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Playing the Role of a Nurse in a Virtual Reality Simulation: A Safe Environment for Emotion Management : Nurse Educator
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Playing the Role of a Nurse in a Virtual Reality Simulation
A Safe Environment for Emotion Management
Dubovi, Ilana PhD, RN; Itzhaki, Michal PhD, RN
Nursing Department, School of Health Professions, Sackler Faculty of Medicine, Tel Aviv University, Tel Aviv, Israel.
Correspondence: Dr Dubovi, Nursing Department, School of Health Professions, Sackler Faculty of Medicine, Tel Aviv University, PO Box 39040, Tel Aviv 6997801, Israel ([email protected]).
2019 Sigma/National League for Nursing Research Award.
No conflicts of interest have been declared by the authors.
Supplemental digital content is available for this article. Direct URL citations appear in the printed text and are provided in the HTML and PDF versions of this article on the journal's website (www.nurseeducatoronline.com).
Accepted for publication: June 14, 2022
Early Access: July 25, 2022
Cite this article as: Dubovi I, Itzhaki M. Playing the role of a nurse in a virtual reality simulation: a safe environment for emotion management. Nurse Educ. 2023;48(1):13-18. doi:10.1097/NNE.0000000000001269
Nurse Educator 48(1):p 13-18, January/February 2023. | DOI: 10.1097/NNE.0000000000001269
Nurses' successful emotional coping with unpleasant emotions triggered by intense clinical situations is associated with better-quality patient care. Nursing students experience significant challenges with managing their emotions in clinical practice.
To evaluate a virtual reality (VR)–based simulation as a platform for emotional management training.
A pretest-posttest research design was used to study sophomore nursing students (n = 75) while learning with a VR simulation.
Playing the role of a nurse in a VR hospital triggered an emotional dissonance to uncover students' management strategies, specifically deep cognitive acting and surface acting strategies. Surface acting emphasizes emotions that are displayed but not genuinely experienced and was negatively associated with posttest knowledge scores (r =−0.34, P < .05).
Learning with VR can provide a safe environment both for acquiring knowledge and for revealing students' emotional management, which, in turn, can be leveraged by educators to redirect the emotion work required in the nursing profession.
Being a nurse is rewarding, but the profession often involves challenging and demanding emotional experiences. On a daily basis, nurses encounter stressful situations of human suffering and pain that may trigger a variety of intense emotions.1 Nevertheless, nurses are socially expected to present a public image that is empathetic, caring, compassionate, and considerate and to manage their emotions. They are required to suppress and control unpleasant emotions such as anger, distress, fear, and frustration. This can be demanding and involves tremendous emotional effort.2 Smith,3 drawing on Hochschild's4 theory of emotion management, highlighted the cost of emotional involvement in human caring through the experiences of nursing students who struggle to suppress their emotions when caring for a dying child. Indeed, much of the research has shown that nursing students, as well as students from other health care professions, experience significant challenges in managing their own and others' emotions in clinical practice.5,6
According to Hochschild,4 who coined the term "emotion management" in her seminal work, when an experienced emotion is incompatible with a socially expected emotion, emotion work is conducted by deep or surface acting. Hochschild4 described deep acting as a type of emotion work that suppresses or evokes emotions that are appropriate or expected for the situation. For example, an expressive technique involves expressive gestures such as smiling to evoke the expected feeling of happiness; a physical technique works by regulating bodily sensations such as taking slow deep breaths to generate a more relaxed state; and a cognitive technique consists of actively altering thought processes to focus on a more appropriate emotion for the situation. Conversely, surface acting is simply appropriating a facade that is expected for the situation.7 Having realized that successful emotion management plays a central part in patients' healing process as well as being key to nurses' job satisfaction,1 the nature of emotion work should be studied further. This includes ensuring that nursing students, as part of their education, are supported and prepared with various strategies for emotion management in the clinical environment. Simulations, specifically virtual reality (VR) simulations, are ideally suited for this because they can provide a safe platform for students to reveal their own emotional tension and to acquire coping strategies.
Simulations provide a safe environment for students to learn new knowledge and skills. Much evidence shows that incorporation of simulations in nursing education helps students achieve learning objectives, increases their self-confidence, fosters clinical decision-making processes, and improves learning outcomes related to patient safety.8–10 As a result, simulations currently have a critical role in nursing education.11 The current study addresses VR-based simulations that are being increasingly adopted in nursing education12 in terms of emotional and cognitive learning.
VR is a computer-generated environment to model and simulate an artificial 3-dimensional (3D) visual experience and interaction. It supports an engaging illusion of being part of a simulated world where individuals are self-represented as avatars. VR is a responsive platform in which participants can maneuver the 3D representations of a physical location or of an occurrence, which, in turn, supports the sensation of being immersed in a real world.13 Such 3D VR simulations allow participants to experience a dynamic environment while being actively engaged in manipulating and obtaining information, thus providing educational designers the ability to facilitate constructivist learning experiences.14 VR-based simulations create a psychological sensory experience and illusion of being within the artificially created world as if it was a real place.15 This evokes the feeling of being there or a sense of presence.16
VR-based environments can be divided into 2 main categories, high-immersive and low-immersive VR. To provide a high-immersive experience, peripheral equipment such as headsets and controllers are often used to give an up close responsive high-fidelity display and sound is delivered through earphones. This allows users to visualize and feel mentally integrated into a virtual environment during which the awareness of time and the real world becomes disconnected. Conversely, low-immersive VR is based on lower immersion devices such as computer screens with interactions via a mouse, keyboard, or joystick, thus it is often called the desktop VR.17 Notably, studies show that learning with high-immersive environments is negatively associated with achievements, suggesting that high-immersive VR triggers higher levels of cognitive load.18,19 Consequently, the current study focused on learning with low-immersive desktop VR.
Because of the flexibility of the implementation afforded by asynchronous VR computer-based simulations, VR has been partly applied in K-12 educational settings and particularly in higher education.17 For example, VR technological advancements have been adopted by medical schools to teach and learn anatomy20 and surgery,21 showing clear learning benefits. In nursing, the educational incorporation of VR simulations is in its infancy and is mainly used to support the learning and training of procedures, skills, anatomy and physiology, as well as decision making in different clinical conditions.22–29 There is a general paucity of studies evaluating students' emotional experience when playing the role of a nurse in a VR hospital; hence, this study filled the gap by exploring students' emotional experiences and the emotional management involved.
The aims of this research were 3-fold: (1) to evaluate the impact of the perceived sense of presence while learning with VR on emotional experiences; (2) to reveal whether emotion work is triggered during emotional dissonance between perceived and expected emotions; and (3) to assess whether emotion work impacts knowledge acquisition outcomes.
Research Design and Participants
A prospective pretest-posttest design was employed. Undergraduate sophomore nursing students at an Israeli university were invited to participate in the study. The university's ethics committee approved the study.
VR Simulation
The low-immersive desktop VR simulation was designed in a previous study.30 The simulation was designed to model a hospital ward with 2 main spaces (see Supplemental Digital Content, Figure 1, available at: https://links.lww.com/NE/B168). The first space represented the patient room, and the second space represented the medicine room with various medical equipment and medications. A student participant enters the VR simulated hospital ward as a nurse-avatar. First, the student is able to explore their avatar-body and become familiar with performing VR actions such as moving around, opening cabinets, lifting equipment, and reading charts. After this familiarization with the environment, the student is presented with clinical scenarios to support procedure training and development of clinical reasoning. During these clinical scenarios, which include different patients with different health conditions and medical orders, the student learns the medication administration guidelines via embedded interactive tutorial directions and videos and then applies knowledge by administering medications to the patient. During these steps, the VR technology provided individual feedback on the student's performance together with video directions.
Data Collection Instruments
Emotion Work Questionnaire
Based on the questionnaire devised by Furman et al2 on nurses' emotion work, the questionnaire used in this research included 3 subscales: (1) Experienced Emotions, (2) Expected Emotions, and (3) Emotion Work Strategies (see Supplemental Digital Content, Questionnaire, available at: https://links.lww.com/NE/B169). The Experienced Emotions subscale was originally taken from the Medical Emotion Scale31 used to measure emotions in medical studies. This part incorporated 7 positive and negative activating emotions. The participant rates their experienced emotions while playing the role of a nurse in the VR simulation on a Likert scale ranging from 1 (not at all) to 5 (to a great extent). The internal consistency, as determined by a Cronbach α, was high: α= 0.88 for negative emotions and α= 0.91 for positive emotions.
The Expected Emotions subscale included the same 7 emotions as in the Experienced Emotions scale. The participants rated the level of emotions they think that nursing educators and clinical instructors expected them to feel while playing the role of a nurse in the VR simulation, on a Likert scale ranging from 1 (not at all) to 5 (to a great extent). The internal consistency, as determined by a Cronbach α, was high: α= 0.84 for negative emotions and α= 0.85 for positive emotions.
The Emotion Work Strategies subscale included the strategies used for emotion work based on the questionnaire by Furman et al.2 The participants marked their level of agreement with each of 8 items referring to their emotional coping while playing the role of a nurse in the VR simulation, on a Likert scale ranging from 1 (not at all) to 4 (to a great extent). For example: "I bit my lip so as not to feel frustrated" as a physical strategy of emotion work, and "I reminded myself how important it is these days to use advanced technology in order to evoke a sense of pride" as a cognitive strategy. Two questions refer to cognitive strategies of emotion work, 2 to expressive strategies, 2 to physical strategies, and 2 to surface acting. The final score was obtained by averaging all the answers. The Cronbach α score was 0.88. The Emotion Work Questionnaire was administered immediately after learning with the VR simulation.
Medication Administration Test
The Medication Administration Test (MAT) evaluates students' understanding of medication administration procedures and clinical reasoning skills.30 The test is composed of 2 domains: (1) 8 items assess knowledge of basic medication administration procedures and (2) 5 items evaluate clinical decision-making capabilities related to medication administration procedures. For instance, students were asked to reason how they should respond if they are being asked to administer medication that was not prepared by them but by their nurse colleague who was urgently called to assist with resuscitation. The internal consistency, as determined by a Cronbach α, was good at α= 0.74. The MAT was administered twice: at the beginning of the semester (nearly 3 months before) and then immediately after learning with the VR simulation.
Presence Questionnaire
The Presence Questionnaire (PQ) was used to assess students' levels of presence while learning with VR. Witmer and Singer developed the PQ to estimate the degree to which the participant is "experiencing the computer-generated environment rather than the actual physical locale."16(p225) The PQ incorporates 3 subscales: (1) Involved/Comparison (11 items) on the level of VR responsiveness to the initiated actions; (2) Natural (3 items) on the level to which the VR interactions felt natural; and (3) Interface Quality (3 items) on the quality of the interface. The internal consistency, Cronbach α= 0.88, was comparable with a previous report.16 The PQ was administered immediately after learning with the VR simulation.
Sociodemographic Questionnaire
This questionnaire gathered personal data such as gender, age, and ethnicity.
Responses to items in the MAT were calculated as a proportion of all correct responses. Descriptive statistics (mean, SD) compared using t tests were applied to analyze the pre- and postsimulation results, including the overall score for the subscales of medication administration Basic Procedures and Clinical Reasoning. Bivariate intercorrelations were calculated to assess the association between emotional dissonance, emotion work strategies, and learning scores. The analysis was conducted with SPSS software (version 25; IBM Corporation, Armonk, New York).
Overall, 75 students completed the study's pre- and posttest analyses. The majority of the participants were female (91%), and the mean age of the study sample was 22.5 ± 1.9 years.
Emotion Work
To evaluate the participants' experienced emotions while learning with the VR simulation, they rated the intensity and valence (the extent to which an emotion is positive or negative) of their experienced emotions (Table 1). The results showed that participants experienced significantly more positive emotions than negative emotions (3.69 ± 0.97 vs 1.69 ± 0.74, respectively; t = 14.79, P < .001). Curiosity was the most experienced and perceived expected emotion. Of the negative emotions, the most common experienced was frustration. In addition, participants reported a high sense of presence while playing the role of a nurse in the VR hospital. The 3 PQ subscales were Involved/Comparison (4.7 ± 1.0), Natural (4.7 ± 1.3), and Interface Quality (5.2 ± 1.4), comparable with the previous work of Witmer and Singer with immersive VR. Perceived sense of presence was positively correlated with positive experienced emotions (satisfaction: r = 0.233, P < .05; pride: r = 0.233, P < .05; curiosity: r = 0.345, P < .01; joy: r = 0.393, P < .01) and negatively correlated with negative emotions such as fear (r =−0.320, P < .01) and stress (r =−0.403, P < .001).
Table 1. - Experienced, Expected Emotions and Emotional Dissonance While Playing the Role of a Nurse in Virtual Reality Simulation (N = 75)
Experienced Emotions, Mean ± SD
Perceived Expected Emotions, Mean ± SD
Emotional Dissonance,a Mean ± SD
Paired t test
Effect Size, Cohen's d
Positive activating emotions
Happiness 3.53 ± 1.18 4.33 ± 0.94 0.80 ± 1.38 t = 5.00b 0.578
Pride 3.36 ± 1.37 4.16 ± 0.95 0.80 ± 1.18 t = 5.84b 0.675
Curiosity 4.00 ± 0.96 4.53 ± 0.70 0.53 ± 0.90 t = 5.10b 0.589
Enjoyment 3.88 ± 1.03 4.19 ± 0.96 0.30 ± 0.98 t = 2.69c 0.311
Negative activating emotions
Frustration 2.17 ± 1.39 1.95 ± 1.33 −0.22 ± 0.87 t =−2.23d −0.258
Fear 1.36 ± 0.81 1.96 ± 1.44 0.60 ± 1.25 t = 4.15b 0.479
Anxiousness 1.55 ± 0.84 2.08 ± 1.07 0.53 ± 1.17 t = 3.92b 0.453
aEmotional dissonance was computed for differences between perceived expected emotions and experienced emotions (expected – experienced).
bP < .001.
cP < .01.
dP < .05.
Emotional dissonance, which is the gap between the participants' expected and experienced emotions, was found. This was significantly greater for positive emotions than for negative emotions (F1,74 = 46.185, P < .001). Interestingly, for negative emotions, such as fear and stress, the experienced emotions were lower than expected, suggesting that students felt they were meeting the expectations. Consequently, the dissonance between positive expected emotions and expressed emotions was associated with higher levels of emotion work (see Supplemental Digital Content, Table, available at: https://links.lww.com/NE/B170), specifically for the cognitive deep acting (r = 0.301, P < .05) and surface acting (r = 0.260, P < .05). The cognitive deep acting strategy was the most common strategy used by the participants.
The results of the MAT pre- and postsimulation, administered before and immediately after learning with VR, are presented in Table 2. Overall, the postsimulation MAT score was significantly higher than the presimulation score, with a large effect size. When analyzing the MAT subscales, the postsimulation score was significantly higher than the presimulation score only for the Clinical Reasoning subscale (81 ± 17 vs 49 ± 24), whereas for the Basic Procedures subscale the difference between pre- and postsimulation scores was not significant (Table 2). The surface acting emotion work strategy was negatively associated with participants' postsimulation MAT scores (r =−0.34, P < .05; see Supplemental Digital Content, Table, available at: https://links.lww.com/NE/B170).
Table 2. - Comparisons Between Pre- and Postsimulation Scores on the Medication Administration Test (N = 75)a
Pre, Mean ± SD
Post, Mean ± SD
Cohen's d
Overall 66 ± 16 82 ± 15 −7.423b 0.928
Basic procedures 77 ± 17 82 ± 16 −1.870 0.232
Clinical reasoning 49 ± 24 81 ± 17 −8.827b 1.09
aData in percentages; range, 0-100.
To ensure that nursing students have sufficient knowledge and can safely provide patient care upon graduation, nursing education is constantly embracing innovative teaching methods such as VR-based simulations.23 The findings of this study clearly show that VR-based simulation is beneficial for students' learning, particularly in acquiring clinical reasoning skills. Although knowledge of basic medication administration procedures remained relatively unchanged, the findings demonstrated a significant change in clinical reasoning knowledge posttest compared with pretest. Building on this finding, it can be suggested that being able to actively apply this knowledge in a meaningful VR simulation fostered higher-order thinking skills of clinical reasoning. This finding is supported by a recent neuroimaging study, which showed that learning with a VR simulation enhances critical thinking more than a video lecture or hands-on learning.32 Indeed, virtual learning simulations are designed not merely to replace or amplify real-world learning environments but rather the immersed experience activates and reinforces the cognitive system due to the multiple modes of visual-spatial representations.33
An important insight of this study related to the disclosure of students' emotions and emotional management strategies activated while learning with the VR simulation. The realistic experience of playing the role of a virtual nurse, supported by the students' perception of a high sense of presence, caused them to experience a variety of emotions. Specifically, the results show that higher levels of sense of presence were associated with higher levels of positive emotions, whereas lower levels of presence were associated with higher levels of negative emotions. There are studies in the research literature that support this finding concerning the relationship between the feeling of presence and one's emotional state34,35; however, the current study is the first, to our knowledge, to examine the emotion work involved. Namely, the study found that the emotional dissonance was stronger for positive emotions than for negative emotions and that a great deal of emotion work, specifically cognitive deep acting and surface acting, was required to bridge the emotional discrepancy.
We found that the surface acting strategy had a negative effect on participants' postsimulation knowledge achievements. Namely, the more participants used surface acting strategies, the lower their postsimulation knowledge scores. Previous studies have demonstrated the negative psychological consequences of surface acting, such as emotional exhaustion, burnout, and physical ill-health, among nurses and other health care professions.5,36,37 The current study thus adds to the existing body of research by suggesting the negative impact of surface acting on learning outcomes.
To characterize learning with VR simulations and related advantages or disadvantages, future studies should focus on various clinical scenarios beyond medication administration procedures, including the incorporation and evaluation of high-fidelity and standardized patient simulations.
Over the years, emotional processes and emotional dissonance have remained significant among health care providers. However, the ability to better prepare nursing students for clinical practice by supporting the training of management strategies has evolved. The current study extends Hochschild's emotion management theory to suggest that emotion work techniques can be accomplished in a safe VR-based simulated environment. As we have discussed, the present study illustrates that simulation-based learning can activate emotions to reveal students' management strategies. This suggests that simulations such as VR can serve as a platform for preparing nursing students for clinical practice, both cognitively by fostering learning and knowledge acquisition and emotionally by recognizing and then refining students' emotion management strategies.
When students play the role of a nurse in a virtual hospital to practice and learn clinical procedures, educators can leverage this opportunity to recognize and discuss the emotion work required in the nursing profession. This includes building students' awareness of their own emotions, legitimizing the sharing of emotions, and allowing them to learn from each other how to overcome negative emotions and how to deal with them by using management strategies. All these learning experiences, followed by the training of deep acting, may contribute to nursing students' learning achievements and further effectively prepare them for the emotional demands involved in relating to patients, families, and colleagues. Until now, emotion work has been learned on the job in the process of working in the clinical environment37; the current study suggests that students can be taught emotion work techniques as part of their studies in a safe simulated environment.
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Emotions; nursing students; presence; simulation; virtual reality
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Playing the Role of a Nurse in a Virtual Reality Simulation: A Safe Environment for Emotion Management
Nurse Educator48(1):13-18, January/February 2023.
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New 6" LED OBD-II HUD Head Up Display I5 is designed by very powerful and stable integrated circuits and meet the relevant standards. Which add a beauty for your car by unique shape and elegant, flowing lines, natural beautiful body.
HUD is researched and developed for driving safety. Whether driving during the day, or driving at night and whether driving at high-speed,or driving at low speed, you do not have to look down at the instrument panel. HUD project the important car information (such as car speed, engine speed, water temperature, fuel consumption, etc.) onto the windshield. So when you are driving, you can easily control the car's vital information to reduce or avoid accidents or traffic accidents. At the same time, HUD can reduce your eye fatigue effectively so that you achieve the driving pleasure and driving safety perfect unity.
2) Car speed, engine speed, water temperature, voltage / throttle position / Ignition angle / one-hundred-kilometer acceleration time, instant fuel consumption, average fuel consumption, mileage, fuel shortage reminding, engine faulty, shift reminding, etc. are displayed.
6) Switch on and off automatically, HUD start when car starting , HUD shutdown when the engine is turning off to protect the car battery effectively; at the same time, you can switch on and off HUD by Manually Shutdown to protect the battery safety.
7) Single-stage and four-stage overspeed alarm for driving safely.
diagnostic Interface(the vast majority of cars made in china after 2006 have the diagnostic Interface).
3. If your car has a diagnostic Interface of 16PIN(Figure 3), then plug the OBDII cable with the diagnostic Interface of 16PIN.
4. Put the non-slip mat on the relatively flat position of the car console. Then you put HUD on the non-slip mat and adjust HUD.
5. Reflective film can be attached to the front windshield above HUD so that you can read the parameters form the reflective film.
D. After a few minutes, the moisture will evaporate, then gently wipe off the water droplets and dust.
You switch on HUD and HUD shows the current car voltage. Then HUD searches the car computer system. If HUD displays data, such as car speed, engine speed etc, it indicates that the product has been installed successfully.
The value HUD displays is the value of car inside computer system. Since the value that the car dashboard displays is a little bit different from the value of car inside computer system , so you can enter the setup mode to fine-tune the display value of HUD to achieve exactly the same values that the dashboard displays.
After the above adjusted, please press the OK button of dial switch for three seconds ,then HUD is returned to the display interface or restart the HUD, display interface can also be returned.
A. Firstly, enter the setup mode and find function area 11, set up the car's displacement values, which are 1,2,3,4 ..., 100, that means displacement value is 0.1L, 0.2L, 0.3L, 0.4L ..., 10.0L respectively.
B. Secondly, enter the setup mode and find function area 15 in above tablet 1, set up the reference fuel consumption value (i.e. one-hundred-kilometer standard fuel consumption value) (see the corresponding vehicle fuel consumption value that MIIT( Ministry of Industry and Information Technology) or car manufacturers announced.
Firstly, you start the car and turn off HUD. Then you press OK button and hold the dial switch for five seconds and turn on HUD at the same time. When HUD buzzer issues a "Beep" sound, all parameters resume the default values.
After HUD connects car, you don't start the engine and put the car key into the 'ON' position. Then HUD shuts down automatically, you press up and hold the dial switch for five seconds. When HUD buzzer issues a "Beep" sound, HUD clears fault codes.
After connecting HUD, you start the car and HUD displays properly.
1.1 Then you press OK button of the dial switch continuously to display the contents of Menu 1 cyclically, such as MPH, KM/H, RPM.
1.2 HUD displays the contents of Menu 2 cyclically, such as V, throttle position, water temperature, ignition timing, 100 kilometers acceleration time (S), Mileage (KM) when you dial up the dial switch continuously.
Note 1: When you increase or decrease the value of remaining oil(L), HUD displays properly at other Menus.


text:
Humanoid Woman (1981)
Directed by Richard Viktorov and Nikolay Viktorov
Featuring Yelena Metyolkina, Vadim Ledogorov, Uldis Lieldidzs
Country: Soviet Union
What it is: Arty outer space adventure
The only survivor found on a derelict spaceship is brought to Earth and stays with a family. She has lost her memory, but she's a clone with strange powers. What is her story and what will be her fate?
The English version of this movie is difficult and confusing, and has a fragmented story-telling style. It also runs only ninety minutes, where according to IMDB, it's original running time is closer to two and a half hours. This means a good hour of the movie is missing, and perhaps that is why it feels so fragmented. Still, the movie gets away with it during the first half on the strength of Yelena Metyolina's performance as Niyya, the title character; she imbues her character with a fascinating alienness that is gripping. However, once the action shifts to her home planet, the story mostly involves political intrigues, and here the fragmented style becomes a major annoyance. Reportedly, there's a restored version out there somewhere, and perhaps that's an improvement. Based on the print I saw, though, I feel it's more an interesting failure rather than a success.
Howdy Doody's Christmas (1951)
Konyok-gorbunok (1941)

redpajama_set_name: RedPajamaCommonCrawl


This weekend was full of FUN. I hope yours was too. I attended two events in Philadelphia, had lunch with one of my best friends (doesn't happen often!) and took the kiddos to their first session of swim lessons - fun all around! I'll post about one of the events in the coming weeks, but today I wanted to write about the fun Social Media Mom Mixer.
One reason I started this blog is to be a part of some of the FUN that happens in the blogging world. Yes, blogging is a lot of work, and requires a lot of work that I don't even have time to do. Hey, I work full time in marketing and also want to be there for our two kiddos under 5! Still, this weekend I got to experience some of the FUN of blogging with the Social Media Mom Mixer.
It was planned by the inspiring Colleen Padilla and Whitney Wingerd and held at the beautiful Four Seasons Hotel Philadelphia. The event included so many great brand and bloggers! Here are some of the highlights!
Here's a photo before the mom blogger rush. So many great people to meet!
And here's some of the goodies we got at the event. From diapers to mabel's labels and even two guest passes to The Academy of Natural Sciences in Philly. I can't wait to take Little Guy there to see the dinosaurs!
*note - there may be a bag of CVS chocolate covered caramels missing...the hubs and I enjoyed those too quickly!!
Tommy Hilfiger and UnderArmour were there and graciously gave me these two ADORABLE onesies. I actually found them on Amazon too if you're interested: Tommy Hilfiger Baby-Boys Infant Bodysuit with Tie and Tommy Hilfiger Baby-Boys Infant Bodysuit with Bow .
I think these would make awesome baby shower gifts for a mama having a boy!
Stella & dot displayed some beautiful jewelry and accessories.
I got to sample Rodan + Fields skin line - my hand felt so soft afterwards!
You can also see in the background that Hershey's was there (we love food allergy friendly Twizzlers!). Even though this wasn't a food allergy focused event, I actually spoke with a member of their team about food allergies and Hershey Park and resorts. She told me they're very food allergy aware. At all their restaurants and resorts, the chef is supposed to come to your table to discuss possible safe food options for your meal. It sounded like the same top-notch treatment that I've heard Disney provides, so I'll be excited to try out Hershey Park and resorts sometime soon!
I got the cutest charm (see caterpillar in the top left of the photo below) from Charm It! I know Little Gal will love these charms when she's a little older. If you have a little girl who might like Charm It charms, you might be interested in the below coupon code they're offering!!
Thanks to Colleen and Whitney for planning a fun event with great brands.
You might also be interested in Mom Mixer Holiday Showcase.
Disclosure: This post includes affiliate links which are of no cost to you. Also, as you read in my post, I was given products from the brands at this event!
Ha ha. Yes, they went quickly!


text:
Mainstream Media Are in Big Trouble, and They Know It
Fewer than half of all Americans trust the news they're supposed to trust. But the media has a plan to fix that.
According to the newly released Edelman Trust Barometer, the U.S. is currently in the grips of an epic "trust"crisis.
The sobering report suggests that while Americans crave facts now more than ever, they simply don't know what to believe anymore. As a result, they have a deep and accelerating distrust of almost everything, including leaders across every area of their lives. But nowhere is this absence of trust more apparent than in traditional media:
56% agree with the statement that "Journalists and reporters are purposely trying to mislead people by saying things they know are false or gross exaggerations."
58% think that "most news organizations are more concerned with supporting an ideology or political position than with informing the public.
These numbers are alarming industry leaders, but they come as no surprise to anyone who's stopped playing along with the charade of a "free and independent media." Because if we're completely honest with ourselves, we know what mainstream news outlets really are these days: shrill and shameless echo chambers. They dispense packaged narratives laced with soundbites we repeat in our sleep and in casual conversation. They condition us to believe everything "experts" tell us and laugh at anyone who questions them. They skewer public figures they loathe and fawn over those they adore.
This isn't how you inform people; it's how you brainwash them. And more than half of all Americans are finally picking up on what's happening.
You might think mainstream media would be discouraged by this staggering lack of trust, but they're not. In fact, they're determined to fix the problem by any means necessary. Axios recently asked some of the industry's brightest minds for solutions to the deepening trust crisis, and you're not going to believe what they've come up with.
According to Washington Post columnist Margaret Sullivan, restoring trust in "fact-based" news will require journalists to do more than just give the public "truthful information"; they'll also need to find ways to make sure that information is "widely accepted."
Please re-read that, because it's not a typo. The media that's trying to win back our trust thinks we should no longer have the freedom to believe (or not believe) what they tell us. Keep in mind these are the same people who spent the past four years frantically warning us that Russians are trying to undermine our democracy. Apparently, when a foreign country uses social media to influence our elections, it's a mortal danger to everything America stands for. But when we lose the right to think and believe what we want, it's no big deal. Sure, that makes sense.
One can only imagine the lengths to which these crusaders intend to go to ensure the facts they dispense are "widely accepted." I'm guessing it will involve more frequent and liberal use of words like "conspiracy theory," "baseless," "terrorist" — or anything else they can think of to shame us into submission or silence. The problem with this heavy-handed tactic is that it hasn't played out so well in the past. In fact, it's likely the reason why trust in the media has plummeted to an all-time low. So if they're going to turn this ship around, they're going to need some help.
That's why industry insiders are now quietly buzzing about the need to enlist other institutions — ones that the public still trusts — to "visibly embrace" the media (translation: to make sure the "facts" they give us are "widely accepted"). Using surrogates to win public confidence is nothing new, of course. Decades ago, when eroding public trust began complicating its efforts to dispense propaganda, the U.S. government turned to the media to massage public opinion. But now that the media is losing trust on a massive level, a new surrogate must be found.
So which trusted institution are the media counting on to back up the news they deliver to a jaded public?
According to Edelman's global survey, business sits at the top of the list. Incredibly, it's now the only major institution that is seen as both "competent and ethical," out-ranking government, media, and even non-governmental organizations like the United Nations. A deeper dive into the data shows why this matters so much in the U.S.
When polled after the 2020 election, 57% of Biden supporters said they trusted the media, compared to only 18% of Trump supporters. In other words, the media has a big trust gap to fill with voters on both ends of the political spectrum, but it's a yawning chasm with Republicans. Yet when it comes to business, it's a different story. 55% of both Biden and Trump supporters trust companies and the people who run them. In fact, a whopping 61% of Trump voters say they trust their employer's CEO. As it incredible as it may sound, heads of business are now believed to be the only societal leaders who can be trusted to "tell the truth and fix problems."
According to Axios, this is something we should all be very excited about. Why? Because business leaders can save an America in crisis. Because the people who upgraded our country's physical infrastructure in the past can surely be counted upon to "help rebuild our civic infrastructure" in the future. Sure, they get trillions of dollars in interest-free loans and bailouts while the rest of us muddle through with meager stimulus checks, but they still care about us. They've earned our trust, and they can capitalize on that confidence to "preserve America's system of governance."
The idea of enlisting altruistic CEOs to "save" America may sound crazy, but if you've been paying close attention you can see it's a solution that's already being put into action. Heads of major companies have recently stepped into the "leadership void" during the Coronavirus pandemic and with a wide range of other issues like immigration, climate change, and racial injustice. Corporate titans are quietly setting themselves up as a "permanent political force, wielding awesome power." Soon, they will become "the fourth branch of government."
So prepare yourself. Going forward, we're likely to see more business leaders actively supporting whatever the media tell us. CEOs will be called upon to help bring stubborn thinkers into line. Whether it's Bill Gates assuring us that vaccines are safe and effective, Jamie Dimon (CEO of JP Morgan Chase) telling us the economy has made a stunning comeback from disastrous lockdowns, or Jeff Bezos warning us that white supremacists are clear and present threats to democracy, America's new politicians will be called upon to lend trust to media that can no longer be taken seriously.
And let's not forget that corporate titans bring another valuable asset to the table: they wield power to control money and commerce. Unlike the media, they have the power to force us to behave, and they can make our lives very difficult if we don't. Big Tech has already shown it has no qualms about muzzling political voices on the fringe, but this might be just the beginning. Imagine getting this notice from Amazon or Wells Fargo: "Your order/deposit cannot be processed at this time due to information we've received from one of our partners about your online activities."That may have sounded far-fetched five years ago, but would you really be surprised to see it happen in the near future?
Here's what media insiders and good Samaritan CEOs are missing: trust can't be finagled or forced; it must be earned by those who want it. And when people believe an institution is fundamentally corrupt, they're not going to trust it, regardless of the tricks employed or the surrogates it appoints. Business leaders may (for the moment) be more "trusted" than a politician or journalist, but they won't maintain that trust if they insult our intelligence by parroting narratives dispensed by people we clearly don't trust. The average American may not be a genius or an "expert," but they're not stupid.
The solution to this trust crisis is actually quite simple: give us a reason to trust any institution, and we're likely to believe what what we're told. Give us the freedom to access information and opinions from a wide range of sources, and let us decide what to believe or not to believe. Until that happens, fewer Americans are going to be listening to anyone.
The world is getting strange, and I do my best to help you make sense of it. If you enjoyed this, sign up here to get my latest posts as soon as they're available. You might also enjoy my new book, "Reality Bites: Insights on Bridging the American Divide," available on Amazon now!


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text:
Elliott Smith Lyrics
No bad dream fucker's gonna boss me around
Christian brothers gonna take him down
But it can't help me get over
Don't be cross, this sick I want
I've seen the boss blink on and off
Fake concerns is what's the matter, man
And you think I ought to shake your motherfucking hand
Well I know how much you care
Come here by me I want you here
Nightmares become me it's so fucking clear
Lyrics © Universal Music Publishing Group
Written by: STEVEN P. SMITH
Elliott Smith » Elliott Smith
IndieSinger-songwriterAcousticFolkMellow
Steven Paul "Elliott" Smith (August 6, 1969 – October 21, 2003) was an American songwriter and musician. Smith was born in Omaha, Nebraska, raised primarily in Texas, and resided for a significant portion of his life in Portland, Oregon, where he first gained popularity. His primary instrument was the guitar, but he was also proficient at piano, clarinet, bass, drums and harmonica. Smith had a distinctive vocal style characterized by his "whispery, spiderweb-thin delivery" and use of multi-tracking to create vocal harmonies. Read Full BioSteven Paul "Elliott" Smith (August 6, 1969 – October 21, 2003) was an American songwriter and musician. Smith was born in Omaha, Nebraska, raised primarily in Texas, and resided for a significant portion of his life in Portland, Oregon, where he first gained popularity. His primary instrument was the guitar, but he was also proficient at piano, clarinet, bass, drums and harmonica. Smith had a distinctive vocal style characterized by his "whispery, spiderweb-thin delivery" and use of multi-tracking to create vocal harmonies.
After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994 with releases on the independent record labels Cavity Search and Kill Rock Stars. In 1997 he signed a contract with DreamWorks Records, for which he recorded two albums. Smith rose to mainstream prominence when his song "Miss Misery", included in the soundtrack for the film Good Will Hunting, was nominated for an Oscar in the Best Original Song category in 1997.
Smith battled with depression, alcoholism and drug addiction for years, and these topics often appeared in his lyrics. At age 34, he died in Los Angeles, California from two stab wounds to the chest. The autopsy evidence was inconclusive as to whether the wounds were self-inflicted. At the time of his death, Smith was working on his sixth studio album, From a Basement on the Hill, which was released posthumously on October 19, 2004.
Steven Paul Smith was born at Clarkson Hospital in Omaha, Nebraska. His mother, Bunny Welch (née Bunny Kay Berryman), was a music teacher at an elementary school, and his father, Gary Smith, was a University of Nebraska medical student at the time. His parents divorced about a year later, and Smith moved with his mother to live in Duncanville, Texas. Much later in his life, Smith got a tattoo of a map of Texas on his upper arm and said, "I didn't get it because I like Texas, kinda the opposite. But I won't forget about it although I'm tempted to 'cause I don't like it there." Smith endured a difficult childhood and a troubled relationship with his stepfather Charlie. Smith reflected the impact of this part of his life in the lyrics of "Some Song": "Charlie beat you up week after week, and when you grow up you're going to be a freak." The name "Charlie" also appeared in the lyrics for "Flowers for Charlie" and "No Confidence Man". The family was a part of the Community of Christ through much of Smith's childhood, but eventually began attending services at a local Methodist Church. Smith felt that going to church did little for him, except make him "really scared of hell". In a 2001 interview, he stated, "I don't necessarily buy into any officially structured version of spirituality. But I have my own version of it". At the age of nine, Smith began playing the piano, and at ten began learning guitar on a small acoustic guitar bought for him by his father. At this age he also composed an original piano piece, "Fantasy," which won him a prize at an arts festival. Many of the people on his mother's side of the family were non-professional musicians; his grandfather was a Dixieland drummer and his grandmother sang in a glee club.
At 14, Smith moved from Texas to Portland, Oregon, to live with his father, who was then working as a psychiatrist. It was around this time that Smith first began trying drugs and alcohol with friends as well as experimenting with recording for the first time, borrowing a four-track recorder. During high school, Smith played clarinet in the school band and also played guitar, piano and sang in the bands Stranger Than Fiction, A Murder of Crows and The Greenhouse, billed as either Steven Smith or "Johnny Panic". He graduated from Lincoln High School as a National Merit Scholar.
After graduation, Steven Smith began calling himself "Elliott", saying that he thought "Steve" sounded too much like a "jock" name, and that "Steven" sounded "too bookish". Biographer S. R. Shutt speculates that it was either inspired by Elliott Avenue, a street that Smith had lived on in Portland, or that it was suggested by his then-girlfriend. A junior high acquaintance of Smith speculates that it was so as not to be confused with Steve Smith, the drummer of Journey.
Smith graduated from Hampshire College in Amherst, Massachusetts, in 1991 with a degree in philosophy and political science. "Went straight through in four years," he explained to Under the Radar in 2003. "I guess it proved to myself that I could do something I really didn't want to for four years. Except I did like what I was studying. At the time it seemed like, 'This is your one and only chance to go to college and you had just better do it because some day you might wish that you did.' Plus, the whole reason I applied in the first place was because of my girlfriend, and I had gotten accepted already even though we had broken up before the first day." After he graduated he "worked in a bakery back in Portland with a bachelor's degree in philosophy and legal theory." While at Hampshire, Smith formed the band Heatmiser with classmate Neil Gust. After graduating from Hampshire, the band added drummer Tony Lash and bassist Brandt Peterson and began performing around Portland in 1992. The group released the albums Dead Air (1993) and Cop and Speeder (1994) as well as the Yellow No. 5 EP (1994) on Frontier Records, and were then signed to Virgin Records to release what became their final album Mic City Sons (1996).
Smith had begun his solo career while still in Heatmiser, and the success of his first two releases created distance and tension with his band. Heatmiser disbanded prior to Mic City Sons' release, prompting Virgin to put the album out inauspiciously through its independent arm, Caroline Records. A clause in Heatmiser's record contract with Virgin meant that Smith was still bound to it as an individual. The contract was later bought-out by DreamWorks prior to the release of his album, XO.
Roman Candle
His first release, Roman Candle (1994), came about when Smith's girlfriend at the time convinced him to send a tape of "the most recent eight songs that [he'd] recorded on borrowed four-tracks and borrowed guitar" to Cavity Search Records. Owner Christopher Cooper immediately requested to release the entire album of songs, which surprised Smith, as he was only expecting a deal for a seven-inch record. Regarding the record, Smith said "I thought my head would be chopped off immediately when it came out because at the time it was so opposite to the grunge thing that was popular. [...] The thing is that album was really well-received, which was a total shock, and it immediately eclipsed Heatmiser unfortunately." Smith felt his solo songs were not representative of the music Heatmiser was making: "The idea of playing [my music] for people didn't occur to me... because at the time it was the Northwest – Mudhoney and Nirvana – and going out to play an acoustic show was like crawling out on a limb and begging for it to be sawed off." The instrumentation of the recordings was primarily acoustic guitar, occasionally accompanied by brief electric guitar riffs or a small drum set played with brushes. Only the final track, an instrumental titled "Kiwi Maddog 20/20" (a reference to the bum wine MD 20/20), had full band instrumentation.
Smith's debut solo performance was at the now-defunct Umbra Penumbra on September 17, 1994. Only three songs from Roman Candle were performed, with the majority of the ten-song set comprised of B-sides, Heatmiser tunes, and unreleased tracks. Soon after this performance, he was asked to open for Mary Lou Lord on a week-long U.S. tour. Several more short tours followed, and Smith helped her record one of his songs "I Figured You Out", which he once called "a stupid pop song [written] in about a minute" that he discarded for "[sounding] like the fucking Eagles."
Elliott Smith and Either/Or
In 1995, the self-titled album Elliott Smith was released on Kill Rock Stars; the record featured a similar style of recording to Roman Candle, but not without hints of growth and experimentation. Though the majority of the album was recorded by Smith alone, friend and Spinanes vocalist Rebecca Gates sang harmony vocals on "St. Ides Heaven", and Heatmiser guitarist Neil Gust played guitar on "Single File". Several songs made reference to drugs, but Smith explained that he used the theme of drugs as a vehicle for conveying dependence rather than the songs being about drugs specifically. Looking back, Smith felt that the album's pervasive mood gave him "a reputation for being a really dark, depressed person," and said that he later made a conscious move toward more diverse moods in his music.
In 1996, filmmaker Jem Cohen recorded Smith playing acoustic songs for the short film Lucky Three: an Elliott Smith Portrait. Two of these songs would appear on his next album, Either/Or, another Kill Rock Stars release that came out in 1997 to favorable reviews. The album found Smith venturing further into full instrumentation, with several songs containing bass, drums, keyboards and electric guitars, all played by Smith. The album title was derived from the two-volume book of the same name by Danish philosopher Søren Kierkegaard, which deals with such themes as existential despair, dread, death and God.
By this time, Smith's already-heavy drinking was now being compounded with use of anti-depressants. At the end of the Either/Or tour, an intervention was staged by close friends of his in Chicago, but it proved ineffective.
Miss Misery and the Oscars
In 1996, Smith was tapped by director and fellow Portland resident Gus Van Sant to be a part of the soundtrack to his film, Good Will Hunting. Smith recorded an orchestral version of "Between the Bars (Orchestral)" with acclaimed composer Danny Elfman for the movie. Smith also contributed a new song, "Miss Misery," and three other previously released tracks ("No Name #3", from Roman Candle, and "Angeles" and "Say Yes", from Either/Or). The film was a commercial and critical success, and Smith was nominated for an Academy Award for "Miss Misery". Not eager to step into the limelight, he only agreed to perform the song at the ceremony after the producers informed him that his song would be played live that night — either by him or another musician of their choosing.
On March 5, 1998, Smith made his network television debut on Late Night With Conan O'Brien performing "Miss Misery" solo on acoustic guitar. A few days later, wearing a white suit, he played an abridged version of the song at the Oscars, accompanied by the house orchestra. James Horner and Will Jennings won the award that night for best song with "My Heart Will Go On" (sung by Celine Dion) from the film Titanic. Smith did not voice disappointment about not winning the award.
Smith commented on the surrealism of the Oscars experience: "That's exactly what it was, surreal... I enjoy performing almost as much as I enjoy making up songs in the first place. But the Oscars was a very strange show, where the set was only one song cut down to less than two minutes, and the audience was a lot of people who didn't come to hear me play. I wouldn't want to live in that world, but it was fun to walk around on the moon for a day."
XO and Figure 8
In 1998, after the success of Either/Or and "Miss Misery", Smith signed to a bigger independent record label, DreamWorks Records. Around the same time, Smith fell into depression, speaking openly of considering suicide, and on at least one occasion made a serious attempt at ending his own life. While in North Carolina, he became severely intoxicated and ran off a cliff. He landed on a tree, which badly impaled him but broke his fall. When questioned about his suicide attempt, he told an interviewer, "Um, yeah – I jumped off a cliff. But it didn't work." Christopher Cooper, head of Cavity Search Records (which released Roman Candle), said about this time in Smith's life: "I talked him out of thinking that he wanted to kill himself numerous times when he was in Portland. I kept telling him that he was a brilliant man, and that life was worth living, and that people loved him." Smith's first release for DreamWorks was later that year. Titled XO, it was produced by the team of Rob Schnapf and Tom Rothrock. XO also contained some instrumentation from Los Angeles musicians Joey Waronker and Jon Brion. It contained a more full-sounding, baroque pop sound than any of his previous efforts, with songs featuring a horn section, Chamberlins and elaborate string arrangements and even a drum loop on the song "Independence Day". His familiar double-tracked vocal and acoustic guitar style was still apparent. The album went on to peak at number 104 on the Billboard 200 and sold 400,000 copies (more than double that of each of his two Kill Rock Stars releases), becoming the best-selling release of his career. Smith's backing band during most of this period was the Portland-based group Quasi, consisting of former bandmate Sam Coomes on bass guitar and Coomes's ex-wife Janet Weiss on drums. Quasi also performed as the opening act at many shows on the tour, with Smith sometimes contributing bass, guitar or backing vocals. On October 17, 1998, Smith appeared on Saturday Night Live and performed "Waltz #2." His backing band for this appearance was John Moen, Jon Brion, Rob Schnapf and Sam Coomes.
In response to whether the change to a bigger record label would influence his creative control, Smith said: "...sometimes people look at major labels as simply money-making machines, they're actually composed of individuals who are real people, and there's a part of them that needs to feel that part of their job is to put out good music." Smith also claimed in another interview that he never read his reviews for fear that they would interfere with his songwriting.
Figure 8, which was released in 2000, featured the return of Rothrock, Schnapf, Brion, and Waronker, and was partially recorded at Abbey Road Studios in England. The album garnered generally positive reviews and peaked at number 99 on the Billboard 200. The album garnered praise for its power pop style and complex arrangements, described as creating a "sweeping kaleidoscope of layered instruments and sonic textures." However, some reviewers felt that Smith's trademark dark and melancholy songwriting had lost some of its subtlety, with one reviewer likening some of the songs to "the self-pitying complaints of an adolescent venting in his diary."
Album art and promotional pictures showed Smith looking cleaned-up and put-together. An extensive tour in promotion of the record ensued, including television appearances on Late Night With Conan O'Brien and The Late Show With David Letterman. However, Smith's condition began to deteriorate as he had become addicted to heroin either towards the end of or just after the Figure 8 tour.
Final years and recording of From a Basement on the Hill
A follow-up to Smith's 2000 album was originally planned to happen with Rob Schnapf, but their sessions were abandoned. Smith also began distancing himself from manager Margaret Mittleman, who had handled him since the Roman Candle days. He finally began recording a new album with only himself and Jon Brion as producers sometime during 2001. The pair had recorded a substantial amount of music for the album, when Brion confronted Smith about his drug and alcohol abuse. Their friendship promptly ended, and Smith scrapped all of their work up until that point. He later said: "There was even a little more than half of a record done before this new one that I just scrapped because of a blown friendship with someone that made me so depressed I didn't want to hear any of those songs. He was just helping me record the songs and stuff, and then the friendship kind of fell apart all of a sudden one day. It just made it kind of awkward being alone in the car listening to the songs." When Brion sent a bill for the abandoned sessions to DreamWorks, executives Lenny Waronker and Luke Wood scheduled a meeting with Smith to determine what went wrong with the sessions. The singer voiced what he believed to be intrusion upon his personal life from the label, as well as poor promotion for the Figure 8 album. The talks proved to be fruitless, and soon after, Smith sent a message to the executives, stating that if they did not release him from his contract, he would take his own life. In May 2001, Smith set out to re-record the album, mostly on his own, but with some help from David McConnell, a member of the band Goldenboy. McConnell told SPIN that, during this time, Smith would smoke over $1500 worth of heroin and crack per day, would often talk about suicide, and on numerous occasions tried to give himself an overdose. Steven Drozd (of The Flaming Lips) and Scott McPherson played a few drum tracks, Sam Coomes contributed some bass and backing vocals, but almost every other instrument was recorded by Smith.
One of the few highlights for Smith in 2001 was inclusion of his song "Needle in the Hay" in Wes Anderson's dark comedy The Royal Tenenbaums. The song plays during a suicide attempt. Smith was originally supposed to contribute a cover of The Beatles' "Hey Jude" for the film, but when he failed to do so in time, Anderson had to use The Mutato Muzika Orchestra's version of the track instead. Anderson would later say that Smith "was in a bad state" at the time.
Smith's live performances during 2001 and 2002 were infrequent, typically in the Pacific Northwest or Los Angeles. A review of his December 20, 2001 show at Portland's Crystal Ballroom stated concern over his appearance and performance: his hair was uncharacteristically greasy and long; his face was bearded and gaunt; and during his songs he exhibited alarming signs of "memory-loss and butterfingers". The crowd would often have to shout out the lyrics (and in some cases, guitar chords) when Smith could not think of them.
In the first of only three concerts performed in 2002, Smith co-headlined Northwestern University's "A&O Ball" with Wilco on May 2 in Chicago. Smith's performance was described as "undoubtedly one of the worst performances ever by a musician" and an "excruciating... nightmare". A reporter for the online magazine Glorious Noise made the statement "...it would not surprise me at all if Elliott Smith ends up dead within a year."
On November 25, 2002, Smith was involved in a brawl with the Los Angeles Police Department at a Flaming Lips/Beck concert. Smith later said he was defending a man he thought the police were harassing. Assuming that Smith was homeless, the officers allegedly beat and arrested him and his girlfriend, Jennifer Chiba. The two spent the night in jail. Smith's hand and back were injured in the incident, causing him to cancel a number of shows. Wayne Coyne, lead singer of The Flaming Lips and a friend of Smith's, stated concern over Smith's appearance and actions, saying that he "saw a guy who had lost control of himself. He was needy, he was grumpy, he was everything you wouldn't want in a person. It's not like when you think of Keith Richards being pleasantly blissed out in the corner." Smith had attempted to go to rehab several times, but said he "couldn't honestly do the first step... I couldn't say what you were supposed to say and mean it." In 2002, Smith went to the Neurotransmitter Restoration Center in Beverly Hills to start a course of treatment for his drug addiction. In one of his final interviews, he spoke about the center: "What they do is an IV treatment where they put a needle in your arm, and you're on a drip bag, but the only thing that's in the drip bag is amino acids and saline solution. I was coming off of a lot of psych meds and other things. I was even on an antipsychotic, although I'm not psychotic." After his 34th birthday on August 6, 2003, he gave up alcohol, caffeine, red meat, refined sugar and his longtime (sometimes abused) regimen of psychiatric medication. Director Mike Mills had been working with Smith during his final years and described Smith's troubles and apparent recovery: "I gave the script to him, then he dropped off the face of the earth… He went through his whole crazy time, but by the time I was done with the film, he was making From a Basement on a Hill and I was shocked that he was actually making music." With things improving for Smith after several troubled years, he began experimenting with noise music and worked on his girlfriend Jennifer Chiba's iMac with the intent of learning how to record with computers, noting that it was the only method with which he was still unfamiliar. Smith jokingly labeled his experimental way of recording "The California Frown" (a play on the Beach Boys' "California Sound"). He said of the songs: "They're kind of more noisy with the pitch all distorted. Some are more acoustic, but there aren't too many like that. Lately I've just been making up a lot of noise." He was also in the process of recording songs for the Thumbsucker soundtrack, including Big Star's "Thirteen", and Cat Stevens' "Trouble". In August 2003, Suicide Squeeze Records put out a limited-edition vinyl single for "Pretty (Ugly Before)", a song that Smith had been playing since the Figure 8 tour. Steve Hanft described the last six months of Smith's life as being "like the light at the end of the tunnel" and was convinced that Smith was clean and recovered.
Death and reactions
Elliott Smith died on October 21, 2003, at age 34 from two stab wounds to the chest. According to girlfriend Jennifer Chiba, with whom he was living at the time, the two were arguing, and she locked herself in the bathroom. Chiba heard him scream, and upon opening the door, saw Smith standing with a kitchen knife in his chest. She pulled the knife out, after which he collapsed and she called 911. Smith died in the hospital with the time of death listed as 1:36 p.m. While Smith's death was originally reported as a suicide, the official autopsy report released in December 2003 left open the question of possible homicide. A possible suicide note, written on a Post-it, read, "I'm so sorry—love, Elliot. God forgive me." According to Pitchfork, producer Larry Crane reported on his Tape Op message board that he had planned to help Smith mix his album in mid-November. Crane wrote: "I hadn't talked to Elliott in over a year. His girlfriend, Jennifer, called me [last week] and asked if I'd like to come to L.A. and help mix and finish [Smith's album]. I said yes, of course, and chatted with Elliott for the first time in ages. It seems surreal that he would call me to finish an album and then a week later kill himself. I talked to Jennifer this morning, who was obviously shattered and in tears, and she said, 'I don't understand, he was so healthy." The coroner's report revealed that no traces of illegal substances or alcohol were found in his system at the time of his death. The coroner did find anti-depressant and attention-deficit hyperactivity disorder medications in his system, but at prescribed levels. With his death not being officially declared a suicide, a journalist noted that some have suspected foul play, but also that the authorities do not seem to be investigating the case further.
Soon after his death, a fan memorial was initiated outside of Solutions Audio (4334 Sunset Boulevard, Los Angeles, California), the site at which the cover of the Figure 8 album was shot. Farewell messages to Smith were written on the wall, flowers were brought and photos, candles and empty bottles of alcohol mentioned in Smith's songs were left. The owner of Solutions has, as of April 2008, allowed the memorial to stand. Memorial concerts were held in several cities in America and England. A petition was soon put forth with intent to make part of the Silver Lake area a memorial park in Smith's honor. It received over 10,000 signatures, but no plans to go forth with the park have been announced. Another memorial is located inside Smith's former high school, Lincoln High, and was erected in July 2006.
Since Smith's death, many musical acts have paid him tribute. Songs in tribute to, or about Smith have been released by Rilo Kiley ("Ripchord" and "It Just Is" on More Adventurous), Sparta ("Bombs and Us"), Ben Folds ("Late" on Songs for Silverman), Third Eye Blind ("Elliott Smith" on Symphony of Decay), Mary Lorson ("Lonely Boy" on Realistic), Rhett Miller ("The Believer" on The Believer), Earlimart ("Heaven Adores You" on Treble and Tremble), Pete Yorn ("Bandstand in the Sky" on Nightcrawler, a song jointly dedicated to Jeff Buckley), and Ginger Sling ("Faith" on the "Room" EP). Several tribute albums have been released since his death: To: Elliott From: Portland, Home to Oblivion: Elliott Smith Tribute, Remote Memory: A Tribute to Elliott Smith, A Tribute to Elliott Smith and The String Quartet Tribute to Elliott Smith.
Posthumous releases
From a Basement on the Hill, with almost four years in production, was released October 19, 2004 by ANTI- Records (a part of Epitaph Records). With Smith's family in control of his estate, they chose to bring in Rob Schnapf and Smith's ex-girlfriend Joanna Bolme to sort through and mix the album. Although predicted by Smith to be a double album (or a regular album with a "bonus disc"), it was released as a 15-track single album. Many of the darkest songs from the sessions (later leaked onto the Internet) were not included, such as "True Love" (which deals graphically with addiction and rehab), "Abused", "Stickman" and "Suicide Machine" (a reworking of the Figure 8 era unreleased instrumental, "Tiny Time Machine"). It is rumored that it was the family's wishes not to have these songs on the record, as they had the final say in what should and should not be released. Reviews of the album were mostly very positive, but some were more critical; The Onion's A.V. Club wrote that "the album he left behind turns out to be messy, complicated, and unquestionably not his defining work...the album still earns its place—not at the top, and unfortunately as a bookend—in a jarringly important body of work." Elliott Smith and the Big Nothing, a biography by Benjamin Nugent, was rushed to publication and hit stores shortly after From a Basement on the Hill, barely beyond the first anniversary of the musician's death. Smith's family, as well as Joanna Bolme, Jennifer Chiba, Neil Gust, Sam Coomes, and Janet Weiss, all declined to be interviewed and did not support the publication of the book. It contained interviews with Rob Schnapf, David McConnell, and Pete Krebs. The book received mixed reviews, with Publishers Weekly remarking that while "Nugent manages to patch together the major beats of Smith's life, he can offer little meaningful insight" and that Smith's fans "will be disappointed by this short and shallow biography."
On May 8, 2007, a posthumous two-disc compilation album entitled New Moon was released by Kill Rock Stars. The album contained 24 songs recorded by Smith between 1994 and 1997 during his tenure with the label. The songs consisted of demos, early versions, previously released b-sides and some unfinished tracks. In the U.S., the album debuted at number 24 on the Billboard 200, selling about 24,000 copies in its first week. The record received favorable reviews and was Metacritic's 16th best-reviewed album of 2007. A significant portion of the proceeds from album sales are to go to Outside In, a social service agency for low-income adults and homeless youth in Portland, Oregon.
On October 25, 2007, a book titled Elliott Smith was released by Autumn de Wilde, which consists of photographs, handwritten lyrics and "revealing talks with Smith's inner circle". De Wilde was responsible for the Figure 8 sleeve art, making a landmark and de facto Smith memorial of the Solutions Audio mural. A five-song CD featuring previously unreleased live recordings of Smith performing acoustically at Club Largo in Los Angeles was included in the release.
Musical style and influences
Smith respected and was inspired by many artists and styles, including U2, The Kinks, Elvis Costello, Motown and flamenco records, AC/DC, Scorpions, and Modest Mouse. Smith claimed to listen exclusively to select albums (such as The Marble Index by Nico) for months. Sean Croghan (a former roommate of Smith's and member of bands Jr. High and Crackerbash) said that Smith "listened almost exclusively to slow jams" in his senior year at college. Smith was also known to gain inspiration from novels, religion and philosophy. He liked classic literature, especially Samuel Beckett, T. S. Eliot, and Fyodor Dostoevsky (and other Russian novelists).
Smith mentioned his admiration for Bob Dylan in several interviews, citing him as an early musical influence. He once commented: "My father taught me how to play "Don't Think Twice, It's All Right". I love Dylan's words, but even more than that, I love the fact that he loves words." Smith covered Dylan's "When I Paint My Masterpiece" several times in concert.
Smith was a dedicated fan of The Beatles (as well as their solo projects), once noting that he had been listening to them frequently since he was about "four years old" and also claimed that hearing The White Album was his original inspiration to become a musician. In 1998, Smith recorded and contributed a cover of the Beatles song "Because" to the American Beauty soundtrack, which can be heard during the closing credits of the film. Although this was the only Beatles song that Smith ever officially released, he is known to have recorded at least one other ("Revolution (Beatles Cover)", during the sessions for XO), and played many songs by both the band and the members' solo projects at live concerts.
Regarding his songwriting, Smith said: "The way I think about it is... I don't really think about it in terms of language, I think about it more like shapes. That's an interesting thing to talk about but it's difficult. I'm really into chord changes. That was the thing that I liked when I was a kid. So, I'm not like a... I don't make up 'a riff' really. It's usually like... that sequence that has some implied melody in it or something like that." Smith said that transitions were his favorite part of songs and that he preferred to write broader, more impressionistic music closer to pop rather than folk music. Smith compared his songs to stories or dreams, not purely confessional pieces that people could relate to. When asked about the dark nature of his songwriting and the cult following he was gaining, Smith said he felt it was merely a product of him writing songs that were strongly meaningful to him rather than anything contrived.
01Needle in the Hay4:19
02Christian Brothers4:31
03Clementine
04Southern Belle3:06
05Single File2:26
06Coming Up Roses3:10
07Satellite2:26
08Alphabet Town4:12
09St. Ides Heaven3:00
10Good to Go2:24
11The White Lady Loves You More2:24
12The Biggest Lie
Most interesting comment from YouTube:
Schadenfreude24
6y↑16
"Where "Between the Bars" warms you like an old fashioned on a cold
night, "Christian Brothers" sprays alcohol on a raging fire. Here's the
sound of an unqualified mean drunk. Named after a brand of bottom-shelf
brandy, the song stands among Elliott's angriest tracks. It's certainly
his most profane. Just listen to that vengeful opening couplet: "No bad
dream fucker's gonna boss me around/ Christian Brothers gonna take him
down." Early in his career, Elliott often sang of vague, violent
memories from his youth. Fans have interpreted these lyrics as allusions
to the alleged abuse he suffered from his stepfather. Regardless of its
source, anger infused much of Elliott's work, a fact lost on those who
reduced his songs as "sad bastard" music. On "Christian Brothers", the
song's protagonist celebrates the memory-erasing powers of cheap liquor.
He knows the alcohol "won't help me get over," but that doesn't stop
him from opening another bottle. With its venomous lyrics and wonky
guitar riff, "Christian Brothers" awaits a thunderous metal cover to do
it justice."
From https://consequenceofsound.net/2013/10/elliott-smith-top-10-songs-10-years-later/full-post/
All comments from YouTube:
Glokib
5y↑121
This chord progression keeps bringing me back
goongoon
That fucking RIFF keeps bringing me back
Mateus Avila
In the middle of the '00s, I lived hell with my ex-fiancée.
But He was there, calming my head.
When that shit broke up, he was there, too.
After that, when I was strong again, I found the love of my life. We started our family, we had our wonderful boy. We were together for 6 years. She died by cancer, last year.
I hope my family never read this, because they always supported me ... but I need to tell: Elliott Smith (and my son, this time) saved my life again.
I hope he continues giving for you all, what he unfortunately could not have: strength to endure.
Will A
there is no evidence he killed himself..
Jerry Warez
Strive on ...we use this body...aka animated carcus..life is a form of animated death...work
catpeople11
Sweetheart, hope things are going better for you now x
Porkleaker
3y↑2
I'm glad you didn't let your ex stab you in the chest twice with a knife and beat a murder rap.
Kasper Mygenfordt
Hang tough man. Elliott calms all of us, who understands that his music only looks and feels depressing on the surface. When in a negative headspace, it has the opposite effect
Ramone Cricket
This song can make you feel exultant, or very sad. It doesn't discriminate.
CreateYourOwnHeaven
Getting into Elliott made me wanna try Christian brothers. Got a bottle right before my 18 birthday. I play music. Elliott is my hero. All is right in the world.
Dan Wynn-Williams
@rericho j I wouldn't recommend it. Poetic or not, being an alcoholic isn't pretty.
Rascal93
Don't let it grab ahold of you. Alcohol ain't no joke
rericho j
Funny! I've always been curious about Johnny Walker because of his lyric "I'll fake it through the day with some help from Johnny Walker Red". I'll have to live with the curious mystery though. I've never drank, and don't plan on it - likely for my whole life. Never say never though hahahaha
Definitely an occasional thing. Thanks for caring tho :)
Angstadillio
I hope you didn't turn into an alcoholic b/c a song was named after an alcoholic beverage. I don't think that is what Elliott would have wanted.
Arno Goessens
This lonely soul made the most soothing music I have ever laid my ears upon
i love this song, brings back lots of memories.
Unfortunate that his most badass song musically is particularly upsetting thematically, even by Elliot's standards.
Lorena CL
Very underrated artist
Tear Fear Killah
Damn, I've been listening to this for years and I'm surprised there isn't as much views
Tara Milton
peaceful sailing Elliot, your music will be here till the end...
Elisabeth Jondahl
Rest in Power.
i just discovered this song and haven't stopped playing it
This is just so good.
ialwaylose e
One of my favourites <3
as much as i love quotsa and the song [i heard it from them first], this dude did it better.
Ezequiel Lobo
I really love this song
Brandon Thorpe
I'll listen to the heatmiser version of this song for a while then switch back to this recording and it kind of seems fresh and weird. The way his voice is recorded over it's self or something.
Brillford Wimley
@Sam Crooker I learned from this. Bless you
Brandon Thorpe The pumpkins guitar tone is absolutely massive as far as fuzz goes. Lot of overdubs and layering.
Sam Crooker
Corgan and the Pumpkins lay down TONS of guitar overdubs on most of their songs. It makes for an excellent listening experience.
As far as Elliott, he always did double tracks (or more) on vocal takes, a lot of singers do... John Lennon made it a more regular thing for recording in general, as he hated the sound of his voice and always made sure he double tracked them, so he could tolerate his singing a bit more.
@stella I can see that, what a great album. Not from SD but on everlasting gaze by Smashing Pumpkins it seems like they do that during the chorus, it gets so damn fuzzy.
it makes vocals crazy thick. fun fact, the guitars on Siamese dream were dubbed 8 times.
Cleffpallette
always a good time.
Schrott IRR
Star Quinones
Damn, that song moved me like an earthquake might. So much emotion. Another tortured soul returned to the essence to heal.
george ross carnage
gaaaay
Star Quinones same here
Nightmares become me ...
Jmaln
Thank u QOTSA
Don't Go to College
Kenneth Aquino
The Chicken Nugget of Fate
I discovered them through OSI
Tris Desnos
Yes!!! That's how I discovered this guy too! 👍🏻
La Ultima Puerta
Jeremy Blatter they covered this song
1 More Replies...
Anna Peach
Laura Kissell
"I know how much you care..."
C Ramirez
That person on the google pixel commercial is legit the most frightening creepypasta ive ever seen
xXThewarwithinXx Ö
john bridges
Alejandra Becerra Gómez
what one?
María José Chávez
2019, aún aquí
Jake Rollings
elliot smith is liiiiiit
Nicole D
🍃
Big muff
i know how much...you care
L'Quik Shrtz
what you people think this lyrics are about???
L'Quik Shrtz its all about alcoholic addiction man, when u are on that shit nightmares becomes something of everyday, "this sick i want".
Jay Orazi
Realizing most people suck. Unfortunately
About him realizing people. N right n wrong. N life. N sadness of world
Schadenfreude24 cool review except for that metal cover thing, it would ruin the song.
Sariia
I see you blehblahblarg.
Oh yes I do...
vinny
Burak Eyliksever
Sup! Charley
hashtag dab
Falcon5 Tech
@Falcon5 Tech pretty dumb thing to comment heh, was 4 years ago though..
Jake Rollings no
Mattē Draūmmur
Barry Schoolcraft
Another instance where the cover blows the f*** outta the original. Thanks for the original, though, Elliot.
I like this version much more
love QOTSA but no
Simon Williams
No cover of an Elliott Smith song will match up, his guitar playing was second to none.
scott betkowski
Lennard Vaarten
Respectfully disagree. The guitar work and production on this one sound a lot more idiosyncratic, and I mean that in a good way
Elliott Smith - Christian Brothers
Elliott Smith, Heatmiser - Christian Brothers
Elliott Smith "Christian Brothers" 9-2-00 Seattle (pro-shot)
Elliott Smith - Christian Brothers (from Elliott Smith)
Elliott Smith - Christian Brothers - Live @ Newbury Comics
Heatmiser - Christian Brothers
Elliott Smith - Christian Brothers (from Elliott Smith: Expanded 25th Anniversary Edition)
Queens of the Stone Age - Christian Brothers
Elliott Smith - Christian Brothers (Guitar Lesson)
Elliott Smith - Christian Brothers [Lyrics]
elliott smith - christian brothers cover
Elliott Smith "Christian Brothers" 2-5-98 Atlanta
Unreleased Elliott Smith 'Christian Brothers' version surfaces
Elliott Smith - Christian Brothers (Subtítulos)
Elliott Smith - Christian Brothers (Studio Alternate Electric)
Elliott Smith - Christian Brothers (unreleased version)
Christian Brothers (25th Anniversary Remaster)
Christian Brothers - Elliott Smith cover
Elliott Smith - Christian Brothers (Doomer) ..it hits different
live- christian brothers - elliott smith
Elliott Smith - Christian Brothers (cover)
Christian Brothers (Elliott Smith)
Elliott Smith live at The Point, Atlanta 1998-02-05 (Full Show)
Elliott Smith - Christian Brothers [HQ]
Elliot Smith Christian brothers cover
The Brothers Gearhart - Christian Brothers (Elliott Smith C
Elliott Smith - Christian Brothers (vinyl rip)
"Christian Brothers" cover by Elliott Smith
Elliott Smith "Christian Brothers", "Waltz #1"
Elliott Smith Cover - "Christian Brothers" Live in Los Angeles by Michael Keppler
Elliott Smith - Christian Brothers (Acoustic Cover)
Heaven Adores You: The First Few Minutes
Elliott Smith - Bumbershoot Festival 2000-09-02 (Full Show)
Christian Brothers (Elliott Smith Cover)
Heijala - Christian Brothers (Elliott Smith cover)
Christian Brothers - Elliott Smith
Christian Brothers (Elliott Smith cover) Live at Sully's 11/7/16
Jessi Caudle-Christian Brothers (Elliott Smith Cover)
Christian Brothers Elliott Smith Cover
Elliott Smith - Live at Bumbershoot Festival, 2000 [HD Remaster]
Elliott Smith - Needle In The Hay (Legendado)


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Construction Association Of Nova Scotia | Mike Holmes: Trends worth building on in 2019.
You are here: Home / front / Mike Holmes: Trends worth building on in 2019.
When we get to the beginning of a new year, I always like to take some time to think and reflect, not only on my personal life, but on what I see happening in the building industry. As there always are, last year brought lots of changes and developments to the way we approach building. Some of these trends I hope will continue throughout 2019, but admittedly there are a few that I hope stay in 2018. Read more.


Frank A. Moscardini, Jr. graduated from DePaul University in 1985 with high honors, and from Loyola University of Chicago School of Law in 1988. While in law school, Mr. Moscardini was a member of the Law Quarterly on Public Issues, and worked at the Cook County State's Attorney's Office as a Section 711 intern trying civil cases. Before joining this firm, he was a senior associate with Donald A. Shapiro, Ltd. where his concentration was in civil litigation, complex personal injury and medical malpractice claims and real estate matters. Mr. Moscardini's experience includes a wide range of matters, including mechanic's lien claims, a variety of real estate matters, business, Federal and State tax issues, probate, contract and personal injury claims. Mr. Moscardini is a member of the Chicago Bar and Illinois State Bar Associations.


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