text:
Formerly Incarcerated Japanese Americans Organize a Protest Against Family Separation at the Border
In February 1942, a couple of months after the bombing of Pearl Harbor, President Franklin Roosevelt signed Executive Order 9066, forcibly removing people of Japanese descent from their homes on the West Coast and putting them in hastily built camps where they were incarcerated for the remainder of the war.
The War Relocation Authority hired photographer Dorothea Lange to document the internment. One photo shows a group of Japanese Americans, dressed in suits, dresses, and hats, lining up to register. One woman is stepping out of line to look ahead, a distressed look on her face.
The photo hangs in an exhibition at Futures Without Violence in San Francisco's Presidio, Then They Came For Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties, which tells the story of the 120,000 Japanese Americans — two-thirds of them born in the United States — incarcerated without due process. They had to leave their homes and businesses and take only what they could carry to one of 10 internment camps.


text:
Valkyrian Music
Remember… Faces were made to be melted!
Cats In Space – Scarecrow
Posted in Uncategorized with tags Cargo Records, Cats In Space, glam rock, Mick Birchall, Powerpop, Scarecrow on 28th October 2017 by Mickelrath
Cats In Space
Power-pop, Glam Rock
via Cats In Space / Cargo Records
In my continued search for something different in the rock/metal world. I happened upon a band called Cats In Space. I thought this had to be something new different and interesting. To my disappointment they weren't some existential prog-rock act with themes of feline creatures in the vastness of space. Instead it's another rock act trying to evoke that feeling of the late 70's/early 80's glam rock. To which they do a really good job. Their music is bright , happy and definitely has that sense of musical presence that gets that style of old school rock down almost perfectly. Once I got past my confusion of what they were, I really found myself getting into their music. Having grown up on this genre, it definitely struck a chord with me. It has the same feel as Whitesnake, well not really but it's something I can get behind 100%.
The album has a weird tone on the production, like a really heavy digital processing, this works on some songs but can kind of sounds like shit at other times. Especially when it's just the synths on their own. Every song has a really strong hook, with pretty simplistic lyrics so it's easy to sing along to. They implore this masterfully, I have to say I was bopping along quite merrily to almost every track. Even though the production is a little weird, I love the songwriting, the way the songs flow should bring a smile to any hard rock fan, with swelling versus that just build to big choruses. Yeah, it's formulaic but you can't argue that it works. They just get the best out of their sound by making everything sound huge. The guitar tone is wonderful and the bass and drums lock in together really well. The vocals performance is damn near flawless, soaring on top of the production and hitting every note beautifully.
I have to say I was a little taken back by this album. It reminded me of listening to old school records with my Dad and it has those big overblown choruses to match. The production can be a little clumsy with the way it sounds at times, but that's a very minor point. The songs are fantastic. It's cheesy and a little bit silly but I think that's the point. To be an over-the-top power pop/glam rock band with massive catchy choruses that are easy to sing along to. I actually liked this album in the end. Not enough to give it a perfect rating but you know with the amount of depressing shite that out there. I needed something like this.
Mick Birchall
Chronus – Chronus
Posted in Uncategorized with tags Ghost, Heavy Metal, Progressive Metal on 28th October 2017 by izaforestspirit
Chronus
Heavy Metal/ Progressive Metal
Released 27th October 2017
via EMP Label Group/SPV
'Chronus' is the debut album from the Swedish heavy metal band of the same name. They were formed in 2012 and their music has been compared to the likes of Mastodon, Goijra and Ozzy Osbourne.
There is something about the cover art that reminds me of the Swedish metal band Ghost. And it's not just the artwork. Just like their fellow countrymen Ghost, Chronus seem to have taken inspiration from classic heavy metal and to some extent 70s prog-rock. Some of their songs feature distinctive prog-rock style guitar riffs. Take City of Light for instance, the melodic guitar tunes definitely have that Ghost/Opeth-esque, progressive rock feel while the vocals made me think of Ozzy Osbourne.
Then you get the more energetic, slightly aggressive yet still proggy-sounding songs such as Baron along with the guitar-centered, melodic tracks such as Avarice. "Progressive" is the key word here, so if you're not into technically complex guitar melodies then you ought to stay clear of this album.
Overall, Chronus' debut is likely to appeal to fans of Ghost and progressive metal bands such as Mastodon and Opeth. Personally, it's just a little too proggy for my liking.
Iza Raittila
Moonspell on tour
Posted in News with tags 1755, Moonspell, tour dates on 19th October 2017 by Pieni
Portuguese dark metal veterans Moonspell are about to release their first conceptual album, "1755" (read review here). They will play three shows in their homecountry, in an exclusive introduction before the release: 30th and 31st October in Lisbon and 1st November in Porto:
They will then promote the album in Spain, with Bizarra Locomotiva and Norunda, before returning home for a few more shows in Arcos de Valdevez, Aveiro, Castelo Branco and Loulé:
But in case you live outside the Iberian Peninsula and don't have the chance to travel there and catch one of these promising gigs, Moonspell will join Cradle Of Filth through Europe on the following dates:
Moonspell – 1755
Posted in Uncategorized with tags 1755, conceptual album, dark metal, Lisbon Earthquake, Moonspell, Napalm Records on 18th October 2017 by Pieni
Release: 3rd November 2017
Via Napalm Records
Whether one likes it or not, Moonspell have changed the way Portugal's metal scene is looked at. It's been 25 successful years, so they're not releasing now a conceptual album, in their native tongue, because they need to prove themselves; they're doing it because they just can.
As you probably know by now, 1755 was the year when the Great Lisbon earthquake took place, on All Saints' Day, resulting in the near-destruction of the city and a death toll of tens of thousands. That alone gives you an idea of the emotional weight of this record, which goes much beyond the lyrical content depicting such tragedy. There's the obscure orchestral arrangements (courtesy of Jon Phipps) in the new version of "Em Nome Do Medo", the operatic female voices throughout the album enhancing its epic imprint, the brazenness of "Desastre", the weeping guitar solo in "Ruínas" – a song otherwise quite brisk. A similar contrast occurs in "In Tremor Dei", between that bold melody and the riveting voice of fado singer Paulo Bragança. In case you don't know, fado is a Portuguese classic music genre, of a sad and longing nature – after all, it literally means "fate" -, sung in heartbreaking intonations. If the idea of Moonspell featuring Bragança is somewhat shocking, the outcome is simply mind-blowing.
Marquis of Pombal, the Prime-Minister at the time of the earthquake, said something like "now we bury the dead and take care of the living". Maybe a bit cold, but a positive vision nevertheless. And that's also how Moonspell finish "1755": originally performed by Brazilian rockers Paralamas do Sucesso, "Lanterna dos Afogados" is a song of hope and being there for one another, now with a much darker vibe – very Moonspell-ish. Come to think of it, there isn't really any new trait here; it's how the band now combines and tweaks those traits, accordingly with its bleakest theme, that makes "1755" a memorable masterpiece.
Renata "Pieni" Lino
Behemoth launches their own coffee brand
Posted in Misc., News with tags Behemoth, coffee on 18th October 2017 by izaforestspirit
For those who like their coffee as black as their metal… Check out Behemoth's own coffee brands – 'Messe Noire Coffee'
and 'Heretika Coffee'.
Both blends are described as being "100% Satanica" and they have been selected by the band's frontman Nergal. The coffee is a mixture of Arabica beans from various countries freshly roasted in a special way to reduce the acidity levels.
Both coffees are now available from the band's online store.
http://behemoth.pl/
https://www.facebook.com/behemoth/
S-Tool and Battle Beast live in Tampere
Posted in Gig, Live with tags Battle Beast, Lost in Music, Nummirock Festival, Profane Omen, S-Tool on 9th October 2017 by izaforestspirit
Profane Omen, S-Tool, Battle Beast
Olympia, Tampere, Finland
At last a metal gig… It's been a while. I haven't seen any metal bands live since Destruction at the beginning of the year.
The show was part of Lost in Music Tampere, a city festival with a series of music events happening in several venues across the city centre. It was also organized by Nummirock Festival. This time the venue was a place called Olympia. It was my first time at this particular venue.
We missed the first band, Ikinä but we managed to catch most of Profane Omen. I've heard of them before but I'm not too familiar with their music. They were entertaining to watch at times but it wasn't really my style. I've never been a massive fan of groove metal. 3/5
I'm a fan of Sentenced and Poisonblack, so needless to say that I was keen to check out Ville Laihiala's new band S-Tool. Sadly their performance didn't really live up to my expectations. They had a slow start and it took them a while to get going properly. Things improved a bit later on, and I enjoyed one of their songs – 'Back to Zero'. They were also playing a few cover songs towards the end of the set including Metallica's 'Hit The Lights'. 2.5/5
The venue was packed by the time the night's headliners took to the stage. It was already well past midnight by then, but luckily Battle Beast were worth the wait. Great show! The singer reminded me of Doro. Their lyrics are cheesy, almost Manowar-esque but the performance was very energetic and entertaining. Best tracks were 'Black Ninja' and 'Touch in The Night'. 5/5
Overall it was a good night out even if it did finish rather late. S-Tool turned out to be a disappointment but Battle Beast were great live. I'm not too familiar with their music but after that performance I'm definitely going to check it out.
http://lostinmusic.fi/home
http://www.nummirock.fi/
Interview with Ben Blutzukker
Posted in Uncategorized with tags Ben Blutzukker, Blutzukker on 5th October 2017 by izaforestspirit
Iza had a little chat with Ben Blutzukker to discuss Lego, heavy metal and his new EP 'Ripide'.
Iza: What is behind the name 'Blutzukker'?
Ben: It's a song from the Swedish Vampire-Metal-Band Notre Dame. It should have that name, but it was never released. But I liked the spelling and so I named my first band after it. A short time later my own name transformed then to "Ben Blutzukker".
Iza: Earlier this year you decided to put an end to your dark electro project Blutzukker to focus on your heavy metal project. What led to this decision?
Ben: I just felt like that. Since the last Blutzukker album in 2012 I no longer had ideas to do new electronic tracks. And as the solo projekt "Ben Blutzukker" was my only focus for the last years I decided to tell everyone that "blutzukker" is over now.
Iza: Aside from the obvious differences in genre (dark electro vs. heavy metal), what other differences do you see between Blutzukker and Ben Blutzukker?
Ben: Hmm. That is a difficult question. I think there are many things that are the same in both projects. The vocals are absolutely the same. I also did not change my lyrical writing. So yes, mainly only the musical genres are the mail difference.
Iza: Let's talk a about your new EP 'Riptide'. Based on the cover art and the title track I'm guessing that it has something to do with the sea. Can you tell us a little bit about the themes for this release?
Ben: When I was searching for a great artwork for this EP I saw this one and felt in love with it. Until then the EP should have a total different name. But I saw that artwork and it directly reminds me to when I wrote the lyrics for the song "Riptide". So I decided to make "Riptide" the main song of this EP.
Iza: I've noticed that your sound has changed slightly since the first EP 'Analog Blood'; the new songs seem darker, with a hint black metal in addition to the thrash metal guitars. Are you a fan of black metal, if so which bands do you like?
Ben: That is trve. I like a lot of black metal bands, especially Abbath and Winterfylleth. The recording of the EP was done by myself as I did it on "Analog Blood". But this time I gave the job of mastering to the same studio where also the Abbath album was mastered. Nevertheless I like to mix the styles of black, death and thrash. And maybe next time there will also be a bit of Goth Metal in it.
Iza: On the EP, there is a cover of Illwill's song. What made you decide to choose that particular band and song?
Ben: To push that great song, because no one knows it! Just a joke… My favorite musician is Snowy Shaw from Sweden. He was involved in Illwill (and he was also the main-figure of Notre Dame). And with "blutzukker" we played this song on stage several times. So I wanted to close the circle by recording my own version now.
Iza: Also, there is a collaboration with Pale Violett on backing vocals on the same cover track. What made you decide to work with her?
Ben: Pale Violett was part of "blutzukker", so we made a lots of stuff together over the years. But to be honest: her recordings for this song are now 10 years old.
Iza: You have recently released a new video for the title track 'Riptide' which features a Lego pirate ship. This is the second of your videos to feature Lego figurines. You even have Lego USB-sticks available. I have to ask, what is it with the Lego?
Ben: I love it! I always loved it! Don't you still love Lego?
Iza: Your previous band featured lots of humour in the lyrics, mostly connected to vampires and horror stuff in general. Is this humour element something you plan to continue with as Ben Blutzukker or is this more serious?
Ben: I think I will automatically continue like that, because that is just a part of my person. For me it is normal to not take everything too serious. Not even the blackest metal.
Iza: Is Ben Blutzukker a studio only -project or do you plan to play some live shows in the future?
Ben: I see, this question is the one I hear the most. But no, currently I like it to just be a studio project.
Iza: Thanks for taking the time to answer my questions.
Ben: Thank you!
http://ben.blutzukker.com/
http://facebook.com/BenBlutzukker
Iron Maiden comic book series 'Legacy of the Beast' coming soon
Posted in Misc., News with tags Comic book, Iron Maiden on 2nd October 2017 by izaforestspirit
Iron Maiden are about to launch their won comic book series entitled 'Iron Maiden Legacy of The Beast'. The series is based on their popular mobile role-playing game ' Iron Maiden: Legacy Of The Beast' and it will focus on the band's mascot Eddie as the main protagonist. The story has been written by Llexi Leon and Ian Edginton and illustrated by Kevin J. West, Jason Gorder, and Santi Casas.
Here is a more detailed outline of the plot:
The comic book series expands on the video game narrative. As dark forces conspire to corrupt the fabric of reality, Eddie's immortal soul is shattered and strewn across the cosmos – leaving a weakened, primal Eddie to battle across space and time facing off against the twisted legions of The Beast, seeking out the lost shards of his soul, and bringing order to the realms. With each victory, and with the aid of old friends, Eddie will restore his fearsome powers as he draws ever closer to facing the Unholy foe behind his fall… and thwarting a plot to unravel all of Creation!
There will be five issues of the comic in total, the first of which is due to hit comic shops worldwide via Heavy Metal Publishing on 11th October 2017.
You can check out the cover here:
http://ironmaiden.com/
http://www.heavymetal.com/
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Marko Hietala leaves Nightwish
First single from Vengeant coming next month
Hadal – December
Iza's Highlights of 2020
Pieni's Highlights of 2020
i0aL0F_CSovJzLfgxp0K34U2tK0

redpajama_set_name: RedPajamaCommonCrawl


Supported objects depend on the model of the TM intelligent printer.
*1 Only available with the TM-DT series hybrid printers.
*2 The SimpleSerial object cannot be used for a TM-i series model without a serial port.
*3 Supported by ePOS-Device Service Ver.3.0 or later.
Acquires connection status of the communication path.
Transmits XML data for OFSC-Print.
Calls an arbitrary event for a corresponding device control script (the SimpleSerial object is not supported).
Acquires the amount of cash in the device.
Dispenses cash by specifying the money type.
Dispenses cash by specifying the monetary amount.
Collects cash from the device.
Result notification event for device configuration change.
Result notification event for counting.
Result notification event for depositing.
Result notification event for dispensing.
Result notification event for collection.
Destroys the display area setting.
Clears the current display area.
Moves the cursor within the display area.
Changes brightness of the display.
A control result reception event.
Sets the condition to handle as continuous string.
A key press detection event.
Sets the condition to control MSR data, etc.
This mode prints text line by line. This mode adjusts the line feed amount depending on the character size, image size, and/or barcode height, and is suitable for printing a sales slip which changes in length depending on data quantity to print.
This mode defines the print area and adjust print data (text, image, and/or barcode) to the size of the area for batch printing.
To print in the page mode, use addPageBegin method and addPageEnd method to start and end the page mode process, respectively.
Adds line feed amount setting to the command buffer.
Adds double-size character setting to the command buffer.
Adds vertical character print start position setting to the command buffer.
Adds slip and label sheet control setting to the command buffer.
Adds a line feed command to the command buffer.
Recovers from a recoverable error.
Adds a recovery tag from an error.
Adds a reset tag of the printer.
Transfers a document to print.
*1 Supported by ePOS-Device Service Ver.2.2 or later.
*2 Supported by ePOS-Device Service Ver.2.5 or later.
*3 Supported by ePOS-Device Service Ver.2.6 or later.
The halftone processing method of a raster image.
The brightness compensation value for raster image.
The update interval of the printer status.
*2 Supported by ePOS-Device Service Ver.3.0 or later.
Cancels check sheet insertion wait status.
Cancels cleaning sheet insertion wait status.
Check sheet insertion wait timeout period.
Check sheet/cleaning sheet insertion wait timeout period.
* Events which can be shared with Printer object.
The HybridPrinter object creates print documents using the same methods as the Printer object.
The following lists methods and corresponding print methods.
* Supported by ePOS-Device Service Ver.3.0 or later.
Acquires the data transmission history.
Transmits data to the communication box.
Notifies of data reception in the communication box.
Acquires availability status of the device.
ePOS-Device SDK includes patented or patent pending functions. The contents must not be disclosed to third parties.


UK-based manufacturer of explosion-proof products, CorDEX Instruments, has signed an agreement with Al Najim Saudi Industrial Company Ltd (NASICO) to enable NASICO to distribute CorDEX Instruments range of Centurion XP explosion-proof digital cameras in the Kingdom of Saudi Arabia.
"This agreement is part of our planned expansion into the Middle East market" said Paul Sacker from CorDEX Instruments. "Al Najim is well known in the Saudi Market and has established a strong reputation for technical excellence and customer support".
"We are looking forward to launching CorDEX Instruments range of explosion-proof products into the Saudi market", explained Arshad Shakir, Division Manager, Technical Sales Division of Al Najim. "Safety is very important to the Saudi Petrochemical Industry and this product helps Saudi companies to work safely, it fits neatly into our current product range".
The Centurion XP family of products is designed and manufactured in the UK. Based around a five megapixel digital camera, the Centurion XP family is the world's first explosion-proof digital camera with flash, LCD display and movie mode that allows users to review their images in the hazardous area.


Mathias Bosse joined IMAP in Germany in 2018. He manages cross-sector national and international buy and sell side mandates.
He gained valuable practical experience in various positions, including in the German Bundestag and the Federal Ministry of Finance.
Mathias holds a BA Degree in Politics and Sociology from the University of Potsdam and a MSc in Public Economics from the Freie Universität Berlin.


text:
Home/News/Khanyi Mbau, Renata Stuurman and Nambitha Ben Mazwi For Netflix's Gig: Happiness Ever After
Khanyi Mbau, Renata Stuurman and Nambitha Ben Mazwi For Netflix's Gig: Happiness Ever After
John Israel A Send an email 15 October 2021
The trailer for the sequel to "Happiness is a Four-letter Word" is out and fans are excited about it all. The excitement stems in part from those who made the cast.
In the trailer are Khanyi Mbau, Renata Stuurman and Nambitha Ben Mazwi.
Best 10 South African Movies & Series on Netflix 24 July 2021
Now Streaming: Happiness Ever After Features Renate Stuurman, Khanyi Mbau & Nambitha Ben-Mazwi 10 November 2021
The sequel bears a different title from the original but an equally interesting message that will resonate with the ladies out there. This romantic drama has Black women as leading cast members.
"Happiness Ever After" follows the lives of sophisticated women friends as they navigate the world in guest of love, happiness and success.
Some fans have shown special interest in Khanyi Mbau, who had ditched her Zimbabwean lover in Dubai and flown back to South Africa without informing him. She had flown back soon after to join him in the Emirates, earning the title of Drama Queen as a result.
Others were quick to notice Mmabatho Montsho, who was part of the first episode, was missing in the second. She has an easy explanation for that, though: she wants to focus on writing.
It remains to be seen if the full movie will create as much excitement as the trailer. We'll be here to bring you that detail. Stay tuned.
Khanyi Mbau Nambitha Ben Mazwi Renata Stuurman


Thank you for joining us for the Bright and Cheerful Challenge and we hope you will all join us again this week too.
We are showcasing W plus 9 Products this week. You don't have to use them to join in but if you have some we would love to see them used. As always Simon Says Stamp will be giving away $50 voucher to shop at the fabulous Simon Says Stamp Store.
So here are my cards for the challenge inspiration. I used The Crew : Garden Club Stamp and Dies set from Wplus9.
I started by stamping the images from The Crew Garden Club on 80lb Neenah White paper using Memento Tuxedo Black Ink, then I colored the images using my copic markers and Nuvo alcohol markers. I then cut the images using coordinating dies.
I prepared A2 sized Bristol paper for distress ink blending. For the transverse card, I used Peeled Paint, Crushed Olive , Worn Lipstick, and Dried Marigold. To devide the space, I simply used post-it sticky notes for masking.
For the vertical card, I used Carved Pumpkin, Wild Honey, Fossilized Amber, Squeezed Lemonade, Twisted Citron, and Mowed Lawn.
I masked off 4 edges using washi tape to make framed look.
After bledning was done, I splattered water and then I adhered my images using glue and foam tapes. Sentiment was chosen from Pretty Pink Posh Encouraging Greetings set and The Crew Garden Club set, stamped using Versafine Onyx Black Ink.
I adhered the panels onto card bases I made using Simon Says Ivory Card Stock and Lemon Chiffon Yellow Card Stock.
As a final embellishment, I added Pretty Pink Posh Sparkling Clear Sequins Mix , 4mm Lime Sorbet, 6mm Lime Sorbet, and Ballerina Pink Sequins.
Today, I'm sharing a couple of cards using the fun Fly Away Friends Stamp Set by Pretty Pink Posh. I think this has been somewhat underestimated set so it is perfect time to show how it is cute and pretty like other stamps from Pretty Pink Posh.
It has three hot air-balloon images with different size, two cute critters faces, one big airplae that is very cool and lots of fun sentiments!
I made a custom cloud stencil by dicutting an acetate film with Stitched Borders 2 Dies, then I ink blended A2 sized Bristol Paper using my cloud stencil. I used regular distress inks : Seedless Preserves, Shaded Lilac , Tattered Rose and Worn Lipstick. I mixed 1~2 colors to make various shades when stenciling and then I added splatters of water a little.
I then stamped Fly Away Friends Set onto 110b Neenah White Paper and colored the images using Copic Markers.
A small balloon image was stamped using a purple dye ink. I then cut the images using Fly Away Coordinating Dies.
To make a shaker frame, I cut Scalloped Frames Dies and Stitched Borders 2 Dies out of 120 Ultrathick White Card Stock.
In shaker sequins are : Sparkling Clear Sequins Mix, 3mm Sparkling Clear Sequins , 4mm and 6mm Lavender Moon, Sparkling Clear Snowflakes, Mini Circle Confetti, Rose Pink Seed Beads , Pewter Seed Beads, Lilac Seed Beads, Sparkling Clear Seed Beads, Aquamarine Seed Beads.
I made a stamping background using the lovely images fromFly Away Friends Stamp Set. I used Barely Beige ink to make subtle patterns. Then I foam mounted my colored images and adhered the panel onto Peacock Teal Card Base using foam tapes. As a final embellishment, I added some Sparkling Clear Sequins Mix.
I made a top-folded card base using 110b Neenah White Paper, then I masked top and bottom of the front panel using post-it sticky note paper. I ink blended the empty space using my mini distess inks : Carved Pumpkin, Wild Honey, Squeezed Lemonade, Twisted Citron, Cracked Pistachio, and Peacock Feathers. Then I splattered water and removed excess water using dry tissue.
I simply adhered my copic-colored images using foam tapes and stamped sentiments using MISTI tool. The cloud is from Fly A Kite Stamp set. Finshed off thr card by adding Sparkling Clear Sequins Mix.
Just FYI, Pretty Pink Posh offers 25% sale for this set while supplies last. Have fun!
Here's my card for challenge inspiration. I used Dream Big Stamps and Dies set from Hero Arts.
I started by stamping Dream Big Stamps on 110lb Neenah White paper and dircutting them with Dream Big Coordinating Dies. I then colored the images using copic markers.
Next, I trimmed a piece of Bristol paper into A2 size, then I made a rainbow cloudy sky using Simon Says Stamp Clouds Stencil and distress inks. (Candied Apple, Carved Pumpkin, Fossilized Amber, Mowed Lawn, Mermaid Lagoon, Blueprint Sketch, and Seedless Preserve).
I also cut a white card stock using Stitched Whirl Background Dies and then trimmed the piece into 3.25×4.5 inch.
After I foam mounted the white stitched whirl panel onto rainbow clouds panel, I adhered stamped images using foam tapes and glue. Sentiment was also chosen from the same stamp set.
Finally, I adhered the panel onto Peacock Teal card base and finished it off with Pretty Pink Posh Sparkling Clear Sequins Mix and Ballerina Pink Sequins.
Today, I'm sharing my cards featuring "STRANGENESS" stamp set.
I stamped the large bouquet on cold press watercolor paper using my TimHoltz Stamp Platform and Versafine Onyx Black Ink.
I watercolored them using Daniel Smith Watercolor Paints and added splatters of dark ink and white ink.
Sentiment was heat embossed in white using Wow Opaque Bright White Super Fine embossing powder. This fine powder helps you a lot to heat emboss small or thin letters.
After I foam mounted the panel onto Neenah Desert Storm Card Base, I finished it off by adding 4mm Metallic Rose gold, 6mm Metallic Rose Gold sequins and Sparkling Clear Sequins Mix from Pretty Pink Posh.
The second card was also painted with Daniel Smith Watercolors. I foam mounted the panel onto Island Blue Card Base, and then embellished it using Sparkling Clear Sequins Mix and 3mm Sparkling Clear Sequins from Pretty Pink Posh.
The Strangeness Stamp Set is such unique in its images and sentiments and I love the quote "There is no beauty without some strangeness".
I was actually inspired by this quote so I added some strangeness in my watercoloring, today. Did you like it?
Today I'm sharing my cards I made with June 2018 Card Kit from Simon Says Stamp.
All the items are so charming that I didn't know what to start at first, anyway here are my cards. I tried to use only in-kit items to make cards so I refrained myself from using other dies or stamps.
I cut a piece of design paper into 3.75x5.25 and other piece of paper into 0.5x5.25 inch. I made an A2 card base using Peacock Teal Card Stock which was included in the kit. Then I adhered smaller piece of paper on the left side of the base, and then larger piece using foam tapes. I heat embossed a sentiment from Beautiful Flowers Set on black card stock and foam mounted the sentiment strip on the right side of a card. Finished off the card by adding Pretty Pink Posh Sparkling Clear Sequins Mix.
I chose a blue sky paper and trimmed it into A2 size. I stamped "HAPPY" from Beautiful Flowers Set using a light blue dye ink, and then I colored it with copic markers (B39-B06-B04-B02). Other black sentiments were stamped using Versafine Onyx Black Ink.
After I adhered the panel onto card base made with Cornflower Blue Card Stock included in the kit, I added some blue sequins and Sparkling Clear Sequins Mix.
I picked a watercolor feel design paper and ran it through my big shot in Botanical 3D Texture Fades Embossing Folder. Then I ink blended the elevated surface slightly using distress inks Worn Lipstick, Tattered Rose, and Cracked Pistachio.
I made a long sentiment strip using scraps of Peacock Teal Card Stock and Beautiful Flowers Set and foam mounted it on the lower part of the panel. I also colored a blossom and leaves from Beautiful Flowers Set with copic markers(BG18~BG10, G29-G07-YG03-YG01), fussy cut them and put them on the top of the sentiment strip. I added some Sparkling Clear Sequins Mix, 6mm & 4mm Ballerina Pink from Pretty Pink Posh.
I used basically the same way as of Card No.3 but I went with clean look this time. I used a ultrathick white card stock included in the kit to make a Botanical 3D Texture Fades Embossing pattern. Sentiment "LOVE &HUGS" was heat embossed in white on a black strip, blossom was colored in pink (Copic No : RV17-RV14-RV13-RV11-RV10), all stamps from Beautiful Flowers Set.
I trimmed a piece of pastel colored stripes design paper into A2 size first. I heat embossed a large bouquet from Beautiful Flowers Set on thick vellum paper using white embossing powder, then I cut it into 4.5x5.25 inch. I scored the vellum piece at 0.25inch along the 4.25 side and folded it along the scored line so that the 0.25 inch part would be used as attaching side to the back of panel.
Once I adhered the vellum cover to the design paper, I put them on a white card base. Then I foam mounted a sentiment strip made from Beautiful Flowers Set. As a final embellishment, I added 4mm Metallic Rose gold, 6mm Metallic Rose Gold sequins and Sparkling Clear Sequins Mix from Pretty Pink Posh.
When I saw the purple paper with large balloons on it, I decided to go with a big frame shaker. I cut the paper into A2 size, stamped a sentiment from Beautiful Flowers Set on the cloud next to a balloon, and then I adhered 4mm & 6mm Lavender Moon Sequins on the top area of the panel. To make a shaker frame, I diecut 120# ultrathick white card stock using Scallop Frames dies, adhered acetate film on the back, then thin foam tapes. I used thin foam tapes to make shaker this time because I wanted my sequins to move little so that I could give the card calm mood.
Sparkling Clear Sequins Mix, 3mm Sparkling Clear Sequins , 4mm and 6mm Lavender Moon, Sparkling Clear Snowflakes, Mini Circle Confetti, Purple Seed Beads , Pewter Seed Beads, Lilac Seed Beads, Sparkling Clear Seed Beads, Aquamarine Seed Beads.
I watercolored a piece of Suzy's paintable prints included in the kit using my Zig Clean Brush Markers. Then I cut it using Stitched Shapes Dies, and adhered it onto Slate Gray card base. I embellished the card by adding 3mm Sparkling Clear Sequins from Pretty Pink Posh.
I stamped a large bouquet from Beautiful Flowers Set on 300g cold press watercolor paper using Versafine Onyx Black Ink, then I simply watercolored it using the three Daniel Smith Watercolor Paints dots included in the kit- Aureolin Cobalt Yellow, Quinacridone Red, and Prussian Blue .
At this point, I used only the three colors in the kit to make these various colors by mixing them up with different ratio. Here's the photo of sampler palette after I finished my watercoloring. Isn't it amazing that all these colors came from just 3 inks?
After I finished watercoloring, I splattered with Prussian Blue ink (included in the kit sample) and White acrylic ink over the panel, and then I stamped sentiments from the same stamp set : Beautiful Flowers Set.
I foam mounted the panel onto card base I made using Simon Smoke Card Stock, which was also included in the kit. As a final embellishment, I added 4mm Metallic Rose gold, 6mm Metallic Rose Gold sequins, Sparkling Clear Sequins Mix and3mm Sparkling Clear Sequins from Pretty Pink Posh.
My last card for today was made very simple! I diecut a piece watetcolor flower pattern paper using Scallop Borders 2 Die, then I adhered it onto a card base made with Cornflower Blue Card Stock included in the kit. I stamped sentiments from Beautiful Flowers Set on empty space, and then I rounded Ivory Twine on the top. I finished off the card by adding Sparkling Clear Sequins Mix from Pretty Pink Posh.
I really appreciate your patience to read this long post.
Thank you for joining us for the Anniversary/Wedding Challenge and we hope you will all join us again this week too.
We are showcasing Memory Box Products this week. You don't have to use them to join in but if you have some we would love to see them used.
Here is my card for the challenge inspiration. I used Under the Scene Collage Craft Die from Memory Box.
I started off my card by stamping Under The Sea Animals on 80lb Neenah White paper using Memento Tuxedo Black Ink, and colored them with copic markers. I used my Scan N Cut to cut the images, but you can use Under The Sea Animals Coordinating Dies.
Next, I cut a piece of 110 Neenah White paper using Under the Scene Collage Craft Die and Wonky Rectangles Dies. For the background panel, I ink blended a piece of Bristol Paper with Distress Oxide Inks : Blueprint Sketch, Peacock Feathers, Mermaid Lagoon, and Broken China.
I also colored the small diecuts made from Under the Scene Collage Craft Die with copic markers.
In order to assemble a shaker, I glued a piece of acetate film on the backside of the panel, then I adhered foam tapes around the window. I also gluded two sea creatures and a few sequins on the ink blended background panel so that the animals look like they are under the sea.
To fill the shaker, I used old and new Pretty Pink Posh Sequins : Mermaid Mix, Aquamarine Seed Beads, Sparkling Clear Seed Beads, 4mm Sea Breeze, 4mm Aquamarine and 6mm Aquamarine, 3mm Sparkling Clear.
Once I assembled my shaker, I put it on a navy card base I made using Neenah Texture Navy card stock. Then I foam mounted Under The Sea Animals, and a sentiment from Messages For Everyday, which was heat embossed in white using Wow Opaque Bright Super Fine embossing powder. As a final embellishment, I added Sparkling Clear Sequins Mix and Mermaid Sequins Mix.


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Tonight I cooked an onion. I do this almost every single night, but it's still worth writing about because I love to do it–the whole process. I love choosing a big, round, firm onion–my onion–from the crate at Publix. The other onions in that crate have other destinies in other skillets, but I don't envy them because I can't imagine produce receiving a higher degree of loving attention anywhere else than in my kitchen.
I love turning the front-right burner on to medium heat as I execute my patented "no-look" twisting refrigerator-door opening maneuver. This move is only possible in a cramped condominium kitchen, and only once you are intimately familiar with your surroundings. I don't recommend it for beginners or away games. As I slide deftly into the wedge of cold light that now emanates from my fridge, I separate my onion from his friends in the Crisper drawer and grab a stick of butter. I spin the door closed and, in a matter of seconds, there's an onion on my cutting board, eyeing my chef's knife, and a hunk of butter melting in my skillet.
Ah, my skillet. It holds a place of honor in my kitchen, always sitting on that burner, keeping an eye on things–that way, when I'm cooking, I can just turn on the stove and let it pre-heat. I like things that are made to last, and this eight-pound hunk of cast iron will be here long after the final meal I prepare in it. If you're a stranger to cast iron the idea of a skillet pre-heating might sound odd, but believe me, it's key if you want your onions just right.
I mentioned that I treat my onions with loving attention. Well, I try to keep that in mind when . . . the time comes. I skin and chop the onion as quickly and humanely as possible, cutting it in half once, and then cutting each half in quarter-inch strips from top to bottom, and separating them out, allowing each sliver to breathe and move freely. Soon, tiny bubbles of anticipation are bursting on the surface of the butter, and the onions go in.
I move the slivers of onion in a constant, swirling, circular motion as I shift from my left foot to my right and back again, moving to a cooking rhythm in my head. I'm sure to coat all the onions evenly in the butter and heat, so no one is left out. Soon I'm grinding pepper and sea salt into my skillet, and then it's back to the swirl. I don't drink much wine, but I always splash some into my onions. This squeezes a lot of steam out of my skillet, so that I usually turn on the fan–which does little except bring back memories of my early cooking days, when I used that fan equally unsuccessfully to dispel smoke that was the token of ruined (or quickly ruining) food, rather than a delicately infused flavor. To me that sound still indicates that something is going wrong in the kitchen–that time and food are being wasted–and my pulse is always quick, and my nerves frayed, until the onions are done and the fan is off.
I am very careful not to overcook my onions. In fact, some might say I undercook them. What you do with your onions is your business, but I only really want to cook them enough to get the flavor of the butter, wine, pepper, and sea salt into them. When I take a bite, I still want to remember that little guy I brought home from the grocery store–young, fresh, full of possibilities. I don't want to remember cutting him into a million pieces and cooking him to death.
There are rituals to be observed after the meal is eaten as well. I lick my plate, without shame, every night. I will have a hard time telling my children to do otherwise, but I'll cross that bridge when I come to it. The skillet has cooled down once dinner is over, so I run my finger through the silent remnants of fat, salt, pepper, wine, and onion that have gathered there. I can't get enough of it. Before I 'clean' the skillet, it is mostly clean already from this process.
The cleaning is very important. You can't clean cast iron with soap, just very hot water and a scrub brush. Officially you can't use soap because it messes with the cast iron, but really you don't want to disturb the flavors and essences that get cooked into the skillet every time you use it. Soap would eradicate all traces of the cooking history that you create along with your meal, so when you put your skillet away at night it would be blank, empty, vapid. Scrubbing with scalding-hot water burns the memories of the night's meal deeper into the skillet, creating an enduring pattern that will be impressed on all other dinners to come.
When I got the skillet (a gift from my brother), its surface was uniformly colored. Now it is a swirling and complicated landscape of browns, blacks, even reds and purples. The overall color is determined by my regular cooking routine, but the most startling features are scars, reminders of meals cooked too long, too hot, or both. In the beginning I was dismayed to see discolorations that wouldn't come off in steaming water, but now I know that it's those imperfections that make the skillet mine.
My brothers and I have always been incredibly enthusiastic, even fanatical, about food. And we're not proud, either. A 3AM trip to Taco Bell can be every bit as exciting as an elegant dinner in Budapest. But we are at our best, our most glorious, when we create our own food, because there is something intoxicating about starting out with essentially the same ingredients that other people have had in their kitchens at many times throughout history, and knowing that you might take them someplace they've never been before. People have been preparing food from time immemorial, but there is always the possibility for reinvention and exploration, and what you come up with tonight could be your new favorite dish, or your wife's. It could become a staple in your life, and the lives of your children, or grand-children. It is no exaggeration to say that when you turn on the burner or open the fridge, you stand on the cusp of immortality. Most of us are just too busy to notice.
Don't believe me? What about the guy who invented the grilled cheese sandwich? I don't know his name, but children everywhere owe him a debt of gratitude–and people who microwave 'pasteurized-processed cheese food' on white bread will have to answer to him before they go to their reward. I'm sure bread, cheese, and butter were around for a long time before he did his thing, but it took the right moment and the right person to bring them together. We're talking about a man, a human being with parents and siblings and dreams and fears who was born and had a childhood and grew up and got married and died, and that simple combination of three flavors, that one moment, was the most lasting thing he ever did.
So what if we don't know his name? If I can make something that is so simple, so elemental, so viscerally and undeniably delicious that people never–never–stop eating it, well, that will be enough for me.
Once you have this drive, this literal and figurative hunger for novelty, it never stops. My brothers and I are at the point now where we will modify each other's creations in mid-consumption. Recently, I walked past my brother Mike as he was finishing up a provolone, roast beef, liverwurst, ketchup and mustard on white bread sandwich (we were on a lunch break while helping my aunt move). I impulsively placed an Oreo on top of the last bite. He tossed it back, and his eyes widened with excitement as he announced that it tasted like sugary smoke. Before we left that day we had constructed and demolished three more such sandwiches between us. So goes the creative process.
and our need to create. We're treated like celebrities. The deep-fried double cheeseburgers have evolved into the centerpiece of an event (informally dubbed 'Fry Night') that has taken place annually for almost a decade at a 100-person family reunion; it is arguably the high point of the two-week beachfront affair, which is arguably the high point of the year for many of its attendees, myself included.
And you thought a deep-fryer was just a way to hasten your own demise.
My most beautiful and terrible triumph ever is probably my favorite sandwich of all time: the thick-sliced bacon, natural peanut butter, extra sharp white cheddar, and concord grape sandwich on two slices of fried bread. I already knew grilled cheese was awesome, bacon and cheese was a winner, peanut butter and jelly was tasty–peanut butter and grapes was better–and cheese and peanuts were delectable. After some careful analysis I determined that bacon + peanut butter = delicious. I threw it all together, and things haven't been the same since.
A memorable eating experience lasts forever. It is our surest method for putting one over on Father Time, because not only are we left with our memories, but we can actually recreate some small portion of the event, transport at least our noses, mouths, and hands back to that moment which, to the rest of the world, is forever gone. When you love food, you can use it to freeze, even forget time for just a little while, because the fried bacon, peanut butter, grape, and cheddar sandwich you're eating today is just like the first one you made back in college, and just like the one you'll have six years from now at your brother's house in who-knows-where.
Create food with care and attention, and you're creating a snapshot of the world that you can always come back to, even in unfamiliar surroundings at uncertain times. For lucky people, the Meal is born and dies three times a day, but in this briefest of life cycles there is a glimpse of eternity. I feel bad for people whose dinners come frozen, whose onions are pre-chopped and dehydrated. Without the effort of creation and the pungent, varied flavors that can only come from freshly prepared food, dinner becomes a strictly biological process, and a dubious one at that.
Devoting a little part of each night to a ritual that requires focus and effort, and yields pleasure and satisfaction, is like digging a foxhole in your head. Every time you relive that experience you are sheltered, for a while, from the onslaught of time and things lost.


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At Duchenne Panel, Parents Plead With Experts, FDA Decision Looms
Ben Fidler
@benthefidler
@xconomy
Xconomy San Francisco —
In one of the more dramatic biotech events in recent memory, the FDA convened an advisory panel on Tuesday to weigh the risks and benefits of a drug called drisapersen, which has the chance to be the first FDA-approved treatment for Duchenne muscular dystrophy—a progressive, fatal genetic disease.
The panel's task was unusual, as far as these meetings go. Typically, panel members are asked whether they'd recommend approval of a drug. The agency then takes the panel results under consideration when it issues its final decision later on.
In this case, however, the agency did not ask the panel members for a yes or no recommendation. Instead, panelists were asked to assess the strength of the evidence accrued in the clinical trials of drisapersen, a Duchenne drug from San Rafael, CA-based BioMarin Pharmaceutical (NASDAQ: BMRN).
The panelists did so, and their commentary did not seem favorable, which stood out all the more because of the emotional pleas for the drug's approval that came from many of the parents of Duchenne patients—and the patients themselves—who showed up at the meeting in Silver Spring, MD.
"Our children are fighting for their lives and they deserve therapies that can change their quality of life, and the outcome of their disease," said one parent. "This should be the day that the ending of this tragic story is rewritten…please approve this drug."
The panelists voted on whether the data from each of three different placebo-controlled clinical trials strengthened, weakened, or had no effect on BioMarin's case for approval. They then wrapped up the panel by discussing—but not voting on—the drug's benefits versus its risks.
By most accounts, it's very unusual for the agency not to ask advisory panels for a yes-or-no vote about a drug. RBC Capital Markets analyst Michael Yee called this omission "unlike most panels" in a research note, and Leerink Partners' Joseph Schwartz deemed it "unique and leaves the FDA open to do its own thing." The FDA will make a decision on BioMarin's drug by Dec. 27.
When asked why FDA did not want such a vote on drisapersen, FDA spokeswoman Sandy Walsh wrote in an email, "We want to gain input from the panel and will engage in substantive discussions today and discuss strength of evidence."
When asked how often FDA tells an advisory panel not to weigh in with a yes-or-no vote on a drug, Walsh said FDA doesn't keep track. Setting the questions up this way, Leerink's Schwartz wrote, "should alleviate some of the intense pressure on [the] panel to reach overall conclusions."
The FDA usually follows the guidance of its advisory panels, but not always. Since there wasn't any voting directly for or against drisapersen—just on the relative strength and persuasiveness of the data—that guidance will be harder to read.
But the majority of panelists did vote that two of BioMarin's studies "weakened" its case for approval. What's more, some of them directly said they didn't think drisapersen should be approved.
Justin Zivin, a professor from UC San Diego, noted that after reading the FDA's briefing materials on drisapersen, "it was clear that this wasn't going to get approved at this point. This just needs more work."
Added Chiadi Onyike, a professor at Johns Hopkins: "What we have in front of us…is not yet ready."
Still, this is a very complex issue. Duchenne patients, and parents of patients, are desperate for a drug for a deadly disease with no approved treatment. The drisapersen panel is as close as they've been to an FDA approved therapy, and many parents—and some young patients themselves—came to the hearing to make an impassioned plea for the drug before the panelists. One 16-year-old boy, for instance, claimed drisapersen had helped him walk longer without getting tired, and gave him the strength to swim and ride a bike. "Please don't take this drug away from us," he said. A round of applause followed.
But drugs are approved on empirical data, not powerful anecdotal evidence, and there are significant questions regarding BioMarin's data. The key study of drisapersen, a Phase 3, 186-patient, placebo-controlled study, failed. It's unclear whether the drug—as it's designed to do—helps Duchenne patients produce enough dystrophin, the protein they lack, which normally helps keep muscles intact.
BioMarin is making the case that the study was flawed, that patients were enrolled too far along in their disease, and that a post-hoc analysis pooling data from subgroups of patients shows drisapersen does in fact help Duchenne patients. The totality of the data, BioMarin says, shows that there is a signal.
Today's meeting on drisapersen will also likely affect the fortune of a rival drug from Sarepta Therapeutics (NASDAQ: SRPT), eteplirsen, that will be the subject of an FDA advisory panel in January. As with BioMarin, Sarepta's case will also be flawed. It doesn't have nearly the amount of data that BioMarin has on drisapersen. Even though the drug has so far looked safer than drisapersen, side effects could emerge as more patients are tested. When the FDA releases briefing documents for eteplirsen in the days leading up to the panel in February, new questions could face Sarepta as well.
Duchenne is a disease with no cure and no effective treatment. It sentences the roughly 300,000 boys who have it—the disease mostly affects boys—to a slow, progressive decline in muscle function. Many lose the ability to walk by their teens and die at a young age from one of a number of complications, such as respiratory failure.
Ilan Ganot is the father of a son with Duchenne and founded a company, Solid Biosciences, to fight the disease. Ganot told Xconomy recently, "This is a battle against time." And that's what made Tuesday's panel so critical a point in the Duchenne battle. Every single FDA move either brings patients closer, or further away, from a potential treatment. Should the agency ultimately reject drisapersen, patients and their families will watch more time pass before a drug is available.
The severity of Duchenne and the significant need for treatments by nature lowers the bar for a drug's safety and effectiveness. That's why BioMarin paid … Next Page »
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Ben Fidler is Xconomy's Deputy Editor, Biotechnology. You can e-mail him at bfidler@xconomy.com Follow @benthefidler
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Edwin Atlee writes a medical dissertation in a local American newspaper on the connection of music and medicine.
Samuel Matthews writes a second medical dissertation for a local American newspaper on the connection of music and medicine.
During WWI, soldiers who were badly wounded were taken to hospitals. When their health was not improving, doctors started looking for an additional or alternative method.
In WWII, similar to WWI, soldiers that were badly wounded or "shellshocked" would be put in hospitals. Without improvement, doctors decided to bring in musicians to serenade the patients, which started the trend of using music and medicine for healing in hospitals.
Harriet Ayer Seymour starts the National Foundation for Music Therapy (NFMT).
The very first Music Therapy program at a school was started at Michigan State University in 1944. This led to many other programs which spread the use of medicine and music working hand-in-hand.
The National Association for Music Therapy (NAMT) was formed in 1950. It was a professional organization that was formed by music therapists that worked with veterans, mentally ill, and hearing/visually impaired.
The American Association for Music Therapy (AAMT) was formed in 1971.
The World Federation of Music Therapy (WFMT) was formed in 1985. It was used to promote Music Therapy all around the globe.
The American Music Therapy Association (AMTA) was formed by the conjoining of NAMT and another Music Therapy organization.


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Pattenburg House steps up charitable efforts
Bob Makin
@ReporterBMakin
Pattenburg House in Union Township has held a benefit concert at least once a month for a year.
The latest benefit will raise funds for an unemployed kidney donor helping a local musician in dire need.
The tavern also donates bar proceeds%2C never charges a rental%2C and promotes nearby small businesses.
Owner Lori Stocklinski hopes to pass the Pattenburg onto her culinary- and music-minded children.
UNION (Hunterdon) – He looks like an outlaw, but he's really angel.
Since forming the Southern rock band 90 Proof in 1980, frontman Tommy Lunger has raised $1.5 million for his beloved causes of children with disabilities and veterans. Most of the funds were raised at the Clinton Elks, where Lunger was exalted ruler for many years and now chairs the Veterans Committee.
But a good chunk of that money was collected at the many benefit concerts 90 Proof has participated in at Pattenburg House during the past 25 years, the last three of which have been the most charitable, Lunger said, because of the vision of owner Lori Stocklinski.
"She helps me with everything I want to do here," he said. "If it wasn't for her, we couldn't do it. It's always the season of good will at the Pattenburg House."
Stocklinski was a stay-at-home mom before agreeing to become bar and talent manager nine years ago for previous owner Mark Baranowski, who subsequently sold her the place in August 2011.
Wife for 18 years of a union carpenter, Ken, and mother to Kenny Jr., 16, and Kylee, 13, Stocklinski doesn't have to work, nevermind endure the grueling hours of owning an historic tavern with a penchant for a strong local music scene. But she said she does have to support her community as much as she can.
"It's just who I am," Stocklinski said. "If I'm doing this for a good cause, something I believe in, people that I love believe in, if it is helping someone, the furthest thing from my mind is how it's going to benefit me," she said. "But I can honestly say that we get a lot of customers out of the benefits. Some people here to support the cause have never been here before, and God bless my staff, they fall in love with them. They fall in love with the place, and they come back. My staff does that. The place does that, the atmosphere, the musicians. It draws you in, so we see return from it."
Raised in Holland Township, Stocklinski got her start in the classic- and roots-rock-oriented Hunterdon music scene by managing the band Straightjacket, led by fellow Delaware Valley High School alumnus Billy Palleria, who now is in a Pattenburg favorite, Nuff Said.
Ever since, she said, she has appreciated the depth of the area's music talent pool and is driven by the passion of promoting it, while utilizing it to improve her community.
Most of the local musicians are happy to help her on her quest, said Don Bogut, keyboardist of the all-star jam band Bones Weedsley, whose monthly invitational jam has helped turn Pattenburg into a friendly Cheers for Deadheads. Everybody knows your name and spins on the dance floor together, Bogut said.
"In 30 years in countless music circles, I've never met a group that was so giving of their time and their energies for other people's causes," said the Somerville resident, who was raised in Hunterdon County and has toured the country as a professional musician. "I don't know which I like more, the musicians in the crowd or the people in the crowd. The whole thing is just a great situation, and we've done a lot of good, and we're going to continue to do a lot of good."
Friends in need
Bones Weedsley and the bands from which it evolved — Dyer Weed, Jam-Bone and Slee — have played countless benefits at Pattenburg and throughout Hunterdon County, but never more than for Stocklinski, who hosts charity events once or twice a month.
The next benefit at Pattenburg will be on Dec. 14 to raise money for a transplant for Bogut, whose lack of functioning kidneys forced him into dialysis five hours a day, five days a week. Funds will go to Wendy Thomas, Bogut's kidney donor, whose selflessness for her friend is in the face of the financial stress of unemployment since July from a 23-year post as a lead trainer for a chain of convenience stores.
"Don is a great guy and a great musician," Thomas said. "It's like a part-time job for him just to survive. Why wouldn't I help him? You have to go through all kinds of tests to donate a kidney, so I'm happy that I'm so healthy that I can give him one of mine. But this is the longest I've been out of work since high school, so I'm having a tough time financially. Momma needs a new fridge."
Stocklinski agreed that it's a no-brainer to help the helpful Bogut, who isn't the only nationally renowned keyboardist who calls the Pattenburg home.
Former Samples member Karl Dietel hosts a Thursday open mic that packs the place each week with a living room full of Deadheads, Stocklinski said.
"We're more packed on Thursdays than most places are all weekend," she said.
"We're always so amazed by the number of extraordinary musicians that are drawn by this place," added Alexandria resident Lisa Ellis-Manning, organizer of the annual Russtival benefit. "Stop by here on any Thursday. ... It gets better and better and better. The local musicians come, and these aren't slouches. They're really, really good musicians coming from all over the place who perform. And they always want to be involved in the benefits."
Perfect partnership
In memory of beloved musician-soundman Russ Perry, Russtival is a weekendlong fundraiser that combats pancreatic cancer every October. The event has grown so large that there is a waiting list for bands to play it, said Ellis-Manning, Perry's sister-in-law.
Since 2009, Russtival has raised $50,000 for Pancreatic Cancer Action Network, about one-third of which has come from the Sunday show hosted the past four years at Pattenburg by Bones Weedsley and produced in part by its drummer, Brian "Bam" Bridge.
"Lori is always the first one to jump in," Ellis-Manning said. "I think it's the pay-it-forward thing. We support her. She supports us. We support her as a group, a musical family, even when there is not an event going on here, and she appreciates that."
Since April 2013, Stocklinski has had a business partner, Chris Finelli, who manages the tavern's restaurant side.
Their enthusiasm for caring for their community makes for a perfect partnership with the local music scene, said Bridge, who got his musical start as a teenager in 90 Proof.
"I learned 30 years ago that we can make a difference in people's lives just by playing music and raising money, awareness or maybe just their spirits," Bridge said. "Knowing they're in for a day full of great local music, great food and a friendly staff, in addition to helping local charities, the fan response has been tremendous, with each event more successful than the last. Everyone wins — the bar, the restaurant, the bands and, most importantly, the fans who come out and support it all."
To each of the causes that the Pattenburg benefits — typically from $10 admissions at the door — Stocklinski said she donates a portion of bar proceeds and never charges a rental fee. The good will makes the tavern more endearing, she said, as does the friendly, handpicked staff.
One of the most popular annual benefits is Woofstock, which Stocklinski conceived and named four years ago while the tavern's bar manager. Woofstock has raised $15,000 for Roger's Rescues, a nonprofit dog rescue and foster-care program for which event organizers Bob and Beth Britton of Flemington have volunteered for eight years.
A dozen years before, Beth Britton worked as Stocklinski's first boss in the Flemington branch of Somerset Savings Bank while the future bar owner was a high school senior.
"She helped me put Woofstock together, and it runs itself now, thanks to the Pattenburg," Britton said. "The money goes to saving dogs, pulling them from high-kill shelters and fostering them in private homes until they find permanent homes. We couldn't do it without Lori, and we wouldn't have it anywhere else."
On the charitable horizon, Pattenburg will host its annual benefit in April for Project Graduation at Stocklinski's alma mater.
Funds will offset costs of a dinner cruise for the Class of 2015 after it graduates in June.
"It's to give them a space after graduation and prevent any kind of any substance abuse," Stocklinski said. "We're sending them on a dinner cruise after graduation to provide them with a safe way to celebrate."
Pattenburg House was built in 1872 as a tavern named for its patent on rye whiskey. By the turn of the century, it also thrived as accommodations for the many guests of the nearby Bellewood Amusement Park.
Never closed, even during the Prohibition era, Pattenburg displays its rich history and that of its town beneath the laminate of a custom bar top.
Stocklinski said she hopes to pass that history onto her children, each of whom has an interest in the tavern. Kenny Jr. works in the kitchen on weekends with Finelli and plans to go to culinary school, his mom said. Budding guitarist Kylee one day hopes to manage the entertainment, Stocklinski said.
"There was a big adjustment for my whole family," she said. "The crazy hours, they're used to me being home, and I'm not, and the hours when I am home is when they're at school or work. It was a huge adjustment. My family has sacrificed a lot for me to have this.
"I think that my husband saw that this is where my passion was. He saw how much I loved it. According to him, he knew I'd be good at it. I was at home with the family for 13 years, and he wanted to support me now living out my dream. Not that it was a lifelong dream, but it was my dream at the time, so I'm living it every day. I feel like my dream came around and gave both my kids the best of both worlds somehow."
In addition to a rich history, good food and drink, and equally tasty entertainment, Stocklinski said she hopes to pass her passion for charity and community work onto her children.
Each winter holiday season, the tavern owner extends her good fortune to fellow small businesses throughout the northern part of Hunterdon County by making up and distributing flyers with coupons to promote them at her own expense. She also promotes them on the tavern's website.
"The big guys are swallowing up the little guys, and that breaks my heart," she said. "It's just to build up the community and be part of it. There's nothing better than all of us being successful. You don't want to be just one successful place in the community. You want the whole community to be successful and to thrive."
For her efforts, the Clinton Elks honored Stocklinski in April as the year's most charitable person.
She since has joined the Elks and now partners with them on several annual charity events, including a recent Toys for Tots drive, as well as support for 75 veterans at Veterans Haven North in Glen Gardner and 10 at the Lyon Campus of the VA New Jersey Health Care System in Bernards.
"She's an angel," said Lunger, whose 90 Proof played four benefits this year at Pattenburg. "I don't know if this place would have kept going without her."
Staff Writer Bob Makin: 732-565-7319; bmakin@MyCentralJersey.com
Pattenburg House, 512 Route 614, Asbury section of Union Township, will host "Donmas 50.5 — Give 'Til He Pees!," a benefit for the kidney donor of local musician Don Bogut, 3 p.m. Dec. 14, with Bones Weedsley, New Road, SlackJaw, Risen, Tracy Sousa & Goddess Blood, and Mike Frank & Meat Snack. A $10 donation is suggested. The tavern is open for lunch and dinner, offers entertainment Thursdays through Sundays and also is available for catering. Find out more at www.PattenburgHouse.com or call 908-735-2547.


It's all about the catchy synth-bass loop. Builds up more and more excitement, impulsive and demanding.
Spacious effect spectacle with numerous backward suction effects, flute pads, hits and disturbing situations. Perfect for trailers and special effects sequences.
Put 3d glasses! Grab a handful of popcorn and enyoy the massive cinematic Teaser ! Driving synthesizer runs, striking Electro FX and massive cinematic hits, perfect for intros, trailers, openers, opening sequences and time-lapse movies.
Spacious effect spectacle with numerous backward suction effects, hits and disturbing situations. Perfect for trailers and special effects sequences.
Pictorial and transcending cinematic trailer atmosphere for time-lapse recordings and slow motions. Perfect as talkover. On the way to another dimension. Featuring choir fx.
Pictorial and transcending cinematic trailer atmosphere for time-lapse recordings and slow motions. Works well as Talkover. On the way to another dimension. Featuring choir fx.
Pictorial and transcending cinematic trailer atmosphere for time-lapse recordings and slow motions. Perfect as talkover. On the way to another dimension.
A versatile, neutral, airy and open sounding opener with bass, pads and lots of hits, stingers and risers. A perfect companion for intros of all genres and for introduction of films.
Gracefully floating choirs in trailer fever.


text:
All over again. Includes support for xmlHttpRequest, JSONP, CORS, and CommonJS Promises A.

## API

``` js
reqwest('path/to/html', function (resp) {
  qwery('#content').html(resp)
})

reqwest({
    url: 'path/to/html'
  , method: 'post'
  , data: { foo: 'bar', baz: 100 }
  , success: function (resp) {
      qwery('#content').html(resp)
    }
})

reqwest({
    url: 'path/to/html'
  , method: 'get'
  , data: [ { name: 'foo', value: 'bar' }, { name: 'baz', value: 100 } ]
  , success: function (resp) {
      qwery('#content').html(resp)
    }
})

reqwest({
    url: 'path/to/json'
  , type: 'json'
  , method: 'post'
  , error: function (err) { }
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

reqwest({
    url: 'path/to/json'
  , type: 'json'
  , method: 'post'
  , contentType: 'application/json'
  , headers: {
      'X-My-Custom-Header': 'SomethingImportant'
    }
  , error: function (err) { }
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

// Uses XMLHttpRequest2 credentialled requests (cookies, HTTP basic auth) if supported
reqwest({
    url: 'path/to/json'
  , type: 'json'
  , method: 'post'
  , contentType: 'application/json'
  , crossOrigin: true
  , withCredentials: true
  , error: function (err) { }
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

reqwest({
    url: 'path/to/data.jsonp?callback=?'
  , type: 'jsonp'
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

reqwest({
    url: 'path/to/data.jsonp?foo=bar'
  , type: 'jsonp'
  , jsonpCallback: 'foo'
  , jsonpCallbackName: 'bar'
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

reqwest({
    url: 'path/to/data.jsonp?foo=bar'
  , type: 'jsonp'
  , jsonpCallback: 'foo'
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
  , complete: function (resp) {
      qwery('#hide-this').hide()
    }
})
```

## Promises

``` js
reqwest({
    url: 'path/to/data.jsonp?foo=bar'
  , type: 'jsonp'
  , jsonpCallback: 'foo'
})
  .then(function (resp) {
    qwery('#content').html(resp.content)
  }, function (err, msg) {
    qwery('#errors').html(msg)
  })
  .always(function (resp) {
    qwery('#hide-this').hide()
  })
```

``` js
reqwest({
    url: 'path/to/data.jsonp?foo=bar'
  , type: 'jsonp'
  , jsonpCallback: 'foo'
})
  .then(function (resp) {
    qwery('#content').html(resp.content)
  })
  .fail(function (err, msg) {
    qwery('#errors').html(msg)
  })
  .always(function (resp) {
    qwery('#hide-this').hide()
  })
```

``` js
var r = reqwest({
    url: 'path/to/data.jsonp?foo=bar'
  , type: 'jsonp'
  , jsonpCallback: 'foo'
  , success: function () {
      setTimeout(function () {
        r
          .then(function (resp) {
            qwery('#content').html(resp.content)
          }, function (err) { })
          .always(function (resp) {
             qwery('#hide-this').hide()
          })
      }, 15)
    }
})
```

## Options

  * `url` a fully qualified uri
  * `method` http method (default: `GET`)
  * `headers` http headers (default: `{}`)
  * `data` entity body for `PATCH`, `POST` and `PUT` requests. Must be a query `String` or `JSON` object
  * `type` a string enum. `html`, `xml`, `json`, or `jsonp`. Default is inferred by resource extension. Eg: `.json` will set `type` to `json`. `.xml` to `xml` etc.
  * `contentType` sets the `Content-Type` of the request. Eg: `application/json`
  * `crossOrigin` for cross-origin requests for browsers that support this feature.
  * `success` A function called when the request successfully completes
  * `error` A function called when the request fails.
  * `complete` A function called whether the request is a success or failure. Always called when complete.
  * `jsonpCallback` Specify the callback function name for a `JSONP` request. This value will be used instead of the random (but recommended) name automatically generated by reqwest.

## Security

If you are *still* requiring support for IE6/IE7, consider including [JSON3](https://bestiejs.github.io/json3/) in your project. Or simply do the following

``` html
<script>
(function () {
  if (!window.JSON) {
    document.write('<scr' + 'ipt src="http://cdnjs.cloudflare.com/ajax/libs/json3/3.3.2/json3.min.js"><\/scr' + 'ipt>')
  }
}());
</script>
```

## Contributing

``` sh
$ git clone git://github.com/ded/reqwest.git reqwest
$ cd !$
$ npm install
```

Please keep your local edits to `src/reqwest.js`.
The base `./reqwest.js` and `./reqwest.min.js` will be built upon releases.

## Running Tests

``` sh
make test
```

## Browser support

  * IE6+
  * Chrome 1+
  * Safari 3+
  * Firefox 1+
  * Opera

## Ender Support
Reqwest can be used as an [Ender](http://enderjs.com) module. Add it to your existing build as such:

    $ ender add reqwest

Use it as such:

``` js
$.ajax({ ... })
```

Serialize things:

``` js
$(form).serialize() // returns query string -> x=y&...
$(form).serialize({type:'array'}) // returns array name/value pairs -> [ { name: x, value: y}, ... ]
$(form).serialize({type:'map'}) // returns an object representation -> { x: y, ... }
$(form).serializeArray()
$.toQueryString({
    foo: 'bar'
  , baz: 'thunk'
}) // returns query string -> foo=bar&baz=thunk
```

Or, get a bit fancy:

``` js
$('#myform input[name=myradios]').serialize({type:'map'})['myradios'] // get the selected value
$('input[type=text],#specialthing').serialize() // turn any arbitrary set of form elements into a query string
```

## ajaxSetup
Use the `request.ajaxSetup` to predefine a data filter on all requests. See the example below that demonstrates JSON hijacking prevention:

``` js
$.ajaxSetup({
  dataFilter: function (response, type) {
    if (type == 'json') return response.substring('])}while(1);</x>'.length)
    else return response
  }
})
```

## RequireJs and Jam
Reqwest can also be used with RequireJs and can be installed via jam

```
jam install reqwest
```

```js
define(function(require){
  var reqwest = require('reqwest')
});
```

## spm
Reqwest can also be installed via spm [![](http://spmjs.io/badge/reqwest)](http://spmjs.io/package/reqwest)

```
spm install reqwest
```

## jQuery and Zepto Compatibility
There are some differences between the *Reqwest way* and the
*jQuery/Zepto way*.

### method ###
jQuery/Zepto use `type` to specify the request method while Reqwest uses
`method` and reserves `type` for the response data type.

### dataType ###
When using jQuery/Zepto you use the `dataType` option to specify the type
of data to expect from the server, Reqwest uses `type`. jQuery also can
also take a space-separated list of data types to specify the request,
response and response-conversion types but Reqwest uses the `type`
parameter to infer the response type and leaves conversion up to you.

### JSONP ###
Reqwest also takes optional `jsonpCallback` and `jsonpCallbackName`
options to specify the callback query-string key and the callback function
name respectively while jQuery uses `jsonp` and `jsonpCallback` for
these same options.

But fear not! If you must work the jQuery/Zepto way then Reqwest has
a wrapper that will remap these options for you:

```js
reqwest.compat({
    url: 'path/to/data.jsonp?foo=bar'
  , dataType: 'jsonp'
  , jsonp: 'foo'
  , jsonpCallback: 'bar'
  , success: function (resp) {
      qwery('#content').html(resp.content)
    }
})

// or from Ender:

$.ajax.compat({
  ...
})
```

If you want to install jQuery/Zepto compatibility mode as the default
then simply place this snippet at the top of your code:

```js
$.ajax.compat && $.ender({ ajax: $.ajax.compat });
```

**Happy Ajaxing!**

redpajama_set_name: RedPajamaGithub


text:
A review of Die Buecher der Namenlosen Liebe von Sagitta by John Henry Mackay (originally published in Paris, 1913), new edition, 1924, translated from the original German by Hubert Kennedy as Sagitta's Books of the Nameless Love, Concord, California, 1988
Remarkably topical for a century-old plea to closed minds *****
1st edition, Paris, 1913
Sagitta was the secret nom de plume of the individualist anarchist writer John Henry Mackay, essentially a German despite his Scottish father. The nameless love he wrote about between 1905 and 1913 was that made famous as such by Oscar Wilde during his trial and specified by Mackay as being the love of adolescent boys. Contrary to popular myth, neither man was an apostle for the modern gay cause; the love they both defended still dares not speak its name.
Mackay was an important pioneer, the first man to articulate in writing the feelings of the exclusive pederast. Others from antiquity down to the 17th century expressed preference for boys over females, but they, like the society they were addressing, took it for granted that men in general were capable of attraction to boys as well as women (even if they never acted on it and might have been condemned if caught doing so). Yet others had written about homosexuality in the two centuries since northern Europeans had begun to think of men as divided by firm orientation between a heterosexual majority and homosexual minority, but, like Wilde, they ignored the "unbridgeable contrast" Mackay saw between pederasty and androphile homosexuality.
In the six books of the nameless love, Mackay uses a variety of mediums to seek public understanding of it. The more interesting third is a novel, Fenny Skaller, in which the eponymous narrator ponders successively the photographs of ten boys he has known, each telling a story in the growth of his understanding of his love. As the translator, Hubert Kennedy, explains in his helpful introduction, it is largely autobiographical. Fenny is an agonisingly introspective man of conscience, his absolute belief in the propriety of his love fortified by a streak of puritanism which causes him to disdain with harshly-expressed horror the sexual behaviour and character of those with an earthier, less idealistic disposition. For those interested in the mind of the pederast or the adolescent attracted to men, this is an exceptionally clear exposition, rich in apt imagery, which will clear up many popular misconceptions. To take one important example, Fenny's boys are typical of boys loving men in being "those who in their youth were able to return the love of an older one of their sex just as well as later that of a woman, whose feelings in their youth did not yet go in a definite direction."
2005 edition of Kennedy's English translation
Mackay tries to counterbalance the sombre and tormented tone of Fenny Skaller in his next book, Over the Marble Steps, a charming one-act play about a promising romantic encounter in Venice between a young sculptor and a boy of sixteen. It is the most delightful of the books, but too short and sentimental to be powerful. In contrast, Listen! Only a moment! A cry, the final and best of the other books, is an immensely powerful plea for open-minded consideration.
I shall not go into Mackay's various arguments why society should tolerate his love. They are not flawlessly presented. He is given to exaggeration or hyperbole: love, he says, "is the only thing that cannot be bought in this mercenary world." (Really? What about trust, for example?) He is occasionally inclined to have his cake and eat it, as do many arguing for a sexual minority: his staunch adherence to the modernist line that all are born with an orientation that should be tolerated because it is immutable and given by nature does not stop him thinking "a Greek inheritance ineradicably lives on in the breast of each man, each youth." In aggregate, however, I would say his arguments are irrefutable, as are his acute observations on why they have made no headway, and most of them remain extraordinarily topical due to the even more invidious position of his love today.
"The future will one day hear me." Despite all his setbacks and his realisation that his arguments were consistently falling on deaf ears, Mackay adhered to two delusions for believing reason would ultimately prevail, both of which are rich in irony. First, his belief in the rightness of his love was closely allied to belief in a personal freedom for all, for the inevitable triumph of which he thought "the children of the nineteenth century" had laid the foundations. I wonder if he still believed that in his final months under national socialist rule! At any rate, this line of reasoning has surely lost its credibility since the 1970s when such freedom came virtually to prevail, only to be firmly rejected in favour of safety and control, with pederasty singled out for special repression. Secondly, he was confident that by engaging in love affairs with boys, he and others were laying the foundation for a future generation of fathers who would accept benevolent amorous interest by men in their sons because of the good and happiness it had brought them. Such thinking does indeed explain why the poisoned perspective of today could never have won influence in ancient Greece, where pederasty was ubiquitous, but hoping it could take effect in the hostile 20th century was surely absurd. As he himself explained, the result of the ongoing repression is not to stop all clandestine sex between men and boys, but to stifle the genuine love of boys (which he saw as self-evidently protecting them). Inevitably therefore, the more the repression continues, the more surviving pederastic activity becomes skewered towards the more reprehensible, providing ever more emotive ammunition for misunderstanding and intolerance.
German edition of Fenny Skaller (only), 2007, with Mackay aged 16 on the cover
"Do not believe that you can still do anything that has not already been done to us." I wonder how his intellect, passionate conviction and principled defiance of unjust laws would play out in a world in which very much more is indeed done against his ilk. For all his indignation, and without availing himself of the obvious option taken up by some of his contemporaries to escape the exceptionally grim moral climate of northern Europe, he lived his love without serious repercussion, obliged only to be discreet. Would he anywhere today be able to chat up boys in the street, make dates with them, form strong mutual attachments, sometimes with the approval of tacitly understanding parents?
Mackay's was not a battle that could ever be won purely through reason; he should have known better, since he kept pointing out how irrational was the hostility to his love. I suspect real fiction is a more powerful medium for persuasion, at least in a democratic society. As Mackay said, people have not the slightest interest in trying to understand a love they do not feel themselves. Their sympathy may sometimes however be captured through a good, heartfelt story leading them to inadvertent understanding of the emotions involved. His later novel The Hustler was thus a less hopeless effort for his tragically doomed cause, as well as a more enjoyable read.
Reviewed by Edmund Marlowe on Goodreads.com, 28 Aug. 2014


Sometimes, no matter how hard you scrub, wipe and spray your kitchen with sweet-smelling products, it still ends up with an unappetizing aroma—and we all know that bad odors have no place in cooking corners!
1. Empty out the trash.
Before deep cleaning your garbage cans, don't forget to take the trash out. This seems like an obvious step, but you never know what's lurking in the corners of these bins that hold food residue among other things you've thrown out.
Most garbage cans, especially ones with foot pedals, have nooks and crannies that are hard to reach just by wiping them down—sometimes, running water flushes it out best. Take your bins outside and give them a quick bath.
3. Give it a good scrubbing.
For hard-to-reach areas or stains that weren't removed from hosing down, get an old sponge or a brush you're about to discard, then clean the bins with a combination of detergent and baking soda.
4. Deep clean and disinfect.
Depending on the type of garbage cans you have, there might still be grooves that need some extra attention. To make sure they are clean and odor-free, you can use antibacterial wipes or spray with a white vinegar solution when giving it a final wipe down.