text:
Q: Differentiating web.config between dev, staging and production environments Anyone have any good tips on handling differences in web.config settings between environments? I've considered creating a 'config' folder in our source control system but outside of the web hierarchy, and having the deployment process copy the appropriate config files (web.dev.config,web.staging.config, web.production.config) into the web folder upon deployment. I've also seen posts on how to programmatically change the config settings (WCF endpoints, connection strings, etc) when the app starts.
What are considered best practices here, and what experiences has everyone had with these or other approaches?
Update Sep 2010
It's worth noting that Visual Studio 2010 adds this ability via web.config transforms. When you use the build configuration manager (Build|Configuration Manager...) to create different configurations for your project (say, Debug, Dev, Staging and Release), VS adds web.*.config files to the solution. The default web.config contains baseline settings that you'll use for debugging. web.release.config, web.staging.config, etc contain XSLT transforms that will be applied whenever you publish your project based on the active build configuration.

A: I use CruiseControl.NET/NAnt and NAnt has an XMLPoke task that allows you to go in as you're building and alter any config setting using XPath queries.
So in each of my build targets (DEV, UAT, STAGING etc) I set a bunch of properties and then call the master build target.  The master build target takes the values of all the properties and XMLPokes them into the config and builds.

A: One method I've seen and used is where you setup keys within your web.config to differentiate the computers by name.
So for instance:
<add key="comp1.Environment"       value="DEV"/>
<add key="compdb1.Environment"     value="PROD"/>
<add key="compstage.Environment"    value="STAGE"/>

Obviously comp1, compdb1 are the actual computer names.
You would then setup something like:
<add key="KeyName,DEV"   value="DevEnvironmentValue"/>

In your code you would need to check what environment the application is running on and then get the appropriate key, so for instance.
private string GetKeyValue() {
    string machineName  = String.Concat(System.Environment.MachineName, ".Environment");
    string environment  = ConfigurationManager.AppSettings[machineName];
    string key          = String.Concat("KeyName", ",", environment);
    string keyValue       = ConfigurationManager.AppSettings[key];

    return keyValue;
}

A: Here's how to add different configs that can be customized for your deployment environments in VS2012

*

*Right mouse click on the solution and select configuration manager

*Click the Configuration Manager button

*Under the Configuration column select combo box against the project
that you want to add a configuration to and Select

*Create a new configuration with a name like TEST and copy settings
from Release and check the Create new solution configurations checkbox

*Right mouse click on the Web.config

*Add Config Transform

*Then you get an extra web.config Eg web.TEST.config

After this you need to modify web.TEST.config with some transformations specific to your TEST environment

A: There's a project type named Web Deployment project, freely available from Microsoft that allow you to do exactly that. You can replace sections of your web.config, depending on your solution configuration (debug, release etc.) We use that for more than a year and it works well. It's available for VS2005 and  VS2008.
Hope this will help

A: While some of the other answers may be more suitable I'll just add that Matt Berseth rolled his own method back in 2007...
In summary he keeps all the values that vary between environments in a proprietary text file and uses a custom tool during the build process to merge the values into the .config files.
In a comment on that post Doron Yaacoby also comments:

"there is a task in MSBuild Community
  Tasks that can achieve this (and more)
  for you, which is called
  XmlMassUpdate. Ive written about it in my blog"

A: My approach has been to have multiple config files. I put all environment agnostic stuff (i.e. doesn't matter if dev, staging, or production) in the web.config file. Anything that is specific to the environment (i.e. database connection info, logging, debug settings, etc.) I put into a local.config file specific to the environment. You can then include the local.config settings in the web.config using configSource (http://weblogs.asp.net/fmarguerie/archive/2007/04/26/using-configsource-to-split-configuration-files.aspx)
Web.config can then be checked into source control. Don't check in the local.config files - that forces you to deploy the correct one in your deploy scripts.

A: With the new VS you can use web config transformations.
Read more here: http://msdn.microsoft.com/en-us/library/dd465326.aspx

A: You need to INSTALL for an environment, not BUILD for one. In the real world, you have to install in prod what was tested in QA, no rebuilding allowed. At least in my world that's the case.

A: Easy way to have that is having an Enumeration, then having a switch statement based on the server name (if its stable name).
Call GetURIPath() where ever you require to fetch details, here I give the examples for url's used:
public class StaticData
{
    public enum enumEnvironment
    {
        envNONE = 0,
        envLOC = 1,
        envDEV = 2,
        envTEST = 3,
        envPROD = 4
    }
     private static enumEnvironment GetCurrentEnv()
    {
        if (ConfigurationManager.GetSection("DBSettingsGroup/DBSettings") == null && ConfigurationManager.GetSection("DBSettings") == null)
        {
            return enumEnvironment.envLOC;
        }
        else
        {
            NameValueCollection NVCollection = new NameValueCollection();
            NVCollection = (NameValueCollection)ConfigurationManager.GetSection("DBSettingsGroup/DBSettings");
            if(NVCollection == null)
            {
                NVCollection = (NameValueCollection)ConfigurationManager.GetSection("DBSettings");
            }

            string sEnv = NVCollection.GetValues("serverrole").ToString();

            switch (sEnv.ToUpper())
            {
                case "DEV-ISOLATED":
                    return enumEnvironment.envDEV;
                case "DEVELOPMENT":
                    return enumEnvironment.envDEV;
                case "TEST":
                    return enumEnvironment.envTEST;
                case "PRODUCTION":
                    return enumEnvironment.envPROD;
                default:
                    return enumEnvironment.envNONE;
            }
        }
    }
   public static string GetURIPath()
    {
        switch (GetCurrentEnv())
        {
            case enumEnvironment.envPROD:
                return "http://produrl/yourapp/api/";
            case enumEnvironment.envTEST:
                return "http://testurl/yourapp/api/";
            case enumEnvironment.envDEV:
                return "http://devurl/yourapp/api/";
            default:
                return "http://localhost/yourapp/api/";
        }
    }
}


text:
TORAIZ
SP-16 Copy/pasting track patterns of different types is broken.
After a little testing I came across some problems when copy pasting patterns from sample tracks to midi tracks and vice versa.
Each track type has many different parameter types but there seems to be little to no translation between the two. What happens is parameters of the copied track end up in totally unrelated parameters of the receiving track, which leads to odd or illegal values. For example a midi note value being set with a sample's length value.
This also means midi tracks won't play pasted patterns at all, unless you paste to an empty track and then set it to midi afterwards.
It's all a bit messed up and I'm surprised this slipped through QA and has gone unnoticed for so long (or not deemed worthy of mention). I'm not deluding myself that it will be fixed but wanted to put it out there in case anyone else comes across the same issue.
cerestan 4 giugno 2021 21:09 Condividi
Hi Cerestan, I seeing what you're saying. Let me replicate that over where I am and I'll get back to you here on the forum.
I'm suspecting that there is a reason why MIDI and sample tracks are not mutually interchangeable; MIDI tracks are meant to trigger external instruments...like synths and other hardware. Every piece of external gear has different parameters which respond to MIDI messages differently. The MIDI message which changes the "envelope release time" parameter on one synth may not have the same effect on another synth.
So it's not really a "mistake" per se that the parameters of the SP-16 do not correspond to the parameters of external gear. And there's no "ideal" way of copying and pasting pattern data from one to the other.
Let me take a quick look and see what I find.
Rhythm Droid 24 giugno 2021 18:26 Condividi
I have recreated what you experienced. I would say that, while yes, it would be convenient if the pitch, velocity, and note length data would copy and paste over back and forth between sample tracks and MIDI tracks, those would be only possible parameters that could be interchangeable. MIDI tracks are designed to trigger external synths and instruments that each have their own individual MIDI spec and list of sound-shaping parameters. I think your solution of pasting to a sample track, then converting that track to a MIDI track is actually quite remarkable, as that preserves the note and velocity data. That is probably the best way to go forward.
Rhythm Droid 11 agosto 2021 04:09 0 voti Condividi
Hi Rhythm Droid, thanks for getting back on this, I confess I haven't looked into it further. As you say the tracks are only interchangeable on a basic level so it's no real loss, just strange that pasting to different track types is allowed in the first place. I know there was a firmware update to allow copy/pasting tracks, perhaps the developers forgot to take different track types into account.
cerestan 11 agosto 2021 20:53 0 voti Condividi

redpajama_set_name: RedPajamaCommonCrawl


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Sometimes it just makes you wonder if the entire planet has gone to war, doesn't it? Between ISIS trying to create its own state (good luck with that, btw), Syria gassing its own people, Israel and Palestine – well, nothing new there, sadly – Putin subtlety claiming Ukraine, and Libya being Libya, even without Mr. Gaddafi, is there anywhere on the other side of the planet that isn't at war? It's pretty crazy, isn't it? Want to see something even more crazy? Check out the video above, which isn't for the weakest of stomachs, as a MiG-21 fighter jet just crashed into Tobruk city block in Libya.


text:
Open Harvest
Sending Music
Heathen Harvest.
The Forest Passage
Neofolk
Doom Folk
Death Industrial
Military Pop
Black Noise
Harsh Noise
Harsh Noise Wall
Power Noise
Rhythmic Noise
Drone ambient
Black Ambient
Ethno-ambient
Folk Ambient
Ritual ambient
Tribal Ambient
Futurepop
Angst Pop
Dark Pop
Deathrock
Post-apocalyptic Pop
Exploring Sonic Disintegration With Bana Haffar, Chris Watson's 'Glastonbury Ocean Soundscape' and More
Ghostly Dichotomies and Psychedelic Labyrinth's From Bardoseneticcube & Shinkiro and Notum
New Vinyl Releases From ROME
Thief "Map of Lost Keys" is Out Via Prophecy Productions on LP, CD. Pre-Order Now
Neurosis & Jarboe : Neurot Recordings Announces Remastered Reissue of Landmark Collaboration
AcousticBlack metalDoom metalMUSIC REVIEWSNeofolkSymphonicOctober 3, 2013
Empyrium – Into The Pantheon
Empyrium is one of those acts whom I have always known were one of those special bands, yet somehow I never gave them the attention that they deserved. To me, they are on that same mythical level as bands such as Agalloch, My Dying Bride, Opeth, Ulver and an honest handful of other bands that seem to be creating music from a completely different perspective. Although some of the aforementioned have certainly not impacted me in recent years like they had in my youth, I still recognize who they are, a generally accepted legendary act. Somehow, Empyrium got passed over by both me and it seems many others, for they were supposed to be considered on that same level.
Sure, they very likely could not give a damn. Many do not, and that is fine, but as a fan of music, when I know of a band that is deserving of that same recognition, it kind of breaks my heart. Maybe it's because I know so many others who would enjoy them as well, possibly even more so. With that, I am thankful for this live performance; the first, ever, by a band whose main man, Ulf Theodor Schwadorf (Markus Stock) is in — or has been part — of so many criminally underrated projects. This, with no reason I can fathom, includes Sun of the Sleepless, a band for which you should be ashamed if you have yet to experience. Many of these albums, from The Vision Bleak onward, have been alongside Thomas Helm. After nearly two decades at the time this live performance took place, saying it is about time does not quite do it justice.
Thomas Helm & Ulf Theodor Schwadorf
For their first performance, they chose to grace the stage at Wave Gothic Treffen, a very respected annual event in Germany, even by the Metal crowd. And what a perfect combination, easily having a background of some brilliantly devastating Blackened Doom Metal, to a modern Neo-Classical Doom Folk with traces of its ugly former head rising up to appease the fans of traditional Metal, albeit these moments are rare. Along with Ulf and Thomas Helm, this concert featured a stellar Prophecy Productions-fueled line-up that consisted of Allen B. Konstanz (The Vision Bleak), Eviga (Dornenreich), Neige (Alcest), Fursy Teyssier (Les Discrets), Christoph Kutzer (Remember Twilight), and Aline Deinert (Neun Welten).
Christoph Kutzer
This very well might be the perfect show. Aided by the sound of wind in the background, with incredibly deft acoustic guitar work by Neige from Alcest, Ulf's vocals are often calm and pleasant, sturdy and self-assured. The acoustic work reminds me of Ulver's infamous Kveldssanger, with Thomas Helm on the keyboards and operatic clean vocals, and — speaking of — do not be surprised if this is not the next band to be backed by a national orchestra on the next album. It is so incredibly strong, it seems a shame that they were not performing like this a decade ago. Perhaps an apology is in order. Empyrium not only delivers its first show, they do so with a grace and style that is fitting for a band with such a long history and underground respectability.
This performance certainly exhibited a few elements of the Empyrium that I recall from years past, but if the sounds and production values on this release are any indication of the direction of their more recent releases, then I have made a huge mistake by ignoring them. It contains all the best of what one would want to find in the vast world defined as Neo-Folk; three acoustic guitarists that inspire me to pick up the six string and practice with a whole new ferocity, and the perfect blend of whispered and clean vocals, including an operatic variety that is awe-inspiring.
Aline Deinert
Living in the Pacific Northwest, I have heard a ton of bands going the acoustic route whilst incorporating stringed instrumentation such as violin and cello. Other acts in Empyrium's homeland of Germany, from Dornenreich to Neun Welten, have tread similar paths. All of these elements of which I have heard at least a few dozen examples of, have culminated and coalesced into this fine performance. It is simply flawless, all held together by a clear bass and a drummer behind a plexiglass acoustic panel. Halfway through, all I can exclaim is "this is so good, this is so incredibly good". Tomorrow, I am going to see Anathema, a band that isvery special to me, beyond words, and Empyrium may have slightly already ruined this experience for me. When it comes to this style, this is that loathsome word of perfection, which is in essence ineffable, for what is perfect? Well, Empyrium, apparently so.
At the halfway point of the show they return for a minute to the sounds I know, my beloved genre of Doom Metal, and I do not mean this modern, largely American, exceptionally aggro Doom. I mean Doom; melancholic, thoughtful, patient, and above all, beautiful in its depressing drapery. Doom is poetic, for the readers of Baudelaire and Poe, and Empyrium does it well. Putting the acoustic guitars down, and picking up the electric, it hardly seems that drastically different. The lonesome depravity exists in all of it, the vocals unbridled with passion, like the Ace of Cups in the Tarot, spilling over with too much water. It's a daunting task, trying to bridge a band's career — a career that has spanned well over a decade — and appease fans from all these times. The thing is, they do it, and do it well, and what has got me spinning in my chair trying to figure it all out, is how this can be the same band that was performing such chilling acoustic pieces a minute ago, to this somber violin and vocal form that howls with desperation at the moon. Oddly enough, it all makes sense, as the thoughtful acoustic guitar fits just fine just minutes after a guitar solo with more passion than most men have the courage to muster.
Into the Pantheon is a fitting title for this work, perhaps signaling a recognition that has been a long time coming. Various individuals who identify themselves under these particular genres will enjoy and be encouraged by such a work; throughout the various genres they travel, refusing to settle with just one. One moment is a militant drum and the tongue of the already harsh German language, followed by a cello and violin performance that brings it back to a melancholic serenity.
Fursy Teyssier, Neige, Eviga
Epic does not even begin to describe the overwhelming feeling of watching this. It has that same sensation of watching Green Carnation or Ulver's live work, something you know which is special not only because it is so rare, but because these are the type of musicians that break new ground for future generations to sow their seeds. It's over the top good, the kind of show that will ruin everything else for you. Flawless is an obvious description; they took their sweet time getting on that stage, and we can be thankful someone pressed the record. I've seen many incredible performances in my life, but this is beyond comparison. I just feel sorry if any other bands had to play after this, as it will not be topped by anyone for a long time.
Allen B. Konstanz
It all ends with Thomas and Ulf by themselves, the other performers respectfully taking a moment to recognize how fortunate they were to support these incredible musicians. As merely a bystander in terms of being a fan, my heart strings were certainly pulled, and I can imagine any hardcore fan of Empyrium at that moment absolutely losing it. My past mistakes corrected, I shall surely remember from now on that this band is one of the best in music today, capable of delivering a performance that few can even compare to, both in passion and musical talent. This is not just some other show, it is the show, a moment in time that I guarantee many who were so fortunate to attend will remember until the day they die. It's that memory you reflect on years later, knowing how valuable that moment was, for times like this are rare. That is what makes them special, for the music itself reflects on the impermanence of this life and how for just one moment, a calm settles that is a knowing that this, moments just like this, are why we exist.
Band Documentary 1993-2012: Directed by Ronald Matthes
This lovely documentary on Empyrium gives quite a bit of insight into this bands history and personalities. Going back to the days of Impurity, it shows the journey of an atypical hero beginning with raw Death / Black Metal, to the Romantic wanderings of where they have gone. It is certainly interesting, and retrospective on an individual sense as well. Seeing how they went from angry youth to poetic adults reflects many other paths as well, and how many never break free from the bonds of a "scene" in fear of doing something creative, that may not be instantly accepted by others. Citing early influences such as My Dying Bride and Cradle of Filth (Principles came into my life at about 14, I still recognize it as an incredible album regardless of how the band turned out), any music dork will see some of themselves in this. After giving a brief history of how the first demos came out, which shows a long history with Prophecy that in itself is quite interesting, it moves on to influences beyond music.
The words on nature would certainly fit well into any academic Eco-psychology article, and risking being a bit personal here I have to admit the dialogue choked me up. I was born in Bavaria, in the same region and probably not too far from where they grew up, and while I have gone back numerous times since my infancy, I never had a chance to grow up in the place of my birth and get to see many of the natural sites that they have been fortunate enough to witness. Essentially, Empyrium is the soundtrack for the Nature in the land I was born in.
Nature – Mysticism
Reminiscing on the early years, the first albums are discussed and the recording practices. The drums on the early albums were recorded by memory, no click track and no guitars to remember the pace of a song or where a pause is. This method is substantially impressive and daring. Future releases changed based on the recording devices, showing how much the tools utilized impacts the sound. Empyrium is clearly a band that is influential, with a clip from Dornenreich citing them as such. The lineup changes over the years obviously had pertinent aspects in the changes in this band, yet another that can be deemed as Era 1, which is more the Black influenced Doom, and Era 2, which brings in various folk and classical elements.
Certainly, an hour and a half plus of someone talking can run the risk of being boring. Fortunately, Ulf is actually an interesting fellow who offers a lot of insights on being in a band and recording an album, as well as life itself. He is the kind of guy I could imagine having a decent conversation with, and that is a rare thing considering how dull many individuals are. Empyrium are certainly more than just party animals having a good time, they appreciate Nature and poetry and art and the finer things in life. Referring back to the earlier idea of Eco-psychology, he even relates types of instruments to aspects of Nature. I start to wonder if he is some sort of academic, and if not yet, why not? His mind is certainly worthy of creating some great works of literature, as well as music. The concept of each release is discussed, the emotions, and overall environment it was attempting to evoke, and the thoughts behind it. All this is extremely thoughtful and intentional.
After sharing some thoughts on both the formation of The Vision Bleak, Markus proceeds to explain how even though Empyrium took a hiatus, they never actually broke up. He as well discusses how they ended up playing for the first time, the performance of course being the complimentary part to this documentary. How the show came to be, the line up, and all such things are discussed. Interviews with the live members, including members of Les Discrets, Neun Welten, Dornenreich, and Alcest, are shown, which is a very neat thing to include. All Four are incredible bands in their own right, and adds something special to the live performance. To have such an incredible line up on one stage is a daunting thing indeed.
A large part was discussing the possibility for new shows, and how difficult it would be. The interest by the performers to continue this was quite sentimental, I only hope one day I could be so fortunate to see a show. Perhaps one day, they could come here and play an event, as nothing else will get them across the pond. At the least, the documentary does end with letting us know if or if not they will ever make a new album. Now you have to watch it until the end to find out. This informative documentary truly exhibits just what a special band Empyrium is. A part of me feels ignorant for not giving them the same due respect I've given others such as My Dying Bride or Virgin Black. This band is truly legendary, and I hope that future events, be they live or new albums, gives others an even deeper appreciation as well.
Into The Pantheon – Live In Leipzig 11.06.2011: Bluray
01) The Days Before the Fall
02) The Franconian Woods in Winter's Silence
03) Where at Night the Wood Grouse Plays
04) Heimwärts
05) Mourners
06) Die Schwäne im Schilf
07) Dead Winter Ways
08) Der Weiher
09) Many Moons Ago
10) Das blau-kristallne Kämmerlein
11) Band Documentary 1993-2012
Into The Pantheon – Live In Leipzig 11.06.2011: DVD
Written by: Patrick Bertlein
Label: Prophecy Productions (DE) / PRO 141 / Blu-ray /DVD / DVD-Video
Neofolk / Black Metal / Symphonic Rock / Doom Metal
CD plus booklet in a cardboard case
DVD+Bluray (region code free) plus booklet in a cardboard case
Slipcase box including both cardboard cases with CD, DVD and Bluray plus booklet and photo cards of the Empyrium live line-up
5 Alcest black metal Doom Metal Dornenreich Empyrium Les Discrets music reviews Neofolk Neun Welten Patrick Bertlein Prophecy Productions Remember Twilight Ronald Matthes Symphonic Rock The Vision Bleak
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A long ignored corner of the Perth Cultural Centre has sprung to delicious life.
After 7 years or so without, we have chooks again.
My sister Juji summed it up simply: "Everything is so good and I just feel really happy."
Here's why the Southern Forests region is one of Western Australia's natural beauties and a great place for a food and wine adventure.
More from my first taste of Adelaide.


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DURBAN - FROM leading a dangerous life on the streets not knowing where his next meal would come from, and with no shelter, Xolani Mabunda's spirits had been at an all-time low.
But his last-minute plan to hitchhike to Durban earlier this year has paid off, and he's started turning his life around by selling books.
Mabunda, 32, originally from Johannesburg, spent 10 years in jail for murder and robbery. He was released in 2015.
"I found some work at a chemicals factory but it didn't last. In February this year, I came down to Durban and found myself among the homeless people of the city, who recommended I go to the Denis Hurley Centre, where I could get a meal and shower.
"I was informed about the Booksellers of Mzansi project, where we sell newspapers and books," he said.
The project has several homeless people selling second-hand books around the city.
"Sometimes I can make R300 a day and I use it to pay for a shelter, buy food, buy a cooldrink. This project has changed me. Books, and people's love for books and reading, has helped me," he said.
In recognition of the International Day of Literacy, celebrated today Mabunda encouraged people to start reading and to help others to read.
Organisations around Durban have also emphasised the need for reading and writing. International statistics show that globally, there are at least 750 million adults, including 102 million people aged between 15 and 24 years, who lack basic literacy skills.
Rehana Arumugam of the Reach for Words Reading Centre, based in Isipingo, south of Durban, said the need for literacy in South Africa was imperative for young people to reach their potential.
"With children, if there is no literacy, there's no reading. It all starts with literacy, reading and getting good jobs. That's essentially our goal and to prevent children from falling through the cracks," said Arumugam.
She said some of the biggest challenges they faced was overcrowded learning areas, not enough volunteers and a lack of reading resources.
"Some children take longer to learn. We do our best at teaching literacy, such as working with the kids on a one-on-one basis. We allow books to be borrowed because a lot of schools don't have time to administer the lending of books and a lot of people don't have magazines or books in their homes," she said.
Lizelle Langford, PR and fundraising manager for the READ Educational Trust, said it was important to have a basic understanding of language to have a better understanding of subjects which children are engaging with in school.
"It's really important to have the structure at an early age because you'll almost never be able to catch up with what you lost.
"That starts at the beginning and the beginning is not school. It's all about children exploring things within a family context and it's about nurturing and building their confidence by making them comfortable with books, words and language.
Langford added that children find it difficult to learn as a lot of kids are second language speakers and don't have access to home language books: "It stems from being comfortable in the language you're reading in.
"We need a culture in society which focuses on reading. Learners will do what they see. If they don't see adults reading, they won't read. We need to be role models and have more reading material available.


Broad-leafed Plantain - incredible on bites or stings!
Back in January, I read an article on the net about how wonderful broad-leafed Plantain is on beestings, as well as insect bites. As myself and all my daughters are allergic to beestings, I mentally filed that away for future reference.
Later, my daughter complained of itching from a nasty bug bite. I told her to go get some plantain, chew it up, and put it on the bite. She did so - complained it tasted bad, but commented that it really worked! Later she was babysitting for a friend, and their young children had several annoying mozzie bites. She told the kids about plantain, helped them identify and apply some leaves. Those children were so delighted that they've been pointing out the plant to their mother on their walks to school ever since.
A couple of weeks after I had read about plantain, I was working in my garden when I inadvertently leaned the handle of a tool against a paper wasp nest on a wall. A wasp flew out and attacked me with repeated stings on my forearm before I managed to get rid of it. Boy, did it HURT! Most painful stings I can ever remember.
My allergy is such that a sting on my hand would normally result in a huge amount of swelling to my hand, arm, shoulder, neck and chest. It renders the limb basically unusable for a time. I can control it with anti-histamines, but even with them there will be some swelling, and quite a lot of pain for several days. I usually have to take anti-histamines for 7-10 days after the sting, otherwise as soon as I stop I swell up.
On this occasion, on my way back to the house I did a quick walk around the garden and gathered a good handful of broad-leafed plantain leaves. Fortunately, it grows around here like a, well, weed. Reaching the kitchen, I rinsed the leaves, then chewed them up well (chewing releases the properties, and something about the action of saliva seems to make it particularly potent, though if you can't stand chewing them, you can grind them up with a mortar and pestle). I globbed the chewed up leaves onto the stings, and held them there for about 10 mins before rinsing my arm. Personally, I didn't think they tasted bad at all - just a little bit grassy.
The first noticeable thing was that the horrendous pain completely disappeared very, very quickly - within a minute or two.
I took anti-histamines anyway, as a precaution (having my right arm out of action for a week was NOT appealing!). I took another on Day 2, but a couple of days after that I realised I'd completely forgotten to keep taking them, and there was no swelling whatsoever! A couple of hours after the sting happened, there was limited localised puffiness and redness, but by the morning, the puffiness was gone. The redness lasted a few days, but it was not at all sore.
I was totally WOWED by the results!
Not long after that, a friend mentioned on Facebook that she had had a bumblebee fall into her boot and sting her on the foot, and now, 3 days later, her foot was continuing to swell more and more and hurt a lot. She was taking antihistamines, but to no apparent effect. I told her about Plantain, and suggested that even though a couple of days had gone past, it might still help with the pain and itching. She applied some, and then commented that the pain and itching had gone, and the swelling was going down. She was thrilled!
Broad-leafed plantain is a very common lawn weed in New Zealand. It grows everywhere in our paddocks too, and I notice it's particularly prolific in the damper spots - lower lying, or closer to some shade or water. It's easy to identify - the leaves grow out in a rosette shape close to the ground, and have a distinctive stem to tip ribbed effect. The dully-colored flower spikes grow on stems that stand up above the plant.
Another plantain is common here too - narrow leafed plantain. This also has healing properties, but the broad-leafed one is reputed to be most effective for stings.
In late February, I was weeding an area where there was quite a lot of broad-leafed plantain growing. Rather than waste it, I brought quite a lot inside, washed it and chopped it up, then filled a jar with it, and then poured olive oil in until the jar was full. It's been infusing ever since - I shake it up every now and then. Soon I will strain out the leaves, and mix the infused oil with beeswax to make a useful ointment for bites and skin irritation. The fresh plant is the most effective, but an ointment is also handy. I've already dipped my finger in the oil several times to apply it to bites on the kids arms or legs.
All the plantains have many incredible healing properties. Here's an amazing video that everyone should watch - it tells you simply and effectively how to use plantain to treat bites, stings, stinging nettle, skin ulcers and infections, as an antiseptic, to draw out pus and infection, to treat coughs, colds, allergies (such as hayfever), for digestive disorders, as a source of Vitamin B1 and more!


If the mind is open there is room for something new to enter!
Thank you so much for my Reiki session! It was an absolute pleasure and helped me cope that night after mixing up my yoga times and missing the class! Honestly! I was extremely relaxed and your "no pressure attitude" really was perfect. It was beyond all my expectations. DC, Tunbridge Wells.
I suffer from insomnia but when we had our reiki session I managed to sleep soundly for about a week. EV, Tunbridge Wells.
Thanks for the Reiki. I really appreciate it x. JE, Tonbridge.
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Not Muslim enough - sister-hood magazine. A Fuuse production by Deeyah Khan.
I get frustrated when I read narratives about Muslim women. I also get confused because these narratives often lack the voices of women who were raised in Muslim communities outside the Middle East. It may sound petty, but I barely hear any voices from other communities. Sometimes, when reading articles by women of Muslim heritage, I think to myself: 'She doesn't speak for me. She doesn't understand my own struggle in my own community here'.
I was raised in an Indonesian Muslim family, with a Javanese upbringing. My parents taught me the mainstream Islamic practices: praying five times a day, fasting, charity, performing hajj and so on. It became part of my daily ritual but we also mixed Islamic rituals with Javanese mysticism. This syncretism has been going on for hundreds of years: Javanese philosophy accentuates our understanding of Islam, and vice versa.
As I grew older, my beliefs shifted towards a more complex form of Javanese philosophy known as kejawen. Kejawen is a synergy of universal beliefs drawn from Animism, Hinduism, Buddhism and Islam. Since it is a mixture of beliefs, kejawen has adapted the process of enlightenment from both Buddhism and Islam. Both teach us how to face those difficulties that agitate a person into sorrow. There is no compulsion within kejawen. Islam, which means surrender or submission, as practiced by Muhammad (pbuh) tells us to counter the anger, sadness and greed that we face through praying, fasting and charity. This is the similar to the teachings of Gautama the Buddha. Siddhartha Gautama taught us how to meditate with our breath and our mental focus, and to disregard the sensations (mostly negative) that arise in our mind, body and soul during meditation.
I began to understand this process through Javanese dancing, where the moves can produce certain uncomfortable feelings and sensations. Nevertheless, I had to keep in motion in order to reflect a beautiful flow of movement that had been taught through generations. We surrender to the motion, no matter how painful it is.
I finally understood the meaning of surrender and submission in Islam through Javanese dancing. I soon found a lot of readings of Javanese philosophy in line with this meaning of submission. Here, submission is a very powerful tool to understand and take control of oneself. The process of submission should not be misunderstood as being submissive. In submission, there can also be an effort to change those things that draw us into sorrow.
What scares me most is that whenever I speak out about reclaiming more of my Javanese identity whilst also speaking out about the oppression that I went through in Muslim communities, I get attacked from all sides. Muslim conservatives call me an 'infidel' for mixing culture and religion, and not following the strict religious rules. Their counterparts call me a 'fascist', for 'glorifying' Javanese culture, and they blame me for causing Islamophobia.
It seems there is no space for a woman to find what's right for her and what fits her. Women are subjected to misogyny even if all they wish to do is express their spirituality on their own terms. No matter how progressive and revolutionary certain political stances seem to be on the surface, few accept a woman speaking for herself.
To this day, the narratives around Muslim women have only been focused on immigrants (mostly Middle Eastern, North African and South Asian) in Western countries. If we keep on allowing this to be the only visible face of Muslim women, we will lose an understanding of the diversity of Muslim Women in countries outside the Middle Eastern community, who may face oppression within their own communities, such as shaming those women who don't wear the hijab, the policing of women's bodies and the restriction upon women's roles.
So where is the solidarity for your sisters in other parts of the world? Why do we feel like we are fighting the oppression alone, while we have been rooting for you from here all along?
If you really want to fight oppression, then that comes from both ways. Shouldn't you also be reaching out and giving the space for your sisters to speak out? Maybe to many Muslims, I am not Muslim enough because I don't diligently follow the rituals, but is that enough of an excuse to dismiss the diversity of Muslim women across the world?
A Javanese Feminist beating all odds to find her true love, life and passion.