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MOE TUCKER: ON THE VELVET UNDERGROUND
Legs McNeil· November 21, 2017
All Please Kill Me PostsBrian WalsbyCool PeopleGillian McCainInterviewsLegs McNeilMusiciansNarrative Oral HistoryPKM Archive
Maureen Tucker had a front row seat to punk rock history being conceived before her very eyes. An average high school girl from Levittown, Long Island, her life was saved by rock 'n' roll when she heard the Rolling Stones on the car radio. From the Velvet Underground to Andy Warhol to Nico and Edie Sedgwick, Moe was there—making history herself as the first female drummer in one of the most revolutionary bands of all time.
by Legs McNeil & Gillian McCain – from the Please Kill Me archives – interview circa early-90s
Art by Brian Walsby
I started playing drums when the Rolling Stones came along, because they were too much for me! I was driving home from work and "Not Fade Away" came on the radio. I almost died. Actually, I had to pull off the road. I was on the Hempstead Turnpike in Levittown and I pulled off the road, I just couldn't believe this. Holy shit, I thought. What's this?
I went directly to Sterling Morrison's wife's house—she was my best friend—and her sister flipped out too. So I zoomed directly to her house and I said, "Kathy! Listen to what I just heard! Let's go get it!"
We ran to the local department store, bought the album, and went home and played that thing until it was white. We were just like, "Oh my God, this is phenomenal!
Then, a while later, I said, "Well this is no fun. I've got to have something to do while I'm listening to this," so I bought a snare drum. I was about 19 or 20. About a week after I got the snare drum, Dot Parker's sister bought me a little cymbal with a little stand that you could hook onto the snare drum. So I had this cymbal and this snare drum, and boy, I would sit there for hours, like eight hours, no kidding, and just play that thing over and over. And just play it and play it. That's how I started.
I didn't know of any other girls that were playing drums, but it never occurred to me to care. It wasn't an issue. There was never any question by anybody. There was never a remark or a comment by anybody, including other musicians. No one ever said, "Oh a girl playing drums, that's not cool." It was just no big deal. It seems they make more of it today than they did then.
JOINING THE VELVET UNDERGROUND
I didn't really audition for the drumming job in the Velvet Underground. I don't know if I'd call it an audition! See, I'd known Sterling Morrison since I was twelve, and Sterling was friends with my brother and my brother had become friends with Lou Reed at Syracuse—they both went to Syracuse University.
That's also how Sterling met Lou. And Sterling had been playing with Lou Reed, John Cale, and Angus MacLise for about six months to a year. Then they got a job where they were going to get paid and Angus thought that was not right, so he quit. So they had this job and they needed a drummer fast. And Sterling knew that I was banging away on drums in my room, so he said, "Oh, Tucker's sister plays drums…."
I'd met Lou once or twice before he came to see me play in my room. He was waiting for my brother or something—he was just hanging out in my living room. But I'd never sat and talked to him. When he came to see me play, I didn't have enough time to decide if I liked him or not—but I came to love Lou.
At Syracuse, Lou and my brother, Jim, were great friends. They spent their college years hanging around a place called the Orange, drinking beers and bullshitting, ya know? That's where they met Delmore Schwartz, as well as a couple of other people, like Garland Jeffreys. But I never went up to visit them because I was still in high school, ha, ha!
So Lou came out to hear if I could actually play anything and it was just supposed to be for that one show, at Summit High School in New Jersey. And I was a nervous wreck when we played that show. We were allowed to play three songs and we had practiced them at John Cale's loft. We played, "Waiting For My Man," "Heroin," and I think the third one was "Venus In Furs." We were playing with this band, the Myddle Class, who were a bunch of real handsome boys and the place was packed because they were a local sensation. But the audience was just stunned after we played.
Our set was only about 15 minutes at the most and in each song something of mine broke. All my stuff was falling apart! The foot pedal broke in one song, the leg of the floor tom started going loose. I thought, Oh shit, I'm going to ruin this!
Lou probably didn't even notice. I'm sure he didn't. I'm sure he was nervous enough as it was—not that he was nervous about playing, but this was like playing a supper club, the audience was sitting in upholstered seats. And I had these horrible drums—I only had a snare drum when I first started trying to play. And then my mother saw an ad in the local newspaper for a drum set for 50 dollars, so she bought it for me. It was fine. I was just fooling around, but you can imagine this total wreck of a drum set.
But I just kept playing, hahaha!
We played that show and then immediately got a job at the Café Bizarre, where you weren't allowed to have drums because it was too noisy. So Lou said, "Well, just come and play the tambourine…"
So I went and played the tambourine to "Heroin," and it was kind of tricky, haha! From then on, I was just there. But there was never any official, "Okay, you're in the band…"
I believe it was Barbara Rubin that brought Andy Warhol to see us play at the Café Bizarre. It was about the third or fourth night we were playing there and I was impressed by Andy. I knew who he was; of course, I knew he was hot shit at the time. Andy was always in Time magazine. And I thought, Oh, that's cool, ya know?
I'm not much into art. I'm very bad at art as a matter of fact, I don't know nothing about it. I know what I like—and I did think the tomato soup cans were kind of cool, but that's really all I knew about Andy. Apparently he had been looking for a band to play with this idea of having a multimedia show. I guess you can call it a show. And Barbara Rubin thought we would fit the bill.
Andy liked us immediately and we just talked about his idea for the multi-media show, which, at that time, was still just an idea. Then he asked us if we wanted to do this, and we agreed.
The Café Bizarre fired us shortly after Andy came to see us. The manager or the owner said, "If you play another song like the 'Black Angel's Death Song,' you're fired!" So we launched into another song like that and we were fired. Which was fine with me, because it was Christmas week, and I didn't feel like spending Christmas Eve at the Café Bizarre. I was glad we got fired.
I lived on Long Island; and I would come into the city every weekend to hang out at the Factory. It was just great. It was like a bar, ya know? A good place to hang out with all sorts of interesting people, like Ondine, Gerard Malanga, Ronnie Cutrone, and all those other people, and they were funny as shit. I'd just lie around and watch Andy make drawings, ya know? Andy was great. I really, really liked him a lot. We had a lot of fun. So we really had a good time at the Factory.
I was totally naïve. I had never been anywhere or done anything and here I was sitting in the Factory with Andy Warhol. I was very insecure and shy—that's why I wore shades on stage, I was embarrassed! And Andy could have very easily made me feel like shit, just by not talking to me. That would have done it, ya know?
But he was never like that. Andy made me feel not just welcome—but very welcome, and that meant a lot to me. I liked him a lot. I used to call him, "Sweets." Andy was famous for being cheap and I would drive in for the weekend from Long Island and I needed money for gas to get home. In those days it took two dollars to fill the tank and I'd say to Andy on Sunday afternoon, "All right Sweets, I need some money…"
Andy would be like, "Oh, oh, just a minute…"
And he would wander off somewhere, hoping I'd go away! It turned into this shtick and everybody would be waiting for me to start the fight with Andy and chase him around the Factory. You know, "You son of a bitch, give me some damn money!"
"Oh, oh, oh just a minute Mo…"
Andy had these silver balloons he was making. I guess it was art, something I didn't know shit about. So when he first was doing the silver balloons, I came to the Factory on the weekend and he was just finishing them. There was maybe four or five of them floating around, I walked in and Andy says, "Oh Mo, look at my beautiful balloons…"
I said, "Who do you think's going to buy this shit?"
Andy said, "Oh, oh, oh, oh no, people will like them…"
Then the next day, or a week later, he sold them for $3,000!
Boy Andy worked like a dog. He was always working, if not actually creating art—he was on the phone, planning something. He'd say to Lou and John, "You have to write a song every day." I don't think he said it every day, but I remember it as a joke, but not really a joke. Ya know, "How many songs did you write today Lou?"
They'd say, "Two."
And Andy would say, "Only two?"
Nico came in pretty early, the reason I'm saying that is because we have pictures of her singing with us in the Factory when we were just fooling around. And that was real early, at the old Factory. Andy didn't bring Nico up to me in particular. He didn't push her on us, because we wouldn't let anyone push us into anything. I'm sure he just said "Hey, maybe she should sing a song…"
And we said, "Well, we'll try it…"
I think the songs Nico did sing were great, and none of us could have come anywhere near singing them the way she did. But Nico and I didn't really have anything in common. I didn't dislike her, but we never really sat around talking. She was from a whole different world than I was. I mean, I was this goofball from Levittown ya know? I mean how cool can you be if you're from Levittown? And she was this Nordic beauty!
About ten years ago, well, it was probably twelve to fourteen years ago, I was living in Arizona and playing with some kids, we had a little band and we got a job to play a gig in California. And when we got there, we saw Nico's name on the Whiskey a Go Go marquee, and I said, "Oh, should I go?"
I hadn't seen her in almost 20 years and, as I said, we were never great friends, we weren't enemies, but we weren't friends. I really didn't know if I'd just get a bored, "Hey, how're you doing?"
But I said, "Maybe I should go say hello to her…?"
So I went back to the Whiskey when I knew she'd be coming in to do her show and she was just thrilled to death to see me. It was so nice. I'm so glad that happened, especially since she died. She really was happy to see me. So after her show—and mine—we met back at the motel. Nico, me and a couple of her people and a couple of my guys sat around drinking beers and talking—and it was really nice.
Right when Nico came into the Velvets is when we played the Psychiatrists Convention at the Delmonico Hotel. Holy shit, that was so funny. Why they asked us, I don't know. It wasn't like a concert; it was like dinner with two hundred psychiatrists and us—these freaks from the Factory. We played maybe two songs or something, and afterwards people like Gerard Malanga and Barbara Rubin assaulted the audience with their tape recorders and cameras, going to tables and asking these ridiculous questions. And the psychiatrists were flabbergasted. I just sat back and said, "What the hell are we doing here?"
I guess all these shrinks thought maybe they'd take notes or something, ha, ha, ha!
It didn't get much publicity, there was one little story, it was just something like, "WARHOL'S NUTS GO TO PSYCHIATRISTS CONVENTION!" And it got mentioned in the New York Times, but it wasn't a big affair. I mean they were just having a convention and I guess they needed some entertainment, so they got all the freaks from the Factory, ha, ha, ha!
THE DOM
We used to play at the Dom on St. Marks Place and we had a great time there because it was just us. We rented the space and we would play three or four times a night for a half hour and in between sets we would play records—whatever we wanted. Of course, we brought our own record collections. Lou had a great singles collection, things you never heard of, but each one had this wonderful guitar solo or great bridge or some other great hook. I remember playing "River Deep Mountain High" so loud that I can't even describe it. It was incredible cause it was big, and, oh man, we played whatever we wanted. So all night we'd hear the music we loved and when we weren't doing that, we'd make music.
We played at the Dom for like a month, and all our friends from Long Island would come in on the weekend and we'd have our own Levittown party, ha, ha! We played every night and there were always people at the Dom. It was always full. And then on the weekends, of course, it was packed. And Andy would be in the balcony with his lights and stuff and we'd run up there in between sets and give him some shit, ha, ha!
It was fun, we had a good time.
But then my drums got stolen, my 50 dollar drum set that my mother bought me. We go there to play and my drums were gone—someone had stolen them. So me and our helper, who had a station wagon, drove around looking to steal some metal garbage pails to use as drums. We found a pair, but they were kind of yucky, so I said, "No, let's keep looking…" So we found the cleanest pair we could and stole them and that's what I used for three or four nights, maybe a week. But that's the only thing I've ever stolen in my life, as a matter of fact.
The garbage cans sounded great, though. They really did. And I used mallets and we had little contact mikes that we under each drum. The first night the drum was under this pile of yuck that had come off the sides of the can, so we cleaned it up, of course. And the next night the pile of yuck was smaller, and the next night, it was even smaller. Each night I was beating more shit off the inside of the garbage can, so the pile was getting smaller and smaller every night.
Then Andy used our earnings from the Dom to buy me another used set of drums. I always got the shit. The drummer always gets the shit, ha, ha, ha! But we had a real good time at the Dom—it was just like sitting in your living room.
After we played the Dom, we went out on tour. I think we even went to California and stayed at the "Castle." That was a lot of fun, but not California. We didn't like that peace and love shit, ha, ha, ha! We didn't like hippies. And we weren't big fans of the San Francisco sound. We weren't into that stuff, ya know?
When we played the Trip in LA, the sheriff locked our stuff in the club. I don't really know what happened, it wasn't something we had done, it was something the club had done. I just know that when we went to pick up our stuff and it was locked up and we couldn't get it. That got resolved after a few days, but in the meantime, we were in the "Castle" for a couple of weeks, waiting to go play the Fillmore in San Francisco.
And none of us got along with Bill Graham, the owner and promoter of the Fillmore Auditorium, he was a real shit to us. First of all, he threw Sterling out, and when we went on, he said something like, "I hope you fuckers bomb!"
He hated us cause we were from the East Coast. We didn't do anything to him to make him hate us. He just didn't like us from the start and we didn't like him either, so fine.
Unfortunately he is known as the inventor of the light shows and shit, sorry, but we were doing that first. I don't really give a shit except that his reputation is that he started the light show, when he had like two spotlights and maybe a strobe light.
But he didn't start all that, Andy did.
When we were on the road, everyone completely respected me going to Catholic Church on Sundays. I mean they'd tease me and go off on a trip, but every Sunday morning, I'd say, "I need a car to go to church…"
So they'd tease me a little bit, but they respected that a lot and I never had any problem because of it. And when Andy was going to start making a movie now, they'd say, "Oh Mo, we're going to make a movie now…"
And I'd say, "Well, see you," cause I didn't want to see that shit, ha, ha, ha!
The first record we did with our own money. And then we shopped it around. We just recorded it—and then the idea was hopefully a record company would buy it. We didn't have a hell of a lot of time; the first record took eight hours. And then, when Verve bought it, they gave us a little more studio time, like five hours or something in California.
Our record company, Verve, never paid royalties and they never distributed us. We'd go play somewhere, in Philadelphia or Boston, and people would pack the place and love it and then say, "Oh we can't find your record!" Everywhere we went, same old thing. I don't know why they signed us? To keep us off the streets? It was a mystery. I mean, why did they sign us? For tax reasons? So they could write us?
So we got screwed by Verve.
It was also scary touring middle America in those days. John Cale's hair was about shoulder-length and people would actually say things to him on the street— a guy punched him in Chicago, of all places. Just for having long hair. People were so unhip.
Our bus got stuck in Ohio once and luckily there was a gas station right there. So our big bus pulled in and out pops these thirteen lunatics, and the attendant called the police immediately. So we get out and we sent the most normal person, Sterling Morrison, out to talk to the guy, "Hey do you have a distributor?"
Everybody was out of the bus to stretch our legs and the next thing we know there's State Police surrounding us, saying, "Who's in charge here?"
Someone said, "Andy…"
Someone else said, "No, don't send Andy out!"
We told the cops, "Hey it's broken, we're stuck! What are we going to do?"
It wasn't dark yet, but it was obvious we weren't going to fix it by nightfall. The guy had to send to Detroit to get a part for us, so it was going to be overnight. And the cops told us, "Well you be out of here by noon tomorrow!"
And we had done absolutely nothing wrong. So we go to a motel and we got two rooms. The girls were in one room and the boys were in the other. So we're sitting there, in the middle of nowhere, and there was a honky-tonk bar down the street, so Sterling and I went to get a beer. When we got back, we all went in one room to drink beer and watch TV—and the manager called to complain—cause they were very pissed off that the girls were in the boys' room.
It was nuts.
When we got back from California, Albert Grossman, Bob Dylan's manager, had stolen the lease to the Dom and renamed it the Electric Circus. It was supposed to be ours and while we were gone, Grossman had somehow wrangled the lease from the landlord. He said, "Oh they left town," or something. So when we came back, he was running it, so we didn't like Albert Grossman too much either, ha, ha!
We were the Velvet Underground with Nico for about a year, when we were doing the Andy thing. I would say it was about a year, maybe a year and a half. I don't think there was a point when someone said, "Nico's out of the band…"
We just kind of drifted.
This is a pure speculation on my part, but I don't think Nico thought of herself as a singer at that point. I think she saw herself as a movie person and a model—and singing with us was just something to do. And maybe having sung with us, she thought, Hey this is neat, I'm pretty good at this! And then she pursued it further, but that's just my opinion.
About that same time, we broke away from Andy. It was just time for us to leave, and stop fooling around—and be a real band, ha, ha, ha!
I don't really know what happened between Lou Reed and John Cale either. I think they just clashed—not all the time—but towards the end there it was just too much of a fight going on. It was about music, but I don't know specifically if John wanted to try this and Lou didn't, or what. But I was hurt by John leaving the band. It was very painful for me. I really like John, not just musically—so it was just a shitty situation.
John still wanted to continue having a band; I guess he thought; Now I'll do my own stuff… So it wasn't a matter of, "Should we be in John's band? Or Lou's band?" It wasn't like that. It was just like, "Well alright, we'll continue as a band…"
But life's such a drag when that happens.
All throughout my playing with the Velvets, I never thought of it as a career. I never thought of being a musician as a career. It was just that we were having fun and making good music. After the band was over, it was time to get a job.
So Andy hired me to do some transcribing. I'd go to the Factory at Union Square and listen to the tapes and type them up. Andy was making movies and all this shit's going on—and I was sitting there typing away. After about three days, Paul Morrissey came over to see how I was doing and he noticed all these blank spots on the pages. I was leaving blanks.
So Paul said, "What's this?"
I said, "Oh I'm not putting in these disgusting words."
I mean Bridget Polk was cursing and other people were talking dirty on the tapes, and it bothered me, ya know? So I was leaving blanks, where the dirty words went. I was leaving the proper number of spaces for the letters so they could fill it in later.
But Paul went and told Andy, and he comes running up and says, "Oh, oh, oh, Mo you're not putting in the curse words?"
I said, "No, no, you know I don't like that kind of talk."
So he said, "Oh, oh, well could put in the first letter?"
I said, "No, no you'll have to go back and figure it in."
Andy said, "Oh, okay,"
So they had to go back and fill in all the dirty words.
©1996 – 2018 LEGS McNEIL and GILLIAN McCAIN
Brian Walsby (Illustrator) Website HERE
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Legs McNeil
LEGS MCNEIL is co-author of Please Kill Me: The Uncensored Oral History of Punk, and is the coauthor (with Peter Pavia and Jen Osborne) of The Other Hollywood: The Uncensored Oral History of the Porn Film Industry. He was the former Resident Punk at Punk magazine, and a senior editor at Spin.
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Q: Cannot set properties of undefined (setting 'parentProjectGuid') Cannot add the existing Solution file or New solution file in Vs Code. Using Solution Explorer Extension.
I have tried reinstalling Vs Code / Solution Explorer

A: When I first tried it with the help of README File, I got same issue you have. Here is what I do to make it running:

*

*First make sure you have already installed the .NET SDK and C# extension.

*Open the project file in the VS Code's Explorer:

*Now you can open the solution in the Solution Explorer:

redpajama_set_name: RedPajamaStackExchange


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Q: PHP CLI script not timing out We have a node js script that runs a command to execute the following command:
/usr/local/bin/php -q /home/www/441.php {"id":"325241"}

This script does a lot of things, however it does not seem to respect the time limit. The first line of this file is:
set_time_limit(1800);
Yet if we check what processes are running on the server (ps -aux | grep php) we will see a lot of these commands that have been open since last week.
Any ideas on how we can clean this up?

A: I found the following comment on the PHP user guide for max_execution_time

Keep in mind that for CLI SAPI
  max_execution_time is hardcoded to 0.
  So it seems to be changed by ini_set
  or set_time_limit but it isn't,
  actually. The only references I've
  found to this strange decision are
  deep in bugtracker
  (http://bugs.php.net/37306) and in
  php.ini (comments for
  'max_execution_time' directive).

So it would seem that there's a bug in the CLI module that means max_execution_time is effectively ignored.
The commenter mentioned a page in the bug tracker about this at http://bugs.php.net/37306 but the tracker seems to be down.

A: set_time_limit only has meaning to the php part of the program. If you had a query on a database that takes 5h to finish, those 5h are not counted by php, so they fall out of scope of the set_time_limit limitation. Having said that, it seems weird that a php process is still running after a week, if it is not calling another program that runs forever (which, in this case, the set_time_limit neither affects that calling).
Also, what does the -q flag? I can't find it on man php nor php --help nor in php's command line options.

A: If you start the script in nodejs, why not kill it there too, after 1800s?
var pid = startPHPProcess();

setTimeout(function() {
    killPHPProcess(pid);
}, 1800);


text:
Used 2018 Honda HR-V EX
FWD CVT
Misty Green Pearl Exterior
VIN: 3CZRU5H5XJG705436
Stock: V234790A
Model Code: RU5H5JJW
Auto On/Off Aero-Composite Halogen Daytime Running Headlamps
Tires: 215/55R17 94V M&S AS
Wheels: 17 Machine-Finished Alloy w/Black Insert
60-40 Folding PlusOne Seat(TM) Split-Bench Front Facing Manual Reclining Fold Forward Seatback Rear Seat
Gauges -inc: Speedometer, Odometer, Tachometer, Trip Odometer and Trip Computer
Heated Front Bucket Seats -inc: manual height adjustment for driver's seat and adjustable head restraints
Interior Trim -inc: Leatherette Instrument Panel Insert and Piano Black/Metal-Look Interior Accents
Radio w/Seek-Scan, MP3 Player, Clock, Steering Wheel Controls and Voice Activation
Radio: AM/FM Stereo Audio System (180 Watts) -inc: 6 speakers, 7 display w/high-resolution WVGA (800x480) electrostatic touch-screen and customizable feature settings, Bluetooth HandsFreeLink, Bluetooth streaming audio, Radio Data System (RDS), Speed-Sensitive Volume Control (SVC), 2 front USB audio interface, HondaLink, Pandora compatibility, SMS Text message function and display audio interface
Sliding Front Center Armrest
Engine: 1.8L I-4 SOHC 16-Valve i-VTEC
Transmission: Continuously Variable (CVT) -inc: sport mode and dual-mode paddle shifters
Every Honda HR-V is powered by an efficient 1.8L 4-cylinder engine which produces 141 horsepower. From there, power is sent to the front wheels through a 6-speed manual transmission. The optional automatic is a continuously variable transmission (CVT) that is able to alter gear ratios on the fly, allowing for infinitely adjustable gear ratios to optimize fuel economy. All-wheel drive is an option should buyers need it, available on vehicles equipped with a CVT. The HR-V comes in three basic trims: LX, EX and EX-L. Each offers an extremely competitive list of features for a compact crossover. The LX comes standard with 17-inch alloy wheels, Bluetooth connectivity, a rearview backup camera, a 160-watt sound system with speed-sensitive volume control, a 5-inch color LCD screen, an auxiliary input jack, a tilt and telescoping steering wheel, a second-row power outlet and of course, power windows and door locks. The HR-V EX adds a ton of standard features to the HR-V while only adding a couple thousand dollars to the base price. The EX trim comes with a 7-inch touchscreen display for controlling the uprated sound system, heated front seats, a one-touch power moonroof, a multi-angle rearview parking camera, heated mirrors, Pandora radio compatibility, push-button start and a little bit of extra chrome on both the interior and exterior. The EX-L comes standard with a CVT transmission and is the only trim level to offer the option of a full-on navigation system. The EX-L builds upon the EX by also offering a leather-lined interior, SiriusXM satellite radio, roof rails and an auto-dimming electronic mirror. Safety features on the HR-V range include anti-lock brakes, traction control and stability control, as well as a hill start feature and a tire pressure monitoring system. The HR-V is equipped with dual-stage front airbags, front side airbags and a side curtain airbag. Honda LaneWatch is standard on EX and EX-L models, which uses tiny cameras in the rearview mirrors to warn the driver about nearby vehicles in neighboring lanes.

redpajama_set_name: RedPajamaCommonCrawl


Love ice cream? Then you'll love 2 Scoops ejuice! Choose from flavors like fried ice cream, sherbet, strawberry crumble and blondie. 2 Scoops does a great job at perfecting flavors so they taste just like the real thing. Give your sweet tooth a treat and try out 2 Scoops today! Free shipping on $15 and over.


text:
Busting Up the Boys' Club
Finally, a female rapper is in the house.
By Modesta Zapata
Kanye. Lupe. Common. Chicago hip-hop may be a guy's sport, but this summer a girl is joining the team—with her toes done up and her fingernails matching. Kid Sister's outrageous manicures—a trademark since she was a teen—inspired her first single, "Pro Nails," featuring Kanye West, which became a sensation late last year. On August 5th, the Markham native, born Melisa Young, follows it up with a debut album on Downtown Records that melds cultures and genres, viewpoints she says she honed as the daughter of a white mother and a black father. "I keep things balanced in terms of sound and culture because that's who I am," says Young, 28. "This CD is a reflection of who I always have been and who I've evolved into—a lovable weirdo."
Reflecting her down-to-earth silliness, Kid Sis's lyrics are mixed into dance beats contributed by her brother J2K, of the local DJ duo Flosstradamus, and her boyfriend, Kanye's DJ A-Trak. But don't attribute her quick success to her connections alone. "A-Trak didn't ask me to rap on this shit," Kanye says in the introduction to "Pro Nails." "It wasn't no favor." The girl's so good, she doesn't need one. One of only eight female solo artists at Lollapalooza, Kid Sister performs August 3rd. lollapalooza.com.
Photograph: Taylor Castle
This article appears in the August 2008 issue of Chicago magazine. Subscribe to Chicago magazine.
Other Arts & Culture stories
Anne Harris's Distorted Self-Portraits
Ten Things to Do in Chicago This Week
"Where Did You Laugh?"


The UCL high energy physics group has 46 academics, research and technical staff and 32 PhD students. We are one of the largest groups in the country with research areas spanning: theory/phenomenology, detector, software and accelerator R&D and analysis of data from the LHC, dark matter and neutrino experiments.
lead the development and application of ground-breaking data intensive science (DIS) techniques on STFC's word-leading DIS experiments and beyond, and harness this expertise to train the next generation of leaders in the field of data science via our unique Centre for Doctoral Training in Data Intensive Science, which combines ground-breaking DIS research with experience at and training from our DIS industrial partners.
Much of our technical work developing next generation particle accelerators, detectors and readout/DAQ systems has applications outside of particle physics: we are developing DAQ for the European X-ray Free Electron Laser at DESY, accelerator optimisation, detector systems and diagnostics for proton therapy, plastic scintillator detectors to image large cargo volumes (CREAM TEA) for security applications and high-purity low background detectors for environment applications.
We also have several outreach initiatives and host an artist-in-residence and several members of the group appear frequently on TV and radio and publish articles in the national press.


Check out this cool and satisfying compilation of wood and epoxy resin projects!
Epoxy resin is a great material that's used in woodworking, decoration, covering all kinds of surfaces, handmade jewelry, and more.
This video will show you how wide the usage of epoxy resin can be – you can create anything with it, from a bowl to a kitchen table or a skateboard.
As a bonus you'll get to see the highly satisfying process of resin being poured!
Watch this amazing video and be impressed with these masters' skills!
Don't forget to leave a like and subscribe to Now I've Seen Everything for more epoxy resin videos!
8:32 – How to Make a Skateboard with Epoxy Resin.
Simplesmente incrível. Dá pra ver os pequenos detalhes da madeira como se tivesse sido cortada cirurgicamente.
The first proiect, should have kept the bottom like that, it looked cool! It kept some of the look tho, and still looks awesome!
hello brother, would you like to learn about epoxy paint, which can help you with the paint you are making and the price of the paint?


How to make login easier ?
Good article with real examples of gamification at work? The Magic Of Gamification with Real-Life Examples Anyone successfully implemented a gamification strategy? Anyone want to share details on how they achieved it?


text:
NYPD Kills Hatchet-Wielding Man Who Allegedly Attacked Cops
NewsOne Staff
NYPD officers shot and killed a hatchet-wielding man Thursday in Queens, N.Y. (NYPD Handout)
Hatchet-wielding Zale H. Thompson was shot and killed Thursday in Jamaica, Queens, N.Y., after he allegedly lunged at a group of officers with the weapon, critically injuring one, the New York Daily News reports.
SEE ALSO: DOJ Official Blasts Leaks In Michael Brown Case
Police are trying to determine just what motivated 32-year-old Thompson to allegedly attack about 2 p.m. on a bustling intersection at Jamaica Ave., near 162nd St.
Events began to unfold when the suspect emerged from behind a bus shelter and allegedly attacked a group of rookie officers, who graduated from the Police Academy together in July.
New York Police Commissioner Bill Bratton said it appeared as if the suspect had been stalking the officers before the ambush, CNN reports, and so far it appears that he acted alone.
He struck one officer in the right arm and another in the head, according to the commissioner. The two officers who weren't hit then shot at and killed the attacker.
The law enforcement official identified the suspect as Zale H. Thompson, who had a criminal record in California and had been discharged from the Navy for misconduct, according to the source.
The police officer who was struck in the head remains in critical but stable condition. The other officer, who is 24, was struck in the arm and was expected to be released soon.
A 29-year-old bystander who was struck by a bullet in the lower back was also taken to a hospital. Her condition was not known.
Some speculated that Thompson had ties to radical Islamist groups, but a senior law enforcement officer dismissed those speculations. That concern was raised after Thompson was reportedly pictured on his Facebook page, wearing a keffiyeh. Thompson had also reportedly held a recent terrorism-related conversation with one of his Facebook friends, according to a police source.
The Obama administration has expressed concern about lone wolf attacks motivated by "extremist ideologies," after an attack at Canada's Parliament.
Not much is known about Thompson, so investigators are still piecing together what led to the attack.
Read more at the New York Daily News and CNN.
NYPD Kills Hatchet-Wielding Man Who Allegedly Attacked Cops was originally published on newsone.com
Queens	, Zale Thompson


text:
James Clayton
Clayton Christopher Michael Joseph Champagne is an award winning producer, actor, and co-founder of Motorcycle Boy Productions. As an actor, James has appeared on hit shows such as FRINGE, MINORITY REPORT, SUPERNATURAL, and made his feature film debut in K:19 THE WIDOWMAKER, starring Harrison Ford and Liam Neeson. James starred in the psychological thriller CANDiLAND, alongside Chelah Horsdal and Gary Busey in January 2017 and will also star in the neo-noir thriller RESIDUE, alongside Matt Frewer, Taylor Hickson, William B. Davis, Costas Mandylor, and Elysia Rotaru in April of 2017.
Place of Birth: Winnipeg, Manitoba, Canada
Movies List of James Clayton
Candiland
Bullet Proof
Adam & Evil


"This vegetable-rich soup is low in fat and carbohydrates and has lots of flavor. I find it very satisfying for lunch or a light dinner."
In a stockpot, combine the broth, lime zest, chopped ginger, whole garlic cloves, and chopped jalapeno pepper. Bring to a boil over medium-high heat, then cook uncovered for about 15 minutes, or until the flavors are concentrated and liquid has reduced to approximately 3 cups. Strain the broth through a sieve into a large bowl and set aside. Discard the solids and wipe out the stockpot.
In the same stockpot, warm the oil over medium heat. When hot, add the turkey and cook for about 5 minutes, or until no longer pink, stirring frequently to break the meat into small pieces. Add the bell pepper, mushrooms, scallions, and the seeded and diced jalapeño pepper and cook for 5 minutes, or until softened. Add the slivered ginger and garlic and cook for 2 minutes. Add the soy sauce, fish sauce, and vinegar and cook for 2 minutes longer. Add the reserved broth back to the stockpot as well as the water. Cover and simmer for 30 minutes, stirring occasionally. Remove the stockpot from the heat, add the snow peas and bean sprouts, and let stand uncovered for 5 minutes longer (they'll cook in the hot broth). Stir in the lime juice and sesame oil just before serving.


Join us on November 1 and 2, 2017, for our conference Human Rights and Cultural Heritage: A New Paradigm. The conference will begin the evening of Nov. 1 with a screening and panel discussion of the documentary The Destruction of Memory and will continue on Nov. 2 with a full day of exciting panels and lectures (separate registration is required for each day). 2.0 CLE credits are available for the Nov. 1 program and 6.75 CLE credits, plus1 Ethics Credit, are available for the Nov. 2 program.
In the past year, the United Nations Special Rapporteur in the field of Cultural Rights has illustrated clearly the important tie between local communities and cultural heritage, as well as the better known paradigm of a universal interest in the preservation of our shared global heritage. In 2016, the International Criminal Court carried out the first prosecution where the sole charge was the war crime of the intentional destruction of cultural heritage during armed conflict based on the destruction of mosques and mausolea at the World Heritage site of Timbuktu in Mali. These events, as well as recent controversies such as the threat to U.S. indigenous cultural heritage through construction of the Dakota Access Pipeline, indicate that this is a critical juncture in scholarly attention to the bond between human rights and cultural heritage.


text:
What Is Turning Frequency?
The turning frequency is also called the cutoff frequency. The full-level pass signal and the demarcation frequency of the signal that is attenuated or cut off. The signal above this frequency can pass at full level, and the signal with low frequency cannot pass at all (actually attenuation is quickly obtained). For example, the frequency marked next to the low-cut or high-pass filter function key is the corner frequency, meaning that the sound below this frequency no longer exists, and the sound above this frequency passes normally. The turning frequency of some devices is the corner frequency, which means low. The sound at this frequency no longer exists, and the sound above this frequency passes normally, and the turning frequency of some devices is continuously adjustable.
About MAONO
MAONO is an innovative designer and manufacturer of Lavalier, Podcasting, Wireless, Shotgun, Recording microphones and accessories for Smartphone, Camera and PC, etc.
www.maonotech.com
Previous: What Is The Automatic Noise Reduction System?
Next: What Is In-phase?


Home > Waikato > 4 florists in "Tuakau" > The Bloomery.
We deliver floral arrangements for any occasion throughout Tuakau area. Buy flowers online, we look forward to receiving your flower order. The Bloomery., your local Tuakau florist for quality and service.
Please note orders for same day delivery need to be placed by 10.30am unless Tuakau or Pokeno Township by 12pm. Due to limited courier runs available to Tuakau.
We have 114 reviews for The Bloomery.
All reviews for The Bloomery.
No flowers, no response, no answers as to why they have not been sent.
Amazing! The card had to be written in a foreign language and that was done perfectly!! Thank you so much!
A beautiful bouquet which was promptly delivered and the recipient was really happy to receive them.
Beautiful bouquet of flowers, speedy delivery.
Anita's Flowerbiz and Gifts thanks for making my plan into reality and putting a smile on the the face of my sweet heart with flowers of high quality arranged beautifully and deliverey scheduled perfectly. I can't thank you enough.
My daughter in New Zealand was absolutely delighted with the bouquet she received - lovely blooms and first-class service. It's not the first time I've used direct2florist and it definitely won't be the last!
Anita and Donna were great. As our order had been placed thru Direct2florist then sent to Anita's Flowerbiz, unfortunately part of the description had not been sent. And a vase left out. Once Anita was contacted Anita's Flowerbiz organised for a vase to be taken to the recipient of the flowers at their own cost. Thanks girls.
Very pleased with the whole experience off ordering. Great having the updates sent also and the picture of the actual flowers. My friend was also very pleased with the floral display. Delivery was as requested. As an overall excellent service. Many thanks.
Thank you , got very good response from other family members who saw them.
Flowers arrived so fast it was almost unbelievable. Thanks and well done.
I was delighted to receive a picture of the wreath I had ordered. It was absolutely beautiful, the flowers were lovely and fresh. I would certainly use this florist again.
I was 'over the moon' with the excellent delivery, time and presentation. the flowers were even nicer than i expected! I will definitely use this service again and highly recommend it to family and friends. A big thank-you!!
As always the flowers ordered were lovely, very appreciated by the recipient and on time! Have been ordering flowers from Direct2Florist and Anita's for years. Will continue to do so as it is SO convenient, simple and quality is always good. Thanks again!
Amazing service. Being so far away was so grateful for being sent a photo of the arrangement, which was beautiful.
Always perfect, year after year.
Thanks for excellent service. Always been very happy with your service and product and will continue to come back.
Always get great service and great arrangements from Anita's Flowerbiz.
As always a great service - delivered on time and Anita's emailed me a photo of the flowers as well. What a brilliant idea!
Flowers were extremely well received. Thanks. They are still looking sharp two weeks later.
My mum really loved the flowers, so that's all I care about :) Happy with the service and that Donna from Anita's Flowerbiz emailed me to tell me when they'd be delivered, then also emailed me a photo of the flowers. Really awesome!
Thank you so much for the beautiful bouquet for my mom for Mother's Day, she thought the flowers were lovely. It was also super nice of Anita's to send me an email photo of the order, excellent customer service! This is not the first time they have done such a wonderful job....recommend highly!
As always, Anita's Flowerbiz made a wonderful arrangement and delivered it as requested. Again, as always, my Mum was overjoyed with the arrangement she received for Mother's Day. Anita's Flowerbiz always does a better than first rate job!
I always use Anita's because without a doubt I know that they are totally reliable and all the flowers that I have sent have been received with wow they are just beautiful" Thank you so much everybody. Regards Kay Davidson"
Anita's Flowerbiz has done it again. I can always rely on excellent service. Mum loved the flowers. Thanks again Anita and Staff.
I used this florist on number of occasions, even when overseas and all my orders were delivered on promised time and to a complete joy of the recipients. No doubt, I will use their services again.
Excellent service and beautiful flowers to complete satisfaction.
Excellent service, I got the address wrong, they followed up with me and confirmed it, confirmed too it would still be delivered by my same-day deadline, will be using them again I think!
The flowers were fine but they weren't delivered on the day they were ordered which was about 1030 so didn't arrive for the recipients birthday. The florist was very apologetic and it didn't appear to be her fault. I will probably use the service again.
I was able to see the flowers on facebook and they are wonderful, I will certainly us this florist in the future.
nice and easy! thanks so much!
Mother very pleased!as we live in Australia and she in NZ;cant give personal comment ,but she is happy and thats what counts! Thanks so much will use again.
my Mother (a very keen gardener) thought Anitas flowers where fantastic..
Rose was lovely. The Florist Choice wasn't as great. Prompt delivery of both orders.
Thank you for such a prompt delivery. The receiver of the flower arrangement was delighted.
The person I sent the flowers to said they were beautiful. Thankyou so much.
Always happy with this florist. She does the most beautiful flower arrangements ever.
Oustanding - They took into account my special requests and even emailed me a picture of the flowers as they were being picked up for delivery. Very thoughtful. The flowers themselves were beautiful and smelled wonderful apparently. Great to find a reliable service when you order from the UK - would definately use them again!
Fast delivery at short notice, and my sister-in-law very happy with her flowers. THANK YOU!
Excellent communication to provide me with updates on when the flowers would be delivered, and my recipient of the flowers was thrilled at how beautiful they were. Thank you very much.
Awesome service - The flowers were absolutely stunning!
Absolutely beautiful flowers and arrangement. We will keep using your business for our family while we are overseas as you are so reliable and do such a wonderful job! Thank you very much.
Flowers were ordered on website in uk and delivered to relatives in New Zealand on the requested day with no problems. Have been told by my neice that the flowers were absolutely beautiful. Will be ordering from this florist again. Thank you.
They delivered on the requested date, exactly what I requested. The recipients were very pleased, said they were lovely.
I did not actually see the flowers as I ordered them from the UK but the recipients were very pleased with them.
I have sent flowers a couple of times to N.Z. from Australia now. Both times they have arrived on time and have been beautiful. Very happy.
A wonderful service - I requested specific colours and my daughter was thrilled with the flowers - exactly what I had asked for - and delivered on the right day.
I did not see the flowers myself as they were delivered to the other side of the world, but i was told by my niece that they arrived on time and they were beautiful.. Thank you very much for the excellent service.
More than happy with their service & product!
Well pleased with the prompt delivery plus the flowers were really lovely. we wouldn't hesitate to order again, thank you.
100% satisfied with the flowers we ordered. Got them as a get well gift for parents over 7 hours away. Will use this company again.
Happiness with brightness is designed using bright coloured gerberas and roses.
Bouquet of elegance in whites/greens with pearls. Rolled wrapped. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Brighter the better is designed using bright toned flowers. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Carry Me Away - Cottage mix is designed into a waterproof bag inside a tin, flowers a cottage mix. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Carry Me Away - Pinks is designed in a waterproof bag with a tin inside, flowers are in tones of pinks with a touch or mauve. Each design is individual may look similar but not exactly the same.
Burst of citrus is designed in orange, yellow tones arranged in our small vaz (water source container) Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Colour pop is designed using flowers in tones of yellow, hot pink, orange, red and greens. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
A bouquet of lily's and roses. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Radiance is designed using flowers in tones of orange, red, yellow and whites. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Classic vase arrangement of flowers in pastel tones of pinks and mauve.
Flowers in tones of greens and oranges designed in our Classic vase. Long lasting flowers.
Bouquet of Pinks, Green with a touch of purple, wrapped in aqua.
Bouquet of Lily's and foliage as picture.
A nice bright mix with a touch of blue arranged in our classic vase.
A gorgeous tall arrangement in yellow, orange and red flowers designed into a ceramic pot.
Blue delight is designed in white flowers with touches of blue dried items, something a bit different. Each design is individual may look similar but not exactly the same. Please note that product content will vary due to seasonal availability.
Bouquet posy style arranged in hot pinks, limes with a touch of white.
Classic wreath with touch of class. Red and white.
A gift of flowers using the best blooms of the day chosen by your florist. Mother's Day deliveries; Sunday deliveries now available to local & Auckland areas - order in by Friday 8th May (excludes rural) North Island deliveries to main centres on Friday (excluding rural) - order in by Wednesday 6th May.


Local Ministry Office Your business? Error?
Parish Office The Your business? Error?
Quakers Religious Society Of Friends Your business? Error?
Salvation Army Your business? Error?
Springfield Christian Fellowship Your business? Error?
St Martins Parish Church Your business? Error?
St Micheals Church Your business? Error?


If you experience an issue with your shorts, we are happy for you to take them to any of our OB London stores. Please note; if the item was originally ordered online and you require a refund or credit, our store will send your shorts to our warehouse. The refund will be issued by the online team. Please ensure you take either your store receipt or online delivery note with you when visiting the store.


text:
Q: Powershell - Create Mass AD-USERS I am building up a script to create Mass AD-USers with a csv file.
I am using Powershell for this.
Here is the error message that I get for this command :
$UserLogin = ($UserFirstName).Substring(0,1).ToLower + "." + $UserName.ToLower()

Error message
Cannot call a method inside a null expression.
To Character Line:10:1
$UserLogin = ($UserFirstName).Substring(0,1).ToLower + "." ...
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~
    CategoryInfo: InvalidOperation: (:) [], RuntimeException
    FullyQualifiedErrorId: InvokeMethodOnNull

Also when I run my script, it does not put the datas of my csv in Active Directory
Could anyone help me and explain to me how to fix the message error and how to have my csv datas transferred in my Active Directory ?

A: Good day Emmanuel
It seems like you are getting a Null exception what means your variables are empty.
You can try to get the info using the cmdlet Import-csv
For example: You have a Csv with few columns --> Name, LastName, Username and Description.
Then you need to import these information to a variable.
$users = Import-Csv [Path].users.csv

Then you will be able to get the info of these columns with $users.name and $users.username
Now to fix you problem you should do this:
$UserLogin = $users.name.Substring(0,1).ToLower() + "." + $users.username.ToLower()

You forgot to add "()" in the first .tolower --> .tolower()
Using me as example:
$users
Name Username
---- --------
Juan Quintero

$users.name.Substring(0,1).ToLower() + "." + $Users.username.ToLower()
j.quintero


How To Print Call History On iPhone?
Does anyone know how to print off a detailed log of calls from an iPhone 8? I post this question because I need immediately solution. Is that any way to increase call history? Any suggestion would be appreciated!
On the iPhone itself 100 calls is the max, if you absolutely have to have a call log that holds more than 100 numbers, you will need to get a phone that is not an iPhone. You may wonder if there's a way to copy/paste or otherwise capture this information so it can be printed. To be honest, there is no direct way to print text call history on iPhone. If you want to transfer or print multiple call records you have to rely on some third-party tools.
Before we start the instructions, you need to download the free trial version below to have a try. iFonebox has two available versions: Windows version and Mac version. Please make sure to install the right version for your computer. Once you have installed the program, next I will show you how to move call logs from iPhone to computer.
After the scan completes, a list of logs will show up on your program interface. Now you can recover them, choose the items you want to restore and click the "Recover to pc".


text:
Gangstagrass
Gangstagrass was just nominated for an Emmy for the theme song of the hit FX series: Justified . The show stars award winning actor Timothy Olyphant and features the song "Long Hard Times to Come", written exclusively for the show by Gangstagrass !
Sometimes you just know what has to be done and you can't put it off any longer. History has to be made and there is no other way to do it than to just jump in the deep end and start swimming.
In the summer of 2007, Brooklyn based producer, singer, and songwriter Rench was at such a crossroad. He had been producing honky-tonk infused trip-hop albums of his own material for several years, and had also developed a stable of NYC emcees that were recording at his studio.
All along he had an idea in the back of his head that just wouldn't go away – take rap vocals, add beats, along with classic bluegrass for all the instrumentation and call it Gangstagrass.
You see Rench had always had a love for both country music and hip-hop. As a kid growing up in Southern California, Rench spent recess breakdancing to Run-DMC on cardboard boxes and evenings hearing his father's country and bluegrass records. It turns out he was not alone.
Rench took the dive. He cancelled all other plans and spent the next month sequestered in his basement studio, several boxes from his classic bluegrass album collection by his side. The rappers he had worked with had no idea about the likes of Ralph Stanley, Bill Monroe or the Carter Family, but agreed nonetheless to let Rench use their vocals. He emerged with what is now known as Gangstagrass: Volume 1, a 22 track epic album of heavy hip-hop rhymes perfectly blended with old-time banjo riffs and bluesy Dobro slides. Rench promptly offered the whole album as a free download. Over the next two years word of the "Volume 1" spread like wildfire and the consensus was, you may not think country music and hip-hop music could go together. Think again.
After several hundred thousand downloads the Gangstagrass sound was clawing its way onto the American musical landscape. In early 2010, the free album got into the hands of the producers of a new FX show titled Justified. The show follows Deputy U.S. Marshal Raylan Givens (Timothy Olyphant), who is a throwback law man, complete with a Stetson hat, cowboy boots, and a semi-automatic pistol in his hip holster. The producers felt that Rench's music fit the "Wild West meets modern-day society" theme of the show, and asked Rench to create a new Gangstagrass track for the show's opening theme music.
Rench worked with Bronx native and younger brother of early hip-hop stars Special K (Treacherous Three ) and T La Rock ("It's Yours "), T.O.N.E-z (an emcee featured on several tracks of Gangstagrass: Volume 1) to create "Long Hard Times To Come" for the Justified theme song. At this time there were to be no bluegrass samples – the instrumentation would come from live bluegrass musicians. Rench assembled an all-star team of pickers to join him at his Brooklyn studio and re-create the Gangstagrass sound. The live instrumentation far surpassed what Rench had made before. The hip-hop/bluegrass hybrid had truly come to fruition.
Work began immediately on a full length album featuring the full-on, no holds barred sound of hot bluegrass (Matt Check on banjo, Todd Livingston on Dobro, Jason Cade on fiddle) and T.O.N.E-z's raw Bronx rhymes. In May 2010 the album Lightning On The Strings, Thunder On The Mic was released to the eager ears of fans across the country that had searched out the makers of Justified's theme song. A few months later, "Long Hard Times To Come" was recognized with an Emmy nomination (Outstanding Original Main Title Theme Music), and the cat was out of the bag. Gangstagrass had staked its claim among American music genres.
Although country music and hip-hop are perceived to be diametrically opposed music styles, the appeal of Gangstagrass is easy to understand. Gangstagrass was born out of a sincere love for good music and an "I just don't give a fuck" attitude towards sonic boundaries.
"If you just pay attention to the charts, you get this idea that there is black music and white music, as if different genres serve two completely separate audiences. That's just not true," says Rench. "There are a lot of people out there with Hank Williams and Jay-Z on their mp3 player." Gangstagrass is not just for big hip-hop or country fans. It is also for fans of good music of all types, who aren't afraid to transcend the habit of musical segregation. Gangstagrass is true blue American music that is here to stay.
How do you describe your music to people, Rench?
There are are only three bands that can tame a mountain lion just by playing. Gangstagrass is one of them. Gangstagrass is also the other two.
Even though Gangstagrass can accurately be described as Bluegrass and Hip-Hop mixed together in a nuanced way that bring out the best of both worlds, I hold back on that because lots of people who don't like Bluegrass or don't like Hip-Hop love Gangstagrass. There are folks who think bluegrass and hip-hop together is an awful idea, but when they hear Gangstagrass, they think it's great.
When I was ten I wandered alone into the Sangre De Christo mountains in New Mexico. As night fell, I encountered a rattlesnake. Unsure what to do, I tried breakdancing, which had been my usual recess activity, but the snake was only provoked by my popping and locking. The first three bites happened before I could blink an eye. Another six happened while I did the windmill. Then I ran, but I didn't get far before blacking out. When I woke up, Bigfoot was cooking me rattlesnake stew and tending my wounds. He told me hip-hop is good, but it never saved anyone from a rattlesnake. He handed me three vinyl records - one by George Jones , one by Loretta Lynn , and one by Merle Haggard . Then he was gone. When I got home I bought a sampler, and started making beats. But these beats had honky-tonk on them. A few years ago I also started having hip-hop emcees spit rhymes over bluegrass samples of Ralph Stanley and Bill Monroe .
Producing great tracks. I lose track of time in my studio. I could go forever. I love making beats, sampling, recording instruments, writing songs, singing, mixing, the whole thing. It is a big thrill to think up a song and hear it come together. When the elements start fitting with each other, some times I just have to get out of my chair and let the track play a few times and rock out to it. When I bring musicians into the studio, like with the bluegrass players in Gangstagrass (Todd Livingston on dobro, Matt Check on banjo, Jason Cade on fiddle), it is so exciting to get them going in the right direction and hear insane licks come out, and know that I got it on tape. There is a moment of transcendence when I hear a nice twangy bluesy lick and it is perfect, and it was the first time it was ever played on that song, it was created in that moment and now the song has the perfect lick right there.
There is just so much to do. I could really use more hours every day, because I know there are a lot, a whole lot of people out there that would love Gangstagrass and it takes work to get the word out. There is so much music being produced and advertised, it is hard to get through all the noise directed at music fans out there, especially as a completely independent artist doing something unique. There is no pre-existing gangster bluegrass scene for us to plug into; this is a market that we are creating as we go, so we are building this fan base one fan at a time. This is such a unique sound, and people love it when they hear it but it is not something they are searching out, so we have to get it to their ears somehow. We are not on a label, no management, no nothing. This is a guerrilla operation that is built on sweat and duct tape.
I thought I would just be an older kid. I wasn't interested in an occupation. I didn't want to do something for money. I wanted to play and create. I'm still trying to just do what I love and live that way, to basically just grow up but still be a kid in terms of being excited about making things and breaking things and adventure.
I've been very influenced by time I have spent in New Mexico, and also living in Brooklyn for the last fifteen years or so. America has such incredibly different places, yet they are all still very American places. In NYC there is country music, and that surprises people - they think it wouldn't be going on here, but in NYC there is some of everything, because even if only a fraction of a percent of the people are into something, a fraction of a percent of eight million is still a lot of people doing it. You get to be influenced by a little of everything here, and also see how it can all co-exist. I am inspired by seeing people doing dirty old honky-tonk or bluegrass music in the middle of the city. It shows you that American culture is not as segregated as we are led to believe.
This week I have been listening to a couple albums where Clarence Gatemouth Brown did country music and played fiddle instead of blues guitar, and they are amazing. A lot of the stuff I listen to is from the seventies, there was so much great country and soul music made then. In the seventies, Ralph Stanley was making amazing bluegrass albums with the Clinch Mountain Boys and he had Keith Whitley and Ricky Skaggs in the band that that was like a dream team, just perfect. Gram Parsons was crossing genres in the seventies by bringing together country and rock and soul music. The whole Stax catalogue of soul music in the sixties and seventies was amazing, all the muscle shoals recordings. In terms of current musicians, I am a big fan of Dan the Automator as a producer, he does great stuff. I also like the way Outkast has been so creative with Hip-Hop. I've been listening to the new Sade album non-stop. I also listen to a lot of independent, little-known country musicians, because the stuff that the Nashville country music industry is putting out is not for me. The good stuff is over on the fringes, like Lana Rebel , Freakwater , Ollabelle .
I can't wait to do some Gangstagrass live shows. It is tough to schedule because it's sort of an all-star team and there is always someone who is out on tour or booked doing something else. But when we get to do some live dates it will be awesometacular. At the end of the month we will find out if we won an Emmy for our theme song to the show Justified. That may help get more exposure for the album. There will be more people talking about Gangstagrass in the coming months. Before long we will definitely do some new Gangstagrass tracks. There will be tours, there will be narrow escapes from mobs, there will be television appearances and there will be kidnappings. There will be fights with coyotes and solid gold banjos playing music from heaven and there will be waking up in a dumpster in Tijuana. There will be big things, dangerous things, and beautiful things.
Labels: bluegrass , hip hop


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Noel Gallagher compares Scotland to a 'third world country' in row with Lewis Capaldi
12 July 2019, 8:35 am ·2-min read
Noel Gallagher has urged Lewis Capaldi to "enjoy his 15 minutes" while comparing the singer's home country to a "third world" nation. (Photo by Mark Holloway/Getty Images,)
Noel Gallagher has taken yet another swipe at Lewis Capaldi, comparing Scotland to a "third world country" and describing him as "f***ing Chewbacca."
In an interview with Variety, the Oasis singer - whose wife Sara MacDonald is from Edinburgh - urged Capaldi to "enjoy his 15 minutes."
"I don't know. The youth of today: f***ing moronic c***s, if you ask me. I meet young people, and they're so culturally lost at the moment. All they can do, young people, is take pictures of each other. Because there's nothing else."
Read more: Noel Gallagher thinks voting to leave the EU was 'nonsensical' but trying to overturn Brexit is 'fascism'
Unsurprisingly, it looks like Capaldi is taking Gallagher's recent comments about his appearance on the chin.
After quotes from the piece began circulating online, he changed his profile picture on Twitter to an image of him as Star Wars character Chewbacca. He also changed his name to "Chewis Capaldi."
Gallagher has been publicly 'feuding' with the chart-topping Someone You Loved hitmaker since he called him an "idiot" in an interview with Radio X back in June.
In response to his confession, Capaldi played the sound clip during his Glastonbury set a couple of weeks ago, before unzipping his coat to reveal he was wearing a T-shirt with Gallagher's face inside a red love heart on it during his performance.
Later, he posed with Gallagher's brother Liam - who he's known to have a complicated relationship with - for a photograph.
Scottish singer song-writer Lewis Capaldi donned a white tee with Noel Gallagher face on it during his performance at Glastonbury Festival last month. (OLI SCARFF/AFP/Getty Images)
Capaldi also joked that being mocked by the Champagne Supernova writer was "a dream come true."
"It's the greatest day of his f***ing life so far," Gallagher continued, addressing Capaldi in his sit-down with the publication. "Well, I know you're Scottish and all that, but f***ing hell!
"It is like a third world country, but for f***'s sake, man, you must have had a better day than this. Surely!"
Read more: Lewis Capaldi responds to Noel Gallagher 'feud' during Glastonbury set
Capaldi poked fun at the pair's ongoing spat again at Barn On The Farm festival in Gloucester on Sunday 8 July.
As he encouraged the crowd to sing along with his rendition of Don't Look Back in Anger, the 22-year-old shouted: "This is for my dad, Noel Gallagher!"
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text:
Private equity pushes Mitel out of Polycom deal
Merger called off after private equity group Siris Capital offered more money for the video-conferencing services supplier
Alex Scroxton, Security Editor
Published: 12 Jul 2016 9:44
The acquisition of video-conferencing company Polycom by unified communications (UC) supplier Mitel has been called off after private equity house Siris Capital Group offered $2bn (£1.52bn) for Polycom in an all-cash transaction.
This figure represents a premium of 13.6% on the current value of Mitel's offer for Polycom, based on Mitel's closing share price on Thursday 7 July. The offer was subject to Polycom terminating its agreement with Mitel.
Polycom is understood to have paid Mitel a termination fee of $60m to release it from negotiations.
Siris controls a number of investments in the tech sector, including application performance management specialist Stratus Technologies, and network access and mobile security provider Pulse Secure.
Siris executive partner Dan Moloney said Polycom fitted well with its investment focus on mission-critical communications businesses.
"The industry is transitioning to a hybrid on-premise and cloud-based unified communications environment," he said. "We believe that, as an independent private company, Polycom would be best positioned to continue its heritage as a best-in-class communications solutions provider to more than 400,000 companies and institutions, channel partners, and the evolving unified communications ecosystem."
Mitel president and CEO Rich McBee said that following notification of the superior offer on 8 July, Mitel had elected not to renegotiate its deal with Polycom.
Read more about unified communications
It is now a year since Microsoft transitioned the Lync unified communications suite into Skype for Business, but has the enterprise embraced or shunned it?
International defence organisation Nato enhances internal collaboration across its secure network with a new Polycom unified communications system.
The challenge with UC is that it needs to be applied everywhere and consistently, which leads to a need for significant investment in a broad range of elements, says Quocirca's Rob Bamforth.
In a statement, he said Mitel had conducted extensive due diligence before making its initial offer of $1.96bn, which "accurately determined fair value" for Mitel. He said it would not have been in the interests of Mitel's shareholders to make an issue out of it.
"While I am disappointed that this particular transaction will not move forward, I am confident in Mitel's future as an industry leader and as a market consolidator," said McBee.
Polycom's UK customers include NHS Cumbria and Lancashire, which is using a video-conferencing service to diagnose patients in rural areas at risk of strokes or heart attacks; the Royal College of Music, which uses video to connect pupils with musicians all over the world; and the British arm of Dutch brewer Heineken, which has created a 'virtual campus' connecting its London office with the Edinburgh office of Scottish & Newcastle, acquired in 2008.
Read more on Unified communications
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By: Jonathan Dame
Polycom ditches Mitel deal in favour of $2bn offer ... – MicroscopeUK
Mitel and Polycom merge to form $2.5bn cloud unified ... – ComputerWeekly.com
Unified communications supplier Mitel buys competitor... – ComputerWeekly.com


Asbury Park Where Music Lives is hosting the Vini Lopez Celebrity Roast May 28 at 708 Cookman Ave., Asbury Park.
The event begins at 8 p.m. and funds raised will go to the Light of Day Foundation.
The Light of Day Foundation raises money and awareness in its continuing battle to defeat Parkinson's disease and related illnesses such as PSP and ALS within our lifetime. The Foundation's mission is to fund research into possible cures, improved treatments and support for patients who suffer from those illnesses, their families and their caregivers to help improve their quality of life.
Mike Marino will be the Roastmaster. Affectionately known as New Jersey's Bad Boy – he is one of the most unique comics of our time. He has performed in every major comedy club from New York city to Los Angeles.
Also scheduled to attend are Big Joe Henry of New Jersey 101.5 and popular musician Bobby Bandiera.
Phil Villapiano, retired football linebacker who played 13 season in the NFL, is also scheduled to attend along with singer and songwriter Lance Larson, who has performed at the Jersey Shore for more than 30 years.
Lopez, a former member of the E Street Band, is in the Rock and Roll Hall of Fame as well as the NJ Hall of Fame.
Featured photo: Vini Lopez as a member if Steel Mill. Rock and Roll Hall of Fame photo.


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What Items India Imports from Croatia or Croatia Exports to India?
India imported 213 shipments valued of USD 1366157.94 from Croatia during period 01-11-2016 to 24-11-2016.
Top Products which India Imports from Croatia are - Machinery For Working Rubber Or Plastics Or For The Manufacture Of Products From These Materials, Not Specified Or Included Elsewhere In This Chapter (HS Code - 8477) accounted 25.15% of total imports from Croatia. Followed by Other Organic Compounds (HS Code - 2942) & Insulated (including Enamelled Or Anodised) Wire, Cable (including Co-axial Cable) And Other Insulated Electric Conductors, Whether Or Not Fitted With Connectors; Optical Fibre Cables, Made Up Of Individually Sheathed Fibres, Whether Or Not Assembled With (HS Code - 8544) which accounted 18.55% and 11.37% of imports respectively from Croatia .
Top Indian Ports where Shipment arrived from Croatia are – Nhava Sheva Sea (INNSA1) (45.97%) , Sahar Air Cargo (INBOM4) (22.95%) & Kolkata Sea (INCCU1) (7.92%).
What Items India Exports to Croatia or Croatia Imports from India?
India Exported 2654 Shipments valued of USD 18222323.30000002 to Croatia during period 01-11-2016 to 24-11-2016.
Top Products which India Exports to Croatia are - Carboxyimide-function Compounds (including Saccharin And Its Salts) And Imine-function Compounds (HS Code - 2933) accounted 33.86% of total exports to Croatia. Followed by Other Organic Compounds (HS Code - 2942) & Unsaturated Acyclic Monocarboxylic Acids, Cyclic Monocarboxylic Acids, Their Anhydrides, Halides, Peroxides And Peroxyacids; Their Halogenated, Sulphonated, Nitrated Or Nitrosated Derivatives (HS Code - 3004) which accounted 5.44% and 4.69% of exports respectively to Croatia.
Top Indian Ports where shipments departs to Croatia are – Hyderabad Air (INHYD4) (29.94%) , Sahar Air Cargo (INBOM4) (13.2%) & Mundra Sea (INMUN1) (12.63%).


We left as a small group in the early hours of the morning to catch the ferry and drive to Tsavo National Park. From Mombasa it took 4/5 hours by minibus, the reason it takes that long is the road you travel on is the main route used for freight from the port of Mombasa. Stopping along the way at Kilimanjaro Curio Shop on Macknon Road, to break up the journey, use the facilities and browse in the craft shop. Bartering is the preferred way to buy.
By lunchtime we had arrived in Tsavo National Park, by the town of Voi. Lunch was served at the Ngutuni Lodge, with a stunning open air decked terrace overlooking a watering hole, that many elephants were already inhabiting. The food was a three course meal, of soup, salad and a coconut chicken with rice and vegetables. Which was all included in the price of the safari, with only drinks to pay for. After a relaxing lunch, time was spent observing the elephants and taking photos.
Sarova Salt Lick Game Lodge is one of Kenya' flagship game lodges, due to its warmth and good hospitality. It is a luxurious safari escape, one I have been lucky enough to visit several times. The setting is in the heart of Taita Hills Wildlife Sanctuary overlooking a waterhole and the vast Tsavo plains. The hotel is set on stilts with 96 unique rooms, all of which are elevated and built across two levels. Facilities include a bar, restaurant, with the option of experimental dining outside in the wild and a spa. This hotel is a definite must stay if you are thinking of where or which lodge to stay at!
After dinner, which is a hot buffet with good variety, we opted for the additional night drive which you can pay extra for at a cost of £25 per person. Leaving just after 9pm with our driver and the park warden we ventured back into the park, pitch black with only the wardens search light to guide us, it added an extra special touch to our trip. Your eyes adjust to the darkness, searching for the reflection of the animals eyes. Whilst driving we saw another tower of giraffe settling down for the night in the long grass. The night drive enables you to see smaller cats, like the Civet Cat which dispatched of a wandering baby rabbit in front of our very eyes. As our driver bluntly put it "that is nature". At points the driver switched off the engine and the search light was turned off, to reveal a sky laden with stars, one of the most beautiful sights I have ever witnessed. You are consumed by the silence and the vast space around, making you feel as a human very insignificant. Throughly recommend a night drive if you get the opportunity.
When we returned to Salt Lick the log fire was roaring and everything was locked up for the night, after nightcap in the bar recalling the days events with others, my bed beckoned.
The next morning wake up call was at 5.30 am and out on a early morning drive by 6.30, fresh coffee was served before we left, to witness the beautiful african sun rise for the day. Catching site of the animals stirring and off to find their own breakfast. We returned to a breakfast buffet, set in the main restaurant overlooking the waterhole. As it was my birthday whilst I was in Kenya, the lodge had made me a cake and presented it to me over breakfast, with an african rendition of 'happy birthday' followed by Jambo Bwana. Certainly making me feel very special and grateful. We then had an hour or so to relax on the terrace or go into the lodge' underground tunnel and watch the animals at the watering hole, then it was time to pack up and leave. Off for our last drive into the park.
During this last drive we were driven up onto higher ground to the watch point, to be able to take in the views of Tsavo National Park and Salt Lick Game Lodge below us. Whilst we were there taking photos and drinking in the scenery, a professional film crew were taking stills and drone footage for an upcoming documentary on Tsavo on the bid to make it an UNESCO World Heritage site. From here we took in some more animal observation and onto Taita Hills for lunch. At Sarova Taita Hills Game Lodge we had some free time to relax by the pool before we ate and take in their own views of the national park. The food was a sumptuous buffet with great service and welcoming, that comes hand in hand when staying in Kenya. After lunch we made our long journey back to Mombasa, which at this busy time of day was going to take a bit longer than our journey here.
We stopped on the way back in Kwale, at a Masai Camp. We were greeted with song and dance, traditional Masai welcome.The head Masai showed us around the village, houses, school and we met the children. I had brought some small gifts, sweets, paper pads, pencils and pens for the children, the Masai shared out the sweets making sure all got something. Pens and pads were given to the Masai school. The happiness on their little faces and the utter excitement made me realise how lucky we are, they were so thankful for so little, that we would take for granted. Kenya is the place I believe you arrive as one person, leaving changed as another, everyone should experience it if only once in their life. The Masai told us that they were being moved, due to a new road being built through the middle of their village. One thing that is apparent is that the Masai people are resilient and keeping with tradition will find a new settlement. After an enjoyable couple of hours we headed back to our driver with heavy hearts.
Many hours later we reached the Baobab Beach Resort, tired and elated after a thoroughly enjoyable two days on safari. You can't come to Africa and not experience a safari, as it adds that special touch of magic to an already amazing stay in Kenya. It remains a beautiful country, with lovely people and amazing surroundings to explore. Don't take my word for it, try it for yourself!
This lodge looks a very good place to visit. Must be impressive to get so close to a lion. Elephants are always fascinating to watch.