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serpentwithfeet sows the seeds of love in 'soil' By Nathan Taylor Pemberton
serpentwithfeet sows the seeds of love in 'soil'
Nathan Taylor Pemberton
Josiah Wise's latest release as serpentwithfeet is a sensuous plea to indulge the fantasies of unbroken human intimacy.
It's been less than two years since Josiah Wise tacked his interior world onto the walls of the internet with blisters, a five-song collection released under the name serpentwithfeet. In a little over twenty minutes of music, Wise presented a spectrum of sounds and experiences, all urged on by the cool trill of his voice, an expanse of emotions more a product of the world-weary than a 27-year-old living in Brooklyn.
Wise's ability to gather the emotional knowledge carried by himself and others, and transforming it into sentiment and song, has only deepened in the time since. His latest release, soil, is the continuation of a locked stare. It's a stare that follows the eyes of a fantasy, one composed of surrogate lovers, physical forms, the tactile truths of rivers, plants, skies, the soil on which any dream stretches out upon. There is an alluvial sexuality that hangs on to Wise's every quivering syllable. It is the fragrance emitted from each of soil's 11 tracks. A sonic sparseness is one of his many diminutive gestures, capitalization included, that feels like an act of generosity to the listener. It's a reprieve, really. In Wise's performances, and throughout soil, the opacity of the performative ego is replaced instead with a transparent voice with a plea to indulge one's own fantasies. It's devotional music that knows no physical or conceptual boundaries. The adoration relayed in songs of worship (it's well-noted that Wise first learned to sing in church, which he attended until the age of 21) are fused with the lyrical reverie of Kate Bush and the blunt love offered by groups like TLC or Destiny's Child, two of his favorite acts.
On a warm Saturday this past May, Document spoke with Wise on a handball court in Brooklyn's Fort Greene neighborhood. Wearing an outfit featuring a purple and orange motif—orange headband, purple pom-pom dangling from his left pocket, orange necklaces—he introduced himself as 'serpent' and quietly uncoiled the labor of his creative process, of being a black, gay man. For Wise, it's a moment of optimism and heretofore unimaginable connection, a time where marginalized voices are writing a new lexicon for the world they wish to inhabit. Someone after all, he tells Document, has to do the work.
Document—I'm curious about your experience singing in church, learning to use your voice in the choir, and breaking free of that to write your own music. How much of a change was it to move from religious music with a very clear message to creating your own music?
serpentwithfeet—Gospel music is love music. It's still sensuous. I think a lot about what it is to honor someone's story, be it in a painting or sculpture, a documentary, a film. You're honoring the truth in honoring someone's story, the truth of the story. I don't think it's different if you're talking about a lover or sex or a plant, you're still taking time to honor something.
Document—Is there any meaningful difference, then, between the message of a worship song and, say, a love song?
serpentwithfeet—The subject of the story is maybe different than a Destiny's Child song, but it's still talking about an experience with another person. We learn so much about the climate of moment listening to these songs, not just the person. If you listen to Destiny's Child, you're not just thinking about their opinions on love, you're thinking about the climate. We're coming out of a period, still in one actually, where men were heavily misogynist. Where women were pressured, specifically black women, to be shaped a certain way, and have their hair a certain style, and to constantly be "on." I think the way people talk about their relationships says a lot about the world. The way people talk about love now, as opposed to 60 years ago, is very different. Destiny's Child wrote love songs, but they spoke to an environment. I think about how many guys did not like TLC's No Scrubs or when Nicki Minaj released Lookin Ass and people didn't like it. It speaks against our experience with men, and it says a lot about the climate.
Document—What climate would you say soil is a response to or a product of?
serpentwithfeet—It's too hard to say, really. I'm too close to it. But what I would say is we're in a time where gay love doesn't have to be marginal love—black gay love doesn't have to be marginal. We have Moonlight. We have Noah's Ark. We have Kevin Abstract from Brockhampton. We have Frank Ocean. We're talking about disrupting gender roles, this is a thing now. And then there's the internet. My project has to do with ventilation.
Document—Ventilation?
serpentwithfeet—I think if I had a new album ten years ago, I'd be a lot freer with my words, with how I use my words, but things have changed. It's not a read. The internet didn't exist in 2008 like it does now; it's a big network, a community. If you know how to use it, you can have a community that spans from Greece to Austria and Venezuela, and its not a reach. It's a lot more difficult to oppress people when we have that kind of access. I could go on a whole other spiral…
Document—You can spiral if you want.
serpentwithfeet—No, I'm not going to. [Laughs] It's beautiful to see conversations about queerness, trans-ness, blackness, and fluidness. It's not just happening in New York. It's not just happening in Los Angeles. It's happening everywhere. It's the standard now, to the point where even my family has to think about it. That's not their world. I used to think it was just the art world, but its not. It's a big conversation, and almost everyone has to be accountable—a lot more people than ten years ago, at least. If you are using unfavorable language, you're more likely to get shat on now. More people are gonna clock you. You need to be a good steward of your words. It can end, or start, your career. The little joke you made can be a big deal. It might be terrifying for some, but I think about micro-aggressions for someone who's been oppressed, how often the oppressed have been forced to be aware of themselves. You know when someone is not feeling you. The little things. Those things that used to pass can't pass anymore.
"There's an importance in complaints. There's an importance in complaining with a gravitas."
Document—There's a language, or an attempt to develop language, where there once wasn't.
serpentwithfeet—soil is me having more language and also me having a bit more courage to say things in a way I didn't have the courage to say them before. I didn't have the language. It's a complete reflection of the time, where I am now able to talk about my experiences with men in a very pointed way. It's reflective of the time I find myself in.
Document—A common response is that this is trivial or petty, that this new language is the product of some knee-jerk liberalism that's out of touch when, for others, it's life-affirming.
serpentwithfeet—I think most people think new ideas are petty. Take the internet, again. There's all the bullshit I hear people talk about: no one is having conversations anymore. It's not true—we're talking more than ever and to a lot of different people. There is a woman I know from social media for years, who now does my makeup when I play shows in London. Having this access, I think it can be scary to some people. And with language, there are people who don't like how specific we're getting about pronoun usage, colorism, misogyny, sexism, ageism or sizeism. For some, you didn't have to think about or talk about any of this depending on how much privilege you have. People now have a voice more than before. If you have a Twitter account, you have a voice more than ever before. We see that. Some people don't want to do the work. Me? I'm a black gay man, and I'm always talking about race. I came out the womb talking about race and colorism. If you don't want to hear it, well, that's your privilege. White people don't think everything is about race. As a black person I know everything is about race. I know that. [Laughs]
Document—How do you handle the question of which voices get to say what? There are compelling arguments for and against essentialism, who has the right to address certain grievances, issues, parts of culture.
serpentwithfeet—There's not an oppression Olympics, but I don't get how a white person, say, who grew up in upstate New York from a line of wealth can complain about not getting their first choice of job. You cannot compare that to a black person that deals with generational incarceration—can't compare it. I think that is a tough pill for people to swallow. Everybody wants to complain and have their moment. A few years ago I had mine with an injury.
Document—What happened?
serpentwithfeet—I fractured my heel. I had crutches and a cast up to my knee, and it was summertime. It was one of the worst times of my life, and I had to leave New York. This city is brutal if you're not able-bodied. I never had to think about it before. I realized, "Oh, shit, this is my privilege." I never once had to think about people who have physical injuries or the elderly, what they have to deal with. And to bring that back to soil, there's an importance in complaints. There's an importance in complaining with gravitas.
Document—Is there a dominant tenor to these complaints? Something freeing to you in the act of airing grievances?
serpentwithfeet—Thinking about who the land was taken from, who built the land, who built pop culture from music to dance, there's always been a resistance. These aren't empty grievances. But now, it's bleeding into people's romantic lives, their family lives. We are just now understanding that we don't have to keep uplifting the thing that is toxic. I don't have to uplift the thing that restricts breath. I don't have to uplift the thing that kills me. That's happening now. Abuse in their relationships. How they're being treated on Tinder or Grinder. And, it's being taken seriously. That is what's so exciting: Everybody is swiping left now in their life. Nope. Nope. Nope. I don't want that. I think that's really beautiful.
"We're are just now understanding that we don't have to keep uplifting the thing that is toxic. I don't have to uplift the thing that restricts breath. I don't have to uplift the thing that kills me."
Document—There's attentiveness to your music. It's ornate, but not ornamental; every small stroke seems to conspire to be part of some larger sentiment. Where did you tap into this?
serpentwithfeet—I grew up not ever seeing attentive men, but in recent years, I've met a lot of wondrous, attentive black men who are alert, agile, full, and expansive people. It forced me to reappraise how I thought about myself. A lot of my self care I learned from black women, just seeing how my mother takes care of herself. She perforates her day with reading. I'd knock on the door to her room, and she'd always be reading. For her, that was a form of nourishment. That's a big thing for me now, taking more time to read and feel myself. My black women friends, and my mom, they always seemed to see more than I could see. They could read situations in a way I couldn't read them. It made me want to observe things more, and to be accountable for what I was observing. In a very explicit way, that's what every song on soil is really about; trying to observe myself, even in a fictitious way, and trying to be so in the story that I'm lucid dreaming.
Document—Can you point to a particular moment of this on soil?
serpentwithfeet—In Fragrance, I talk about contacting my ex-boyfriend's ex-boyfriends because I want to know if he's affected them the same way he's affected me. I say, "I imagine us singing his name in harmony. I imagine it sounding good. I imagine me kissing your ex-boyfriends wondering if they still taste like you." I tried to be soaked in that vision, wondering what it felt like, what it tasted like, what it smelled like. My favorite writer is Toni Morrison. Her fiction is so sensuous. There's so much sensory detail. I like that she can be so in this moment that happened in her mind. That's a particular power.
Document—Who do you consider to be your audience for these fantasies?
serpentwithfeet—Well, Spotify actually revealed it to me. I was surprised. I have a large male audience.
Document—Why is that a surprise to you?
serpentwithfeet—That's the thing, maybe I shouldn't be surprised. Why wouldn't guys listen to my music? Why would I think they don't have the patience. Who said that? No man has come to me and said, "This is a girl's song." Men have to build a culture for other men to have emotional real estate—real estate to be vulnerable and transparent.
Document—How do they respond to your work? Do any particular encounters stand out?
serpentwithfeet—I don't know if there's a specific one, but it's typically that these men felt that my words, delivery, and treatment of grief…they generally respond with a sense that I handled it well, that it was a warm recounting of my experiences. I never want to exploit my experiences. I never want my performances to feel like a cheap therapy session. I'm not looking for my audience to be the recipient of my things—things I didn't deal with. I don't want people to feel burdened after they leave a show or hear the album. But, I don't want to avoid difficult things. I want it to feel like I've processed my experiences, and I've done my own work.
Musicserpentwithfeetsoil
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Home Entertainment Rumour: Loki TV series to introduce Kang the Conqueror
Rumour: Loki TV series to introduce Kang the Conqueror
With Marvel now expanding into the TV series game with their Disney+ shows, the opportunity for more in-depth storytelling and for bringing new characters into the mix has only increased. Most studios might baulk at the added complexity of bringing even more characters into the mix and somehow maintaining consistency across storylines, but it looks like Marvel will simply be taking even more risks with the way they will allow these new shows to expand their universe.
Something which the upcoming Loki series likely to do. With Loki having captured the Space Stone in Endgame in an alternate timeline, the premise of the show is set up for character to use his usual sneaky ways to mess with different timelines, something which will probably properly introduce the multiverse to the franchise. This direction was evidenced in the show's Super Bowl commercial where Loki was briefly shown wearing what looked like a Time Variance Authority jumpsuit. In the comics, the TVA is an organization that monitors the multiverse and subsequent timelines, eliminating those deemed too dangerous. An organization which Loki has obviously caught the attention of with his time-travelling antics.
Now, industry insider Daniel Richtman is claiming that not only will the series definitely feature the TVA with Owen Wilson rumoured to be playing the role of Justice Peace, the head of TVA. But that the series is also introducing Kang the Conqueror to the universe. Kang the Conqueror – real name Nathaniel Richards (a descendant of Reed Richards) – a 31st-century scholar who becomes fascinated with the time-travel exploits of his famous ancestor. After finding a device that allows him to travel back in time to ancient Egypt, he dubs himself Pharaoh Rama-Tut where he is, ironically, defeated by a time-travelling Fantastic Four. The defeat inspires Richards to assemble an arsenal of time-travel weaponry to expand his domination and become Kang the Conqueror.
Kang the Conqueror is a big character to introduce into the Marvel Universe. It's not clear though if he will form a major part of the series and possibly be a major villain or perhaps just be introduced in passing and perhaps be a setup for a bigger future battle in the movies, something which could make sense given the enormity of the threat he poses. Either way, if these rumours are true, the Loki TV series will be introducing many new exciting elements to the broader MCU – that we can't really watch because We still don't have Disney+ in South Africa.
One lucky person is about to have an amazing Christmas thanks to this incredible Lego Star…
Who needs a next-gen console when the SNES gets a ray tracing mod?

redpajama_set_name: RedPajamaCommonCrawl


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"Comparative Global Cities Project"
Crossing the Globe: -- Global Cities Compared and Contrasted
Tokyo and Istanbul
By Paul Padegimas
Global cities are those which are not only large but are interconnected with the rest of the world. These cities are interconnected in a cultural and economic sense, as well as with the media and politics. Global cities are essentially intertwined with each other; while able to function completely on their own, they draw on other global cities in order to create at least a part of the city's atmosphere. This is the transnational aspect of global cities. The transnational is the global aspect of the city. This aspect is easy to see in most cities, for example New York City. Walking through Times Square, it is almost impossible not to notice the international companies represented in all of the signs, the international restaurants, even the people standing on street corners pleading with you to listen to them about events going on in other countries. The transnational aspect of a city is generally very apparent in certain areas, while much of the city must be examined a little bit closer to see it.
Global cities exist all over the world, and are centers of commerce and culture wherever they are located. This draws people from outside to the city, which leads to the growth of the vernacular aspect of the city. The vernacular is the exhibition of local culture throughout the city. The vernacular aspect is what differentiates different global cities from each other, more so than geography does. Think about how New York City would be different from Tokyo without hot dog and roasted nut vendors on every corner and amateur rappers trying to sell you their demo albums while you walk down the street? What about San Francisco and Istanbul? Language aside, these are the kind of things that truly define an individual city, while the transnational aspects are what truly make them global. In this essay, the cities of Istanbul and Tokyo will be explored. Based off of two previous shorter essays, the transnational and vernacular will be compared and contrasted to show how global cities from different sides of the world can be very similar yet different, reflecting their own character.
First read about each city, and then come back for my analysis:
Tokyo, or "The Toke"
As far as the transnational, both of these cities have all of the signs. International restaurants and hotels are abundant. Advertisements for products of other nations can be seen everywhere. If shopping is what you crave, catching a taxi to Taksim Square provides an incredible selection of shops from international companies. Taksim Square is very similar to the Ginza district in Tokyo in the sense that it caters very much to tourism and international culture with restaurants and shops and nightlife. From my experiences in both cities, Taksim Square and Ginza are incredibly similar, with Ginza being a little larger simply because of the larger scale of Tokyo as a whole. The architecture is also somewhat different; with Ginza presenting itself more in the form of high rise buildings, mainly due to the fact that in Tokyo, and Japan as a whole, there are more constraints on space. With space at a premium in Tokyo, construction is forced to go up rather than out, whereas Istanbul is not so focused on the vertical but is an expansive city with its share of skyscrapers, but more growth horizontally.
As far as the vernacular, a main feature of both cities is the focus on the water. The people of both cities are heavily involved with what the water around them can do for their cities as one of their richest resources. The sea is one of the main sources of food for both, with the fishing culture being a main focus. The difference is that in Istanbul, if you were to walk around the waterline, you could find people fishing at any time of day or night. There were always people fishing, on the piers, the rocks, from bridges, it didn't matter. Anywhere that was available, people would fish. This led me to believe, along with the smaller scale of the fish markets in Istanbul, that small scale is much more emphasized in Istanbul than in Tokyo. This makes sense to me, partially because of the incredibly developed waterline in Tokyo, as well as because of the much larger population of Tokyo which is consuming the fish from these markets.
In the end, by just examining a few aspects of a city it is easy to tell that both are certainly very much global cities, containing all of the requirements to be considered truly international. At the same time, these cities each have distinct vernacular cultures which distinguish them from one another. Given that the topics in the vernacular explored in each were similar, one can tell that there are certainly differences which reflect the character of the individual city. Overall, these cities reflect many transnational features which tie them together, while each city is distinguished from other global cities by parts of the vernacular culture which, upon examination, are intertwined throughout everyday life in the city.
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Send me your comments: Paul P.


Although not of Viennese parentage, Franz Schubert was born in Vienna, the son of a schoolmaster, and spent his short life there, often in the company of friends, who took particular pleasure in the music he wrote for their entertainment. Unlike Beethoven, who died a year before him, he never enjoyed the patronage of the nobility, and occupied no official position in the musical life of the city, although at the time of his death publishers were showing increasing interest in his work. Schubert's early musical training had been as a chorister of the Imperial Chapel, a position that allowed general education at the Staats-Konviktin Vienna. Rejecting the offer of further study at his school, he trained briefly as a teacher, and from 1815 taught intermittently at his father's school, while concentrating his energies on composition. He showed a particular gift in the writing of songs, and in 1815 wrote some 150, with 100 more the following year. By the time of his death in November 1828 he had written over 600 songs of unfailing inspiration, miraculous couplings of words and music, in which both melody and piano accompaniment serve a dramatic purpose. The poems chosen vary in quality, with more than seventy settings of words by Goethe, and others of verses by less gifted contemporaries and friends, works to which the music has given life and eternity.
An die Musik (To Music), written in 1817, sets words by Schubert's friend Franz von Schober, into whose rooms in the inner city he had moved in 1816. It was here that he first met the singer Michael Vogl, a distinguished performer at the Kärntnertor Theatre, who was soon to be singing Schubert's songs. An die Musik is a prayer of gratitude to the art, the shape of the melodic opening dictated by the first words, Du holde Kunst, a consolation in periods of melancholy. Heidenröslein, a setting of a poem by Goethe, composed in 1815, is of deceptive simplicity. A boy sees a rose and picks it, but with the rose there is a thorn that pricks him. The melody could be that of a simple folk-song, but words and music both suggest something much deeper. There is something of the same feeling in Die Forelle (The Trout), with words by the eighteenth century poet and musician Christian Schubart, its first version composed in 1817 and later to serve as the basis of a variation movement in the famous Trout Quintet of 1819. The poet sees an angler and a trout that bids fair to outwit him, only to be caught in the end.
Auf dem Wasser zu singen, the song written in 1823, the year in which the first signs of the illness that was to bring Schubert's death five years later became apparent, takes words by Count Friedrich Leopold Stolberg, a friend of Goethe. A little boat floats on the water in the evening light, reminding the poet of the human spirit, gliding through the waters of joy and of the transitory nature of life, as days fly away. A strophic song, in which the three verses of the poem are sung to a repeated melody, it breathes the gentle peace of an evening on the water. The words of Du bist die Ruh (You are my joy, my peace in sadness, my yearning and its consolation) are of greater distinction, by the poet and Orientalist Friedrich Rückert. Schubert set this and four other poems for a recently published collection of verses by Rückert in 1823.
Im Frühling (In the Spring) was written in 1826, a setting of words from the Poetisches Tagebuch of the young poet Ernst Schulze, who had died of tuberculosis in 1817, after the early death of his beloved Cäcilie. The verse recalls a happier spring-time, before the death of his beloved, poignantly remembered. In Wandrers Nachtlied Schubert returns to Goethe. Über allen Gipfein ist die Ruh' (Over all the tree-tops is stillness), one of the most famous poems in the German language, provides the basis of a remarkable miniature, the music composed, at the latest by l824. The song Nachtund Träume (Night and Dreams), written in 1823, is a setting of words by Matthaus von Collin, tutor to Napoleon's son, with music that captures the tranquillity of the verse, the spirit of holy night and the peaceful dreams it brings with it. Der Zwerg (The Dwarf), by the same poet, the song published by Schubert in 1823, is a typically allusive ballad. The dwarf of the title kills the queen that he loves, as they sail together over the sea, to which he commits her body. Dedicated to von Collin, the song opens with an ominous bass figure that is to recur Gretchen am Spinnrade (Gretchen at the Spinning-Wheel) is a setting of words by Goethe, made in 1814, the first of Schubert's Goethe settings. Gretchen, seduced by Faust, awaits the return of her lover. The spinning-wheel turns, its motion only momentarily interrupted, as Gretchen recalls the joy of love, now her peace has been destroyed so that she longs only for the kiss of love and in that kiss death. Die junge Nonne (The Young Nun), a setting of verses by Baron von Craigher made early in 1825, moves from stormier emotions to the tranquillity of the convent, as the young nun sings her final alleluias.
Goethe's novel Wilhelm Meisters Lehrjahre, published in 1795-6, a Bildungsroman that centres on the self-revelation of the hero, includes some of the writer's best songs, including those allotted to the strange waif-like gypsy girl Mignon, rescued from a troupe of circus acrobats by Wilhelm Meister. The poems provided an inspiration to other composers. In the song Heiss mich nicht reden, heiss mich schweigen (Ask me no questions, tell me to be silent), Mignon vows to keep her mysterious secret, although she longs too to share her secret longing. In So lasst mich scheinen, bis ich werde (Let me appear now as I shall be), Mignon sings of her coming death and the tomb, where she will remain a little while, from which she will rise transfigured. The last of the group, Nur wer die Sehnsucht kennt, weiss, was ich leide (None but an aching heart knows my suffering) is a song of ineffable yearning. The Suleika songs of Goethe are taken from his collection of poems after Hafiz, the Westöstlicher Divan. Suleika, representing the writer's close friend of those years, Marianne von Willemer, who later claimed authorship of the Suleika songs set by Schubert in 1821. Suleika, in love, seeks an answer from the east from her absent lover, and charges the west wind with her own loving response.
Der Tod und das Mädchen (Death and the Maiden), material used later in a string quartet known by the same name, is a setting of a poem by Matthias Claudius, composed in 1817. Claudius, a poet of apparent ingenuousness, makes of death, Freund Hein, a figure of comfort and relief. Here the girl is terrified at the sight of the man of bones, who tells her he comes as a friend, a claim belied by the sinister and insistent rhythm of the music.
Erikönig (Erl-King), one of the best known of all Schubert's songs, is a setting of Goethe's ghostly ballad. The poem was written in 1782 and published as part of the writer's Die Fischerin. Schubert wrote his treatment of the ballad in 1815. The vivid and dramatic story shows a father anxiously riding through the forest, carrying in his arms his sick child, lured from him by the sinister elfin king, the Erlkönig of the title, the narrative adapted from a Danish legend. The music reflects the terror of the ride, the fears of the father and the seductive power of the Erlkönig.
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St Anthony's Primary will take to stage to host farewell concert
ST ANTHONY'S Primary School parent council are to host a farewell celebration concert later this month.
The present school building is set to be demolished in late March to make way for a brand new school.
And to mark the event, there will be a concert to which former pupils, staff and those with connections to the school are welcome to attend.
The rebuild is the first of a three-phase plan to build a new St Anthony's a year after the upgrading of its neighbouring school Loch primary.
St Anthony's Primary pupils will be taught in a specially-built decant facility at a relocated site until the official opening of the new school scheduled for next year.
Parent council member David Cassidy said they are excited by the plans for the concert and added: "If any former pupils, staff members of indeed parents of pupils have any memorabilia, old photographs or memories they would like to jot down then we would be more than happy to take these and put them on display on the evening.
"It promises to be a great night with raffles and entertainment will be provided by the hugely successful Gordon McHugh and his family along with Stevie Grassie.
"All proceeds will be going to The Kilbryde Hospice Appeal. The event will be held in the school on Friday, March 13 at 7.30pm."
Tickets are £10 each. To purchase tickets contact the school on 634 7353.
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Boris Johnson should be considering his position, says Scots Tory MP
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Past and present Barclaycard customers being paid refunds of up to £300 - check if you qualify
Credit cardsThe payments are being made through cheques and money transfers.
American teen who vanished overnight in Glasgow found safe by police, mum confirms
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A ½ of a Frank Special with one egg your way, one piece of fluffy "challah" French toast, plus toasted buttered bagel of your choice.
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Topped with our homemade garlicky challah croutons and finished with shaved Parmesan cheese.
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Choice of corned beef, turkey, pastrami or sliced ribeye roast beef, served with provolone, caramelized onions and dusseldörf mustard on a delicious homemade baked potato knish.
Au Jus on our homemade sub topped with juicy sliced ribeye, caramelized onions, düsseldorf brown mustard and provolone cheese, and accompanied by au jus.
8 inch sub piled high, sliced ribeye and a plethora of peppers and caramelized onions, topped with provolone cheese.
Juicy steamed pastrami or corned beef stacked with melted Swiss cheese, grilled onions, düsseldorf mustard, 1000 island dressing and pure horse radish on grilled rye bread.
on your choice bagel topped with ripe ruby tomatoes and melted swiss cheese on your choice bagel.
Cuban bread topped with turkey ham and juicy sliced ribeye, Swiss cheese, pickles and Düsseldorf mustard, pressed to perfection.
Made with 98% fat-free, oven-roasted turkey topped on our toasted spouted wheat berry bread with sauerkraut, brown mustard and light amount of Swiss.
Choice of meat on grilled rye bread, stacked with provolone and Swiss cheese, 1000 island dressing, mustard and sauerkraut.
*A Bagel King Specialty: "Knish"
A knish is a thin amount of dough stuffed with mashed potatoes and seasoning, baked not fried "great with a schmear or Düsseldorf mustard"


text:
<?php

namespace Soluble\Normalist\Synthetic\Exception;

class TableNotFoundException extends \RuntimeException implements SyntheticExceptionInterface
{
}

redpajama_set_name: RedPajamaGithub


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The art deco resorts in Los Angeles bring in a really feel of old Hollywood settings but in contemporary fashion. Art deco is a design model of structure that was in style during the 1920's and 30's. This architectural design could be very decorative and contains varied geometrical designs with bold colors. This design style is claimed to have originated by means of French luxurious items, which had these designs on them simply before World War I. The title "artwork deco" comes from the 1925 Paris Exposition of Decorative Arts. There are also quite a few lodges right here which have been designed in keeping with artwork deco architectural design and are called as art deco accommodations. The two properly-known artwork deco accommodations in Los Angeles are The Sunset Tower Hotel and The Georgian Hotel. The Georgian Hotel also options delightful ocean sunsets and panoramic views of Santa Monica Bay. The Georgian Hotel was constructed within the 1920's and 30's in the course of the coastal enlargement of California. Los Angeles has a variety of motels with totally different architectures and ambience.
These inns are thought of to be unique as they assist relive the rich history of the area courting back to the late twenties, the early days of Hollywood. This will, after all, help ensure that the whole lot finally ends up the place it's suppose to be, and will probably be the right dimension. Your intended menu and different business options must also drive choices about the size of location you choose. It provides pristine companies and amenities to enterprise travelers in addition to vacationers. Instead, the drain line comes straight down from the piece of gear or fixture, and terminates 2 inches above the rim of a porcelain flooring sink drain. Any pointless steps or wasted movements that result from a less than optimum design will slow down worker manufacturing. Equipment should be grouped collectively in order that it's in the immediate proximity of the employee(s) who will likely be utilizing it. Next, you will have to determine the duties that will be performed by each worker place, in order that the equipment and fixtures crucial to accomplish those duties may be located in the suitable locations.
You might want to create a flooring plan showing all of the essential dimensions for brand spanking new partitions, doorways, cabinets, and fixtures. Plan to usher in frozen desserts and ice cream? Normally, your cashier will operate the money register, brew and serve drip coffee, and serve pastries and desserts. When you plan to be opening evenings, and can perhaps serve beer and wine, and having comfortable seating will be vital for creating a stress-free ambiance, then by all means do it. These elevations should not meant to be shop fabrication drawings for your cabinetmaker, however merely serve a reference, showing needed options and desired configuration. The materials used in this kind of structure are typically glass and plastic. Unless your area was previously some sort of a food service operation, laura ashley wallace curtains you'll most likely have to change it with a larger one. Increase that square footage to 1,200 sq. ft., and seating should increase to 30, or 35. In the event you plan to organize sandwiches, salads, and some other food items on site, 1,four hundred to 1,600 sq. ft. But when you've got limited seating house, and usually are not trying to encourage individuals to loosen up and keep for lengthy durations of time, then stick to cafe tables and chairs.
Coffee is primarily a morning beverage, so your busy instances of day (these instances when you find yourself most likely to have a line of waiting prospects), could also be from 6:30AM to 8:30AM, and then again round lunchtime. 3.75. In case you have a line of ready clients every morning between 7:00 AM and 8:30 AM, this implies you've got 90 minutes of crunch time, through which you should drive by means of as many customers as attainable. • 18 inches of free wall space have to be offered on the strike-facet of all doorways (the aspect with the door knob). • All countertop working heights have to be 34 inches excessive (as an alternative of regular 36 inch peak). Also understand that a typical retail area won't come geared up with a water heater with enough capacity to handle your wants. To save lots of on the life of your water filtration system, only your espresso machine and coffee brewer should be supplied by with treated water.
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text:
package jp.ac.u_ryukyu.ie.cr.junglenetwork;

import jp.ac.u_ryukyu.ie.cr.jungle.Jungle;
import jp.ac.u_ryukyu.ie.cr.jungle.JungleTree;
import jp.ac.u_ryukyu.ie.cr.jungle.JungleTreeEditor;
import jp.ac.u_ryukyu.ie.cr.jungle.core.Children;
import jp.ac.u_ryukyu.ie.cr.jungle.persistent.ChangeList;
import jp.ac.u_ryukyu.ie.cr.jungle.persistent.ChangeListReader;
import jp.ac.u_ryukyu.ie.cr.jungle.store.NodePath;
import jp.ac.u_ryukyu.ie.cr.jungle.store.impl.DefaultTreeEditor;
import jp.ac.u_ryukyu.ie.cr.jungle.store.impl.TreeNode;
import jp.ac.u_ryukyu.ie.cr.jungle.traverser.DefaultTraverser;
import jp.ac.u_ryukyu.ie.cr.jungle.util.Either;
import jp.ac.u_ryukyu.ie.cr.jungle.util.Error;
import jp.ac.u_ryukyu.ie.cr.jungleNetwork.operations.NetworkNodePath;
import jp.ac.u_ryukyu.ie.cr.jungleNetwork.persistent.PersistentJournal;
import jp.ac.u_ryukyu.ie.cr.jungleNetwork.persistent.PersistentJungle;
import jp.ac.u_ryukyu.ie.cr.jungleNetwork.transaction.JungleUpdater;
import org.junit.Assert;
import org.junit.Test;

import java.io.File;
import java.io.IOException;
import java.nio.ByteBuffer;
import java.util.Iterator;

public class DataWriteBufferTest {
    ByteBuffer value = ByteBuffer.wrap("value".getBytes());
    String key = "key";
    int pos = 0;

    @Test
    public void DataWriteBufferTest() throws IOException {
        PersistentJournal journal1 = new PersistentJournal(new File("./log/commit.log"));
        Jungle jungle = new PersistentJungle(journal1, "uuid", new DefaultTreeEditor(new DefaultTraverser()));
        jungle.createNewTree("hoge");
        JungleTree tree1 = jungle.getTreeByName("hoge");
        tree1.setBufferSize(10);
        JungleTreeEditor editor = tree1.getTreeEditor();
        NetworkNodePath path = new NetworkNodePath();
        Either<Error, JungleTreeEditor> either = editor.addNewChildAt(path, pos);
        NodePath childPath = path.add(pos);
        Assert.assertFalse(either.isA());
        editor = either.b();
        either = editor.putAttribute(childPath, key, value);
        JungleTreeEditor editor2 = either.b();
        either = editor2.success();
        Assert.assertFalse(either.isA());

        PersistentJournal journal2 = new PersistentJournal();
        journal2.setInputFile(new File("./log/" + journal1.getLogName()));
        journal2.setOutputFile(new File("./log/" + journal1.getLogName()));
        ChangeListReader reader = journal2.getReader();
        Iterator<ChangeList> iterator = reader.iterator();
        Assert.assertFalse(iterator.hasNext());

        for (int count = 0; count < 9; count++) {
            editor = tree1.getTreeEditor();
            either = editor.addNewChildAt(path, pos);
            childPath = path.add(pos);
            Assert.assertFalse(either.isA());
            editor = either.b();
            either = editor.putAttribute(childPath, key, value);
            editor2 = either.b();
            either = editor2.success();
            Assert.assertFalse(either.isA());
        }
        editor = tree1.getTreeEditor();
        either = editor.flushSuccess();
        Assert.assertFalse(either.isA());

        PersistentJournal journal3 = new PersistentJournal();
        journal3.setInputFile(new File("./log/" + journal1.getLogName()));
        journal3.setOutputFile(new File("./log/" + journal1.getLogName()));
        Jungle jungle2 = new PersistentJungle(journal1, "uuid3", new DefaultTreeEditor(new DefaultTraverser()));
        ChangeListReader reader2 = journal3.getReader();
        for (ChangeList chList : reader2) {
            String treeName = chList.getTreeName();
            JungleTree tree2 = jungle2.getTreeByName(treeName);
            if (tree2 == null) {
                tree2 = jungle2.createNewTree(treeName);
            }
            editor2 = tree2.getTreeEditor();
            Either<Error, JungleTreeEditor> either2 = JungleUpdater.edit(editor2, chList);
            Assert.assertFalse(either2.isA());
            editor2 = either2.b();
            editor2.success();
        }

        JungleTree tree2 = jungle2.getTreeByName("hoge");
        TreeNode node1 = tree1.getRootNode();
        TreeNode node2 = tree2.getRootNode();
        Children child1 = node1.getChildren();
        Children child2 = node2.getChildren();
        Assert.assertEquals(child1.size(), child2.size());
        Either<Error, TreeNode> either1 = child1.at(pos);
        Either<Error, TreeNode> either2 = child1.at(pos);
        Assert.assertFalse(either1.isA());
        Assert.assertFalse(either2.isA());

        TreeNode nodeA = either1.b();
        TreeNode nodeB = either2.b();
        ByteBuffer bb1 = nodeA.getAttributes().get(key);
        ByteBuffer bb2 = nodeB.getAttributes().get(key);
        String strA = new String(bb1.array());
        String strB = new String(bb2.array());
        Assert.assertTrue(strA.equals(strB));
        journal1.close();
        journal2.close();
    }
}


Just like every other aspect of eating, restaurant-dining and I have had a bit of a tenuous relationship over the past three or four years. Oftentimes, I would accompany my family and friends to restaurants, only to order "just a Diet Coke," or "decaf coffee, black." More often, though, I would just avoid the whole eating-out situation altogether.
I've been better lately–I've been eating veggie burgers and salads. Pintos and cheese is a new Taco Bell mainstay. Hell, I've even scarfed down a slice of pizza or two since I've started trying to fix myself.
Tip #2 *The ONE request rule. This is huge. This can transform your relationship with eating out if it makes you uncomfortable. You can only ask the waiter to make one substitution for the entire meal. So if you want your omelet with egg white only, don't ask for it to be cooked without oil. If you want you salad dressing on the side, don't drill the person about the way the cook your fish. If you want your fish cooked with olive oil not butter, make that your request. So let's say your fish comes drenched a top a pool of teriyaki, just move it to a separate plate, so you have a reasonable amount of sauce.
One of these tips is to look at a menu and see if there is something you will actually eat on there beforehand. It saves you a whole lot of hassle. You don't want to get seated at Denny's (the epitome of fine dining, of course) and find yourself torn between the Grand Slam Breakfast, the Grand Grand Slam Breakfast, and the Fatboy Special–eight pieces of deep-fried french toast spread thick with lardo.
There are a number of items and sites that facilitate my particular brand of obsessive-compulsive, mildly-disordered crazyeating, which probably goes completely against the intentions of Melissa's article but dag-nabbit it's progress.
Red Robin's website is my favorite. They have a burger customizer, which allows you to get accurate (but limited) nutritional information of all of their food, including the condiments you want and the side dishes you shouldn't be eating. By the way. a lonely, bunless Gardenburger sitting on a cold plate is a mere 100 calories, which is a small price to pay for being the laughing-stock of your table.
Of course, everyone is familiar with those cheap paper menus they make available at the fast food joints now. Taco Bell, McDonald's, and Subway (which is, by no means, a healthy weight-loss regime, by the bye) have had the most easily-available nutritional information in my opinion, but these days they all have some sort of guide or calculator on their website. Even Pizza Hut and Kentucky Fried Chicken have gotten in on the game, although I think that's simply to rub their fiendish coronary-murder-plot in your face before you croak.
Anyway, I guess this post was my successful attempt to crazy up a perfectly good and valid link. If you want real advice from somebody who is not a crazy crazy that is crazy, see the post at Crack Fitness NYC.


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text:
Home / Travel & Tourism
Our review of : Let's Explore Diabetes with Owls
Written by : David Sedaris
Category: Travel & Tourism
In Let's Explore Diabetes with Owls, David Sedaris takes us on a journey into the world of diabetes – from his own experience having the disease to becoming an advocate for those living with it. He offers humor and insight while exploring everything from gestational diabetes to Technology Assisted Blood Glucose Monitoring (TABGM) devices in this new book detailing life with diabetes.
This book is for people with diabetes, their families and friends. It gives an insight into what it's like to live with the condition from a very funny and personal perspective.
David Sedaris's own experiences with diabetes may not be relatable to everyone.
The book is a little heavy on the medical details and might be confusing for some readers.
It can be tough to find humor in a situation like diabetes, but Sedaris does an excellent job of it.
David Sedaris is the author of Barrel Fever, Naked, Holidays on Ice, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames and his most recent book Let's Explore Diabetes with Owls. He is a regular contributor to The New Yorker magazine and NPR's Morning Edition. His essays have twice been included in The Best American Essays anthology.
"Humorous and insightful, Sedaris takes us on a journey into the world of diabetes."
"What an engaging and informative read! I laughed out loud on many occasions, and also learned a lot about diabetes from Sedaris' personal experiences. This book is perfect for anyone living with diabetes, or those who want to better understand it."
"Sedaris has again shown himself to be a master of the form, turning what could be a deadly serious topic into something funny and enjoyable."
"David Sedaris is one of the funniest, most humane authors writing today. In Let's Explore Diabetes with Owls, he takes on his greatest challenge yet: living with diabetes. He seamlessly blends personal experience with observation and analysis to create a portrait both hilarious and heartfelt."
In "A Walk in the Woods," Bill Bryson tells the story of his attempt to hike the Appalachian Trail with his friend Stephen Katz. The two men have very different levels of hiking experience, and their conversations along the way provide humor and insight into both nature and humanity. For who is this book for [...]
A Most Remarkable Creature
Jonathan Meiburg travels the world to learn about and observe birds of prey. He finds that these creatures are much more than just hunters—they are also survivors who have adapted to changing environments and learned how to thrive in spite of threats from humans and other animals. In "A Most Remarkable Creature," Meiburg shares his [...]
Nowhere for Very Long
"Nowhere for Very Long" is a travelogue by Brianna Madia that tells the story of her unconventional life journey. After quitting her job and selling all of her belongings, Madia set off on a round-the world trip that would ultimately change her life. The book chronicles her travels to far-flung destinations such as Bali, India, [...]
In 1925, explorer Percy Fawcett disappeared while searching for a lost city in the Amazon jungle. For years, rumors circulated about what became of him and his party. Some claimed that they had been killed by tribesmen or wild animals; others believed that they had found their way to the fabled city and perished there. [...]
The Ridiculous Misadventures of a Single Girl
If you're looking for a hilarious and laugh-out-loud funny read, then look no further than Gabrielle Stone's The Ridiculous Misadventures of a Single Girl! In this sequel to her bestseller Eat, Pray, #FML, Book 2 follows the continuing ridiculous misadventures of main character Jane as she travels the globe in search of love – and [...]
Natural Born Heroes
In Natural Born Heroes, author Christopher McDougall tells the story of how a small band of unlikely misfits mastered the lost secrets of strength and endurance. From adventuring across Greece to running one hundred miles through the Pyrenees, these men and women have found that anything is possible when you set your mind to it. [...]
Barbarian Days
Barbarian Days is a surfing memoir by William Finnegan. The book tells the tale of Finnegan's lifelong love affair with the sport of surfing, from his first experiences as a young surfer in California to his adventures on Hawaiian and South African waves. Along the way, readers are treated to vivid descriptions of epic surf [...]
"In the Weeds" takes readers on a globe-trotting journey alongside Anthony Bourdain, one of the most well-known and respected chefs in the world. Through exclusive interviews with Bourdain himself, as well as those who have worked closest with him – from producers to travel companions – Vitale provides an intimate look at what drives this [...]
A Bite-Sized History of France
A Bite-Sized History of France takes a culinary journey through French history, exploring the country's gastronomic traditions and customs. From revolution to war to enlightenment, author Stephane Henaut reveals how food has played an integral role in France's social and political landscape. Filled with mouth-watering recipes and fascinating historical anecdotes, A Bite-Sized History of France [...]
Secrets of Divine Love
This book tells the story of a young woman's spiritual journey to Islam. A. Helwa takes readers on a fascinating tour of Islamic history and thought, exploring everything from the five pillars of faith to Sufi mysticism. Along the way, she provides her own unique insights into how divine love can be found in all [...]
Shadow Divers
Shadow Divers tells the true story of two Americans who risked everything to solve one of the last mysteries of World War II. In 1991, Robert Kurson was diving in a shipwreck 60 miles off the coast of New Jersey when he came across an object that caught his eye. It appeared to be some [...]
Death in Yellowstone
Death in Yellowstone is a detailed account of all the fatal accidents and foolhardy behavior that has occurred in America's first national park. Author Lee H. Whittlesey offers an insightful look at these tragedies, examining what led to them and how they could have been prevented. From falls off cliffs to drownings in rivers, Death [...]
Eat, Pray, #FML
Do you ever feel like the world is just one big, scary place? Like you're constantly struggling to keep your head above water? Well, never fear – Gabrielle Stone is here! In her new book Eat, Pray, #FML she'll take you on a hilarious and eye-opening journey around the globe. As Gabrielle visits some of [...]
Eat, Pray, Love is a travel memoir by Elizabeth Gilbert chronicling her year-long journey around the world. After divorcing her husband, Gilbert takes a hiatus from work to explore three different countries – Italy for "eating", India for "praying", and Indonesia for "loving". Along the way, she reflects on themes of self-discovery and personal growth. [...]
"Ghost Rider: Travels on the Healing Road" is a travelogue by Rush drummer Neil Peart. The book documents Peart's motorcycle journey from Los Angeles to Nova Scotia in an effort to recover from the death of his wife and daughter. For who is this book for ? "Ghost Rider: Travels on the Healing Road" is [...]
Ranger Confidential
This book by Andrea Lankford is a fascinating look at the world of park rangers, both those who are still on the job and those who have retired. It provides an inside view of what it's like to work in some of America's most beautiful and iconic places, as well as some of the dangers [...]
Vagabonding
"Vagabonding: An Uncommon Guide to the Art of Long-Term World Travel" is a travelogue by Rolf Potts that chronicles his years spent traveling the world on a shoestring budget. The book contains practical advice for aspiring vagabonds on how to save money while travelling, as well as anecdotes and reflections on the joys and challenges [...]
The Clanlands Almanac
The Clanlands Almanac is a travel and tourism book that takes the reader on a journey through Scotland's seasonal landscape. Each chapter focuses on a different aspect of life in the Scottish countryside, from springtime sheep shearing to winter Christmas celebrations. The book is written by Sam Heughan, an actor and advocate for Scottish heritage [...]
In "Nomadland," journalist Jessica Bruder tells the story of American seniors who have chosen to abandon their conventional lives in search of a more meaningful existence. These "escapees" are living on the road, traversing the country in RVs and vans, surviving on minimal income and often relying on odd jobs and shelters for food and [...]
Buried in the Sky
Buried in the Sky tells the extraordinary story of how sixteen Sherpa climbers lost their lives on K2's deadliest day. On August 1, 2008, a group ofSherpas were making their way up to Camp III when an avalanche struck, killing them all instantly. It was one of the worst tragedies in Mountaineering history. In this [...]
Travels with Charley in Search of America
The celebrated American author John Steinbeck sets out on a road trip across America with his loyal dog, Charley. Traveling through some of the country's most diverse and stunning landscapes, Steinbeck reflects on what it means to be an American in search of both personal and national identity. A thoughtful and introspective account of one [...]
The Silk Roads
The Silk Roads is a New York Times Best Seller written by Peter Frankopan. The book tells the story of the world from the perspective of the silk roads, which were ancient trade routes that connected Asia with Europe and North Africa. This ambitious work casts light on forgotten empires and religious movements, as well [...]
Undaunted Courage
Undaunted Courage is a historical narrative of the Lewis and Clark Expedition written by Stephen Ambrose. The book chronicles the two-year journey undertaken by Meriwether Lewis and William Clark between 1804 and 1806, which aimed to explore the uncharted western territory of North America. Along with detailing the expedition's many encounters with Native American tribes [...]
The Comfort Crisis
In his latest book, The Comfort Crisis, author Michael Easter encourages readers to embrace discomfort in order to reclaim their wild and happy selves. Drawing on personal anecdotes as well as scientific research, Easter makes a compelling case for why stepping out of our comfort zones is essential for growth and happiness. He offers advice [...]


text:
Die Atlas-Zypresse (Cupressus dupreziana var. atlantica, Syn.: Cupressus atlantica), auch Marokko-Zypresse genannt, ist eine Varietät der Sahara-Zypresse (Cupressus dupreziana) in der Familie der Zypressengewächse (Cupressaceae). Sie ist ein Endemit im westlichen Marokko.

Beschreibung
Die Atlas-Zypresse wächst als immergrüner Baum. Die Atlas-Zypresse ähnelt der verwandten Mittelmeer-Zypresse (Cupressus sempervirens), unterscheidet sich aber durch ihre blauer gefärbten Blätter mit einem weißen Harzfleck auf jedem Blatt. Die kleineren Zweige stehen oft in einer Ebene. Sie hat kleinere Zapfen mit nur 1,5 bis 2,5 cm Länge.

Die ähnelt damit stark der Sahara-Zypresse (Cupressus dupreziana) mit ihren noch deutlicher blauen Blättern und wird von manchen Autoren als deren Varietät angesehen.

Randbemerkung
Die Atlas-Zypresse vermehrt sich geschlechtlich. Die männliche Apomixis, welche bei der Sahara-Zypresse als Spezialisierung im extremen Lebensraum auftritt, kommt nicht vor.

Vorkommen und Gefährdung
Die Atlas-Zypresse kommt endemisch im Tal des Oued-n-Fis-Flusses im Hohen Atlas südlich von Marrakesch in West-Marokko vor.

Die meisten Exemplare sind alt, Nachwuchs gibt es wegen Überweidung durch Ziegen kaum.

Quellen
  (Abschnitt Verbreitung und Gefährdung)

Weiterführende Literatur

Zypressengewächse
Baum

redpajama_set_name: RedPajamaWikipedia


Maud's was a down-to-earth watering hole in San Francisco's Haight-Ashbury district that opened in April 1966. As the Counter Culture matured, Maud's came to enjoy an international reputation as the meeting place for lesbians and their friends. The film delves into the longest lasting lesbian bar at the time, as it bids farewell to those who have known it through the years.
The last drink was served in September 1989. That significant moment in San Francisco's extensive bar culture is used to explore various facets of lesbian history from World War II through the 1990s. As we make the rounds at Maud's goodbye party, we're taken on a journey into the past, as people remember the personal paths leading them here for this special last call. Their voices and an array of visuals (including rare photos, home movies, and historical archives) take us on a tour of the American lesbian experience unlike any other on film.
The main voices include Maud's owner, Rikki Striecher, who recounts her introduction to women's bars during their World War II heyday. Her candid stories and vintage photos of this secret world reveal a long-hidden side of lesbian culture. Del Martin and Phyllis Lyon, founders of the Daughters of Bilitis (the world's first international lesbian organization), describe how a climate of fear permeated the1950s and early 1960s. They bring us back to a pre-Stonewall reality when gay bar raids were a frequent pastime of police across the country. San Francisco police commissioner, Gwen Craig, brings us up to date as she talks about gay bars and discrimination in the 1970s and 1980s.
Maud's popular bartenders say they saw it all – passionate affairs, undercover detectives, emotional arguments and drunken brawls. They also tell us they've seen shifts within the lesbian community toward public visibility and healthy sobriety. Teacher and activist Sally Gearhart treats us to her fascinating account of San Francisco's volatile radical feminist movement. Writer Judy Grahn explains the links between the early bar scene and the evolution of today's queer culture. Author JoAnn Loulan shares her provocative insights on sexuality and gender as a variety of customers remember the past, ponder the present, and predict the future for themselves and their community.


text:
Filmmakers re-create tale of wartime courage
By Jennifer Modenessi
Eric Hayashi has led a life dedicated to service in the arts.
From National Endowment for the Arts theater program director to dramaturg, Asian American Theater company co-founder to film producer, the Walnut Creek resident has starred in a plethora of advocacy roles.
This time, however, Hayashi is nurturing a project that hits very close to home.
Hayashi is currently producing "Only the Brave," an independent film that tells the story of the WWII-era all-volunteer Japanese-American 100th/442nd Regimental Combat Team. The film screens March 21 at San Francisco's Kabuki Theatre as part of the Asian American International Film Festival.
For Hayashi, producing the film has been a labor of love. His involvement also carries much personal meaning. Both Hayashi and his longtime friend, "Only the Brave" writer, director and actor Lane Nishikawa, had uncles who served in WWII. In fact, Nishikawa's uncles fought with the 100th/442nd unit, and their stories, particularly of the rescue of the "Lost Battalion" of Texas soldiers, served as direct inspiration for the complicated, layered and poignant film.
Q: It sounds like you feel very connected, personally and culturally, to "Only the Brave."
A Very much so. For the last 30 years, ever since I started doing this creative work, we've always said there should be a story talking about the rescue of the Lost Battalion from Texas, because that was one of the penultimate stories for this unit. We would hear rumors that Hollywood was doing this and then something would fall through. Finally, at a certain point in time, Lane decided that he wanted to tell the story of the Lost Battalion.
We thought, "Do you really? Do you think we can handle this?" because we knew it was historical drama, costume — they're all in military uniforms — people firing weapons, stuff that costs money. But we said, "We think we can do this." After all, if we don't do it, who's going to do it? We've waited 30 years."
Q: At times while watching "Only the Brave," the staging and pace reminded me of theater. The focus seemed to be on characters and dialogue as opposed to scenery and context. Was that effect intentional?
A Deliberately so. Lane took his time in developing the journey that his and the other characters are on. It was a conscious choice because of the story of this military unit. And ultimately, Lane wanted to show the sheer love and sacrifice and trust that this squad of male characters have for one another. When you go into a dangerous situation and you're in a combat zone like that, each life is so important, so the loss of one single person is going to affect the life of the whole.
Q: Can you describe your role in producing the film?
A Right now I'm one of three producers on the film. Each of the producers have their strengths and their contacts, plus Lane, who is the writer and director of this film, is also a producer.
Lane and I were doing the fund-raising, so we raised all the money. We traveled around the country, by phone and in person, to talk to small groups of people about the project and why the story is important and to solicit help.
Q: Has the film been screened by any veterans, and what has the reaction been like?
A There have been a series of mini-screenings to help raise money and finance the back of the picture, and it's been phenomenal. You're talking about a generation of people that are pretty stoic. They've been coming out wet-eyed and giving standing ovations. It's amazing. In a way, we're also doing it for our direct relatives. We're trying to honor all of that. It's also been very rewarding to me to meet the actual sources.
Q: So why do you think you're drawn to the production and advocacy side of arts as opposed to the creative?
A I acted in one show, professionally with the Asian American Theater, but after that I realized that everyone wanted to act — nobody wanted to do the backstage stuff, nobody wanted to produce the business. It's was an organic step that I took. I realized that I liked having the big view. Producing was challenging for me, but I've been a producer ever since.
"Only the Brave" screens at 6:30 p.m. March 21 at the Kabuki, 1881 Post St., S.F., and 6:45 p.m. March 25 at Camera 12 Cinemas, 201 South Second St., San Jose, as part of the San Francisco Asian American International Film Festival. $7-$10. 800-225-2277.
Reach Jennifer Modenessi at jmodenessi@cctimes.com or 925-977-8483.
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Summary: Samsung Electronics, a global leader in digital media and digital convergence technologies, has announced that it has doubled its growth in the fixed lens camera segment in the first half of 2013.
Each course is designed to teach the user how to work with convergence technologies and eventually obtain the Convergence Technologies Professional certification.
For more information on Convergence Technologies Group, Inc.
STAFFORD, England -- Convergence Technologies Group Inc's (Pink Sheets:CNVG) UK subsidiary Voice 2 Voice Limited continues to accelerate its growth with Support Contract Renewals.
a global leader in semiconductor, telecommunication, digital media and digital convergence technologies, today announced its newly enhanced P3 channel partner program, which resulted after an intense review of the former program and included valuable feedback from Samsung's channel partners.
a global leader in semiconductor, telecommunication, digital media and digital convergence technologies, today announced Jai Hoon ("JH") Kim has been appointed to president of Samsung's Information Technology Division, which is based in Irvine, Calif.
In this new position, Jedynak will play a key role in driving marketing, strategy and growth across both professional and consumer businesses and also will drive new business initiatives for AWS Convergence Technologies, owner of the WeatherBug brand.
an early stage development company for home convergence technologies, has named industry veteran Jordan Serlin to the company's Board of Directors.
3D Networks strong integration skills in convergence technologies, customer base and proven track record complements and enhances our existing comprehensive IT Solutions and Services.
Research by CompTIA and other industry sources indicates that organizations of all sizes and across numerous industries are aggressively implementing or investigating deployment of voice-over-IP and other convergence technologies.


PD: this is a semi-translation from my tweet posts about this matter, as I am spanish, so please take that into consideration if you see any error or mispellings.
As you probably have seen by now, it seems that Aqua has gone through some changes, and of course we fans of Kingdom Hearts have inmediatley thought that this means that now Aqua is now one of the Thirteen Darknesses that Xehanort will use in KH3.
And it doesn't make any sense.
Think about it, KH 0.2 ended literally stating how she wanted to be the light in the midst of shadows, how she wanted to be there for those that may fall into darkness. And now she 's just a vessel? Weird.
And then I saw this: https://twitter.com/AmaziahYT/status/1006261973527547905 .
According to this information from an IGN interview (yes, I know IGN is not exactly the best source of info for KH, but bear with me) to an actual Square Enix employee, it seems that whatever happened to Aqua has nothing to do with Xehanort, but with the Realm of Darkness itself. And you'll say: that's impossible, she has the yellow eyes and even the hair is turning gray!
One person cannot enter, or either exit to one Realm to another if it or she has Light in his or her heart.
I guess you can begin to see where I am getting at. But there's more: "Even if she was to succumb to darkness in order to travel freely through the RoD and the RoL, how explains the orange eyes, the darkened skin and the gray hair?" And as a famous meme would say, I'm gonna call a friend that knows one or two things about darkness, the Realm of Darkness, the Organization XIII, Xehanort itself, and darkened skin, orange eyes and maybe even grayhair.
Yep, my friend is no other than Ansem the Wise, also known in it's "Dark Form" as DiZ (Darkness in Zero).
When Ansem was banished to the Realm of Darkness, he survived by learning how to use the darkness and control it. Not by succumbing to it, but by using it in it's favour (Ansem Report Nº6 KH2). That way, he could hide from the Organization, travel in and out freely through the Realm of Darkness and Light, and also acquire a new "form" that consisted of a version of himself with darker skin, more clear orange eyes (he already had some orangy-red eyes, but you can see it becomes near xehanort type) and as he is wearing his bandages around his head, it's kinda impossible to know if he also has gray hair on this form.
A) Why is sh mad or surprised by Mickey's pressence.
B) Why didn't she left the RoD then?
Answer to A) Video editing is a key point here, as the situation tries to point that Aqua is a bad girl now, but of it this way: Riku and Mickey are in the black beach. Whatever attacks them prisons Mickey in that red swirl and breaks Riku's keyblade. Aqua appears from the Darkness, destroys whatever was attacking them, and then realizes he is Mickey.
Answer to B) Aqua herself can explain this better than I do.
And... that's it. What do you think?
I really like this theory. I really do think she will end up being a guardian of light. Video editing is everything.
Great theory! And as you wrote, video editing is key and we saw just a bit from that cutscene. We'll just have to wait and see..
Her appearance could have changed because of the poor lighting in the Realm of Darkness. I mean, if she is a vessel for Xehanort and that means everyone gets a darker shade of brown, yellow-orange eyes, and pointed ears. What about Saix? Why are the traits that he share with Xehanort are the amber colored eyes and the pointed ears? Aqua might be turning into a Heartless or she might be trying to develop a way of harnessing the darkness to aid others.
However, I just don't get how Ansem's appearance can change drastically once he removes his DiZ disguise. Aqua doesn't seem to have clothes that keeps her from turning into a Heartless. The only thing that is probably keeping her from becoming a Heartless is that she's a keyblade master and a magic user. Ansem also kept writing to keep his sanity intact. He was still probably manipulated by darkness and probably found a way out from the Realm of Darkness because of his hatred for the Organization and Nobodies in general. Plus, I still remember the ending of BBS where Aqua meets Ansem at the beach.
Maybe, Ansem is aiding her in forming some sort of control over the darkness and an eventual escape route. Ansem was wearing a black coat and black coats are generally used as protection against the darkness. That's why Axel warned Sora by saying, "Don't stop moving or the darkness will overtake you!"
Maybe this is unrelated but Corridors of Darkness are basically related to the Realm of Darkness. The more time you stay in there, the more chance you risk of becoming a Heartless.
I agreed, this is my first post, in the trailer I guess(I'm not missing it lol) for kh3 I'm kind of depressed. Many people say aqua was 'norted' but she's not. There's nothing to do with Ansem or Xehanort. It's bcs she's been there for so long, you see in the trailer, mickey was somehow trapped in the red swirl and riku's keyblade was broken but aqua arrived with darkness shades destroy whatever is attacking them quoting "i know this keyblade(i think), mickey you're too late.(I'm certain).
I do wonder how Ansem the Wise was able to escape in the first place and how Riku or Sora are going to Aqua out of the RoD and back to normal. Also, what do those cutscenes in one of those early trailers mean where Aqua was pretty much fighting the Xehanort's Guardian.
And what exactly did she mean by "You're too late."?
Maybe she meant he was too late to save her from falling into darkness.
I think i missed a lot of these clips lol, y'all should give me more links. Ever wondered what she's attacking besides heartless?
I don't know where it says xehanort's guardian monster can corrupt people. (So it wasnt even Xehanort himself who blasted Aqua).
Also the other ways characters were 'norted' were totally different. The yellow eyes and whit-ish hair just mean evil.
Just sayin until the creator says otherwise.


When I was four I wanted to be a ballerina. My parents had a beautiful mirror that depicted two ballet dancers in mid pose. The male was supporting the female who was standing 'en point' with one leg out of sight behind her. They were in relief in the middle of this large ornate, silver mirror. I was memorized by the hidden leg.
When I was nine I wanted to be a veterinarian. I loved animals and I wanted to help them, care for them. But there is another side to the job that is necessary and it involves pain and death. Nope.
Then I walked the boards of a school Christmas play. I had one line: "Pearls of great price to him we adorn, is the worship of each lowly one." I wore my Mother's terry cloth bathrobe and a towel over my head. I was hooked. I was also 11 years old.
Scoot forward several years. In High School I was in several plays that won awards. I got to perform on a professional stage, with the High School, several times. I enrolled in a University with a well-respected theatre department. And I continued to shine. Learning lines was easy, blocking (movements on stage) was almost instinctive. This was my element. This was also within a controlled environment. Graduation is one hell of a wake up call.
I went on auditions and got several jobs. Walk on and bit parts. I was there to react to the 'real' actors. I did meet a very few: Martin Short, John Candy. Most of the time was spent far away from the principles and waiting and waiting and waiting and . . . You get the picture.
I was never good at selling myself – problem one. I did not meet the criteria for the current fashionable young female actor: blond, pert, skinny and um, not bright. I was a real red-head, not skinny and intelligent (although I learn to play dumb quite well).
But a girl's got to eat and I craved independence. I got a real job. And then I discovered I had Multiple Sclerosis. Perspectives change.
There was an adjustment period to my new reality but also new beginnings. My Mother told me I was in charge and the choice was mine: give in and spend a life wallowing in my self-pity or live. Find a life or make one. And I did!
I am not where I thought I wanted to be. I'm somewhere better.
This entry was posted in Childhood innocence, Life, society and tagged adapting, challenges, passage of time, perception, positive changes on October 21, 2018 by quiall.
That's a great perspective to maintain. Life is hard enough without the extra weight. But you met John Candy? Jealous person here.
haahaha He was bigger than life! But it was only for a few seconds. Martin Short asked for my opinion of the skit we did together!
He was bigger than life!
Where is the emoticon for a HUGE smile? But then being bigger, or better said, greater than what life gives us is what this wonderful essay was all about.
Thank you for that! And yes, you are right.
Thank you. That was one of the pictures in my acting portfolio.
What a heartwarming glimpse of what makes you YOU. Your younger self was knock-out gorgeous. And you still carry that beauty today. More importantly, you've never lost your inner drive to achieve and be as independent as possible against daunting odds.
Your mom gave you wise advice, and you listened!! Your writing, your paintings, your poems, your incredible sense of humor, your decision to become a blogger…..all of us who follow you benefit every day from reading your posts.
Did you ever think that one day you would matter in the lives of so many people? I'd say you've accomplished a lot. Can't wait to see what else is up your sleeve! You are definitely somewhere better because where you are is where your heart is.
And you met John Candy!!!
Wow, what kind words Ginger, thank you. I never envisioned this future but I am glad I'm here!
At least you pursued your dream job for a while and I love your portfolio photo.
And I remind myself that if had not gotten MS I would not have stopped working, which led to my writing, which led to my blogging, which led to . . . I am a better person in a better place because I got MS.
Thanks! ):D) And yes we do.
Wow, Pam. You had some rich experiences. I feel the hopes and dreams in your words and empathize. I dreamed of being a ballerina too. Now that I am o,der and know what they go through so often with diets, discipline and depravation, I know someone steered me in a different direction. Your mother was so right and look how wonderful you are. It saddens me to think of the pain you have suffered but I feel so blessed to have met you here. I also wanted to be a gymnast. Again…more discipline and less conteol over one's life. That would have so disappointed me. There is such freedom in self expression, don't you think? Hugs! PS. Movie people are so fickle. My son is in film and is waiting..and waiting..sigh.
We see the surface and judge accordingly. When you look under the hood . . . different story. Let me know anything your son is in. If I can watch it, I will.
Thanks, Pam. He works in locations at this point. We, as parents, tried to help him with his dream and got him through film school, never realizing that that history would actually prove a road block for him in many ways. He perseveres and has worked on some great films lately. His last work was on the Infinity Wars film but he and a few others' names were inadvertently left out of the credits, much to his dismay. I have a nice shelf lined with all the little films he worked on so far, many of them After Dark productions. My favorite thing though is a small B horror film we both worked on briefly for the reshoot, called ReKill. I was the contact lens tech on it for the young girl star and both of our names appear in the credits together. 😀'Mom' moments come in many varieties. Never stop writing. It is something you are so wonderful at. Hugs!
An inspiration, Pamela. Thank you.
You are very kind John.
PS. What were you in that I might be able to see at this point?
Second City was a program up here in Canada I don't know if it was exported to the US. There were a few B movies and a couple of series that never made it out of Canada. But my favourite was that bit with Martin Short on Second City. It's also known as a SCTV.
You are exactly where you are supposed to be. I spent 20 years working in the industry as a publicist and an assistant to celebrities, and it's not always an easy road. What you are doing now with and for people is your road on your journey. Keep going!
Thank you! I wholeheartedly agree.
Good for you…God bless your heart and perseverance!!
It was the industries loss. I hate to say it, as your mom was right. I won't even repeat what mine said about me. You have been following my poetry long enough,..
Friends are the biggest supports in our lives even if they are half a world away!
Mais oui mon amie! My friends are truly my family. The ones far away introduce me to another world.
I am wishing you well and thinking about all the joy you bring to your readers with your charming stories. I look forward to reading your posts!
What a wonderful thing to say Ronnie!. Thank you very match.
This is an offer for a book on natural healing of MS, not cures mind you, but it is a very good read.
I'm not just someone trying to make a quick buck, I myself suffer from MS, and have only been on medication for a year and a half out of 4 years being diagnosed, and began looking for solutions in the natural realm of things.
I actually work fire rescue/ems, so keeping myself in healthy working condition is difficult, lol near impossible, but I do ok.
Thanks you. Love the Buddha quote.


text:
Home > > 03/28/2005
Volume 252 Issue 13 03/28/2005
Exports Limp, While China Roars in '04
by Jim Milliot |
The weak dollar did little to help American book exports in 2004, but during the year China further cemented its lead as the largest offshore manufacturer for American books. According to statistics from the U.S. Department of Commerce, total book exports rose 2.8% last year, to $1.74 billion, while imports from China jumped 29.2%, to $533.5 million. Total imports rose 10.2%, to $1.93 billion.
Canada remained America's largest foreign market for books in 2004, with exports rising 4.7%, to $812.8 million, while the United Kingdom stayed firmly in second place, with shipments up 5.3%, to $289.2 million. Exports were up modestly to all but two of the country's top overseas markets, falling 3% to Mexico and 20.2% to Germany. Experts expect that if the dollar remains weak, making U.S. books cheaper abroad, exports should show a more robust gain in 2005.
In terms of categories, most of the major subject areas had gains in the year. Exports of hardcover trade books jumped 28.5% in the year, to $146.6 million, while exports of textbooks increased 13.2%, to $402.1 million. Exports of paperbacks increased 9.6%, to $228.9 million, and professional book exports rose 5.5%, to $391.5 million. The biggest decline was in the "other" book segment where sales fell 17%, to $402 million. Among the other book segments where exports dropped were art and picture books, encyclopedias and dictionaries.
China's huge increase in book manufacturing in 2004 put further distance between itself and the U.K., which was the second largest exporter of books to the U.S. (U.S. exports to China rose 16.9%, to $18.1 million.) U.K. exports were $304.6 million in 2004, and unlike China most U.K. exports are of U.K. titles, not U.S. titles printed there. Exports from Canada rose 5.2%, to $275.0 million, but fell 2%, to $189.8 million, from Hong Kong.
U.S. Book Exports, 2003—2004 ($ in millions)
Country 2003 2004 % Change
Source: U.S. Commerce Department
Canada $776.4 $812.8 4.7%
United Kingdom 274.6 289.2 5.3
Japan 95.8 98.4 2.7
Australia 76.1 78.5 3.3
Mexico 68.1 66.1 -3.0
Singapore 48.4 58.0 19.9
Germany 34.1 27.2 -20.2
South Korea 24.7 26.7 8.0
Hong Kong 19.2 22.9 19.2
India 16.8 19.0 12.9
Total, Top 10 $1,434.2 $1,498.8 4.5%
Total, World 1,693.5 1,740.5 2.8
A version of this article appeared in the 03/28/2005 issue of Publishers Weekly under the headline:
More from pw


Who Knew? Blacks be Racists.
Black leaders are growing increasingly worried that a white candidate might seize the seat of former Democratic Rep. Jesse Jackson Jr. in the upcoming Illinois special election.
Who knows, if the 'rats elected Halvorson, unlike Jackson, she might actually show up for work. Who knows. Can DWS please explain to me how the 'rate or so pro-women?


Jim Lehrer talks with former Secretary of State Shultz about a new documentary examining the Reagan White House.
Finally tonight: a PBS documentary about the inner workings of President Ronald Reagan's White House, as seen through the eyes of his secretary of state, GEORGE SHULTZ. Shultz's six years in office included major diplomatic breakthroughs with the Soviet Union.
We begin with this excerpt about an unplanned, but pivotal dinner.
During a gathering winter storm, George Shultz returns to Washington from a trip to China. He's lucky to be able to land at Andrews Air Force Base before the snow becomes a major blizzard.
GEORGE SHULTZ, former U.S. secretary of state: So, we got home on a Friday, and it was snowing. It had been snowing. And it kept snowing. So, the Reagans were not able to take a chopper up to Camp David or a car, nothing. They were stuck in the White House for the evening.
So, our phone rings, and they said, "Why don't you come over and have supper with us?"
So, my wife and I went over. The four of us had a very nice supper.
After supper, Shultz and the president have coffee and talk about Chinese leaders the secretary has met on his trip. With more coffee, the topic begins to shift. Reagan presses Shultz for information about Soviet leaders.
I knew the Soviet leaders because, when I was secretary of the treasury earlier, I had met with them and done a lot of negotiation with the Soviet leaders.
And I began to see, this man is dying to interact with these people and to try to work them over in his way of thinking.
Given Reagan's stand on communism, no one on his team has ever recommended that he meet a Soviet leader. Shultz has other ideas.
So, I said to the president: "Ambassador Dobrynin is coming over next Tuesday, 5:00. What if I bring him over here and you talk to him?"
He said, "Oh, that would be great." And he had said to me: "It will be a very short meeting. Just, all I want to say is that if his new boss, Andropov, wants to have a constructive dialogue, I'm ready."
Reagan and Shultz agree that the meeting must be kept secret. Over the next several days, Shultz develops a plan, and the meeting at last takes place.
So, we go over. And the meeting went on and on and on and on. We discuss every conceivable subject.
Reagan quizzes Dobrynin on a number of issues, from arms control to the sensitive topic of human rights in the Soviet Union. The meeting is viewed as a success by both sides.
Shultz's initiative has just provided Reagan with a lesson on the value of direct talks. It is a lesson others in the White House are not ready to accept.
Jim Lehrer spoke with Secretary Shultz on Friday about that dinner and other key moments during his years working for President Reagan.
Before that snowy dinner in 1983, what had been President Reagan's view about talking directly to the Russians?
Well, there was an atmosphere around the White House that there should be a stiff-arm. And, of course, we inherited from President Carter the cutting off of all contacts. I thought that was a mistake.
And I remember my good friend the chancellor of West Germany, Helmut Schmidt, had come to me and said: "George, the situation is dangerous. There's no human contact."
So, I thought we should rebuild that.
Nobody knew that Dobrynin was coming and going to talk to President Reagan, right, besides you and the president?
Well, his staff knew it. Some of them tried to stop it. But he — he was a strong-minded person. When he decided he wanted to do something, he was going to do it. So, it went through.
Was there a serious attempt to keep that meeting from happening by the other members of the Cabinet and other people on the Reagan staff?
I don't think other members of the Cabinet knew about it.
And I was told that some members of his immediate staff tried to stop it. You know, people had a funny feeling. They — they didn't have confidence that he could hold his own in one of these conversations.
And I knew him very well. And I was confident that he could hold his own and then some. He was terrific.
Now, on Iran-Contra, how serious were you when you offered to resign as secretary of state?
Well, I always felt, Jim, that, no matter how much you were privileged to have a job like secretary of state — because you could make a big difference — you shouldn't want the job too much.
And there were these constant tensions between me and others in the administration. And I felt that he would be better off with an administration where people were pulling together more.
And so I said that to him. And, in his diary, he writes that: Cap Weinberger and Bill Casey want me to get rid of George, but — because of what he's doing. But, actually, what George is doing is what I want him to do.
So, I was more in synch with him than they were.
Finally, let me ask you this, back to 1986, the summit meeting in Iceland with Chairman Gorbachev and President Reagan. How close — looking back on it now, how close do you believe those two leaders were to deciding to eliminate nuclear weapons?
Well, first, there was a genuine agreement on positions that President Reagan had proposed early on, namely, to eliminate intermediate-range nuclear weapons and to cut strategic weapons in half.
The idea of eliminating all nuclear weapons had not been on the table before, although President Reagan had spoken publicly about it many times. So, it wasn't as though it was out of the blue as far as he's concerned.
I think, if that had been agreed to in Reykjavik, there would have been a storm of protests, but, nevertheless, it would have pushed the ball strongly.
I remember, when we came back from Reykjavik, I was practically summoned to the British ambassador's residence by Margaret Thatcher, who said to me, "George, how could you sit there and allow the president to agree to eliminate nuclear weapons?"
I said, "But, Margaret, he's the president."
She said, "Yes, but you're supposed to be the one with his feet on the ground."
I said, "But, Margaret, I agreed with him."
And — but her — her reaction was typical.
But it is striking. As — recently, as you know, a group of us, Henry Kissinger, Sam Nunn, Bill Perry, and I, and many others, have been working again on this effort to get to a world free of nuclear weapons. The reaction has been entirely different, much more favorable.
Still, there are plenty of people are opposed, but it's a different atmosphere now.
But Ronald Reagan's ideas are often — you see, he's very prescient. And this idea, I think, has staying power. And, sooner or later, we're going to get somewhere.
Secretary Shultz, thank you very much.
The documentary "Turmoil and Triumph" will air tonight and the next two Mondays on many PBS stations. There is a book of the same name accompanying the series.