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Phoenix Police Department Issues Body-cams to Officers
All About Arizona News April 17, 2019192 Views3 min Read
The Phoenix Police Department on Monday issued the first batch of body-worn cameras to some of its officers. According to Sgt. Tommy Thomson, the department launched a project that seeks to equip all of its police officers with the body-worn cameras. The campaign is slated to go on for six months.
230 officers in the department's Maryvale precinct were the first to receive the gadgets. By the time the project is complete, all of the department's 1600 police officers will have body-worn cameras. This is a 30-day pilot project aimed at increasing the efficiency of policing and quality of police service in the area.
During the launch of the campaign, Sgt. Thomson said that the project would increase transparency as far as law enforcement is concerned. He added that police supervisors will now view incidences through the point of view of the officer on the ground. This will enable superiors to tell whether or not the officer made the right decisions in dealing with situations.
Monday's launch was a significant improvement if the number of body cameras issued is anything to go by. Back in 2011 when these gadgets were first introduced, the department received only 18.
Back in February, the Phoenix City Council passed a vote that approves the piloting of the project. It paved the way for the grant of more than 2,000 body cameras. The technological company Axo Enterprise Inc will undertake this project. If estimates are anything to go by, it will take 5 years to implement the project fully. The entire project will cost an estimated $16.7 million.
The Phoenix Department's Executive Assistant Chief Michael Kurtenbach remarked that he hopes that past mistakes will be avoided. By watching recorded video footage, officers will assess strengths and learn how to impose practical strategies when dealing with various situations.
For the department to effectively enforce the law, each officer will need to switch his camera on. Chief Kurtenbach says that officers may forget to turn on their body-cams especially when dealing with highly stressful situations. However, he is optimistic that officers will avoid such human errors when they get used to the cameras.
It is standard practice for police departments across the United States to have car dashboard cameras. The body-worn cameras will go wherever the officer goes, including when he pursues suspects on foot. The cameras can record both video footage and sound.
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Mastery Entirely Tailored Expertly Selected References Showroom
A lineage of greatness that has no equal
One does not become a master in an art overnight. It is something that has to be seeped into an individual's blood, heart and consciousness over a considerable period of time. Being brought up in a family who only knew one thing, and that was the art of wood, Vincent Coignet absorbed, learned and over time mastered the science, the techniques and above all the passion to create stunning pieces of work.
This dedication and tireless pursuit of perfection can not be imitated nor manufactured anywhere else.
Jean Coignet starts his journey in France as Parquetry Master working on luxury projects across the world from Japan to the United States and Russia. He fell in love with wood and dedicated his working life to the artistry of hardwood with a well-known specialty in restoration.
Pierre, Jean's brother joins.
Together they develop their company, educate and train their employees to excellence and position their business on the high-end segment.
Vincent, Pierre's son, aged 16 years old, joins the company. Under the leadership of his father Vincent learns and works on many projects with his father. Coached by his father Vincent learns all the techniques regarding wood selection, restoration, fitting and maintenance.
After 10 years of experience, Vincent takes over from his father and expands the business across the world, working for prestigious and luxury brands as well as private projects in France and across the world for French companies.
Based on his success, Vincent moves to London and expands his business from the United Kingdom. Florian, Vincent's brother, takes over the French market and Vincent focuses on the English market.
Vincent opens L'origine, a showroom in London dedicated to wood floor and unique wood furniture for individual's home projects and companies.
Entirely Tailored
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bonjour@loriginelondon.co.uk
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redpajama_set_name: RedPajamaCommonCrawl


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Albuñol – gmina w Hiszpanii, w prowincji Grenada, w Andaluzji, o powierzchni 62,94 km². W 2018 roku gmina liczyła 7 128 mieszkańców.

Uważa się, że jego pochodzenie jest rzymskie, ale znaleziono pozostałości prehistorycznej osady w Jaskini Nietoperzy, położonej w gminie Albuñol.

Przypisy

Gminy w Andaluzji
Grenada (prowincja)

redpajama_set_name: RedPajamaWikipedia


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Why Canfab
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The Canada Fiber Can Company published this vintage ad in 1961, nearly 60 years ago. A lot has changed since then. Canada Fiber Can is now called Canfab Packaging. We're at a different address and we have a larger team, the latest equipment, and two manufacturing...
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You want your food to be safe. Clean. Uncontaminated. We do too. Dealing with food products in a manufacturing setting necessitates safe and hygienic handling, but that care must extend to the manufacturing of the food products' packaging as well. To that end, we work...
What Do CTPAT and PIP Mean?
Every industry has its acronyms. They're thrown about with abandon and, like jargon terms, are often used to establish an almost-unfair sort of credibility. Unknown terms have a way of making their users sound impressive, but that comes at the expense of the...
The Benefits of Using Composite Cans For Pet Products
The majority of households in the United States include pets, 68% in fact, according to the 2017-2018 National Pet Owners Survey conducted by the American Pet Products Association (APPA). Canadians aren't too far behind at 61% of households, according to a 2015-2016...
Why Composite Paper Cans Make Good Storage For Spices
Spices trumped gold. Spices were once worth so much that London dock workers were paid their bonuses in cloves, nutmeg was more valuable per ounce than gold, and Arab spice traders guarded their market share by making up tales about how cinnamon grew in valleys...
Mmmmm…Chocolate
.. . Known as "the food of the gods", chocolate's history dates as far back as 2,000 years B.C.E when early Mesoamericans fermented a bitter drink made from cacao seed, chili, mustard, and honey. Thought to have brought strength to the early Mayans and Aztecs...
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Aural Rehabilitation for children involves treatment of speech disorders to help them and their families cope with hearing loss. Hearing loss in children could have a heavy impact on their speech and language development skills. Effective rehabilitation at the right time is essential for children with hearing loss or else it could have a detrimental effect on the child's communication skills.
A hearing and speech specialist will play an effective role in helping your child develop excellent communication skills. The audiologist will ensure the best possible result for your child and family as far as speech and language development is concerned. Once you figure out that your child is suffering from hearing loss, you must consult an audiologist who can help you deal with growth and development of your child. The specialist can help you take the right decision as far as treatment options are concerned thereby helping your child achieve their maximum potential.
Aural rehabilitation helps children learn more about their hearing loss and what they can do to manage situations where hearing loss creates difficulties in communication. The rehabilitation process may depend upon the severity of the condition and the age when hearing loss occurred. The program may include speech and language therapy, auditory training, and voice maintenance. The aural rehabilitation plan will also depend upon individual needs of every child and accordingly will focus on one or more of the elements below.
Aural rehabilitation intends to help children brush their communicating skills for effective verbal communication. A child suffering from hearing loss may develop his or her speech by learning new sounds and words. Learning voice maintenance and controlling the rate of speech is also a part of the language development process. The program also aims to improve child's grammar, vocabulary, and narrative skills. Cochlear India has recently launched a wireless range of accessories for Cochlear Implants. Click here to learn more.
It is extremely important for hearing impaired children to identify auditory and visual communication elements. Aural rehabilitation can help a child distinguish and understand different words and their sounds. Learning non-verbal communicative clues can also help these children understand facial expressions and body language.
Aural rehabilitation process involves determining what assistive listening skills and devices are suitable for every child. Which means, the process also involves helping the child get acquainted with a hearing aid, teaching ASL (American Sign Language), or explaining how to use an alternate assistive listening device. For children who are slightly older, the process could involve seeking peer support from other hearing impaired children, learning how to be independent, and teaching how to look after, adjust, and manage their hearing aids. It has been observed that children who successfully complete the rehabilitation process are able to communicate better than those who do not.


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Nalo Hopkinson's new novel, The Salt Roads, is, I think, the best book she has done. Rather than fantastic fiction set in future (Brown Girl in the Ring) or alternative (Midnight Robber) worlds, The Salt Roads is a work of historical fiction, albeit a "magical realist" rather than a naturalistic one. It weaves together the stories of three black women from different places and times: Mer, a slave on a plantation in 18th century Haiti; Meritet, slave/prostitute in 4th-century Alexandria, who ends up becoming a kind of saint (claimed by the Christians though not really one of them); and Jeanne Duvall, for many years Charles Baudelaire's mistress. All three are inhabited, at one point or another by the loa/goddess Ezili (I think – the word "loa" is never actually used in the text), whose free-floating voice and perspective provide a counterpoint to those of the three women…
Nalo Hopkinson's new novel, The Salt Roads, is, I think, the best book she has done. Rather than fantastic fiction set in future (Brown Girl in the Ring) or alternative (Midnight Robber) worlds, The Salt Roads is a work of historical fiction, albeit a "magical realist" rather than a naturalistic one. It weaves together the stories of three black women from different places and times, who each has her own inclinations and moods: Mer, a slave on a plantation in 18th century Haiti, who does not live to see liberation; Meritet, slave/prostitute in 4th-century Alexandria, who ends up becoming a kind of saint (claimed by the Christians though not really one of them); and Jeanne Duvall, for many years Charles Baudelaire's mistress. All three women are inhabited, at one point or another by a spirit, the loa/goddess Ezili (I think – the word "loa" is never actually used in the text), whose free-floating voice and perspective provide a counterpoint to those of the three women. (There are also a few passages written in an omniscient third person).
The Salt Roads is a dense and passionate book, fluctuating between visionary hopes of revolution and a better world, and the grimly pragmatic necessity of negotiating possibilities of resignation at least, and perhaps even flashes of happiness, in oppressive and straightened circumstances. Hopkinson's work is similar to a number of other recent books by other black women authors (the book jacket blurbs compare her to Toni Morrison and Edwige Danticat); but what's unique to her is the particular voice that speaks in this book: or perhaps I should say voice(s), because of the way she/it is both one and many; the transversal communication of the three women through Ezili, in a way that doesn't absorb them into one (they never become aware of one another), but also doesn't permit them to remain in isolation from one another, is what gives this novel its emotional resonance, as it reminds its readers of what black women have historically had to face (and to a great extent, still do) in a way that is necessarily unfamiliar to white male readers such as myself; but also without giving a simplistic, inspirational message of fortitude and strength in the face of adversity, which is something many white (and a few black as well) readers like to get from black women's texts.
I'm describing this novel from the outside, I fear, having read it in constant consciousness that it is not addressed to me; but the strength of The Salt Roads, I think, resides precisely in its outsideness, its indirectness, its non-address. This means, among other things, that it cannot be pigeonholed as an exercise in "identity politics" – even as it also (rightly) rejects the way that accusations of "identity politics" are often a cover, and a crass excuse, for ignoring and dismissing the injuries of class, race, and gender altogether.
Nothing's really resolved in this book, precisely as nothing's really resolved in the course of history (situations shift, and their problems may be forgotten but are not resolved/redeemed for good). All three women end by finding a sort of happiness, but not one that erases the scars of the past, or changes the conditions that produced all that suffering. What we're left with, instead, is a series of flashes, or glimpses, of happiness and pain, of beauty and horror, of ecstatic (and not-so-ecstatic) sexuality, and of the small details of everyday life, in 19th century France, 18th century Haiti, 4th century Alexandria and Palestine. This book is a journey, not for the sake of some goal or final resting point, but for the sake of the journey itself.
Author sshaviroPosted on November 30, 2003 Categories Books
A Few More Singles
I've been so busy lately that I haven't been posting very much. So I thought I could at least mention some music that I've been enjoying recently. There are a number of albums I need to listen to more before I can write about them intelligibly, but I can at least list a few singles that have transported me recently…
I've been so busy that I haven't been posting very much. So I thought I could at least mention some music that I've been enjoying recently. There are a number of new albums I need to listen to more before I can write about them intelligibly, but there are a few singles that have transported me lately…
-Kelis' "Milkshake" is, I suppose, another guilty pleasure. Much more mainstream than "I Hate You So Much Right Now" (not to mention stoopid in its double entendres) but the insinuating dirty bass synthesizer hook (balancing the melodic fragment – it's too minimal to be a full melody) gets to me. Production by The Neptunes, whose stuff I've gotten bored with lately, however here they, er, redeem themselves.
-Cee-Lo's new single, "I'll Be Around," on the other hand, is yet another triumphant production by Mr. Timothy Mosley, aka Timbaland. This time with horns bouncing off the minimal off-beat. The lyrics are a bit tiresome (and old) in their bragging about the "dirty South," but how can I not fall in love with a song that begins with Mr. Closet Freak intoning: "How could I possibly be inconspicuous/ When my flow is fuckin' ridiculous"?
-I haven't heard all of David Banner's Mississippi: The Album, but "Cadillac on 22s" is gorgeously depressive, movingly desperate and passionate ("sometimes I wish I wasn't born in the first place"), with guitar that really makes the connection from hip hop to down-home country blues; and the screwed and chopped version is also pretty amazing, slowed down, with a few touches of reverb and stuttering repetition, just enough to mess with the beautiful, lyrical flow of the song so that it sounds like things are even more fucked up than the original version suggested, since you no longer have the beauty to redeem the pain.
Author sshaviroPosted on November 28, 2003 Categories Music
Starfish, by Peter Watts, is a dark and brooding SF novel that takes place mostly in the deep ocean. Human beings are surgically modified so that they can breathe underwater, and survive the immense pressures of the deep ocean. They work and repair the machinery that harvests geothermal energy from volcanic rifts on the ocean floor. But it turns out that only people with very particular psychopatholgies, perpetrators and/or victims of domestic violence and sexual abuse, are able to stand the claustrophobic, almost lightless deep-sea environment without going crazy….
Starfish, by Peter Watts, is a dark and brooding SF novel that takes place mostly in the deep ocean. Human beings are surgically modified so that they can breathe underwater, and survive the immense pressures of the extreme deep. They work and repair the machinery that harvests geothermal energy from volcanic rifts on the ocean floor, to serve the world's ever-greater energy needs. But it turns out that only people with very particular psychopatholgies, perpetrators and/or victims of domestic violence and sexual abuse, are able to stand the claustrophobic, almost lightless deep-sea environment without going crazy. Actually, they don't just endure it; they love it. Sexual pathology leads to psychobiological metamorphosis, under the influence of an unfamiliar and stressful environment. Add to this telepathic empathy, "smart gels" (computing devices made out of living, functioning human neurons), alternative biologies, (justified) political paranoia, and an apocalyptic vision of the big (Richter 9.5 or so) subduction earthquake that is due to occur one of these days on the Juan de Fuca rift, leading to massive destruction in the Pacific Northwest (where I live). Without ever departing from the (seeming) plausibility of hard SF, Watts delivers a striking vision of a posthuman future – or more precisely of several disconcerting, mutually intersecting posthuman futures at once. Starfish is deeply pessimistic, but also, in a strange way, fiercely affirmative (though the metamorphosed future it affirms is not one that most of us would find sustainable, let alone comfortable).
I watch Teletubbies now and again with Adah (who is now 15 months old), but I have to admit I like it more than she does. I think it's the most brilliant kids' TV show that I have ever seen (or at least, that I have ever seen as an adult). Teletubbies is pure bliss.The show has a formal elegance rare for TV: a minimalism as rigorous as those of early Philip Glass or late Samuel Beckett.
I watch Teletubbies now and again with Adah (who is now 15 months old), but I have to admit I love it more than she does. I think it's the most brilliant kids' TV show that I have ever seen (or at least, that I have ever seen as an adult).
Teletubbies is pure bliss.The show has a formal elegance rare for TV: a minimalism as rigorous as those of early Philip Glass or late Samuel Beckett. The beginning and end of the show are always the same: the baby-sun rising, and then setting, with the Teletubbies saying hello and goodbye respectively. Once the sun has risen, the Teletubbies run away over the hills; and a voice emanating from one of those tubes that rise out of the ground asks: "Where have the Teletubbies gone?" This enigmatic question is never answered: it is always followed by a series of abstract scenes, with multiple Teletubbies against monochromatic backdrops. There are only four Teletubbies, but they can be "everywhere," thanks to their multiple instantiations in these abstract scenes.
Other elements are repeated from show to show as well, like the mini-films of children around the world, broadcast through one or another of the Teletubbies' tubbies; and my favorite, the twice-repeated (sometimes more) "Big Hug" that follows the offscreen narrator's assurance that "Teletubbies love each other very much."
I also love the puzzling non-narratives that sometimes happen in the latter part of the show: a piece of Tubby Toast is too big for Tinky Winky, Dipsy, or LaaLaa to eat, but Poe (the smallest) manages to eat it just fine. Or, the meadow is mysteriously turned into a big lake, then just as mysteriously back to a meadow again. Or, LaaLaa plays with her (?) ball inside because it has started to rain; but when the rain ends, she goes outside again. Even when these little stories seem like they are going to turn moralistic or didactic, they don't, but stop short of having a point (I imagine this to be some Western child's version of a Zen koan, but I don't really know anything about Zen). Of course, other times there are no such pseudo-narratives at all; the Teletubbies just dance, or march around, or something.
The Teletubbies themselves intrigue me endlessly: it's so hard to figure out whether their brightly-colored surfaces are skin/fur, or just costumes they are wearing (the seam on their backs suggests it is just a costume, but somehow it makes sense to me that this would be the form of their actual, pre-genital bodies). LaaLaa and Poe seem to be female, because they are smaller and their voices higher; Tinky Winky seems to be male (and gay, as Jerry Falwell claimed); Dipsy remains mysterious to me in this regard. But infantile or pre-genital gender is a strange sort of concept anyway; one thing that is good about the show is that this strangeness is retained intact (instead of being "normalized" by the absurd tyranny of boys-in-blue and girls-in-pink from the moment of birth).
I'm usually not a fan of minimalist art; but here the infantile content perfectly matches the form.
Author sshaviroPosted on November 18, 2003 Categories Pop
Timbaland and Magoo
Though Timbaland is one of the most respected and sucessful hiphop producers working today (the best, I'd argue) the albums he has released under his own name, in collaboration with Magoo, have never sold very well, or been much talked about. Partly because Magoo is poorly regarded as an MC (he's not great, but in my opinion, he's at least OK), and partly because – I'm not quite sure, actually. But Timbaland and Magoo's latest CD, Under Construction Part II, is a superb album, even if nobody buys it. Admittedly it's not all that interesting vocally and verbally – the lyrics (mostly sex, some drugs, some romantic loss, a reasonable amount of boasting, but very little self-congratulatory thuggery) are nothing we haven't heard before. But the beats and arrangements are great. The album is fairly relaxed and laid back, but at the same time very sharp and rhythmically active. Timbaland's arrangements are clean, fairly minimal, and always surprising: the synthesized percussion crackles, and some sort of odd timbre or melodic line is always being dropped just where you don't expect it. Every song has its own profile and its own surprises. The album works very well as a shifting series of moods, as one or another facet of Timbalan'ds expressive artistry comes into focus.
Though Timbaland is one of the most respected and sucessful hiphop producers working today (the best, I'd argue) the albums he has released under his own name, in collaboration with Magoo, have never sold very well, or been much talked about. Partly because Magoo is poorly regarded as an MC (he's not great, but in my opinion, he's at least OK), and partly because – I'm not quite sure, actually. But Timbaland and Magoo's latest CD, Under Construction Part II, is a superb album, even if nobody buys it. Admittedly it's not all that interesting vocally and verbally – the lyrics (mostly sex, some drugs, some romantic loss, a reasonable amount of boasting, but very little self-congratulatory thuggery) are nothing we haven't heard before. But the beats and arrangements are great. The album is fairly relaxed and laid back, but at the same time very sharp and rhythmically active. Timbaland's arrangements are clean, fairly minimal, and always surprising: the synthesized percussion crackles, and some sort of odd timbre or melodic line is always being dropped just where you don't expect it. Every song has its own profile and its own surprises. The album works very well as a shifting series of moods, as one or another facet of Timbaland's expressive artistry comes into focus. (For a very different take on this album, see Sasha Freire-Jones' comments).
Julie Talen's Pretend, which I saw tonight at the Seattle artspace Consolidated Works, is a powerful and formally innovative no-budget film (actually shot on digital video, not film).
Julie Talen's Pretend, which I saw tonight at the Seattle artspace Consolidated Works, is a powerful and formally innovative no-budget film (actually shot on digital video, not film). Pretend tells an emotionally wrenching story, about a nine-year-old girl who stages the fake kidnapping of her six-year-old sister, as a ploy to prevent their parents from breaking up. Children spend a lot of time playing make-believe, but what happens when their fantasies cross over into actuality? With its unreliable narrator and presentation of multiple possibilities, the film offers no easy answers.
But what really makes Pretend a remarkable film is its use of multiple frames and screens-within-screens. Split screens are used now and again in Hollywood films; Andy Warhol experimented with multiple images projected at once in the 1960s; Mike Figgis' Timecode divided the screen into four quadrants, projecting the simultaneous output from four synchronized cameras; and Peter Greenaway has done a lot with frames-within-frames. (Talen herself gives a detailed history of the use of multiple frames in an article that appeared last year in Salon).
But no narrative film (and probably no avant-garde film either) has ever done anything on the order of what Talen accomplishes in Pretend. The screen is continually being divided into three, five, nine, twelve, or as many as forty-two frames; sometimes there is a checkerboard pattern, other times the screen is split top and bottom, or left and right; still other times, frames of different sizes appear as boxes floating in front of an image that would otherwise cover the entire screen. Sometimes the various frames show different but simultaneous scenes; sometimes they show the same scene from different angles; sometimes they depict variations, or metaphorically associated scenes, or fantasies that somehow relate to the action in other frames. The movements and arrangements of the multiple frames often seem to be organized according to musical principles; speaking about the film, the director spoke of some of these sequences as "fugues" of images. Other times, the visual arrangement of the frames seems more directly motivated by the narrative.
Of course, none of this could have been done before the arrival of digital video, and programs like Final Cut Pro. In addition, Talen makes much of the visual properties (and limitations) of digital video. Sometimes different frames are given different color balances; sometimes some of the frames are blurry, or shot with a slow shutter speed, or blown up so much that individual pixels appear on the screen.
While the effect is sometimes close to abstract, the film as a whole never loses sight of the narrative in which it is anchored. The result of all this is extraordinary: at times, while I was watching Pretend, I felt that I was perceiving things in an entirely new way, as if the very process of vision had been reinvented. (But it's important to note that Talen's radical visuals never interfered with the narrative, but made total sense as a way of conveying it, just as more familiar cinematographic and editing techniques do).
The sort of fragmentation of the visual field that is evident in Pretend is really just a way of moving cinema, that quintessential 20th-century art form, fully into the 21st century. Marshall McLuhan said that technological changes, the invention and dissemination of new media, results in changes in the "ratio of the senses," mutations in the human sensorium itself. McLuhan , writing in the 1960s,was concerned with the way that television was different from movies. Today, under the impact of computers, and more generally the information and communications revolutions of the last thirty years, our minds have become more accustomed to multi-tasking, and our visual experience has become ever more heterogeneous and fragmented. Think of the multiple windows on our computer screens, or for that matter of the multiple windows, with text ticker at the bottom, of a station like CNN Headline News. Pretend is the first film I have seen that does full justice to these changes in our everyday visual experience; what's more, it doesn't just mimic these changes as a formal exercise, but deploys them in a way that is intellectually challenging and emotionally resonant.
Author sshaviroPosted on November 16, 2003 Categories Uncategorized1 Comment on Pretend
The Matrix Revolutions
I have almost nothing to say about The Matrix Revolutions. Instead of upping the ante on the comic-book metaphysics of the first two films – which is what I had hoped for – the Wachowski Brothers give us basically a straight action film. The attack on Zion by the machines is exciting (for a while) and state-of-the-art, but it can't compensate for the almost complete absence of the conundrums that fueled the previous installments. It's almost as if the Matrix itself didn't exist, so little attention is paid to the virtual-reality theme. And despite (all-too-brief) reappearances by the Merovingian and the Architect, almost nothing of philosophical import is said by anyone. We are left with some treacly utterances by the Oracle (now played rather ineffectually by Mary Alice, replacing the late Gloria Foster) about love and belief. (You have to snort in derision regarding the "love" between Keanu Reeves' Neo and Carrie Anne Moss' Trinity, who must be the most robotically affectless couple in movie history). What's more, the climactic fight scene between Neo and Agent Smith seems utterly perfunctory in comparison with their battles in the prior two films; and the overall plot resolution is a complete cop-out. Second parts of trilogies are often problematic and disappointing; but when has the concluding installment of a trilogy ever been so lame a letdown? I still find Nona Gaye sexy, but that is about the only positive thing I can say about this film.
Author sshaviroPosted on November 14, 2003 Categories Film
I suppose this counts as a "guilty pleasure," though I am not usually prone to use that category. I find myself quite enchanted by FannyPack, and their album So Stylistic. FannyPack is two twenty-something guys, Manhattan producers/hipsters, who write and perform the music, and three teenage girls from Brooklyn, all fashionably interracial, who rap (though I don't know if they write their own lyrics, or if the words are written for them by the two guys).
I suppose this counts as a "guilty pleasure," though I am not usually prone to use that category. I find myself utterly enchanted by FannyPack, and their album So Stylistic. FannyPack is two (white, I think) twenty-something guys, Manhattan producers/hipsters, who write and perform the music, and three teenage girls (well, they range from 15 to 21) from Brooklyn, fashionably interracial (well, one's white, one's half-Puerto Rican, half-Thai, and one's half-black, half-Indian according to band publicity) who rap in New York accents that are welcome to the ears of this exile. I don't know if the girls write their own lyrics, or if the words are written for them by the two guys.
There's something disturbingly pedophiliac about how these underage (or barely of age) girls are ultra-sexualized and made out to be innocent at the same time. Everything about the group seems calculated to play to some middle-aged fantasy ("middle-aged" meaning anybody older than the band members) of what urban teen girls are like.
The lyrics are stuff like: "Parties, movies, candy, toys,/ Clothes, shopping, music, boys,/ Flowers, beaches, Mom and Dad,/ These here things make me glad." Though there's also the song about the "Cameltoe," and the one about sneaking into clubs with fake IDs. One song talks about hating school, another about the importance of good grades.
The music is bouncy, perky, and entirely synthetic party music: snaking synthesizer lines above beats borrowed from salsa, disco, Miami 1980s electro, and lite funk.
This music is so ostentatiously lightweight and "fun", so unorganic, so stylized, so pre-calculated, so phony even (or especially) in the gestures it makes toward high-school-confidential street authenticity, that I can't help myself: I love it. It's airily, mindlessly pleasurable and adorable in a way that makes Britney, Christina, and even Beyonce seem utterly strained and clumsy in comparison. Basically, FannyPack is to these other post-teens-singing-for-pre-teens as Mozart is to Mahler, or as the Sex Pistols are to Bachman-Turner Overdrive.
It seems to me that this is what pop music always ought to be like. The weird part of it is, that although FannyPack was certainly being groomed by Tommy Boy Records for superstardom, the CD was apparently a big flop. Almost nobody bought the album. Is there no justice in the world?
San Diego Fire
I'm in San Diego. Yesterday we went to see the results of the fires of two weeks ago. Amazing to see everything all burnt out, even more amazing to see how close the fire came to homes, gas stations, and chemical plants, and that it was only a 15 minutes' or so drive from downtown.
Author sshaviroPosted on November 10, 2003 Categories Politics
Frenzetta
Richard Calder's Frenzetta is a decadent fever dream of a novel. Set in a future where humanity is divided between the "pure" (reactionary straights) and the "perverse" (people who have been genetically re-engineered to include the animalistic in their nature; they include wolfmen, catgirls, insectmen, spiderwomen, among numerous others), the novel traces a delirious course through various scenarios of lust and catastrophe. The narrator, a zombie (seven-feet tall, supernaturally strong, but impotent, returned from the dead and remaining animate through a diet of fresh brains) and his beloved Frenzetta (a sneering 17-year-0ld punkette, half-rat, and fated to die in the throes of orgasm) wander through the continents of a decaying earth (in which former human technologies are gradually forgotten, due to the influence of the perverse, and the pigheadedness of the pure) searching for a deliverance – both sexual and existential – that they are unable to define. The novel's philosophical reflections on the nature of desire are given with a light touch, never overshadowing the novel's delirious, overwrought prose. All in all, the novel is sort of pop Bataille, a melancholy underwriting its numerous titillations, with an overwhelming awareness of the fatal clash of sex and death, but also a sense of futility and decay suggesting the unattainability of the ideal, even of self-annihilation.
Author sshaviroPosted on November 9, 2003 Categories Books


This month marks a big anniversary of my musical that Sondheim saw, The Christmas Bride. It was the sixth show I got produced in my twenties, and no decade since has seen nearly as much activity. The Christmas Bride hasn't quite gone away, as it's been subsequently presented in venues in different Northeast states, but that first time, so long ago, was in New York, in the Theatre District. Many's the time, over the years, when I've purposefully walked past 354 W. 45thto solidify my memories. But now I think I've forgotten a lot, so here I'll try to set down some answers to questions you might have.
How'd you get Sondheim to come?
Our musical director, Michael Lavine, had developed a long-standing relationship with the composer, but, at that point, he'd never seen Michael musical direct anything. Luckily, the time and location of The Christmas Bride provided a golden opportunity. Sondheim had a musical playing on the same block, and a new actress was taking over the lead role. A plan emerged for him to see our first act and her second act. That way, he could congratulate her on her performance, but have a good excuse to run out of our theatre at intermission, without talking to anybody.
And that's exactly what happened. But, all sorts of people around me encouraged me to write him a letter to get his reaction. So, that happened, and his response hung on my wall for decades afterwards. I'd joked about cleverness in my note to him and he took me seriously: "Heavy rhyming is not cleverness. Cleverness consists of thought, surprise and imagination." Words I've taken to heart ever since.
A mutual friend recently referred to Michael Lavine as a famous person, and it's true: he also musical directed my On the Brink, Our Wedding, and my evening at the Donnell Library.
Is The Christmas Bride an original musical? About Christmas?
Yes and no and yes and no. It says right on the title page and poster that The Christmas Bride is based on a book by Charles Dickens, The Battle of Life. So, one might naturally conclude that this isn't an original musical. But when you read The Battle of Life, you'll discover that there's virtually no plot there. It describes a situation, and some characters; something about a boy-next-door proposing to the younger of two sisters, which, I guess, condemns the older one to spinsterhood. Enter MK Wolfe, who had a great number of bright thoughts about the situations in the story, and our contemporary conception of Dickensian Christmas. A far-more famous Dickens novella – you know the one – created the template for how we think about Christmastime. Countless twentieth century works refer to this, and our musical couldn't ignore it in the way The Battle of Life did.
But we had an idea that, I think, everybody can relate to: those holiday times when you're with your family but not quite feeling the spirit. So, I wrote an English carol for our characters to sing, I'm Happiest At Christmas, to contrast the emotions of our heroine, who thinks she's chosen the wrong suitor and lost her one true love. The librettist and I were clicking particularly well on this moment, since the stakes were so high that something sort of funny – a family singing louder at a crying ingénue to make her feel better – played for full pathos.
So, yes, certain scenes are set at Yuletide, but it never strikes me as apt to called The Christmas Bride a Christmas musical. It's a melodrama with perils and fights, but it's also a romance, with impetuous departures, secret meetings, and twin brothers: one mild, one frightening. Does that sound like a Christmas musical to you?
How'd you get six musicals produced in your twenties?
Not to mention one in my teens. But I didn't get to see the first one, so The Christmas Bride was the sixth I saw produced. Effective networking means a chain with many links. So, when I was 18 and a freshman in college, I got cast in the smallest possible role in a Shakespeare play. At the first read-through, I asked about the songs; there were many of them. The director hadn't considered where the tunes would come from, so I volunteered to write them, and the director was glad to delegate the task. The thing I really wanted to do in college was to write The Varsity Show, the annual student-created revue where Rodgers had met both Hammerstein and Hart. But, the years I was at Columbia, they didn't do Varsity Shows. Instead, I pitched the Barnard Gilbert and Sullivan Society across the street on the idea of my writing a piece specifically for them, and this played in the very theatre where The Fantasticks had its premiere some decades earlier. In the audience was Adam Belanoff, two years behind me in school, and he managed to revive the Varsity Show tradition and gave me my dream role as songwriter. This was so successful, we were asked to create an off-off-Broadway revue, On the Brink, which played at the old Gene Frankel Theatre near Lincoln Center. The newer Gene Frankel Theatre, on Bond Street, is around the corner from a non-descript N.Y.U. building where, also a round number of years ago, The Heavenly Theatre played. My collaboration on that was set up by someone who remembered my work from The Winter's Tale. Oh, and the show that was done when I was a teen got completely rewritten due to a copyright issue. There: have I named six?
Once I turned thirty, though, the links of my chain of associations began to sever. Some people left town, some left the theatre, and eventually we ceased sending each other Christmas cards. Which reminds me: I ought to get on that.
You are currently browsing the There's Gotta Be a Song blog archives for December, 2018.


The work I produced during my week in Outlandia was in response to reading Nan Shepherd's wonderful account of the many years she spent living in, and responding to, the Cairngorms, called 'The Living Mountain'. Among her observations of natural phenomena in a mountain environment were two which leapt out as bases for artistic activity. The first was this: '… the peculiar motion of the current among the ice-floes [in winter] has woven the thousands of floating pine-needles into compacted balls, so intricately intertwined that their symmetrical shape is permanently retained.' Using glue which I made from natural, organic constituents, I mimicked the formation of these spheres and placed them near the river and streams in Glen Nevis. They would be washed away in autumn's and winter's floods.
She also writes: '… pluck a feathery grass… hold a sheet of white paper behind it and see how the shadow stands out like an etching… a miracle of exact detail.' When the sun shone, during a week blessed with good weather, I chose a number of different plants and trees to hold my sheet of white paper behind, before photographing their shadows.
Another activity occurred to me just a day or so before I started my residency. I packed a small, old-fashioned letter stamping kit and used it to stamp Gaelic words on trees and stones in the area around Outlandia. They were words or concepts taken from, or relating to, Nan Shepherd's book. The one shown here is: MATHAIR (mother/origin or source); [others not shown] SAMHCHADAS (quietness, silence); SAORSA (freedom, liberty); MI-CHINT (uncertainty).
My other activity during the week was to make 'rain drawings'. I was prepared for the 'sun shadow' photos (see above) but realised that I would probably have some rain during my five days' residency. When it did rain, I stayed in the treehouse at Outlandia and used water-soluble pencils and ink to produce rain trace images, some in the form of monoprints.


Momentum, trend and volume are all bearish.
I, for one, could use a nice quiet close into the end of the week. The recent market action has been mentally taxing, to say the least, and that is true even though I have done my best to just lay low and pick my spots. I remember trying to be very active in this type of tape: The rewards can be huge, but so are the risks and the mental strain. This is a great time to take an early weekend.
Most of the patterns we are seeing, here, are the same. Ones that are catching my eye from the bearish side are those that are not quite bouncing with the market. Take Ameriprise Financial (AMP), for instance. This name dropped with the market -- and even saw one of those early morning illiquity tails on August 24. I've been discounting those tails and focusing on the opens/closes for the 24th.
Since that time, it has been trading in a small channel. The risk is that the pattern is nothing more than a bear flag, so a close under $108 would trigger additional downside. In this case, we would be looking towards $100, on the price target. The Bollinger Bands have opened up to the downside, and the stock is even trading below its 10-day Simple Moving Average (SMA). Additional indicators -- representing momentum, trend and volume -- are also all bearish, as are price pattern and volatility. Weakness abounds. Until AMP closes over $115, the bears are firmly in control. The bulls could help themselves by getting the stock over the 10-day SMA. If I were looking at anything here, it would be bearish call spreads, targeting a short $115 strike and long $120 strike.
The weekly picture isn't any better. While we don't have the flag pattern, we do have a huge break below support at $122.50, and a new bearish channel starting to form. The Force Index is making new lows in front of price, as are the Vortex Indicator and the Relative Strength Index (RSI). Momentum, trend and volume are all making new closing lows compared to price. Now, we have to take this with a grain of salt, since the big tail on price throws off the indicators a little, but this is a very ugly picture. In combination with the daily chart, I expect $100 to $102.50 to be tested before we find a low.


This change allows for the consul binary to be installed separately from the service. This is important in cases when an AMI might be built with internet access, but when actually deploying it is in a private subnet that does not have internet access. The general pattern is to have all software on an AMI and then as a last step just do the configuring at launch.
As long as users were setting an override for their install method and including the default recipe, there should be no breakage here.


text:
// Copyright (c) Microsoft Corporation. All rights reserved. See License.txt in the project root for license information.

using System;
using System.Collections.Generic;
using System.Threading;
using System.Threading.Tasks;
using Microsoft.Practices.EnterpriseLibrary.SemanticLogging.Tests.TestSupport;
using Microsoft.VisualStudio.TestTools.UnitTesting;
using Rolosoft.Practices.EnterpriseLibrary.SemanticLogging.Sinks;
using Rolosoft.Practices.EnterpriseLibrary.SemanticLogging.Utility;

namespace Rolosoft.Practices.EnterpriseLibrary.SemanticLogging.Tests.Utility
{

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
    [TestClass]
    public class bufferedEventPublisher_given_configuration
    {
        [TestMethod]
        [ExpectedException(typeof(ArgumentNullException))]
        public void when_null_sinkId_throws()
        {
            BufferedEventPublisher<int>.CreateAndStart(null, b => { return Task.FromResult(b.Count); }, TimeSpan.Zero, 1, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentNullException))]
        public void when_null_eventPublisherAction_throws()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", null, TimeSpan.Zero, 1, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentOutOfRangeException))]
        public void when_negative_bufferingInterval_throws()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, TimeSpan.FromSeconds(-1), 1, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentOutOfRangeException))]
        public void when_overrange_bufferingInterval_throws()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, TimeSpan.FromMilliseconds(Convert.ToInt64(int.MaxValue) + 1L), 1, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentOutOfRangeException))]
        public void when_negative_bufferingCount_throw()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, TimeSpan.FromSeconds(5), -1, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentException))]
        public void when_no_interval_and_no_count_throw()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, Timeout.InfiniteTimeSpan, 0, 1000, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentException))]
        public void when_maxBufferSize_smaller_than_3times_count_throw()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, Timeout.InfiniteTimeSpan, 1000, 2999, CancellationToken.None);
        }

        [TestMethod]
        [ExpectedException(typeof(ArgumentOutOfRangeException))]
        public void when_overrange_maxbuffering_throws()
        {
            BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, Timeout.InfiniteTimeSpan, 1, 499, CancellationToken.None);
        }

        [TestMethod]
        public void when_zero_interval_is_set_default_minimum()
        {
            var sut = BufferedEventPublisher<int>.CreateAndStart("sink", b => { return Task.FromResult(b.Count); }, TimeSpan.Zero, 0, 1000, CancellationToken.None);
            Assert.IsNotNull(sut);
        }
    }

    public abstract class given_bufferedEventPublisher : ContextBase
    {
        private BufferedEventPublisher<int> sut;
        private TimeSpan bufferingInterval = TimeSpan.FromSeconds(1);
        private int totalEventsToPublish;
        private List<int> publishedEvents = new List<int>();
        private TaskCompletionSource<bool> completionSource = new TaskCompletionSource<bool>();
        private TimeSpan waitTimeout = TimeSpan.FromSeconds(5);

        public bool ShouldThrowOnPublish { get; set; }

        protected override void Given()
        {
            this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, bufferingInterval, 0, 1000, new CancellationToken());
        }

        protected override void OnCleanup()
        {
            this.sut.Dispose();
        }

        private Task<bool> Completed
        {
            get { return this.completionSource.Task; }
        }

        private async Task<int> PublishEventsAsync(IList<int> batch)
        {
            await Task.Yield();
            publishedEvents.AddRange(batch);

            if (this.totalEventsToPublish == 0 || this.publishedEvents.Count >= this.totalEventsToPublish)
            {
                this.completionSource.TrySetResult(true);
            }

            if (this.ShouldThrowOnPublish)
            {
                throw new InvalidOperationException("Thrown by text fixture.");
            }

            return batch.Count;
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_and_interval_expire : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 10;
                base.Given();
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);

                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    Assert.AreEqual(i, this.publishedEvents[i]);
                }
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_and_flushAsync : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 10;
                base.Given();
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.sut.FlushAsync().Wait(waitTimeout));

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_before_and_after_retry_started : given_bufferedEventPublisher
        {
            private readonly TimeSpan interval = TimeSpan.FromMilliseconds(100);

            protected override void Given()
            {
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, interval, 0, 1000, new CancellationToken());
                this.totalEventsToPublish = 3;
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish - 1; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }

                Thread.Sleep(interval + TimeSpan.FromSeconds(1));
                // Post an event after timeout fired

                this.sut.TryPost(0);
            }

            [TestMethod]
            public void then_all_events_posted_before_and_after_retry_should_be_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_count_only : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 2;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, Timeout.InfiniteTimeSpan, this.totalEventsToPublish, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));
                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_interval_only : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 100;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, TimeSpan.FromMilliseconds(1), 0, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));

                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    Assert.AreEqual(i, this.publishedEvents[i], string.Join(", ", this.publishedEvents));
                }

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_count_only_and_flush : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 2;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, Timeout.InfiniteTimeSpan, this.totalEventsToPublish, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.sut.FlushAsync().Wait(waitTimeout));
                Assert.IsTrue(this.Completed.Wait(waitTimeout));

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_internval_only_and_flush : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 100;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, TimeSpan.FromMilliseconds(1), 0, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.sut.FlushAsync().Wait(waitTimeout));
                Assert.IsTrue(this.Completed.Wait(waitTimeout));

                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    Assert.AreEqual(i, this.publishedEvents[i]);
                }

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_count_only_and_multi_flush : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 2;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, Timeout.InfiniteTimeSpan, this.totalEventsToPublish, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }

                // First flush
                Assert.IsTrue(this.sut.FlushAsync().Wait(waitTimeout));
                Assert.AreEqual(TaskStatus.RanToCompletion, this.Completed.Status);

                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);

                // Reset
                this.completionSource = new TaskCompletionSource<bool>();
                this.publishedEvents.Clear();

                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published_after_each_flush()
            {
                // Second Flush
                Assert.IsTrue(this.sut.FlushAsync().Wait(waitTimeout));
                Assert.AreEqual(TaskStatus.RanToCompletion, this.Completed.Status);

                Assert.IsTrue(this.Completed.Result);
                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_count_and_interval_with_count_first : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 2;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, TimeSpan.FromSeconds(10), this.totalEventsToPublish, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));
                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_post_events_with_count_and_interval_with_interval_first : given_bufferedEventPublisher
        {
            protected override void Given()
            {
                this.totalEventsToPublish = 2;
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, TimeSpan.FromMilliseconds(500), this.totalEventsToPublish + 1, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < this.totalEventsToPublish; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(30);
                }
            }

            [TestMethod]
            public void then_all_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(waitTimeout));
                Assert.AreEqual(this.totalEventsToPublish, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_publishing_more_than_buffering_count : given_bufferedEventPublisher
        {
            private int bufferingCount;

            protected override void Given()
            {
                this.bufferingCount = 10;
                this.totalEventsToPublish = 0;
                var automaticFlushingInterval = TimeSpan.FromMinutes(30);
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, automaticFlushingInterval, bufferingCount, 1000, new CancellationToken());
                Thread.Sleep(200);
            }

            protected override void When()
            {
                for (int i = 0; i < bufferingCount + 5; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }
            }

            [TestMethod]
            public void then_only_batch_size_number_of_events_are_published()
            {
                Assert.IsTrue(this.Completed.Wait(TimeSpan.FromSeconds(30)));
                Assert.AreEqual(this.bufferingCount, this.publishedEvents.Count);
            }
        }

#if !DEBUG
// Do not run on build server
    [Ignore]
#endif
        [TestClass]
        public class when_throwing_exception_on_publish : given_bufferedEventPublisher
        {
            private int bufferingCount;

            protected override void Given()
            {
                this.ShouldThrowOnPublish = true;
                this.bufferingCount = 10;
                this.totalEventsToPublish = 0;
                var automaticFlushingInterval = TimeSpan.FromMilliseconds(1);
                this.sut = BufferedEventPublisher<int>.CreateAndStart("sink", PublishEventsAsync, automaticFlushingInterval, bufferingCount, 1000, new CancellationToken());
            }

            protected override void When()
            {
                for (int i = 0; i < bufferingCount; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }
            }

            [TestMethod]
            public void then_buffering_count_does_not_attempt_to_flush()
            {
                Assert.IsTrue(this.Completed.Wait(TimeSpan.FromSeconds(10)));
                Assert.AreEqual(this.bufferingCount, this.publishedEvents.Count);

                // Reset
                this.completionSource = new TaskCompletionSource<bool>();

                for (int i = 0; i < bufferingCount; i++)
                {
                    this.sut.TryPost(i);
                    Thread.Sleep(10);
                }

                Assert.IsFalse(this.Completed.Wait(TimeSpan.FromSeconds(3)));
                Assert.AreEqual(this.bufferingCount, this.publishedEvents.Count);
            }

            [TestMethod]
            public void then_flushing_returns_failure()
            {
                Assert.IsTrue(this.Completed.Wait(TimeSpan.FromSeconds(10)));

                try
                {
                    Assert.IsTrue(this.sut.FlushAsync().Wait(TimeSpan.FromSeconds(3)));
                    Assert.Fail("Exception should be thrown.");
                }
                catch (AggregateException ex)
                {
                    Assert.IsInstanceOfType(ex.InnerException, typeof(FlushFailedException));
                }
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


"I did think it all rather odd." The master's face is a mixture of glee and concern. "Well I'll be. And you sounded so sincere. When it comes to spinning tales, you're top notch." The wife is duly impressed. "That woman easily tops me." "You seemed to hold your own just fine." "But here's the thing, madam. The tales I spin are simply tales. In her case, ulterior motives, shady at best, abound. She's wicked at heart. You mustn't confuse conniving schemes with heaven-sent humor. Rueing the dearth of discerning men, the gods of comedy will heave a heavy sigh." "I wonder," the master comments with averted gaze. "There's really no difference," the wife replies with a grin.
Up until now, I'd never set foot in that lane cross the way. And I knew nothing, of course, of the corner residence or the Kaneda folk who dwelled therein. I'd never even heard of them. In the master's house, there was no talk of industrialists. Being the master's cat, living in his house and eating his food, I wasn't just remote from this segment of society, but wholly indifferent to it. Now, however, after Hanako's intrusion, and having listened in on the exchange, my thoughts wandered to this daughter. I imagined her charms, and her wealth and status intrigued me. Cat though I am, it was time to get up from the veranda. First and foremost, I was spurred forward by a great sympathy for Kangetsu. The other party had bought off a scholar's wife, the cartman's wife, and even that two-string Tenshō-in. They'd sounded him out down to his teeth. There sat Kangetsu, all the while, tugging at his haori ties with a guileless grin. Even for a newly-minted bachelor of science, he was far too naïve. That being said, no common man could contend with this woman, endowed as she was with that overbearing nose. The master, in the case at hand, was lacking both in motivation and means.


In order for people in Illinois to qualify for benefits through the Social Security Disability program, they must submit medical evidence. This evidence is used with other qualifying factors which include the applicants' financial situation, their ability to work and whether their disability is on the program's list of approved disabling conditions. However, the Social Security Administration is proposing a new rule that could have an impact on people's applications.
At the end of last year, an official at the SSA told The Wall Street Journal that the agency would be putting together a new rule relating to medical evidence. The official told the publication that the move stems from media reports about medical records being withheld in SSD applications. These records are reported to have contained information in them that may have put a negative light on people's disability claims. Furthermore the SSA recently admitted that such information had been withheld on some applications.
Therefore, the SSA just announced a proposed rule that could eliminate the current option for SSD applicants to simply submit evidence that supports their claim. This means that medical documentation such as tests, doctor examinations and therapy which does not support the disability, would have to be sent to the SSA and would be used as part of the evaluation process. In addition, people would also be required to submit the names of all their medical sources, which appears to be a clarification of the current request on applications for medical source information.
While the SSA appears to be welcoming input from the public, it appears certain that the rule will be officially announced and implemented at some point in the near future. For people seeking Social Security Disability, this rule could make it more difficult for them to receive approval, especially since doctors can make errors in diagnosis and even test results can be faulty. People with questions about the potential new rule may find it helpful to discuss their concerns with an SSD attorney.


After considering well over a thousand applications, under the supervision of Delphine Arnault, LVMH have shortlisted thirty designers originating from a diverse range of countries across the globe. The talent ranges from home turf to China, Russia, Israel, Nigeria and Haiti; and whilst some designers have only produced two collections, others are more established. Five of the final thirty design menswear – an area that is set to overtake womenswear by 2016.
Over the last 25 years, LVMH have been at the forefront of supporting emerging designers and the arts. During his time at Louis Vuitton, Marc Jacobs pioneered collaborations with artist Richard Prince, who re-interpreted his Joke Painting's and Nurses series for the brand; Yayoi Kusama, whose hypnotic and repetitive patterns were branded on Louis Vuitton classics and perhaps most memorably, with Stephen Sprouce in 1987, creating the trademark Louis Vuitton graffiti. The latter was revisited in Jacobs SS14 farewell show, when Sprouce painted his iconic design onto Edie Campbell's naked body. As Bernard Arnault puts it: "Innovation is more powerful when it springs from a preserved heritage." It is LVMH's unique passion for innovation, invention and creativity, which facilitates this support.
Delphine Arnault commented on the finalists, "I am extremely impressed by the quantity of applicants and by the quality of their work. The internet submission has allowed designers from all over the world to apply and as we had hoped, this selection process allowed us to discover new talents, some of them relatively unknown." Forty experts will narrow the shortlist down to ten finalists, who will be presented to the Jury at the end May 2014. The prestigious list of judges includes Dazed's own Jefferson Hack, Mariacarla Boscono, Natalie Massenet, Carine Roitfeld, Nicolas Ghesquière, Marc Jacobs, Karl Lagerfeld, Humberto Leon and Carol Lim, Phoebe Philo, Raf Simons and Riccardo Tisci amongst many other influential figures. The inaugural winner will be announced in May 2014.


I am unign Startwind software iSCSI, i have allocated 2 LUN to RHEV-M and after that i was able to create the VMs in this storage.
now i have removed the storage from the RHEV-m because i was not able to active the storage after, but now i am not bale to add the same storage into the RHEV-M ans also how to remove old lun from this RHEV-M.
How exactly did you remove the storage from RHEV-M? If by using the remove button, then there should be no problem readding it. If you used "Destroy" or simply disconnected the LUNs then the LUNs still hold RHEV metadata, and this is what prevents them from being reused - the system believe the LUNs are already in use and will not overwrite them.
The correct way it to use the "remove" button on storage domains that are no longer needed - this will free the LUNs from any remaining metadata and remove it from the setup. Otherwise, you need to manually wipe the LUNs, so that there is no metadata, LVM structure and partitions left.
I used remove button to remove the storage because was not active, and after that i am not able to add the storage in RHEV-M but while discovring it is showing but allow me to add.
Now i removed the datacenter from the System tab after that i am not able to add the host in rhev-m , "Name must be Unique" message is coming. any idea how to remove old entery from the management data base so that i can add the server and storage.
Cannot add Host - unique id is ambiguous with hosts: rcl1.srinfotec.com.
i have getting the above error message while connecting.
I used remove button to remove the storage because was not active, and after that i am not able to add the storage in RHEV-M but while discovering it is showing but allow me to add.
Now i removed the datacenter from the System tab after that i am not able to add the host in rhev-m , "Name must be Unique" message is coming. any idea how to remove old entry from the management data base so that i can add the server and storage.


text:
What Pakistan can learn
THE recent report of the International Crisis Group (ICG) Aid and Conflict in Afghanistan is a critical appraisal of the efforts made during the past 10 years in that unfortunate country.
It warns, "There is no possibility that any amount of international assistance to the Afghan National Security Forces (ANSF) will stabilise the country in the next three years unless there are significant changes in international strategies, priorities and programmes."
One may ask that if progress could not be achieved in the last 10 years, how it will be possible to ensure this in the next three.
Experience shows that the international community and Mr Karzai have now missed the opportunity to make a positive difference in Afghanistan.
Another finding and a lesson for the Pakistan military, as also for its operations in Khyber Pakhtunkhwa and Fata, is that leadership regarding development and the rehabilitation of the internally displaced should remain with civilian institutions and communities, otherwise no effort to improve the situation would be sustainable and the money spent would be wasted.
The report notes that as "more and more districts come under Taliban control, despite US claims of substantial progress, and the insurgency spreads to areas regarded until recently as relatively secure, displacement and humanitarian needs are also rising. The US-led counter-insurgency doctrine that aid should consolidate military gains has been at best unsuccessful, if not counter-productive."
There is an unexplainable disconnect between what the doctrine states, for instance, in the Field Manual 3-07 of the US Army dealing with stability operations and what actually is happening. The manual highlights the importance of legitimacy as the basis for military actions. Legitimacy of action is considered, "the cross-cutting principle central to building trust and confidence among the people. Legitimacy is a multifaceted principle that impacts every aspect of stability operations, from any conceivable perspective".
However, in reality one finds that the principle is not followed by either the US or Pakistan military.
The following examples would suffice. About two years ago, the US decided to eliminate Taliban field commanders in Afghanistan through night raids. In many cases these raids, that now average 15 to 20 per night, resulted in the deaths of scores of innocent persons including women and children. These actions were not only a violation of human rights, they were also illegitimate in the eyes of the Pakhtuns, who were the target of such actions.
The violation of the sanctity (purdah) of the home of a Pakhtun is considered repugnant by him and is a matter of shame (sharam) that can only be restituted by revenge (badal); if it can't be avenged by the affected family, then it becomes incumbent upon the larger clan to seek vengeance. Thus a 'black ops' or a drone attack may achieve the immediate objective but invariably leaves behind others seeking to avenge the deaths; it is a cultural compulsion generated by the Pakhtun code of conduct or Pakhtunwali.
Similar instances abound in Pakistan's case. One of the most violent Swat Taliban, Bin Yameen, who earned notoriety during the militants' rule in Swat from 2007 to 2009 went to Afghanistan in November 2001 accompanying Sufi Mohammad's lashkar to support the Taliban.
He was captured and after returning from captivity was working in Peshawar when he was arrested at night along with his wife from his house. He felt dishonoured. After interrogation and before his release he told his interrogators that he would extract revenge by slitting the throats of any security personnel he captured. Later, he returned to his native Swat, joined the extremists and beheaded many captured security officials.
Such cases of cultural insensitivity committed by security forces abound in both Afghanistan and Pakistan and fuel the war.
Another area where legitimacy and violation of the rule of law cause problems is in the matter of arrests; it is common practice that when a person is picked up during military operations in Afghanistan, he is interned in one of the many 'black prisons', where a person is interrogated in a forceful manner.
A similar situation prevails in Pakistan, where even after more than a year since the conclusion of active operations in Swat, there are still a considerable number of persons in military custody; their families and relatives live in anguish.
Long detentions without trial and the conduct of night raids in Swat as in Afghanistan are becoming a point of anger in the population. This will prolong the violence that is consuming Fata and Khyber Pakhtunkhwa and make it an issue of conflict with the state.
In the case of arrests, legitimacy demands the handing over of the accused to the police for investigation under the law. The reluctance to observe the rule of law in matter of detention causes bizarre results. On the one hand, it leads to creation of monsters like Bin Yameen; on the other, since the legal process is not followed, it leads to court acquittals.
To absolve the military of future indemnities, Pakistan recently promulgated an anti-insurgency regulation for Fata and Pata that allows for indefinite detention of persons. Such a law tramples on the concept of legitimacy as it violates fundamental rights.
Thus short-term solutions cause problems to multiply rather than be resolved. It is, therefore, not surprising that, with the exception of the PPP, all major political parties in the country have condemned the new anti-insurgency regulation. Although the ICG report deals with Afghanistan, many of its prescriptions are equally applicable to Pakistan and we could learn valuable lessons from it.
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# Details: Greetings mine loved and unique O.........!!!!!!
strongly and more strongly, that you now as are lonely as well as I!
you for a hand, and never to not release any more from myself!!!
I very strongly love you my kid!
of my girlfriend, Her I call Julia.
I send you of 1000 most gentle kisses!!!
please, this page look you. I have often written to you that I have nothing secretly on the Internet. As you can answer this to me well? This photo very much looks like you.
Excuse Christina but I will not send money so long until I do not have the papers which I would like to have of you. This is my last word to this. The papers are easy to get and this know you. Do not misunderstand it, I am not angry with you if you also make something like that because it is definitely known for me as it is in the country among you. High unemployment, no view of a future. But this is not the right way. You have never asked me for money what surprises me. I do not know at all now what is right or wrong. I know this only when I have your documents. Why do I not get these?


I launched a YouTube channel! Please watch my very first video, an unboxing of my favorite toy, an LOL Doll. And don't forget to subscribe so you can see more videos when I post them!
It's been quite a year! So many things happened with so many changes. Here are my very favorite moments captured in photos.
6th Birthday and a Big Surprise!
I'm a bit too tired to write anything so I'm just going to leave this right here.
What a day visiting with Baba and Dido! We had so much fun with our friends Adrianna and Lexie. Went on a massive egg hunt. My crazy brother went on the roof. Daddy chased us around pretending to be a monster. Uncle Mark took us on a super duper fun boat ride. We saw the Easter Bunny waterskiing. And what else…. oh yeah, CANDYYYYY!!!
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text:
Tag Archives: Across The Universe
In 1973 while John Lennon & Yoko Ono were living in NYC, their marriage hit a rough spot. They separated for 18 months & he relocated across the country to California. Ono often referred to that time as Lennon's "lost weekend". But despite the state of his marriage, Lennon was incredibly busy making music during those months. He recorded two solo albums-1974's Walls And Bridges and 1975's Rock & Roll. He also worked with Elton John on his cover of "Lucy In The Sky With Diamonds" & Lennon's song, "Whatever Gets You Through The Night" (Day 246). He & Ono reconnected backstage at John's concert in November 1974, but Lennon was not done making great music.
He collaborated with David Bowie on a cover of "Across The Universe" and today's song. Lennon co-wrote the track, played guitar & did the backing vocals as well. It was released on June 28, 1975 and by September of that year it hit the top spot in the country for two different weeks. It was Bowie's first #1 hit in the United States.
In October 1975 Lennon turned 35 and became a father for the second time. The following year, he received his green card after years of fighting with the U.S. government for it. He finally became a permanent resident of NYC, where Bowie had moved to the year before. They remained friends until Lennon's death in 1980.
"Fame what you like is in the limo
Fame what you get is no tomorrow
Fame what you need you have to borrow
Fame".
L-R: David Bowie, Yoko Ono & John Lennon backstage at the Grammys in 1975. Photo by @kwamebphoto. (Image found online. Original source unknown.)
David Bowie (featuring John Lennon): "Fame" (1975, written by Carlos Alomar, David Bowie and John Lennon).
1975, Across The Universe, Carlos Alomar, David Bowie, Elton John, Fame song, John Lennon, kwamebphoto, Lucy In The Sky With Diamonds, Rock & Roll John Lennon, Walls & Bridges John Lennon, Whatever Gets You Through The Night, Yoko Ono	Leave a comment
On April 11, 1970 The Beatles hit the #1 spot in the country for the first of two weeks with "Let It Be" (the song, featured here on Day 26). The album of the same name would hit #1 for four weeks later that year beginning in June. Ironically it knocked Paul McCartney's solo album, McCartney. out of the top position where it sat for three consecutive weeks.
But I think that is only fair since he officially announced The Beatles had broken up just one day before their song topped the charts, shattering the hearts of fans around the world forever. Six years after they landed in America to make history on "The Ed Sullivan Show", they changed the course of music once again when they disbanded. I refer to it as the other day the music died.
"Limitless undying love
Which shines around me like a million suns
It calls me on and on
Across the universe".
The Beatles in a still from their 1970 rocumentary movie "Let It Be": (L-R): Paul McCartney, George Harrison, Ringo Starr & John Lennon. (Image found online. Original source unknown.)
The Beatles: "Across The Universe" (1970, written by John Lennon and Paul McCartney).
1970, Across The Universe, George Harrison, John Lennon, Let It Be, Paul McCartney, Ringo Starr, the Beatles	Leave a comment
I know we are in a serious situation, but I need a break from the gloom, doom and bullying by way of hoarding. Music has always been my refuge and watching those beautiful Italians singing to each other from their balconies reaffirmed my belief that music is the answer. So until the old normal returns, I am going to share a song I listen to that helps me escape the current state of things, if only for a few minutes each day. And if this helps anyone else, even better.
Today's artist comes from a musical family. Rufus Wainwright's parents are American songwriter, folk singer, entertainer & humorist Loudon Wainwright III and Canadian folk singer & songwriter Kate McGarrigle. She & her sister, Anna, formed the duo, The McGarrigle Sisters, in Montreal in the 1960's & continued together until Kate's death in 2010. Their songs have been covered by many artists including Marianne Faithful, Emmylou Harris and Linda Ronstadt, most notably her cover of "Heart Like A Wheel" which was written by Anna.
Wainwright was born in Rhinebeck, NY in 1973 and his sister, Martha Wainwright (also a singer) was born three years later, the same year his parents divorced. That sent his mother back to Montreal to raise her two children. Wainwright started playing piano at the age of six and by the age of 13 he & his sister were touring with their mother and aunt as "The McGarrigle Sisters and Family". He developed a strong affinity for opera music around that time and went back to New York for high school. After that he moved back to Montreal where he began playing the club circuit. That is how he was discovered and by 1998 his self-titled debut album was released. However, he continues to perform with his family on various musical collaborations.
In a 2004 interview with the AP, Elton John called Wainwright "the greatest songwriter on the planet". In addition to writing his own songs, he has also done outstanding covers of Leonard Cohen's "Hallelujah" (Day 161) for the "Shrek" soundtrack & The Beatles "Across The Universe" featured in the "I Am Sam" movie. My favorite song of Wainwright's is from his third studio album, "Want One" and features an orchestra & choir arrangement. As lovely as the original track is, today's interpretation only has a piano accompaniment to his elegant vocal. You will notice at the 2:07 mark of the video that he is playing that instrument with just one hand. There is something so exquisitely beautiful about a simple acoustic number. And this version is one gorgeous example of how less is more.
"My phone's on vibrate for you
But still I never ever feel from you
Pinocchio's now a boy who wants to turn
Back into a toy".
Rufus Wainwright circa 2000. (Image found online. Original source unknown.)
Rufus Wainwright: "Vibrate" (2003, written by Rufus Wainwright).
Across The Universe, Anna McGarrigle, Elton John, Emmylou Harris, Hallelujah, Heart Like A Wheel, I Am Sam, Kate McGarrigle, Leonard Cohen, Linda Rondstadt, Loudon Wainwright III, Marianne Faithful, Martha Wainwright, Rufus Wainwright, The McGarrigle Sisters, The McGarrigle Sisters and Family, Vibrate song, Want One album	1 Comment
Let's Take A Moment Day 26
Fifty years ago-April 11, 1970-today's song hit #1 for the first of two consecutive weeks. The day before, Paul McCartney announced he had left The Beatles, signifying the end of the greatest band the world has ever seen. In the six years between when they landed in America until they broke up, they took us from "She Loves You" to "Sgt. Pepper's Lonely Hearts Club Band", from "Can't Buy Me Love" to "Come Together" from "All My Loving" to "Across The Universe". They changed the sound of music, the face of music and the feel of it as well. Thank you John, Paul, George & Ringo for the phenomenal ride.
"And when the night is cloudy,
There is still a light that shines on me,
Shine until tomorrow, let it be."
The Beatles: "Let It Be" (1970, written by John Lennon & Paul McCartney).
Across The Universe, All My Loving, April 10 1970, April 11 1970, Can't Buy Me Love, Come Together, John Lennon, Let It Be, Paul McCartney, Sgt. Pepper's Lonely Hearts Club Band, She Loves You, the Beatles	4 Comments


text:
Recipe remix
Lana Grant has local musicians dishing on their favourite foods for her community cookbook Musicians, Memories & Morsels.
By Melissa Buote
Rose and Kettle Concerts makes a mean mincemeat.
"I love to cook," says Lana Grant. "And I've always wanted to do a cookbook."
That simple sentence, a breezy thought that has run through many a mind, led to an involved year-long project for Grant, who is best known for her 20 year career as a singer-songwriter. With help from a wide range of local musicians—and her collaborators, Adriana Afford and Darren Hubley—she has just released her first cookbook, Musicians, Memories & Morsels.
The book is, at its heart, a community cookbook—an arts community cookbook, to be more specific. A coterie of artists from the vast east coast music community offers up tales from their kitchens and every day recipes that are near and dear to them. Grant took her influence from church and community cookbooks, with their simple design aesthetic and, perhaps most importantly, their coil bindings.
"All I had in my mind was community and church cookbooks: I love the coil binding, I love that you write 'This is a great recipe, four stars!' on the pages," says Grant. "I wanted it to give that same feeling: when you read a story and a recipe, that it's a part of that person."
"I think people were hungry—no pun intended—for something different," she says. "A way to express their love of east coast music in a very different way. And I think the thing that is really going to set this book apart is that it's not just a cookbook, it's really about the people: it's emotional stories and insights into the artists that they wouldn't normally share with you."
Artists like Melanie Doane, In-Flight Safety, Rich Aucoin and Jenn Grant give recipes for everything from tuna melts to seared scallops with blueberry bacon jam. Ever a wordsmith, Al Tuck offers a backwards look at some G-rated childhood bootlegging, with a wayward tale of homemade root beer distribution. Stories are cute, funny, nostalgic and sweet. Most of all, they are full of personality.
"These stories are the heart of cooking that people sometimes forget about," she says. "So many cookbooks just have the recipes—they don't have heart. In some of these stories you feel the moment where they're experiencing the food, or a personal memory. It's exciting."
Whether the memory comes from time with their families or time on the road, it's a personal connection to the food that is at the core of all of the artists' stories.
Folk singer Kev Corbett's decision to participate in the book was simple. "I already write songs about farmers' markets, about food as ritual and metaphor," he says. "I've known Lana since 1998 and I'll support anything she does, particularly when the fit is this obvious."
It was Corbett's chance encounter with a taco truck during a 2010 tour was the inspiration for his contribution, a fish taco recipe.
"I love their perfect sidewalkiness, simplicity, freshness, and lack of props," he says. "The ceviche taco is something I made up, like a song, as a backflip over my own idea of taconian perfection, and is no less of a hedonistic joy. It's like a love song to pleasure."
Grant would say the same thing about the book itself.
"It's a good-feeling project," she says. And she hopes to keep that feeling going. "I'm hoping that next year, if I can do it, I'd love to put together a Christmas CD featuring some of the artists from the cookbook and give it another life. Then," she says, "then I'd like to do a second book."
For now, Musicians, Memories & Morsels is available at Argyle Fine Art Studio, Comfort & Joy Stores in Bedford, Dartmouth and Halifax, and Vibe Energy in Cole Harbour.
What defunding the police means in Halifax
COVID cases, hospitalizations and news for Nova Scotia on Tuesday, Jan 18
Latest in Food
Halifax's first community fridge to combat food insecurity and stigma
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Re: People's court
Thanks for sharing this! All the best!
Posted by: Cole Byrne on Dec 21, 2021
By Team Coast
Making peace with two years of COVID


The memo also orders the withdrawal of all final or proposed regulations not yet published by the Federal Register. Department and agency heads have also been asked to "consider extending for 60 days the effective date of regulations that have been published in the Federal Register but not yet taken effect".
This would affect EPA's proposed exemption of milk containers from the SPCC regulations.
See Washington Post article for more details.
On Dec 11, 2008, EPA issued its final rule on adjusting its maximum civil penalties for inflation. For example, under the Clean Water Act, RCRA, Clean Air Act and CERCLA (Superfund law), the maximum statutory penalties are now $37,500 – a substantial increase from the original $25,000.
Did you know that milk comes under the Spill Prevention Control and Countermeasures (SPCC) regulations? It is true. SPCC covers all petroleum products and any kind of fat – including animal fat. Since milk contains animal fat, it is regulated under SPCC.
EPA issued a press release today proposing to exempt milk containers from SPCC regulations. For more details, go to EPA's SPCC web page.
At a refinery near Dumas, Texas, in February 2007, a water-containing pipe froze and cracked, releasing high-pressure liquid propane; the resulting fire burned three workers and caused more than $50 million in property damage. In January 2001, two workers burned to death at a large Indiana steel mill after they were sprayed with flammable gas condensate, which ignited. The accident occurred after ice had cracked and damaged a valve in the mill's coke oven gas distribution system.
The US Chemical Safety Board just issued a video on the need to properly winterize pipes and connections to prevent major chemical accidents.