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Trent Reznor
REVIEW: Two – Voyeurs (Japanese bonus track) #200wordchallenge
The #200wordchallenge continues! The complete review for the original Two Voyeurs CD can be found by clicking here.
TWO – Voyeurs (1998 DML Music Japan)
Rarity acquired! After many years of searching, I snagged a mint condition Japanese copy of Rob Halford's album as Two with John 5. It was priced affordably and included the obi strip, always important to collectors. The Japanese copy has a second booklet with pictures of the band, missing from the original CD. Rob and John casually enjoying coffee in front of a wall of X-rays? It's in here!
The bonus track is called "In My Head" and it's surprising how different it is from the album at large. It still sounds like the industrial metal of Two, but criss-crossed with dirty blues. It's like Two meets the Black Keys, in a wormhole from before the Black Keys even existed. Rob has occasionally shown a penchant for mixing the blues in with his heavy metal. Witness "A Little Crazy" from the first Fight album. John takes a really cool and inventive solo break on this track complete with plenty of slide. Had this track been on the original album, it might have had more appeal with the rockers, though that's admittedly a long shot.
It's not easy to find, but worth finding for the industrial blues of "In My Head".
Posted in Reviews and tagged #200wordchallenge, alternative music, Bob Marlette, Dave "Rave" Ogilvie, hard rock, heavy metal, industrial, japanese imports, John 5, John Lowery, rob halford, rock music, Trent Reznor, two, Voyeurs on August 30, 2016 by mikeladano. 20 Comments
Blu-ray REVIEW: Sound City (2013)
"The internet's cool for some stuff, but like many things, there's no book store, there's no music store, and there's no Sound City." — Josh Homme
SOUND CITY (2013 Roswell Films)
Directed by Dave Grohl
Uncle Meat persuaded me to see this movie, and I'm glad that he did. He said it wasn't optional; that it was a must and that I would love it. So I bought it on Blu-ray, invited him over to co-review it with me, and we viewed it one afternoon after work in 5.1 surround. Needless to say, Sound City was good. So good that we never felt we could do it justice in a review, so I sat on my notes for over a year! Having recently re-watched Sound City (directed by Dave Grohl) with Mrs. LeBrain, now I can finally finish what Meat and I started last year.
Van Nuys, California. Sound City Studios, the legendary place where everybody who is anybody recorded. Nirvana? Check. Fleetwood Mac? Rick Springfield? Tom Petty? Check. Slipknot? Also check. Neil Young recorded much of After the Gold Rush there, after being enamored of the vocal sound that he got on "Birds". Keith Olsen learned his craft there. It's not much to look at on the outside: according to producer Butch Vig, it's "kinda dumpy". On the inside, there's booze and cigarettes everywhere. Big room, huge floor. Lots of black magnetic tape.
Grohl narrates, personal anecdotes flow, then he steps out of the movie's way. Grohl has a nice visual style, a combination of close ups and wide shots with plenty of details to look at. He infuses the movie with plenty of humour, sometimes at his own expense. The film has two phases: the first is a history lesson regarding the studio and the artists who created the hits there. The second consists of Dave purchasing the studio's Neve board, moving it north to his own studio, and recording a brand new album with the same legendary artists. Pretty cool concept.
The huge Neve console was built like a "brick shithouse" (Keith Olsen), or a "tank" (Neil Young). Its original purchase price: bought for $75,175 in 1969 dollars. A nice house at the time cost around $30,000! The Neve was one of only four. Combined with the room itself at Sound City, the drum sound you can capture is incredible. The studio's acoustics were not designed; it was a complete fluke. It was originally a box factory that happens to sound magical.
As for that Neve console, it is of course entirely analog. The one at Sound City was unique, considered the best sounding one. Rupert Neve tried to explain the electronics of it to Grohl in one of the movie's more humourous scenes. The very first song recorded on that board was "Crying in the Night", by Buckingham Nicks. This led directly to Mick Fleetwood hearing them while at the studio, and hiring not only the studio, but also Buckingham and Nicks! Essentially, the modern Fleetwood Mac formed right there at Sound City. The studio's success really began with Rumours. Then, everyone wanted to record there. As for Tom Petty? It appears that Tom Petty pretty much spent his entire career at Sound City. In fact one of the coolest scenes was an old behind the scenes video from the 1990's. Seeing Rick Rubin produce Tom Petty and being brutally honest was very interesting.
Rick Rubin to Tom Petty: "Sounds like you're aiming a little lower today than you should be."
Along came the compact disc, and the infancy of digital recording. Digital was the latest trend, and you could do new things with a computer that were harder to do on tape. Sound City suffered during this time, as newer rival studios were on trend. Sound City was dead…but one album helped resuscitate it: Nevermind. Then came Rage Against the Machine, Tool, Slayer, Kyuss. Analog tape and vintage equipment became popular again. Rick Rubin and Johnny Cash recorded Unchained there with Tom Petty and the Heartbreakers. Nine Inch Nails combined the old with the new, by bring in their own computers to record on ProTools along with the Neve.
Unfortunately ProTools was heavy competition, and working with tape was so difficult by comparison, that Sound City finally shut its doors. They just couldn't pay the bills anymore, even after selling off their excess equipment. Then Dave bought the board. It is amazing to watch it taken apart, boxed up, reassembled and functioning in Seattle. Regarding the sale of the board, Grohl says, "I think they knew that I wasn't just going to bubble wrap it, and stick it in a warehouse. I was gonna fuckin' use it. A lot."
On November 2, 2011, reassembly of the board began at Dave's Studio 606. Then he invited all the original artists back to record a new album on it, produced by Butch Vig. Regarding Stevie Nicks, in a memorable moment Vig says, "Fuckin' A, that girl can sing!" More artists arrive. The Foo Fighters plus Rick Springfield create a monstrous sound together, a neat amalgam of their respective genres. Lee Ving (Fear) is hilarious, and performs the fastest count-in of all time. I discovered a new respect for Trent Reznor, a guy who uses the technology to create original sounds, but desires the warmth of tape. It's incredible to see him collaborate with Homme and Grohl. It's the sound of humans communicating with instruments. And they wrote a pretty frickin' cool song together. Then, watching Paul McCartney writing "Cut Me Some Slack" with the surviving members of Nirvana is a moment that I'm glad was frozen in time.
Grohl: "What can't it always be this easy?"
McCartney: "It is."
The blu-ray bonus features include three additional performances: "From Can to Can't", "Your Wife is Calling", "The Slowing Down". It was these bonus features that inspired Meat and I to add "Your Wife is Calling" (with Lee Ving) to our 2014 Sausagefest lists. Our votes allowed the song to clock in at #64. (The track was my #1.)
Sound City is a complete triumph of a music documentary. It is the kind of music documentary designed for serious fans, not just passers-by. I would welcome another movie directed by Dave Grohl with open arms.
Posted in Movies, Reviews and tagged blu-ray, butch vig, dave grohl, fleetwood mac, foo fighters, johnny cash, josh homme, Keith Olsen, Lee Ving, Lindsey Buckingham, neil young, nirvana, Paul McCartney, rick rubin, Rick Springfield, Robert Neve, Slipknot, Sound City, Stevie Nicks, Studio 606, Tom Petty, Trent Reznor, vinnie appice on August 21, 2014 by mikeladano. 27 Comments
Part 269: CD Singles (of every variety) featuring T-Rev
Welcome back to the WEEK OF SINGLES 2! Each day this week we're look at rare singles. Today, we're looking at lots and lots of them! WARNING: Image heavy!
Monday: Dream Theater – "Lie" (CD single)
Tuesday: Jimi Hendrix – "Valleys of Neptune" (7″ single)
Wednesday: Them Crooked Vultures – "Mind Eraser, No Chaser" (10″ single)
Thursday: Megadeth – "Creepy Baby Head" ("Crown of Worms" CD single)
RECORD STORE TALES Part 269: CD Singles (of every variety)
Featuring T-Rev
I'm going to take the blame for this. It was I who got T-Rev into collecting singles in 1994-1995. Oasis kicked his addiction into gear big time, but it was I that sparked his interest in singles. According to Trevor today, "I suppose it was Oasis that started that ball rolling…then Blur taught me the tricks…Metallica helped mix the sauce…and then I was almost a pro, like you!"
T-Rev was already familiar with the dominance of singles in Europe. "They're so much cheaper in England!" he told me then. "They have entire walls of them, like we do here with albums, but with them it's singles."
He had seen me go crazy for some of the singles that came into the store in the early days. He saw me plunk down my hard earned pay for CD singles by Bon Jovi, Def Leppard, and many more. He didn't get why I was spending so much money on so few songs. CD singles are much rarer here and commanded (new) prices similar to full albums.
"Why do you buy singles?" he asked me one day. "I don't get it. The song is on the album, they come in those little cases, and they're expensive."
"I buy them for the unreleased tracks," I explained. "I don't buy a single if it has nothing unreleased on it, but I want all the different songs."
"But the unreleased songs aren't usually any good, are they?" he continued.
"Sometimes," I answered. "But check out this Bon Jovi single here." I handed him a CD single that I had bought recently at an HMV store. "This one has 'Edge of a Broken Heart'. It's a song that was recorded for Slippery When Wet, but it didn't make the album. Sometimes you find these amazing songs that are totally worth having. Sometimes you only get live songs or remixes, but I still collect those because I try to get everything."
When Oasis came out with (What's The Story) Morning Glory, there were ample new singles out there to collect with bonus tracks galore. T-Rev got me into the band very quickly. Oasis were known not just for their mouths, but also for their B-sides. Noel Gallagher was passionate about giving fans good songs as B-sides; he wanted them to be as good as the album. Oasis had a lot of singles from the prior album Definitely Maybe as well, and one non-album single called "Whatever" that was absolutely marvelous.
Once T-Rev got onto the singles train, he had his own rules about what he wanted to collect and what he didn't. Packaging was important to him. He hated CD singles that came inside little cardboard sleeves. He couldn't see them once filed on his CD tower, because there was no thickness to it; no spine to read from the side. It didn't matter what was on those CD singles; if the packaging sucked T-Rev was not usually interested. This applied when we both started collecting old Metallica singles. I found an Australian copy of "Sad But True" with the rare B-side "So What" at Encore Records for $20. This came in a cardboard sleeve; T-Rev didn't want it. (He also already had a live version via the Live Shit: Bing & Purge box set.) Oasis started releasing their old singles in complete box sets, but T-Rev was only really interested in collecting the UK pressings. There were a lot of variables to consider. If you can't or don't want to buy everything, you have to set rules and pick and choose.
Once we understood each others' needs, we were able to keep an eye open for each other. T-Rev knew if it said Bon Jovi, Faith No More, or Def Leppard on it, that I'd be interested. If it was a Brit-pop band like Blur or Supergrass, he'd want it (as long as it didn't come in a paper sleeve). Foo Fighters too, or virtually anything with Dave Grohl. Our collections grew prodigiously with rare tracks, EPs we never heard of before, and loads of Metallica. I believe at one point, T-Rev and I had nearly identical Metallica collections, duplicated between us. More than half was singles and rarities. We used to joke that there were probably only two copies of some of these things in town, and we had both of them in one apartment.
T-Rev sold a lot of his singles but not all. He still has some treasures. Highlights include a Steve Earle tin can "Copperhead Road" promo (that he got from local legend Al "the King"). There's also Megadeth's uber-rare "Sweating Bullets" featuring the in-demand "Gristle Mix" by Trent Reznor Then there was a Blur thing, some kind of "special collectors edition" signed by Damon Albarn, in a Japanese pressing. Trevor's seen one sell for upwards of $100. Then there was another band called "A". As Trevor said, "Remember these guys? It was like 'Britpop punk'. I liked it anyway."
Also still residing in his collection: a Japanese print of Oasis' "Some Might Say" that has two bonus tracks over the domestic version, and two versions of Foo Fighters' "Big Me". One is from Canada, the other from the UK. Both have different tracks. I'd forgotten about these until I saw the pictures.
Those were the glory days of collecting. I miss collecting CD singles. I preferred hunting the stores downtown to get all the extra tracks to the way it is now. Now, often you need to buy an iTunes download and several "deluxe editions" to get all the songs. CD singles were just better, period. Even just for the cover art of those Oasis singles, singles were much more fun to collect. I miss those days!
T-Rev's pics:
LeBrain's pics:
Posted in Record Store Tales and tagged (What's the Story) Morning Glory?, A, Al, Big Me, Blur, Bon Jovi, Brit Pop, classic rock, Copperhead Road, Creeping Death, Def Leppard, Definitely Maybe, encore records, faith no more, foo fighters, Gristle Mix, hard rock, have you ever needed someone so bad, heavy metal, Hero of the Day, Iron Maiden, japanese imports, Jump in the Fire, Mama Said, megadeth, metallica, Motorheadache, Nothing Else Matters, oasis, One, Pour Some Sugar On Me, promos, rarities, rock and roll, rock music, Rocket, Sad But True, singles, Slippery When Wet, So What, Some Might Say, steve earle, Sweating Bullets, t-rev, The Memory Remains, The Unforgiven, thrash metal, Trent Reznor, Week of Singles, Whatever, Wherever I May Roam, wibbling rivalry on February 14, 2014 by mikeladano. 23 Comments
REVIEW: Nine Inch Nails – Broken (1992)
NINE INCH NAILS – broken (1992 Interscope EP) / halo five
I remember seeing this in my local HMV store in 1992. I thought, "Nine Inch Nails have cool packaging," because you didn't see too many digipacks back then. It's cooler than just that though, with three panels unfolding in a "T" shape each with a letter on it. "n"…"i"…"n"…
Gotta give Trent Reznor credit for packaging, he usually has very striking and original concepts for his discs. Also cool how the packaging for broken nicely complements the remix album fixed once both are bought. broken technically qualifies as an EP I guess, or a mini-album maybe, even though it is longer than most classic Van Halen albums.
There is a version of broken out there that was once considered one of the Holy Grails of Nine Inch Nails collectibles. I guess the advent of eBay made it much easier to get, because eBay has one as of this writing for $12, free shipping, VG condition. It is a 2 CD version, with the two "hidden" tracks on a separate 3″ CD enclosed within the digipack. This was supposedly discontinued because unscrupulous store owners were taking out the bonus CD and selling it separately. Or so goes the legend. I think cost would also have been a factor in discontinuing the bonus CD. On re-releases like I own, the bonus tracks are included as #98 and #99, with 91 tracks of 1 second silences preceding them.
"Pinion" serves as a brief intro to "Wish" and they are always presented together. This serves to intensify the mighty "Wish", the heaviest song released by Nine Inch Nails up to the time. What sounds like a blowtorch punctuates a frantic drum rhythm. This progresses into a mélange of bizarre sounds, shredding guitars and a sledgehammer riff. "Last" follows, a slower more relentless riff. At times its the industrial version of "Sad But True", but with a synthpop style chorus. Reznor maintains his angry snarl throughout, bitching about whatever he's bitching about. "Pigs" are referenced, he sounds upset, angry, sad…aww!
"Help Me I Am In Hell" is one of the coolest tracks, a quiet two-minute guitar n' noise respite. It sounds a lot like some of the quieter moments that would later come on The Downward Spiral (a genius album if there ever was one). Then, "Happiness in Slavery" serves as a barrage to the noggin', Trent yelling stuff about slaves screaming in a distorted voice. There are some cool, ascending metal-y guitar licks and another synthpop chorus. If I had to guess, I'd say the lyrics are a thinly veiled discourse on getting screwed by your record label, as Trent was at the time.
The final song of this batch of tracks is "Gave Up", another fast metallic song. It's hard to discern the melodies from it, such is the distortion of the track. It does have a bad-ass keyboard solo though. Trent sounds like he's singing on a broken tape deck and the guitars sound like they're on the same cassette too. It's my least favourite song on the EP, although I remember it had a cool "live" style music video with Marilyn Manson on guitar.
After 91 tracks of silence (a quaint-oh-so 90's gimmick that I sidestepped by not ripping them) are the bonus cover songs. "Physical (You're So)" is an Adam and the Ants tune, morphed into something that sounds like a cross between Nine Inch Nails and Motley Crue. This is a great track. Among the best on the album. There are jackhammer sounds, plenty of distortion and unidentifiable but cool sounds. "Suck" is a Pigface cover (from Gub) that Trent originally sang and co-wrote anyway. It has a powerful chorus and riff much like the rest of broken, but the verses (pun intended) kind of suck. That funky bassline…it's not my thing, I guess.
One weird thing. I don't know where it came from, but I somehow got a booklet for a Japanese version of broken. I found it inside my copy…I must have found it laying around at the store. Kinda neat to have, I can't read a word of it, but cool. My CD appears to just be the regular single disc US release otherwise.
More Nine Inch Nails at mikeladano.com: RECORD STORE TALES Part 222: Mr. Self Destruct
Posted in Reviews and tagged Adam and the Ants, alternative, Atlantic, broken, ep, fixed, halo five, Happiness in Slavery, heavy metal, industrial, Interscope, marilyn manson, Nine Inch Nails, nothing, pigface, Trent Reznor, TVT, Wish on November 28, 2013 by mikeladano. 9 Comments
Part 212: Top 3 Crushes
RECORD STORE TALES Part 212: Top 3 Rock Star Crushes
I was quite legendary at the Record Store for my celebrity crushes. I talked before about about Dayna Manning — she was but one on my list of fantasy girls.
3. MARIA DEL MAR (National Velvet)
T-Rev and I were given tickets to see Helix at Stages, in 1996. Opening was a new band fronted by ex-National Velvet singer Maria Del Mar. You might remember National Velvet's hit, "Sex Gorilla". Her new band was good, and after the show Maria came and sat down next to us! Gasp! She was really loaded. T-Rev and I handed her business cards for our stores and encouraged her to visit, call, sell albums there on consignment, anything!
Unfortunately, it seemed to us that she preferred the sharp Austrian looks of Peter the Rocker, who also attended the show. Maria wouldn't leave him alone. She never called us either. At least Helix were good!
Tastes as sweet as "Sex Gorilla"
2. NICOLE HUGHES (Scratching Post)
A couple friends of ours opened for this band in 1998. I drooled all over the stage looking at singer/guitarist Nicole Hughes. That red hair. The leather skirk, playing that guitar. Oh yeah. I was in love. I admired every magazine cover she appeared on. One of the girls at work used to try to bug me by commenting that Hughes' mouth was "too big".
I never had the guts to speak to her at any of those concerts! Nothing more than a "great show, eh." I was given copies of their two albums for my birthday one year. Imagine my horror at finding that I didn't really like them. I sold them off before I quit the store.
Scratching Post's only really good tune, "Bloodflame"
1. TALENA ATFIELD (Kittie)
I was never a Kittie fan. I'm not denying their talent, I'm just not a fan of that sound. I've never bought any of their albums. I only like a couple tunes. But as far as I was concerned, I did like Talena Atfield, the bassist! After she left Kittie, I found her on MySpace and sent her a message. Something lame like, "Hey, I manage a record store, you should come in if you're in town," or whatever. The response was brief, but positive – she called me cute! Well didn't I go and tell everyone at the store about that?
So, they made fun of me for yet another rock star crush, but it turned out OK in the end. Now I'm married, and it's fun to look back of these rock crushes. Mrs. LeBrain used to like Trent Reznor, so I know I'm OK! (She says she likes her men short.)
Next time on Record Store Tales…
Long-forgotten Dandy drama
Posted in Record Store Tales and tagged alternative music, Canadian rock, classic rock, crushes, female fronted rock bands, hard rock, heavy metal, Helix, indy music, Jonathan Torrens, Jonovision, kitchener, Kittie, Maria Del Mar, MySpace, National Velvet, Nicole Hughes, rock music, rock star crushes, Scratching Post, short men, Stages, t-rev, Trent Reznor on July 15, 2013 by mikeladano. 24 Comments
REVIEW: Queens of the Stone Age – …Like Clockwork (2013)
QUEENS OF THE STONE AGE – …Like Clockwork (2013 Matador)
Yeah, I'm one of those jaded pricks who "only liked Queens when Nick was in the band." I bought the other albums too, but of those only the live CD really did anything for me. Until now. I really …Like Clockwork! It succeeds completely at taking the Queens down a somewhat quieter and more mature road, while maintaining every ounce of their integrity. They are still sometimes heavy, experimental and haunting. But now they are almost always melodic, too.
Opener "Keep Your Eyes Closed" starts off somewhat slowly, but morphs into a bizarre Queens-meet-Alice in Chains concoction. It's actually the one song on the album that I didn't like on first listen. Imagine my delight in finding that I liked the rest of the album much more!
The most immediate song is second: "I Sat by the Ocean". I put it in a category with songs like "If Only Everything"; it's memorable on first listen. "The Vampire of Time and Memory" is a space-age blues, but with some Queen-like moments (Queen, not Queens). Josh's understated vocals are classy and the keyboards create atmosphere rather than distract.
Next, the strangely-titled "If I Had a Tail" could have been released in 1981, or 1983, some time during the New Wave movement. If I heard this on the radio, I'd think it was an 80's band. Only the occasional blasts of electric guitar remind me that this is 2013. Here's the cool thing — this track reunites the Songs For the Deaf lineup in a way. Homme is joined by Dave Grohl on drums (who appears on several tracks), as well as Mark Lanegan and Nick Oliveri on backing vocals.
"My God is the Sun" is one of the tunes that sound the most like vintage QOTSA, and it is also one of the songs featuring Dave Grohl on drums. It has some serious heaviness to it, as well as that stuttering, stammering Queens vibe. All topped by the smoove as glass Joshe Homme vocals.
"Kalopsia" is a weird underwater easy jazz slow dance. Trent Reznor duets, and suddenly its an explosive Bowie number. Great tune. "Fairweather Friends" has piano. O, it has piano alright — by Elton freakin' John! There's also lots of rich guitar. It even feels Zeppelin-y at times. Maybe JPJ rubbed off on Josh a bit? Then things get funky on "Smooth Sailing", but it's a heavy funk with Homme in vocal falsetto. Fucked-up Disco? Sure, why not. The guitar solo is pure noisy heaven, but Grohl's heavy hitting keeps it in the world of rock.
Soft guitars and a whispery Homme introduce a song called "I Appear Missing". It's hauntingly powerful, and dramatic. The guitar work here is incredible and intense. It's also perfect as the penultimate track on a strong album such as this. And when your second last song is as intense as "I Appear Missing", then it's often wise to end the album with something quiet. "Like Clockwork" exists as simply piano and Homme for a couple minutes, Josh using his voice is ways I've never heard before. Instruments build, and it's a beautiful sunset-stained closer.
I don't know what Josh was thinking in terms of the packaging. I know he likes the colour red. I got that part. But all you get is a slipcase, a jewel case and a little card cover inside with minimal credits. It says to go to quotsa.com for "extended credits". I paid for a physical copy, you'd think they could at least print the credits.
Musically? 5/5 stars. With this and Sabbath already upon us, I have two contenders for album of the year so far.
Posted in Reviews and tagged ...Like Clockwork, 13, 2013, albums of the year?, black sabbath, dave grohl, Dean Fertita, elton john, foo fighters, Fucked-up Disco, hard rock, heavy metal, Joey Castillo, josh homme, Mark Lanegan, Matador, Michael Schuman, Nick Oliveri, Nine Inch Nails, qotsa.com, queens of the stone age, rock music, Stoner Rock, Them Crooked Vultures, Trent Reznor, Troy Van Leeuwen on June 24, 2013 by mikeladano. 29 Comments
REVIEW: Halford – Resurrection (2000)
Part 5 in a miniseries on Rob Halford's solo career! Missed the last part? Click here!
HALFORD – Resurrection (2000 Japanese edition, 2008 remastered edition)
Note: There have been several versions of this CD. The original CD and Japanese import versions had a certain tracklisting, but the track order was changed up a bit for the Remastered edition (see tracklists at bottom). Since that's the version that's out right now, that's what I've decided to review. I got mine in a combo pack with the DVD, Resurrection World Tour Live at Rock in Rio III. Rob has also retroactively started to number his solo albums; as such the remastered version is technically Halford 1: Resurrection.
Voyeurs by Two was not a mega seller regardless of the association with Trent Reznor and Nothing Records. Rob needed to return to heavy metal or risk alienating his fanbase.
I think pretty much everyone was enthused by the title track and lead off single, "Resurrection". This wasn't techno wizardry with whispery vocals. This was heavy metal, with screams! Although Rob was already headed in that direction at the end of Two, while working with Bob Marlette, it is Roy Z that drives this one single home. Yes, Roy Z, the Roy Z that Bruce Dickinson utilized to collaborate on many a great solo album. With Halford now drinking at the well of riffage that is Roy Z, "Resurrection" was bound to smoke. And it does. Take the sound of classic Judas Priest circa Painkiller, adjust for 10 years of sonic trends, stir in Roy Z, and you have "Resurrection". Rob makes sure you know he's serious from the very opening, screaming as only he can.
What I dislike are the lyrics. "I walked alone into a Fight"? Rob, you weren't alone, you had Scott Travis with you! "I tried to look too far ahead, and saw the road lead to my past instead." In other words, sorry about the Two album, this is what I really want to be doing.
The first three tracks totally smoke, all falling somewhere in a Defenders/Painkiller vibe of Priestly goodness. At first I didn't like "Night Fall", the fourth track, too much. Its redeeming value is a great chorus, totally in the Defenders mold.
"Silent Screams" is one of the songs that Rob was working on with Marlette at the end of Two. Rob was especially proud of this lengthy number, and he released a demo version of it for free on his official website. The demo version is an evolution from Two. It has screams (appropriately enough) and heavy guitar riffs. The album version has a more emotional lead vocal and tones down the keyboards. The song is a bit slow and ploddy to start with but it is epic in quality and it sure does rock by the halfway point!
The big gimmick on the album was the duet with Bruce Dickinson, "The One You Love to Hate". The connection is Roy Z, but obviously a matchup like this would generate much hype. Arguably the two best singers in metal, together at last. Bruce sounds great, holding his own against the Metal God, who sounds vintage 80's. I have to say I enjoyed this one a lot. Shortly thereafter, there were rumours of a coming supergroup called the Three Tremors – Rob, Bruce, and Geoff Tate of Queensryche. All three artists were touring together at the time, but this idea was never meant to be taken seriously.
"Cyber World" is fast and heavy but unfortunately also boring and skip-worthy. Likewise, the groovier "Slow Down". Dull title, dull song. I tend to think of Resurrection as losing steam on side 2. I guess that's why the remastered edition inserts the Japanese bonus track "Hell's Last Survivor" right here. Sounding something of a Screaming for Vengeance outtake, I think this was placed here to compensate for some of the weaker tracks.
"Temptation" is a little on the boring side, so two new tracks are inserted at this point for the remastered edition: "God Bringer of Death" and "Fetish". In my opinion it doesn't sound like they belong here. Rob's voice had changed a lot in the 8 years since, and the sound is more like later Halford albums. Neither song is particularly notable.
On the other hand, "Sad Wings", which was previously only on the Japanese version, is awesome. It has a sharp riff and a chorus that is designed to remind you what band he was the singer of. This is followed by "Twist" which sounds like maybe it had its origins in Two, but I like it a lot. "Drive" is also pretty decent, and the album ends with "Saviour" which has an anthemic chorus.
Bottom line: Pretty decent if a bit safe comeback. Rob wasn't treading any new ground here musically, but Roy Z never fails to class up any album he's on. His tasteful and blistering solo work is just marvelous.
Posted in Reviews and tagged Bob Marlette, Bobby Jarzombek, bruce dickinson, classic rock, Defenders of the Faith, DVD, fight, geoff tate, halford, hard rock, heavy metal, japanese imports, Metal God, Metal Mike Chlasciak, Nothing Records, Painkiller, Pat Lachman, rarities, Ray Riendeau, Resurrection World Tour Live at Rock in Rio III, rob halford, rock music, roy z, Screaming For Vengeance, thrash metal, Three Tremors, Trent Reznor, two, Voyeurs on June 22, 2013 by mikeladano. 11 Comments
REVIEW: Two – Voyeurs (1998)
Part 4 in a miniseries on Rob Halford's solo career! Missed the last part? Click here for Fight – A Small Deadly Space.
TWO – Voyeurs (1998 Nothing)
Fight was kaput. Rob had a new band, a photo of whom appeared in Metal Edge magazine. The band was called Halford, and although that would change, Rob used his surname for another band later on. I remember a weird looking blonde dude wearing a silver skin tight suit of some kind (more on him later), and I thought, "Well, OK then. This is going to be different." Soon after the Metal Edge photo, the name had changed from Halford, to Two.
I had a buddy, Nathan, who was really into Nine Inch Nails. This Halford project was on his radar as well, due to Rob's collaboration with Trent Reznor. At the time, Rob Halford insisted that the resulting album, an industrial/rock hybrid, was the sound he was going for all along when he quit Priest in '92 and formed Fight.
I don't believe that, but they did come close on the Mutations EP. I think Fight was exactly what he wanted to do at that time. When the second Fight album fizzled I think Rob questioned his musical direction, hooked up with Trent, and did this experimental record.
Two (stylized as 2wo) were experimental by Halford's standards, but not by industrial music standards in general. Voyeurs has all the expected bells and whistles, including but not limited to: distorted vocals, the word "pig" in a song title, thumpy bass, ticky-ticky sounds, bloops, bleeps, and other stuff that sounds like broken machinery.
What does make this album special is that the band was "Two", not "One"…meaning there is a second guy involved here, and what a talent he was. That guy was guitar player John 5. This was his breakthrough release. After this he hooked up with David Lee Roth, Marilyn Manson, Rob Zombie, et al. John 5's involvement means there is some wicked guitar work here, including "I Am A Pig" which features a solo that sounds like a mashup of Morello and Satriani.
Highlight songs include "I Am A Pig" (Reznor sure loves his pig imagery), "Stutter Kiss", "Hey Sha La La", "Water's Leaking", and the epic closer "Bed of Rust". "Bed of Rust" could have made a pretty cool Fight track. I would say in fact that there are no throwaway songs here. All of them have something worthwhile to offer. Just don't think too much about the lyrics. Halford's delivery is understated and, at times, whispery. No screams. At Reznor's suggestion, instead Rob explored other aspects of his voice.
Other notable names: Bob Marlette plays bass and produces. Dave "Rave" Ogilvie does some production work. Trent Reznor "executive produced". I always wondered what that means. I picture it meaning that Trent gives the project either a "thumbs up" or a "thumbs down" when the real work is done.
Of course many Priest fans didn't get it, although a chunk of the Reznor fans (who at the time would buy anything on Nothing records) accepted and enjoyed the album for what it is. I think if this was a release by a more popular band, like say Nine Inch Nails or KMFDM, it could have spawned two or three singles.
Japan had a bonus track called "In My Head" which is absolutely impossible to find, so good luck. I've never heard it.
Postscript:
It was during this period, promoting the Two album, that Rob Halford came out. People joked for a good number of years that Rob's sexuality was the worst kept secret in rock. That can't negate the courage that it took for Rob to come out in a musical genre that isn't always kind to anyone who's "different" (hello, Blabbermouth!).
"I think it's difficult for everybody, you know, in making the decision to come forward and be who you are, based on peer pressure, especially if you're a teenager," Halford said. "That's where a lot of the anxiety begins, and so maybe people like myself and others that do step in front of a camera and let the world know, maybe it's of some help, where there's an individual that's been successful, that's been able to achieve dreams and visions and goals in life and not let the issue of sexuality be something to hold them back, so I think it's an important thing."
LGTBICONS: Rob Halford – Angel of Retribution
MTV News – Rob Halford Discusses Sexuality Publicly For The First Time
Posted in Reviews and tagged alternative music, Blabbermouth, Bob Marlette, Dave "Rave" Ogilvie, david lee roth, fight, Gladiator, halford, hard rock, heavy metal, industrial, Interscope, joaquin phoenix, John 5, John Lowery, LGTBICONS, marilyn manson, Metal Edge, Mutations, Nine Inch Nails, Nothing Records, rob halford, rob zombie, rock music, the word "pig" in a song title, Trent Reznor, two, Voyeurs on June 15, 2013 by mikeladano. 21 Comments
REVIEW: Fight – Mutations (1994)
Part 2 of a miniseries on Rob Halford's solo career! If you missed Part 1, War of Words, then click here.
FIGHT – Mutations (1994 Epic collector's edition, 2008 Metal God Entertainment reissue)
Released in late 1994, Mutations (subtitled "collector's edition", which really means nothing) was a live/remix CD to follow War of Words. I seem to remember this being marketed as some sort of "extended EP" or some kind of not-album, which again is kind of meaningless. The original release was 45 minutes, a full length album by most measures.
Live Fight! Shame it was only four songs, as they absolutely kick ass. Rob Halford was still in peak voice in 1994, and every high scream is present on opener "Into the Pit". Fight as a live band were less stiff than on the first album. They were no less precise, and each song is just as ferocious as its album counterpart. On "Nailed to the Gun", bassist Jay Jay does the low death metal growls while Rob howls like a mad dog.
I was surprised that Rob put "Freewheel Burning" on the album, as he seemed to be trying to distance himself from his past at this time. Its the only Priest song and I don't think they played many Priest songs on the tour at all (but I know they did cover Sabbath's "Sweet Leaf"). Surprisingly it's here that Rob's voice falters, struggling with the demanding song. He redeems himself on the bluesy single "Little Crazy".
I enjoy hearing live recordings from bands with two distinct lead guitar players trading off. Russ Parrish and Brian Tilse were both very different stylistically, and the contrast is awesome. The pace is aggressive, and these guys keep chugging on. (Note: Russ Parrish is not credited on this album. He had left the band by the time of release, but there is no question that he did play on all these tracks. Why he was not credited is a mystery, but he does appear on the remastered version cover art.)
I believe I am well on record as not being a fan of remixes in general. There are exceptions but so many remixes add techno-crapola that often serves to reduce the songs to repetitive mockeries of themselves. On a track like "War of Words" , they remove Scott Travis' drums from sections, and replace him electronic beats. At the time I thought, "Why would you want to replace Scott Travis with a drum machine?" Today, it still bugs me. But hey, those who doubted the sincerity of Rob's industrial work with Trent Reznor in Two should remember these remixes!
I'll be honest, I struggle getting through the remix side in one sitting. There are some cool moments, such as the chance to hear isolated instruments and solos. "Vicious" is an example of a remix that works for me. It's weird, it has an opera singer and dance beats added, but it's pretty heavy and cool. But in general, the Fight songs were simple and repetitive to begin with. Making them simpler and more repetitive didn't work for me. Sure, I own some Nine Inch Nails albums, but this sound isn't where my heart lies.
Goodie-goodie-gosh, Mutations was reissued as part of the Into the Pit box set, with two bonus tracks. And these bonus tracks are (you guessed it) remixes. More versions of "Kill It" and "War of Words". At least the "Culture of Corruption Mix" of "War of Words" is about half as long as the regular "Bloody Tongue Mix".
Incidentally, why do remixes always have cliche sounding names? "Bloody Tongue Mix"! Raahhrr! Why not…"Toothpaste Mix". Something original. I think remixers should strive to be more original in the naming of their work. Something nobody's used yet. "I'm Rob Halford and I Endorsed This Mix Mix".
Posted in Reviews and tagged black sabbath, Brian Tilse, classic rock, Defenders of the Faith, ep, fight, Freewheel Burning, hard rock, heavy metal, I'm Rob Halford and I Endorsed This Mix Mix, industrial music, Into the Pit, Jay Jay, Metal God Entertainment, Nine Inch Nails, rarities, remixes, rob halford, rock music, Russ Parrish, scott travis, Sweet Leaf, thrash metal, Toothpaste Mix, Trent Reznor, two, Voyeurs, War of Words on May 30, 2013 by mikeladano. 9 Comments
REVIEW: Johnny Cash – American IV: The Man Comes Around (with DVD, 2003)
For Lara, and Rob.
JOHNNY CASH – American IV: The Man Comes Around (2003 American)
I have published over 300 reviews here at mikeladano.com (use the search button on the top right to look up anything you want). Yet, I still hadn't got around to Johnny Cash! That's strange, because Johnny Cash is very special to me.
Everybody "says" they love Johnny Cash. Many of them jumped on board when he died and became "cool" again. Take Dandy, for example, a trend chaser who inked Johnny's face on his arm a few months after he died. But hey, if you're on board now, that's cool. There's plenty of room for everyone.
Johnny Cash was my first concert. In Canada in the early 1980's, Johnny had an endorsement deal with Canada Trust, where my dad worked. Their brand new ATM machines were called Johnny Cash machines, and my dad even had some promotional Johnny Cash bills, a cool marketing gimmick. He went to see Johnny, his idol, when Johnny came to town. The first night of a two-nighter, my dad met him. On the second night, he brought me along (I didn't get to meet him). Johnny modified his original concert opening by saying, "I'm Johnny Cash, 24 hour money machine" (in reference to the ATMs). I still remember June kicking off her shoes!
The Man Comes Around is my favourite of the American Recordings, helmed by Rick Rubin. It was also the last one released in Johnny's lifetime. It is, all at once, extremely powerful, morose, joyful, and catchy. All filtered through Johnny's unmistakable baritone, worn and weary but no less strong and expressive. Like other American albums, it is a mixture of originals and covers, oldies and more recent fare.
The most well-known song on American IV was "Hurt", the Nine Inch Nails cover. It is remarkable by being so different, yet true to the spirit of the original. I prefer Johnny's take on it to Trent's, truthfully. "Hurt" is only one of many remarkable covers on this album. Johnny and Fiona Apple tend "Bridge Over Troubled Water", with quiet mellotron in the background.
My favourite song is Sting's "I Hung My Head". I couldn't believe the credits when I read that (having skipped Sting's Mercury Falling album). I thought for certain this had to be a new Cash original. Lyrically, I was convinced this tragic tale came from the mind of the Man in Black, but I was wrong. It's a spellbinding song, painting a clear picture, and Johnny's delivery is perfect.
"In My Life" is the favourite of Mrs. LeBrain. She's a huge Beatles fan. We selected this song for the signing of the register at our wedding. I received kudos on the musical selection from Tom Morwood and Jen's Uncle Rick, who loved the Johnny. While very different from the Beatles version, I think I can safely say I like both equally.
I'm not too keen on the Depeche Mode cover ("Personal Jesus"), but I don't like Depeche Mode much. I know some who think the cover is brilliant, so we'll go with that. Johnny and Rubin tranform the song into a dark acoustic stomp.
Other highlights include the classic "Sam Hall", which Johnny also performed on his 1965 album, Johnny Cash Sings Ballads of the True West. I love Johnny's energetic delivery on this traditional. We enjoyed this one at the record store, a lot. "Danny Boy" is another from 1965 (Orange Blossom Special) that Johnny takes a second crack at. This time it's a more intimate affair without the backing vocals. Johnny compensates with his rich storyteller's voice, each flaw telling a story of its own.
Elsewhere, I love "Desperado". And that's interesting because like the Dude, I hate the fuckin' Eagles.
The album closes with "We'll Meet Again", the Vera Lynn classic. I always think of Kubrick (Dr. Strangelove) when I hear this song. So for me, I can hear a sly wink in "We'll Meet Again", a hint of humour, as if Johnny knew this would be the last song on the last album released in his lifetime.
But it's not really the last song. On my wishlist is the vinyl edition, which had two bonus tracks: Marty Robbins' "Big Iron" (another personal favourite) and an exclusive version of "Wichita Lineman".
My copy of the album came with a bonus DVD. Nothing to get excited about, it's just the music video for "Hurt". Granted that's a great video, but the DVD is less special in 2013 than it was in 2003. Now, everybody Youtubes.
Wow, I just used "Youtube" as a verb.
Anyway. 5/5 stars!
Posted in Reviews and tagged American IV, American Recordings, autographs, Canada Trust, country music, dandy, Depeche Mode, Desperado, Dr. Strangelove, Hurt, In My Life, johnny cash, Johnny Cash machines, June Carter Cash, Nine Inch Nails, Orange Blossom Special, Personal Jesus, rick rubin, Sam Hall, Sings Ballads of the True West, Stanley Kubrick, Sting, the beatles, The Big Lebowski, The Eagles, The fuckin' Eagles, The Man Comes Around, tom, Trent Reznor, using "youtube" as a verb, Vera Lynn, yes I frequently hide jokes within my tags, youtube, youtubes on May 14, 2013 by mikeladano. 21 Comments
Rest in Peace, Sarge mikeladano.com/2022/01/25/res… via @mikeladano 10 hours ago


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Rockets' Clint Capela says James Harden inspired his rebounding run
Angelo Guinhawa
James Harden is having another MVP-caliber season, and his Houston Rockets teammate Clint Capela is feeding off the energy that The Beard is giving out.
While James Harden has taken the spotlight over the past few months — lifting the Rockets from mediocrity to title contention once again — Clint Capela has put on a string of impressive performances as well. The Swiss big man, in fact, has been a monster on the boards for Houston.
On Thursday's showdown against the Warriors, Capela had his third 20-point, 20-rebound outing of the season. He finished the game with 29 points and 23 rebounds to help the Rockets upset the Dubs at Oracle Arena.
In Houston's last 12 matches, a run that saw them win 11, Capela averaged 14.8 rebounds. To put that in a better perspective, only Anthony Davis and DeAndre Jordan have corralled more boards over the same stretch.
Capela admitted he was inspired by Harden's recent performances, and the 24-year-old big man emphasized that the reigning NBA MVP pushed him to bring his game to the next level.
"To me, it gives you such much more energy when I see my teammate every single day next to me with that much effort, every single night, go that hard," Capela told Jonathan Feigen of Houston Chronicle. "I'm like, 'OK, I got to do it, too.' He's so special. To me, I feel like, because of him I got to the next level, too. To see a guy like that every day go that hard gives me so much energy."
"Sometimes, I get so many rebounds, I don't even recognize myself. But when I see a guy like that giving so much, I got to give as much as I can, also."
It remains to be seen if Capela can keep up his production on the glass, especially now that their upcoming games are against teams with quality big men. They take on the Portland Trail Blazers on Saturday, with Jusuf Nurkic waiting to face Capela.
After that, Houston hosts the Denver Nuggets led by Nikola Jokic, one of the best centers in the league today.
Capela has undoubtedly been a key player for the Rockets, and it certainly helps in his development that he is playing alongside Harden.
The post Rockets' Clint Capela says James Harden inspired his rebounding run appeared first on ClutchPoints.

redpajama_set_name: RedPajamaCommonCrawl


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Leeds sits in the heart of Yorkshire and is the biggest city in the region, with over three-quarters of a million residents making it the third biggest city in the UK by population. Bradford, less than 9 miles away, has a population of over half a million people.
There are 109,000 companies based in Leeds City Region as well as eight universities and strong transport links. Growth industries include manufacturing, the digital industry and the financial and legal sector.
However, the director for public health in Leeds has pointed to a worrying trend of worsening levels of deprivation, and a decline in life expectancy for women compared with increased life expectancy nationally. In Leeds infant mortality is increasing; young women are increasingly affected by mental health problems and self-harm, as well as alcohol related deaths; and more men are dying from drugs overdoses and suicide.
Bradford, according to an Office for National Statistics Regional Trends report in 2009, has areas suffering from the highest levels of deprivation in the country, with infant mortality double the national average and life expectancy lower than in other parts of the district. The 2011 UK census lists Bradford as having the youngest, fastest growing population outside London.
We enhance the wellbeing of children, young people and families. We aim to work in an integrated way with other services and organisations within Leeds and Bradford. We receive support from organisations and individuals who care about Leeds and Bradford and seek to invest in the community and its future wellbeing.
Explore some of our great stories from the area:
Leeds Summer Arts College
The Summer Arts College in Leeds is a three week course delivered by us in partnership with Leeds Youth Offending Service.Find out more
Kate McIntyre - Trustee
As a Trustee of Brathay and Leeds resident, Kate McIntyre has a real affinity with our work and has been supporting us since 2012.Find out more
Collaborating to improve wellbeing – Herowellbeing and us
We have teamed up with the Leeds based company, Herowellbeing, to offer a full package of support to businesses who want to improve wellbeing.Find out more
A teenager overcomes bullying by recording her own song
A Bradford teenager released an anti-bullying song as a message of hope to othersFind out more
Pioneering programme that helps families in difficulty
Our Families First programme in Bradford supports families by putting their needs first. Find out more
Helping young people into work through Talent Match
We support young people into employment in West Yorkshire through Talent MatchFind out more
Romance blossoms out of our Bradford centre!
One of our NCS graduates in Bradford chose our Ambleside site in the Lake District as his favourite place to propose!Find out more
Families First programme helps single mum re-focus
Our Families First programme in Bradford gave Poppy the support and coping strategies she needed to handle the responsibilities of being a young, single mum.Find out more
Making families stronger
Nadia was first referred to us under the Stronger Families programme after an abusive relationship forced her to move with her children to a new area.Find out more
Young Minds Matter Appeal
The number of young people struggling with mental health difficulties has more than doubled in recent years, which means providing targeted programmes to support them is a priority for Brathay. Support young people by donating to our appeal today. Find out more


55mm diameter dual frequency sonde used to trace deep lying drains, sewers, and other non-conductive utilities. Can be attached to a range of equipment including drain rods, boring tools, etc.
Takes 3 AA alkaline batteries.


Glenn Shorrock is a music icon. With a career spanning more than fifty years, he is one of the elder statesmen of Australian contemporary show business. Now, Where Was I? is Glenn's story in his own words. After emigrating with his family to Australia as a 'ten-pound Pom' in the 1950s, his success took him to international stardom.
From his time with sixties pop band the Twilights, his work with Brian Cadd and Axiom in the early 1970s, to fronting the chart-topping Little River Band, Glenn tells his story in an intelligent, witty style that recalls the heady days of rock 'n' roll - the big names, the long tours and the bitter controversies - without losing his unique sense of humour and wonderful touch of irony.
"Glenn Shorrock and his quite exquisite voice has been a part of our lives for more than fifty years. The tales he tells, with great wit and enduring good humour, is an evocation of time and place for anyone who has ever turned on a radio. This is Reminiscing of the first order."


The last week brought me many difficult conversations with friends and acquaintances. I want to share one while keeping my friend's identity and story rather vague for privacy. Bear with me if you will.
I have this friend that likes to call me. Like, she truly calls me on the phone. *gasp* Not a text. Not a Facebook message. She literally calls me. *the horror* She knows that I hate to talk on the phone, but once told me outright, "Look, I like to talk on the phone. If we're going to be friends, you have to be okay with this." And so, when her name shows up on my phone, I answer it. Every. Single. Time. After all, friendship means meeting your friends halfway, even when it means getting out of your comfort zone.
So, my friend calls during a lull in school and wants to bounce some thoughts off of me. It's been bothering her that people use the phrase, "Praise God for hearing our prayers," because God (in their eyes) did what they wanted Him to do. It was bothering her because she has dear friends that were also praying for desperate things—children to be healed, for instance—and their answers hadn't been "heard" or "answered." Had they not done something right? Why had God seemed to hear her prayers and not the prayers of her friends who were then forced to bury their child, feeling they hadn't done enough to be granted God's favor?
She said, "Don't get me wrong. I believe in the power of prayer."
And a light bulb went off.
Prayer isn't some handy tool.
Prayer is not a ritual that we carry out with grave importance and work desperately to get the formula right so that we are heard and granted our request.
Maybe that's where the disconnect happens?
When I realized that this wasn't actually helping my friend, I said that I thought prayer was too convenient a tool for Christians to use, and that praise for the prayers being answered, was also too easy. Where is the praise when things don't go the way we want them to? Where is the praise when we stand at the grave yard? Where is the praise when we are scared and lonely and lost?
And maybe that's it? We get hung up on religious terms. We get hung up on religious acts. Maybe God isn't so much concerned about us praising Him in the good times? Maybe He is more about our genuine love and faithfulness to Him when the times are good and the times are bad?
Maybe God just wants us to not give up on Him?
Maybe He can't fix everything (I know that someone is going to rally against me on that, but just assume that we don't know everything about God and that maybe SOME things are out of His hands. Otherwise, wouldn't He have made sure Eve never ate the apple?)?
Like marriage, we don't have a perfect story. We have adventures. We have love. We have pain and fear and jobs that are lost. We have life altering moments of sheer joy, and we have moments of crushing terror and loneliness.
But does it break you? Do you run? Do you cheat or throw in the towel? Some of us do. Yet, I think that's the sort of relationship God wants us to have with Him? He wants a real and committed relationship. And just like me answering my friend's phone call when I don't like it, a real and committed relationship with God doesn't need our flowery prayers, but simply us and our time--both good and bad.
He is the other half of us.
Without Him, we are not whole.
And so, dear hearts, might we be careful about how we speak and praise and define Him with cold and empty religious terms?
Note: Roger said that this might come off judgemental towards divorced and single readers. So, I would like to pause and explain that I do not mean to say that if you are not married, that your relationship with God is not healthy. I know that many people try and try at marriage and it still ends, or they have been betrayed in their marriage and it ends. This does not reflect your relationship with God. I know that many people have not yet found someone they want to marry. This does not reflect your relationship with God. Some of you might have been married for decades, but know that it isn't always great and hard times are had by all. Some of you may never have a desire to marry at all. I only used "marriage" as an example of the ultimate commitment within a relationship. Please forgive me if this offended in anyway.


I feel like it's been a while since I've been here. I have quadrupled my hours at work (tells you how much free time I had before) so life got a bit busy.
and wore it while cutting vegetables for SpecialK's favorite dish. I make this for him frequently. Actually, I make it for him any time there is a zucchini that needs to be used.
I noticed the glove caught on the mandoline several times, never snagging. My fingers remained attached to my hand, and there was no need to stock up further in Band-Aids.
This glove was a happy thing to find. What new things have you found or discovered that make your days easier?
Wishing everyone a very happy and healthy 2017!


I'd love to do quilts, but just can't fit it in!
Love the signs on the old barns.
Wish I could be creative enough to QUILT.
Are these also called Hex Signs? Seems like I used to know the symbolism behind some of these designs….in another life! Great shot. I love old barns.
Another interesting post of of quirkiness.
Beautiful black and white photo -- we loved seeing those quilt barns when we spent time in that part of the country.
what a great trio of 'q' words, and I love the barn especially that you showed in in b&w!
Such a fitting post. Is the barn in NC?
So lovable picture for "Q"..!
What a great old barn, good spotting!
I love BW's. They have their own charm and brings about an intense feel to the snaps.
Very neat looking old barn and I really like the quilt signs.
Quaint indeed! I love that black and white effect.
B & W looks well for the quant old barn.


At approximately 03:30 this morning the Calgary Fire Department (CFD) responded to 14 Ave and 38 St SE, to investigate a possible house fire. Upon arrival, crews discovered a small amount of smoke coming from a basement window of a single family bungalow. The Fire Fighters entered the house and began searching for the source of the smoke as well as potential victims. It was quickly discovered that the smoke was coming from a fire in a basement bedroom. Upon entering the bedroom a male victim was located and rescued, he was turned over to EMS who transported him to the hospital. The fire was quickly extinguished and aside from the bedroom, the house sustained only minor damage. At this time the exact status of the victim is unknown and fire crews remain on scene overhauling the bedroom to ensure there are no hot spots. Once the area is deemed safe the investigation into the exact cause of the fire will commence.


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New Hampshire ranked #30 in the nation for graduate degrees with 10,567 students receiving a diploma in 2019. Graduate students from New Hampshire can take advantage of in-state tuition, which averages about $18,059 per year. Out-of-state graduate tuition averages $19,872. Depending on the school you go to, you may have to pay quite a bit more - or quite a bit less.
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919 Yearly Degrees
University of New Hampshire - Main Campus was ranked the #2 most popular graduate school in the state in 2019. All in all, 919 graduate degrees were handed out that year. These are the average costs for students attending the school, based on recent data.
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Hanover, New Hampshire
Dartmouth College was ranked the #3 most popular graduate school in the state in 2019. All in all, 865 graduate degrees were handed out that year. These are the average costs for students attending the school, based on recent data.
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Part-Time per Credit Hour Tuition for Grad Students $7,414 $7,414
Plymouth State University
Plymouth, New Hampshire
$9,630 Yearly Tuition (In-State)
Plymouth State handed out 345 graduate degrees in 2019, making it the #4 most popular graduate school in the state. The following table gives a breakdown of the tuition costs to attend the school. This is based on the most recent data available.
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Avg. Full Time Graduate Tuition $9,630 $13,680
Antioch University - New England
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Henniker, New Hampshire
Out of the 13 schools in the state that offer graduate programs, NEC ranked #6 in terms of popularity with 297 graduate degrees handed out in 2019. The table below lists the tuition and fees for the school, based on the most recent data available.
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Rivier University
Nashua, New Hampshire
In 2019, Rivier handed out 277 graduate degrees. This makes it the #7 most popular school in the state in this category. The following table gives a breakdown of the tuition costs to attend the school. This is based on the most recent data available.
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Franklin Pierce University
Rindge, New Hampshire
Out of the 13 schools in the state that offer graduate programs, Franklin Pierce College ranked #8 in terms of popularity with 212 graduate degrees handed out in 2019. The table below lists the tuition and fees for the school, based on the most recent data available.
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Granite State College
82 Yearly Degrees
In 2019, GSC handed out 82 graduate degrees. This makes it the #9 most popular school in the state in this category. These are the average costs for students attending the school, based on recent data.
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Avg. Full Time Graduate Tuition $8,610 $9,690
University of New Hampshire School of Law handed out 81 graduate degrees in 2019, making it the #10 most popular graduate school in the state. The table below lists the tuition and fees for the school, based on the most recent data available.
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Keene State College
Keene State handed out 48 graduate degrees in 2019, making it the #11 most popular graduate school in the state. The following table gives a breakdown of the tuition costs to attend the school. This is based on the most recent data available.
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Upper Valley Educators Institute
Upper Valley Educators Institute was ranked the #12 most popular graduate school in the state in 2019. All in all, 22 graduate degrees were handed out that year. The table below lists the tuition and fees for the school, based on the most recent data available.
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Colby - Sawyer College
New London, New Hampshire
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text:
TBFF BLACK MARKET : Actra - Voices of Diversity – Breaking into Voice Performance (Reserve for FREE)
Co-presented by
Ever thought of being the voice in an animated series, movie or audio book? Discover how you can break into this booming industry! Get tips on making the right demo, to finding an agent and more. Learn how to make your voice stand out!
Moderator: Samora Smallwood - ACTRA Toronto Diversity Committee Co-Chair
Samora Smallwood is a bilingual Actress, Writer, Cool Feminist & co-chair of ACTRA's Diversity Committee, Council Person at ACTRA. She is the founder of The Actors Work Studio an innovative acting studio in Toronto. Samora's recent on-screen work includes The Expanse, American Gods, The Coroner, The Shelter, Shadowhunters, and Frankie Drake Mysteries in a story about white passing & black identity in Canada directed by Sudz Sutherland. Samora's passion is telling fresh stories and promoting diversity on-screen and behind the camera. She was recently a jury member for The Female Eye Film Festival as well as a selected participant in The Reelworld Film Festival's "Emerging 20 Program".
Millie Tom - Casting Director
Millie Tom is a 2017 Canadian Screen Award Winner for Best Achievement in Casting which she shares with Deirdre Bowen, for their work on CBC series, Kim's Convenience in its debut season. Toronto-based Casting Director with wide-ranging experience in casting series, shorts and features for film and television with special experience in diversity casting. As an independent Casting Director, Millie has worked with many of Canada's finest directors, including: John L'Ecuyer, Jerry Ciccoritti, James Genn, Richie Mehta and Kate Melville. She has worked on independent features such as Picture Day, A Sunday Kind of Love and the recently wrapped feature film The Education of Fredrick Fitzell. As a Casting Associate with RDC Casting she helped with casting on Scott Pilgrim vs. the World; The Lookout; The Incredible Hulk (2008). Additionally, Millie is proud of her work with John Buchan Casting on Olivier Assayas' feature film Clean, starring Maggie Cheung and Nick Nolte for Rhombus Media. Most recent credits include Ubisoft's video games, Far Cry 5 and the 18th season of the docu-drama series, Air Emergencies/ Mayday for National Geographic (USA) and Discovery Channel in Canada. And currently Audio-Book casting for Penguin Random House Canada. She recently joined the Seneca College Faculty of Creative Arts and Animation teaching Auditioning for Camera.
Julie Lafontaine - Voice agent @ Fountainhead Talent
Julie Lafontaine grew up in Montreal with French as her first language. She went to school at Villa Maria and played competitive tennis becoming one of Canada's top juniors. In her mid-teens, she won an athletic scholarship at Pensacola Junior College. After coming back from Florida, she studied marketing at Concordia University in Montreal. In 1990 she and her husband moved to Ontario to pursue exciting career opportunities. By some twists of fate, Julie started her career as a talent agent learning the ropes at the Sloan Agency where she worked for 8 years. In 1999 she founded Fountainhead Talent Inc. Home to some of the finest actors and voice over artists in both English and French, the agency has grown to be recognized as one of the most respected and reputable agencies in the country. Fountainhead Talent is a TAMAC member and prides itself on representing union affiliated talent. Julie has been very active working on various committees for both ACTRA and UDA. Fountainhead Talent will be 20 this year but we are told by reliable sources, we could still pass for 18!
Lindsey Owen Pierre- Voice Performer
Lindsay Owen Pierre is a Calgary born, Montreal raised, Canadian Actor/filmmaker. Graduating from John Abbott College's theatre program in 2000 he has since gone on to perform in film, theatre and video games all across North America.Theatre credits include performing in Toronto's highly acclaimed production of We Will Rock You, One Little Goat's peculiarly loved The Charge of the Expormidable Moose, Black Theatre Workshop's (Montreal) production of The Meeting among many others. In film and television he has appeared as Maclom X in Lifetime's Betty & Coretta opposite Angela Bassett and Mary J. Blige. He has also been seen in fantastic productions such as White House Down, The Strain, The Listener, Private Eyes, Murdoch Mysteries as well as many other shows and commercials over his career. He has also kept busy working in voice and mocap for exciting video game franchises, including Assassin's Creed, Splinter Cell, Ghost Recon, Farcry and Deus Ex. He presently keeps busy with writing and producing short films and short stories.
Christina Tannous- Voice Performer
Montreal-born bilingual actor Christina Tannous started her performance career as an opera singer, performing as a soloist with various Canadian organisations such as the Montreal Symphony orchestra, the Orchestre Métropolitain and Opera Lyra Ottawa, to name a few. Her desire to pursue acting came naturally and today, Christina works regularly in TV & Film, theatre, voice-over and commercials in both official languages. TV & film credits include appearances in Good Sam, Workin' Moms, The Art of More, Designated Survivor and Les Simone. Voice-over work include credits for Assassin's Creed: Origins, Les Copains Carlins and Amélie & Cie. 2018 was an exciting year for Christina, marking her debut at the Centaur Theatre in Montreal in the play The Baklawa Recipe for which she received a best supporting actress nomination at the Meta awards, as well as a debut in the francophone theatre community in Montreal in the play L'Assemblée, presented at the Espace Go, produced by Porte Parole.
Events in that series
Feb 16, 2019 - 11:00 AM
Carlton Cinema - Carlton II
TBFF BLACK MARKET : Meet The Filmmakers
20 Carlton Street, Toronto


text:
import {EvictionPolicy} from './EvictionPolicy';
import {InMemoryFormat} from './InMemoryFormat';

/**
 * Near Cache configuration to be used by the client for the specified IMap.
 */
export interface NearCacheConfig {

    /**
     * Enables cluster-assisted invalidate on change behavior. When set to `true`,
     * entries are invalidated when they are changed in the cluster. By default, set to `true`.
     */
    invalidateOnChange?: boolean;

    /**
     * Maximum number of seconds that an entry can stay in the Near Cache until
     * it is accessed. By default, set to `0`.
     */
    maxIdleSeconds?: number;

    /**
     * Specifies in which format data will be stored in the Near Cache. Available values
     * are `OBJECT` and `BINARY`. By default, set to `BINARY`.
     */
    inMemoryFormat?: InMemoryFormat;

    /**
     * Maximum number of seconds that an entry can stay in the cache. By default, set to `0`.
     */
    timeToLiveSeconds?: number;

    /**
     * Defines eviction policy configuration. Available values are `LRU`, `LFU`, `NONE`
     * and `RANDOM`. By default, set to `LRU`.
     */
    evictionPolicy?: EvictionPolicy;

    /**
     * Defines maximum number of entries kept in the memory before eviction kicks in.
     * By default, set to `Number.MAX_SAFE_INTEGER`.
     */
    evictionMaxSize?: number;

    /**
     * Number of random entries that are evaluated to see if some of them are already
     * expired. By default, set to `8`.
     */
    evictionSamplingCount?: number;

    /**
     * Size of the pool for eviction candidates. The pool is kept sorted according to
     * the eviction policy. By default, set to `16`.
     */
    evictionSamplingPoolSize?: number;

}

/** @internal */
export class NearCacheConfigImpl implements NearCacheConfig {

    /**
     * Name of the IMap backed by the Near Cache.
     */
    name: string;
    invalidateOnChange = true;
    maxIdleSeconds = 0;
    inMemoryFormat = InMemoryFormat.BINARY;
    timeToLiveSeconds = 0;
    evictionPolicy = EvictionPolicy.LRU;
    evictionMaxSize = Number.MAX_SAFE_INTEGER;
    evictionSamplingCount = 8;
    evictionSamplingPoolSize = 16;

    toString(): string {
        return 'NearCacheConfig[' +
            'name: ' + this.name + ', ' +
            'invalidateOnChange:' + this.invalidateOnChange + ', ' +
            'inMemoryFormat: ' + this.inMemoryFormat + ', ' +
            'ttl(sec): ' + this.timeToLiveSeconds + ', ' +
            'evictionPolicy: ' + this.evictionPolicy + ', ' +
            'evictionMaxSize: ' + this.evictionMaxSize + ', ' +
            'maxIdleSeconds: ' + this.maxIdleSeconds + ']';
    }

    clone(): NearCacheConfigImpl {
        const other = new NearCacheConfigImpl();
        Object.assign(other, this);
        return other;
    }

}

redpajama_set_name: RedPajamaGithub


text:
Beyond Eden Rock
100 Years of Books
Miss Treadway and the Field of Stars by Miranda Emmerson (2017)
February 19, 2018 | Jane @ Beyond Eden Rock
When I first caught sight of 'Miss Treadway and the Field of Stars' I saw so much promise, and when I started to read I found much more than I had expected. I found a mystery, a travelogue, a historical drama, and captivating human stories; and I found a colourful portrait mid-sixties London, that cleverly captured both the light and the shade of that particular time and place.
Anna Treadway was working-class and serious-minded; and she saw London as the centre of the universe, a place where it didn't matter what her background and her history, where she could be accepted for what was and get on with living her life.
She loved the home she found in the big city, and the author made it easy for me to understand why, and she painted wonderful pictures of Anna's London:
"Anna Treadway lived on Neal Street in a tiny two-bed flat above a Turkish café. She went to bed each night smelling cumin, lamb and lemons, listening to the jazz refrain from Ottmar's radio below. She woke to the rumble and cry of the marketmen surging below her window and to the sharp, pungent smell of vegetables beginning to decay.
When she went to buy fruit at seven o'clock it took her past the Punjab India restaurant. Past the emerald green face of Ellen Keeley the barrow maker. Past the dirty oxblood tiles of the tube station where Neal Street ended and James Street began. Past Floral Street where the market boys drank their wages away and down, down, down to the Garden. Covent Garden: once the convent garden. Now so full of sin and earth and humanity. Still a garden really, after all these years."
Though she hadn't been drawn to the bright lights, Anna had found work in the theatre. She was dresser a rising star, the glamorous American actress Iolanthe Green, a rising star. A friendship grows between the two, very different young women.
Until the Monday when Lanny didn't appear.
There could have been a simple answer but there wasn't.
The next day all of the newspapers were abuzz with the mystery of the missing star. Theories were propounded. Concerns were raised. But it wasn't long before there was no more news, the story slipped out of the headlines, and Anna began to worry that her friend had been forgotten.
One newspaper had asked asks why so much attention was being paid to one wealthy actress when in the past week alone seventy ordinary people have gone missing without any great fanfare at all. The police inspector in charge of the case agreed. He had more than enough work to do, why should he worry about an actress who had no ties, who had quite possibly decided to move on of her own accord?
Unimpressed with the efforts of the police, Anna sets out to discover what had happened to her friend. Detective Sergeant Barnaby Hayes, the one officer left on the case, warned her off. He was Irish, but he had made the decision to his name from Brennan to Barnaby so that he could fit into his new job and his new life in London; and he hoped that discovering whether Iolanthe has disappeared of her own accord, or whether something has happened to her, would impress his colleagues and his superiors.
Anna took no notice of his warning, she went on looking for Lanny, and she met a young man who was happy to help her. Aloysius was an accountant, a quiet and gentle man, an ardent Anglophile; and he was still coming to terms with the knowledge that his degree from the University of the West Indies wouldn't gain him entry to exclusive gentlemen's clubs or the city's best restaurants, that the England he lived in had little in common with the England he had read about in books.
The mystery is cleverly constructed, and it spins around rich human stories.
Barnaby, his wife Orla and their daughter, Gracie had very different feeling about life in the big city. Turkish café owner Ottamar worked hard for his family and worried about his daughter, Samira, who was growing up and away from him. Anna's landlord Leonard was gay in a world where that wasn't legal. Aloysius faced appalling racism and police brutality, and yet he continued to be polite and respectful.
I was very taken with them all.
I saw that they were all outsiders, they had all come to London from somewhere else; and that some of them were carrying secrets, some of them were running away from something, and that some of them were chasing dreams and ambitions. Their different stories and characters developed nicely, they had things to say, as the mystery unravelled.
I came to realise why finding Lanny was so very important to Anna.
My only real issues were that Lanny's backstory was muddled and left loose ends, and that while the final act of worked emotionally it was little contrived.
The time and place are very well evoked, and though some of the language and many of the attitudes shocked me I couldn't doubt that they were authentic.
I loved the human drama, I was intrigued by the mystery; and I have to say that this is a very accomplished first novel and that I am very interested to read whatever Miranda Emmerson writes next.
Posted in Reading	2017Miranda Emmerson
< A Book for Dorothy Canfield Fisher Day: Rough-Hewn (1922)
A Walk Around the Winter Exhibition at the Virago Art Gallery >
3 thoughts on "Miss Treadway and the Field of Stars by Miranda Emmerson (2017)"
cirtnecce says:
What a brilliant review and seems to be an equally brilliant book. It seems like a perfect combination of historical fiction, social commentary and mystery. Lovely! I hope I can find a copy in this side of the world!
Sounds intriguing! 🙂
I read this back in Jan 2017 and thought then that a sub-plot that came back up near the end hinted at a sequel. I can't find anything about that now, though. Here's my review, if you're interested https://librofulltime.wordpress.com/2017/01/19/book-review-miranda-emmerson-miss-treadway-and-the-field-of-stars-amreading/
My name is Jane, and I live on the Cornish coast, with the Man of the House and a border terrier named Briar.
This is where I write about books, and about other things that interest me.
Art, music, knitting, my dog ....
If you want to know more, just take a look here.
Please do leave a comment - or email beyondedenrock at gmail dot com - if you see anything that interests you, or if there's anything you'd like to know.
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A solid history of the King of Prussia's army and it's times. Duffy touches on all aspects of the army's components. From recruitment to retirement (or, more likely, post-service destitution), The Army of Frederick the Great outlines the career trajectory of the common soldier, NCO, and noble officers that served under their warrior-king. The social and economic aspects of the army are also explored, showing that, since the 18th-Century, at least, military service hasn't changed a lot. I should know - I was raised as an Air Force brat.
The last section of the book covers some of the major actions of the Seven Years' War, but is a little short on detail.
While I appreciate a good, solid history, I felt that this book could have been so much more. I wanted to hear more of the soldiers' voices, more of their recollections, and less of Duffy's explanations. A good historian explains; a great historian lets the past speak for itself from the primary source material, acting as a co-observer more than a lecturer. I had picked this book up to provide me with reading material while I did edits on my novel, Heraclix & Pomp, which takes place in 18th-Century Central Europe (but only peripherally involves Prussia). I'm through with this book, but not through with my edits. Thus, I am left now to look for other accounts of the Seven Years' War which are, alas, in short supply.


text:
Q: Check to see if checkboxes in the same row are selected I'm trying to have an error message/alert pop up when two checkboxes in the same row are selected. I've been able to count the total number of checkboxes, and I know how to count how many are currently checked. Each of my checkboxes will have a unique ID.

<input type="checkbox" name="A" value=1 id="A1" /> A1
<input type="checkbox" name="B" value=1 id="B1" /> B1

<input type="checkbox" name="A" value=1 id="A2" /> A2
<input type="checkbox" name="B" value=1 id="B2" /> B2

    <input id="clickMe" type="button" value="clickme" onclick="test();" />

My jquery skills are very basic. Here is the code I've been using to count boxes and count checked boxes.
    $(document).ready();
var len = $('input:checkbox').length;
console.log("There are "+len+" checkboxes");
var count2;
var test = function(){
    var count2 = $("[type='checkbox']:checked").length;
    console.log("There are "+count2+" checked checkboxes");
};

Any help would be great, thanks!

A: You can use .each() method:
$('#tester tr').each(function(){
     var l = $(this).find('input[type=checkbox]:checked').length;
     if (l === 2) alert('2 checkboxes are checked');
});

Or .filter() method:
$('#tester tr').has('input[type=checkbox]').filter(function() {
     return $(this).find('input[type=checkbox]:checked').length === 2;
}).addClass('error');

Note that if you want to prevent the form submission, you should validate the form elements on submit event and for providing a better user experience using alert function should be avoided.
var $form = $('#tester'),
    $tr   = $form.has('input[type=checkbox]');

$tr.find('input[type=checkbox]').on('change', function() {
    var $tr = $(this).closest('tr'),
        checked = $tr.find('input[type=checkbox]:checked').length;
    $tr.toggleClass('error', checked === 2);
});

$form.on('submit', function() {
    return $tr.filter('.error').length === 0;
});

Demo on jsFiddle.net

A: Process each row on it's own.
 // for each row
 $("#tester tr").each(function(){
     var count = $(this).find("input:checked").length;
     console.log("There are "+count+" checked checkboxes");
 });

A: How about
$(function () {
    $("#tester > tr").each(function () {
        if ($(this).children("input[type='checkbox']:checked").length > 1) {
            //more than one checkbox is checked
        }
    });
});

redpajama_set_name: RedPajamaStackExchange


The title's reference to a 'complicated system affected by secret or indirect influences' (OED) is born out in practice.
A fun moment provided young Heaney with an entrance into his developing self. Born an intelligent, inquisitive youngster on the family's rural farm, he enjoyed the thrill of putting his bicycle to experimental use, carefully noting the 'what-happened'. He discovered the spin, motion around a central axis, force fields, gravity, and deflections dictated by the laws of physics at an early age.
The poet's first experience of working something out for himself (first reaI grip I ever got on things) involved the art of pedaling – not astride his bicycle, rather with the bike upside down on its seat and handlebars and its pedals turned manually at breakneck speed (preternaturally fast).
Heaney's observations led to a keen interest in what was happening: the illusion of see-through (the disappearance of the spokes); see-through generating sound from nothing visible (Hummed with transparency); the invisible presence of spokes demonstrated by the disintegration of solid matter (potato), bits thrown out by centrifugal forces (hooped air); evidence of energy and gravity (Spun mush and drizzle back into your face); destruction of the most flimsy items (straw frittered).
He becomes intrinsic to the event, meeting the notion of resistance (pedal treads Worked very palpably at first against you) and the point at which the pedaling hand could no longer keep up – swept ahead into a new momentum.
The experience left its mark (entered me) providing a transformative access of free power – Heaney is not yet familiar with the physics of centrifugal force and accepts what happened as true without Newtonian proof: has seen how pedal-thrust throws objects outwards (belief caught up and spun the objects of belief) and extends his farmyard fun beyond earth's gravity (orbit), to the convergent point that matches his eagerness (coterminous with longing).
For young Heaney enough was not enough; observing things as they were (given) just opened further lines of enquiry. The youngster threw earth and water into the mix.
A deliberately chosen spot on the family farm: 'The well' … more a hole/ With water in it), framed by small hawthorn trees; a pool of muddy ooze, marked by cattle (dungy … all tramped through); a sludgy (turbid sump-life) carrying the whiff of farm-yard machinery (like old chain oil).
He sets out the stages: I arrived with bike; I turned it upside down; I stabilized it (soft bottom); brought rubber and water into contact; started to pedal. He makes an immediate visual link (mill-wheel pouring at the treadles), noting that a millwheel is water-driven whilst, here, he is driving the water (reversed) and producing a wild spray (lashing a mare's tail.
He records the sensations: the power of muddy water was invigorating (world-refreshing), its spray delicately visual (lace and dirt-suds there before my eyes); it left its mark on him (showered me), promised renewal (my own regenerate clays). Exhilaration became addictive: the quasi-spiritual halo it produced worked again and again (For weeks I made a nimbus of old glit).
Then … harsh reality … nothing is forever (the hub jammed, rims rusted, the chain snapped.
the backlash from his venture into abstraction sends Heaney spinning into the primary materiality of dirt (that) cannot resist the abstracting impulse. Dirt is made magical by 'Wheels within Wheels' … the child who will grow up to be the poet moves his bicycle to a mud-hole; upside down, with its saddle and handlebars submerged, it sends up by its turning wheels a shower of silt … With the terminal snapping of the chain here, and the disappearance of the 'nimbus', Heaney bids farewell to his most ambitious wish – to join the domain of mud with the domain of vision (HV 144-5).
Nothing came close to young Heaney's exhilaration at the joys of wheel-spinning on the farm until, in a circus ring (everything is circularity) with all its razzmatazz (drumrolled and spotlit) a wild west entertainment featured Cowgirls circling, perfectly turned out (immaculate) each one at the hub of an apparently empty spinning rope (the still centre of a lariat) … perpetual motion (Perpetuum mobile), spin perfection (Sheer pirouette) within a pattern of movement (Tumblers. Jongleurs. Ring-a-rosies); he wishes it could go on forever: Stet!
NC 165-6 'Wheels within Wheels' is one example where (via a process of the initial object > vision/ revelatory process) individual texts becoming allegories of their own creation and performance … In 'Wheels within Wheels', this process of transformation is itself figured as an opening or entrance in the developing self, and indeed the verb 'enter' and its cognates recur throughout the book.
Repeatedly in Seeing Things it is the unpredictability and change ability of water and sky which excite the poet and prompt new and unusual angles of vision.