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March 10, 2021 9:25AM ET
From a Nashville relief fest to Celine Dion to Iggy Pop at Carnegie Hall, these shows are burned into our memories as we wait for live music to come back
Brenna Ehrlich
Hank Shteamer
David Browne
Andy Greene
Andrew Firriolo
Mankaprr Conteh
Rick Carp
Griffin Lotz
Jason Newman
Jon Freeman
Rob Sheffield
Kory Grow
Scene at Madison Square Garden Feb 28th 2020.
Sacha Lecca for Rolling Stone
A year ago, our lives ground to a halt as Covid-19 spread across the U.S. Everything but essential businesses shut down, schools closed, and the music world stopped in its tracks. Tour announcements became tour cancellations, festivals were called off, and those of us who attended several live shows per week found ourselves on our couches, grieving not only the fallout of the pandemic but the loss of one of our greatest comforts: music.
As more and more people across the world are gaining access to vaccines and a glimmer of hope has appeared on the horizon when it comes to the rebirth of live music, Rolling Stone staffers recall the last show they saw before the world stood still.
SiR: Brooklyn Steel, Brooklyn, New York, December 3rd, 2019
"YOO," my friend Eunice texted me. "SZA IS HERE. SHE JUST FILMED FROM THE SIDE OF THE STAGE. LOOK ON IG. I'M COMING TF BACK." Fifteen minutes prior, Eunice had left me in a dense crowd on the floor of Brooklyn Steel, a 1,800-capacity venue that was filled to the max. The 15 minutes crept by as I felt alone, watching couples sway and friends shout lyrics to each other as R&B singer SiR mosied through tracks from his third album, Chasing Summer, with a nimble band. What had seemed like a miracle wasn't playing out like one.
That morning, $40 tickets for R&B singer SiR's sold-out show had fallen into our laps. The week prior, Eunice and I were kicking ourselves for not grabbing tickets at face value. By the day of the show, they were going for $100 on StubHub, and I was strongly considering buying at the hiked rate until Eunice let me know someone she knew was looking to get rid of two passes for cheaper. Eunice and I had a graduate class in Times Square together that night, so we agreed to go to school ready for the concert, and dash from Times Square to Williamsburg as quickly as we could. Still, by the time we made it to the venue, it was packed. We got as close to the stage as we could politely, but Eunice, being a head shorter than me, needed fewer people in front of her to see. I thought about what that would take — the boldness to finesse your way to the front, butting ahead of people who may have been waiting for hours. If I was one of them, I'd curse me out. I told her I wasn't comfortable trying to push forward.
Eventually, SiR took the stage. Eunice and I knew what he had done with Chasing Summer was special. Dreamy and succinct, it soundtracked leaves changing and calm introspection. On stage, SiR was cool personified, taking a few hits of some smoke handed to him by a fan, and singing effortlessly. Struggling to see past backs and shoulders, Eunice wasn't that into it, and because I could sense her discomfort, neither was I. Dizzy and disappointed, she let me know she was going to head out mid-set. I promised to stay in the same spot so she could find me if she chose to come back. Fifteen minutes later, finding out SiR's Top Dawg Entertainment labelmate SZA was backstage energized the both of us. Small and determined, Eunice barreled her way back to me in enough time to watch SiR perform "Hair Down," the album's single, with SZA prancing around him. She doesn't perform anything herself, but her pride in SiR was palpable as she jumped and gushed over him.
When I think about my last show, I mostly remember the regret of not being a more forceful friend and the loneliness of watching some of it alone. It makes me think about the inconveniences of concert-going: the gouged tickets, the packed crowds, the expensive drinks, the risk of having a splash of them spilled on you, the pushing, the butting, the phone screens held up around you that you're forced to watch the show through.
I also think about what New York City once was. I think about the surety that your favorite musicians would come through on tour and the spontaneity of heading to a concert with eight hours' notice. I think about the opportunity to make a memory, albeit a tainted one, with a friend, and to own a fresh piece of a favorite song on video. When I watch the clear clip of SiR performing "John Redcorn" that I recorded at the show and think about what the world has been for the past year, I see that evening was still very much a miraculous one. — Mankaprr Conteh, Staff Writer
Drive-By Truckers: Union Transfer, Philadelphia, Pennsylvania, February 27th, 2020
It was the type of show worth traveling for: My favorite band with a brand new album (The Unraveling) to perform in a city where several of my closest friends who loved the band as much as I lived. The club was packed, and the Truckers were, as they tend to be, ear-damage loud. The veteran Athens band never uses a setlist, and like so many of their shows, this one started off intentionally slow, with a mix of more contemplative, recent tunes.
But as is often the case, the first 90 minutes of the Truckers' set was merely a warm-up, as if they were their own opening act. The real show began 17 songs in when Patterson Hood started strumming the opening riff to 1998's "The Living Bubba," the real-life story of Gregory Dean Smalley, a local Nineties Atlanta rocker who refused to stop playing gigs up until the very end of his battle with AIDS. "I can't die now," Hood sang that night in Philadelphia, "'cause I got another show to do."
With that, the Truckers, as if energized by the gospel of Gregory Dean Smalley, kicked into some higher gear. Twenty-nine songs and three hours later, the band had wrapped up another eternal Rock Show, just another night for the group of 50-something musicians who'd spent the better part of the past quarter-century on the road. The last song of the evening was "Angels & Fuselage," a quiet, anxious, nine-minute prayer that's haunted me ever since.
"I'm scared shitless," Hood sang, over and over and over again, "of what's coming next." — Jonathan Bernstein, Research Editor
Muckers, Breanna Barbara: TV Eye, Ridgewood, Queens, March 6th, 2020
SXSW had just been canceled earlier that day, but for many at the show that night, their travel plans remained mostly unchanged. The Muckers had just released a single and were going to be kicking off a tour that would take them to New Jersey the next week and then down to Austin. The show was raucous, and we were all packed in close to the stage, not a mask in sight. At the end, I took a celebratory shot with the band before taking their portraits. As Jonathan Toubin started his late-night DJ set, there was no thought in anyone's mind that this might be the last time we all hung out in that way before the world changed. — Griffin Lotz, Associate Photo Editor
The Brothers: Madison Square Garden, New York, New York, March 10th, 2020
Until the minute I walked out the door of my home, I debated whether to head to Madison Square Garden last March 10th. The warnings about the coronavirus were on the rise, with nearby New Rochelle declared a potentially lethal hot zone, and we in New York City were being told to avoid tightly packed mass transportation. Did I really want to risk my life for an Allman Brothers Band 50th-anniversary tribute show? After all, only one of the founding members would even be on that stage.
But most of us who had tickets knew this event was likely to be a one-timer. And the lineup — called the Brothers, and featuring musicians like Warren Hynes, Oteil Burbridge, and Derek Trucks, who'd all played in subsequent editions of the band — promised that the show wouldn't be cheesy or sloppy. So I grabbed a small bottle of hand sanitizer and decided, perhaps foolishly, to take a chance.
Arriving at the Garden, I didn't know what to expect, but all systems seemed standard at first. Ticket-holders milled outside on the street and in the inside lobby. No one wore a mask, since those weren't yet mandated. As I made my way to my seat, the arena was starting to fill up, there was weed in the air, and it was easy to forget what was starting to happen around the world.
The fact that all systems were not normal was apparent as soon as I went to the men's room and saw the way people were standing apart from each other and diligently washing their hands in 20-second intervals. (Granted, I was glad they were washing up, but the ritualistic nature of it was new.) Before the lights went down, I noticed pockets of empty seats around the arena. Although the show was sold out, some people clearly decided not to risk their health to hear "Whipping Post" again. I grabbed the hand sanitizer in my pocket and used it, which I did several times as the night wore on, and I tried not to touch the banister in front of me. You weren't sure who had touched it before.
For most of the night, I tried not to think about Covid-19, as I'm sure many in the crowd did, too. Gregg Allman, along with his brother Duane, Berry Oakley, and now Butch Trucks, were gone, Dickey Betts couldn't make it, and only drummer Jaimoe of the original lineup survived. But the men onstage, which also included keyboardist Chuck Leavell from the immediate post-Duane version of the Allmans, were the keepers of this particular flame, and the music was clearly deep in the marrow of their bones. "Dreams," "Blue Sky," "Statesboro Blues," "One Way Out," "Stand Back" — all were played faithfully as if they were classical music pieces, but with extended jams that allowed these players to add their particular styles to the night.
There was something glorious and uplifting about hearing those songs played with such care and such fire; it felt as if the music was not just being saluted but preserved for a future generation. At various times, like when Trucks and Haynes played the simultaneous leads in "Jessica," the show was surprisingly emotional. In retrospect, it's hard to say how much was due to the performance and how much to the circumstances. I joked to the friend next to me that this would be "the last concert ever."
As soon as I arrived back home — by taxi, to avoid mass transit — I felt foolish. Had I made a mistake? In the weeks that followed, we learned that a few band members and crew people came down with the virus, possibly during that stay in New York. Luckily, my health was fine. Was it worth the risk? I still don't know. But as Derek Trucks told me in the days that followed, the show "felt like one of the last moments for a long time when people would be able to suspend reality and let go." One of these days, we'll let go again. — David Browne, Senior Writer
Control Top: St. Vitus, Brooklyn, New York, March 6th, 2020
In 2020, I was lucky enough to catch five shows before everything was shut down. The final one, Control Top at St. Vitus, was a last-second decision, and I headed to Greenpoint after work without stopping home. I was wearing a winter coat, so I looked like a square in the venue known for noisy hardcore and metal concerts. Whatever. The Philadelphia punk trio was excellent and repeatedly thanked everyone for coming, even noting a potential lockdown was looking more likely. Covert Contracts, which was released in 2019, is a record that has a lot going on, but watching the songs performed live quickly doubled my respect for the musicians. Al Creedon (guitar) and Alex Lichtenauer (drums) fucking ripped at their instruments, and singer/bassist Ali Carter was walking out in the audience while screaming lyrics and clearly having a lot of fun (as was everyone in the crowd). Their tour was derailed within about a week, but don't miss them if the opportunity ever comes up. Thank you, Control Top! — Rick Carp, Research Editor
The Tibet House Benefit: Carnegie Hall, New York, New York, February 26th, 2020
Before moving to Hackensack, New Jersey, in 2019, I used to go to DIY venues multiple times per week, even if I didn't know who was playing. The better to discover my new favorite band. Once hitting the suburbs — and my mid-thirties — I became a bit less inclined to stay out 'til 2 a.m. on a Tuesday and thus a bit pickier about which shows to attend. You try braving Port Authority during the early morning hours.
The Tibet House Benefit seemed the perfect compromise back in February of 2020, though. It started early and packed in a month's worth of must-see performers; that year the lineup boasted Philip Glass, Laurie Anderson, Matt Berninger, Phoebe Bridgers, Tenzin Choegyal, Rubin Kodheli, Bettye LaVette, Sandra Oh, Iggy Pop, Margo Price, Patti Smith, Jesse Paris Smith, the Patti Smith Band, and the Scorchio Quartet.
Plus, I've always loved this annual showcase — you get to sit on a velvet seat under a golden ceiling watching performers you'd never imagine gracing that stage going absolutely nuts. For instance, seeing Iggy shed his shirt and undulate to "I Wanna Be Your Dog" — backed by string instruments! — is an image I'll never eradicate from my brain (in a good way).
The performers commented on the state of the world during the show, of course, but at that point, we were all more worried about fires in the Amazon than a global pandemic. All that would change in a few weeks, though. I remember agonizing over whether I should see Billie Eilish at Madison Square Garden just when the pandemic was hitting a fever pitch, a show that would be canceled, anyway — along with all the other carefully chosen shows I'd added to my calendar.
The other day I tweeted that, at this point, I would be content to go to a DIY show with four openers and drink bottom-shelf whiskey from a dentist's rinse cup — and I wasn't joking. Whenever this is all over, I vow to be a lot less picky about where I spend my late nights. — Brenna Ehrlich, Senior News Editor
John Zorn's Simulacrum: The Sultan Room, Brooklyn, New York, February 21st, 2020
One Friday night last February, I stood with around 200 people in a tightly packed Brooklyn venue and watched spellbound for an hour as a band called Simulacrum transformed from proggy death-metal power trio into hard-grooving jazz organ trio and back. It was the kind of show that, as a 20-plus-year NYC resident who had yet to learn of Covid-19, I had come to take somewhat for granted: a group of world-class musicians — in this case, organist John Medeski, guitarist Matt Hollenberg, and drummer Kenny Grohowski, playing material written expressly for them by avant-garde icon John Zorn — performing challenging yet riveting music in front of a rapt crowd in an intimate, slightly offbeat setting, in this case, a venue in the back of a retro-kitschy Turkish restaurant. Now, after more than a year without hearing live music indoors, it seems almost miraculous that at the time, this seemed like just another night out in the city. Once shows return, I know I'll be all the more attuned to what gigs like this really are: precious opportunities for a transcendent communal experience. — Hank Shteamer, Senior Editor
Celine Dion: Prudential Center, Newark, New Jersey, March 2020
My mom's all-time favorite song is "My Heart Will Go On" from the Titanic soundtrack. So, I knew we had to see Celine Dion when she made a two-night stop at Newark's Prudential Center for her Courage World Tour (the last shows before the tour was put on hold). Even though my mom is not the biggest fan of live events, I can tell she was just as excited as I was to see Celine live for the first time.
A master of her craft, Celine put on an incredible show, constantly engaging the crowd and working the stage like there was no tomorrow. Her sense of humor and witty banter added to the electric atmosphere in the stadium, allowing the crowd to connect with her on a personal level. Celine possesses one of those rare charismatic qualities that instantly makes you feel at ease, almost momentarily forgetting just how famous she is while watching her perform.
Highlights of the show included a pitch-perfect rendition of fan-favorite "The Power of Love," a crowd sing-along of John Farnham's "You're the Voice," an extraordinary duet of "The Prayer" with one of her background singers, and a moving performance of the title track from her newest album, Courage.
"Courage," a ballad about dealing with the loss of a loved one, was a special moment in the show — really hitting the crowd on an emotional level. Her crew knows how to put on a polished show, and the acoustics provided a blended mix between her vocals and the massive backing band. Celine's voice was crystal clear, which was a welcome change to the bass-heavy shows I'm more accustomed to.
When Celine came out for the finale ("My Heart Will Go On," of course), the energy in the room was a special feeling that only live events can bring. Hearing thousands upon thousands of people singing in unison, almost as loudly as Celine herself, is a memory I'll never forget. During the final chorus of the song, dozens of drones came out on stage, lit up and flying around like lightning bugs on a summer evening.
When live events reopen, Celine is a performer who can't be missed. You'll laugh, you'll cry, you'll feel like Kate Hudson in How to Lose a Guy in 10 Days (who can forget the Celine Dion concert scene!).
Thank you, Celine, for an incredible performance, and a concert my mom and I will always remember! — Andrew Firriolo, Data Quality Analyst
To Nashville, With Love: Marathon Music Works, Nashville, Tennessee, March 9th, 2020
I clearly remember my last concert of 2020 because it was almost certainly the place where my partner and I were infected with Covid-19.
It was March 9th, a Monday, and six days after a devastating tornado ripped through Nashville, killing two, causing millions in damage, and displacing many. Relief efforts in the immediate aftermath were swift and largely homegrown — neighbors chainsawing trees from roofs and hauling debris to the curbs; people delivering groceries to community hubs while shell-shocked residents tried to salvage what they could from the wreckage. I'd gone out to help clean up a couple of times, including in a part of town near my home that was particularly hit hard.
To show solidarity and raise funds for those in need, the British singer Yola helped organize an all-star benefit concert at the Nashville club Marathon Music Works. To Nashville, With Love, as it was dubbed, included mini-sets from artists like Yola, Jason Isbell, Brothers Osborne, Brandi Carlile, and Soccer Mommy, and was capped by a group rendition of "Rockin' in the Free World." All of the proceeds went straight to the relief efforts, and I purchased a pair of tickets without hesitation.
I say I "remember" that show — but I spent most of the evening backstage doing interviews for Rolling Stone's review and, other than seeing Yola bring down the house with her version of "You're All I Need to Get By," I can't recall who sang what.
What I do remember is that Covid-19 still seemed like an abstraction for people in Tennessee, or at least it did to me. None of our elected officials were sounding any kind of alarm. There had been just four confirmed cases of Covid-19 in the state at that point. The World Health Organization didn't declare it a pandemic until two days later. It hadn't affected any of our acquaintances, as far as we knew.
Even so, I recall some of the early signs of the anxiety present at the venue. There were hand sanitizer stations in the ticket office and backstage, and some attendees voiced whether it was safe to hug or if we should be bumping elbows. Gallows humor was abundant. In reality, the virus was already spreading — among the concert attendees, honky-tonk tourists downtown, prisoners, diners, assisted-living residents, and seemingly everyone else.
I wish I could say I'd been ahead of the curve on distancing and masking, but I wasn't. At the benefit concert, I shook hands with colleagues, I hugged Yola, I sat at a table with Margo Price. I have spent an inordinate amount of time wondering in hindsight whether I was putting any of them (not to mention myself) at risk. The answer, of course, is yes, but I suppose we were all in the same boat without a paddle to be found, and no idea which direction we should be paddling in to begin with.
By the week's end, my partner was displaying symptoms, and mine showed up a couple of days after. We survived it after a terrifying, uncertain two weeks. Some days I can't believe it's been a year; other days, it might have been another lifetime. For better or worse, that was the lens through which the remainder of 2020 would be refracted — every decision, every move made, wondering just how close to the edge we both had come. Anyway, the concert was great. — Jon Freeman, Editor, Rolling Stone Country
Graham Nash: Tarrytown Music Hall, Tarrytown, New York, March 5th, 2020
During the intermission of Graham Nash's March 5th, 2020, show at the Tarrytown Music Hall, I coughed. It was a soft cough and I wasn't sick, but the woman next to me looked alarmed. "Don't worry," I said to her. "I don't have it." She smiled. "That's the thing," she said. "There's no way of knowing."
It was an alarming point that hadn't really occurred to me. And when I was ushered backstage to say hello to Nash and his band before the second half of the show, I bumped elbows with people instead of shaking hands. But not a single person was wearing a mask, and I was inches away from Nash and guitarist Shane Fontayne. We chatted about the upcoming Deja Vu box set and Fontayne's time on the 1992/93 Bruce Springsteen tour like everything was normal.
The show was excellent. Nash played CSN/CSNY classics ("Wasted on the Way," "Cathedral"), solo tunes ("I Used to Be a King," "Sleep Song"), a Hollies hit ("Bus Stop"), and a few covers (The Beatles' "A Day in the Life" and Buddy Holly's "Everyday"). The harmonies of David Crosby and Stephen Stills were missed, but Fontayne and keyboardist Todd Caldwell filled in quite nicely. The show ended with "Teach Your Children," and the entire place sang along.
I had tickets to see Steve Hackett perform Selling England by the Pound at the Bergen Performing Arts Center later that week, but I woke up the morning of the show feeling extremely ill. I bumped my tickets to the next night in Westbury, Long Island, but I had to cancel since my condition had only gotten worse. (I'll never know whether or not it was Covid-19.) I recovered in time to see him in Collingswood, New Jersey, the following weekend, but the show was put on indefinite hold along with the entire concert industry. — Andy Greene, Senior Writer
Roomful of Teeth: Lincoln Center, New York, New York, February 13th, 2020
My last concert before lockdown was by the choral ensemble Roomful of Teeth, which performed a little over an hour's worth of contemporary works by living composers. The whole thing seems all the more surreal and significant now since it was a performance by eight singers — and later even more choristers who were members of the Dessoff Choirs — freely (and beautifully) exhaling all over a sold-out room of maskless concertgoers. Within a few weeks, the very notion of a choir would become tantamount to a dirty bomb.
The concert took place the day before Valentine's Day (I'd bought the tickets as a present for my wife, an erstwhile Dessoff alto) at Lincoln Center's Appel Room, which features big, floor-to-ceiling windows that overlook Columbus Circle and Central Park from three stories up — a stunning sight. The program that night featured works by Wally Gunn, Eve Beglarian, William Brittelle, and one of Roomful of Teeth's altos, Caroline Shaw, whose piece, The Isle, contains muddles of words that pull dialogue from Shakespeare's The Tempest. Throughout the night, the singers each used different vocal techniques in ways that challenge classical-music conventions (they're vocalists in the truest sense of the term) that covered the spectrum of sound. I'm glad I got to see something that feels all the more avant-garde these days. — Kory Grow, Senior Writer
Hall and Oates: Madison Square Garden, New York, New York, February 28th, 2020
It's crazy to think back and remember that the first known Covid-19 case in the U.S. was January 21st (in Washington state), and we kept moving forward as if nothing would happen. Since that initial news, I flew to Miami for the Rolling Stone LIVE Super Bowl party and stood on a small stage with DJ Khaled, Diddy, Fat Joe, and, um, DJ Paris Hilton. Once back home, I drove to New Hampshire to support and photograph Sunflower Bean opening for the Strokes at a Bernie Sanders event. Then spent some time upstate New York in the studio with the Nude Party as they recorded their latest album, Midnight Manor ... all while not thinking I was at risk.
I had many pre-SXSW shows booked in early March and many got canceled; the ones that happened pre-shutdown I skipped out of caution and part of me wishes I had a couple more.
Post lockdown, in September, I did get to shoot a couple of Marcus King Trio socially distanced shows, and while the band was amazing, the experience lacked what makes these moments more special: the intimacy of a live audience.
My official last pre-shutdown show ended up being February 28th. It was the night before the first case in New York City was announced, and I was at a sold-out Madison Square Garden. I had been invited by Hall and Oates to spend the full evening in the pit shooting without restrictions (rather than the traditional first three songs, or in this case from the front of house), so a rare and special thing. Squeeze, a personal favorite from my youth, was touring with them, and KT Tunstall opened the evening. On the scene was former Reagan and Obama White House photographer Pete Souza photographing KT from the stage. It was just the second show of this highly anticipated tour, and there wouldn't be a third. — Sacha Lecca, Deputy Photo Editor
Hall and Oates: Madison Square Garden, February 28th, 2020
My mom and I don't have much in common when it comes to musical tastes, but Hall and Oates — as they are with so many families — are a safe cross-generational bridge. Notwithstanding the occasional reggae-fied version of an Eighties classic, a Hall and Oates concert circa 2020 is a musical security blanket — a night whose results are preordained before the first note of "Maneater" causes a sea of 20,000 awkward Bar Mitzvah-level dances.
Throughout the night, my mom had been complaining, which ordinarily would not be a catalyst for anything interesting or unusual. But her shortness of breath — attributed that night to both a recent bout with anemia and Daryl Hall and his long, sandy locks looking in her direction — may have portended what would become a 10-day hospitalization for Covid-19 the next month. (She made a full recovery.) At the time, Covid was something we just discussed alongside myriad other topics, blissfully unaware of the future implications both in the family and around the world. — Jason Newman, News Director
Control Top: Union Pool, Brooklyn, New York, March 5th, 2020
My last show was a knockout: the Philly punk trio Control Top, ripping it up at Brooklyn's Union Pool, on Thursday, March 5th. A perfect dream-team punk triple bill, with Privacy Issues and Weeping Icon. Control Top were just kicking off their first headlining tour, on top of their incendiary 2019 debut, Covert Contracts. It was a warm-up show since they were heading down to Austin for South by Southwest. The whole room was buzzing with excitement. The bar was full of friends, strangers, musicians — all of us breathing in each other's presence, savoring the joy of being packed into the same loud sweaty room together.
Control Top were on fire, with Ali Carter snarling her rage bombs like "Chain Reaction," "Ego Deaf," and my favorite, "Straight Jackets." When the moshpit got too lazy for her taste, she'd jump into the crowd and get in our faces. She seized one fan — the singer from Yohuna, who I was about to see in April — and wrestled her to the floor, both of them still screaming the song together.
Not a single coronavirus conversation all night, just a few playful elbow bumps. None of us felt scared about the future of live music — or anything else, really. Elizabeth Warren had just dropped out of the race that day, so Privacy Issues made an eloquent plea onstage for Bernie and universal health care. They were just about to drop their excellent debut tape, full of abrasively witty drums-and-guitar tunes about surveillance and patriarchy.
Weeping Icon were new to me, but since they were sandwiched between two bands I love, I stuck around, and they totally blew me away with their proggy guitar sludge. I meant to snap up their album, but every time I got near the merch table, I'd see a friend and get swept up in another conversation. I figured I'd just get the album at their next show.
Between bands, I hit the taco truck in the courtyard. A bit chilly, but I sat under the stars and wrote in my notebook for a while, munching my tacos. I hung out late after midnight, catching up with my friends, arguing with Control Top about what Husker Du albums we loved best. I walked home around 2 or 3 a.m. listening to my Walkman, an old Maxell C90 with Richard Thompson's Henry the Human Fly on one side and Syd Barrett's Opel on the other, singing "The Poor Ditching Boy" a bit too loud. This was just a few nights after my previous live show, Harry Styles at Bowery Ballroom. It was also just a few nights after my last karaoke bash, where I sang "People That Died" and "Damaged Goods."
The next day, the news broke: South by Southwest was canceled. I had tickets for another show at Union Pool a few nights later, for Hallelujah the Hills. That show never happened. Just a week after the Control Top show, a Thursday night like that one would have been unthinkable.
The 2020 shows I was excited for, with my tickets already grabbed — they came back to me all year, in the form of polite corporate emails. "Canceled: Bob Dylan." "Order REFUNDED for Waxahatchee." "Stephen Malkmus Has Been Canceled." Nick Cave, Palehound, Kraftwerk 3-D, the Dead, Jarvis Cocker, Taylor Swift, so many more: canceled, postponed, rescheduled, then canceled. I keep going back to every detail of that Control Top show, and sometimes it's bittersweet. But more often, it's a memory that lifts me up and focuses my eyes on the future. It's a memory that tells me exactly why live music is a mess, and why it's the mess that's always worth showing up for. — Rob Sheffield, Contributing Editor
In This Article: Brandi Carlile,	Brothers Osborne,	Celine Dion,	Control Top,	Drive-By Truckers,	Graham Nash,	Hall and Oates,	Jason Isbell,	John Zorn,	Sir Babygirl,	Soccer Mommy,	SZA,	The Brothers,	Yola
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Inspiration: Hit songs don't just come just like that, there has to be a bit of inspiration driving you. And this can come from anything really. Your love of best online casino games, the bottle of ketchup sitting in the cupboard, the way you feel.
Catchy Tune: This is definitely a must if you want to create a hit song. Songs become hits just because of the tune. Take for instance the song, "Man's Not Hot" by Big Shaq. The tune of That song was so catchy as a result the whole world was singing it within minutes.
Be You: Just because Man's Not Hot was a hit, doesn't mean that your reply Woman Is Hot will be a hit. Make sure that in all as you create, you still remain you. Don't try to be someone else. Because the internet will literally bring you down before you even take off. Besides, the world is looking for something new. Share your personal experiences, if you used to place your bet at casinos, sing about it so that people can relate more. Don't be ashamed. People might want to hear that too.
Relax: Okay we know that you want to be famous and live the good life. But hey just be patient and make sure to relax every now and again. Don't let the urge to want to be a musician take away your free time. Make sure to catch a breath of fresh air every now and again.
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Photo by Steven Allen Adams State Agriculture Commissioner Kent Leonhardt stands in the concourse of the Country Store at the State Fair of West Virginia, stocked with West Virginia-made products.
FAIRLEA, W.Va. — While the governor's office, the Legislature and the judicial branch have faced stormclouds over the last few months, Agriculture Commissioner Kent Leonhardt is reaping a harvest.
One need only walk through the Gus R. Douglass Annex at the State Fair of West Virginia in Fairlea. It's not just rides, concerts and cotton candy. In the building — named for West Virginia's longest-serving agriculture commissioner — visitors can find displays for West Virginia maple syrup, honey, beef jerky, jams, soaps, chili and wine.
There were three wineries set up, up from one winery the year before — Leonhardt's first year. There is a such a demand for in-state wineries to display at the state fair that there is a waiting list.
The Department of Agriculture staff, normally split between the commissioner's office at the State Capitol Building and an office complex north of Charleston, moves to the Gus Douglass Annex at the state fair, where they continue their work, but also make sure the state fair is a well-oiled machine.
It's the kind of smooth operation that one would expect out of a retired Marine Corps lieutenant colonel. After running — and losing — as a Republican candidate for agriculture commissioner in 2012 to former state Senator Walt Helmick, Leonhardt ran for state Senate. He spent a term representing the 2nd District, spanning from Marshall and Monongalia counties in the north, to Calhoun and Gilmer counties in the south.
In 2016, he challenged Helmick again and won. Now with over two years left on his first time, Leonhardt says making a second run for agriculture commissioner was worth it.
The Department of Agriculture might be unknown to the masses unless you're farming. The State Fair of West Virginia might be the only direct contact the public might have with the department, which is why department staff are everywhere to help, answer questions and educate the public about the role agriculture plays in their lives.
"The state fair is certainly agriculture-based, even though there is a lot more than just agriculture things here," Leonhardt said. "It gives the youth of our state a chance to show their hard work throughout the year in the livestock arena.
One way the department is helping producers of food products market themselves is through the West Virginia Grown campaign. West Virginia food-based businesses can apply to the program if their product is produced, grown or manufactured complete in West Virginia.
One way the department is gauging the success of West Virginia Grown is with the sale in the country store at the state fair. Leonhardt said sales are up 20 percent over last year with 40 vendors participating. Of that number, 14 are new.
Leonhardt said this enthusiasm is showing in many positive ways. Some people are quitting their jobs to start farm- or food-based business. Current vendors are meeting up at events, such as the state fair, and collaborating on new products.
The Department of Agriculture plays a large role in inspecting food, including meat, poultry, fruits and vegetables produced in the state. The U.S. Department of Agriculture also works with the state department to inspect lumber intended for export. The department reports that lumber exports are up $20 million more than they were before Leonhardt took office in 2017.
"I'm going to take a little bit of credit for the budget surplus if that's OK," Leonhardt joked.
On Thursday, the department honored a family for having eight generations of farmers. Leonhardt wants the department to do all it can to keep traditional farmers in business. But Leonhardt says their efforts to encourage new farmers is working.
In order to look towards the future of farming in West Virginia, the department is seeking comments from the public for a strategic plan.
Another project for the department is its Veterans and Warriors to Agriculture program. Designed to help veterans suffering from post-traumatic stress disorder, the program recently partnered with the U.S. Department of Veterans Affairs to provide more assistance.
The department is also working with the West Virginia Department of Education, the West Virginia Department of Agriculture, The West Virginia University Extension Small Farm Center and other partners on a Farm to School program. The program's goals are twofold: increasing the amount of locally-grown and sourced foods used in schools; and encouraging the next generation of farmers.
Leonhardt is not resting on his locally-grown laurels. But it's evident that he is proud of what his department has accomplished since taking office.


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9th Circuit: Passengers in a car don't have to identify themselves | Papers, Please! 9th Circuit: Passengers in a car don't have to identify themselves – Papers, Please!
Landeros was arrested … for "failure to provide his true full name and refusal to comply with directions of police officers." See Ariz. Rev. Stat. Ann. § 13- 2412(A) ("It is unlawful for a person, after being advised that the person's refusal to answer is unlawful, to fail or refuse to state the person's true full name on request of a peace officer who has lawfully detained the person based on reasonable suspicion that the person has committed, is committing or is about to commit a crime."); id. § 28- 622(A) ("A person shall not willfully fail or refuse to comply with any lawful order or direction of a police officer invested by law with authority to direct, control or regulate traffic.").
These Arizona laws are similar, as the 9th Circuit panel noted, to the Nevada laws at issue in Hiibel.
Arizona Law provides that "[a] person shall not willfully fail or refuse to comply with any lawful order or direction of a police officer invested by law with authority to direct, control or regulate traffic." Ariz. Rev. Stat. Ann. § 28-622(A). The question that remains, then, is whether law enforcement could lawfully order Landeros to identify himself, absent reasonable suspicion that he had committed an offense.
In its opinion, the Court distinguished the circumstances of Hiibel's arrest from those of an earlier case, Brown v. Texas , 443 U.S. 47 (1979). Brown overturned a conviction under a Texas "stop and identify" law similar to that at issue in Hiibel . Id . at 49–50. Unlike Hiibel, Brown was stopped, detained, and interrogated about his identity even though there was no reasonable suspicion that he had committed any offense. Id . at 51–52; see also Hiibel , 542 U.S. at 184 (discussing Brown ). Brown held squarely that law enforcement may not require a person to furnish identification if not reasonably suspected of any criminal conduct. Brown , 443 U.S. at 52–53. In short, Brown holds that an officer may not lawfully order a person to identify herself absent particularized suspicion that she has engaged, is engaging, or is about to engage in criminal activity, and Hiibel does not hold to the contrary.
As explained above, the officers insisted several times that Landeros identify himself after he initially refused, and detained him while making those demands. At the time they did so, the officers had no reasonable suspicion that Landeros had committed an offense. Accordingly, the police could not lawfully order him to identify himself. His repeated refusal to do so thus did not, as the government claims, constitute a failure to comply with an officer's lawful order, Ariz. Rev. Stat. Ann. § 28- 622(A). There was therefore no justification for the extension of the detention to allow the officers to press Landeros further for his identity.
The government repeatedly notes that this court's precedent permits police to "ask people [including passengers in cars] who have legitimately been stopped for identification without conducting a Fourth Amendment search or seizure." United States v. Diaz-Castaneda, 494 F.3d 1146, 1152 (9th Cir. 2007) (emphasis added). But we need not resolve whether that precedent remains valid…. Regardless of whether the first request for Landeros's identification was lawful, law enforcement's refusal to take "no" for an answer was not. Diaz-Castaneda does not suggest otherwise.
The government also contends that Landeros's refusal to identify himself "provided reasonable suspicion of the additional offenses of failure to provide identification and failure to comply with law enforcement orders." Arizona law provides: "It is unlawful for a person, after being advised that the person's refusal to answer is unlawful, to fail or refuse to state the person's true full name on request of a peace officer who has lawfully detained the person based on reasonable suspicion that the person has committed, is committing or is about to commit a crime." Ariz. Rev. Stat. Ann. § 13 -2412(A). By the plain text of the statute, Landeros could not have violated Section 13- 2412 because, as already explained, the officers lacked reasonable suspicion, at the time they initially insisted he identify himself, that Landeros had committed, was committing, or was about to commit any crimes.
Where does this leave the law in the 9th Circuit with respect to a demand for ID made by police to a person who isn't operating a motor vehicle that requires a driver's license?
Then you can be required to verbally identify yourself to police ("My name is Jane Doe").
It's important to note that neither the Supreme Court in Hiibel v. Nevada, nor the 9th Circuit in US v. Landeros, reached the question of when, if ever, a pedestrian or passenger in a car, as distinct from a driver required to have a license to operate a motor vehicle, can be required to show ID, even if they happen to have an ID card or other evidence of identity on their person or in their possession.
The Court did not mention that the officer's request for "identification," which it understood as "a request to produce a driver's license or some other form of written identification," id. at 181, demanded more than state law required Hiibel to provide.
We supported Dudley Hiibel, and we continue to think that Hiibel v. Nevada was wrongly decided. But we welcome the 9th Circuit's recognition of the Hiibel decision's limits.


"Behavioral Health: The Benefits of Early Intervention and the Costs of Inaction"
Mental Health Colorado works with lawmakers, state and local agencies, and mental health providers – among other stakeholders – to remove barriers to care. Through their leadership in policy development and advocacy, and in collaboration with the Colorado Behavioral Health Partnership, Mental Health Colorado has helped secure the passage of landmark legislation requiring mental health parity, the development of a statewide crisis response system, and the formation of a 24/7 counseling and support service.
Romanoff served in the Colorado House of Representatives from 2001 to 2009 where he sponsored laws to expand access to screening and services for mental health and substance use disorders, and served as speaker of the House from 2005 to 2009. He won bipartisan acclaim as one of the most effective legislative leaders in America. His leadership earned recognition from more than 50 state and national organizations – including Governing Magazine, which named him in 2008 as "Public Official of the Year.
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Haskell Snacks #1: Integrating Yesod and Morpheus GraphQL

Here's a new little series of posts where I'll document some bite-sized things I learned while picking up Haskell, focusing on things that weren't immediately intuitive and didn't have easily Googleable answers.

First up: integrating Yesod with Morpheus GraphQL! Morpheus provides examples for scotty and servant integration, but Scotty wasn't full-featured enough for my needs, and I'm not familair with servant. Yesod to the rescue! But, you'll find that the syntax shown in the scotty and servant examples for declaring your GraphQL API, will not cooperate with Yesod. Here's how it is in the simplest Scotty example from the Morpheus docs:

-- Definition of GraphQL API
gqlApi :: ByteString -> IO ByteString
gqlApi = interpreter rootResolver

-- Hooking it up to Scotty handler
main :: IO ()
main = scotty 3000 $ post "/api" $ raw =<< (liftIO . gqlApi =<< body)

You might think you can just snag the liftIO . gqlApi =<< body, stick it in a Yesod handler unchanged, and pass in the POST request body. Sadly, you'd be wrong- Yesod expects different types.

Thanks to a single GitHub issue courtesy tuxagon, I discovered the correct syntax, and it's really quite simple. All you have to do is change the type signature:

-- Type signature changed from ByteString to GQLRequest/Response
graphqlApi :: GQLRequest -> IO GQLResponse
graphqlApi =
  interpreter rootResolver

-- Now it works like you'd expect
postGraphqlR :: Handler Value
postGraphqlR = do
  body <- requireCheckJsonBody :: Handler GQLRequest
  result <- (liftIO . graphqlApi) body
  returnJson result

Now, suppose you want to use the App syntax from Morpheus. So instead of using interpreter, your Morpheus GraphQL code now looks like this:

app :: App APIEvent IO
app = deriveApp rootResolver

We can still stitch this into a Yesod handler quite easily! The key is in the definition of interpreter:

interpreter ::
  (MapAPI a b, RootResolverConstraint m e query mut sub) =>
  RootResolver m e query mut sub ->
  a ->
  m b
interpreter = runApp . deriveApp

Hey, interpreter is just using deriveApp under the hood, just like app does! So all we need to do in our Yesod handler, is apply runApp to app, and we'll have the same GraphQL API as we did before. All it takes is one little where clause:

app :: App APIEvent IO
app = deriveApp rootResolver

postGraphqlR :: Handler Value
postGraphqlR = do
  body <- requireCheckJsonBody :: Handler GQLRequest
  result <- (liftIO . graphqlApi) body
  returnJson result
  where graphqlApi = runApp app :: GQLRequest -> IO GQLResponse

Things get a bit more complex once we need WebSockets support… This will hopefully come in a later blog entry!

Written by Hannah Vivian Shaw

the command line is the retina of the mind's eye

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Post the date that you would need the ride here, ask them to PM you, and offer them a fair amount. Inquire about the possibility/costs of an Uber of Lyft from Fresno to RE too. Don't forget to calculate the $30 entrance fee into Kings too.
Roads End is in Kings Canyon.
Although, perhaps we should start a letter campaign to get YARTS to expand - obviously there are people who could use a Kings Canyon bus.
Last edited by AlmostThere on Sat Feb 17, 2018 12:45 pm, edited 1 time in total.
The OP is trying to get to Road's End in Kings Canyon, there unfortunately is no public transportation in Kings Canyon. Getting out from RE is somewhat easier by hitching a ride, but that won't help the OP, unless they could get to Grant Grove some how and hitch a ride down from there.
Try this: https://www.nps.gov/seki/planyourvisit/directions.htm look at the "by bus" section.
I've picked up a couple hitchikers heading up the hill, once you get out past the bend in 180 near centerville I think you'd be able to get up there but it's a gamble. I hitched from grants grove out one time and it went quickly.
If you're still figuring things out last minute post to this thread again. I live on the 180 at the bottom of the hill and go up there often. I'd be happy to have an excuse to drive out there if the schedule works out. Or send me a PM when the time is near.
I don't mind to pay a lil for a ride but $150-200 for a taxi (what I've been led to believe the cost is) is a lot of money for me. I guess I'll post again if I indeed do the route, was also just trying to get an idea of if I need to set a whole day aside for getting into the park or not. Sounds like I'll have to.
I would post here again a few weeks before and see if anyone's going up from the Fresno-Clovis area who is paying attention.
I am starting at Roads End exactly one time this year, on July 3. We are leaving shuttle cars at Wolverton and shuttling ourselves on July 2 so we can get back to the starting point at the end of the trip.
I just ran the Uber app to see what it would quote me to get me to Cedar Grove from Fresno - it's saying 89.34.


text:
If You Don't Op-Ed, Will You Get Enough?
April 30, 2021 Joel Schlosberg	Leave a comment
The New York Times Building. Photo by Ajay Suresh. Creative Commons Attribution 2.0 license.
After half a century, the New York Times will no longer publish an Op-Ed page — or at least not one under that name. Commentaries on the news written by contributors outside of the newspaper's regular staff will be called "guest essays" to explain their role without using what opinion editor Kathleen Kingsbury calls "clubby newspaper jargon" ("Why We're Retiring the Term 'Op-Ed'," April 27).
Today's readers may not realize that "op-ed" is shorthand for placement "opposite the editorial" page in the layout of unfolded newsprint. Yet while some of its format is specific to what one book title called "The Vanishing Newspaper" as early as 2004, the op-ed's essentials deserve better than to silently crumble like the yellowing journalism of last week's newspaper.
The format might seem to exemplify what Noam Chomsky calls mainstream media's efforts "to strictly limit the spectrum of acceptable opinion, but allow very lively debate within that spectrum — even encourage the more critical and dissident views." Chomsky's own views were among the most critical and dissident solicited by the Times, an offer he declined because his academic background made "it enormously more difficult to write 700 words than 7000."
Yet a tight argument made with a few hundred well-chosen words can lead general readers to more in-depth takes, and the range of disagreement that can be squeezed into them is broad indeed. Nearly a century ago, the immense newspaper chain of William Randolph Hearst gave Bertrand Russell the space to recommend the individualism of anarchist philosopher William Godwin as an antidote to "docility, suggestibility, herd-instinct and conventionality" and the notion "that social conformity is the beginning and end of virtue."
Kingsbury insists that the ability of the public to have its perspectives heard directly via websites like Facebook and Substack "is to be welcomed" rather than feared, but wonders whether "ideas can linger a while" in a cyberspace even more fixated on immediacy than the daily or weekly news cycles of print. The unfiltered energy of such formats, and of older ones like blogs and zines, can be focused rather than squelched by the sharpness and clarity pioneered by the humble op-ed.
New Yorker Joel Schlosberg is a contributing editor at The William Lloyd Garrison Center for Libertarian Advocacy Journalism.
"If you don't op-ed, will you get enough?" by Joel Schlosberg, Richmond, North Carolina Observer, 04/30/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Miles City, Montana Star, 04/30/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, CounterPunch, 05/03/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Queens [New York] Ledger, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Forest Hills/Rego Park [New York] Times, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, The Glendale [New York] Register, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Leader/Observer [New York City], 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, The Long Island City/Astoria [New York] Journal, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Queens [New York] Examiner, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Greenpoint [New York] Star, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Brooklyn [New York] Downtown Star, 05/04/21
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, OpEdNews, 05/07/2021
"If You Don't Op-Ed, Will You Get Enough?" by Joel Schlosberg, Ventura County, California Citizens Journal, 05/08/2021
"If you don't op-ed, will you get enough?" by Joel Schlosberg, Chicago [Illinois] Weekend Citizen, 05/19/21
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redpajama_set_name: RedPajamaCommonCrawl


Ok, so those are affixes. I stripped out all the compound egos, with multiple attributes, and boiled affixes right down, so that each only provides one or two things. Resist affixes still give the IGNORE_ flag, and the five x3 brands still give both RESIST_ and IGNORE_ flags, but otherwise most affixes only provide one flag. I've added the !EyAngband prefixes, which modify the base properties of armour and weapons (AC, hit/dam, dice/sides) - I left out only the inappropriate race-specific ones (Ey has lots of weird races), and guesstimated on some. (N.B. I was concentrating on implementation, not on balance, so there is a ton of room for tweaking the values of any of the Ey affixes, and any others.) I also stripped out base objects which are obviously other base objects with affixes: Lead-Filled Mace, Mithril !Chain/Plate, Adamantite Plate, Mace of Disruption, Scythe of Slicing. These are all now affixes (but see below for more to do on this).


We are in Independence, Mo at Steve and Vicki's home park. Steve and Vicki are not here for a couple more weeks yet and we may be dumb but not stupid.[D] We will be long gone by then. I spent a week here in January one year and will never do that again. It is too much like Minnesota.
For those of you that worried as much about Myrna as I did: She looks fantastic and is thrilled to be able to travel again. Sponge Bob was his same jovial self.
They are indeed special. It's good to hear Myrna is doing better.
Yes indeed we had lunch with special people. We enjoyed the catfish dinner at the ProBass store in Independence. It was great to catch up and to share the association with our other friends, the Johnstons. We talk about MOC all the time when we are with them and to show them how wonderful the MOC members are was the greatest.
Charlie and Nila.. thanks for your comments. We look forward to seeing you guys again in the future. You never know where we may show up.
I'm sorry we missed you. We'll arrive in Independence on 11/1 and leave 12/1. January is, indeed, cold and wintry. November, on the other hand, **usually** is pretty nice. Cool, but nice. I used to continue taking the boat out for fishing right up until Thanksgiving. Occasionally winter comes a bit earlier but normally it's not a bad month, weather wise. But, then, I recall one winter where I put the boat on a lake for some crappie fishing on January 4th and found myself among about 150 other boats in the same area. The high that day was to be 42, which is downright balmy after a week or two of real winter. However, the high never actually got above 34 that day so it was a bit nippy at speed. The fishing was good, though.
I'm glad to hear Myrna is doing so well. Anyone in the Independence area in November be sure to stop by. We'll be in site 12 at Campus RV Park.


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Audrey and Morgan, two thirty-year-old best friends in Los Angeles, are thrust unexpectedly into an international conspiracy when Audrey's ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail.
Surprising even themselves, the duo jump into action, on the run throughout Europe from assassins and a suspicious-but-charming British agent, as they hatch a plan to save the world.
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Season Four of Outlander continues the story of Claire and Jamie Fraser as they try to make a home for themselves in colonial America.
The Frasers settle in North Carolina at yet another turning point in history - the cusp of the American Revolution - where they must negotiate a tenuous loyalty to the current British ruling class, despite Claire's knowledge of the bloody rebellion to come. Along the way, the Frasers cross paths with notorious pirate and smuggler Stephen Bonnet in a fateful meeting that will come back to haunt the Fraser family.
Meanwhile Brianna Randall and Roger Wakefield grow closer in the 20th Century but make a shocking discovery that makes them consider following in Claire's footsteps.
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Claire returns to her own time after living in the 1740s for two years. As she attempts to explain to her husband Frank where she has been, the story flashes back to when Claire and her 18th century husband Jamie travel to France to try to change the course of history.
With Claire's knowledge of future events and Jamie's contacts in France, the determined couple set about trying to prevent the Jacobite risings and, ultimately, the Battle of Culloden.
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All the episodes from the first and second season of the critically-acclaimed drama series based on the novels by Diana Gabaldon.
English nurse Claire Randall is on a second honeymoon with her devoted husband Frank after both performing their duties during the Second World War. On a visit to a stone circle at Craigh Na Dun near Inverness, Claire touches one of the stones and finds herself transported back in time to 1743 where she encounters Frank's ancestor Black Jack Randall who, apart from appearance, is nothing like her loving husband. When she is rescued from the evil clutches of Black Jack by a gang of Scottish rebels, she finds herself under suspicion of being an English spy.
In the second season, Claire returns to her own time after living in the 1740s for two years. As she attempts to explain to her husband Frank where she has been, the story flashes back to when Claire and her 18th century husband Jamie travel to France to try to change the course of history. With Claire's knowledge of future events and Jamie's contacts in France, the determined couple set about trying to prevent the Jacobite risings and, ultimately, the Battle of Culloden.
Outlander - Seasons 1-3 (DVD, Boxed set)
Caitriona Balfe, Sam Heughan
Shipped within 10 - 15 working days
Outlander follows the story of Claire Randall, a married combat nurse, who, in 1946, is mysteriously swept back in time to 1743, and immediately thrown into an unknown world where her life is threatened. When she is forced to marry Jamie, a chivalrous and romantic young Scottish warrior, a passionate affair is ignited that splits Claire's heart between two vastly different men in two irreconcilable lives.
Season 2 of "Outlander" begins as Claire and Jamie arrive in France, hell-bent on infiltrating the Jacobite rebellion led by Prince Charles Stuart, and stopping the battle of Culloden. With the help of his cousin Jared, a local wine merchant, Jamie and Claire are thrown into the lavish world of French society, where intrigue and parties are abundant, but political gain proves far less fruitful. Altering the course of history presents challenges that begin to weigh on the very fabric of their relationship. However, armed with the knowledge of what lies ahead, Claire and Jamie must race to prevent a doomed Highland uprising and the extinction of Scottish life as they know it.
The third season of Outlander picks up right after Claire travels through the stones to return to her life in 1948. Now pregnant, she struggles with the fallout of her sudden reappearance and its effect on her marriage to her first husband, Frank. Meanwhile, in the 18th century, Jamie suffers from the aftermath of his doomed last stand at the historic battle of Culloden, as well as the loss of Claire. As the years pass, Jamie and Claire attempt to make a life apart from one another, each haunted by the memory of their lost love. The budding possibility that Claire can return to Jamie in the past breathes new hope into Claire's heart... as well as new doubt. Separated by continents and centuries, Claire and Jamie must find their way back to each other. As always, adversity, mystery and adventure await them on the path to reunion. And the question remains: when they find each other, will they be the same people who parted at the standing stones, all those years ago?
Outlander - Season 1 (DVD, Boxed set)
British combat nurse Claire Randall is reunited with her husband after returning from the battlefields of World War II. While on their second honeymoon, she walks through one of the ancient stone circles that dot the British Isles and is suddenly transported to 1743 Scotland, torn by war and rogue Highland clans.
Hurled back in time by forces she cannot understand, Claire is catapulted into intrigue and danger when she is accused of being a spy. Forced by circumstance to marry an outlawed Highlander, she finds herself falling in love and torn by her loyalties to two men in vastly different times, all of which may threaten her life and shatter her heart.
Diana Gabaldon's best-selling book series is stunningly brought to life in Season One of Outlander .
Outlander: Complete Season 1 (English, Scottish Gaelic, DVD)
Caitriona Balfe, Finn Den Hertog, Duncan Lacroix, Grant O'Rourke, Lotte Verbeek, … 2
All 16 episodes from the first series of the British-American drama series set in the Highlands of Scotland. English nurse Claire Randall (Caitriona Balfe) is on a second honeymoon with her devoted husband Frank (Tobias Menzies) after they are blissfully reunited after performing their duties during the Second World War. On a visit to a stone circle at Craigh Na Dun near Inverness, Claire touches one of the stones and finds herself transported back in time to 1743 where she encounters Frank's ancestor Black Jack Randall (also played by Menzies) who, apart from appearance, is nothing like her loving husband. When she is rescued from the evil clutches of Black Jack by a gang of Scottish rebels, she finds herself under suspicion of being an English spy. The episodes are: 'Sassenach', 'Castle Leoch', 'The Way Out', 'The Gathering', 'Rent', 'The Garrison Commander', 'The Wedding', 'Both Sides Now', 'The Reckoning', 'By the Pricking of My Thumbs', 'The Devil's Mark', 'Lallybroch', 'The Watch', 'The Search', 'Wentworth Prison' and 'To Ransom a Man's Soul'.
First Light (DVD)
Sam Heughan, Paul Kynman, Paul Tinto, Ben Aldridge, Jordan Bernarde, … 1
Made-for-TV drama documentary based on the life of British fighter pilot Geoffrey Wellum (Sam Heughan). As a teenager, Geoffrey became a member of the RAF's No. 92 Squadron and piloted a Spitfire, despite the fact he had had no previous flying experience.
He was awarded a medal for his role in the fight against the Luftwaffe in the Battle of Britain but later suffered from a breakdown, caused by the loss of so many of his friends. Overcoming his depression, he survived through the trials of war and lived to tell his tale. The film includes footage of the real Geoffrey Wellum giving a first-hand account of his experiences.
Outlander: Complete Season 1 (English, Scottish Gaelic, Blu-ray disc)
Tobias Menzies, Graham McTavish, Caitriona Balfe, Duncan Lacroix, Grant O'Rourke, …
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Add 2-3 drops of Nail Polish Thinner to thick nail polish. Shake Well. Test polish by applying to one nail. Add additional drops as needed to restore polish to its original smoothness.
Directions: Add 2-3 drops of Nail Polish Thinner to thick nail polish. Shake Well. Test polish by applying to one nail. Add additional drops as needed to restore polish to its original smoothness.


Stanford's 75-52 victory over UC Davis at Maples Pavilion on Saturday provided all you need to know about Dwight Powell's college career.
The first half exemplified the exasperating version of Powell, as he picked up three quick fouls, played just two minutes and went scoreless. For whatever reason, he tends to disappear at times – sometimes for entire games – making you wonder where all that talent he possesses went.
Then came the second half, when the 6-foot-9 Powell showed the amazing versatility and talent that make him a potential pro player. He scored 20 points in the second half in just 16 minutes of action and did it every way imaginable. One basket came off a drive from the top of the key that was capped by a left-handed dunk. Then there was a nice post move that ended with a pretty eight-foot half hook. Then there was a soft, confident 16-footer. That was followed by a tip-in dunk, then a bucket on a run-out as he beat everyone down the floor, then a dunk off an alley-oop pass, And he got to the free throw line 10 times, making eight.
He was comfortable, and when he's comfortable and confident, he can dominate a game, as he did against San Francisco in a victory and as he did against Minnesota in a near upset win.
Perhaps the most encouraging aspect of the performance Saturday was that Powell was able to dismiss his poor first half in time to dominate the second.
Of course, a dominating performance against Davis does not mean Powell can do the same against Pac-12 opponents. The Aggies (1-6) were picked to finish ninth in the 10-team Big West, but they had been in every game coming into Saturday's contest. They lost to No. 24 Oklahoma State by eight, and led that game with 10 minutes left. And all of their losses had been by single-digit margins.
And they were in the game against Stanford before Powell took over. The Cardinal (7-3) led by seven a few minutes into the second half before Powell scored 12 of the Cardinal's next 14 points. That made it a 14-point Stanford lead, and the game quickly became a blowout.
There are still concerns for Stanford, though. Aaron Bright hit two three-pointers, which represents progress for a player who had just one three-pointer coming into the game. But he was just 2-for-7 from long range and is just 3-for-21 on three-pointers for the season.
Chasson Randle, the Cardinal's other main long-range threat, was just 1-for-9 on threes against Davis and is just 11-for-51 from beyond the three-point line for the season.
Randle and Bright both shot better than 43 percent on three-pointers last season, but they are a combined 14-for-72 (19.4 percent) on three-pointers this season. They need to start hitting from the perimeter for Stanford to challenge for a conference title.


The Tate Britain Commission invites an artist to develop a new work in response to the Tate collection, highlighting the continuum of visual and intellectual ideas between historic and contemporary art.
For 2013, Simon Starling invites you to take a 'rollercoaster ride on invisible rails' through histories and memories of Tate Britain's famous Duveen galleries with Phantom Ride.
Collapsing time and space, cutting back and forth on a looping trajectory, Simon Starling redoubles the space of the galleries with huge projection screens and reveals significant artworks and events that have previously animated the space like ghostly apparitions. Float weightlessly over the rubble of the destructive bomb-blast that ruptured the space in 1940, confront an up-turned Jaguar jet fighter, and greet iconic paintings that float ethereally mid air.
The phantom ride was a genre of film popular in the very early days of cinema. A camera was fixed to a moving vehicle to simulate a journey for an immobile cinema audience. They sat pinned to their seats, white-knuckled for fear they might derail on the next precipitous bend. The train tracks or the road anticipated the trajectory of the 'phantom' vehicle. Here though, the way has vanished. The highly precise and repeatable movements of the huge robotic arm on the similarly track-bound 'motion control camera' used to make this film facilitate a rollercoaster ride on invisible rails. The film's soundtrack is the only remaining evidence of the camera's week-long presence in the Duveens – the audible contractions and expansions, the ascents, descents and contortions, of a very real machine.
The Duveen Sculpture Galleries opened to the public in 1937. Stretching over 300 feet, the two long galleries with high, barrel-vaulted ceilings were the first public galleries in England designed specifically for the display of sculpture. They were founded by Sir Joseph Duveen and designed by the architects Romanie-Walker and Gilbert Jenkins.
Using video, film, photography, slide projection and sculpture, Simon Starling reworks existing objects and architectural spaces, adding layers to their histories to create compelling poetic narratives. His works often use historical or geological research as a point of departure, and explore the origins of materials and the processes which transform them into functional objects.
Born in Epsom in 1967, Starling studied photography and art at Maidstone College of Art, Trent Polytechnic Nottingham and Glasgow School of Art. Since his first solo exhibition at the Showroom in London in 1995, his work has been widely exhibited in the UK and elsewhere. Recent exhibitions include Simon Starling: Recent History at Tate St Ives in 2011, Project for a Masquerade at the Museum of Contemporary Art, Hiroshima in 2011, THEREHERETHENTHERE (Works 1997–2009) at the Musée d'Art Contemporain du Val-de-Marne, Paris in 2009 and Cuttings (Supplement) at The Power Plant, Toronto in 2008. He was awarded the Turner Prize in 2005 for Shedboatshed.
Simon Starling wins the Turner Prize 2005: Press related to past exhibition.


Stochastic local search algorithms based on the WalkSAT architecture are among the best known methods for solving hard and large instances of the propositional satisfiability problem (SAT). The performance and behaviour of these algorithm critically depends on the setting of the noise parameter, which controls the greediness of the search process. The optimal setting for the noise parameter varies considerably between different types and sizes of problem instances; consequently, considerable manual tuning is typically required to obtain peak performance. In this paper, we characterise the impact of the noise setting on the behaviour of WalkSAT and introduce a simple adaptive noise mechanism for WalkSAT that does not require manual adjustment for different problem instances. We present experimental results indicating that by using this self-tuning noise mechanism, various WalkSAT variants (including WalkSAT/SKC and Novelty+) achieve performance levels close to their peak performance for instance-specific, manually tuned noise settings.


Today is the day we celebrate the day the United States defeated the alien invasion. Or the British, I forget. Either way, today we'll see a lot of folks decked out in red, white and blue. The Liu household is no exception.
Cass de Liu also likes to celebrate with the Nathan's hotdog competition, but Wimbledon is delaying it until noon PDT even though I'm pretty sure it happens at noon EDT. Stupid tennis.


text:
Q: Text files - how to programmatically mimic opening in Wordpad and overwriting as plain text My app writes the contents of text files to a db memo field. Most files display properly in the db form, but some display in a run-on fashion (all contents on one line). If I open these files in Wordpad they display correctly, so I save them as plain text to make them display properly in the db form.
I'm tired of doing this :-) and would like to perform this "conversion" programmatically. Using the "analyze the bom" method I found online, it says both types of files are ASCII.  Trying to load a problem file into a RichTextBox as rich text returns "input file not in correct format". Using the immediate window in debug, I've found the files that display properly use \r\n for newline, and the ones displaying improperly use only \n.  Using Regex.Replace \n, \r\n just causes the \r\n to appear visibly as text (rather than encoding characters). The question "Text shown in single line in notepad" seems to be the same type of issue, except the file is being streamed and massaged line-by-line, which I'm thinking shouldn't be necessary.
So... all I need to do programmatically is to somehow mimic the behavior of opening the file in Wordpad and overwriting it as plain text.  I've experimented extensively (unsuccessfully) with Encoding.Convert and the thing that really baffles me, is that the problem files appear to be ASCII encoded just like the "good" files, only difference is that the good files use \r\n where the problem files use just \n.  Any help is appreciated...
For what it's worth, this is the statement that's loading the text file contents into the temporary string array (whose contents are later loaded to db). I realize I might need to ReadAllText into a "work" string and massage it before loading it to the array... but the only massaging it needs is to be opened in Wordpad and then overwritten as plain text. If only I could figure out how to do that!
txtfileary[aryctr] = File.ReadAllText(textfile, Encoding.ASCII);

redpajama_set_name: RedPajamaStackExchange


text:
Young coach brings dynamic energy to diving team
Amanda den Hartog/The Ithacan
Diving coach Erin Harner stands in front of the pool in the Athletics and Events Center.
By Andrew Sullivan — Contributing Writer
Two months ago, the men's and women's swimming and diving teams made a midseason coaching change, handing over the reins of both diving teams to former SUNY Brockport diving coach Erin Harner.
The decision has paid off thus far as interim coach Harner has rejuvenated her divers and has her teams performing at the peak of their abilities, as evidenced by the teams' near-perfect records as they gear up for the homestretch of the season.
Contributing Writer Andrew Sullivan sat down with Harner to discuss her career as a coach, her passion for nutrition and her future at the college.
Andrew Sullivan: What has been your overall impression during your first season as the new diving coach for the Bombers?
Erin Harner: I'm really impressed with how hard [the divers] work. They are such a hardworking group of kids, and they do exactly what they're asked. Often that leads to dives that they didn't realize they were good at. Sometimes I push them more than they can push themselves, and they're willing to let me go there.
AS: Have you always wanted to coach?
EH: Absolutely. I've been coaching gymnastics since I was 14. I was a gymnast since I was 2. I love to coach, and I've been out of it for a couple of years, and it's really great to be back. … [Coaching] is very goal driven. I love to see the athletes meet their goals and sometimes exceed their goals for themselves and just help them push themselves to be better. Not just in the pool, but also in the classroom and in every part of their life.
AS: Prior to coaching at Ithaca, you coached at Brockport for two seasons [2009–10 and 2010–11]. How have your previous coaching opportunities prepared you for this position?
EH: That coaching experience gave me a really solid foundation. That was my first head diving coaching job, and I was forced to figure it out from the ground up. I asked a lot of my former coaches and colleagues for mentorship, and they were really supportive. … I know several coaches from my own diving experience, and I asked for help a lot during that experience to make myself a better coach, and that has been invaluable here.
AS: What do you think were the biggest challenges or obstacles when you took the coaching gig?
EH: One of the biggest challenges was coming in midseason. I started Dec. 1 and they already had several meets under their belts. So coming in midseason … I really wanted to keep their season continuous … Diving is a lot about technique, and I didn't want to mess with their technique. I wanted them to have a smooth transition … I've checked in with them a lot to make sure that it has been a smooth transition, too.
AS: You're very involved in the field of nutrition. Why are you so devoted to the subject matter?
EH: As an undergrad and grad student I was in the field of biomedical engineering. I got into that field to help people and to help people be healthy. What I realized is that doing that kind of work was so far removed from the people I wanted to help. I asked myself, "What is the number one thing I could do to help people improve their health, be better performers in sports and in life?" And that was nutrition … So I translated what I was doing to health coaching at first and I went to Colorado State University to get my master's degree in human nutrition. It's also been really helpful with the swimmers and divers. During our training trip we did a number of nutrition talks with the divers and just talking about how their choices they're making as far as meals and snacks affect their performance has really shown dividends in how they perform in the pool.
AS: Have you given any thought yet to your plans after the season ends?
EH: Yeah, I would absolutely love to continue. They've made such great improvements in just the two months that I've been here. It's so fun coming to practice every day. They work so hard and they have so much potential. It's amazing to see them progress, and I would be really sad to miss that.
Andrew Sullivan can be reached at asullivan@ithaca.edu or via Twitter: @acsullivan22
Blue and GoldBombersErin HarnerithacaIthaca CollegeIthacanithacan onlineSUNY-Brockport


Carpet installation may seem like a great do-it-yourself project that will result in a meaningful pat on the back, but it will most likely end with grunts of frustration and cries of agony. This job is not advised for amateurs because there is only one shot of getting it done the right way. That is why Eppley Handyman Services is here to help. The tools required for the work include: tackles strips, knee-kickers, stretchers, seam strips, an iron, steam rollers, padding and the textiles themselves, all supplied by Eppley Handyman Services. Choosing a rug comes down to personal taste, but installing it will require experience and skill.
There are several steps to the project, but the initial rundown is simple. Tackles strips will frame the room, padding goes under the flooring, which is placed over this and is cut down to size, seam strips are positioned to join the cut areas, the iron is used to adhere the seams, and the steam roller is used to help the adhesive take. Once this is done, it is time to start the physical labor. Knee-kickers are used to move the carpet into place; stretchers are used to ensure the rug is free of gaps and bubbles. When this is complete, the carpet installation is finished. Got that? Hiring Eppley Handyman Services for the job can make this all a snap.
Years of wine spills and pet accidents can beg the question, is it time for a new carpet installation? With Eppley Handyman Services we can tackle your carpet installation services fast and affordable! Cost Of Carpet Installation? Free Estimates! Call Today Or Schedule Carpet Installation Online Fast!


Suitable for smaller chests and boxes or for use as drawer pulls, these surface-mount handles have been reproduced from originals in our collection.
Each is 2-1/2" high and 3" wide, and sits proud of the surface by 1/2". Cast and linished to highlight the detail work, they are available in pairs of cast bronze or cast-iron handles. Screws included.