive™ Strobe mode for that extra burst of intensity.
OverDrive operation releases up to ten times the power versus constant operation. Simply set the LED manufacturer's product parameters to the maximum allowed intensity. The built-in Multi-Driver™ also protects the LEDs from premature degradation and failure caused by excessive heat by regulating the current delivered to the LEDs and limiting the duty cycle of the light.
Each LLPX-H Series diffuse ring light panel is constructed using Smart Vision Lights' own proprietarily made 30 mm black anodized extrusion with 8 mm T-slot.
The LLPX-H Series of diffuse ring light panels are available in the following wavelength colors.


I have recently installed a games app into my PC running on Windows Vista and created a shortcut for it. When I try to open that app, I keep getting the error message "Windows cannot access the specified device, path, or file. You may not have the appropriate permission to access the item". Is there any fix available for this problem?
Right-click on the game app and wait until the pop-up menu appears on the screen. Choose 'Properties' option from that menu. You can then view the 'Properties' screen. Locate the 'Advanced' button from that screen. There is a 'UNBLOCK' button under that button. Make a single press on it. After that, try to launch the app again and check whether the issue still persists or not.


text:
Q: FancyBox2 - Title on top AND on the bottom? Found several similar questions, but not the answer to this specific one..
Is there a way to add a title to BOTH the top and bottom of a FancyBox2 modal/popup?
I know how to position the title to the top or bottom.  But need to put a title on the top and a caption on the bottom.
Thanks to all in advance..

A: You can modify the default fancybox template to add some extra HTML in. Like so:
Your HTML:
Click

Javascript:
$(".fancybox").fancybox({
    type: 'iframe',
    beforeLoad: function() {
        var caption = this.element.attr('data-caption');
        this.tpl.wrap = '

'+caption+'

'

    },

    helpers:  {
        title : {
            type : 'inside',
            position: 'top'
        }
    }
});

I've used an iFrame as an example, but this should work for any Fancybox type.
JS Fiddle here:
http://jsfiddle.net/WillDonohoe/thy0om73/
Look under the tpl section of the fancybox docs for more information: http://fancyapps.com/fancybox/#docs

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