I can hear you think…WTH? That was my first reaction as well when I saw this in our referer/search logs. Im using Woopra for our webstats now and the things people search for are just beyond comprehension! I can highly recommend Woopra. It's a very cool way to view your webstats, especially because you can watch it live on a world map. And yes, I know it means a third party gets my web logs.
Julie found this today at the local supermarket.
Julie bought a small packet of seeds the other day and noticed a little translation snafu. I guess they meant "Seed Box".


In Control Dog Training's professional trainer, Morris Chaisson has over 17 years of dog training experience. We offer a Free In-Home demonstration and evaluation of your dog and provide In-Home training services. We cover a broad range of training and specialize in eliminating undesirable behaviors such as: Jumping, Nuisance Barking, Running Away, Leash Pulling, Separation Anxiety, House Soiling, Aggression and Destructive behavior. We will go the extra mile to provide training programs that result in a happy, confident and obedient dog, as well as a happy, confident and satisfied owner.


text:
Videos & Galleries
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Homepage > About
A LITTLE BIT ABOUT ME & MY MUSIC
Why we do what we do and why would you care!?
Henry is an all around quality guy:
Henry Darragh is a talented multi-instrumentalist and composer currently working in Houston Texas while doing graduate studies at Moores School of Music. In addition to being a first-rate trombonist, Darragh can also play jazz piano, sing, compose, arrange, lead, educate, and inspire. To hear his debut CD Tell Her For Me one might think of him as an up and coming jazz songwriter who swings and croons vocals, but that would only be the latest chapter in his story.
Born and raised in Pasadena Texas, Darragh was surrounded by music from a young age, and felt he might eventually become a classical trombonist. But jazz was always lurking in the background. Fortunately he had instructors as early as 7th grade who were into jazz, and turned him onto classic recordings, and although he loved it then, jazz remained a kind of secret language until college. According to Darragh, "my family always had a piano in the house, which I used to teach myself bad habits."
This love of music was a feeling which continued through undergraduate studies at San Jacinto College where he took Theory I with percussionist Ray Dillard, and later private lessons "not so much to learn percussion as to just hang out with Ray," a talented musician well versed in many genres including jazz, who now teaches at the Royal Conservatory of Music in Toronto (Canada). Later at the University of Houston Darragh played with the U of H jazz ensemble, providing opportunities to play piano with guest clinicians such as Lou Soloff, Randy Brecker, and David Sanchez, as well as with Houston-based artists such as Joel Fulgham, David Craig, Erin Wright, Kelly Dean and others.
Darragh was then accepted into Stuart Ostrow's Musical Theater Lab at the U of H, where he worked with the Tony Award Winner Stuart Ostrow (Madame Butterfly, 1776, Pippin), and cites this experience working with both directors and writers as something that has really pushed him as a songwriter. He is continuing with graduate studies at Moores School of Music in Houston.
Darragh has worked professionally with artists such as Los Skarnales, TJ Funk, the Steve Lippia Big Band, Adela Dalto, DJ Sun's Solar Grooves, and Joe B's Rebel Crew, and is now appearing as a solo artist on piano and vocals either by himself, as a duet or with a small group, while staying very busy as a session artist, and on-call jazz performer.
Tell Her For Me features 6 originals and 5 cover tunes, with Darragh singing and playing piano on each, and also assisting on trombone.
Band Personnel:
Henry Darragh: piano, trombone, vocals
Seth Paynter: tenor saxophone
Andre Hayward: trombone
Glen Ackerman: bass
Erin Wright: guitar, bass
Richard Cholakian: drums
Chuck Payne: drums
Carol Morgan: trumpet
Henry Darragh
Tell Her For Me
Too Much Monday (2015)
FROM TWITTER ROLL
posted 5 years ago No Comments
Henry's strength as a composer is his ability to write about situations everyone can identify with. For example Regret is a song about the regrets of being afraid to talk...
Wilbert Sostre, JazzTimes
"Henry Darragh: Composer, pianist, trombonist, vocalist. Quadruple threat. Henry Darragh: Our new favorite musician."
Shea Serrano, HoustonPress
:…to my ears (which have a mind of their own), I hear a little Michael Franks, definitely some Harry Connick Jr., and even a bit of Bob Dorough in Darragh's...
Chris Becker, CultureMap
Henry's debut album, Tell Her For Me was voted one of the best Houston albums of the Decade in 2009. "…Henry Darragh, a young dude who put out an accessible...
BeatHeaven is an Events / Artist / Music Band WordPress theme by Themefuse
Graphic elements from "Dark Velvet" GUI kit from PixelKit. Icons from "Font Awesome" by Dave Gandy

redpajama_set_name: RedPajamaCommonCrawl


Archery Range - Battle Sports™ Inc.
Starting at $14.99 / person / 60 min.
Longest indoor range in Toronto (range length of 120 ft/40 yards).
Bow rentals available for those new to archery!
Compound bow shooters welcome. Must provide their own targets if draw weight is 70lbs+.
*Wednesday & Thursday nights are "expert" only nights.
Best archery in Toronto. Best Archery lessons in Toronto. Toronto's #1 archery Range. Best archery Range in Toronto.


text:
Q: Is it possible to replace empty string with custom text in PHP? I'm using str_replace() PHP function which doesn't replace empty string.
Is it possible to replace it using some other PHP functions?
Here is my code:
  $var = "text1|text2";
  $expn = explode("|", $var);

  $new = "new text";

  str_replace($expn[1], $new,  $var);

This code really works, but if the second value is empty it doesn't:
  $var = "text1|";

  $expn = explode("|", $var);

  $new = "new text";

  str_replace($expn[1], $new,  $var);

I want this to echo text1|new text but it doesnt. In the first case it does without a problem. I want this to be changed anyway, it doesn't depend if it's empty or not.
Thanks in advance.

A: Try this after your explode():
if ($expn[1] == '') {
  $var .= 'new text';
} else {
  str_replace($expn[1], $new,  $var);
}

redpajama_set_name: RedPajamaStackExchange


Why is The Federal Government Giving Marshmallow-Roasting Advice?
PA-Man has legal handgun confiscated by cops. Gets a beating when he tries to recover it.
Trooper collides with train while viewing computer.
Scottish Independence: Yes Vote ahead for the First Time!
Glenn Beck no longer cares about children of Iraq in 2014?
Jailed for OVERDUE LIBRARY BOOKS!!
Jus'as expected . . . US Senate bails on ISIL vote this week . . .
Rep. Peter King: Obama Has "Absolute Power"
Wow, Jan Helfeld has aged.
Senator Nelson introduces bill (S.J.Res. 42) to bomb Syria!! Alert!
Swiss Offer Asylum To Snowden For Testifing Against U.S.
You can have my wall wart when you pry it from my cold, dead fingers!
Should Americans be arrested and jailed for attemption to join IS?
Lee better than Cruz? Why?
Do you believe the ISIS propaganda?
FAA has grounded all UPS flights today?
Rafael Ted Cruz's statement "Those who hate Israel hate America" will affect his career?
Former CIA Agent Bob Baer Says "There Are NO Moderate Rebels In Syria"
Dwayne Stovall: The War Between Right and Left.
Man whops kid, become a felon. Cops kill homeless man, get aquitted.
Public housing safety policy "One Strike and You're Out"
It can't happen to me? Authoritarian school becoming more prevalent?
But...I thought ebola was not a big deal?
Wyllie Invited to Broward College Gubernatorial Debate Oct 15 + Signwaving!
What is YOUR Interpretation of the Bill of Rights?
HI-Cops called for "domestic" call. Shoot family dog and leave it to bleed for an hour.


text:
Pressure Mounts on Banks
In good news for the planet, investors managing $11 trillion have called on the world's biggest banks to phase out financing of fossil-fuel companies and throw their weight behind the goals of the Paris climate agreement, reports Bloomberg.
Asset managers have asked 27 banks to commit to eliminating emissions across their operations by 2050, including those generated from lending, trading and underwriting, and set interim reduction targets.
The group of 35 investors, which was convened by the Institutional Investors Group on Climate Change, also said the banks should expand their green finance activities and withdraw from any projects that are at odds with the Paris accord.
As the primary gatekeepers of capital for much of the world economy, banks have a critical role to play in efforts to limit global warming and growing numbers of activists, policy makers and investors are now calling on the industry to use its vast resources to facilitate the transition to a net-zero world.
"There is an urgent need for banks to take and accelerate action to support the goals of the Paris Agreement," said Stephanie Pfeifer, chief executive officer of IIGCC. "Net-zero commitments must drive real change. With five years already elapsed since the Paris Agreement, talking the talk must be replaced with walking the walk."


vidzbox.me 9 out of 10 based on 300 ratings. 500 user reviews.
How to wire a kitchen extractor fan with diagrams and alot of information.
Fitting & Wiring Extractor Fans in Zone 2. This extends 600mm beyond zone 1 and to a height of 2.25 m above floor level (please see below diagram).
View and Download GAYLORD ELX Series installation, operation & maintenance manual online. ELX Series Ventilation Hood pdf manual download.
View and Download Vent Axia Lo Carbon iQ instructions for use manual online. Lo Carbon iQ Fan pdf manual download.


Summary Masked gunmen stormed the offices of satirical newspaper Charlie Hebdo in Paris opened fire, killing at least 12 people in what French authorities are calling the worst terror attack in four decades.
Dozens of world leaders joined hundreds of thousands of French citizens marching in Paris amid high security in an unpredecented tribute to victims of this week's Islamist militant attacks.
Israeli Prime Minister Benjamin Netanyahu and Palestinian president Mahmud Abbas had their closest encounter in years on Sunday when they joined world leaders in a historic march against terrorism in Paris.


SO. MANY. LINKS. By far the longest Terp Links yet.
Must Read: Vikings.com piece on Stefon Diggs and his late father.
Local receiver Todd Simmons commits to Maryland in a preferred walk-on role despite holding offers from BC and UConn a true DMV to UMD victory.
After everyone knowing he was coming to College Park for weeks, Flint Hill (VA) safety Trey Rucker finally gives his verbal to the Terps.
Trey Rucker's teammate Jordan Houston also committed to Maryland , this kid is one of the most versatile players in the country.
After Damon Evans moved up the totem poll to replace Kevin Anderson, Colleen Sorem moves up the totem poll to replace Damon Evans.
As first reported by our own Mason Viener, the University is looking at options to build a stadium where the golf course now sits.
The M Club announced it's hall of fame class last Thursday.
Justin Jackson got us in the door with 4-star Canadian shooting guard Cashius McNeilly, we've made his top three, but we still have an uphill battle, 24/7's crystal ball has 100% Virginia Tech on the guard.
Another 4-star shooting guard, Lester Quinones has Maryland in his top eight. While this is exciting, his recruitment is so open that 24/7 doesn't even have a prediction for him, so don't get your hopes up.
Jeff Erman has a paragraph or two on seven Terps in NFL training camps around the country.
In an upsetting (and surprising to be honest) development, it looks like the Magic will opt not to sign Justin Jackson after trading for him in the 2nd round. There is still hope that he will sign the G-league affiliate, but this is a crushing blow for the former projected first rounder.
DJ Strawberry may as well be a European at this point. The former Terp signed with the Gran Canaria club in Spain on monday, I wrote an intensive summery of his career last year.
Stefon Diggs signed what could a be Terrapin record 5 year/72 million dollar contract with 40 million in guarantees with the Minnesota Vikings. This is a great read on what the extension means for him.
An update on the quest for Damascus 5-star defensive superstar Bryan Breese.
Preferred Walk-On Todd Simmons sits down with Dave Lominco on why he chose to walk on to Maryland over scholarship offers to Boston College and UConn. A great read for anyone who loves Maryland.
6-8 TE Brayden Bapst of St. Johns (DC) gives the low down after attending the July Terps recruiting event in this video interview.
InsideMDSports talks to Trey Rucker about why he committed to the Terps.
Rucker's High School DB coach Donte Davis talks to us about the Virginia native's game. He's got nothing but praise for the future computer science major.
Houston is another player that clearly loves UMD, he gives the lowdown on how Chris Beatty and DJ Durkin wooed him away from powers much as Michigan, Virginia Tech and Michigan State.
In another coach speak article, Head Coach and OC Tom Verbanic gives the low down on Jordan Houston. He praises his versatility and athleticism while being honest about some of his flaws.
Edgewood, MD cornerback Deonte Banks was at the July recruiting event, Dave Lominico caught up with him for a video interview.


text:
Home Smart Grid Grid Modernization Distributed Energy Poised for 'Explosive Growth' on the US Grid
State of Industry
Distributed Energy Poised for 'Explosive Growth' on the US Grid
With distributed resources set to double by 2023, GTM Research lays out the challenges facing U.S. utilities in managing integration.
By Jeff St. John
Distributed energy resources are poised for "explosive growth" across the United States over the next five years. U.S. utilities "need to change, and are slowly changing," how they plan, operate and maintain their distribution grids to adapt.
That's how Ben Kellison, grid edge director at GTM Research, described the key challenges facing the country's utilities at this week's Grid Edge Innovation Summit.
GTM Research has been tracking the rapid growth of rooftop solar, small-scale combined heat and power (CHP) systems, residential smart thermostats, electric vehicles and behind-the-meter batteries across the U.S.
As of 2017, five classes of behind-the-meter DERs — distributed solar, small-scale CHP, residential smart thermostats, electric vehicles and energy storage — contributed 46.4 gigawatts of impact on the U.S. summer peak, according to Kellison. That's not a huge number, compared to the 769-gigawatt summer peak load reached by the U.S. as a whole in 2016, according to U.S. Energy Information Administration data. But it's still a valuable source of flexibility, if it can be utilized.
By 2023, that figure is expected to more than double to total 104 gigawatts of flexible capacity, Kellison said. That's led by growth in distributed solar, along with a big increase in the capacity available from smart thermostats, and a rising share of EV charging. To put that into perspective, "just these five classes could equal together almost as much power as [Texas grid operator] ERCOT has registered for its bulk generating system," he said.
"These are not all resources that can be dispatched in a moment's notice," Kellison cautioned. "Many have to be used in a portfolio approach." For example, distributed solar, which makes up the majority of the DERs to be deployed, generates most of its energy at midday, while typical summer peaks occur later in the afternoon. Small-scale CHP systems, defined as less than 50 megawatts of generation capacity, will run according to the needs of their owners, not necessarily those of the utility.
U.S. Utilities
Previous articleBuilding a better world of smart structures on the smart grid
Next article4 Benefits of Distribution Automation in a Decentralized Energy World
Jeff St. John
Distributed Energy Resources: Part 2. Leading the transformation to a cleaner, smarter, more flexible grid
Smart Grid Cybersecurity: The Rising Threat to OT Networks Necessitates Smarter Critical Infrastructure Protection Strategies


One of our most appreciated lines by those who are looking for products formulated with few and selected ingredients; ideal for people who love to take care of their body with simplicity and mildness.
Here they are with a new energy: an updated graphic design, a new practical size, an improved Shower Shampoo formula and a brand new Shampoo.
They cleanse gently, respecting the hydrolipid layer of the skin: perfect for the whole family, including the younger children and those with delicate skin.
Slightly scented to limit the risk of irritations and allergies, even for the most delicate body parts.
The Natural Fragrance Free Soap is our best seller product, particularly recommended for those who suffer from severe allergies, intolerances or Multiple Chemical Sensitivity (MCS). Excellent also as a neutral detergent base for those who love to personalize a product with essential oils or vegetable extracts.
For sportsmen and gym-goers, the Shower Shampoo does not weigh the bag and guarantees a spark of energy under the shower.
All Natù products are available in large refill size, that allow you to buy great quality cosmetics with a remarkable money saving, respecting the environment by reducing waste.
Meticulous and scientifically developed formulas that avoid the use of the outdated Sulphates and SLS, such as Sodium Coco Sulphate, Ammonium Lauryl Sulphate among others, colourants, parabens or synthetic fragrances.
Dermatologically tested and nickel tested.
Our products have been approved by EcoBioControl procedural guideline: all the used ingredients meet the sustainability, ecology, effectiveness and respect for animals criteria.
EcoBioControl possesses a database of substances that, being based on the last scientific researches, are periodically evaluated and updated by a Scientific Committee.


Scott (Centre for Research on Inner City Health).
Sistering who prepared this excellent resource.
Homeless women are not healthy and they are not safe.
Respondents were asked to identify which racial or cultural groups they belonged to and could choose more than one.
from other homeless research across Canada, which have also found that Aboriginal people are vastly overrepresented among the homeless.
have systems but they don't work together.
not drug induced. It's not alcohol induced.
basic health needs and hygiene routines.
In cases like this respondents were able to choose more than one answer and totals may add up to more than 100%.
when someone treats you like a human being.
of safety homeless women must live with everyday.
that many homeless women experience.
ages who had homes 4.
least one serious physical health condition 5.
other liver diseases, gastrointestinal ulcers, diabetes, anemia, epilepsy, cancer and HIV/AIDS.
prepared by Street Health and the responsibility for the use and interpretation of these data is entirely that of the authors.
Canadian Liver Foundation. 2008. Telephone Communication, May 22, 2008. Toronto.
crowding and prolonged exposure to the elements.
and important preventive health care services.
have their health problems adequately addressed.
homelessness is often referred to as 'hidden' homelessness.
representatives. For more information please visit www.sistering.org.
care of their medical problems more easily.
distress experienced by homeless women.
accessing health care and maintaining good health.
improve their health and reduce homelessness.
regaining custody of their children.
subsidy for women looking for employment.
at the community health centre. They care.
women, regardless of where they access services.
include detox beds that are medically supervised.
Social Planning Council of Toronto.
appropriate strategies for providing services.
for homeless and low-income women.
on an outreach basis at shelters and communitybased clinics.
for women who are homeless.
contributing factor to their poor health and well-being.
women to participate more fully in society.
shelters where it still exists.
City of Toronto. 2008. Toronto Shelter, Support & Housing Administration. Guide to Services for People Who Are Homeless '08.
access to health care of homeless people in Toronto.
shelters and meal programs across downtown Toronto.
It's important to read the following carefully.
• The logo may never be used in any way that would defame CIHR.
• The logo must not be distorted in perspective or appearance, or changed in any manner whatsoever.
The Street Health Report 2007 Research Bulletin #2: Women & Homelessness.
• On the Web, the logo must retain an active link to CIHR's homepage at http://www.cihr-irsc.gc.ca/.
discontinue any use of the logo.
The CIHR logo may never be used except in accordance with what is outlined above.
our projects or to join our listserv, visit www.owhn.on.ca.
Copies of this bulletin can be downloaded from www.streethealth.ca, www.sistering.org, and www.owhn.on.ca.


text:
After the successful launch of our label nights, focusing on the genuine sound of some of the finest imprints, we decided to delve deeper into the artists and their music. Staying loyal to Rotterdam's beloved Factory 010, we proudly present to you all-nighters: entire nights dedicated to one artist and his own signature sound.
Dax J
Berlin based DJ, producer and label boss Dax J grew up listening to the UK sounds of Jungle, Drum n Bass and Garage. His passion for techno has dominated his powerful sound but his old Jungle influences are still evident in his DJ sets and productions.
Dax J – All Night Long
For our first all-nighter, we are honoured to welcome the one and only Dax J, whose powerful and driving techno has been shaking up the global underground scene for a while now. His set at our 5-year anniversary at Maassilo was a killer, so we invited him for a longer rave in the more intimate setting of Factory 010.


text:
using System;

namespace CitroidForSlack.Plugins.Utiline.Exceptions
{
		[Serializable]
		public class IllegalCommandCallException : Exception
		{
			public IllegalCommandCallException() { }
			public IllegalCommandCallException(string message) : base(message) { }
			public IllegalCommandCallException(string message, Exception inner) : base(message, inner) { }
			protected IllegalCommandCallException(
			  System.Runtime.Serialization.SerializationInfo info,
			  System.Runtime.Serialization.StreamingContext context) : base(info, context) { }
		}
}

redpajama_set_name: RedPajamaGithub


My zeal for social justice began early in life, thanks to the freedom fighters and men of renown that I met in the pages of the books I read as a child. I found myself resisting the norm and speaking out against oppression wherever I went. As I entered my twenties, much of my activism had become very gender centered. So it was only natural that I began to look for women who espoused the same ideals I was beginning to embrace as a young woman.
Among these women was Her Excellency, Chief Mrs. Titi Abubakar, whose organization–Women Trafficking and Child Labour Eradication Foundation (WOTCLEF)–had made countless headlines in the fight for the rights of young people ferried across outside the country into a life of prostitution and forced labour.
Recently I had the privilege to travel with Chief Mrs. Titi Atiku Abubakar on her campaign trail for the presidential bid of her husband, the PDP Presidential Candidate, Alhaji Atiku Abubakar along with her 40-person strong entourage. As I journeyed with the entourage through different towns of the South West and listened to Mrs. Abubakar speak, most times without the assistance of a prepared speech, I began to understand more about the woman who had dedicated her resources to fighting for the underprivileged of the society.
Next to her impressive quest for fairness and correcting societal ills, was her dedication to her husband's campaign. As a daughter of the South West, the doors of many palaces opened to receive Mrs. Abubakar and she regaled them of her husband's agenda for the country if elected.
What struck me most about these visits was her endurance and willingness to withstand the rigours of the task before her. When some around her showed signs of weariness, Mrs. Abubakar would carry on the day with energy and agility that belied her age. She was graceful and respectful in paying obeisance to the royal fathers, sometimes standing for hours on end as she addressed them. When she spoke, it came from the heart and most times I found myself enthralled by her passion. It was easy to see the activist side of her.
On the 25th of January, the entourage made their way from Akure, the capital of Ondo State to Joseph Ayodele Babalola University (JABU), a private university located in Ikeji-Arakeji, Osun State for the conferment of the Doctor of Entrepreneurship (Honoris Causa) degree on Mrs. Abubakar. In the hall packed with graduands, their parents, guardians and guests, we all listened as Mrs. Abubakar's achievements were reeled out. When she took the stage, it was to take us back to her journey in Rome in the 1986-1987 period where she had gone to further her studies.
She recalled her covenant with God to start an anti-human trafficking advocacy after learning about the plight of human trafficking victims, and her role in rehabilitating the victims once they were free of the clutches of their 'madams'. Decked in her robe of black and red behind the lectern, Mrs. Abubakar was once again the activist and the lecturer as she extolled the benefits of hard work, discipline and service. The students listened with rapt attention as she urged them to be good ambassadors of the university.
The entire entourage would proceed to Okitipupa, Ondo State again for the last leg of our trip where lively crowds of support groups headed by the PDP South West Chairman, Dr. Eddy Olafeso waited for her. Greeted by a rousing welcome and songs from the crowds, Mrs. Abubakar was her usual energetic self. Nothing about her visage suggested that she had undertaken a grueling three-hour journey to be at the reception. It was not long before the darkness closed in and we were once again on our way to our hotel in Akure. The visit to Okitipupa was the last as the PDP temporarily suspended its campaigns due to the constitutional impasse that had arisen from the suspension of the Chief Justice of Nigeria, Justice Walter Nkanu Onnoghen.
My impression of Mrs. Titi Abubakar's campaign in the South West is that it was a success and Mrs. Abubakar exhibited the traits that make her stand out as a mobilizer par excellence. Her ability to rouse the people towards a cause is worthy of admiration. Her impassioned speeches, spoken straight from the heart, galvanize you to action. She speaks with an intensity that etches her message on your mind. Little wonder she was able to convince the executive and the legislature on the need to institutionalize the fight against human trafficking during the tenure of former president Olusegun Obasanjo. It was easy to see why her husband trusted her to convey the message of hope to the people of the South West.
I also witnessed the warmth with which Mrs. Titi Abubakar interacted with everyone around her. She is the veritable mother hen, constantly looking out for others. I am sure there is no doubt in the minds of those that interacted with her in the two weeks she toured the towns of the South West that she is a woman who cares about the masses. This is what makes her a force. She has lived an exemplary life worthy of emulation and continues to make a difference in society till this day. The 10,600 trafficked victims who have enjoyed her generosity, and the continued success of the National Agency for the Prohibition of Trafficking in Persons (NAPTIP) are testament to the epitome of selflessness that is Mrs. Titi Atiku Abubakar.


text:
Mexico not ready for safe third country agreement with US: ambassador
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text:
New year, new music on the horizon
Posted on January 4, 2011 by Jonathan Leave a comment
This marks merely the second post of 2011 on The Grind That Annoys and it's only appropriate that we get things rolling with a quick look at some of the latest goings-on with regards to upcoming releases and some new tracks that have surfaced online.
Firstly, acoustic singer/song writer Owensie has announced an album launch show for his album, Aliens on January 21st in The Back Loft, La Cathedral Studios. Also playing is Amber Wilson as well as a solo set by Enemies' Eoin Whitfield.
Instrumentalists Halcyon are preparing the release of their new EP, Pastures and have released a five minute teaser clip on their Soundcloud page, HERE. They were included on the recent Honor Thy Drummer tribute compilation to Mike Portnoy.
Refraction have announced an album launch show on March 4th in Fibbers with a line up that also includes Parhelia, I'll Eat Your Face, Countervela and Ropemaker. You can listen to two tracks, 'Into Nothing' and 'The Final Shadow', from the forthcoming record, HERE.
Finch have broken up once again, originally parting ways in 2006. The break up came not long after the sublime Say Hello To Sunshine record, which was actually a commercial failure and saw them leave their home on Geffen records. They reformed than in 2007 releasing a new EP and sporadically dropping new tracks for a new record. Much of the new material was conspicuously more in the vein of their original post-hardcore and somewhat pop punk material opposed to the schizophrenic experimentation of Say Hello….
Their second curtain call has come in shape of a brief EP Epilogue, which is available digitally on their bandcamp. It features two tracks and comes with the note; "these are the last two Finch songs. ever. enjoy." Also released has been a cover of Far's 'Bury White'.
Nottingham based badgers Alright The Captain have finally scheduled a release for their debut full length, Snib for February 7th.
Two Tales Of Woe have a clip of rough new material too and can be heard HERE. They will be supporting Entombed on January 29th in The Village. Dublin post rock band Friend? have also a very brief clip of their EP, still a work in progress, available on their soundcloud.
Finally, Tesseract have announced an Irish tour for next month with the following dates 18/02/2011 – Fibbers, Dublin, 19/02/2011 – An Cruiscan Lan, Cork, 20/02/2011 – Bakers, Limerick. Their debut album One is released soon, the follow up to 2010's truly stunning EP Concealing Fate.
Previous post ← Honor Thy Drummer, A Tribute To Mike Portnoy
Next post New Children Of Bodom track →


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Midwest Mary
Not Voting is Voting Friday, Oct 14 2016
Culture and Everyday Life and Family and History Election Campaign, Life, Vote, Voting Mary K. Doyle 3:08 pm
The current presidential campaign is not a proud moment in American history. Although there are voters who strongly favor one or the other of the candidates, many, perhaps the majority, find ourselves in a quandary. We dislike both candidates so much that we defend the one we believe to be the lesser of two evils. We are placing our hope for the future in someone we cautiously think will do the least harm to our economy, security, principles, and image.
The current point of contention between the candidates' is their treatment of women. Both are trying to draw women voters to their side, not because of what they will do for women, but the despicable manner in which the other candidate treats them. One has video and sound tracks making demeaning comments about women and allegations of groping. The other is accused of bullying and intimidation after numerous women claimed her husband sexually assaulted them, causing a double-punch to those victims.
So many voters are so unhappy with both candidates that they will not vote at all. However, that does not change our responsibility to do so. In fact, it is as powerful as casting a vote because not voting is voting for the winner.
We can't get out of our responsibility to participate in this election. We have to make a decision.
Please God, bless America.
2 Responses to Not Voting is Voting
Bravo, Mary!!! Excellent post!! You hit the nail on the head…….not voting IS voting, and the consequences are dire for our country! May God have mercy on us, and help stay the hands of the enemy.
Mary K. Doyle says:
Thank you, Toni!
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Ontario, Canada Supports Novocol Pharmaceuticals Expansion
TORONTO, Dec 21, 2011 (BUSINESS WIRE) -- Ontario, Canada is helping Novocol Pharmaceuticals of Canada Inc. expand and modernize its Cambridge facility, including converting an outdated production line into an R&D centre. The entire project will help the company diversify and develop new infection control products, increasing the global company's competitiveness.
In total, Novocol is investing over $54 million in this project over the next five years, which includes a loan of $10 million from the Ontario Government.
Novocol Pharmaceutical of Canada Inc. (Novocol), and its affiliated owner, Septodont SAS of France, are world leaders in the production of dental anaesthetic cartridges. Novocol controls a large portion of the U.S. market, through its own brands, or the manufacture of other brands, and private label products.
"Ontario is pleased to support companies like Novocol with investments toward the types of innovation and R&D initiatives guaranteed to bring jobs to our communities and strengthen Ontario's economy. With 41,500 Ontarians working in the life sciences industry, it plays an important role in the province's economy."
-- Brad Duguid, Minister of Economic Development and Innovation
"We are extremely proud of the fact that Novocol is a world leader in manufacturing of dental injectable products here in Cambridge, Ontario and in our skilled workforce that has helped build our 100 year history in the industry. On the highly competitive global stage, modernization is no longer an option used for getting ahead of the competition; it's an essential just to stay in business. Ontario's support to help us invest in advanced R&D and innovation is what it takes to get us to the next level and to help create local jobs and give back to the community that has helped make this company such a success."
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Print July 3, 2013 11 comments
Our Wagner, Only Better:
Harry Partch, Wild Boy of American Music, Part 1
Harry Partch, June 24, 1901–September 3, 1974
"In a healthy culture differing musical philosophies would be coexistent, not mutually exclusive; and they would build from Archean granite, and not, as our one musical system of today builds, from the frame of an inherited keyboard, and from the inherited forms and instruments of Europe's 18th century. And yet anyone who even toys with the idea of looking beyond these legacies for materials and insight is generally considered foolhardy if not actually a publicity-seeking mountebank." – Harry Partch, Genesis of a Music
"The 19th century must have been an enormously comfortable place; no one seems to want to leave it." – Thomas Mann, Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told by a Friend.
"Do not be afraid to be out of tune with the piano. It is the piano that is out of tune. The piano with its tempered scale is a compromise in intonation." — Pablo Casals
Part One: A Coda on Wagner
I undertook my previous look at Wagner,[1] appropriately enough, in the Nietzschean spirit I have always tried to maintain,[2] reserving my critical work only for those cultural idols of sufficient importance that their take-down would serve a greater cultural good – rather than, for example, the typical internet "flame-war."
The results were all I could have hoped for! Cascades of evidence that Wagner was, indeed, an unquestioned, unquestionable idol for the Right, the alt-Right, White Nationalists, whatever.[3] A veritable religious cult, with all the Judaic characteristics Kevin MacDonald has discerned in such thought-negating outfits.[4]
All the memes were there. "How dare you counsel our Youth to desert our European Heritage!" As if "youth" had not been fleeing from classical music for well over a century, the process, in fact, more or less complete, to judge by the collapse of the classical record industry.[5] As if it was I responsible for this killing of the younglings. Again, how appropriate; my arguments were derived from Evola, after all, so why not put me on trial for corrupting the young as well?[6]
And all the other tactics beloved by Cardinals and Witchfinders down through the ages, such as ignoratio elenchi: after detailing the flaws in the Western system of intonation, the response: "He hasn't given us any reason to think so." And the argumentum ad auctoritatem: "All culture is inherently elitist, who cares what people want to listen to?" (Note the contradiction to the younglings argument, but hey, any tool to hit a heretic). Or again, after noting that by reducing the modes to only two, major and minor, considerable amount of expressiveness are lost, which is why jazz resorts to 'bent' or 'blue' notes to recover the modes, an argument, basically, that two is less than twenty, the flat assertion "No one familiar with Western music would think so."
In the words of that great Aryan comedian, Rik Mayall,[7] "I despair, I mean, I really do."
But then, does he not also say, "Nil desperandum, we're English and there's a way out of everything"? And so I will try a different tack, explaining a little more of what's wrong with Wagner, but then offering a positive, Aryan role model that can guide us out of the morass.
1. What's Wrong with Wagner, or Western Music?
Partch explained that his musical heresy was due to the fact that most musicians treated equal temperament as if it were "handed out of the clouds of Mount Sinai." Therefore any important music created with it was sacrosanct.[8]
The Western system of ET is neither natural nor inevitable nor optimal, nor even, as composers as early as Wagner himself realized, particularly rich or useful.[9]
According to Kyle Gann:
Music schools teach that this Big Mac tuning has been around for centuries and represents an immutable endpoint of progress. It's a lie. . . . There is nothing that musicians take more for granted than the fact that there are twelve pitches to an octave, and that these pitches divide the octave into twelve equal steps. Apparently few musicians question this arrangement, and only a tiny minority can explain whence it arose, why, and from what principles its authority derives. This 12-pitch assumption, however, is far from innocent. Twelve-tone equal temperament, as this common tuning is called, is a 20th-century phenomenon, a blandly homogenous tuning increasingly imposed on all the world's musics in the name of scientific progress. In short, twelve-tone equal temperament is to tuning what the McDonald's hamburger is to food.
As the little red haired girl on The Kids in the Hall would say, "It's a fact."
The problem with Western music is quite simple, and can be expressed with some quite simple mathematics, since music consists of sounds, sounds are vibrations, and vibrations can be expressed as numbers.[10]
Sound = vibration, thus = frequency. Intervals can be expressed by math. Our perception of pitch is the result of a rapid, and rhythmic, displacement of matter. When an object vibrates it pushes on the surrounding air periodically, resulting in a pulsating pattern of first condensed, then stretched, packets of air. Because the pattern is periodic, if it occurs very slowly it will be perceived as rhythm, but if it occurs faster than about twenty times every second it will be perceived as a tone. The pitch of a vibrating object, consequently, can be traced back to the rate at which it is moving, and in turn, how frequently it is pushing on the air around it. Put more plainly, pitch is measured by vibration speed. (Harlan, p. 26)
Now, if we are to have music, there must, contrary to Pete Townsend, be more than one note, so the question arises, which? Well, sounds are pleasing, or harmonious, when they express a ratio of whole numbers. The simplest of these, of course, would be 1:1, two voices or instruments, perhaps single strings, vibrating at the same rate, called a unison. Next, one might imagine the sounds vibrating in a 2:1 ratio, one twice as fast as the other, the so called octave.[11] To illustrate the octave, and show that such simple modes can be expressive, consider the goosepimply first two notes — Some . . . where — of "Somewhere over the Rainbow," which is nothing but an octave leap.
OK, so we have two notes, defining a scale; so what notes go in between? Pythagoras, who devised all this for the Greeks, reasoned that the next simplest ratio was 3:2, the so-called perfect fifth, so a system of fifths seems reasonable. Here, however, a problem arises.
Now again, this is not just me talking. Get out your calculator.[12] Let's take 27.5, the vibration of A, and multiply it 2, and do that 7 times. Now, do it again, but this time multiply it by 1.5 — that is, 3:2 — 7 times, and the answer, you will note, is different, yes?
So, how's all that science and abstract reasoning working out for you, Western Man? As the Bubble Boy would say, "Not . . . too . . . good, eh?"
In fact, the history of Western Music plays out rather like the climax of the Bubble Boy episode of Seinfeld, with George, the music "theorist" and Grand Poobah, insisting that "the Moops" invaded Spain, because that's what the Trivial Pursuit card says, while the Bubble Boy, representing the human ear, insists that everyone knows it's the Moors, and the card must be misprinted. In short, a whole bunch of attempts to deal with the "extra" vibrations, the so-called "Pythagorean Comma."
Pythagoras himself suggested — well, with guys like Pythagoras, it was more like "God and Reason command" — that we just gather up all the vibrations in a bunch at the back of the scale's neck and snip off the excess, like a rich old lady getting a facelift.[13] In practice, this meant rendering one of the intervals deliberately out of tune, but hoping it was obscure enough not to be noticed.
Thus did Western Music receive its ritual circumcision, a theme which we will meet up with again. Perhaps that's why, as Partch suggested in the quote above, musicians think the ET system was handed down on Mount Sinai.
This kind of adjustment happened again and again, for Faustian Man knows only one direction, Onward![14] Re-examining premises, that's for sissies! — essentially, the argument of the critics of my Wagner piece.
Now, as Gurdjieff tells us, no change is possible unless a new, Third Force, enters in. This involved Faustian Man's other obsession, technological development. Now, you might think that technological development would help make the system more accurate, but you'd be wrong, Digital Boy. Western composers were besotted with "modulation" between keys, and also with keyboards. Trouble is, it's hard to re-tune string instruments and nearly impossible to re-tune keyboards. And even without that hassle, think of all those keys for sharps and flats (yes, Bach had a keyboard with separate keys for each).[15]
Thus was born so-called Equal Temperament, in which — wait for it — every note is out of tune, and thus every note is equal to every other note.
So, every note is forced to be equal, and interchangeable, so that technology can be accommodated, and musicians can have absolute "freedom" from any restrictions imposed by mere nature. Does this sound familiar? Like anything else going on in the 18th century? In France, maybe? And this, my pro-Wagnerians, is of the Right, how exactly?
Thus were all of the dozens of modes, each with its own expressive possibilities, junked in favor of just two, so-called Major and Minor, vaguely signifying some kind of "happy" and "sad."[16] I bet you were taught that Major and Minor were like Black and White, Zero and One, Left and Right, and other obvious dualities that just are, right? Well, they lied to you again, Bubba.
2A. Who Cares What's Wrong with Wagner or Western Music?
It is both fascinating and telling that a core principle of Western music theory, the circle of fifths, and a related tuning technique that predominated in ecclesiastical music until the Renaissance, were both predicated on a kind of numerological mysticism. (Harlan, p. 26)
At this point, if my life were an episode of Mad Men, I would be Pete Campbell, rushing into Bert Cooper's office to reveal Don Draper's hidden past, and Bert, putting down his copy of The Fountainhead, would give me a pitying look and wearily sigh:
Cooper: Mr. Campbell, who cares?
Campbell: Mr. Cooper, he's a fraud and a liar, a criminal even!
Cooper: Even if this were true, who cares? This country was built and run by men with worse stories than whatever you've imagined here.[17]
Yet, true to my Faustian Spirit, I must push on! This is all wrong!
First, the "circle" of fifths is metaphysically absurd.[18]
The fifths form a spiral whose sounds, coiled around themselves, can never meet. For us, this limitless spiral can be the joint in the center of the world, the narrow gate that will allow us to escape from the appearance of a closed universe, to travel in other worlds and explore their secrets.[19]
Nature is expansive and open, while human logic strives toward standardized metrics and closed loops. In this sense one could state that just intonation is a more natural system, while equal temperament is a more human system. (Harlan, p. 33)
Let's go back to Pythagoras. His problem arose because the "cycle of fifths" does not yield a circle or cycle, but a spiral. This offended his sense of propriety. Yes, that's right, Western music is based on Pythagoras' obsession with circles.
The circumcision of the Pythagorean Comma was referred to by the composer Dane Rudhyar as "The Great Mutation": the gradual replacement of Mysticism with Rationalism,[20] the beginning of Western man's privileging of the "rational" notions of his little mind over transcendental truth.[21]
Pythagoras substituted his little mind for metaphysical truth. Reality, as René Guénon documents the brief but intense Symbolism of the Cross, is a spiral, not a circle. It is a screw that spirals upward as it turns at a certain . . . pitch.[22]
Western music was now set adrift, a menace to navigation, cut off from the music of other cultures, such as India and China, whose music was still metaphysically sound;[23] as well as from what should have been its sister sciences — as we have seen, Western musicians eschew acoustics and pretend that their scales are arbitrary combinations of sound miraculously "discovered" when somebody blew into a reed.
2B: "But really, who cares?"
Away with all this metaphysical rigmarole! What about the music? It's really purdy! (The sum and substance of most of the objections to my previous article; and just as Bert Cooper insisted that lots of great Americans started out as crooks).
It cannot be denied that ET led to an explosion of creativity, of which Wagner is the ultimate example. But ultimate also means final. This creativity was limited to one kind: modulation between keys — and everything else was sacrificed, such as the expressivity of the numerous modes. Wagner was a "Master" of this above all else,[24] but it depends above all on surprise, as more and more discordant intervals are forced into use, and like drug addiction, leads to the inevitable question, "what next?' Thus the "crisis of tonality" after Wagner, leading to the numerous experiments of the 20th century.
The "crisis of tonality" at the end of the 19th and beginning of the 20th centuries was primarily a crisis of materials. Composers such as Mahler and Wagner had exhausted the rhetorical abilities that the 12 building blocks of tonality would provide. Atonality and 12-tone technique were a means of recycling a new language out of the remnants of a diatonic system. Because of the impossibility for exotic and liberating influences to have any effect on sound (the instruments and tuning are still the same) composers used a high degree of abstraction isomorphic manipulation of these arbitrary materials to convey rhetorically a new kind of music. (The best examples of this are Cage and Xenakis.)[25]
The Pythagorean Scale, having become an all-encompassing system — scales, instruments, notation, schools, concert and opera halls — known as Equal Temperament, had finally revealed itself as a Chinese Finger Trap. We had gone as far as we could, and were now solidly wedged in. As Small says, unconsciously and ominously echoing Evola,
"Those who ride the tiger can never dismount."[26]
2C: Oh who cares about music anyway?
Small "t" traditionalists have reasons to beef as well. The shiny, new, "modern" Western system, bereft of expressive possibilities but with all the persuasive force of the White Man's Gatling guns behind it, is one of the chief agents of cultural globalization, as young, with-it types turn away from granddad's old music, newly urbanized Third World workers demand up-to-date music like they hear in the Western movies and TV shows, and local oligarchies compete with each other in promoting Western symphonies, opera houses, and conservatories. Sure, we practice rural infanticide or female circumcision (there it is again, and not for the last time!), but just listen to Ying Yang or Abu Simsim play that Chopin étude!
The same thing happened Stateside first. After German immigrants established the dominance of their own system of Kultur, native White American traditions of music were wiped out.
Sam Francis described this phenomenon in a column on the National Endowment of the Arts (one of the chief life-support systems for the moribund classical culture) compiled in Shots Fired. He notes,
There used to be a real popular culture in America, not only in Maine and Montana but even in metropolitan areas like New York and Boston. In that veiled and lost epoch, many Americans played musical instruments they were raised to play instead of buying recordings produced by European musicians and Japanese corporations, wrote poetry for themselves instead of puzzling over thin volumes and crippled and bitter verse cranked out by whatever lesbian poetess-in-residence New York publishing houses have decided to make a celebrity for a week, and acted in and sometimes even wrote plays that they produced themselves in local theaters instead of packing the house to gibber over Madonna, Michael Jackson, Wayne's World, and Nightmare on Elm Street, Part 70.
It's no surprise that before the German Judaics could take over the mass cultural enterprise, it had first to be thoroughly regimented by those very industrious and hardworking Kultur Germans, determining our tuning system, orchestras, music schools, repertoire (plenty of Wagner!) etc.[27] As usual, the goyim do the hard work, the Judaics then move in and take over.[28]
2D: René and Danny Told You So
"One half of this music, the melody, was all pomade and sugar and sentimentality. The other half was savage, temperamental and vigorous. . . . It was the music of decline. There must have been such music in Rome under the later emperors. Compared with . . . real music it was, naturally, a miserable affair; but so was all our art, all our thought, all our makeshift culture in comparison with real culture." Hermann Hesse, Steppenwolf
"The Atreides House is building a secret army, using a technique unknown to us; a technique involving sound." — Padishah Emperor Shaddam IV in Frank Herbert's Dune
This spreading global catastrophe spirals us back again to Daniélou and the Traditionalists; just as we saw that music, math and metaphysics are linked, so is metaphysics and anti-globalism; as Alan Watts said, metaphysics is rockily practical.
In the Traditional metaphysics common to the East and West, the act of creation involves sound; entities are called into being (And God said . . . ; in the beginning was the Word). If we were as powerful as God, we too could create, using the correct Names of things. Such is the nature of Magic. Even so, our limited powers are able to approximate such Names, and using music — with proper intervals, of course — we can evoke (Sanskrit vak, Latin vox) beings – "speak of the Devil" — and psychological states.[29]
Certain intervals between tones resonate within the body more than others. According to this view, the most physically compelling intervals are those in the simplest proportions of one to another. (Harlan, p. 5)
Thus the title of Daniélou's treatise in its revised English language edition: Music and the Power of Sound.[30]
Needless to say, even that reduced level of efficacy is impossible in the Western system, where intervals are inaccurate and their effects are judged to be purely customary or "merely psychological." Thus, while when a Hindu musician plays a certain raga, even the animals sense the approaching rainstorm, Richard Strauss, at the end of the West's "progress," gave up entirely and dragged a wind machine onstage.
Indeed, the effect of random intervals chosen for superficial effects can be positively harmful, both to one's own body and the body politic.
The Yue ji declares: In periods of disorder, rites are altered and music is licentious. Then sad sounds are lacking in dignity, joyful sounds lack in calm. . . . When the spirit of opposition manifests itself, indecent music comes into being . . . when the spirit or conformity manifests itself, harmonious music appears, . . . So that, under the effect of music, the five social duties are without admixture, the eyes and the ears are clear, the blood and the vital spirits are balanced, habits are reformed, customs are improved, the Empire is in complete peace." (Cited by M. Courant, "Essai sur la musique classique des Chinois," Dictionnaire du Conservatoire, pp. 206–207).
By varying the intervals, inventing new combinations solely to create superficial effects, one endangers both the individual soul and the larger soul known as the State, and even the World Soul of the Universe.
George (posing as a Nazi organizer): "Well, it's just a game. Remember that, kids."
Tim (a fan of "his" book): "Just a game. He's so humble. Don't forget what you wrote in the epilogue, the fate of the world depends on the outcome of this 'game'."
George: "Well, I was exaggerating a bit, just for effect."[31]
Away with this System, both played out but still dangerous in its very putrescence! Rather than seeking to preserve the Germanic classical heritage like some dead tooth, we must, in the spirit of archeofuturism, return to the roots in our ever present past and "make new" a White Tradition of our own, using our newest technology. In short, Aryan Futurist Music.[32]
1. "My Wagner Problem — and Ours" here and forthcoming in The Eldritch Evola . . . and Others (San Francisco: Counter-Currents, 2013).
2. See Greg Johnson's interview with me, reprinted in The Homo and the Negro (San Francisco: Counter-Currents, 2012).
3. And how appropriate, that my critics should be exactly the sort that, misinterpreting Nietzsche's advice to "philosophize with a hammer," by which he meant "the sounding out of idols . . . , which are here touched with a hammer as with a tuning fork: there are no idols that are older, more assured, more puffed-up — and none more hollow [than Wagner]" – proceed, basing themselves on an understanding of Norse mythology provided by Judaic comic books, to come to his defense, by dreaming of growing great beards and hurling Thor's hammer at me . . . from their parents basements.
4. See, for example, Chapter 2 of The Culture of Critique regarding Boasian anthropology as a cult.
5. See Norman Lebrecht's The Life and Death of Classical Music (New York: Doubleday, 2007).
6. Like Socrates, Evola was charged for "corrupting the youth," and like Socrates in the Apology, Evola issued an Autodifesa (self-defense statement). See "Can Fascism be Critiqued from the Right?," a review of Evola's Fascism Viewed from the Right, here. For his part, Harry Partch observed that "the deliberate beguiling of youth into the academic 'modern idiom' is worse than an assault on the street. Both are malevolent, but the second is honest" (Gilmore, p. 259).
7. "You have to be black, homosexual and a woman to work at the BBC," here.
8. Brian Timothy Harlan: One Voice: A Reconciliation of Harry Partch's Disparate Theories (USC PhD. Dissertation), p. 37; here. Harlan notes on p. 33 that in the 16th century "Pope Gregory XIII proposed a calendar reform that would immediately eliminate ten days from the year 1582. For many, the reaction to this temperament of time was similar to the reaction to the temperament of tone. In both cases it was viewed as being against the natural order, or against God's plan."
9. To behold all the wonders of sound otherwise available, consult, if you can find it, Daniélou 's Tableau Comparatif des Intervalles Musicaux (Publications de l'Institut français d'indologie, No. 8, 1958), which is "simply a massive table of musical intervals, nothing more. It has 3-limit, 5-limit, 7-limit, and possibly 11-limit ratios. It has ten times as many intervals as Partch's and Helmholtz's lists combined, including all 17 fifths of the Arabic system." http://launch.groups.yahoo.com/group/tuning/message/43210.
One thinks of the flat-footed way "natural" is invoked when human sexuality is discussed on the Right, even the so-called "alt-Right," as if the customs of Judaic Bedouin imposed on the West were still regarded as self-evidently God-given. See The Origins and Role of Same-Sex Relations in Human Societies (Jefferson, N.C.: McFarland, 2009) by James Neill or Homosexuality and Civilization (Cambridge: Harvard University Press, 2003) by Louis Crompton. As Daniélou points out in a different context, to posit opposing principles, including Male and Female, ipso facto evokes indefinite degrees in between, which Hindu mythology acknowledges with its pantheon of sexually various gods. See my discussion of this in "Homosexuality, 'Traditionalism,' and Really-Existing Tradition" in The Homo and the Negro.
10. Here, however, an immediate problem arises. Musicians, and especially so called "musicologists," are apt to deny exactly this point, insisting on some mystical essence to their art. It's as if painters insisted that colors had nothing to do with the spectrum. This kind of bourgeois romanticism is what led Partch to abandon musical "training" in favor of self-education via the public library, where happily he ran across Helmholtz's On the Sensations of Tone as a Physiological Basis for the Theory of Music (New York: Longmans, Green, 1912) (downloadable from Google Books), a pioneering work that explains all this quite scientifically.
11. Whether the sounds are simultaneous or in sequence is irrelevant; in the first we have a chord, the method of choice in the West, in the other a mode, and the ear is required to make the mathematical connection by memory. Thus the seemingly endless melodies of Arab, Indian, or basically almost any "non-Western" music.
12. Or, just read Christopher Small's Musicking: The Meanings of Performing and Listening (Middletown, Conn.: Wesleyan University Press, 1998), p. 128, where he kindly lays it all out for you.
13. As Patsy's doctor suggests: "Just grab her by the scalp, shake her up and down a bit, and chop off the slack." AbFab, Season One, "Hospital."
14. As we will see, the ET System will swamp authentic White folk music, but during the so-called Folk Revival Pete Seeger hit the nail squarely on the head: "We were waist deep in the Big Muddy / And the big fool said to push on."
15. "In order to be able to play music that used complex chord progressions, the musicians of the time needed either to build keyboards with lots of split keys [to allow them to play either a G-sharp or an A-flat, for example, since those two notes did not have the same pitch] (which would have been impractical to play) or to have instruments built with compromise tuning systems that would sound good no matter what chord they played. That is, the tuning system would have to fudge a little here and there. One of the pitches would be raised slightly, another lowered slightly. In such a system, some of the chords would sound a little less pure than they had before, but none of them would sound too bad." [http://www.musicwords.net/musictech/justtutor/justtutor3.htm]
16. "A melody written in the key of C sounds the same as a melody written in the key of D, and so on. By the same token, every key sounds more or less the same, and the distinct characters of different modes are lost, along with their expressive potential." http://musicmavericks.publicradio.org/features/essay_justintonation.html
17. From the Season One's episode 12, to be followed by one entitled, interestingly, "The Wheel." I'll accept the role of weaselly Campbell for the greater good, but although Bert professes not to care, there are interesting parallels between him and Partch. Men of roughly the same generation, both share the same eccentric personality, alternatively endearingly weird and infuriatingly rude, as well as a penchant for goatees. Above all, both are Japanophiles, without betraying the slightest "spiritual" interests. Bert concludes with "The Japanese have a saying. A man is whatever room he is in."
Having just compared the removal of the comma with circumcision, we can even note Bert's own secret, known only to Roger and later Don, namely his "botched orchiectomy," a point that we will also learn links him with Partch.
Even more importantly, Bert's predilection for Ayn Rand will also link him to Partch. The parallels between Partch and that icon of the Right, Howard Roark, are I think striking. While Partch quit music school rather than being expelled like Roark, both clearly felt contempt for the triviality and irrelevance of their courses and instructors. Partch's "kind of adolescent auto da fé" of his earlier, conventional works in a potbelly stove recalls the similar scene where Roark burns all the remaining work of his mentor, Henry Cameron. Both Roark and Partch then drop out of respectable society, supporting themselves with manual labor and even, in Partch's case, riding the rails as a hobo. (A Mad Men episode earlier in Season One explored "The Hobo Code.") Roark, however, is more like Wagner in his ability to combine individualism and idiosyncrasy with successfully seeking patronage. While Partch was fairly openly homosexual, Roark, though officially straight, has sometimes struck his readers as far more deeply and significantly involved with Gayle [!] Wynan than with Dominique. And while it's quite easy to imagine Partch delivering the expelled Roark's speech about standing at the front of no tradition, and with more justification — Roark's work, at least as seen in the film, seems to easily fit the real-life International Style that goes so well with globalized Equal Temperament — Partch in fact realized, like the Traditionalists in religion, that what was needed was not an impossible, Promethean independence but rather a synoptic grasp of all available traditions, from the Greeks to the Plains Indians, so as to reach the principles behind them and then find a way to express them anew.
Without drifting too far off the subject, one could also imagine Partch as a musical John Galt — Rand's actual composer character is a recognizable pedestrian Romantic of the sort Partch would have despised, reflecting Rand's own middlebrow tastes — who drops out of the system and wanders around, hobo-like, seeking converts to create a new musical utopia.
18. "That's metaphysically absurd. How can I know what you hear?" — Firesign Theatre, Don't Crush That Dwarf, Hand Me the Pliers.
19. Daniélou, Music and the Power of Sound, p. 8.
20. "Harry Partch: America's first Microtonal Composer" by Marcus Wolf, here.
21. "You see? YOU SEE?? Your stupid minds! Stupid! STUPID!!!" — Plan Nine from Outer Space.
22. I discuss James and Guénon in "The Corner at the Center of the World" here, also in Aristokratia I, and the forthcoming collection The Eldritch Evola . . . and Others. This was also Guénon's fundamental objection to the New Agey notions of "reincarnation," an argument accepted by Evola, Coomaraswamy, and others. The being, as he traverses the possibilities of manifestation at any particular degree, eventually exhausts them all and reaches the center but at the next higher degree, there being no reason for a repetition, within Infinite Possibilities, of possibilities that have already been realized. It should come as no surprise that reincarnation was a favorite doctrine of . . . Pythagoras. Thus do we see that not only are music and mathematics related, but all three, music, math, and metaphysics, are, as the Mediaevals would say, convertible.
23. Like spoken language before Babel, the music of different cultures was once mutually understandable, at least in principle; today, Westerners gape in incomprehension at funny "Oriental" sounding music; as we shall see, even Partch's work would be called "Oriental-sounding."
24. Such as the famous Tristan Chord that Bryan Magee's book takes its name from.
25. Wolf, op. cit. As we'll see, Partch will eschew abstraction in favor what he'll call "corporeality," and indeed devise his own intonation and instruments.
26. Musicking, p. 129; the allusion, of course, is to Baron Evola's Ride the Tiger.
27. See Understanding Toscanini: How He Became an American Culture-God and Helped Create a New Audience for Old Music by Joseph Horowitz (New York: Knopf, 1987) and Sam Lipman's hostile review in The New Criterion for May 1989. One might even draw a parallel to sports, where, as Steve Sailer has speculated, European Right-wing populism has survived by its roots in local football clubs, while American sport has been a top-down affair of national universities and big corporations; see "The Real Threat to British Elites" here.
28. This 19th-century Germanic migration is to be distinguished from the earlier migration of dissident Protestants such as the Amish and Mennonites, who not only isolated themselves from American (Englisher) culture, but also had already seceded from the degeneration of their own culture in the post-Buxtehude dégringolade, preserving earlier, truly Aryan folk musical systems. There is more Traditional Aryan spirit in an Amish harvest song than in the entire Ring Cycle. Or consider the music lovingly collected by Harry Smith and published as the multi-record set Anthology of American Folk Music, which kicked off the "folk revival" ("folk," now there's a word the Right should like!) by reintroducing recordings of popular musical styles that had disappeared when, due to the Depression, small record companies went bankrupt and only money-making urban "big bands" (broadcasting from atop swank hotels) or opera houses subsidized by robber barons could survive. One could say that the spirit of Bill Kauffman's Ain't My America. The Long, Noble History of Antiwar Conservatism and Middle-American Anti-Imperialism (New York: Metropolitan Books, 2008) at least chimes with Greil Marcus's history of Dylan's "invisible republic," The Old, Weird America (revised paperback edition under that title) (New York: Picador, 2011). Indeed, the rule of the ET system over what used to be the people's music is rather similar to the New Liberalism in which the PRISM system of surveillance is deemed A-OK because it's been identified with . . . America, the country itself. See "The Snowden Prism" and Justin Raimondo's comments here. Once more we see how ET/globalization/Neo-con-Neo-Liberalism forms a nice tight circle.
29. Consider, giving credit where credit is due, Wagner's famous evocation of the Rhine with only a series of figurations of the chord of E flat major
30. See especially Chapter One, "Metaphysical Correspondences."
31. Episode "The Limo."
32. As I've said in "I'll Have a White Rock Please," Varg Virkernes, than whom no one is whiter, more Activist, or more Metal, has shown us the way to what I call Blackened New Age. See the Homo and the Negro.
The Talented Miss Tarr
Ecce Homo:
The Apotheosis of Neville Goddard
Remembering René Guénon:
November 15, 1886–January 7, 1951
The Counter-Currents 2022 Fundraiser
A Call to All You Daydream Believers
The Writers' Bloc with James O'Meara on Better Call Saul
Raised Lutheran:
The Life of Friedrich Nietzsche
Alain Daniélouclassical musicHarry PartchJames J. O'MearaRichard WagnerTraditionalism
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I am speechless. This is soooooo good. I love classical music, but now I get why I like other music too. I hope Part 2 comes soon. Thanks.
James J. O'Meara says:
Thanks, Rhondda! Part Two should appear tomorrow, as part of Counter Currents' Fourth of July Old Weird America celebration!
kennewick man says:
James, this is a fascinating essay. You haven't yet convinced me to throw out everybody from Bach, an early proponent of the equal tempered tuning, to Mahler, but I couldn't wait for your second part, so I found a video "Harry Partch and his Strange Musical Instruments," on youtube. His music immediately made me think of a cd I have that is supposed to include all the surviving ancient Greek music (Musique de la Grece Antique, Atrium Musica Madrid, Gregorio Panlagua, harmonia mundi), and then he showed his version of an ancient Greek instrument, so I didn't just imagine the connection.
KM,
Yes, you are on the right track; in Part Two I list more Partch audio/visual resources, and recommend everyone give themselves a look/listen.
I also have the Greek disc, but hadn't thought of listening to it in conjunction with the essay, but I will this holiday weekend. The same group has a remarkable cd of late Mediaeval music, La Spanga, which demonstrates the remarkable range of forgotten instruments. That was the first cd I bought in 1985!
Not to be a pedant, but it's interesting to note that Bach did NOT write in ET; his "well tempered" notation was called "equal" because it could make all the keys sound alike [hence, his showpiece, the Well Tempered Klavier], not as in the 20th century, where ET means all the intervals in the scale are the same. Bach could easily modulate, but the keys still had unique sounds, as I note in Part Two.
Also, there's no need to demonized Mahler; Partch actually endorses the Die Lied der Erde as an early example of his "corporeal" music!
Must be 35 yr. ago that an acquaintance explained tempered tuning to me, and then, lo & behold, lent me a recording of pieces by Harry Partch. Anyway, this all makes me wonder if our brains changed as a result of constant exposure to, and (some) training in, the 'new' system; or, rather, our brains changed over many years from so many other factors and that this resulted in our attraction to what you see as cork-up-the-ass German music. I'm for Option #2.
Tonal, equal-tempered western classical music isn't one thing. Look at the vast differences. If it speaks to us it doesn't matter. Did anybody ever love music because it was based on nature instead of western man's straitjacketed shenanigans? I wonder if normal healthy westerners want to listen to ragas etc. for anything but to enter some strange internal world of their own. So what if I find this non spiral based music right purdy. We'll slowly evolve away from that, I guess, just as we evolved into it, but it sure won't be toward ugly sounds unless we are all literally brain damaged.
Stronza,
'Progress' and 'evolution' are dangerous terms, at least to a Traditionalist!
As for 'our' music, as I note in the article, it is ET that has robbed us of our traditional, or 'folk' music. As I make clear, hopefully, in Part Two, Partch was no "orientalist" but solidly a man of the West, who looked to other cultures — as well as the Greeks! — only to recover what was lost in the 18-19th centuries. We don't need ragas — Partch as I document hated the 'beats' and the whole West Coast avant-garde and likely never heard one, though likely knew the system — but only Our Own Music. But why would that be the music of a 19th century German?
You are right about the 'vast' difference in Western systems, but I had to shrink things down for an article. Strictly speaking, neither Bach nor Wagner was ET, and I would bet none of my critics has ever actually heard Wagner played in the intonation system HE used! They defend Teh System but don't even notice that Wagner himself has been swallowed up by it — he doesn't sound "wild' anymore, not because we have "progressed" but because we no longer recognize the dissonances he used! Danielou, whom I cite in Part Two, lists almost a hundred intonational systems!
This is what I don't get: why separate out the unnatural, forced equal tempered musical system from all the other depredations committed against our inner nature and the natural world? Anybody can see that the decision to plow land ("black side up/green side down") and stick seeds into it (instead of hunting & gathering, which limited populations) is one of countless cultural innovations a lot worse than how the octave is now structured, and might be considered the beginning of sorrow; every time we think we are solving a problem, we are in reality creating more at the same time.
I don't see the development of ET as anything more than just another symptom. Far as I can tell, you can't have biologically correct musical structures within the most anti-nature culture imaginable. This "wrong" music and everything around it are indeed all of a piece.
Magister Ludi says:
That's all very nice, but the little I could force myself to listen of that Harry Partch fella sounds like confused noise. This is what our music sounds like: http://youtu.be/X86d3-v0Z8A
Kennewick man, I also own Paniagua's CD. I feel a very affectionate tenderness for his thick Spanish accent in the first Delphic hymn to Apollo… The Ensemble Kérylos also did a very similar album, this time with a thick French accent, have you heard it?
Magister Ludi,
Love the handle; I'm writing a piece on Evola's Order State and Hesse's Castalia!
Partch would appreciate your honesty. But do remember, all "foreign" music sounds like confused noise, like foreign languages [ba-ba-ba babarians]. One mustn't mistake one's native system for 'the way things are,' like the French gentleman Twain refers to , who thought French was the most perfect language, because the words occur in the same order one thinks them.
Danielou lists nearly a hundred intonational systems. How to choose? Heidegger said that one could only philosophize in Greek and German, and he's unique only in his honesty.
Also, Partch's system is a tonal system, unlike Schoenberg et al, and is simply MORE inclusive than ET; you can play all the Wagner you want in Just Intonation (btw, so did Wagner, since ET hadn't been formalized in his time), but you can play MORE as well!
Heidegger is kinda right, he just forgot Latin. I am not particularly a fan of Wagner, I certainly don't like him as a person. I would never be friends with him, and I've got profound disagreements with his thoughts. Yet for seven years I've sent a letter to the Bayreuth festival and —as is tradition— for seven years I was told there were no tickets for me this year. Last year my wait was finally over. I was able to go and sit quietly on a hard uncomfortable wooden bench for about four hours. I repeat, I am not a Wagner. I have to will myself not to fall asleep during Siegfried (where they start retelling everything that happened until that point) and I'm frankly disgusted by his Christian nonsense, but I like to dislike Wagner like one dislikes a very close relative. Like those annoying uncles. There is a common language, I don't know how else to put it, it's exactly what you are saying. I understand Wagner. Schoenberg is incomprehensible and unpleasant to me. And equally incomprehensible and unpleasant are those Led Zeppelin endless guitar riffs or those coloured men talking vernacular (the etymology was never more appropriate) over someone else's music. Like you, I would love for new musical forms of expressions to appear, but I don't think it likely to happen. Art in general is not possible without a prince. The way I see it, what the artist creates to express himself, or merely to make a few bucks, that's not art. True art is the result the congruence of a prince (a legitimate ruler who is a leader of his people and has sovereignty), a people, volk, ethnos, whatever you wanna call a group of people relate by blood language and culture and the artist. Wagner is an artist seen that way, and so is Leonardo, Mozart or any great artist in history (Yea, that means Picasso is not an artist). Partch's experiments with sound might be interesting, but where is his prince?
Magister Ludi:
I've heard of it, but not heard it. Unfortunately I don't know enough Greek to recognize a Spanish or French accent, but I'll have to look it up.


I had friends. Not a lot and maybe they didn't consider me their friend but I was at least someone they could toss a ball around with when throwing the ball against a wall and other inanimate objects became dull and boring. But when you grow old friends begin to disappear from your life because they move on, they find better friends, or they find out that you are just as dull and boring as that wall that kept bouncing the ball back in the same monotonous rhythm. But in those moments when we were carefree, when we were just hanging out, playing ball, trying to impress girls and making fools of ourselves in the process – we were friends. We were tied together by camaraderie, by familiarity, by commonality.
Sometimes friendships are forged when we are thrown together and by some odd accidental, unplanned and unexplained phenomenon we find cheer, encouragement and solace in the companionship of a friend. But if what if our friends are not coincidental? What if our friends are bonded to us because they are born to us?
My wife (poor patient woman that she is) was pregnant five times. The first time she was pregnant because we wanted to make sure that our biology was in sync and working properly. The result was a beautiful (he hates when we describe him that way) baby boy. Before the second one was born I secretly prayed that it would be a girl – a pretty one with delicate features, tiny feet and hands and stunning blue eyes like her mothers. When son number two tumbled into the world and I couldn't get a good look at his plumbing because the doctor was in the way I saw that baby's head, broad shoulders and beefy cheeks and thought to myself, "Please God I know you have a sense of humor but…." Disaster averted that massive kid turned out to be a boy.
Every baby after that I kept praying, hoping that it would be a precious little girl that I could fawn over and be proud of and have mothers at the mall say, 'You're daughter is gorgeous' while I waited for the day when I could smack the first guy who came calling for her hand in marriage. And even though I kept this secret to myself I knew that my wife wanted it badly too – for me of course because she was quite happy to only have sons which is what she told me after our first handful of dates.
Five sons later I came to the realization that God probably couldn't trust me with a daughter – I got that sinking feeling that God probably knew I would have been in jail by the time any daughter of mine reached her teens. So there I was, stuck with five boys who made a lot of noise, loved to build things with my tools and then throw the tools in the trash; they literally hung around from the rafters and generally got into all kinds of trouble. Boys will be boys right? Whining, screaming, yelling, smelling little codgers who ate everything in sight and destroyed every ounce of sanity from sun up until sun down.
But something happened right around the time my oldest son turned twelve – I actually enjoyed having conversations, playing games and being around these guys. I found myself fully engaged in everything they did and not in the same way that they are dependent on us for nourishment and a dirty diaper change but in the way that they are extremely interesting and it is reciprocated. Suddenly I had these friends that never go home, they don't talk bad about you with their other friends and they actually enjoy spending time with you. Yes, I was and will perpetually be pathetic but I thought that bit of fatherly illumination was mind-blowing.
I have four teenagers now and the fifth acts like a little old soul stuck in a ten-year-olds body. In the years that followed their births, their nurturing, their development into young men we have gone on countless camping trips and trips to parts unknown and I have watched them become men as they witnessed my own evolution into an actual dad. The times that I have spent on the road whether it was in a plane or in a vehicle speeding towards another adventure have been the most enjoyable times in my life. Every bit of fun that I experienced in my childhood and youth undeniably pale in comparison to the fun that I have had bonding with my sons over the years.
My oldest graduated from high school over a month ago. In the weeks leading up to his graduation his mother and I began to experience periods of extreme melancholy knowing that his life, his independence, his coming of age was rapidly upon us and subsequently, each of his brothers will be leaving the roost in the coming (short) years. I'm feeling anxiety far beyond the disappointment of losing a friend. I'm feeling the despair of a parent losing a piece of ones-self, an extension of me. Our roles in a sense are reversed: The dependent is independent and the independent is dependent.
I know that it is necessary and moving on for him is essential but as his parents we can't help but long for the days when he and his brothers clung to us in public and nestled up to us in private. They say that we should never be friends with our children. I think what they meant to say is, be a loving, nurturing parent and they naturally become your best friend.
I am so grateful for parents who did their best for me and became my truest first friends. I'm thankful for a loving wife who taught me the importance of humility and patience when dealing with our boys – she is my eternal friend. I'm so blessed to have been given this short time teaching, learning from and loving five wonderful young men who I proudly call my sons and humbly call my friends.
Previous Previous post: Fatherhood: What's in it for me?


text:
Q: Automated web form submission Do you know any good methodologies/tools/scripts/approaches for automated web form submission?
The form I want to operate on is NOT in my possession. That is, on any given website that's the action I'd like to perform.
Example: On http://autos.yahoo.com/ the script would choose certain value in "Make" combo box, then in "Model" combo box and then hit button 'Go'.
Thanks a lot!

A: You could set the data in form and then submit the form using JavaScript.
document.myform.submit();

A: With the help of jQuery you could do something like this:
<select name="make" class="mltsel">
  <option value="acura">Acura</option>
  <option value="alfa_romeo">Alfa Romeo</option>
  <option value="am_general">Am General</option>
</select>

<script type="text/javascript">
  $("select").change(function () {
    $("#text").text("Something was selected").show().fadeOut(1000);
  });
</script>

Instead of displaying some text you could do a AJAX call to get the needed information for the second selection. jQuery provides some helpful methods too - just take a look at the API.

A: Here is a nice little VBScript that you can run on Windows for automation of a form submission. I used this to let a certain spammer know what I thought of his website www.reward22.com. Omit the For loop and replace with appropriate URL and variables for a single form submission.
Set xml = CreateObject("MSXML2.ServerXMLHTTP")

DataToSend = "cell=800-922-
0205,password=StopTryingToStealFromPeople,pin=1234,captcha=DoTheRightThingAndShutThisPageDown"

For i = 0 to 100000
    xml.Open "POST", "http://www.reward22.com/activopopvzw.php", False
    xml.Send DataToSend
    i=i+1
Next

wscript.echo "Done!"


The Original Seeds Store presents Mazar x White Rhino cannabis seeds created by the breeder World of Seeds (See all World of Seeds).
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Find related cannabis strains in our Mazar, White Rhino collections.
Mazar x White Rhino hasn't won any cups or awards yet.


text:
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The Brooklyn Museum presents the launch of 'Imagining the Future Museum: 21 Dialogues with Architects' by András Szántó
DATE 2/5/2023
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Artbook @ MoMA PS1 presents the book celebration and signing of 'Just Above Midtown: Changing Spaces'
Lyrical and exuberant, 'Joseph Stella: Visionary Nature' releases this week
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CORY REYNOLDS | DATE 2/13/2018
Carolee Schneemann launch event at the MoMA PS1 Book Space
Join us in the MoMA PS1 Book Space on Sunday, February 18 at 3PM, to celebrate the publication of Carolee Schneemann: Uncollected Texts with Carolee Schneemann reading from the book, a discussion between Schneemann and the book's editor Branden W. Joseph, and a book signing.
In Carolee Schneemann: Uncollected Texts, edited by art historian Branden W. Joseph, the texts span diverse formats including dream journal entries, criticism, and essays. Performance notes were culled primarily from magazines such as Caterpillar, Film Culture, The Fox, Manipulations, and Matter, as well as Performing Arts Journal and Art Journal, and media outlets including the New York Times and the Village Voice.
Published by Primary Information, the book includes many writings that have never been reproduced in their original form. It features Schneemann's reflections on her own works, including Meat Joy, Divisions and Rubble, and Kitch's Last Meal. Frequently referring to one another, the assembled writings offer new perspectives on the artist's life, work, and ideas.
For over 50 years, Carolee Schneemann has worked in painting, photography, performance, film, video, mixed media, and installations to create groundbreaking pieces that focus on gender, politics, and sexuality. Carolee Schneemann: Uncollected Texts brings into focus these issues.
Carolee Schneemann: Kinetic Painting, the first comprehensive retrospective of the artist's work, is on view through March 11th at MoMA PS1.
The MoMA PS1 Book Space is on the first floor of the museum.
This event is free and open to the public! If you can't make it, e-mail booksmomaps1@artbook.com to order a signed copy!
ARTBOOK @ MoMA PS1
22-25 Jackson Ave (at 46th Ave.)
Carolee Schneemann: Uncollected Texts
Pbk, 6 x 9 in. / 120 pgs / 12 color.


Boehringer Ingelheim,one of the main pharmaceutical companies in the world,which is also global partner of Ashoka in the "Making more health" project to support social entrepreneurs in the health-care sector,has decided to sustain Cure Thalassemia,with a donation.
We heartily thank Boehringer Ingelheim for their trust in the innovative model of Cure Thalassemia,and also in the people involved in the project,starting with the co-founder and scientific director Dr. Pietro Sodani.
We are studying other joint cooperations for the future.