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I was talking to a woman at a concert about the extraordinary American singer-songwriter, Neko Case. I said, her voice on record is my benchmark, the definition of bell-like precision with passion. The woman laughed and said, to her, Neko represents the ultimate raw, one-take beauty-in-imperfection voice. We laughed. Our visions of this artist, and her great gift to music, were so different.
This difference cuts to the very heart of why my second Wasp Summer record has taken 3 ½ years and counting. I've sat on the bass and drum tracks we recorded in February 2015, sporadically adding guitars, organs, sounds and harmonies, revising the production notes. Not including recovering from depression, breakups, financial issues and the dissolution of the band itself, the thing I have been stalling on was recording the vocals.
I have lived with this set of songs for so long. The oldest song, Lights On Eyes Open, dates to 2005, and the rest between 2010 and 2015. Perhaps surprisingly, they still thrill me. I feel I captured what I wanted to say on each track and that it's a cohesive album.
It's the responsibility of transmitting the soul of each song in the most direct, most emotionally available manner that has been the mental block for me. Unlike the ephemerality of live performance, the permanence of the album vocals became terrifying.
As I recorded at home, in my safest space, I loved the takes I got, but as I listened back, my fear kicked in. An unstoppable internal critic picked apart every phrase for pitching errors, inauthenticity, hollowness, inadequacy. The reference songs I used to guide the mood of each take (mainly Cocteau Twins, Pretenders, Motels, Fleetwood Mac, Mirah, Kate Bush, Linda Ronstadt, PJ Harvey, Triffids and Divinyls) became towering and inaccessible.
I tried editing together 'perfect' vocals from the various takes I recorded. Something I have tried twice before. The result is always the same, a dead-sounding vocal line. I rerecorded them over and over. I tried different microphones. I reminded myself to be kind. I left the songs alone for a year. Nothing made me comfortable with leaving these vocals to posterity. I stopped talking about the record. Despaired.
I feel ashamed of this fear and delay. I'm strong psychologically. I finish what I start. Don't I? This is my novel, my movie, my creative heart. I'm a trained singer. I've been doing this for 27 years. They're my damn songs. I don't know if this is common. I've hear about a million different approaches, including the singer of a famous German band who happily plays to 20,000 people a night but needs everyone to leave the studio when he records vocals.
My heart says be one-take Neko. My head says be bell-like, perfect Neko, and a relentless perfectionist, and when will you ever get there?
Earlier this year, a friend, and the engineer who recorded the original bass and drum tracks, asked me what was happening with the record. I told him I was stalled on the vocals, and couldn't get perspective on them. I said I needed to save some money, hire a nice mic or find a producer to help me get good takes and finish the record. I told him I wanted someone to tell me if it was good and honest, or if they thought I could dig a bit deeper. I just wanted some support. It's hard work finishing a record alone.
He offered a lifeline. I help him with vocals and backing vocals on his record in exchange for him recording mine and acting as producer, talking me through the rest of the recording. So far, we've done two songs, and I've revised the entire album, replacing or adding guitars, sounds and keys.
I'm still excited by the songs, and although the urge to pick apart my vocals is still there, I like the energy of the takes we've done. We've found the microphone combination I'll use for the whole record – a Neumann condenser and an AKG pencil mic. Check out those beauties!
We're going for no more than three takes of each track, and I'm hoping the relaxed and supportive atmosphere will still my devilish urge to rip my own singing to shreds.
I feel confident that I'll both actually finish this record this year and have the money to mix, master and release it. Finally. I'd really, really like to have my albums available on vinyl.
Would you buy vinyl through a pre-order campaign on bandcamp? Would you prefer a CD or download?
I'd really appreciate if readers who can support me could let me know which format they're likely to choose. It takes some logistical planning and timing to put an album release together and deliver by the due date.
Thanks for reading. I'd love to hear from you.
– Samantha, Berlin.
Tags: album, anxiety, Berlin, blog, Chris Lastelle, Cocteau Twins, fear, Fleetwood Mac, home recording, home studio, inspiration, Linda Ronstadt, microphones, Mirah, Mitropa, music, Neko Case, new album, new music, news, perfectionism, PJ Harvey, Pretenders, recording, The Divinyls, The Motels, The Triffids, vocals, Wasp Summer, work
Categories 2018, album, Influences, Mitropa, recording, songs, studio, Wasp Summer, writing
Number 1 must be the Cocteau Twins masterpiece 'Heaven or Las Vegas'.
Oh, this album, beginning to end, blows my mind. In 1994, I escaped an increasingly dangerous relationship and was relieved to move into a sharehouse in Lismore with 4 other women, located above a veterinary surgery. Collectively and consciously, we explored ritual paganism, argued theology with the Mormons that came each week to save us, and smoked more weed than was strictly necessary. I saw some weird shit.
I started off living behind a makeshift curtain in the kitchen until a room became available. Then I moved into the least psychedelically-wallpapered of the rooms, affectionately known as the Triffid Room.
A lot of music that is important to me (Pink Floyd, PJ Harvey, the Clouds) came out of this room and this year, as did my first attempts at songwriting. Rachel the Cone Queen stole this record from her sister, but it lived for the entire year in my room where I attempted to rationalise its immense harmony while drifting off into its etheric spheres.
This album remains an act of divinity to me. The Cocteaus' perfect pop moment. The post-punk textures they had been developing all the way along, Liz Fraser's astonishing vocal style, the pulsing bass and drum machines, liquified into a weird, dreamy and pleasurable set of songs that blew open my expectations of what I could do, what the human voice could do, what guitars could sound like.
It was the precursor chemical to so much of the music that made my music sound the way it does. At least, most of what I did with The Mime Set and Wasp Summer was me aiming for this kind of freedom.
Upon reflection, Annie Lennox and Liz Fraser are largely responsible for the beautiful oddness of my sense of harmony.
Tags: Annie Lennox, Berlin, Cocteau Twins, cool, dream pop, Heaven or Las Vegas, indie rock, influences, inspiration, inspo, Lismore, Liz Fraser, Mitropa, music, Robin Guthrie, shoegaze, Simon Raymonde, songwriting, Wasp Summer, weed, wicca
Categories 2018, album, Berlin, Best of, crucial albums, Influences, music, Wasp Summer, writing
Apart from buying us drinks, music is the best way to know musicians, so here are some albums that are important to us as musicians and people.
To make it easy to share, we've posted these lists on YouTube and Spotify. If you'd prefer these lists in another format, or on another service, just leave us a message below, and we'll try to arrange it.
Simon and I each have a story about an album that was crucial to us starting our first bands.
Simon's Influences
I met a friend of mine and started a band because I was the only person in the area with a Black Flag LP. I can remember our first gig when we were just 15; the local gang grabbed the lead singer and told him 'If you guys suck, we're gunna punch the shit out of ya!' We knew three songs. We played them three times. Nobody seemed to mind. We didn't get beaten up. The kids at that party were throwing flagstones at the cops as we loaded out into my Mum's car. At the next gig, someone turned up the RHCP's 'BloodSugarSexMagic' record to try and drown us out. Then they started throwing stones at us.
The guitar player, Paul Dempsey, went on to found (successful Australian rock band) Something For Kate. People don't throw stones at him anymore. Except me. I chuck a good sized rock at that lanky motherfucker every chance I get. Just to remind him of his roots and that good rock and roll never comes easy.
Samantha's Influences
The albums that made me want to be in a band were Transvision Vamp's Pop Art and Faith No More's The Real Thing. At my school, there were two types of popular girl: surfer's girlfriends and rough netballers. Two of the latter knocked on my door one afternoon. I was worried. "We heard you got that Faith No More album." "Er… The Real Thing. Yes." I was confused.
"Make us a copy?" one said, handing me a blank cassette. Before this, being a music nerd had only won me insults and my circle of metalhead friends. I could do this and might not get beaten up either. I'd been into the band for a year, but then in mid-1990, 'Epic' was number 1 in Australia. As I only had a simple cassette deck, we listened to the whole album as I dubbed it, with me pointing out the cool bits. "What's this classical shit?" Weirdly, they'd never noticed the piano outro at the end of 'Epic'. They nearly left. "Nah," I corrected, "It's where the goldfish is dying at the end of the video." "Oh, alright," they said, and stayed patiently until their cassette was finished.
If you sign up for our newsletter, Simon and I will tell you about our first attempts at songwriting. Sign up for the newsletter here: http://eepurl.com/rO3db
Bis gleich,
Samantha and Simon
Wasp Summer
Tags: discover, find, influences, inspiration, musical influences, new music, playlist, playlists, Sam, Simon, Spotify, Wasp Summer, YouTube
Categories Influences, music, songs, Wasp Summer, writing


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Asteliacoccus zelandigena är en insektsart som beskrevs av Jennifer M. Cox 1987. Asteliacoccus zelandigena ingår i släktet Asteliacoccus och familjen ullsköldlöss. Inga underarter finns listade i Catalogue of Life.

Källor

Ullsköldlöss
zelandigena

redpajama_set_name: RedPajamaWikipedia


Panel queries are the main way of fetching results, such as products or ads from eSales. Panels can be queried through the Web API when the panel hierarchy for a site has been published. A successful query returns the panel content in flattened and serialised JSON format.
Parameters that have not been set in panel configuration or have a default value in pre-defined panels has to be sent as arguments.
Additional arguments are panel dependent and may be required. All arguments, including filter variables, must be prepended with arg.. See Panels for parameters for panel specific arguments.
200 Panel content flattened and serialised to JSON, see Response.
400 Invalid or missing arguments for this panel.
404 Panel not found or not public.
503 Service unavailable, no products found in cluster.


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Quality faith-filled curriculum is at the heart of St. John Vianney Regional School school. Our teachers are skilled in knowing what to teach in a subject, how to teach it and when to teach it. In addition, curriculum is constantly being evaluated and when necessary adapted or changed. At St. John Vianney we have an annual review of curriculum that ensures what we are teaching remains academically sound and is up-to-date.
"I wanted to say thank you for the wonderful job you have been doing with my daughter! For once she is excited about the true meaning of Easter rather than what gifts she will receive in her basket...When you said you teach children good morals you all were spot on!"
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Q: Use text that is passed through props, to know which constant is called for button onClick does anyone know how I can pass the name of the const I want to use for the button onClick here?
So I have two const's defined in my component, what I want to achieve is that each button in a column calls a different const, so I pass the name of the const I want to use through props, but that doesn't work. For example if I pass clickHandler="handleFirstOption"
The column button onClick has to become:
<Button role="group" mt={10} onClick={handleFirstOption}>

Does anyone know how I can accomplish this?
FooterRow.jsx
<FooterColumn
   clickHandler="handleFirstOption"
/>
<FooterColumn
   clickHandler="handleSecondOption"
/>

FooterColumn.jsx
const handleFirstOption = event => {
   updateStep(firstOption);
};

const handleSecondOption = event => {
   updateStep(secondOption);
   event.preventDefault();
};

<Button role="group" mt={10} onClick={clickHandler}>

A: Define this inside your FooterColumn:
let handlers = {

    handleFirstOption: event => {
        updateStep(firstOption);
    }
    handleSecondOption: event => {
        updateStep(secondOption);
        event.preventDefault();
    }
}

Then you can specify which handler you want using string name from props:
<Button role="group" mt={10} onClick={handlers[clickHandler]}>

redpajama_set_name: RedPajamaStackExchange


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is a park located in Minami-Azabu, Minato, Tokyo, Japan. It covers an area of 67,131 square metres.

History
During the Edo period, the park belonged to Minonokami Nambu, a feudal lord from the former Morioka Domain who used it as an urban villa. In 1896, it was acquired by the Arisugawa-no-miya line of the Imperial family, and then in 1913 it was passed on to the Prince Takamatsu line. Out of a great personal interest in promoting children's health and education about nature, Prince Takamatsu donated 36,325 square metres of land to Tokyo for use as a park on January 5, 1934, the anniversary of the death of Prince Arisugawa Taruhito. The city immediately began construction and the Arisugawa-no-miya Memorial Park was opened on November 17, 1934. After having expanded to include Azabu Baseball Field and tennis courts, the park's total area is currently 67,131 square metres. In 1975, administration for the park was given over to Minato ward where it remains today.

Features
The park is built into a hill so it has several tiers. The park's cascading hills and valleys, ponds, and densely wooded areas have been arranged in harmony with the natural terrain. There is a heavily wooded area at the bottom with streams, waterfalls, bridges and ponds. On a tier above, there is a large plaza with an adjacent children's playground. The plaza is dominated by an equestrian statue of Prince Arisugawa Taruhito. There are also the little statues of the Newspaper Delivery Boy and the Youth Playing a Flute. On the other side of the plaza is the Tokyo Metropolitan Central Library.

Rising above the landscape is a golden trumpet-blowing angel at the top of the spire of the Tokyo Mormon Temple across the road, adding another aspect to many of the landscapes available within the park.

Location
The park is located approximately 2 minutes' walk from Hiroo Station and is adjacent to various buildings such as the Aiiku hospital to the north, the National Azabu grocery store to the south, and the German Embassy neighboring National Azabu.

External links

 Private guide to Arisugawa-no-miya Memorial Park

Parks and gardens in Tokyo


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Samantha Margret reminds us it's OK to be "Emotional"
By Ashley Bulayo|June 25, 2020|Comments Off on Samantha Margret reminds us it's OK to be "Emotional"
(Photo Credit: Erika Christine Photography)
Bay Area native Samantha Margret reminds all of us, emotions are valid in her new song, "Emotional." She explains it beautifully, "Now, more than ever, whatever we feel is valid. I grew up thinking that my emotions were 'too much,' but our emotions make us who we are. They make life sweet and bitter and intense, and I think it's all stunningly beautiful and well worth the ride."
We can all agree that right now everyone's emotions are everywhere. We were happy to chat with Margret to talk all about her new single and her partnership with SafeHouse.
The Bay Bridged: First off, I love to ask everyone, how are you doing?
Samantha Margret: Whew, that question seems to be more and more daunting each day. In some ways, I'm doing better than I ever have. I'm writing strange and exciting music. I'm listening (not just in the car on the way to wherever, but really listening) to meditations, to protests, to music. I'm hanging out with my cat. I'm also working hard to balance the unknown of COVID-19, the heartbreak of ongoing racial injustice, and the drive to keep going. How do I keep working? How do I help? Some days I have answers, and other days I don't. I'm glad we keep asking each other "how are you?" even though it's hard to answer. It feels more important now than ever, and we seem to be learning to answer honestly.
TBB: I love your new song "Emotional" and I think at the moment, it's 100% relatable. Can you tell our readers a bit how this song came about for you?
SM: Thank you! As you might have guessed from the song, I have a lot of feelings. Growing up, I got called a "crybaby" and told I was "too much". That's not the end of the world or anything, but it left this impression that intense emotions were bad, like we are all supposed to be in this comfortable neutrality all the time. But emotions are so much more important than that. They help us grow and love one another and ourselves. They make life sweet, and bitter, and intense, and I think it's all stunningly beautiful and well worth the ride.
This song is my invitation to everyone who keeps their emotions cooped up: let them out. Feel what you're feeling. Crack your heart open, find out what's inside, and accept it just as it is. That's not weakness. I can't think of anything stronger.
TBB: I stand by the fact your feelings are valid. What would you say to someone who thinks expressing their emotions is a bit too much to do?
SM: I'll be the first to admit that what's right for me isn't necessarily right for my neighbor. And, even though I believe in expressing emotions, I'm also a fan of privacy and kindness. There's a sacredness in keeping things just for ourselves or our loved ones. There are also times when our emotions are not at the center of what's happening—when they need to take a backseat for a little while. Sometimes inviting our emotions in is a small, personal endeavor as opposed to a big, public, outpouring.
TBB: A lot of us are still finding ourselves at home amidst everything going on. I love that you started the Zoom show Music in the time of Corona. What typically happens during your mini-series? Why should people tune in?
SM: Music in the Time of Corona started when I thought there were going to be three shows. The Bay Area had just issued SIP orders through the first or second week of May, and I thought, "wouldn't it be fun to do a couple of Zoom shows to feel like we're still a community." Each week, I gathered two other songwriters for a Nashville style writers round. We would take turns playing original music. Zoom is far from a perfect concert application, but there is something so nice about seeing everyone's faces and chatting with the performers in between songs. Live streaming can be kind of cold—just me and a text chat that I can never seem to read quickly enough. On Zoom, we're almost in a room together...almost.
As people started growing into the new normal, I shifted the structure of the show, so, now, it's more like a real house concert would be. Audience members can contact me, and we do a little consultation about what kinds of music they listen to. I pick out two other musicians who I think would be a great fit, and they can send out an invite to their community as though it were in their living room. One of the beautiful things I've seen during this strange time is people forming support pods—groups that check in on one another and do virtual happy hour or knitting. With the extended isolation, the new format is really aimed at creating intimacy and reminding people that they still have friends and family who love them.
TBB: I also read that you'll be partnering with SafeHouse for your release. Can you tell us a bit about what SafeHouse means to you and why it's so important for people to know about SafeHouse?
SM: I got involved with SafeHouse doing administrative work at first. I would go into the Hope Center and make coffee, organize emails, create spreadsheets, the kinds of things that the trained social workers and advocates shouldn't be spending their time on. For me, reaching out to SafeHouse was about fighting for my city. I was born and raised in the Sunset, so I know firsthand how segregated and divided San Francisco is. At the same time, I loved growing up in the city. I loved taking the bus alone to school and getting massive amounts of Dim Sum for $5. This city has been really good to me. Unfortunately, that's largely because of the race and class that I happened to be born into. I think when you love something, you help it be its best.
SafeHouse is serving a population to whom San Francisco has historically been unfair and unjust. They support women who are experiencing housing insecurity, sexual exploitation, and sex trafficking by creating survivor-centered space, services, advocacy and community education. 100 percent of SafeHouse graduates find housing, and more than 400 women have received safe housing through SafeHouse since 1998. To me, those numbers are unlike anything I've ever been a part of. But it's not a flashy organization. They're focussed on serving survivors. The flashy stuff is our job—the people who come in contact with the work that SafeHouse is doing. We are the ones who need to spread the word and do the fundraising.
TBB: Can we expect more new music on the way? If so, what has been your inspiration for the new music?
SM: Definitely! I'm working on getting more music out by the end of summer, and the new songs are a look into the weirdest corners of my imagination. I think SIP really amped up my me-ness. I guess not being around anyone else will do that. One of the songs I'm most excited about is called Matthew McConaughey, and it's based on a dream that my friend, Emmalee, had about me. (Anyone who wants to hear the demo can become a patron on Patreon.) My most recent writing is definitely in the same spirit as "Emotional." I hope that when people listen, they have a sense of joy in being exactly who they are as well as a feeling of possibility for who they could be. Jonathan Van Ness has this philosophy that loving ourselves is an act of revolution, which I love. I think the new music has a lot to do with processing that idea and trying to live it fully.
Tags: Samatha Margret
About the Author: Ashley Bulayo
You can catch me at concerts most of the time. I'm the one who is slowly trying to get to the front of the stage but I won't push my way through. Catch me glued to my laptop/iPhone most of the time. All for good reason though.
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The latest generation of L3 MAPPS' Integrated Platform Management System (IPMS) – a solution originally pioneered for the Royal Canadian Navy almost 30 years ago – will be integrated with OSL's ECPINS navigation and Integrated Bridge System (IBS) to provide a cost-effective Integrated Ship Management System (ISMS) solution to the Canadian National Ship Procurement Strategy (NSPS) for navy programs.
The all-Canadian ISMS solution will provide commonality with existing systems in the fleet while enhancing the operational effectiveness of the new navy ships to be procured under the NSPS through greater integration of the platform management and ship navigation functions – a compelling value proposition by Canadians for Canada.
"Both L3 MAPPS and OSL have delivered innovative Canadian solutions to the world's leading navies and we are pleased to offer our combined strengths to serve Canada's needs for cost-effective and high-performance ship control and navigation systems," said Rangesh Kasturi, vice president of marketing & sales for L3 MAPPS Marine Systems and Simulation.
"OSL has evolved its ECPINS warship navigation system to a full-fledged naval Integrated Bridge System and we are pleased to join forces with L3 MAPPS to combine its leading IPMS with our IBS to offer a synergistic solution that will deliver outstanding performance," said Ken Kirkpatrick, chief executive officer of OSI Geospatial Inc.
L3 MAPPS has provided its proven IPMS technology to the majority of the Royal Canadian Navy ships, including the ongoing IPMS upgrade of the Halifax Class Frigates. OSL's ECPINS has fleet-wide deployment in the Royal Canadian Navy, installations in 12 other international navies, and is delivering a comprehensive IBS to the Royal New Zealand Navy's ANZAC Frigate Upgrade Program.


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