text:
Liga Młodzieżowa UEFA (2021/2022) – 8. sezon Ligi Młodzieżowej UEFA, rozgrywek piłkarskich dla ekip składających się z zawodników poniżej 19. roku życia. Obrońcą tytułu jest , zdobywca tytuł w latach 2019/2020. Edycja Ligi Młodzieżowej UEFA (2020/2021) została odwołana z powodu pandemii COVID-19 w Europie.

Ograniczenia drużynowe
Zawodnicy mogą wziąć udział w turnieju, jeśli urodzili się 1 stycznia 2003 lub później. Kluby mają możliwość powołania także maksymalnie pięciu graczy urodzonych między 1 stycznia, a 31 grudnia 2002 roku. Z czego tylko trzech z nich mogą wystawić w meczu.

Uczestnicy
W rozgrywkach biorą udział 64 drużyny z 42 z 55 stowarzyszeń członkowskich UEFA. Są one podzielone na dwie grupy, każda po 32 zespoły.
 Ścieżka Ligi Mistrzów UEFA: Drużyny młodzieżowe z 32 klubów, które zakwalifikowały się do fazy grupowej Ligi Mistrzów UEFA (2021/2022).
 Ścieżka Krajowych Mistrzów: Drużyny młodzieżowe z 32 najlepszych stowarzyszeń według ich współczynnika krajowego UEFA z 2021 r.
W przypadku, gdyby pojawiło się wolne miejsce (stowarzyszenie bez krajowych rozgrywek młodzieżowych lub młodzieżowy mistrz krajowy już uwzględniony w Ścieżce Ligi Mistrzów UEFA), zajmował je młodzieżowy mistrz krajowy następnej federacji w rankingu UEFA.
W turniejach zadebiutują Akademia e Futbollit, Angers, Deportivo La Coruña, Daugavpils, Empoli, Hajduk Split, 1. FC Köln, Csíkszereda, Pogoń Szczecin, St. Patrick's Athletic, Trabzonspor, Žalgiris Wilno i Zvijezda 09.
Litwa będzie reprezentowana po raz pierwszy.

 Legenda

Format
Turniej składa się z dwóch części, fazy wstępnej i fazy pucharowej:
 Fazę wstępną można podzielić na dwa etapy
 Drużyny ze ścieżki Ligi Mistrzów rywalizują w 8 grupach po cztery drużyny, z których pierwsza kwalifikuje się do 1/8 finału, a druga do play-offów.
 Drużyny ze ścieżki mistrzów krajowych zmierzą się ze sobą w dwóch rundach pucharowych, rozgrywając dwumecze w każdej z nich. Zwycięzcy drugiej rundy kwalifikują się do play-offów.
 Faza pucharowa składa się z pięciu rund, rozgrywanych w pojedynczych meczach: play-off, 1/8 finału, ćwierćfinału, półfinału i finału. Play-offy rozgrywane są w ramach jednego meczu na terenie klubów ze ścieżki mistrzów krajowych.

Terminarz
Harmonogram zawodów jest następujący (wszystkie losowania odbyły się w siedzibie UEFA w Nyonie w Szwajcarii, chyba że zaznaczono inaczej).
 W fazie grupowej Ścieżki Ligi Mistrzów UEFA drużyny rozgrywają swoje mecze we wtorki i środy w dniach meczowych zgodnie z harmonogramem Ligi Mistrzów UEFA (2021/2022), w tym samym dniu, co odpowiadające im drużyny seniorów; mecze mogą być rozgrywane w innych terminach.
 W pierwszej i drugiej rundzie Krajowej Ścieżki Mistrzów mecze rozgrywane są w środy (pierwsza runda w 2. i 3. kolejce, druga runda w 4. i 5. kolejce, zgodnie z planem Ligi Mistrzów UEFA); mecze mogą być rozgrywane w innych terminach.

Ścieżka Ligi Mistrzów UEFA
Zespoły rozgrywały swoje spotkania w takim samym składzie grup, jak w Lidze Mistrzów 2021/22.

Kolejność w tabeli

Grupa A

Grupa B

Grupa C

Grupa D

Grupa E

Grupa F

Grupa G

Grupa H

Ścieżka Mistrzów Krajowych
Losowanie zarówno pierwszej, jak i drugiej rundy odbyło się 31 sierpnia 2021 r. w siedzibie UEFA w szwajcarskim Nyonie. 32 drużyny zostały przed losowaniem podzielone na koszyki zdefiniowane według kryteriów sportowych i geograficznych. Drużyny z tego samego koszyka zostały wylosowane przeciwko sobie, kolejność meczów została ustalona przez losowanie. W drugiej rundzie szesnastu zwycięzców pierwszej rundy, których tożsamość nie była znana w momencie losowania, podzielono na dwie grupy: Grupa A zawierająca zwycięzców z koszyków 1 i 2, grupa B zawierająca zwycięzców z koszyków 3 i 4. Drużyny z tej samej grupy zostały wylosowane przeciwko sobie, a kolejność meczów została ustalona przez losowanie.

 Legenda

Pierwsza runda

|-
! colspan=5 style="background-color:cornsilk" | Pierwszy mecze 28–30 września, a rewanże 19, 20 października 2021.

Źródło: transfermarkt soccerway

Druga runda

|-
! colspan=5 style="background-color:cornsilk" | Pierwsze mecze 2, 3, 24 listopada, a rewanże 23, 24 listopada, 7, 8 grudnia 2021.

Źródło: transfermarkt soccerway

Faza pucharowa

Zakwalifikowane drużyny

Drabinka

Play-offy

|-
! colspan=3 style="background-color:cornsilk" | 8 lutego 2022

|-
! colspan=3 style="background-color:cornsilk" | 9 lutego 2022

|}
Źródło: transfermarkt soccerway

1/8 finału

|-
! colspan=3 style="background-color:cornsilk" | 1 marca 2022

|-
! colspan=3 style="background-color:cornsilk" | 2 marca 2022

|-
! colspan=3 style="background-color:cornsilk" | 7 kwietnia 2022

|}
Źródło: transfermarkt soccerway

Ćwierćfinały

|-
! colspan=3 style="background-color:cornsilk" | 15 marca 2022

|-
! colspan=3 style="background-color:cornsilk" | 16 marca 2022

|-
! colspan=3 style="background-color:cornsilk" | 13 kwietnia 2022

|-
| colspan=3 | Po lewej gospodarz meczu.
|}
Źródło: transfermarkt soccerway

Półfinały

|-
! colspan=3 style="background-color:cornsilk" | 22 kwietnia 2022

|-
| colspan=3 | Po lewej gospodarz meczu.
|}
Źródło: transfermarkt soccerway

Finał

! colspan=3 style="background-color:cornsilk" | 25 kwietnia 2022

|-
| colspan=3 | Po lewej gospodarz meczu.
|}
Źródło: transfermarkt soccerway

Najlepsi strzelcy

Źródło: transfermarkt

Przypisy

Linki zewnętrzne
 Oficjalna strona UEFA Youth League
 UEFA Youth League Fixtures & results

Liga Młodzieżowa UEFA
2021 w piłce nożnej
2022 w piłce nożnej

redpajama_set_name: RedPajamaWikipedia


A paintball trip was set up by Butters and Fowler so they could release some agression..... and also to shoot seven shades of shingle out of each other and see if America or Britain was best. They ended up staying most of the day and had a great time playing with other parties and also a couple of very enjoyable one on one sessions. A great moment during the day was Butters' baseball style slide-in to win one of the "capture the flag" games.
Pictured is the forest where the games were held - and the herd of cows that have just ambushed Butters in the trusty white Toyota.


text:
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Before CE O (Bettergasms Inc. Book 1)
by M.T. Stone
Genre: Literature & Fiction, Contemporary Fiction, Romance, Series, Women's Fiction, Romantic Comedy, Sports, Action & Adventure, Classics, Women's, New Adult & College

redpajama_set_name: RedPajamaCommonCrawl


In preparation for the next fun Summer Campstravaganza, KiDiMu is now accepting applications from candidates (ages 14 & up) for Volunteer Summer Camps Assistants!
• make friends and have fun!
This experience is highly recommended for those who would like to gain babysitting experience or consider a teaching career in the future.
See the photos from past camp seasons: 2011 & 2012!
please e-mail Lisa Putnam O'Rear at lisap@kidimu.org or call her at 206.855.4650.


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THE CUP : STILL TIME FOR A TILT
Emperors Palace Ready To Run Cup - Turffontein
Turffontein, South Africa
It's getting tight, but if you're a candidate with a ticket in a race this week, you've still got a shot at lining up for the Emperors Palace Ready To Run Cup. In the past week alone, three more put up their hands, and the field doesn't close till the fat lady sings. It's a regular refrain of trainers after an indifferent ride, to label jockeys "illiterate", but the one thing they aren't, is innumerate. Put R3million bucks on the line, as Phumelela does for the "Cup", and there's pandemonium. The problem is, there are just eighteen slots for the big day (sixteen runners and two reserves), and this year competition is as intense as ever, with any one of the top 36 in the merit ratings in with a shout on exposed form. Of course, it's conceivable that a big performance from a first-timer this week, could leapfrog him right into contention as well, so the door is by no means shut.
Spare a thought for the selection panel for a moment. Big prizes attract big entries, and big controversy is inevitably the bedfellow. While there's always plenty of ecstasy among those that get over the line, there's a measure of agony too, for the "near-misses". The mandate of the panel though, is plain enough. "Choose the best field to compete on turf on the standside track at Turffontein over 1400 metres on the first Saturday in November", nothing more, nothing less. No matter your merit rating, if you look like a sand specialist, a 1000 metre horse or an-out-and-out -stayer, you're risking elimination, not that it's necessarily fatal, but it can put an amber light next to your name, in the absence of compelling evidence of these credentials.
It's an old adage of the Sale and a race now patronised by Her Serene Highness Princess Charlene of Monaco, that "there's a horse for everyone at the Ready To Run". This was best illustrated in the line-up for last year's Cup, when almost 50% of the field cost R100,000 or less. There's a slightly more "elitist" feel to this year's top entries, with a strong element of the R200,000 + purchases (19) among the leading contenders… Which puts a bit of dampener on the conjecture in the press recently that none of last year's "millionaires" are currently in contention, though it's also true that only a handful have been to the races, and both have shown glimpses of future potential. Times like these remind us that just a few renewals ago, the first two home, Hollywoodboulevard and Igugu, cost almost R2million between them, and in that particular year, they were the only two in the betting. That said, as long as you have hope, you've got a chance, and 10 of this bunch either made R100,000 or less, or were unsold.
"Big" movers this past week included perennial Ready To Run "champion," Alesh Naidoo's Nisa's Love, who obliterated what looked like a competitive field at Turffontein, to take her from 25th in the rankings to 7th. While this week's log has yet to be published, there were two more sparkling performances at Turffontein Saturday before the rain came down from Shout Out (by Mullins Bay) who franked the form of another claimant, Rainy Day, with a 4.5 length destruction of a field jammed with form, followed by Flight Check's 2.75 length demolition of an aspiring bunch of stayers over 2600 metres. The daughter of A.P. Arrow's "sin" may of course, be the distance, but that's a matter for the selection panel: certainly, the victory was impressive enough.
The "thin red line" on the 18 mark appears to be hovering around the 84/85 merit rating, and traditionalists will tell you that a rating of 85 has long been held as the passport for Stakes-class horses. Scroll down to number 36, and you'll find a shoal of aspirants in this category. Numerically Charles Laird appears to have the boldest hand, with Admirals Eye, Pej and Nisa's Love, though he's matched for numbers by Mike de Kock, Gavin Van Zyl, Geoff Woodruff and Michael Azzie, with Sean Tarry and Weiho Marwing breathing down their necks. A fresh face among them is the former Woodruff assistant, Johan Janse Van Vuuren, who has hopes for the highly regarded Winter Star and first-timer, Casha.
Among consignors, the champion breeders, Summerhill hold the strongest hand with 23 of the top 36 (65%) while demographically, fillies dominate the colts with 21 (60%) against 15.
On the stallion front, the much-lamented loss of Stronghold is evident in his 7 candidates, while Kahal (5), Mullins Bay (4), Admire Main (3) and Solskjaer (3 in the top 16) explain the hand Summerhill has been dealt. As for the imports, the presence among this year's race "finalists" of the progeny of celebrated international stallions Rock Of Gibraltar (2), Encosta Da Lago, Dylan Thomas and Danehill Dancer, is mirrored by their representation in the sales entries.
UMGIYO (AUS)
Danehill Dancer
WINTER STAR
Solskjaer
Johan Janse Van Vuuren
ADMIRAL'S EYE
ARCETRI PINK (AUS)
Geoff Woodruff
vendor buy back
PEJ
Kahal
DULY ORDAINED (AUS)
Encosta Da Lago
NISA'S LOVE
ENCHANTED SILK
DOVER BEACH
Mullins Bay
Michael Azzie
CELTIC LEGEND
ARTIC ROUTE
Lucky Houdalakis
Rebel King
Duncan Howells
DIAMOND DIVA
Gavin Van Zyl
FRANCOIS P
Captain Al
Miesque's Approval
Tyrone Zackey
PRINCESS CREO
Justin Snaith
TAIPAI TIGRESS
Tiger Dance
S Janse Van Rensburg
USISI (AUS)
Roy Magner
WILD ASH (AUS)
MOUNT HILLABY
Dominic Zaki
LADY OF THE LORDS
Gary Alexander
MANIEVIC
Vaughan Marshall
PLAYINGTHEENEMY (AUS)
Teofilo
Weiho Marwing
SOLAR STAR
Dean Kannemeyer
ROMAN EXPRESS
Antonius Pius
Stuart Pettigrew
ONE COOL CAT
Tiger Ridge
Heather Adamson
HENRY OF YORK (AUS)
Henrythenavigator
FLIGHT CHECK
AP Arrow
St John Gray
MYSTICAL STAR
Jet Master
Tony Rivalland
Summerhill Candidates denoted by Yellow
National Horseracing Authority
Correct as at 16/10/13
Summerhill Stud Logo
Enquiries :
Tarryn Liebenberg +27 (0) 83 787 1982
or email tarryn@summerhill.co.za
Posted in Emperors Palace Ready To Run Cup, Emperors Palace Ready To Run Sale, Emperors Palace Ready To Run Sale 2013
tagged with Alesh Naidoo, Emperors Palace Ready To Run Cup, Emperors Palace Ready To Run Sale, Flight Check, Hollywoodboulevard, Igugu, Nisa's Love, Princess Charlene of Monaco, Rainy Day, Ready To Run Cup, Ready To Run Sale, Shout Out


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BARtab » Cabaret
Natalie Douglas: the singer's family reconnection & Roberta Flack tribute at Feinstein's concerts
by Jim Gladstone
"The First Time Ever I Saw Your Face," is one of those songs that's pretty much guaranteed to swell the emotions. But when acclaimed vocalist Natalie Douglas sings it next weekend during her Roberta Flack tribute shows at Feinstein's at the Nikko, expect to feel a tsunami in the room.
Douglas' biological father, the Reverend Arnold Townsend, has lived in the Bay Area for most of his life. But the first time ever she saw his face was just this past December. And these Feinstein's shows will be the first time he ever sees his daughter perform in concert.
An only child now in her forties, Douglas didn't learn she was adopted until a few years ago, when the spouse of a cousin, assuming otherwise, let slip a long-kept family secret.
"Not only did I not know," explained Douglas in a recent interview with the Bay Area Reporter, "I'd grown up with my [adoptive] mother telling me stories about her pregnancy with me."
Her adoptive parents each had many siblings, all of whom had been sworn to keep mum and kept that promise for decades.
"When I first heard, I was stunned," said Douglas. "I felt like I'd left my body. But a lot of things started sifting through my mind all of a sudden. It took me a while to wrap my head around it, but I got it. In some way, there was a feeling of relief, an explanation of how different from my parents I'd felt sometimes. I mean, I adore them —they gave me a great life and they gave me my love of music— but something clicked."
Douglas' mother had passed away before this revelation, so the singer turned to her aunts and uncles, who confirmed the truth, but didn't have much in the way of details.
"I thought I wanted as much information as I could get," the Los Angeles-raised Douglas now said. "But in California, it's still difficult for adoptees to get documentation. I was also a little conflicted. I have adopted friends who have found their birth parents and it went well for some, but not for others."
Douglas, who is generally upbeat and self-confident, comfortably put her search on the back burner to focus on her music career. A New York resident since shortly after graduating from UCLA with a Masters Degree in Psychology, she's established herself as one of the most in-demand interpretive vocalists in the city, winning more than a dozen awards from the Manhattan Association of Cabarets (MAC), recording three acclaimed albums and performing as an artist in residence at Birdland, the world renowned jazz club.
Natalie Douglas and her father Arnold Townsend in San Francisco, June 2019.
Family findings
But last summer, Douglas and her husband decided to take DNA tests on Ancestry.com. After looking at her results for geographic and ethnic background, Douglas turned to the page that reveals genetic relatives who have also taken the test and given permission for their identities and relationships to be shared. And there it was: 'Arnold Townsend, Father.'
"You can put in a pseudonym, or just initials," Douglas recalls, "But he'd used his full name.
I looked him up on Facebook and when I saw his childhood photo, it was like me as a boy. I could see that his mother was my grandmother."
Douglas also saw that Townsend seemed to share much of her social-activist spirit: a longtime Fillmore resident and associate minister at Without Walls church, he is a Vice President of the San Francisco NAACP, has served as the board president of the San Francisco Economic Opportunity Council and a San Francisco Elections Commissioner.
Natalie Douglas photo: Kevin Alvey
Last November, Douglas initiated contact by email.
"He wrote back the next day," she remembers. "He hadn't known about me at all. He'd been on Ancestry.com to learn about what parts of Africa were in his background, not to look for relatives. I was the result of a high school summer romance with a woman he never saw again."
Townsend eventually had another daughter, Rachel, who died tragically shortly before Douglas reached out to him. Rachel Townsend was a community activist in whose memory a Western Addition affordable housing complex was renamed by Mayor London Breed in a ceremony last December. Douglas was on hand for this tribute to a sister she'd never met, which took place during her first trip to meet their father.
"We have so much in common," says Douglas. "He's kind of like Mister Fillmore. The whole community knows him. He moved to San Francisco after serving in Vietnam, and he was one of the founders of the black student union at San Francisco State. He led the sit-in there. He shares a lot of my political views and he's sex positive like me. Honestly, it's like there was a Match.com for parents and children."
Douglas is well-known for paying homage to other singers at her gigs, having performed acclaimed shows devoted to a remarkable range of performers, from Billie Holiday to Dolly Parton to Cher. But while next weekend's set list will draw from the work of Roberta Flack, with Arnold Townsend and a crowd of new friends and family in the audience, it will truly be a tribute show to powers far beyond showbiz and celebrity.
Natalie Douglas: The Music of Roberta Flack. Friday and Saturday, September 6 & 7, 8pm. $40-$75 ($20 food/drink min.). Hotel Nikko, 222 Mason St. www.feinsteinsatthenikko.com


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John Manners,  duc de Rutland KG ( – ) est le fils de John Manners (1er duc de Rutland) et de sa troisième épouse Catherine Wriothesley Noel, fille de Baptiste Noel (3e vicomte Campden). Il est titré Lord Roos de 1679 à 1703 et marquis de Granby de 1703 à 1711.

Famille
Il se marie, tout d'abord à Catherine Russell, fille de William Russell, Lord Russell et de Lady , le . Ils ont neuf enfants:

 John Manners (3e duc de Rutland) (1696-1779), qui épouse l'hon. Bridget Sutton et a des enfants
 Lord William Manners (1697-1772), qui épouse Corbetta Smyth et a des enfants
 Lord Edward Manners
 Lord Thomas Manners (mort en 1723)
 Seigneur Wriothesley Manners
 Lady Catherine Manners (décédée le ), qui épouse le  Henry Pelham et a des enfants.
 Lady Elizabeth Manners (1709 – ), qui épouse John Monckton (1er vicomte Galway), et a des enfants.
 Lady Rachel Manners (1723)
 Lady Frances Manners, qui épouse l'hon. Richard Arundell, fils de John Arundell (2e baron Arundell de Trerice).

Il succède à son père comme duc de Rutland, le  Quelques mois plus tard, sa femme Catherine meurt..

Il se marie, en secondes noces, avec Lucy Sherard, fille de Bennet Sherard,  baron Sherard, le . Leurs enfants sont :

 Lord Sherard Manners (c. 1713 – ), qui devient député pour Tavistock
 Lord James Manners (1720 – )
 Lord George Manners (d. )
 Lady Caroline Manners (d. ), qui épouse le  Sir Henry Harpur (5e baronnet) (d. 1748), de qui elle a des enfants; elle épouse en secondes noces, le , Sir Robert Burdett (4e baronnet) (d. 1797).
 Lady Lucy Manners (c. 1717 – ), qui épouse le , à Londres, William Graham (2e duc de Montrose) et a des enfants.
 Lord Robert Manners (1721-1782) (1721 – ), qui se marie le  avec Marie Digges et a des enfants
 Lord Henry Manners (d. 1745)
 Lord Charles Manners (officier) (d. 1761)

Références

Naissance en septembre 1676
Décès en février 1721
Chevalier de la Jarretière
Lord-lieutenant du Leicestershire
Décès à 44 ans
Duc de Rutland


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Jump up and celebrate
Turning 80-years old is no small feat and shouldn't be taking lightly, but should be celebrated with 80 jumping jacks.
Jump up and celebrate Turning 80-years old is no small feat and shouldn't be taking lightly, but should be celebrated with 80 jumping jacks. Check out this story on CurrentArgus.com: http://c-cargus.co/1T3HVOC
Sarah A Matott, Carlsbad Current-Argus Published 3:48 p.m. MT Feb. 5, 2016 | Updated 11:02 a.m. MT Feb. 6, 2016
Margaret McClure, teaches her aerobics class on Thursday morning. She turned 80 on Saturday.(Photo: SARAH MATOTT - CURRENT-ARGUS)Buy Photo
CARLSBAD -- Turning 80-years old is no small feat and shouldn't be taking lightly.
But for Carlsbad's Margaret McClure, it should be celebrated with 80 jumping jacks.
That's what McClure did on Friday morning, as she does every year, at her morning aerobics class she teaches at the Carlsbad Senior Citizens Center, located at 112 N. Mesa St.
McClure turns 80-years old on Saturday, but for years she has celebrated her birthday by counting out her age in jumping jacks.
However, it is overall lifestyle that those who know her and attend her aerobics class find even more inspirational.
"She's been a real inspiration to us. She just keeps going," Priscilla Salcido, 70, said. "I've known her forever and I've been going to her class for years."
McClure has been leading aerobics for more than 30 years, and she says that just keeps her moving.
"Sitting is easy to do, when you get up and move that's the hard thing. But it is the best thing for the body," she said.
She said that she sees many people her age and people she had gone to high school with who are unable to move because they simply don't move enough.
"Here's what I say I'm going to exercise until I do or I'm going to die exercising," she said. "I also don't believe in diets, the key letters in diet are D-I-E, because you die on diets."
Everything in moderation and moving are the keys, McClure said.
It is no exaggeration when people say McClure doesn't look or act like an 80-year old woman. She looks and acts like a woman many years younger.
"I think it's God, the lord that lets me do this," McClure said. "I thank him every day and I ask him to help me do this."
Monday through Friday, McClure teaches an hour of aerobics at 8 a.m. and "pumps iron" three times a week at American Muscle.
"Sometimes I wonder at about eight if anyone is going to come, but then they start to wander in," she said.
Being cheered on by her class, Margaret McClure,80, took on those 80 jumping jacks. (Photo: SARAH MATOTT - CURRENT-ARGUS)
The class itself is the definition of a fun way to exercise.
Every woman in attendance fills the room with laughter, as a few of them poke fun at McClure.
Salcido said that McClure keeps her going every day and that she draws everyone who attends her class to her.
"We just have a good time, and she is just a good person all around," Salcido said.
The aerobics class at the Carlsbad Seniors Citizen Center. (Photo: SARAH MATOTT - CURRENT-ARGUS)
Read or Share this story: http://c-cargus.co/1T3HVOC
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14,000 acres burn in Lincoln National Forest
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5 Common Behaviors of a Passive Aggressive Roommate
Life with a roommate isn't always rainbows and butterflies — even we'll admit to that. But when you have to share a space with someone, it's vital you find a way to get along. Even if that means looking past the stack of dirty dishes or overflowing garbage can. But when the little stuff becomes too much to handle for one party, it can create palpable tension that can quickly turn toxic. Good communication is the key to a healthy roommate relationship, but if you're getting bad vibes without a clear reason why, you might have a serious issue on your hands. We talked to an expert on common behaviors of a passive aggressive roommate and how to deal if you're living with one.
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How do you identify a passive aggressive roommate?
Psychology professor and clinical psychologist Dr. William Dorfman defines passive aggressive behavior as dishonest expression of anger and hostility — an indirect expression of feelings people don't want to confront. The most serious implication of this behavior is that doesn't directly solve problems, but rather expresses resentment and disapproval, making it difficult to deal with or improve a situation.
Thirty-year-old blogger, Chloe, who prefers not to use her real name, knows what this feels like. She and a friend lived with a passive aggressive roommate in a townhouse during her freshman year of college. She says their roommate regularly found ways to be inconsiderate. Eventually the situation escalated to the point they felt uncomfortable in their own home.
"He would leave messes, and we would have to clean up after him, but then he would complain about me to the third roommate or about her to me," says. "It became very uncomfortable because we would end up just trying to avoid him to keep the peace. It was like the tension became our fourth roommate. It was this real thing that was always present. You aren't home without comfort and feeling protected and safe. When that is stripped from you, you avoid home until it's late. You have no peace, no comfort."
While anyone can react to a difficult situation passive aggressively, Dorfman says there are some consistent behaviors that indicate it's not someone simply blowing off steam.
"It's inherently an interpersonal process, and it's a personality trait. Sometimes, we even diagnose it in clinical psychology as a passive aggressive personality disorder when it really characterizes a person, not just once in a while."
Here's some common passive-aggressive behaviors that your roommate might exhibit along with strategies for dealing with it.
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1. Your passive aggressive roommate procrastinates
No matter how many times you ask your roommate to do something, they'll make excuses until it becomes obvious that they're not happy. They might say they're going to do the dishes after you ask, but it never happens. Repetitive procrastination is likely an indication of not wanting to do something.
"We all procrastinate, but when you procrastinate with someone else, it affects the other person's rights and they're left with the problem," Dorfman says.
2. Your roommate is forgetful and late
A passive aggressive roommate consciously or unconsciously forgets what's asked of them, or is constantly late. Dorfman says lateness is an indirect way of saying, "I'm going to take control of the situation."
For example, you may ask your roommate to arrive home by a certain time so you can rest, but they'll be late and say they forgot your request. Or they may forget that you asked them not to eat your food in the fridge. When your roommate makes it a habit to be inconsiderate, it can be a sure sign of passive aggressiveness.
3. Your roommate gives you the silent treatment
A passive aggressive roommate may also shut down when faced with conflict. Instead of of talking about the issue, they express neither hostility nor honesty. Rather than negotiating to solve an uncomfortable situation, they give you the silent treatment. Not talking, Chloe says, was one of the main issues in her roommate relationship. Looking back now, she says she's more aware of what to look for.
"The person will either say nothing was wrong or lash out. Either way, I would try to bring a peaceful and calm environment to whatever forum you decide to have and just keep having communication lines open."
4. Your roommate's actions don't match their attitude
Perhaps the most toxic passive aggressive behavior is acting one way and feeling another. They come across as being insincere or "fake nice". For example, your roommate might ask you to "pick up" some toilet paper from the store, but it eventually becomes a routine. Dorfman likens the situation to someone stabbing you in the back while smiling to your face.
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"Often people who are passive-aggressive have an obvious, gratuitous attitude toward you that is not consistent with the way they act," Dorfman says. "If you're smiling at someone and being very sweet and friendly, how can you be angry?"
5. Your roommate doesn't have a good reason to be angry
Not every passive aggressive roommate necessarily procrastinates or is stubborn and manipulative. The root of the behaviors of your roommate could also be that they don't like being being limited by others. Before jumping to conclusions, you should consider this first.
"If you're not doing anything to instill or create any frustration or resentment, they don't need to act in a passive aggressive way," Dorfman says. "It's only when they're called upon to do something or they're not getting their way. Rather than address that they're frustrated, they shut down and become stubborn, quiet and withdrawn.
"They keep on saying, 'I'm going to do it' and 'I'm sorry,' and yet you continue to feel resentful about them. So, when your feelings don't match up and you're left confused about how you should deal with this person, that's one indication that it's not necessarily you. You're getting mixed messages from this person."
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How to Deal with a passive aggressive roommate
It's normal to feel angry when dealing with the behaviors of a passive aggressive roommate. But the thing to keep in mind when dealing with a passive aggressive roommate is that you cannot change them.
"[You] can get them to stop eating their food a lot easier than they can get them to become more open with their anger and more responsible with their feelings," Dorfman says. "You deal with the specific situation, not with the personality."
Dorfman advises telling your roommate you're frustrated, asking them what's going on and discussing your concerns. But you should also be prepared for them to get defensive and shut down. Dorfman suggests talking to someone you trust who can see the situation objectively to get their perspective. Other solutions include going to therapy or counseling to work things out if both are willing. Ultimately, the solutions depend on how volatile the behaviors of your roommate are.
"Passive aggressive style is on a continuum; it's not all or nothing. Certain people are more passive aggressive than others, so I wouldn't count anyone out who has a particular difficulty with someone," Dorfman says. "You have to make the effort to try to resolve the issues and call somebody on what's going on."
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D'you know what else Roomi does outside of helping its readers deal with the behaviors of their passive-aggressive roommate? With our ever-increasing lists of rooms and roommates across the world, we help you find your perfect match!
Find Roommates
The Quest To Finding Your Perfect Soul-Roommate
Help! My Roommate Isn't Talking To Me!
Expert Tips To Resolve Real Roommate Problems
What To Do If My Roommate Snores
New Year's Resolutions for You and Your Roommate
How To Deal With Your Annoying Roommate
Annoying Roommate
problems with roommates
Agreement With Roommates & Why You Need One.
Tenants' Rights: Does My Landlord Have to Provide Hot Water?


Business Owners Policy (BOP) Insurance in Birmingham Alabama - Alabama Insurance Exchange, Inc.
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We can tailor a package to fit the needs of your industry. Many industries have specialized packages for their business owners policies. At Alabama Insurance Exchange, Inc., we can evaluate the needs of your industry and give a customized option that covers your needs and is specific to your industry.
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From fields to gardens to country estates – every year, we produce dozens of prestigious private events. Having worked at the Beaufort Polo Club and Highgrove, Andy is adept at making sure these elaborate events go without a hitch. Here, the unflappable Andy explains what's involved and why Fosters is a leader in the field.
I specialise in bespoke private events. These events are many and varied – from long table lunches to show-stopping weddings, hunt balls to charity events – my job is to make sure Fosters goes above and beyond every time. We're delivering five-star level fine dining so everything must be of the highest standard across the board, regardless of location.
With every event, we're going into a space we've never worked in before. Sometimes we have to build an entire kitchen from scratch, under time constraints, in a completely new environment.
It all comes down to experience and pre-event planning. There's no eventuality we don't consider beforehand so there are no challenges we can't handle on the day. Everything always runs smoothly, whether we're catering for 100 or 1000 people, it's no different.
Have there been any big highlights over the last year?
There have been many, many highlights; we've looked after royal clients, celebrity events and some really memorable private events. Every event is a highlight really as each one is completely different. It's a hugely rewarding job.
What's the best bit of feedback you've had this year?
"God you're amazing!" from Lady Vestey when we looked after her daughter's 21st birthday party.
What should event planners consider when choosing a caterer?
Experience and expertise are key. At Fosters, we have an incredibly close working relationship with our suppliers. We've worked with the same marquee companies, the same florists, all the same suppliers for many years so there's a huge amount of shared experience. Never underestimate the importance of good teamwork!


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Home » Facebook to rival Twitch with a new app for gaming
Facebook to rival Twitch with a new app for gaming
Home » Facebook » Facebook to rival Twitch with a new app for gaming
Posted By Ola Ric on Apr 19, 2020 | 0 comments
Credit: https://www.nytimes.com/2020/04/19/technology/facebook-app-gaming.html?utm_content=buffer5a815&utm_medium=social&utm_source=twitter&utm_campaign=buffer
One of the ways health experts say you can keep your mind busy and off the stress that comes with staying at home due to the COVID-19 pandemic is by using the social media. Checking up on people via different social media such as Facebook, Instagram, Twitter, WhatsApp and the likes have really helped—and as a matter of fact social media platforms are experiencing a big surge in terms of usage these days. This probably explains why Facebook is introducing an app for gaming—per The New York Times.
The app according to NYT, is designed for creating and watching live gameplay. The app is expected to be launched this Monday, and signifies the company's bold step at moving into the mainstream of online gaming.
The initial plan was to release the free app in June this year, but has now been brought forward because of the huge opportunity presented by the lockdown being embarked upon by virtually every country around the world. "We're seeing a big rise in gaming during quarantine," said Fidji Simo, head of the Facebook app per NYT. Without a doubt, the global gaming business is booming, and Facebook does not want to miss out of this great opportunity to improve its income badly hit by low patronage in the area of digital ads.
"Investing in gaming in general has become a priority for us because we see gaming as a form of entertainment that really connects people," Ms. Simo said. "It's entertainment that's not just a form of passive consumption but entertainment that is interactive and brings people together."
Tests have already been completed—Facebook tested its gaming app in Southeast Asia and Latin America over the last 18 months. The company, however, plans to release it for Android users in the Play Store, while approval for the iOS version is being awaited as Apple is yet to give its nod.
Facebook's new gaming app has a feature called "Go Live" that allows users to upload streams of other mobile games on the same device by pressing a couple of buttons. Uploaded streams can then be shared to a friend's personal Facebook page. This will make it easier for people to become amateur streamers—something that is not common to what we have in Amazon's Twitch.
"There are a lot of people who listen to music and say, 'I can imagine myself being a musician,'" said Vivek Sharma, Facebook's vice president for gaming. "People are watching streams and they're like, 'I want to be a streamer,' and with Go Live it's literally just a few clicks and then live, you're a streamer."
Author: Ola Ric
Ola Ric is a professional tech writer. He has written and provided tons of published articles for professionals and private individuals. He is also a social commentator and analyst, with relevant experience in the use of social media services.


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How Jay Versace Got SZA to Talk Her Shit on 'SOS'
Credit where it's due
The comedian-turned-producer on helping his longtime friend set the tone for her incredible new album
Alex Barcenas
On Thursday, around 9 p.m. Pacific Time, SZA's highly-anticipated sophomore album SOS appeared on streaming services, exactly five years and six months from the day her deeply beloved debut, CTRL, was released. Jay Versace, who produced two songs on the new album — including the first and titular track, a bold declaration of her extraordinary talent and tested temper — spent the hours before the release walking the streets of Pasadena, where he lives.
"I don't know why I do that," Jay Versace says. "But I literally was walking all over, everywhere you could think, just listening to music. Then it dropped, and I listened to the full album and just embraced it." That evening, he heard the project in its final form for the first time, along with the rest of the world. Afterward, he scrolled through reactions to the album on his phone all night. His name was trending on Twitter, but he preferred to watch people respond to the music on YouTube and on TikTok.
"I make a lot of what people consider to be boom-bap music," Jay says. "A lot of the boom-bap community or the hip-hop community, they love to make videos reviewing music." Knowing he brought a similar style to SZA's album, he was curious to how hip-hop heads would respond to alternative R&B's resident It-Girl taking on the sound. SZA starts "SOS," with searing vocals and a sharp tongue ("Nah lil bitch can't let you finish, yeah that's right, I need commissions on mine," she sings) before rapping — like, really rapping — about who she is and what she's owed.
"I seen one video," Jay says. "Somebody was in the club, they was playing it in the club, and they was like, 'Wait, what?' They was like, 'Play that back!' They stopped the music in the club and played it back! I was just like, 'Oh my God.'" SOS was almost instantly and universally met with acclaim, and is projected to top the Billboard 200 on Tuesday, earning SZA and her collaborators the first No. 1 album of her career.
On Saturday afternoon, Jay took spoke to me via Zoom from Malibu, where he said he was staying with a friend. He sat in a spacious, cream-colored room, wearing a white long-sleeved tee and tan beanie. Forty-five minutes into our conversation, as we discussed the SZA songs we loved first (for him, "Caretaker" with DRAM, likely "Hiiijack," for me), that friend poked her head in the door to get his Starbucks order, her face fuzzy in the distance on the screen.
"Who this?" Jay hollered towards the door. His friend spoke so softly I couldn't catch her reply. "I'm doing an interview —" Jay said carefully.
"I'm sorry," she shot back quickly.
"— about you."
SZA seemed genuinely caught off guard, though Jay had ran my interview request by her and their friends before agreeing. We all burst out in laughter. "Nigga," she said, her voice louder and deeper. "I feel crazy." Still, she stayed to confirm that he wanted the iced matcha she suspected he would like.
"I love you," she cooed to Jay, preparing to pop out but instead engaging in a brief conversation about what seemed like their sleepover the night before.
"Hi, person! Whoever that is," she said to me brightly. After some cautious fangirling over the album from me, she steered the praise to Jay.
"Thank you. I'm so grateful. Jay deserves all the things. Oh, he's the coldest," she said. "I really, literally, I've never wanted to rap or make anything aggressive before Jay came into my life."
"I was like 'Talk that shit!!!'" Jay reenacted with a wild whisper-scream.
"Nobody has ever gassed me like they have," she emphasized. "Let me get the fuck out of this interview. I love y'all."
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As SZA's star was ascending in 2017 with the release of CTRL, Jay was going viral nearly every day with brief and brilliant comedic skits on Vine, a now-defunct predecessor to TikTok. And SZA was using a clip of him making fun of her hit "The Weekend," in her performances. When Jay found out, they connected through DMs and texts, and maintained a digital relationship for a couple years before meeting in person. By that time, Jay had just begun producing music, under the tutelage of friends like Knxwledge and Pink Siifu. In 2019, SZA invited Jay to a studio for their first IRL link, an awkward encounter that blossomed into a deep friendship.
Since then, Jay has blossomed into a formidable producer, too. His songs — like "Safari," on Tyler, the Creator's Grammy-winning Call Me When You Get Lost, "Lil Diamond Boy" by Lil Yachty, and "Versace," by Westside Gunn, which the Griselda rapper named for the beatsmith he was once skeptical of — are rich, soul-and-gospel sample driven fare that are indebted to the past of Black music as they shape its future.
In spite of his passion, success, and growing list of placements, Jay mostly and intentionally refrained from sharing beats with SZA unprovoked.
"I really value my friendship with people and I know how it can get out here," said Jay. "I know how people are with me, where I'm like, this person's so fire. I want to hang out with them. I want to go to movies with them. And then while we're on the way to the movies, they're playing me all these beats and they're doing all this stuff. I understand how that can be really discouraging in the friendship. It can ruin a friendship if you're using that moment to advance in your career."
Jay produced the "SOS" instrumental, originally titled "Grief," over two years ago, without SZA in mind. He made his other contribution, the beat to "Smoking on my Ex Pack," just a few months ago. It wasn't until a trip to Hawaii with SZA and more friends in March — mostly a vacation where music happened to get made, according to Jay — that he had heard what she had done with the first beat.
"When she's excited, she wants to do a surprise," said Jay. "So we was making beats or whatever and she was like, 'Come back [to her room]. Then when you come back I'm going to show you something.'" That something was "SOS."
"I was so shocked because I'm like, 'This is what I wanted,'" Jay said. "I wanted her to really claim her queen energy that she has because she really had a chokehold on the entire world for five years. How many other people can have people waiting on you for five years and still pow?"
SZA was clear that Jay was integral to the punch of SOS, an album that already feels quintessential. Here, he goes deep into the making of it, the expanse of Black creativity, his skepticism of external validation, and his next moves.
Tell me about Hawaii. What was that like for you?
Hawaii, it was beautiful. That was my first time there ever. It wasn't like, work, because we're actually friends. We actually have sleepovers and go to the beach all the time. We don't publicize it because I'm not really good with showing who my friends is without feeling weird. I don't want to make anybody feel weird around me. I just like hanging out with my friends. So Hawaii was more like, "Let's hang out. But also we make fire music, so let's actually get that together too." We went to the beach every day because we were literally on a beach. We ate, cooked, and made music.
What city or part of Hawaii were you in? Do you remember?
Don't remember. I got on that plane, I got in that car, and I just went to wherever we were supposed to be.
Was that when you first got pulled into her album process? Had you been involved in the album at any point before that, or is that really when you became a part of what became SOS?
It was probably a few years ago, where she was just like, "I'm about to do my album. Come to the studio and play me some beats." That was a few years ago. She was just like, "I need you on my album," and we were just trying to figure it out, but I was still learning my sound. She was very patient with me as I was trying to figure out mixing and just getting my sound together to really present fire beats for her. She was just like, "I'm doing an album. Play beats whenever."
Then for the years that followed, were y'all just talking about music every now and then, like playing beats for her over time?
Yeah, it was very casual. We love music, we love riding around playing music, talking about music. So literally it was like, maybe we'll be driving somewhere and then we'll be listening to some music and I'll be like, "Oh wait, that reminds me of this song that I did…" Then she'll be like, "Oh, save that for me. I think I'm going to write an idea or something." Or she'll be at the studio and she'll be like, "Come by the studio."
Let's talk about "SOS" and "Smoking on My Ex Pack," specifically. Basically, what I'm going to do is ask you pretty much the same questions about both. With those two songs, did anybody collaborate with you? Let's start with "SOS."
I'm glad you asked this because some people say, "Oh, did he sample Drake for that song? He sampled "Champagne Poetry?" I played that beat for her when we was in Hawaii, but I actually made that beat three years ago. Wasn't even making it specifically for anybody. I'm a gospel head, I listen to gospel all day long. I was just chopping gospel samples. I heard that, "Last night" [in "Until I Found The Lord (My Soul Couldn't Rest)" by The Gabriel Hardeman Delegation] and I was like, "Uh-huh, loop that boy up!" I made that beat literally way before Drake's album even came out.
I mean, I don't know how long Drake was working on his music, but there was no crossing of paths? You never heard anybody use that sample before?
Are there any other parts of making that beat that you want to describe?
I have different eras of my producing career. That was when I was really into just hearing something. I like vocal samples. I like when people are saying something in the sample. My first big placement was with Westside Gunn [with "Versace"]. It was a gospel sample and it was like they were saying "Blood of the Lamb." I was like, This reminds me of my mom. First thing I did when I made that beat is I sent it to my mom. I was like, "This reminds me of something that you would listen to." That was when I sent it to Gunn and then he used it
You said you wanted her to talk her shit, that's a thing that you were encouraging her to do. When you heard the lyrics with "SOS," were you proud? Were you surprised? What were the feelings you remember having?
I believe that spiritually our ancestors, the people around us, they can use us spiritually for whatever we're trying to convey. I feel like that's something that she wanted to do. I feel, even though I was telling her to talk her shit, I feel like that was something that she wanted to do too. I feel like she never really got the chance to really do that.
When I heard those lyrics, I was like, This is her ancestors using her to really push whatever she needed to push out. It just released. It felt powerful. I don't think anybody has heard her voice like that on a song. I was literally really just in awe of the monster that she released when she was rapping and singing on that song.
When did you become aware it was going to be the first song on the album and the title track?
I think it was random. She says stuff so random in conversations. I think it we was eating or something. I don't remember when, but she was like, "Oh yeah, that's going to be on my album. That's the first song on the album." I was just like, [Jay looks around frantically, mimicking his surprise] "Wait. Okay." We just kept talking. I didn't know it was going to be "SOS," which is the name of the album, until literally this month.
I didn't even know until she put the track list [on Twitter and Instagram]. "Grief" was the name of the beat, [but] she said I'm going to be the first beat on the album. [Recalling his thought process] This say "SOS," then that must mean that's my track. Then I looked at the production and I'm like, That's my song.
I give people so much space when it comes to their creativity. I don't ask them too much. I don't ask, "Oh when is this? What is this?" I've never asked her when she's releasing, what she's going to name it, [or ] if shes' going to use it. I don't ask anybody because I don't like when people ask me. I just was like, I'm going to let her come out with whatever she's coming out with.
Do you have a favorite line or favorite lines from "SOS?"
That whole song, when she was saying, "I just want what's mine." Anytime people talk about they need their credit and they just want what's theirs, I'm like, "Yeah." So many people don't get the proper credit. There's barely any Black people that really get the credit for the stuff that they do. I just love hearing that from Black people, especially Black women.
I feel like we're all just told to just stay humble and if something happens to us, take the easier route or just don't express how you feel. Just let it go and just appreciate.
So now let's go through "Smoking on my Ex Pack." Did you produce that by yourself? Anybody else contribute to it?
I produced Smoking on My Ex Pack and I literally made that for her. That song was inspired by just rap songs that I heard growing up, that I wanted to hear her either singing or rapping on. That was specifically for her.
What does it sample?
Webster Lewis's "Open Up Your Eyes." That's not a gospel song. That's a little love song.
How did you find it?
I'm really into ballads, seventies Philly ballads and [from] Jersey and New York. They had a really crazy instrumentation in their music that people don't really look at and that's where I'll be looking at. I probably shouldn't say that because that's my secret hiding spot to look for music that I sample, but it's so much stuff there.
I think I just ran across that song and I just let it play. I immediately loved the horns. Then that's when the lady was like, "You can trust…" and then the way she just went off like "Meeeeeee," I was like, That's fire. I was like, Let me put this in into Ableton and I'm going to make a beat for Solána for this because this is fire.
At that time I was listening to a lot of Dipset, Camron, stuff like that. I [wanted] to make a sound, something where someone could be on just some boom-bap, hip hop stuff that reminds me of just driving around with my dad when I was a little kid. I chopped [this] up and then sent it to her.
Did she respond pretty quickly?
I think she texted me and she was, "Your beats are so easy to write to. Why am I already writing lyrics right now?" Then when she sent that song back, I was like, "Yes." The song was actually originally longer. That song you all hear is the second half of the song. . She was just a little bit….like, "It's my first time rapping. I don't know what people are going to think." Then she just put half of it out, but now people love [it], everybody's like, "SZA's a rapper. SZA's a rapper!" Now she's just like, "Oh, shit!"
The rapping is so phenomenal. She's so good at everything. How many beats do you think that you've provided SZA in your friendship? It can be a very rough estimate.
[Going into their text messages to count] It's probably 15 songs that I sent her. But she also sends me stuff too. So it's like even. When she sends me music, that's when I send her music.
How did y'all become friends?
So she used to put my videos in her performances. So when she made ["The Weekend"], I just moved from Jersey to LA. When I was in Jersey, everybody was singing that song, "My man Is your man…" It got annoying at some point. So I made a video just making fun of it. I was like, "How girls be when they hear SZA."
Then she loved the video and she started putting it in her stage performances on the screen while she was singing. And I was like, okay, she knows who I am. I wasn't even making music. We started talking and being friends, DMing, texting. When I first started making beats, she was one of the first big people to get me in the studio. That's when I first met her, in the studio [around 2019]. We was both equally nervous and shy. But then we just started playing music and just started having fun and it was fire and then we just kept doing it.
Now that you're a part of her creative process and a friend of hers, what would you say her music means to you now? And is it different from what it meant to you before you became a part of it?
I feel like it's way more personal. Everybody [keeps] saying, "how are you?" Even at the release party, and I was like, "I'm just in shock." I have a personal connection to those songs where I'm just like, wow. It feels like these are my songs. I feel like they're my babies too.
Just in general I like when people make art… I like the way she… This is why she's my favorite: I like the way she makes her art because people can perceive it in whichever way they want. When people just have to figure out their own definition of it, that's when it's really timeless. Because people can live their entire life creating different definitions and coming back to it. [SZA] makes things like a coloring book. You put your own colors into the lines, but she's just creating the outline for you. There's not a lot of people that does that. She doesn't really explain exactly specifics — what she's talking about or who she's talking about. She's just saying, I feel like people don't treat me like this…And that's why she'll always go crazy. People will always love her music.
It's so interesting because she accomplishes that, but there's also… There's a specificity to it. It's not who she's talking about or the situation, but the verbal descriptions are so colorful. You're able to make interpretations and add yourself to it, but there's also character and directness. Does that make sense?
Yeah, it definitely makes sense, especially with this album. She's definitely at least more telling her story more with this, telling exactly what's going on. But I think even still then, I think that passion that she has… Even with those two songs that we did, the passion that she has is something you can go take on a jog. You can work out and listen to that. It's motivating, but it's also like, she's talking about herself, her own life, her own… So it's that passion doesn't go anywhere.
Even if it's something where she's completely talking about every little thing that's happening, she's still really emotionally outpouring, which is something that a lot of people don't do nowadays, where we feel like we can't do.
When you say people feel like they can't emote in the way that she has on this album, what do you mean? Where do you think that comes from? Where have you observed that?
I think we have a hard time expressing ourselves. I think it's not easy for us to express ourselves and to be vulnerable, especially publicly, especially as Black people, because it's dangerous. It's literally dangerous for us to be vulnerable, be emotional, just to talk about things that are bothering us, to tell someone I'm tired. To tell somebody I'm sad, to even cry. And all these things are targets for us to be attacked or lose our job or something like that.
[SZA] don't care about the consequences that may come with what she's saying or how she's saying [on this album]. She's just going to say it.
I was listening to some of the music that you've produced and people tackle it so differently, Like Boldy James does it differently than Yachty did, who does it differently than Denzel Curry did. Or Tyler, the Creator. When you hear these vocal performers take your music and do their thing on it, what does that do for you?
That's what I look for. I don't want people to sound like… Somebody just asked me at a DJ set that I did, "Why don't I hear you on more albums? Why don't I hear you in more music?" And I was just like, "Because everybody sounds the same." And if I wanted to make the same song three million times, then I could easily do that. But I'd rather make stuff that sounds different.
I love that people have their own significant texture or voice. If you don't have that, I cannot send you any beats because I literally cannot listen to one more song of somebody with the same flow that's like every single song that I've heard for the past three years. I literally look for somebody to come with something new.
So then what else have you been up to this year? You've been talking to SZA about her album, you guys went to Hawaii. You've made these two wonderful songs. What are the other things you're proud of that you've done this year professionally?
The Grammy, I'm really proud of the Grammy [for Tyler, the Creator's Call Me If You Get Lost].
Do you get a statue or do you get something else?
It was a picture of a statue. It was a Grammy picture. I was still appreciative, but that was something I was really happy about. Honestly, this year I tried to detach myself from materialism. . I've been really trying to work on distracting myself from validation, just making cool stuff, putting it out. I receive the love and I'm appreciative, but I do that temporarily and then I just move on to whatever my mind calls me to do next. I don't want to sound ungrateful, but that's literally how I don't get caught into what everybody else is doing. I don't really have a lot of things this year, besides the Grammy and [SOS], that I was super emotionally invested in.
I think that you're our own growth, our own self-actualization is something we can be proud of. Since you're saying you've spent time trying to detach yourself from finding validation and accomplishments, can you talk a little bit about the ways that you feel like you've grown personally because of that?
I need to find out who I am and really be happy with it and really just work with that, 'cause a lot of times the advice I give everyone when they ask me for advice, is like, "How much of yourself is involved in your creative process and your life and stuff like that?" I always tell people, and applause is not always a good thing. When people are applauding, that's not always a compliment. Sometimes that's holding you back because sometimes you're not even supposed to be doing [the thing you're being applauded for].
A normal person would do that thing for the rest of their life 'cause they have everybody clapping for them. But my thing is, that's validation. We're doing that for validation. So how much of what you're doing is not involved with what somebody applauded you to do? So, that's my entire year of just figuring out, "Do I actually like this or am I just doing this because people saying, 'Congratulations, keep going?'" That's literally my entire motivation right now.
That's really powerful. Finding internal motivation as opposed to external motivation can be really hard, especially if your career is public, because you have to put the work out and art is meant to be discussed. Writing is meant to be discussed. It's meant to be thought about. It's supposed to make us better as individuals and as a society. So, you could make your things and just keep them, but that's not necessarily the function of the work. So divesting from the praise, the applause, the validation, that really resonates with me.
I'm just being really transparent. Making those [comedic] videos was miserable for me. I was really going through a lot at that time. But people were telling me, keep going, keep going, keep going. I was like, "Am I living my dream right now?" It was a lot. That's when I really noticed that. I was like, "I think I'm living my dream. I don't know, 'cause people keep telling me to do this, but I hate it."
There had to come a moment where I literally looked in the mirror one time and I was seeing myself as a little kid and I was like, "He don't like this." I just really had to look at myself outside of the fame, the followers, all that. I'm like, "What does he want?" I was like, "He does not want to do this," and I literally stopped. That's literally when I started making music. I ended up into a Grammy and now I feel like I'm fully making him happy, making that little child and me proud because I stopped listening to, "Oh, congratulations!"
What fuels your creativity? When you were making those funny videos on the internet, it was still very creative. What fueled that creativity, and then what fuels your creativity now? What's the same, and what's different?
I'm still the same funny person, but I just learned how to use my weapons when they're needed. Instead of making a whole bunch of people who don't care about me and who laughing at me instead of being a clown for them, I'd rather go and hang out with my friend when they're sad and just cheer them up. That's how I'll use that [humor], or if I'm sad and I'm going through something, I'll just make music or create. I'll use my musical talent to help me through that.
I know that I'm a multi-talented person. So now I'm using it in a way that benefits me and doesn't hurt me, because some of your talents can hurt you sometimes, especially if that's not supposed to be your destination.
All I do is joke around. ? I can't have a serious moment for too long. I'm just not built that I grew up around uncles and aunts, somebody going to say something that's funny. I'm the person that walks into the repass and tells funny jokes. I'm the same exact person, but I'm not a clown. There was a time where I was literally depressed and people were like, "Oh, you're that funny guy." I'm like, "My life is not funny right now."
We're wrapping up, I only have a few more questions. You did an interview with Charles Holmes for Rolling Stone in 2020. I guess we've talked about so much, but if you had to reflect on the time since your first Rolling Stone feature, what would you say?
A lot has changed. I've learned different things about sound now. I would say the biggest thing that has changed is I've realized that texture…There was this point in time where I was just like, "I love music from the '90s, the '70s, the '80s, and I want to recreate that." I would say the biggest thing that has changed within me since then is that I realized that it's not the time period that we miss, it's the texture that we miss.
When you look at the early 2000s and how people like to dress, like Aaliyah and certain people, people want to recreate those outfits [now], but sometimes it is not the outfit, sometimes it's the fabric. That's what I've been incorporating my music, not trying to make something specifically of a genre of a time period, more like [asking], "What hardware was they using? What software did they use? What type of drums did they use?" And actually using that and making stuff that I think is futuristic, but using tools from the past. Hopefully, with the next thing that I release, people can hear more of that.
Are you open to sharing any details about what you're working on?
Yeah, I'm working on my album right now. I just started putting some songs together and I really want to make something that's not just beats on a playlist. I want this to actually sound like an album. Hopefully that it can be released next year.
Are you thinking of a more instrumental project, like Kenny Beats put out this year? Are you thinking having different vocalists perform on it, whether they're rappers or singers?
I want to do both. I want to have beats on there, so just instrumentals, but then I also want to have people pop in and out — maybe somebody sings, maybe somebody raps, maybe somebody plays the drums. I want to just incorporate anything that I think is fire and just have somebody come do it. I don't want to make it a clout thing like, "Oh, he's just bringing all these famous people on this album." I want it to be like, "No, it's these fire ass songs." So that's why I'm really putting a lot of intention into it, just trying to make it as fulfilling as an actual album.
I think I understand. You want it to sound cohesive and have ideas that string it together, even though some of it might be instrumental and some of it might be vocal and some of it might be one person and some of it might be someone else. You still want it to feel whole.
I want it to feel like it's a whole, full album that people can play through and not just press a song because they [see] some somebody on it. I don't feel like I've really heard an instrumental album when it didn't just sound like people just rapping on beats, which I can't really explain it. I just want to be the first person to do it, though.
Jay Versace,
Memphis' Scorpion Unit Deactivated in Wake of Cops' Fatal Beating of Tyre Nichols


No horse gets anywhere until he is harnessed.
No steam engine or gas ever drives anything until it is confined.
No Niagara is ever turned into light and power until it is tunneled.
No life ever grows great until it is focused, dedicated, disciplined.


text:
A New White is the first studio album by American hip hop sextet Subtle. It was released on Lex Records in 2004. "F.K.O." and "The Long Vein of the Law" were released as singles from the album. The album peaked at number 55 on the CMJ Top 200 chart, as well as number 10 on CMJ's RPM chart.

Critical reception
Brian Howe of Pitchfork gave the album a 7.8 out of 10, describing it as "an chimera cobbled together from live and programmed drums, electronic strings, keyboards, samplers, guitars, woodwinds, and Doseone's chameleonic flows." Lee Henderson of PopMatters gave the album 7 stars out of 10, saying, "Subtle provides you with some of Doseone's best lyrics and art since his work with Boom Bip, accompanied by some of the best compositions anyone has created from the Anticon unit all told."

Track listing

Personnel
Credits adapted from liner notes.

Subtle
 Dax Pierson – keyboards, sampler, melodica
 Alexander Kort – electric cello, acoustic cello, electric bass, acoustic bass
 Jordan Dalrymple – drums, guitar, sampler
 Jeffrey "Jel" Logan – drum machine
 Marty Kalani Dowers – woodwinds, synthesizer
 Adam "Doseone" Drucker – words, vocals, synthesizer, artwork

Additional musicians
 J. Goody – trumpet (on "Song Meat")

Technical personnel
 Subtle – recording, mixing
 J. Goody – recording, mixing

References

External links

2004 debut albums
Subtle (band) albums
Lex Records albums