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BIG IDEAS, DEAD PETS
November 22, 2015 / tayloradamsauthor
A "reloaded" double-barreled interview, once again featuring Amazon bestselling authors TJ Brearton (The Titan Trilogy, Dark Web) and Taylor Adams (Eyeshot, Our Last Night) as they share their unique perspectives on the creative process. Two writers, one dialogue.
Taylor Adams (TA): First question: Which part of the writing/rewriting process do you find to be the most enjoyable? Why?
TJ Brearton (TJB): I saw a meme encapsulating the creative process, about the stages you go through with a project, and it went something like: "(At first) This is amazing stuff! … (Later) Hmm, this might be tricky, gonna need some work … (Even Later) This is horrible, utter crap, I hate it … (Later still) Okay this might be salvageable … (Finally) This is amazing stuff!"
I guess I like the whole process…almost. I like the rough draft, and I like the polishing once the story is all there. And there are moments, nice breakthroughs when working on the story in-between that feel good. But that middle part, that valley of darkness, though – who likes that? That period you feel like you are gonna go insane, because nothing's working, and all the doubts are crowding you. I would never really make a comparison to pregnancy…but okay I'm going to make a comparison to pregnancy. I think the whole thing is like a pregnancy, and there's that moment where you're between a rock and a hard place. You don't want to go on but you can't stop. That's not the most enjoyable part.
TA: I know that meme! I remember seeing it and thinking, "Huh, that's really accurate." The story is intoxicating and full of promise when you start to write it, and it's satisfying to finally have a workable, finished MS to send the publisher, but the months in between? Dark, dark times, full of self-doubt and f***ing plot holes.
TJB: Hahaha – dark times and f***ing plot holes. Well said. There's always that terror of showing up to school naked.
I wish it was always intoxicating. I think maybe there's a tendency after doing this a while to look ahead, try and preempt those plot holes, and that can lead to second-guessing. And as you've said before, that crappy rough draft is totally necessary. Maybe it kind of has to be free to be a bit crappy.
Do you keep a notebook beside your bed / in the car / in your back pocket to snag ideas as you're working through a story, or some other form of note-taking, or do you keep it in your head? Reasons for one or the other?
TA: Yes, I definitely have to jot down my thoughts as I go, on scratch paper, notepads, or even Word docs. I have dozens of Gmail "saved drafts" of ideas that have occurred to me while at work. I like to write these down because (A) I'll forget them if I don't, and (B) it can be refreshing to review old notes for inspiration. Sometimes the pieces click together in unexpected ways.
Next question: What attracts you to crime/mystery/horror fiction? Any other genres you'd like to someday try writing on a lark?
TJB: I think even when I was writing some of my earliest stuff which ranged from horror to experimental and sci-fi, there was a detective / crime element. I had this one storyline that was maybe going to be a serial, and there was this guy in the future who was a cowboy slash detective and his sidekick was a cyborg. I was fifteen or so, I guess. That's maybe when all that good shit was getting into my brain, books like The Gunslinger and movies like Robocop.
So I guess what attracts me, still, is what got in there when I was younger. I think there's some good utility to the detective / crime story, too. You're investigating as a writer, the detective is investigating a crime, so there's a nice parallel there.
I'd like to try literary fiction. Have a story that just goes where it does, that's about people, life. But I've also got some more sci-fi ideas. Though I don't really think of them as sci-fi, but just "likely future."
You've been writing something in the horror genre, is that correct? You mentioned something in our last discussion I thought was very cool, how you have to establish normalcy first and then let the wrecking ball whistle through. Could you elaborate on that?
TA: Definitely! Although Our Last Night turned out to be less horror-ish than I'd originally envisioned. It's still got the expected paranormal elements, and a few nastier scenes push for "scary," but overall, it's more of a supernatural thriller/romance.
But returning to your question – I think horror takes a lot of narrative time to grow. There needs to be a sense of normalcy – of what everyday life is in this universe – for the Very Bad Things to contrast with. The audience has to spend some time on the Nostromo before Ridley Scott's Alien starts stomping around and eating faces. At least that's how I'd define "horror" – a slow burn; a gradually escalating sense of dread, punctuated by occasional bursts of terror. You have to delay the payoff, which runs a bit contrary to my instincts as an action/thriller writer.
And that's the thing – as I wrote and rewrote Our Last Night, I realized that it wasn't really fitting my (admittedly arbitrary) definition of "horror." Despite all the ghosts and gore, it's really just a fractured little love story about two people learning to cope with death. If readers find it to be scary – well, that's a nice bonus. So one of the big lessons I learned here is how much you really discover the story as you write it. Hell, I didn't even have the right genre.
Next question: Do you start out with an idea of how each story will end? Do you let it surprise you? Do you experiment with alternate endings?
TJB: That's great. I love all that. First, Alien – totally agree with you. What's interesting there is that the movie was rejected at first, Scott really had to struggle to get it made. People looked at the script and said, "Uhm, nothing happens for 45 minutes." But it's so good. You have to be willing to grant your audience that intelligence. Now, I say that, but you know as well as I do that when you get the feedback on your books, and you read things like "Had me hooked from the beginning!" – that means something, too.
And I just wanted to speak to your new novel, you know, I've even heard Stephen King say he "flounders" at the beginning of a story. Not that you're floundering, I don't mean that. I just think it's great to acknowledge that at first, you're telling yourself the story. And it's not always what you think it's going to be, and we need to allow for that, as well as the possibility of floundering at the beginning – which I'm doing, right now, getting a new one off the ground. So maybe I'm just projecting on you. Yes, probably.
So I guess that rolls into your question? Do I start with an idea of how each story will end? Yes and no. When I wrote Habit I knew the climax. I opened the book with it, then jumped back in time, and took the reader from two weeks before up to that moment. But I didn't know how the detective was going to make it all work, and I didn't know the real story behind it all, machinating it all. That was discovered.
If by "experiment" with alternate endings you mean: write an ending, realize it totally sucks, and chuck it, then yes. I do that a lot. I keep massaging through the story, and that bears out different outcomes, and then I know. Well, I don't know until the very language rings true – or as close to truth as possible.
Now I'm going to hop tracks: I'm curious about how other writers deal with their book being out there, and anticipation of sales, and ranking, and ratings – how often do you check Amazon stats? How much time do you say you spend thinking about selling the book, and how has that, if at all, affected the way you approach new writing – meaning, if you got a taste of success with Eyeshot, what are your expectations for your next novel?
TA: I tell myself not to check Amazon and Goodreads – but then I do. It's cool to see the numbers rise and fall, and the hundreds of reviews cover the spectrum from "best book ever" to "worst book ever." But I've also caught myself becoming addicted to it, which can be distracting. The feedback is valuable, but it's not my job to second-guess myself – it's my job to write.
And it's strange how success changes your personal metrics. A year or two ago, my sole aim was to get published. I gave zero thought to what I would do afterward. Now I'm published with a successful small press, still enjoying strong sales, and it's kind of a "now what?" moment. I literally did not have a plan for this. But I'll just keep writing, and hopefully I can continue to please readers (and my bank account). Working on Our Last Night was a little nerve-wracking for that reason. It's a very different story from Eyeshot – riskier, weirder, more ambiguous – so I hope I don't disappoint readers expecting another clear-cut action/thriller.
Next question: Over your books, do you find yourself repeating themes and ideas? Have you noticed returning favorite phrases or stylistic choices? I ask because apparently, it's physically impossible for me to write a book that doesn't somehow reference dinosaurs.
TJB: Hahaha. Oh definitely. There are definitely recurring themes and ideas. I mean, addiction is probably a big one. But there are more…I guess I don't want to talk about them as they probably bring enough attention to themselves as it is (assuming there are unique readers who have read more than one of my books).
I totally hear you about telling yourself not to check stats and then checking them anyway. It's a mental battle. So much of this is like golf – not that I play – but that you really are playing against yourself. Familiar ground for an addict, for sure. But challenging for anybody. Seeing those five star reviews definitely rings some neural bells, and begs for a repeat experience.
I think, maybe, sometimes, you have to just step away. That's a battle, too, if you're determined to making writing a primary livelihood. I've done it – and this is the scariest part – I know there's no guarantee it will last. And it's a lot of pressure to put on something so sensitive, so stubborn, as the muse is, as writing is.
I had a question set aside for you, and it may be apropos, or maybe we each already answered it. I'll leave it to you: Do you think your personality is suited to the life of a writer? Why or why not?
TA: I'm not sure I really have a choice, as I've been writing ever since I could hold a crayon. But I think my personality is fairly well-suited to the bizarre life of a writer. I like to spend time alone, I don't really like to travel any further than I can drive, and I'm an obsessive perfectionist. I'm fascinated by good storytelling (in any format, from web articles to video games) and love to pick it apart and see what makes it work.
I've also got a short attention span, which I used to fear would hold me back as an author. Now that I'm published, I think it's both a strength and a weakness. Both Eyeshot and Our Last Night are relatively short works, with brisk prose, small casts, and stories contained within a few hours. Part of it is my own narrative style (I believe simplicity is power), but throughout the process I'm quick to discard details or entire backstories if I believe there's the slightest chance that someone, somewhere will yawn. So far, this impulse has served me well, but I'm sure all of that thrown-out bathwater has contained at least a few babies.
The life of a writer – itself – is kind of strange to me, though, and maybe that's because of my personality. As I'm a fairly private person, it's still a little surreal to see my name and photo floating around in the public domain. But the upside? Being contacted by enthusiastic fans is rewarding, and reminds me how lucky I am. Comfort zones can smother us, so I'm glad to be a little outside of mine.
Moving forward – this is such a good question, in fact, that I'd like to throw it back to you. How does your personality compliment or conflict with your life as a writer?
TJB: Man, babies flying out windows in sprays of bathwater, darlings being killed left and right, backstories hacked to smithereens – writing is a cruel and brutal business, I don't know if people realize.
Yeah, it's a big question.
I always wrote, but I did quite a few other things, too. Not to get into the boring backstory stuff, so we'll just say I've been a factotum. And then when the writing thing started to pan out, I thought, "all that other shit I was doing, it was just because I was a writer, and I was having experiences," and yadda yadda.
I often get lost in a complex idea, throwing everything at the stories, with timeframes often spanning weeks or more, sometimes years, multiple POVs, and I can never seem to not aim for the biggest plot possible. When I was younger I was working on screenplays and my buddy said to me: "Dude, your stories don't always have to be about everything." I think I even wrote "God" as a character in a script once. It makes me laugh now, but part of my brain is still like, "Well, duh, yeah, of course." Like, what's the point otherwise? But I TOTALLY see the wisdom in the stories that are stripped down – you said simplicity is power, which I think is smart. And I've learned that you just have to whisper, you don't have to shout. But I still play with pretty big ideas, and I think I always will. I just carve and carve and carve.
Like you, I do like my solitude – or, I should say, I don't mind it when I get it – and I'm not a big traveler, I don't do much frivolity. I do think it's pretty univocal that writers have to be content being alone, that you have to sequester yourself somewhat.
I think the difference in personality shows up not just in the content, but are revealed in how the work is approached. They say, "Writing is rewriting," or, maybe even "Rewriting is writing." I know there are writers who can easily tally their discrete drafts. I'm sort of in this camp. But there are others who really are revising as they go along. I read about one writer – and I can't recall her name right now – who says she really has no idea how many "drafts" she writes, because she's really just revising the whole time, and it's one big fluid thing.
And just to add one last thing about recurring themes or motifs, about personality: The works of Richard Price are permeated with social issues. And the story I heard about Price is that, at one point, he was challenged – either by someone else or maybe by himself – to stray from the sort of stuff he was doing, crimes that evoked larger social justice issues – and just write something stripped down, real "genre," and see if he could pull it off. He even adopted a pseudonym – Harry Brant. He told his editor or his agent it was only going to take him four to six months to bang it out, and then he wrote this thing… and it took four years – par for him – and ended up being another book where he found he just wrote like he always wrote, the only way he could, imbued with this greater socioeconomic sensibility. So, I guess we're sort of pathological this way. I think personality informs the work, but there is no personality that's better than another. You might be predisposed to brevity, and find your writing takes similar shape. Or you may be loquacious, and/or you may be attracted to larger social issues (another Richard, Richard Wright, said "all literature is protest"), and that is how you work. I think the universal thing, is that it is, after all "story." And I believe people find, the older we get, the less we can say is true, and the more we realize there are just stories. Still, that hunt for truth is human. I think all writers, to some extent or another, have it, and it shows in their work.
TA: Yes! That's a really interesting point, and ties nicely with our discussion. I think we're all at the mercy of our own unique voices, and trying to change ourselves, like your example with Richard Price, can be futile (or worse, result in crap).
Genre aside, I think we follow our favorite artists because something about their voice – Stephen King's mastery of the bizarre, for example – makes their writing fascinating, whatever the plot or characters may be. Often I pick a book based on who wrote it, not what the blurb says. And after all, as authors, we should write the kind of material that we'd personally enjoy reading, or the whole creation process feels… well, kind of dishonest. Readers recognize passion when they see it, and like I said earlier, it's not our job to second-guess ourselves. I know that if I tried to write a sweet, cheerful romantic-comedy, it would still have at least one dead pet. Why fight it? It's what makes us who we are.
Unique voices make us who we are, I mean. Not dead pets.
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12 Things I Learned Writing NO EXIT →
"What a box of tricks! This full-throttle thriller, dark and driving, rivals Agatha Christie for sheer ingenuity and James Patterson for flat-out speed. Swift, sharp, and relentless."
-A. J. Finn, #1 New York Times bestselling author of The Woman in the Window on No Exit
"No Exit is everything I want in a thriller: ingeniously crafted, unapologetically relentless, and shamelessly suspenseful. The twists go off like a series of expertly planted detonations and the tension never lets up. I was blown away. No Exit is a damn good time."
-Joe Hill, #1 New York Times bestselling author of The Fireman
"No Exit opens with an ingenious, chilling setup and then delivers a wicked ride of psychological tension. Taylor Adams is a master of suspense. I'm already impatient to see what he does next."
-Michael Koryta, New York Times bestselling author of How It Happened
© Taylor Adams, 2014. All rights reserved.
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Coming April 2023!
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T-Shirt with Rugby story worth readin [rated G] on front and on the back side of the shirt.
10. Aren't we going to shower before the party?
9. I'm supposed to grab you where?
8. We have to change our clothes right here in front of everybody?
7. Are they allowed to step on my face?
6. What does it mean if their whole team doesn't shave?
5. How comes the coach never runs with us?
4. Where is the "boot" and how do I shoot it?
3. How do I call for a sub?
2. Is my neck going to feel like this after every game?
1. Did everyone "used to live in Chicago"?


Sweet 'n' Spicy Lemon Pickle or lemon preserves are perhaps one of the most popular condiments in Indian cuisine. It's popularly known as 'Nimbu ka Achaar' in the north.
Typically, lemon pickle is made in summer by brining lemons in their own juice, salt and a blend of spices, and sugar in some variations. The pickle is then matured in sunlight and this process takes a few weeks. This is my version, except this one got ready in 30 minutes!
There are endless variations of this pickle. This is my father-in-law's super-hit family recipe, that he inherited from his grandmother!
It goes great with lentils, curries, biryani, rice pilaf, stuffed flatbreads, naan.
Recently, I served it on my cheese platter, along with crackers and creamy brie and it was such a big hit. So many of my friends asked me for this recipe. It is now a staple on my cheese board!
This pickle tastes even more delicious as it ages. I make it and refrigerate it for a couple of weeks before taking it out.
It stays good in the refrigerator for a few months at least!
, but it can be made in a stove-top pressure cooker too by following the same directions.
If you have Panch Poran spice blend, you can use 1 tablespoon of that instead of the three individual roasting spices.
If you like your pickle more spicy and/or sweet, you can always add more during the sauté process.
Recently, I picked up a bag of gorgeous Meyer Lemons from Trader Joe's.
I decided to try this recipe using those instead. But, I made one change though. Since I was out of Panch phoran, so I used a combination of mustard seeds, fennel seeds and fenugreek seeds instead.
Since the peel was thinner and there was more juice and fibers in the lemon, the pickle is more like a chunky preserve, as you can see from the picture.
This pickle with Meyer Lemons was a bigger hit in my house.
My kids just loved it. They smeared it all over their Parantha (stuffed flat-bread) and enjoyed it! Definitely a keeper for us!
Sweet 'n' Spicy Lemon Pickle or lemon preserves are perhaps one of the most popular condiments in Indian cuisine. It's popularly known as 'Nimbu ka Achaar' in the north. I simplified the recipe to bring it down to a 30-minute recipe that you can make easily at home and customize to your liking.
Wash and dry 6 lemons. Turn on the Instant Pot. Pour 1 cup water in the inner pot and place a trivet. Place lemons in a bowl and place on top of the trivet. Close the lid. Set the vent to Sealing position. Hit Manual (High Pressure) for 15 minutes.
In the meantime, roast the spice blend for grinding. Place spices listed under the "Roasting spices list" on a microwave safe plate and heat in microwave for 3 minutes in 30 second increments, stirring in between. Cool for 5 minutes and grind to a fine powder in a spice blender.
Wait for natural pressure release from the Instant Pot. Open lid and remove the lemons. Cut in halves and remove seeds. Turn on the Instant Pot on sauté mode and let it heat up, about 30 seconds. Add oil and mustard seeds. When mustard seeds begin to splutter, add lemons, salt, sugar and all spices. Stir well.
Continue to sauté for 4-5 minutes till the liquid reaches a jam like consistency. Turn off the Instant Pot. For best results, let the pickle rest in the refrigerator for 4-5 days before eating.
Just tried to make some and it didn't turn out well. The 15mins on high seem too long, so I did 10 mins and even then my meyer lemons are more mushier than I like. Somehow the sauce is also bitter. Tried to improvise my adding more brown sugar. Next time probably I will skip the instapot and just stir fry sliced lemons in the spices, sauce etc.
Hi Bobby, Sorry to hear that it didn't turn out well for you. I make this pickle on a regular basis and the only time I had a slight bitterness to the sauce, was when I left the seeds in before sautéing – was that the case with you by any chance? Another reason for bitterness could be that the peel wasn't cooked enough. Most citrus will turn to mush if you pressure cook it, but that is what gives this pickle a jam-like consistency. Would love to hear how your experience is with the stir-fry method.
Turned out my lemons were off or something. Took some juice from left over lemon and it had bitter taste. After 3-4 days in the fridge, the skin that I had thought was too mushy seems perfect. Wife is loving it.i am going to try again with fresh batch of Meyer lemons.


In 1993, Bill Smitrovich received the Michael Landon Humanitarian Award for his work with the Down Syndrome Congress, and then in 1996 he served on the executive board of the International Special Olympics Committee in his home state of Connecticut.
Bill Smitrovich began his professional career at the age of thirty-three, as a stage actor with Arthur Miller in the World Premiere of "American Clock" directed by Dan Sullivan, which went from The Spoleto Festival to Broadway.
Filmmakers became more and more aware of Bill Smitrovich's ability to create characters that are so real they appear seamless, and as directors are still discovering this fine actor's talent, the best is yet to come. His journey as an actor has included working with such distinguished and varied directors as Stephen Frears, Wolfgang Peterson, Michael Mann, Rob Reiner, Bruce Beresford, and Roland Emmerich among others.
Smitrovich starred opposite Kevin Costner as General Maxwell Taylor, the Chairman of the Joint Chiefs of Staff, in the Beacon/New Line release of "Thirteen Days". The film directed by Roger Donaldson, chronicles the story of the 1962 Cuban Missile Crisis.
Bill also received strong praise for his role as Byron De La Beckwiths public defender in the Rob Reiner directed, civil rights drama "Ghosts Of Mississippi" opposite James Woods and Alec Baldwin.
In writer David Koepp's directorial debut "The Trigger Effect", one of Bill's favorite film roles to date, he co-starred with Elizabeth Shue and Dermot Mulroney. Bill played Steph, a self-righteous neighbor living in a bizarre time-warp.
Smitrovich was also seen in the summer blockbusters "Air Force One" opposite Glenn Close and "Independence Day" opposite Will Smith. His comedic abilities became evident in his collaborations with Ron Howard in "Splash", Bruce Beresford in "Her Alibi", and Tony Bill in "Crazy People" opposite Dudley Moore and Darryl Hannah.
The spring of 2001, saw Bill starring opposite John Cleese in "HMO", a 1/2 hour, single-camera television pilot for Touchstone and ABC. He starred as a wisecracking surgeon, navigating the bureaucratic world of health management organizations alongside a cast of inept hospital workers.
His versatility was apparent in his early film roles and garnered the attention of television producers, most notably Michael Mann. His long time association with Mann began with his role as 'Sonny Crocket's corrupt partner' in the pilot "Miami Vice" and as a series regular on Mann's police drama "Crime Story" as Sgt. Danny Krychek. His relationship with Mann continued in the stylish thriller "Manhunter". In other television roles, Bill is well-known for his portrayal of the sympathetic and admirable dad, Drew Thacher on the Emmy Award winning ABC series "Life Goes On". He also starred in the critically acclaimed Fox series "Millennium" as Lt. Bletcher.
Bill was seen on the CBS 'live' television presentation of "Failsafe", opposite an all-star cast including George Clooney, Richard Dreyfuss, Harvey Keitel, Don Cheadle, Brian Dennehy, and James Cromwell. It was produced by George Clooney and directed by Stephen Frears.
Earlier this season, Smitrovich was asked by David E. Kelley to join the ensemble cast of his successful ABC series, "The Practice" as a recurring character, the hard-laced District Attorney WaIsh. Last year, he starred as Inspector Cramer in the A&E television movie "The Golden Spiders; A Nero Wolfe Mystery" directed by Bill Duke. The movie was so well received, A&E began airing a series of one-hour Nero Wolfe mysteries with Maury Chakin as Nero Wolfe, Timothy Hutton as Archie, and Bill as Cramer. In September, they begin production of the second season of the critically heralded series. He also starred in the highly successful NBC mini-series "The 60's" as Bill Herlihy, the conflicted father of an Irish Catholic family.
His early theatrical work includes starring roles in Gary Leon-Hill's "Food From Trash" as Sudden Pisanger at the Actors' Theatre of Louisville's Humana Festival, "Requiem For A Heavweight" at the Long Warf Theatre, directed by Arvin Brown and Terrence McNally's "Frankie & Johnny" at The West Side Arts Theatre.
Always making time to return to his roots, last summer he returned to the theatre and created the role of Captain James Anderson in A.R. Gurney's original play "Far East". The play premiered at the Williamstown Theatre Festival. It was then brought to Lincoln Center where Bill and the production enjoyed critical acclaim and an extended run. It then aired as the inaugural play on the premiere of the PBS series "Stage To Screen".
Recently, he was back yet again, this time starring in the Williamstown production of "The Winter's Tale". While receiving his Masters degree at Smith College and teaching theatre arts at U. Mass-Amherst, Bill was a founding member of the renowned "No Theatre Company", now in association with the "Wooster Group" whose members include Willem Dafoe and Spalding Gray.
Bill was born in Bridgeport, Connecticut, where in I992 he received an honorary Doctorate from his alma-mater, The University of Bridgeport. He is an avid golfer who originated and has hosted the annual "Life Goes On Celebmty Golf Classic" for the Down Syndrome Association of Los Angeles. In I993 he received the "Michael Landon Humanitarian Award" for his work with the Down Syndrome Congress, then in 1996 he served on the executive board of the "International Special Olympics" committee in his home state of Connecticut. Bill currently lives in Los Angeles with Shaw Purnell, his wife of fifteen years and his two children, A.J. and Maya.
Acting generally requires a relaxed concentration. Preparation informs and relaxes and allows us to play with the words. It also uncovers the truth.
There is a reason a play is called a 'play'. Find the purpose of your role in the play (or screenplay). Look for the music in the words.
There is a reason we break down a script into 'beats', here is a reason a scene has a 'tempo' and there is a 'rhythm' to everything. Why do you think they call them 'notes'.
Being an actor requires great courage. Courage to risk. Courage to just 'be' and the wisdom to know the difference. Look for the heart, mind, body and soul of your character. Be selfless in the pursuit of honest truth.
Preparation Reduces Anxiety. Know Your Lines!
8060 Melrose Ave. 4th fl.
Also see: Bill Smitrovich teaches "The Inner Game of Acting"


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THE HISTORY OF BECK - A SELECTION OF HIS NON-DGC WORK
01. Woodie Guthrie Song
02. Loser
03. Mexico
04. Death Is Coming To Get Me
05. Whimsical Actress
06. Pay No Mind (Snoozer)
07. MTV
01. Totally Confused (with that dog.)
02. Lampshade
03. Steve Threw Up
04. Pink Noise
05. Rowboat
06. Spirit Moves
07. Plain Wrap
08. One Foot In The Grave
Promotional cassette sent to reviewers, magazines, record stores and radio to showcase Beck's earlier non-major label work featuring tracks from Beck's July 7th 1993 performance on KCRW, "A Western Harvest Field By Moonlight", "Steve Threw Up", and "Stereopathetic Soulmanure" (referred to by it's original title "Telepathic Astromanure"). "MTV Makes Me Want to Smoke Crack" is listed as "MTV" (probably due to the drug reference), "The Spirit Moves Me" is listed as "Spirit Moves" and "Crystal Clear (Beer)" is listed as "Plain Wrap".
LABEL: DGC
FORMAT: CS (Promo)
04. Death Is Coming To Get You
06. Pay No Mind
07. MTV Makes We Want To Smoke Crack

redpajama_set_name: RedPajamaCommonCrawl


Our unique approach allows kids to use art concepts and techniques as a way to interact with and learn about the world. We put the emphasis on art as a problem-solving tool, as a career path, as a way to learn about different places and cultures, and more.
Kids learn many different techniques like sculpting, illustration, painting, and textile artistry.
Kids take-home Crayola art supplies so they can build on their in-class projects at home.
Projects are based on your child's interpretation of each week's theme.
Kids make a different in-class project every week!
Perfect for kids ages 5-12.
6-8 1-hour classes spread over 6-8 weeks.


WASHINGTON DC, April 26, 2018- IHC Global and the Wilson Center were incredibly honored to host a meet and greet with the new UN-Habitat Executive Director, Ms. Maimunah Mohd Sharif. The event drew urban experts from government, civil society organizations and universities alike. After an opening speech in which she laid out her plans for UN-Habitat and emphasized the importance of listening to her stakeholders' ideas, Ms. Sharif practiced what she preached, engaging in one-on-one conversations with attendees and answering their hard-hitting questions about urban issues. For a full recap of the event, visit our blog.


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Fatigue, circadian rhythm, and traffic accidents (1977)
by W Harris
...CIDENTS Overseas studies have shown that most accidents which result from drivers falling asleep at the wheel occur between the hours of midnight and six a.m. (Hamelin, 1980, cited in McDonald, 1981; =-=Harris, 1977-=-; Lisper, Eriksson, Fagerstrom and Lindholm, 1979; Prokop and Prokop, 1955, cited in Langlois, Smolensky, Hsi and Weir, 1985). Analysis of the temporal pattern of truck accidents compared with traffic...
by unknown authors , 2001
"... Objectives: To provide a consensus report from an expert group on options for the medium term development of regulatory approaches to the management of fatigue in drivers of heavy vehicles. Abstract: This report was commissioned jointly by the National Road Transport Commission of Australia, the Aus ..."
Objectives: To provide a consensus report from an expert group on options for the medium term development of regulatory approaches to the management of fatigue in drivers of heavy vehicles. Abstract: This report was commissioned jointly by the National Road Transport Commission of Australia, the Australian Transport Safety Bureau and the New Zealand Land Transport Safety Authority. The fatigue expert group comprised leading Australian and New Zealand experts in sleep, shiftwork and road safety who collaborated with the participating agencies and industry representatives to construct a set of evidence-based design principles for future fatigue regulatory options. The group considered that the management of driver fatigue is not a matter for operators and
...5; Lavie, 1986; Gillberg, Kecklund and Akerstedt, 1996; Folkard, 1997;sWylie et al., 1996).sThe times at which the level of alertness is at its lowest is considered to be betweensmidnight and 6 a.m. (=-=Harris, 1977-=-; Lisper, Eriksson, Fagerstrom and Lindholm, 1979;sProkop and Prokop, 1955) and this is when the drive for sleep is greatest (Dijk, D.J.sand Czeisler, C.A., 1995; Knauth, P. and Costa, G. in Colquhoun...


text:
AN EXCLUSIVE INTERVIEW with THE HOLLOWS
Crowded around a small coffee shop table with 5 of the 6 members of Brooklyn-based rockicana band The Hollows, I noticed that this was indeed a group of individuals as different as the beverages they had ordered at the counter.
Comprised mostly of college friends with backgrounds in theater, The Hollows formed in 2009; making their motto "Together, together", and taking their cues from the organizational styles embraced by the theater world and by iconic outfits like Levon Helms' The Band, The Hollows operate like a company—with four of the six members writing the songs and sharing lead vocals, switching up instrument duties, and each using all of their skills to make the band stronger, whether those skills are music-related or not. For example, when their brand new tour van required special cargo holds and compartments to suit their needs, bassist Jeffrey Kurtze put his talents to work to accomplish the build-out. "I'm a carpenter; one of my earliest memories is hammering two boards together with a nail," he says.
The Hollows released a new full length album, Between the Water and the Wonder Wheel, on June 3rd, and have embarked on their first national tour taking their brand of roots music, to which they laughingly refer as "junkyard rock", to the rest of the country. With influences that range from Neil Young to Enya (yes, Enya), and four lead singers, the listener enjoys a nice variety, and you're as likely to hear fuzzy guitar as you are to hear banjo. "We came up right when the pop Americana scene got bigger, because of bands like Dawes and Mumford & Sons. For the first two years—not to speak ill of Mumford & Sons—but I wanted to punch somebody every time I heard 'You have a banjo in your band? You must be like Mumford & Sons', says keys player David Paarlberg with a laugh. "I think we've carved out our own space, it's got grit to it. I don't feel like anyone is doing what we're doing. It's roots rock on the surface that does a lot of genre-hopping at its core." "There was never really a discussion about how we were going to sound," says banjo player Daniel Kwiatkowski. "We each play different and overlapping instruments, and we're still excited about what we're singing about after all these years. Our goal is to tell good stories that inspire other people." Making the new record was a painstaking process, but one well worth the effort and extra elbow grease. "This album has a wide appeal—from Brooklyn hipsters to hardcore country fans in the middle of the States," says drummer Justin Aaronson. "It's very American, from the heartland…of New York City."
The members wholeheartedly agree that New York is the perfect incubator for what they're doing; "Being in New York provides a lot of stimuli, its energy is inspiring. It makes me dream about places that aren't New York," laughs guitarist Erik Saxvik. "Even the thought of leaving New York would be devastating," adds Kwiatkowski. "We have so much support there."
They also agree that the best part of it all is traveling and performing for different audiences, and connecting with so many new people. "I get a little crazy on stage; I run into everyone. Last time I jumped around, I stepped on my glasses," laughs Kwiatkowski, as he holds up his mangled glasses with temples falling askew. Somehow, they still attach nicely to his friendly face. "I hope our music reaches people, and touches them in some way, even if it's only one part of one lyric in one song. That's the whole goal, to share your soul with the audience; we want it to make you feel something, whether we're playing it in front of you or if we coming through your car speakers or your earbuds," says Paarlberg.
"We really enjoy being around and meeting people. We give good hugs! Moms and dads love us," he adds. "And grandmas too."
Purchase Between the Water and the Wonder Wheel: https://itunes.apple.com/us/album/between-water-wonder-wheel/id1111958960
6/29: The Mint LA (Los Angeles, CA)
7/01: Neck of the Woods (San Francisco, CA)
7/03: The Big Easy (Petaluma, CA)
7/05: Jub Jub's Thirst Parlor (Reno, NV)
7/07: Crazy Mountain Brewing Company (Edwards, CO)
7/08: Swing Station (Laporte, CO)
7/09: Crazy Mountain Tap Room + BBQ (Denver, CO)
7/11: Shark Club (Omaha, NE)
7/12: Bigs SportsBar (Sioux Falls, SD)
7/15: Mickey Finn's Brewery (Libertyville, IL)
7/17: John Michael Kohler Arts Center (Kohler, WI)
7/18: Cheboygan Opera House (Cheboygan, MI)
7/20: Wilbert's Food & Music (Cleveland, OH)
7/21: The Purple Fiddle (Thomas, WV)
Interviews, New Music
Americana, Between the Water and the Wonder Wheel, Brooklyn, exclusive interview, roots music, The Hollows
AN EXCLUSIVE INTERVIEW with NICK D' & THE BELIEVERS
"GIVE ME SOMETHING TO LOVE" – NEW MUSIC from KID RUNNER


Back to back spots in my Top 32 go to Clemson defensive linemen. This also means three out of the top 15 spots in my Top 32 come from the same line. I'll be honest, it was hard for me to pick between Dexter Lawrence and Christian Wilkins because they're very similar players. Ultimately, Lawrence's size and quick feet are what put him ahead of Wilkins. That's not meant to be a knock on Wilkins' game as he is a great player in his own right.
Christian Wilkins is a physical player, whose upper body strength is impressive and is hard to move. His physicality and strength allow him to get extension on offensive linemen and consistently play in the other team's backfield. At times, it looks like he is virtually unstoppable against the run and the only way to beat him is to hope Clemson called a stunt that puts Wilkins out of position. In pass rush, Wilkins is physical at the point of attack and shows the ability to get skinny and slip by offensive linemen.
However, he doesn't have the speed to consistently close and finish the play with a sack. Wilkins also struggles with his stunts. When running stunts, his first two steps are too lateral and at times backwards. He needs to gain ground on his first two steps in order to be more effective. I see him as more of a run stopper in the NFL, but a damn good one.
Similar to Lawrence, I don't think Wilkins is much of a fit with the Raiders. The Raiders need pass rushers more than they need run stoppers and Wilkins does not fit that mold. Best-case scenario for the Raiders is that Wilkins is not drafted within the division because he can alter an offense's game plan, especially against the run.
Again it was hard for me to decide between Lawrence and Wilkins because they are so similar, so it should come as no surprise that the two teams I think are most likely to draft Lawrence are the same for Wilkins. If the Dolphins want a defensive tackle, they could have their choice of Lawrence or Wilkins and the Falcons could snag the one that's left over. Kenny Clark is entering a contract year and the Packers could be looking for his replacement a year early.


text:
74 mile south to north traverse of the Lake District
The Cumbria Way starts in Ulverston, at the southern edge of the Lake District, and follows a generally northward route through some of the best scenery of the area to the ancient city of Carlisle, a distance of some 74 miles.
Itin A: 6D / 7N £585 pp *
Day 1: Ulverston to Coniston (15m)
Day 2: Coniston to Langdale (11m)
Day 3: Langdale to Rosthwaite (9m)
Day 4: Rosthwaite to Keswick (8m)
Day 5: Keswick to Caldbeck (14m)
Day 6: Caldbeck to Carlisle (14m)
£585 per person (based on two sharing)
Itin B: 5D / 6N £495 pp *
Day 3: Langdale to Keswick (17m)
Itin C: 7D / 8N £650 pp *
Day 1: Ulverston to Torver (12.8m)
Day 2: Torver to Skelwith Bridge (11.4m)
Day 3: Skelwith Bridge to Stonethwaite (11.8m)
Day 4: Stonethwaite to Keswick (9m)
Day 5: Keswick to Bassenthwaite (9.8m)
Day 4: Bassenthwaite to Caldbeck (9.7m)
£9.00 per person per day (minimum of two persons)
The Lake District has always been one of the finest tourist destinations in the country, popular with travellers from the 18th Century onwards, and it remains a firm favourite today, with many visitors from both Britain and overseas. There are many special features within this small area, which include spectacular mountain scenery, quiet lakes, pretty villages, and friendly, bustling market towns containing ancient castles, monuments, and fine old houses, and most of the route is within the renowned Lake District National Park.
OL4 - English Lakes - North-western area
OL5 - English Lakes - North-eastern area
OL6 - English Lakes - South-western area
OL7 - English Lakes - South-eastern area
315 - Carlisle
"The Cumbria Way" by John Gillham - Published by Cicerone- ISBN: 978-1852847609
The Dales Way follows attractive paths through the Dales and Lakes for 78 miles, from Ilkley to Bowness on Windermere
St. Oswald's Way
This 97 mile walk recalls the life of King, and later Saint, Oswald and simultaneously links Hadrian's Wall to St. Cuthbert's Way
Grassington to the West Coast
The Grassington to West Coast walk runs for 95 miles from the Dales village of Grassington to Piel Island in the Lake District
10 Replies to "Cumbria Way"
Ruth Swire says:
Ruth Swire and Christina Dandy;
Brilliant service by you all at Brigantes.
The bags were collected and delivered as expected…lovely to see them at each destination…We would definitely use you again and Thankyou to Annette for replying and helping us with any queries along the way.
I will be recommending you to any fellow travellers who want a fab service..
Thanks again!!!! 10/10..x
Denise clarke says:
Thank you so much to your wonderful and professional company, our bags were delivered safely to every accommodation along the Cumbrian way, we will definitely be using you again on our next long distance walk and will certainly recommend your services to friends and family
Denise Clarke
Janice Darch says:
Dear Annette,
We really enjoyed walking The Cumbria Way. Everything was organised by you very efficiently and we had a fantastic time. All of the accommodation worked out very well and was of a good standard, all baggage transfers were seamless and the taxis transfers were on time and easy.
We are now looking forward to The Pennine Way in July and August.
Janice Darch and Steve Ecclestone
21st May 2018 at 19:27
Thanks Brigantes for a most enjoyable Cumbria Way trip. This is the third long distance walk, organised by you, that I've been on and, as ever, everything worked like clockwork. Looking to do another next year so you'll definately be hearing from me again
Debby Ward says:
5th April 2017 at 13:57
Thank you so much for your excellence service and helping us out when the season hadn't even started I would definitely use you again
Di Oliver says:
Thank you for organising our baggage transfer on the Cumbria Way. Our bags arrived safely each day and you were the only firm that would deliver bags from North to South.
Julia Adams says:
Thank you once again for your seamless service with our bag transfers on the Cumbria Way – it's a lovely route and made all the nicer by not having to carry much weight. Having used the service without a hitch on different routes on several occasions I never have a moments anxiety about whether my bags will have arrived when I get to my destination. The making of the holiday – thanks!
Celeste Hill says:
2nd June 2016 at 10:35
Thanks for such a wonderful service with our bags on the Cumbria Way.
Mike H says:
17th January 2014 at 17:12
You have helped me out a few times, even with an uncharted route. You're definitely on my list of useful outfits.
Ann Ward says:
Just wanted to say thank you. It is the first time we have used your company and we were very impressed. It certainly made a huge difference not carrying a full pack each day. We will certainly use you again, and would also have no hesitation in recommending you.
Leave a Reply to Julia Adams	Cancel reply


It is not always easy for members of the public to identify a therapist who is appropriately trained and experienced. With this in mind, West London Counselling and Psychotherapy Service (WLCPS) offers a consultation and referral service for individuals seeking private counselling or psychotherapy in West London. Founded in 1995, the service is known and respected within the local professional community.
The service is conveniently situated for Acton, Brentford, Chiswick, Ealing, Hammersmith, Hanwell, Holland Park and Shepherds Bush. It is an easy journey from Kew, Kensal Rise, Mortlake, Paddington, North Kensington, Nottinghill Gate, Queen's Park, Richmond, Willesden and most other areas in West London.
Who can be helped by Counselling and Psychotherapy?
Counselling or psychotherapy may be helpful for those who suspect that difficulties affecting the quality of their lives are emotional or psychological in origin.
Therapy can contribute significantly to a person's mental and physical health, to their sense of well-being and to their ability to manage their lives more effectively. If you are undecided about counselling/psychotherapy and are wondering whether to explore it further you might like to read Why see a therapist?


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Except, alas, that one does not really enjoy The Banjaran Princess. In spite of the undoubted sincerity and spirit with which Saladin has approached her writing, it becomes rapidly clear that the author has written the book primarily for her own amusement as opposed to the need to satisfy any particular audience whatsoever. In essence, there is nothing wrong with this, especially given that the work is self-published; however, not even the most self-absorbed of writers can argue that one's readers do matter.
A choppy plot, layers of hyperbole, several grammatical errors and typos and a somewhat immature writing style sadly underscore why a text such as this would have, at best, limited appeal. This is a shame because it is evident that Saladin cares about her characters; her failure lies in the fact that after swimming through close to 400 pages of her book, the reader does not. In fact, with the exception of Ashiana's 15 year old son Tehmur, one would be hard-pressed to find a single mature or balanced character in the book.
The biggest problem, however, is Princess Ashiana herself. Having suffered a traumatic childhood and youth — she was placed in a brothel after a faithless prince made her pregnant — she finds it difficult to trust any man and it would not be far-fetched to label her a rabid man-hater. At the commencement of the novel she is captured by a colonel who is in actuality the prince of the fictional kingdom of Azure. She does her best to make life a living hell for him, primarily because she is still plagued by past demons. However, Colonel Ze'ev Zayed is a macho, but good-hearted man who finds himself falling inexplicably in love with Ashiana, perhaps because he glimpses the vulnerability that lies beneath her indomitable exterior.
Although when Ashiana is captured everyone believes that she is simply the bodyguard of Princess Jasmine of Dalt who is on her way to marry the old king of Daure, her true identity is gradually revealed. This leads to a complex set of political machinations that result in Ze'ev becoming betrothed to Ashiana against her will. Much of the novel centres on how she is tamed, rather like a wild horse, to the point where she becomes a fairly biddable and loving wife. Her mentor, General Babur of the kingdom of Dalt, believes that opening herself to loving and being loved will solve most of Ashiana's problems, and while his sentiments are well-meaning, the manner in which the princess satisfies his ambitions for her comes across as unrealistic at best and ludicrous at worst.
For instance, Ashiana slyly gets pregnant by sleeping once with Ze'ev, so that she can replace a child that was taken away from her several years earlier. This makes one doubt both Ashiana's ethics and her sanity. It is all the more disturbing because among other duties, the princess oversees the running of a number of orphanages and her attitude towards child-rearing is dysfunctional at best. In spite of Saladin's efforts to paint her as a noble or tragic figure, Ashiana generally comes across as emotionally overwrought and mentally unstable.
One wonders often what the sensible — if somewhat chauvinistic — Ze'ev sees in a fiery, rude and rather uncouth woman, beautiful and sensual though she may be. Perhaps the answer is that love is blind and if that is the lesson Saladin is attempting to teach us, then she certainly succeeds. But this success does not make for pleasant or romantic reading and violent scenes, such as one where Ashiana viciously bites Ze'ev's ear or beats up her ex-lover, make one grimace with distaste.
Were Saladin a more experienced novelist, she might have handled the issue of gender-related violence with better skill and finesse. Sadly, she lacks both those traits when it comes to her writing — indeed, this is sometimes reflected in the very language of the novel itself. Sentences such as "she was the pock-marked putrid offspring of a sub-literate mongrel — the mongrel being her mother" make even hardened readers such as myself cringe. Even a moderately sound editor would have been able to circumvent such embarrassing moments and Saladin would do well to keep this in mind when it comes to continuing the Viridian series.
A possible alternative to continuing the series, though, would be for Saladin to apply herself to leaving the realm of fantasy and focusing instead on historical fiction. The quasi-Eastern valley of Viridian with its surrounding kingdoms is hardly able to hold its own alongside other fantastical young adult fiction that is far superior and more popular. However, given the rich history of the East in general and the subcontinent in particular — not to mention the strong undercurrents of romance that permeate it — perhaps Saladin can direct her energies towards a feminist recounting of the adventures of Razia Sultana or the Mughal princess Jahanara Begum.
Moreover, since Saladin relies heavily, almost excessively, on interpersonal conversations, she may benefit from trying to write plays as opposed to novels. It would be uncharitable to discourage self-published authors from writing especially since many people find writing to be both cathartic as well as therapeutic. However, unless one is something of a literary masochist, one is often tempted during one's perusal of The Banjaran Princess to stop reading. And while that may not be noble, it is tragic.
I like the way reviewer has given her open and candid viewpoint about the author highlighting the shortfalls and at the same time giving practicable and appropriate suggestions. It is rare we see such like situation, instead of just undue and undeserving praise,some very good suggestions have been put across. Wish B&A continues with such like policy and includes such effort each week.


text:
Pele On Kaua'i
By by THE GARDEN ISLAND | Friday, January 19, 2007, 12 a.m.
Pele, the Hawaiian volcano goddess, has appeared many times to mortals throughout the Hawaiian Islands from ancient times to the present.
Sightings of Pele even made the front page of The Garden Island back in March and April of 1926.
On March 30, the newspaper reported that Pele had been seen by several Chinese and Hawaiians at Hanalei in the form of a mysterious haole woman.
In a number of instances, the woman asked for articles that only elderly Hawaiians could possibly know of. Then she suddenly disappeared.
It was also reported that a haole lady asked a Chinese man a question he did not understand. When he turned to call for assistance, she vanished and a search found no trace of her.
In April, Pele appeared as an old Hawaiian man to an old-timer named Kahanu at Kilohana, Lihu'e.
The old stranger spoke to Kahanu in Hawaiian, asking if Kahanu was kama'aina to Lihu'e, to which Kahanu replied that he was. When Kahanu asked the old man if he would like to eat, he accepted.
Kahanu stepped into his kitchen to mix poi. When he returned, the stranger was gone. He then searched his house and surrounding property in vain, as did his son and Captain Dick Dias, when they arrived during his search. The old man had simply disappeared.
Convinced the stranger was Pele, Kahanu resented notions that he'd seen an hallucination.
These appearances by Pele were believed to be a portent of unusual or disastrous events, but nothing of the kind was later reported.
Another series of Pele sightings, which went unpublished, occurred on Kaua'i during the mid-1960s, when Pele appeared as an aged Hawaiian woman with long hair walking alongside the road between Anahola and Moloa'a.
Drivers would offer her a ride, and when she exited their vehicles, she would vanish.
Highway worker killed on the job
Student-created mural finished at The Right Slice in Kalaheo