Life Coaching, Aromatherapy (Dip MAAPA), Reflexology (Dip Reflex AAPA), Professional & Precision Hypnotherapy (Dip AMIH), Foundation in Psychosynthesis (Transpersonal psychology), Reiki Master/teacher.
My approach is through unconditional love - each person is on their journey through this lifetime, allowing each individual to open up their heart to themselves and others when ready.
" We are in a process of awakening to the new consciousness which is bringing in a new energy, as more people embrace this change, we change the way we live on this mother earth, GAIA, that we share, bringing back the love and peace we all long for, a new way to respond to each other with love, authenticity and compassion."
I have been on a long journey through many different aspects of life and spirituality, there have been times when I felt spirit had abandoned me, but they turned out to be huge shifts in perception or transition points. It has been a deep learning which will serve me well as an understanding of where others are on theirs.
I was brought up in South Africa, from the age of 7 years old, when my parents emigrated there, seeking a better life and for me and my brothers and it was, I grew to love nature as camping out in the wild was a big part of life then and animals who I often turned to as dear friends when feeling misunderstood. I know now that my animal healing abilities began back then. I was deeply affected by apartheid, which I did not realise until I began my own healing, it has been a journey of unravelling who I really am and letting go of the wounding of this lifetime.
Working with animals was a big part of my awakening, I was told out of the blue, that I needed to work with healing horses and other animals. I carefully began using Reiki and Aromatherapy oils with horses and it took off and the change in the animals was incredible, mentally and physically and it opened up my heart to who I really am, I am forever grateful to them for that, many of the owners also became attuned to Reiki through me and now carry on this work.
We create a new story with other caring people around us, in a place that heals, soothes and brings hope, enlightenment and inspiration to move forward in a new and positive way to create healing for MEN & WOMEN WHO WANT CHANGE!
When we take care of ourselves, we create a strong healthy environment to be the best we can for others, without taking away their responsibility for themselves, with no self-agenda. We have within all of us 'male and female energies' which easily become out of balance, knowing ourselves deeply enables us to correct those imbalances, to live a balanced life.
I have used my experiences to create a loving, caring sanctuary for myself from the inside not looking for the answers outside of myself, helping me grow and share a loving, caring sanctuary for others and myself, to help them grow in leaps and bounds to find out WHO THEY ARE REALLY ARE and uncover the new authentic story, of who they were born to be in this life. Connecting with the higher self creates a higher vibration within, enabling us to empower ourselves with our authentic guidance. A much happier way of being in the world.
Shamanism has taught me how our ancestors have a huge impact on us, it has been proven scientifically, that our genes carry the trauma of our ancestors. Their journey also inspires us and brings healing to the present time as we uncover our gifts through our lineage.
Healing the ancestors and honouring them is part of our healing and wisdom.
This is such a positive period of growth and healing for us all as a new life is unfolding in the AGE OF AQUARIUS and allowing so many to find the peace and happiness they desserve........ As we heal we heal the earth.
I am a Shamanic practitioner because I also work within the Spirit world and this allows me to include these connections within my Sound Healing practice.
I trained as a Sound Healer in Belgium in 2012, with Michele Averard and Nestor Kornblum, co-founders and directors of the Spanish and International Associations of Sound Therapy. In 2017 I attended their first Advanced Sound Healing Course in Spain.
Journeying has played a very fundamental role in my spiritual path, which has given me a profound appreciation that it is only through healing ourselves that we can contribute to the healing of the whole. We are responsible for our own lifetime's learning, and sometimes this does not happen until the agony of not learning is the painful catalyst for the insight to be finally understood. Buffffff – life can be hard - but clarity is just soooooo beautiful.
Life is like surfing on the wave of a tsunami, and we cannot get off……. the only thing we can do is to try and keep standing - and to enjoy the ride!!! The changes occurring are so enormous, so global yet also so very personal and individual. We yearn to find a purpose, a mission, a reason for being alive, but genuine insight can only occur when we journey inside ourselves and understand that we are part of everything.
Rachael Perrin - Coach, Social Entrepreneur and Founder of Soundcastle.
Why do I do what I do? Because I believe in the power of individuals to change their lives, whether that's through music making, education or coaching. I inspire people to make choices that take them on new adventures, whilst celebrating who they are and their journey so far.
What about teaching? As well as being an entrepreneur I have always been a teacher and facilitator. Firstly of clarinet, saxophone, musicianship and now I am a professor of Creative Enterprise at The Guildhall School of Music and Drama. I work with inspiring young innovators, supporting them in turning their dreams and passions into viable businesses and careers.
How does coaching fit? Three years ago my business & teaching worlds found harmony when I discovered coaching. I now have a vibrant coaching business, where I specialise in working with creative women who seek to make a difference. I collaborate with change makers, social entrepreneurs and artists. I work with women who have a clear social mission to make the lives of others better.
I am very excited to be facilitating this coaching retreat because it offers an affordable space for women entrepreneurs to experience the magic that happens when you focus on your vision, your mind and your potential. I welcome your questions and look forward to meeting you in the sunshine!


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Life, Lists, Music
The Top 101 Best Songs of the 2000s (Part 2)
December 5, 2018 Jesse	Leave a comment
We got the intro and bottom of the list out of the way yesterday, so let's just hit it straight into the next 40 songs!
The Top 101 Best Songs of the 2000s: Part 2
(60 through 21)
60. "International Players Anthem (I Choose You)" – UGK (2007)
I admit it, I was way late to "International Players Anthem." Though it came out on UGK's 2007 album Underground Kingz, I didn't really hear it until 2009 or 2010 when my wife Becca put it on a mix CD that she gave me when we were dating. So I'm a late convert to "International Players Anthem" and, as the saying goes, there's no zealot like a convert, so…HOLY HELL THIS IS AN AMAZING TRACK! I mean, it has everything, EVERYTHING – the beat and sampling is peerless and brimming with confidence; there are virtuoso raps in a variety of lyrical styles, from Andre 3000 rapping (as usual) about spaceships and getting sunburned on his bum, to the casual references to Paul McCartney's marital woes and crashing Bentleys. And (of course) a terrific performance by one Pimp C (RIP). And that doesn't even take into account the music video. There may well be more "important" hip hop tracks higher up on this list, but you can't tell me that there are any that are more fun to listen to. – George
59. "Me and Mia" – Ted Leo and the Pharmacists (2004)
58. "Poker Face" – Lady Gaga (2008)
The first time I heard this song was on Glee. Because if you just found your long-lost, estranged mother, this is the song you would sing with her. Because, see Gaga wasn't what she is now. She was just becoming born. This is the birth of Gaga. And, you watch the video now, and you see the production quality, the low budget rental of a nice house in, where is that, Miami? Maybe Long Island? We are going to shoot this thing in one weekend because that's all the cash we have. And, who is this anyway? It's Gaga. Who? Madonna? No. This is Madonna for the next generation, and here she is, showing us what she's got. – Ben
57. "Young Hearts Spark Fire" – Japandroids (2009)
I'm almost definitely misinterpreting it, but I really identify with the chorus of "Young Hearts Spark Fire" as a middle aged man. I used to have dreams, but now I worry about dying. I don't want to worry about dying, though. The rest of the lyrics reveal a song more about the drunken insouciance of youth than a soundtrack for a midlife crisis. That aside, the lyric I feel the most are the "ohs" throughout the song as they remind me of the noise I make when dealing with extreme anxiety. There aren't a lot of lyrics, though, and none of this would matter if it wasn't packaged with some soaring, furious instrumentation. Tighter than other punk rockers, more complex the White Stripes, and rawer than a lot of their influences, Japandroids showed us there's still a lot of unique sounds to be made with just drums and guitar in the new century. Two kids raging against the dying of the light never sounded so good. – Rob
56. "Step Aside" – Sleater Kinney (2002)
It's almost hard to remember that most of the 2000s were a really bad time in the U.S. politically. Given the way that things are going these days, it can be tempting to look back on that time fondly. But, as Will Ferrell reminded us on SNL not too long ago, the Bush years really were pretty bad, to the extent that we're still fighting two wars that started then.
At the time, One Beat felt like exactly what we needed – a female-fronted howl of rage and sadness at what was going on in the news that we suddenly seemed to be watching much more of. Sixteen years later, some of the political songs, while not aging poorly exactly, do feel very of their time. "Combat Rock" in particular is a reaction to a specific flavor of shitty right-wing politics, which used accusations of anti-americanism as a cudgel to shut down any opposition to new ventures abroad and fewer rights at home. It doesn't feel as relevant at a time when it's possible for a Republican to run a successful campaign on the platform that America sucks.
"Step Aside," on the other hand, still manages to feel fresh. A rousing, high-energy call to action, it doesn't get as bogged down in the specifics of its political moment, instead addressing itself to any time "when headlines make [you] want to cry." It helps that the song has a fun back-and-forth energy; it's unusual enough to be genuinely thrilling when Corin Tucker addresses her bandmates by name, singing "Janet, Carrie, can you feel it?" The song is a nice reminder that, while anger can be a powerful motivating force, joy is probably a better one in the long run. Sometimes you just need to "shake a tail for peace and love." -Craig
55. "The Bleeding Heart Show" – The New Pornographers (2005)
If you want a tribute to the full scope of this song, you can check out what our own Sara Batkie wrote about it a few years ago. This gives me permission to just talk about the drum fill. I don't know a goddamn thing about playing drums. But I could tell the the first time I saw the New Pornographers that their drummer at the time, Kurt Dahle, was really good–steady, powerful, unshowy, yet executing little flourishes that boosted the band's power-pop attack at every turn. The best studio example of this is probably "Bleeding Heart Show," where every little unshowy drum-fill helps the song feel more expansive and complete. Yes, it helps to have Neko Case singing a tastefully delayed chorus with gorgeous harmonies. Yes, it helps to have one of the catchier semi-obtuse New Pornos lyrics as its centerpiece. But it's the drums that make this song go from great to perfect. – Jesse
54. "The Modern Leper" – Frightened Rabbit (2008)
One of my favorite bands of the '00s is Rilo Kiley, and one of their songs on 2004's More Adventurous, "Ripchord," is commonly understood to be about Elliott Smith. On it, Blake Sennett sings: "She said it was in the singing and strumming, oh man I even saw it coming." For years I misheard that last line as "never even saw it coming." I always thought it was about never thinking someone would go through with something as drastic as suicide, despite the downcast or depressive words in their art. In other words, I bent the lyrics to fit what a lot of us have to just assume in order to get through the day without worrying, whether it's about loved ones or "only" beloved artists.
For that matter, Frightened Rabbit wasn't one of those beloved artists for me. I have a few of their albums, saw them live at a festival once, never got into them hardcore. But I played the holy hell out of "The Modern Leper" in 2008, and for most of the ten years that followed; it's still one of the most-played tracks on my iTunes. I played it again when I found out that Frightened Rabbit frontman and songwriter Scott Hutchison had killed himself, earlier this year, about ten years after this song first came out, and I cried a little bit, because it's in the singing and the strumming of this anthemic song about living with depression. "I've got this disease I just can't shake and I'm rattling through life," Hutchison sings, and the song builds with such fist-pumping intensity (has anyone ever maintained their Scottish accent so gracefully in song?) that you might not stop to think about how lonely it must feel, because who could feel lonely listening to this song?
Or anyway, I didn't stop to think about it much while listening to and loving this song, which I think is why I cried listening to it last May. "You're not ill, and I'm not dead. Doesn't that make us the perfect pair?" Hutchison asks wryly as the song nears its close, and you know what? For a few minutes at a time, back when this was true, it did. – Jesse
53. "Daniel" – Bat for Lashes (2009)
It doesn't have to be about the Karate Kid. Yes, Natasha Khan has said that "Daniel" is based on Ralph Macchio's character from that dopey '80s classic, and yes, the video concludes with Khan flinging her arms around a teenage boy who looks a lot like Mr. Miyagi's protégé. But you don't need to be familiar with Daniel LaRusso karate-chopping his way through the Cobra Kai to be transported by "Daniel," to be elevated by its soaring melody and poetic images. Lyrically, this song is the apogee of Bat for Lashes' enduring focus on elemental splendor, replete with striking turns of phrase: a teenage couple meeting under "marble movie skies"; a conflagration perfuming the air with "the smell of cinders and rain"; a deathbed farewell where tears creep into lovers' mouths. Khan has seen fire, and she's seen rain, and it's clear which one wins out; every verse in "Daniel" is about flames, whether literal (a house spinning 'round, presumably burning to the ground) or metaphorical ("I knew that you had a flame in your heart"). That kind of lyrical extravagance is an awful lot for a song to live up to, but Khan manages it and then some, with booming keyboards and snappy percussion (plus a bass line from Yeasayer's Ira Wolf Tuton) that slowly build to a jubilant chorus—she's running in the dark, under "a sheet of rain in my heart"—whose magnificence is only further heightened by her ethereal vocals. "Daniel" is a decidedly lovely song, but it's also an explosive one, and as its chorus repeats, Khan's delicate voice acquires a majestic power. With beauty and grace, she sets the world on fire. – Jeremy Beck
52. "Casimir Pulaski Day" – Sufjan Stevens (2005)
Stripped of the musical pyrotechnics of the rest of Come on Feel the Illinoise, "Casimir Pulaski Day" just wallops you with the simplicity of its plight: how to remain faithful despite human suffering? An age-old question, one that is never solve-able: you either continue to believe, or you don't. The details in the song just accumulate into a fully formed portrait of despair. Cancer of the bone, a failed romance, a depressed father, Bible studies where nothing ever happens. It's only at the end, with the breath of life ("I thought I saw you breathing") and the sudden presence of God, that we get some sort of grace, even in death. Grace, the only salve to despair; it's unmerited, unexplainable, so the lyrics end, the horns come in, and we ascend ever so slightly towards hope. – Evan
51. "Get Ur Freak On" – Missy Elliot (2001)
Some songs are timeless because they sound like they could fit comfortably into any era. Others are timeless because they seem removed from the concept of time entirely. Missy Elliot's "Get Ur Freak On" is this decade's best example of the latter. Like a Frankenstein's Monster lumbering onto a dance floor, it's an electrifyingly unbalanced creation, all slinky futurist synths one second and bouncing Afro club beats the next. Missy's performance is adept at every turn, jumping from the goading come-on of the chorus to verse punctuating operatic shrieks and back again with ease. Hip-hop was making room for a lot of different sounds during this era. Missy proved surrealism might be the most inspired. – Sara
50. "Single Ladies" – Beyoncé (2008)
You know you've made it in the world when Microsoft Word autocorrects your name from Beyonce to Beyoncé. It's hard to tell if there was ever a decisive moment when Mrs. Carter became the idol that she is. When exactly did Bey become Queen Bey, the leader of all women everywhere whose name we shalt not take in vain? "Single Ladies" would be a strong contender for that moment, but at #50 on this list, it might not be because the track was every really that good. GASP! "Ever really that good"? But of course: "Single Ladies" is a solid Beyoncé classic, but nowhere near as energizing as "Crazy in Love" or as heart piercing as "Halo." The appeal of the song is (aside from the legendary dance in the music video that no one has ever successfully replicated) the faux feminist fierceness that it inspires in every single lady listening. "Single Ladies" is a big middle finger to the man who never "put a ring on it," which feels great and all, until the same thing happens with the new "man on my hips," and the next one, and the next. How fierce are we when we're just waiting for a man to put a ring on our finger, like we're a prize to be claimed? We're lucky now, ten years later, that Beyoncé's fierceness has matured, toughened. We know she's the real deal. And even with its flaws, "Single Ladies" might have been what have propelled that maturation into motion, as it gave Queen Bey the starpower to do whatever the fuck Queen Bey wants to do. – Catherine
49. "Optimistic" – Radiohead (2000)
What must have recording Kid A been like for Phil Selway? Coming off the widely praised OK Computer, Radiohead decided to push their sound even farther from traditional rock music. With the Greenwood brothers were playing with ancient synthesizers, Ed O'Brien doing a lot of the guitar experimentation that usually fell to Jonny Greenwood, and Thom Yorke's role as frontman secure, Selway must have felt diminished. For the first time in Radiohead's career, Many tracks did not feature live drums. Why would Phil even come into the studio? I'm guessing it was the promise of recording "Optimistic".
I'm not saying Kid A is a difficult album, but by the time you get to the middle of it "Optimistic" feels like a balm: a song that wouldn't feel out of place on OK Computer in both composition and message. In addition to being a reminder that Radiohead were all-in on this whole Late Capitalism thing before Twitter even existed, Selway is front a center. He starts with some diving toms, holding off on a more traditional cymbals and snare pattern until the Classic Radiohead Three Guitar attack kick in. It's the best kind of delayed gratification. – Rob
48. "L.E.S. Artistes" – Santigold (2008)
There's a throwaway moment in Scott Pilgrim vs. the World where Young Neil, the hanger-on and wannabe bassist played by Johnny Simmons, is trying to sing along to the rock number currently being blasted by the band that he so desperately wants to join; the problem is that he doesn't know all the lyrics, so he has to quietly fudge it when he realizes he's misspoken. Now, I probably shouldn't get too philosophical about a cute little gag from one of my favorite movies—for that matter, I probably shouldn't use a film made by a bunch of white dudes to launch a discussion of the merits of a song made by a black woman—but Young Neil's slipup raises an intriguing question: Can you truly love art if you don't understand it? More specifically, can you love a song if you don't know its words? I'd argue yes, because music is about more than literal comprehension; it's about sending you somewhere else, about invading your brain and infecting you with a certain rhythm, or spirit, or sensation.
All of which is to say: I don't really know what Santi White is saying in "L.E.S. Artistes." This isn't because she's mumbling like Michael Stipe or something; to the contrary, her delivery is fluid and intelligible. It's because, as soon as the opening beat of this song kicks in—a ferocious electronic thump that slides across just a handful of notes—the part of my brain devoted to comprehension gets switched off, replaced by the part dedicated to absolute immersion. Quite simply, this song bangs. Or slaps. Or fucks. Or whatever monosyllabic verb the kids are using these days to describe something that's blisteringly entertaining. There's an electricity to White's singing, a propulsive current that pulls you in and jolts you with pure energy. That may be why the only lyrics I really recognize are the "oh-ah-ohs" that White appends to the chorus, lissome grace notes that accentuate the song's muscular punch. I could tell you that White (back when she was going by Santogold) wrote "L.E.S. Artistes" as a rejoinder to the falseness of the New York hipster scene, but I honestly only learned that through research, because for me, that backstory never mattered. What matters is the feeling, the sense of controlled fury that's animating her music. And so, whenever this song comes on in my car, I become Young Neil, a dorky fanboy with minimal understanding of White's words, a lack of comprehension that never once stops me from loudly and stupidly singing along. – Jeremy Beck
47. "SexyBack" – Justin Timberlake (2006)
There was a moment in time when this song was inescapable. On a roadtrip with friends the summer it was released, we scanned through dozens of radio stations and "SexyBack" was playing on all of them. All the time. Everywhere. So it's a mark of its greatness that rather than even trying to escape it, we embraced it wholeheartedly — I have a couple of mix CDs created that year that feature "SexyBack"… more than once. This song has a silly-but-danceable chorus and a great bridge ("take it to the bridge!"), it had been four years since JT's last release, and he brought sexy back. What more could we want? – Michelle
46. "New Slang" – The Shins (2001)
Where would The Shins be without Garden State? Where would we be without The Shins? Thanks, Natalie Portman, this song did change our lives. When I first heard this song sometime in '05 or '06, I was fifteen years old and at peak angst. Existential loneliness was my middle name. "New Slang" certainly didn't cure any of that, but it did articulate something I was feeling. Even better, it sounded like what I was feeling — dulled into a monotone, monotonously beating a tambourine. But "New Slang" isn't on this list because we find its ennui relatable. In spite of the heaviness that comes from being "doomed," this song is still light: it is airy, simple, and possesses a loveliness that cleanses some of our lingering adolescence. – Catherine
45. "Yeah!" – Usher (2004)
Someone needed to write the blurb for "Yeah!" but everyone wanted to write the blurb for "Hey Ya!" instead. So, I am writing the blurb for "Yeah!"
Let's start with a quote, like this 10 year-old blurb from Sasha Frere-Jones when he was at The New Yorker:
To stay at No. 1 for twelve weeks, as "Yeah!" did, you must sound salacious but not dirty, and keep it simple enough to lure out the non-dancers, who can latch on to a phrase or word that they already know: yeah!
I was among those non-dancers with fond memories of swaying in a school cafeteria to this song. But at this point, the school was a university, and I was getting a professional degree. Yeah, that's the type of song "Yeah" is. That's its target–everyone. A song manufactured so Confessions could have a monster hit.
Good work, Lil Jon. You tamed the too explicit "Get Low." Now, let's be sure we all have "Turn Down for What" in our next list. – Ben
44. "Portions for Foxes" – Rilo Kiley (2004)
43. "Spectacular Views" – Rilo Kiley (2002)
A RILO KILEY ROUNDTABLE
JESSE: Hardcore Rilo Kiley fans will know that "Portions for Foxes," their closest thing to a crossover hit, actually grew out of "Spectacular Views," a song that was never released as a proper single but closes out their terrific sophomore record The Execution of All Things. In some 2002-2003 bootlegs, you can hear lyrics from "Portions" wafting into the outro of "Spectacular Views" as a natural postscript the song's urgent tribute to natural surroundings (look at these gorgeous trees, but also foxes will eat us). On the band's last tour, they took to playing them in reverse order, "Foxes," going straight into "Views" to close out the set. And in an act of pure coincidence, the two songs wound up back-to-back on this list, a showing for quintessential Great '00s Band Rilo Kiley that is both impressive and, if you're a huge fan, maybe a little disappointing. Why aren't they in the top 20?!
MARISA: Jesse, you probably have better stats on this than I do, but could this be another case of Rilo Kiley splitting its own votes? Did a lot of other RK songs get votes? The thing about band is that they pretty much lived and died in the '00s. When I think about my experience with music during that decade, if you dropped in on me at any time I pretty much always had a ticket to go see Rilo Kiley. "Portions for Foxes" and "Spectacular Views" represent the band at their biggest, but they also only represent a small slice of Rilo Kiley, and all of the slices existed only in the '00s.
SARA: Rilo Kiley looms large in my memories of college. I was just starting my freshman year when More Adventurous came out, and I distinctly remember "Portions for Foxes" in regular rotations at parties, or at least the one-person parties in my dorm room. I never had the good fortune to see the band play together before they broke up, but in some ways I wonder if they'd have lived up to the pure hype I felt jumping up and down on my bed and shouting their lyrics. But my one RK vote ultimately went to "Spectacular Views" which I came to a little later, because it feels the most cinematic and epic to me. Weirdly, though, I have a hard time imagining the movie it could play in. It always goes best with the one in my head.
JESSE: I don't know if they could live up to the emotional connection you felt to their songs in a live setting, but I will say, Rilo was a terribly underrated live act. Besides J-Lew's well-established rock-star charisma, Blake Sennett is a damn good guitarist. I think that's why the band can get away with re-using some chord progressions on these two songs; the tempo and attitude and mood of the two songs are totally different, just as Jenny's twin barks of "C'MERE!" and "IT'S SO FUCKING BEAUTIFUL!" serve pretty different purposes. And Sara, I always wanted to write a short story called "Mall Parking Lots on Holidays" and, as yet, I have not accomplished this. I also suspect this will be better, and more evocative of this song, in my head than on the actual page.
42. "You! Me! Dancing!" – Los Campesinos! (2008)
Most people reading this list are bad at dancing. (Except you, of course – bust a move out there!) That doesn't stop most people from doing it, whether at weddings, at shows, at clubs we've been dragged to, and ill-advisedly at bars. I myself have really only one move, a sort of shoulder shimmy mixed with some steps here and there, and yet I find myself unselfconsciously slipping into it all the time. I can even do it sitting down, much to the delight and/or chagrin of dinner companions, and was even once complimented on my moves by a clearly confused waiter while I was working a restaurant host shift. Anyway, this is all to say I can't dance but I like to do it, which is the thundering conclusion that this Los Campesinos! come to in this song. At a certain point, with a certain person, it all just becomes about the fact that you're dancing with someone, no matter how silly you look. That simple fact can make you feel so good that you want to shout. So after this song starts on a buildup with enough verve to land a Budweiser commercial, you get to shout, and dance, and as long as we're here, everything is all right. -Evan
41. "Stillness is the Move" – Dirty Projectors (2009)
With all respect to Dave Longstreth's longstanding project, he shouldn't be allowed to use the name "Dirty Projectors" anymore now that Amber and Angel are out of the band. Sorry, those are the rules. Don't care if he arranged this song, played some of the instruments on it, wrote the lyrics for it, whatever. The voices and harmonies are what make it, are what make you believe, at least in the short span of the song, that there really is "no-thing we can't do." The latent sense of possibility – that the harmonies could be this good, that the voices could do all these gymnastics – isn't in the project anymore, so it's time to just retire the moniker, thanks. It had a truly ascendant run. -Evan
40. "Ms. Jackson" – Outkast (2000)
It is impressive when a song can literally change how your brain functions in reaction to a single mundane word.
Forever. Forever ever? FOREVER EVER?
After years of listening to the song that put Outkast on the map, you can't hear the one word without hearing all five. I feel a little bad getting so much enjoyment from a song about breakups and custody battles, but if it is truly about Erykah and Andre, she apparently appreciated the track and his honesty. Well, at least for the first two verses. (So I'm glad Big Boi took the third!) – Randy
39. "One More Time" – Daft Punk (2001)
Daft Punk really captured the spirit of the moment with "One More Time." I mean, it's a fun song, right? Dance music: fun. Robots: fun. The sample & refrain: fun fun fun. Who wouldn't want for the party to continue "one more time" forever? But underneath all that 2001-era fun, and not far underneath honestly, there lurks an anxious melancholia. Nowhere is this clearer than the break, when the beats fade and the uplifting "celebrate!" gets paired with the not-so-slightly ominous "don't wait too late," and "we don't stop" turns into "we can't stop." It's probably too much revisionist history for us to look back at that innocent moment before Trump and the Alt-Right and drone strikes and the Iraq War and even the 9-11 attacks and hear some omen of future calamities. However, "One More Time" always sounded to me like "one last time," as if the robots knew that all the promise of that early millennium moment would be as short-lived and ephemeral as it turned out to be. – George
38. "Letter From an Occupant" – The New Pornographers (2002)
Though the 2000s brought us any number of American Idol belters, the decade did not produce a singular Mariah Carey figure to hold the torch for impressive five-octave vocalizing (like everything else, technically impressive singing became more niche-driven). And yet, as Sara said on our Los Campesinos podcast, if you don't have Neko Case in your band to let her blow you away with her voice, why would you have her at all? Man, can she belt out the tune. But "Letter From an Occupant" is almost sneaky about it. It's not built around her showing off her vocal, the way "Since U Been Gone" is just a vehicle for Kelly Clarkson screaming in a key no one can ever get quite right in karaoke. You still get the bouncy, power-pop verses with inscrutable A.C. Newman lyrics before she's allowed to run away with the chorus. You almost can't tell how difficult it is until you try to sing along. Also, I read a magazine interview with A.C. Newman — I think it must've been in Magnet, if you want to talk about the '00s — where he said he had a nightmare than "Letter From an Occupant" was written by Barenaked Ladies, just in case you ever wondered what Canadians worried about. – Marisa
37. "Fell in Love with a Girl" – The White Stripes (2001)
If you want to know the moment that the '00s figured out what it was going to sound like, it came with a bang halfway through 2001. White Blood Cells announced itself on July 3, 2001, and that's as good a starting point as any. The White Stripes were unfettered energy, they were cool, they were enigmatic, they dressed in uniform, they were rock 'n' roll stripped down to their essentials. Clocking in at less than two minutes, "Fell In Love With a Girl" feels like it comes at you in one breath. It's so explosive that it takes a while to realize it's little more than one…thingie (verse? chorus?) sung three times. They said it themselves: It bears repeating. And for the rest of the decade, it seemed as if everyone was repeating The White Stripes. —Marisa
36. "Your Cover's Blown" – Belle & Sebastian (2004)
Welcome to the six-minute guided tour of the Belle & Sebastian museum. A charming monument to the maturation of Phase 3 Belle & Sebastian, showing off that even in 2004, they could still consign their best stuff to a more-or-less B-side. This polite chamber-funk might be a bit too buttoned up to live up to Stuart Murdoch's claim to the "indie 'Bohemian Rhapsody." But it covers a lot of ground while making it seem effortless. It stands out marvelously in the B&S catalog, no small feat amidst their prolificacy. – Chris
35. "Someone Great" – LCD Soundsystem (2007)
What if the iterative power of dance music – that ever-repeating beat that goes on and on and on, promising a sort of endless high – was instead a reminder of our looming mortality? As James Murphy sings "And it keeps coming, and it keeps coming, and it keeps coming, till the day it stops," the production's doing the same sort of thing, looping and repeating, washing over us. The lyrics are full of little perfect observations about how death reshapes our world, and all the ways it anticlimactically doesn't: despite all this pain, the weather's lovely and "the coffee isn't even bitter/ because, what's the difference?" The outside world barely changes while the inner one is ravaged. And the very person who you want to tell all this, all these ways their absence has shifted things – gone. – Evan
34. "Crazy" – Gnarls Barkley (2006)
Go ahead. Make a song called "Crazy." Never mind Willie's perfect song for Patsy. Or, that one Seal hit. Or, even that forgotten Aerosmith hit. And then, all the other crazy grooves out there. Prince beckoning us to go crazy, Madonna crazy for us, or Ozzy's train. No. Lose your mind and sing like no one's watching. – Ben
33. "Anthems for a 17yo Girl" – Broken Social Scene (2002)
Before I was having sex this was the kind of song I imagined having sex to. The breathy female vocals, the plaintive banjo strum, its steady, focused build: "Park that car, drop that phone, sleep on the floor, dream about me." At least one of those sentiments is familiar to you if you've ever been a teenager. The repetitive nature of the lyrics belies their universality; is it a nostalgic older woman looking fondly back at her younger self, or a young person idolizing a just-out-of-reach peer? Emily Haines' gently attentive singing strongly suggests the former, but I think it works either way. Broken Social Scene were founded as a male-centric Canadian supergroup of sorts, but it's telling that all their most enduring songs prominently feature women like Haines and Leslie Feist and Amy Millan. Their lovelorn sensibilities are best expressed through them, and this song is their zenith. – Sara
32. "Losing My Edge" – LCD Soundsystem (1968, 1962-1978, 1974, 1988, 85, 86, 87, 2002)
Here's the thing: I was there. I was there during the scene that you missed in NYC. Here we are, writing about songs of the 00s, but see, I was there. I was at Mercury Lounge with the New Yorker rock critic. I was at the music blog symposium by the other New Yorker rock critic. I was at the Knitting Factory when it was still in Manhattan. I was there when the Bowery Ballroom was still new, and there were harder places to play on Delancy. I was there when Williamsburg still had musicians and not luxury apartments. I saw my friends play Pete's Candy Store before Marnie on Girls. And, Ted Leo was in the audience with me. I saw the Yeah Yeah Yeahs play "Maps" on the second stage at Sirenfest. I was stage left of The Shins. I was there.
But now, I'm losing my edge. To the kids coming up from behind.
This song is about being there, in a scene, about having some talent, but that fear that you are losing it because experience dulls our edge. As we gain experience, the new things don't seem as new. It all just seems like we've seen it before. Because that scene you missed, the one that inspired you, the one you wish you could have seen. Well, I was there. And, I've never been wrong. – Ben
31. "Clint Eastwood" – Gorillaz (2001)
One trend that happened in music in the '00s is that we just sort of let bands lie about their personal histories. Were those people really brother and sister? Did that band really get good because they found the Pick of Destiny? Isn't that obviously just Garth Brooks in a black wig? The mish-mash that is Gorillaz could only exist in this kind of environment. Sure, we said then, why can't the guy from the "woo-hoo!" song do the hook on track made by the guys from Deltron 3030, and credit it all to cartoon characters by the guy who drew Tank Girl? Sounds like a party. Actually, it sounds like nothing else. – Marisa
30. "Your Ex-Lover is Dead" – Stars (2005)
Stars is a band that is all about dichotomy. There are the obvious ones: the contrast between Amy and Torq's vocals or the line that they straddle between guitar pop and synth pop. But even stronger is the amazing battle between four emotions that takes place within so many of their songs. Happy songs that make you want to cry, sad songs that make you laugh, regretful songs that make you dream, and hopeful songs that somehow make you want to call an ex at two in the morning and do something you definitely shouldn't do (but there definitely are other Stars songs that will encourage you to carry on anyway). "Your Ex-Lover is Dead" is somehow capable of all of these. It's the most hopeful song about the lingering feelings for an old love. Give it a listen, pay close attention to the words, and it will change how you look at relationships past. You will have a new appreciation of some of the worst moments of your life. And like any Stars song, no matter how happy or sad, it will leave you filled with hope. – Randy
29. "Work It" – Missy Elliott (2002)
There's a playlist that I listen to on the way to job interviews, and that I used to listen to on the way to dates. Work It is on that playlist, and I'll usually skip forward to it if it looks like it's not going to come up before I get where I'm going. It has an infectious combination of driving beat and confident bravado that pretty consistently rubs off on me. This is due in equal measure to Timbaland's frenetic production (is it possible to think about this song without immediately thinking about the elephant noises?) and Missy's effortless flow (she literally rhymes backwards at one point).
In terms of subject matter, this song fits into a classic rap genre: "I am very good at sex and I'm going to tell you about it." It almost reads as a female answer to Biggie's 1994 "One More Chance" but without the interminable skit intro. But it breathes new life into that genre with a playful sense of its own ridiculousness, with Missy comparing herself to Halle Berry and then saying, in the next breath, that it must be "the Belvedere playing tricks on you." And , once again, those elephant noises. There are a lot of songs on this list that I love because they speak to me about something profoundly important, but very few of them are this much fun. -Craig
28. "Piazza, New York Catcher" – Belle and Sebastian (2003)
I almost feel bad that this is our highest-ranking Belle and Sebastian song, since in some ways it sounds so little like a Belle and Sebastian song. It doesn't feel like there are a gaggle of musicians playing 1,000 tiny instruments. It could just be one guy and a guitar. It doesn't sound like something you should be dancing to while wearing a beret and Breton stripes. In fact, you can't really dance to it at all. But it is very Belle and Sebastian the way it mingles love, melancholy, and Mets baseball. It's fragile and beautiful. Like, drop a needle in anywhere, and you'll get something so gorgeous you might catch your breath. "I have a drowning grip on your adoring face?" "You'd settle for an epitaph like 'Walk Away, Renée?'" Ugh, my heart can't take it. —Marisa
27. "Wolf Like Me" – TV on the Radio (2006)
I read Meet Me in the Bathroom ostensibly to prepare for this list, and two of my major takeaways from that were: (1.) Most of the rock bands on the NYC scene in the early 2000s sound absolutely fucking insufferable. (2.) TV on the Radio sounds like a really nice and well-adjusted bunch of dudes. This is only surprising in the sense that descriptions of a band as "seeming nice," your mind's ear maybe hears like some polite, slight young men making music that sounds like maybe one of their major influences is Phoenix or something. "Wolf Like Me" isn't the sound of a nice band; it's the sound of a band possessed, maybe literally; it has officially usurped both Jon Spencer Blues Explosion's "She Said" and Tracy Morgan's "Werewolf Bar Mitzvah" as the best werewolf song since "Werewolves of London" and frankly, I like it more than "Werewolves of London," too. Do you know how hard it is to sound cool when working howling into a song? But the bridge to "Wolf Like Me" does it, with backing vocals that can sound either ethereal or feral, depending on what you're listening for. Like so many effective movie monsters, it spreads, too: If you've ever been at a TV at the Radio show when this song comes on, people go crazy, generating dance pits out of nothing. Basically an instant full moon. – Jesse
26. "Float On" – Modest Mouse (2004)
This isn't my favorite Modest Mouse song ("Dramamine"). It isn't even really my favorite song on this album ("Bury Me With It"). But I have tremendous affection for "Float On" because of the way that it somehow managed to become the Song of the Summer. I went to a college where the dominant music taste was aggressively bland, where it was taken as an article of faith that The Dave Matthews Band represented the pinnacle of American music, and where I was one of about 15 people who went to see The Dismemberment Plan when they came to play on campus. Yet somehow, I found myself driving around campus past frat houses in everything but name and hearing groups of Nantucket Red wearing bros yelling, voices intentionally cracking, along with this song. Sure, it's catchy as hell, and sure, it's a little more accessible than your average Modest Mouse song. But Isaac Brock is still barking like a lunatic, and the lyrics still prominently feature what is apparently a fake Jamaican grifter. It's just so inexplicable to me that America as a whole embraced this song, and the memory never fails to make me smile. -Craig
25. "Toxic" – Britney Spears (2003)
I would have to describe "Toxic" as a "crossover hit" in the winter of 2004, in that it absolutely KILLED at college dance parties full of people who would no doubt have told you they had zero interest in listening to anything by Britney Spears. We could play it twice in the same hour and have equal enthusiasm each time. More recently, I discovered this mashup with Taylor Swift's "Look What You Made Me Do" which somehow greatly improved both songs (as mashups usually do). – Michelle
24. "Last Nite" – The Strokes (2001)
If you wanted to hear what rock music sounded like in the this decade, I'd play you this song. Hell, I could probably get away with just playing the intro to this song. There was a while when this was just what we were doing for music with guitars: stripped down production, driving but simple drums, and a howling lead singer. You can take a solo, this isn't punk, but let's keep it to like 20 seconds or so. Oh, and let's name the band "the [something]s." The formula would be repeated often enough to wear out its welcome, but The Strokes can hardly be blamed for their later imitators.
In doing research for this list, I kept coming across a silly just-so story for the music of the '00s, in which the boy band fluff of the nineties fell out of favor as a result of 9/11, thus paving the way for the garage rock revival that The Strokes helped usher in this. This is obviously a deeply stupid way to look at musical history. But it is clear that something happened around this time to make people interested in music with this sort of low-production sound (which, let's be clear, is just as much a deliberate presentation as the slickest pop sheen). For me personally, it came at just the right time to jolt me out of the classic rock fixation of my high school years. I went from Syd Barrett era Pink Floyd to a steady diet of this stuff almost overnight. These days, I like to think I'm less monolithic in my tastes. If I am though, I owe it at least partially to The Strokes, who came along to tell me that I actually liked different music than I thought I did. – Craig
23. "Umbrella" – Rihanna (2007)
It takes a real creative genius to turn an exceptionally ordinary noun like "umbrella" into a catchy chorus without it sounding like it belongs on Sesame Street. Can we all take a moment to imagine the earlier, failed versions of this song? Even though Rihanna already had popular hits like "Pon de Replay" and "SOS" to her name by the time "Umbrella" was released in 2007, it was this #1 hit that made us take her seriously. Not only did we all realize how fun it is to repeat the last two syllables of "umbrella" (ella, ella, eh, eh, eh), but we started to see Rihanna as a bit more solid than some of her pop peers, as she sings about a relationship that's more about devotion and care than the traditional pop song themes of romance and desire. While Rihanna seems most familiar when she's @badgalriri, we've seen that she is just as authentic when she reveals something a bit more raw. "Umbrella" is nowhere near "Stay" or even "FourFiveSeconds," but we can see with "Umbrella" that she's starting to get there. I loved this song when I first heard it in 2007, but admittedly didn't fully appreciate it until my college's a cappella group performed a mashup of "Umbrella" and Coldplay's "Fix You." My nineteen-year-old head was spinning. – Catherine
22. "Your Little Hoodrat Friend" – The Hold Steady (2005)
Ever since the digital revolution, probably even before, there's been a steady stream of thinkpieces about the Death of the Album. Long gone are the days of prodding consumers into buying $18 CDs to get access to the one song they would have vastly preferred to have bought on a $1.50 cassingle; ever-present are the days of picking and choosing the good tracks, downloading or streaming them, and ignoring the rest. The single has had its bloody revenge! That's still sort of true, but consider this: At least in the world of rock and roll, the 2000s helped obliterate the notion of the hit single, at least in the sense of the band and the record company talking over which song should be pushed to the front of the promo game, released to radio, turned into a music video, and so on. I mean, these things still happen. Bands and labels still select singles and release them somewhere. But consider, for example, "Your Little Hoodrat Friend" by the Hold Steady. It's not just a fan favorite, like "You Can Make Him Like You" or "Magazines"; I don't think it's an accident that Ben included it on his Best Music of the First Half of 2005 mix that got me into the Hold Steady in the first place, or that I latched onto it most immediately. And it was, technically speaking, released as a single, with an accompanying music video that you probably can't recall much about even if you're a hardcore Hold Steady fan who has watched it out of curiosity at least a few times.
But this song is not a hit single in the sense that it's a consensus choice for your Hold Steady national anthem (that would be a certain track from Boys and Girls in America, naturally) or in the sense that it's a Hold Steady song that maybe non-fans recognize from the radio (seems like "Sequestered in Memphis" might be the choice there), or in the sense that it really broke out and propelled its album, Separation Sunday, to massive success. It's a hit single because a certain number of people heard it, loved it, and went, yeah, this fucking thing is canon. This thing is the truth. This is my fucking jam right here. Yet it does so many things that single-choosers would advise against: It's specific as hell, dropping Greater Minneapolis references that still ring on actual geographical bells to me yet somehow resonate all the same; it drops listeners into a story that the song doesn't necessarily resolve; it doesn't really have a beat that you can dance to, or a hook so immediate that new listeners love it in 30 seconds flat. But we do love it, we do dance to it, and the band still tends to play it during the last ten percent of their set, like it's fucking "Livin' on a Prayer" or whatever the fuck Bon Jovi plays in the last ten percent of their presumably interminable, insufferable concerts. This may be the most Springsteen-y thing the Hold Steady has ever done: creating an anthemic single out of none of the right ingredients except an insane, rabid fanbase. I'm sure this technically speaks to the kind of fragmentation and segmentation that defined pop music in the 2000s, but down in the pit, "Your Little Hoodrat Friend" sure feels a lot like a great uniter. – Jesse
21. "The Rat" – The Walkmen (2004)
The Walkmen are, by and large, a midtempo band, an unusual skill they honed to near-perfection on Heaven, their best and, to date, final album. But Heaven didn't come out during the 2000s. "The Rat" came out in the 2000s, and "The Rat" is their most lasting single achievement for, among other reasons, being one of the very best rock songs in a decade that started with a self-conscious "return of rock." As refreshing as the Strokes or Interpol or the Hives or even, god help us, the Vines sounded in the early '00s, there's something satisfying and maybe even a little bit terrifying about how "The Rat" barnstormed onto the scene—or maybe to the side of that scene?—and kicked more ass than any of them with a jittery squall of guitar and propulsive beat held together by the raspy desperation of the vocal track. "The Rat" moves aggressively, even accusingly as it starts with "you've got a nerve to be asking a favor," and it never really lets up.
Even its quieter breakdown has coiled tension that builds as singer Hamilton Leithauser repeats his evocative bridge: "When I used to go out, I knew everyone I saw. Now I go out alone, if I go out at all." (For all the garage-rock swagger of this song, the way he repeats those lines with slightly more emphasis on a few key words is very New Order.) It was only 2004, and the Walkmen already had what sounds something like a eulogy for that early-aughts rock scene locked and loaded—and maybe with good cause, as the Strokes had passed their peak, the White Stripes were only a few years from their final record, we all agreed not to talk about the Vines anymore, and the Killers had already showed up with a safer, poppier approximation of past rock triumphs. Yes, "The Rat" came out the same year as "Mr. Brightside." Only one of them was a radio hit, and only one of them made it onto this list's top ten, and only one of them still gets me worked up and wound up in 2018. – Jesse
So, what's No. 1 already? Top 20 this way >>
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Latest posts by Jesse (see all)
The Best Song of 2019 is "Harmony Hall" by Vampire Weekend - January 16, 2020
TRACK MARKS 2019: "Want You In My Room" by Carly Rae Jepsen - January 15, 2020
Will UNDERWATER be the last shlocky/awesome Fox genre flick? - January 9, 2020
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redpajama_set_name: RedPajamaCommonCrawl


Nappyland NSW is a supplier of baby products located in New South Wales. They came to Small Business Hosting initially to get their website hosted.
However, after talking to them Small Business Hosting realised that they have not got any website at all. In fact, they were still using Hotmail account (i.e. no proper business domain name) to send emails.
Therefore, Small Business Hosting helped them to both setup domain name and website. The website is used as an online shopping portal where their distributors can order product from.
Nappyland NSW have been very-very happy since because not only they now have an online presence, a lot of the manual process of dealing with orders have now been dealt with by the website. Their process is a lot more automated now and they never look back.
Nappyland NSW's website is located at http://www.nappylandnsw.com.au.


Consumer advocacy groups nationwide are sounding the alarms about timeshare scams crippling the nation. These timeshare scams have found their way into every part of the timeshare industry. These timeshare scams are creative, well thought out, polished, and so believable that almost every timeshare in the nation will at one time either be approached by or a victim of one the timeshare scams. So how did these timeshare scams become so prevalent? The law of attraction simply put. There are so many millions of dollars out there invested in the timeshare industry that any product like this will be rife with scams. The number of timeshare scams however has to also do with the number of unsatisfied owner base.Also, if timeshare owners has the ability to give back their timeshare to the resort there wouldn't be as many timeshare scams. These scams prey on the people most desperate. These scams are very lucrative because the victims will be scammed multiple times - many times by the same company. These scams are easy to spot, pretty much any time someone asks you to upgrade, get out of, sell or rent - there is an almost 100% chance of it being one of the many scams. Since these scams have become as prevalent as the genuine timeshare resources themselves, it's a foggy path that you have to traverse. These scams are just everywhere. These scams are generic in process, give money upfront and receive no fulfillment in the back end. Find details at sell my timeshare now Stay away from these timeshare scams.Another aspect of the scams prevalent in today's society is the scams that happen at the timeshare resort itself. Even though there are on site brokers, licensed real estate agents and many laws set up to protect the consumer - sometimes the most expensive scam happens at the resort itself. Many people are told that their points can be used towards renting out their timeshare, or reselling for a profit. These variations of scams, especially when performed by the original sales agent, can be the most damning. If these people are going to lie to your face, then what about that person calling over the phone - who knows you already respond and fall victim to scams? These scams seem to be more prevalent at the resorts in N. American than any other country.Look at the comparisons between Australia and the US laws preventing scams. If you take the time to learn you see that Australia stamps out all possibilities for the resort itself to be a purveyor of scams. They have high regulations protecting their citizens from scams. Timeshare scams still happen, but to a lower degree.In general the advice we give people is to just keep an eye out for the proof that is clearly in front of you in regards to timeshare scams. Look at the quality of a company and its website. Does the website look like it was a rush job? Is the website full of content? Do you get a feeling that the website is a front operation for larger scams? Do a simple google search and see if others purport them as scams. However, only give but so much credence to these review sites because many times they are fronts to do damage to competitors who are actually not scams. If you convince everyone that everyone is one of those scams, then you will never be able to tell the difference, allowing these scams to operate freely. More on this webpage.


text:
<?php

include "constants.php";

// Set defaults
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$img = '';
$active = 0;
$total = 0;

// If GETINFO is set to true in constants.php,
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  curl_setopt($ch, CURLOPT_URL, $slackUrl);
  curl_setopt($ch, CURLOPT_RETURNTRANSFER, true);
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    $name = $reply['team']['name'];

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  $name = NAME;
  $img = IMAGE;
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        +

Join <?php echo $name; ?> on Slack.

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        // Display Active User Counts if GETINFO is active
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  SlackEngine, powered by App Engine

redpajama_set_name: RedPajamaGithub


text:
Q: Fetchall() on sqllite db returning unicode strings [Python 2.7] I am running into some issues running fetchall().
I have a table defined like this:
with bookDB:
    bookCur = bookDB.cursor()
    bookCur.execute("CREATE TABLE Books(bookID INTEGER PRIMARY KEY, Title TEXT, Author TEXT, Genre TEXT)")
    bookCur.close()

Now if I want to search the database for books by genre, I have this code:
with bookDB:
        bookCur = bookDB.cursor()
        bookCur.execute("SELECT * FROM Books WHERE Genre=?",(query,))
        booklist=bookCur.fetchall()
        book = ''.join(str(i) for i in booklist)
        bookCur.close()
        return book;

I would like to join all the items in the book list to make one string that is assigned to book but when I do this, all the TEXT fields arein the unicode format (u'TEXTHERE') and the front and end parentheses also stay. I know I can use split multiple times or delmitters, but there must be something I am doing wrong. How do I stop this from happening? Any tips?
Here is what I get back from fetchall:
[(133, u'Jurassic Park', u'Crichton', u'Sci-Fi')]

I would like a string like this
133>>Jurassic Park>>Crichton>>Sci-Fi

To send back through a socket.
Thank you very much in advance for any help.

A: booklist is a list of tuples representing the query columns in the database. By doing book = ''.join(str(i) for i in booklist) you're just concatenating the string representation of the tuples in booklist.
Try something like this:
book = '|'.join(['>>'.join(map(str, row)) for row in booklist])

This will return something like this:
"133>>Jurassic Park>>Crichton>>Sci-Fi|134>>Star Wars>>Crichton>>Sci-Fi"

where >> is the columns separator and | is the row separators. If you need other representation for the separators just change the string literals.
In that code, the inner join will concatenate the tuples (columns) and the outer will concatenate the rows. map(str, row) is a trick to convert the tuple into a list of string objects applying str method to every element in the tuple. It is needed because simply doing join on an iterable that contains non string elements returns a TypeError exception.
Hope this helps!

redpajama_set_name: RedPajamaStackExchange


Red Deer's Festival of Trees 2014 raised $1.07 million to improve maternity care at Red Deer Regional Hospital Centre.
Dec. 18, 2014 5:30 a.m.
Festival organizers said record cold temperatures resulted in lower attendance this year but the annual holiday fundraising event held Nov. 26 to 30 at Westerner Park still attracted 22,000 visitors.
"We're thrilled, of course, to get over $1 million in a year when it was so cold out. It was very noticeable that our numbers would be down for attendance on our public days. Our events were very well attended so the support was still there for them," said Alaine Martin, project officer with Red Deer Regional Health Foundation, on Wednesday.
Extreme cold always affect attendance, she said.
Last year, the festival raised a record-breaking $1.28 million and hit an all-time attendance high with 24,300 visitors.
This year, the Red Deer Regional Health Foundation is contributing just over $1 million of the money raised to fully equip two dedicated operating rooms to be built adjacent to the Maternity Unit for scheduled caesarean sections and emergency obstetrical procedures.
Alberta Health Services is contributing $9.7 million to the project.
Construction is expected to get underway early next year.
To date, Festival of Trees has raised over $11.8 million over the past 21 years.
Last month's festival was put on with the help of 2,600 volunteers.
Martin said Red Deer is a pretty incredible community.


text:
Neymar declared fit for Atletico Madrid showdown in La Liga
Sports Home FIFA World Cup 2014 News Neymar declared fit for Atletico Madrid showdown in La Liga
Barcelona striker Neymar pulled out of Copa del Rey tie against Getafe with a stomach bug.
Written by Agence-France Presse
Updated: January 09, 2014 09:32 PM IST
Barcelona forward Neymar looks set to be fit for Saturday's top of the table clash with Atletico Madrid after training with the rest of the squad on Thursday. The Brazilian had been forced to pull out of Wednesday's 4-0 win over Getafe in the Copa del Rey due to a bout of gastroenteritis.
Victory over Getafe was most notable for the goalscoring return of Lionel Messi as the Argentine struck twice in his 30 minute cameo appearance as a substitute after nearly two months out with a hamstring injury. (Also read: Pain-free Messi ready for the challenge in 2014)
The return of Messi and Neymar leaves Barca boss Gerardo Martino with an interesting dilemma over who starts up front ahead of the crucial visit to the Vicente Calderon. Pedro Rodriguez and Alexis Sanchez have been in fine scoring form in the wide areas, whilst Fabregas also scored twice from Messi's favourite false nine position against Getafe.
FIFA World Cup 2014 France Samir Nasri Football


Protocells are the elements the series is made from. Beesley will give an introductory talk. Then Beesley will present a quasi-metabolic 'happening' that uses collective neurosignaling to grow next-generation Hylozoic Series protocell formations. Participants will be given headsets and divided into two groups. Sound and light stimuli will synchronize the groups' thought patterns, which will in turn drive syringe pumps feeding a protocell mixture. This primitive, quasi-metabolic system integrates human thought patterns with interactive computing and synthetic biology. The notion of a collective consciousness is at the heart of the event.
With Philip Beesley, Mark-David Hosale, and Alan Macy.
Interview with Philip Beesley during DEAF2012. from V2_ on Vimeo.
The interview was conducted by Jelke Landman, Christiaan Kanis and Paul van Rijckevorsel.
Mark-David Hosale (US) is a media artist, lecturer and composer.
Alan Macy (US) is the founder and Research and Development Director of BIOPAC Systems, Inc.


text:
<TITLE>Review for Requiem for a Dream (2000)</TITLE>
<LINK REL="STYLESHEET" TYPE="text/css" HREF="/ramr.css">

Requiem for a Dream (2000)

reviewed by
Harvey S. Karten

REQUIEM FOR A DREAM

 Reviewed by Harvey Karten
 Artisan Entertainment
 Director: Darren Aronofsky
 Writer:  Darren Aronofsky, Hubert Selby Jr., book by Mr.
Selby
 Cast: Ellen Burstyn, Lared Leto, Jennifer Connelly, Marlon
Wayans, Christopher McDonald, Louise Lasser, Keith David,
Sean Gullette
 Screened at Sony Lincoln Square

   When the gifted film maker Darren Aronofsky hit the scene
two years ago with the wildly imaginative, $60,000 movie
called "Pi"--about an obsessed mathematician who thinks
that numbers could determine God's identity and, more
important, calculate the course of the stock market--the
relatively few people privileged to take the movie in knew that
an innovator was born.  The sincere performances by a no-
name cast coupled with attention-getting visuals (particularly
when Sean Gullette's character got himself into the throes of
a cluster headache) told us that we could expect more of the
same ingenuity in films to come.  The gobs of additional
capital for his current feature has not spoiled Aronofsky.  He
is well on the road to achieving the American Dream that he
so brutally savages in "Requiem for a Dream," though we
doubt that he'll fall into the trap met by virtually all of the
principal characters of this grisly tragedy.

   While the film's surface says "Beware of drugs" (in much
the way that other such works as the groundbreaking "The
Man with the Golden Arm" and the New York-situated "Panic
in Needle Park"), Aronfsky and his co-writer, Hubert Selby Jr.
on whose book the screenplay is based, take on a grander
subject: the illusory pursuit of the American Dream.

   Its young, energetic, and Calvin-Klein-thin principal Harry
Goldfarb (Jared Leto) wants cash to allow him to break out of
his lumpen neighborhood of Brighton Beach, Brooklyn
together with his lonely mother Sara (Ellen Burstyn).  There's
nothing wrong with this aspect of the Dream.  What makes
the situation compelling as drama while savaging the notion
of getting ahead is that the characters are obsessed with
arriving too quickly.  If fantasies of wealth, fame and attention
are global in scope, the ambition to attain them fast fast fast
is fundamentally American.

   "Requiem" plaits the story of a number of people addicted
to drugs, the younger ones interested in heroin as both a
means of getting high and a way to earn big bucks, the older
member addicted to amphetamines as a means of rapidly
losing weight in order to look great on a promise TV
appearance.

   The story begins as grimly as it concludes.  Harry has once
again broken the chain that secures the family TV to the
radiator, carrying the equipment yet again to the local pawn
shop together with his drug-eating pal, Tyrone (Marlon
Wayans), both of whom require the money not only to
secure heroin fixes for themselves but to expand their
business as pushers.  Sara, once again buying back the TV
from the hock shop whose proprietor is her long-term
neighbor, feeds her own addiction to an infomercial hosted by
the slick and charismatic Tappy Tibbons (Christopher
McDonald), who is able to evoke amazing cooperation from
his dumbed-down live audience. Receiving a cryptic phone
call which promises her an appearance on television some
time in the future, Sara is determined to fit into a red
dress she had worn many years earlier, visits a Dr. Feelgood,
and begins gulping speed pills--which she ultimately takes in
huge quantities causing her refrigerator to bounce up and
down like a character in a Stephen King story.  While she
harbors perfectly respectable hopes for her son Harry to get
married and provide a grandchild for her, Harry carries on a
prolonged affair with the addicted Marion Silver (Jennifer
Connelly), an affair which is on an appealingly joyful
foundation until the roof and indeed all the walls give
way.

   The plot, however mocking of the quick fix toward the
American Dream, does not give the film its primal value.
What lifts "Requiem" above similar movies done during the
drug-happy 1970's such as Ivan Passer's "Born to Win"--
about an ex-hairdresser (also set in New York City) and his
$100-a-day heroin habit)--is the frequent but not excessive
use of surreal effects.  The bounding refrigerator is as worn a
plot device as the romping furniture in "The Exorcist," and
yet under Mr. Aronofsky's directorial eye the ice box is able
give us in the audience the cold shivers.  "The Man with the
Golden Arm" has nothing on Harry's festering and
gangrous veins, which even his seen-it-all partner, Tyrone
cannot bear to look at, nor can the doctor who inspects the
infected appendage (played by the imitable Dylan Baker in a
surprisingly brief cameo).  Time after time, Aronofsky throws
in an MTV-inspired cartoon, showing two gargantuan pills
dissolving as though in liquid, followed by a pop pop pop and
an eyeball with an inflating pupil.  Aronofsky repeats this
effect with more humorous ones when showing the ruggedly
dieting Sara rapidly consuming a grapefruit, a hard boiled
egg, and a cup of Joe for breakfast.

   The cast as a whole rises to the occasion.  Ellen Burstyn,
seen shortly after the opening of this film in James Gray's
"The Yards," delivers an Oscar-worthy performance as an
aging mother whose only real problem, loneliness, turns into
the catastrophic dilemma of a psychosis that must be treated
with electroshock.  Her transformation from a typical lower-
middle class Jewish woman on the rundown shores of
Brooklyn's Brighton Beach to something out of Anatole
Litvak's 1948 groundbreaker "The Snake Pit" is a credit to
her skills as a major American performer.  Marlon Wayans
rises to the occasion.  Fresh from an over-the-top manic stint
in "Scary Movie," Wayans turns in a productive act as a
thoroughly wired addict looking to score both the next fix and
the American Dream.  Even Woody Allen would appreciate
the comic touch of elderly women lined up on beach chairs
outside an aging tenement, all crying out, "Hello Harry" over
the glare of their sun reflectors.

Not Rated.  Running time: 120 minutes.  (C) 2000 by
Harvey Karten, film_critic@compuserve.com

The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).

The Internet Movie Database accepts no responsibility for the contents of the
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text:
Przeworski Lab
Journal Club & Lab Meeting
Previous Topics
Publications by lab members
Draft genome of the staghorn coral Acropora millepora
The draft assembly was constructed from a combination of PacBio and Illumina paired-end reads with 10X Genomics barcodes. Feel free to use the assembly and publish results that rely on it, but be aware that it is a work in progress. We hope to release updated versions, so please email us if you identify errors in your own analyses. For all questions, please send us an email at corals.columbia AT gmail.com and include your name and institution. See Methods for a description of the assembly and annotation pipelines.
To download the genome assembly: Download
Stats (Version 2.0 Oct 24 2018) – Scaffold N50: 19.84 Mb (Contig N50: 1.08 Mb); Average length: 556.6 kb; Total length: 475.4 mb; # of scaffolds: 854; # of gene models: 28,188
The data for Baker et al. 'Repeated losses of PRDM9-directed recombination despite the conservation of PRDM9 across vertebrates' (2017) are available as:
Supplementary materials: elife-24133-supp-v1.zip
Raw RNA-seq reads: SRA
The data for Moorjani, Amorim et al. 'Variation in the molecular clock in primates' (2016) are available as:
Multiple sequence alignment of 10 primates: Multiz.tar.gz
Multiple sequence alignment of 7 primates: EPO.tar.gz
Details of the data processing: README
Figures and associated data: github
The data for Singhal, Leffler et al. 'Stable recombination hotspots in birds' (2015) are available as:
Aligned sequence reads (as BAM files) for zebra finch, long-tailed finch, and double-barred finch at http://www.ebi.ac.uk/ena/data/view/PRJEB10586
Filtered variant call data (as VCF files) for zebra finch, long-tailed finch, and double-barred finch at http://www.ebi.ac.uk/ena/data/view/PRJEB10586
RNAseq data for zebra finch testes at http://www.ncbi.nlm.nih.gov/bioproject/?term=PRJNA295077
Ancestral genome reconstruction for zebra finch, long-tailed finch, and double-barred finch at DataDryad: doi:10.5061/dryad.fd24j
Masked genome files for zebra finch, long-tailed finch, and double-barred finch at DataDryad: doi:10.5061/dryad.fd24j
Raw recombination output from LDhelmet for zebra finch and long-tailed finch at both block penalties 5 and 100 at DataDryad: doi:10.5061/dryad.fd24j
Scripts and labnotebook at https://github.com/singhal/postdoc and https://github.com/singhal/labnotebook, respectively
All other data can be requested via e-mail from sonal [dot] singhal1 [at] gmail [dot] com
Unpublished sequences of the PRDM9 ZF in primates: PRDM9_summary, readme, fasta sequences.
TroX: a R package for Kermany et al. (2014)
Shared SNP coordinates for Leffler et al. (2013) Science.
Table S1 for Meyer et al. (2012) Genetics.
For the data reported in Auton et al. (2012) Science:
The sequence data (in BAM file format), variant calls (in VCF file format), genetic maps, and sequenced PRDM9 alleles are available for download over anonymous FTP from ftp://birch.well.ox.ac.uk/. The BAM files are available from the Short Read Archive,
SUBMISSION_ID STUDY_ACCESSION STUDY_ALIAS RELEASE_DATE
ERA191030 ERP002171 PanMap 25-Mar-2013
Given the large number of repeat classes, we do not show recombination rates around all possible repeats in our paper. However, recombination rates around any repeat with more than 200 occurrences (after thinning nearby copies) of interest can be viewed using an interactive online viewer. The viewer can be accessed here.
Supplementary Material S2 for Fledel-Alon et al. (2011) PloS One.
Kevin Bullaughey's regulatory evolution simulation software (Changes in selective effects over time facilitate turnover of enhancer sequences) described in Bullaughey, K. (2011) Genetics, is available here.
Ryan Hernandez's SFS_CODE (Selection on Finite Sites under Complex Demographic Effects), described in Hernandez (2008) Bioinformatics is available here.
Supplementary materials for Coop et al. (2008) Science.
Carole Ober's website on mapping in the Hutterites:http://www.genes.uchicago.edu/hutterite/home.html
Tar file including MIMAR program, goodness of fit test and readme files for Becquet and Przeworski (2007) Genome Research. Complete documentation is available here for an introduction.
Supplementary materials for Teshima et al. (2006) Genome Research: PDF file.
For the program described in Przeworski et al. (2005) Evolution, SELSIMSTAND, contact Graham Coop.
Supplementary materials for Ptak et al. (2004) Genetics: PDF file.
Program described in Przeworski (2003) Genetics, available upon request to Molly Przeworski (mp3284 at columbia.edu).
Supplementary materials for Ptak and Przeworski (2002) TIG: Tab-delimited text file.


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text:
Former Derby runner Mubtaahij returning to U.S.
Jonathan Lintner
@JonathanLintner
Following Mubtaahij's runner-up finish to California Chrome in the Dubai World Cup, trainer Mike de Kock told South Africa's Sporting Post the 4-year-old colt will return to the United States, where last year he ran in the Kentucky Derby and Belmont Stakes.
He'll be transferred to trainer Kiaran McLaughlin, while stablemate Vale Dori, a filly that finished fourth in the UAE Derby, will go to Bob Baffert.
"I was asked to take Mubtaahij to the U.S., but as it is I am stretched between the Southern and Northern Hemispheres, and I don't want to put my assistants under too much pressure as U.S. racing and training is highly scrutinized by the media," de Kock said. "It would be unfair to subject them to that pressure."
Mubtaahij hit the wire 3 3/4 lengths behind California Chrome in Saturday's $10 million race. Dating back to last year, he finished eighth in the Derby and fourth in the Belmont.
Vale Dori, meanwhile, has won in Group I company in her native Argentina. De Kock said she will be bred to leading sire Tapit after this campaign.
"Both Mubtaahij and Vale Dori have big races in them," he added to the Sporting Post, "but I am not able to comment on the exact feature contests their new trainers will be looking at."


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text:
Your Total Guide to All the events In Benidorm,
Best Hotels and all stuff Number One.
about Benidorm
map of Benidorm
basic spanish vocabulary
official addresses & phone numbers
Benidorm districts guide
old town & centre
Rincon de Loix
Poniente
list & describe
Mal Pas
Algar Falls
Caves of Canelobre
tapas (bares)
bar & club list
Jan 2020Feb 2020Mar 2020Apr 2020May 2020Jun 2020Jul 2020Aug 2020Sep 2020Oct 2020Nov 2020 12345678910111213141516171819202122232425262728293031
your are in » home » about Benidorm » geography
about Benidorm, geography
Where is Benidorm?
inside about Benidorm
·geography
·history
·how to get
·map of Benidorm
·useful information »
·events
·Benidorm districts guide »
·e-cards
© po.psi.que
The Costa Blanca's major tourist destination Benidorm lies on the East Coast of Spain. Specifically in the province of Alicante with the city of Valencia approximately an hour's drive north. The nearest Airport is Alicante (El Altet) International Airport, just 60km from Benidorm's town centre. On average just a two hour flight is all it takes to get there from most major European Capitals.
Perfectly laid out for sun, sea and sand!
The town stretches for over four miles at the centre of which lies the historic Old Town. The old town sits on a rocky headland dividing Benidorm into two very different halves. On the one side lies the area known as Poniente and on the other, Levante, each fronted by magnificent beaches of the same name. However, there are three beaches in all and in addition to the famous Playas Poniente and Levante, you'll find the smaller, more intimate Mal Pas Playa that divides the two. As well as relaxing on the beach, however, there is plenty on offer for the more adventurous visitor, including four excellent theme and water parks - namely Terra Mítica, Terra Natura, Aqualandia, and Mundomar.
Click here for a detailed map of Benidorm
High-rise holiday heaven!
From a distance Benidorm's hotels form a shimmery high-rise skyline. On the approach therefore there's no denying the fact that this is a place where everything is geared to holiday fun and entertainment. Benidorm is sometimes known as the "Manhattan of the Costa Blanca" because of its many skyscrapers. These have been built owing to the great demand for both residential and holiday accommodation in the area and also because development outwards has been so restricted. Basically, if you can't build outwards then you have no option but to build upwards!
Fortunately, however, these skyscrapers have not been built shoulder-to-shoulder as is the case in Manhattan. One high-rise block for example in Benidorm may only occupy 30 per cent of any given plot, allowing it to stand alone in its grounds permitting sun and light to reach all parts of it during the daytime.
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text:
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August 25, 2021 by ts1
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text:
News Articles > Facebook Allowed Advertisers to Target Users Interested in "White Genocide"—Even in Wake of Pittsburgh Massacre
Facebook Allowed Advertisers to Target Users Interested in "White Genocide"—Even in Wake of Pittsburgh Massacre
Tag: Facebook, hate crimes, profiling, targeted advertising
Apparently fueled by anti-Semitism and the bogus narrative that outside forces are scheming to exterminate the white race, Robert Bowers murdered 11 Jewish congregants as they gathered inside their Pittsburgh synagogue, federal prosecutors allege. But despite long-running international efforts to debunk the idea of a "white genocide," Facebook was still selling advertisers the ability to market to those with an interest in that myth just days after the bloodshed.
A simple search of Facebook pages also makes plain that there are tens of thousands of users with a very earnest interest in "white genocide," shown through the long list of groups with names like "Stop White South African Genocide," "White Genocide Watch," and "The last days of the white man." Images with captions like "Don't Be A Race Traitor" and "STOP WHITE GENOCIDE IN SOUTH AFRICA" are freely shared in such groups, providing a natural target for anyone who might want to pay to promote deliberately divisive and incendiary hate-based content.
Source: https://theintercept.com/2018/11/02/facebook-ads-white-supremacy-pi...