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Category: Best of 2017
January 4th, 2018 — 1:14pm
The Year's Best Coverfolk Videos (2017)
Living room covers, live cuts, in-studio sessions & more!
January 1st, 2018 — 5:29pm
By its very nature, the cover celebrates iteration over song. And our Year's Best Coverfolk Videos collection was originally envisioned as a way to acknowledge that, by celebrating in their "native medium" those performances which truly lose something essential when what we see is separated out from what we hear – an approach which favors live and in-studio performances over produced videographic content, and generally eschews the promotional post-recording "music video".
How we celebrate this specific source and its coverfolk has come in and out of fashion here at Cover Lay Down, growing from a single category in our Year's Best Coverfolk Albums features as recently as 2013 to a two-parter, with separate features for our top Coverfolk Video Singles and The best cover sessions, sets, and series, in 2015. This year, any attempt to commodify just "the native ones" is further complicated by the facts that a) we're much later than usual, and b) despite previous-year concern that stripping the visuals from these multimedia texts potentially undermines their in-the-moment intent, we did it several times this year, most often in service to themed features where the startling-yet-intimate eye-candy atmosphere of a video might interrupt or even overwhelm the tonal focus of the writing itself.
In turn, although we tried to stick to those which stood on their own as audio-only, our trend towards flattening videos into Mp3s seems driven by a prioritization of the personal over the critical here on the blog as life grows ever more complicated, and what was once a twice weekly behemoth has become a less frequent but – we hope – in many ways a more deep ethnographic exploration of the ways in which the folkways influences both artists, and us. But this, too, is not so much a problem as an artifact of what we do, exactly: to live as a coverblogger is, after all, to embody the give-and-take ownership between artist and listener, both on a mass scale and on a very personal one.
Call it an artifact of context over convenience, then. Although a few performances we originally discovered on video (including great cuts from YouTube-to-TV stars Holly Henry and Janet Devlin, frequent-flyer and indie-slash-electrofolk genre-crosser Nataly Dawn, a lovely series of 10 covers of Canadian artists presented in honor of Canada's 150th anniversary by Bailey Pelkman, and a wonderful Outkast cover from vocal popgroup Pentatonix' departed bass-man, all of whom will appear in our Best Singles Mix) do in the end stand up just fine as audio-only cuts, we still believe that, in the ideal sense, the very design of at least some subsection of the vast array of 'tube-sourced recordings that populate the sharing sites beg to be experienced in their native medium. For now, anyway, and for this year.
And so – while we finish curating our Best Coverfolk Singles Mixtape of 2017 (which we intend to release soon!), and wait for the last guests to wake up, eat breakfast, and depart from for our annual early-bird New Years party – Cover Lay Down proudly presents our very subjective favorite videographic performances of 2017, an amalgamated mix of 13 favorite singles and coverset selections. Enjoy, and Happy New Year!
The Year's Best Coverfolk Videos, 2017
Kina Grannis: When You Come Back Down (orig. Nickel Creek)
Kina Grannis is welcome and well-celebrated here on Cover Lay Down; she was one of the very first YouTube stars, and one of our first YouTube discoveries. But Grannis has been on fire this year, releasing a mix of sparklingly well-produced single-shot video covers that trend towards the polar ends of coverage, the undone and the redone: this year's gems include stripped-down recasts of rap and pop tracks such as Coolio's Gangsta's Paradise, Jimmy Eat World's In The Middle, and Khalid's Young Dumb & Broke, and softer folk and indie sources such as Bob Dylan (Blowin' In The Wind), Etta James (At Last), and Sting (Fields of Gold), which, although closer in tenderness to the originals, nonetheless leave us breathless. Here, in her final cover of the year, she takes on our favorite Nickel Creek song, joyfully and with eyes half-closed, as always – and we're glad, indeed, that she knows it, and has the chops to do it so well.
Passenger: A Change Is Gonna Come (orig. Sam Cooke)
The thirteen coversongs that comprised Passenger's Sunday Night Sessions – a set of video occasionals, with takes on Van Morrison, The Rolling Stones, Tracy Chapman, Bill Withers, Don McLean, Joy Division and more, recorded and filmed on location as the artist and his band toured the world – comprise a would-be hands-down favorite this year in our annual look at the single-artist cover series. The songs have since been recast and released as a ten-track streaming-only covers album, and it was mighty tempting, indeed, to include the album in our Best Coverfolk Albums rundown earlier this week – but the site-specific energy of these covers are so potent an addition to their musicality, in the end, we saved them for fuller feature here.
Tallest Man On Earth: Both Sides Now (orig. Joni Mitchell)
The Light in Demos is a pensive and deeply personal acoustic video project after our own heart, produced, written, directed, recorded, shot and edited entirely by Swedish artist Saras Per Kristian Matsson, also known as The Tallest Man on Earth. Eight songs in, the set includes six reworked and unfinished originals which bring new life and resonance to the growing search and songbook of one of our favorite musical explorers, and two covers: A Nick Drake familiarity, and this, "the best song in the world", performed barefoot and with ringing reverb that brings a layer of stillness and eternity to both song and setting.
Announced just last week as recipients of one of Club Passim's newest Iguana Music Fund grant recipients, Boston-based production-house Red Line Roots' Old Spruce Sessions are recorded largely in found spaces, in off-stage moments borrowed from touring artists. Unlike their previously-celebrated Locals Cover Locals collections, a Bandcamp-sourced product chock full of predominantly singer-songwriter and small folk duo-and-trio performances, their video series is heavy on the earthy and organic, chock full of bluegrass and old-timey stuff; lo-fi delights worth celebration include a multitude of up-and-coming artists' originals, Billy Strings' backstage take on Cocaine Blues, and two Beatles covers: a gentle take on Norwegian Wood filmed in the attic of a rural Vermont town hall, and this tense, terrific wonder from deconstructed bluegrass quartet Twisted Pine, recorded in the fields of this year's Green River Festival.
Darlingside: 1979 (orig. Smashing Pumpkins)
We've shared versions of this cover before. And we've loved video of it, too, such as this 2015 Kitchen Sessions performance, which arguably maintains a bit more in-the-moment fast-paced energy. But this one is balanced and pristine – the perfect, grungy-yet-polished final cut we've been waiting for since we first heard Darlingside's arrangement of this Smashing Pumpkins tune raw and barely rehearsed in the fields of Falcon Ridge, where we first discovered the band, perhaps the perfect ambassadors for what well may be the newest branch of folk. Subscribe to Under The Apple Tree for more strong video coverage, too, including a potent full-band posthumous cover of Tom Petty's Free Fallin' from Robert Vincent, a slow and gorgeous three-part harmony take on Dolly Parton's Jolene, and a beautiful live take on Dire Straits tune Brothers In Arms from Xander & the Peace Pirates which almost, almost, took the place of the above.
Walk Off The Earth: Shape Of You (orig. Ed Sheeran)
Though they're more an acoustic rock band than a folk act, the cheerful, playful work of Hawaiian video project Walk Off The Earth, whose work is almost always designed to be seen as much as heard, has thrilled us before – see, for example, their lovely cardboard video for Malvina Reynolds song Little Boxes, which we raved about five years ago, and last year's sunny version of The Chainsmokers' Closer. This year, tightly choreographed, highly percussive and energetic performances continued to be the norm, and along with a campfire tribute to Tom Petty, this Ed Sheeran earworm is one of their best. With over twelve million views on YouTube already, you've probably heard it before – but it's catchy, gleeful, and worth hearing again.
Katie Ferrara: Tangerine (orig. Led Zeppelin)
We featured LA busker and bar-singer Katie Ferrara back in July, celebrating her "convertible-top-down folk-pop powerhouse" EP with "a well-produced, subtly sensational, and eminently summery doozy of a Creedence cover" that matched in-studio recording shots with dreamy images and video from a recent flight from Miami. But there's something lovely and intimate about Ferrara's new Lemon Cat cover sessions, appropriately filmed against a yellow background, and all from December. Click through for more, including an electric take on Bob Marley's Turn Your Lights Down Low, and – as if to justify our late entry into the universe of 2017 – her sultry version of Aerosmith's Crazy.
Jeffrey Foucault: Senor (Tales of Yankee Power) (orig. Bob Dylan)
Like a few others on this year's Best Videos list, we shared this cut first via our Facebook page – in this case, way back in February, along with another of Jeffrey Foucault's political covers, originally by Danny O'Keefe by way of Chris Smither, which seems to exist only on the etherial social space, and thus confounds our ability to embed it here. But these stark, faceless, sepia-toned videos from the current champion of dustbowl despair ache with angst and anger, offering perfect settings for the songs themselves. They still haunt us, and they should.
Mark Broussard: Sweet Baby James (orig. James Taylor)
A slow-release February-into-March mostly-covers session with his father Ted playing alongside him converted us, instantly, into fans of the soulful Marc Broussard – and sent us scrambling to collect the entire set, including their takes on Do Right Woman, Do Right Man, Loggins and Messina classic House at Pooh Corner, and a slam-dunk version of Somewhere Over The Rainbow dedicated to a very special lost soul. Simple yet nuanced, this bluesfolk is bare and bare-bones, as it should be….and should Broussard decide, after all, to record a for-charity children's lullaby album, we'll be one of the first in line to help push it into the world.
Rus Reppert: Fly Like An Eagle (orig. Steve Miller)
It's dark, and cavernous – like the deserted warehouse in which it was filmed – and maybe that's the point. And it's a loop cover – which, for the uninitiated, means it's built live from the ground up, just one man and a solo guitar, and a set of pedals to control it all. For all these reasons and more, this December-filmed, February-released Steve Miller cover from West Virginia songwriter Rus Reppert absolutely, positively belongs here on our Best Videos collection; strip the visuals, and you'd lose both the darkness and the intimate immediacy of it all. Follow the threads, too, to Candyrat Records, which is chock full of utterly stunning live acoustic fingerstyle covers and originals, most without lyrics.
Upstate Rubdown: I'm Looking Through You (orig. The Beatles)
We made some wonderful new discoveries and a host of great memories at Falcon Ridge Folk Festival this year, but it was hard not to love Upstate Rubdown, a down-to-earth all-acoustic "big band" from New York's Hudson Valley region whose music fuses folk, roots, funk, swing, and more, and every performance is a party and a half. We named this video one of our Year's Best the moment we found it, and we don't regret the early call one bit.
I'm With Her: Send My Love (To Your New Lover) (orig. Adele)
This bass-and-vox cover from indiefolk supergroup I'm With Her, recorded live on their American Acoustic tour over the summer, was released "on all streaming/downloading apps" as a benefit recording for Thistle Farms, a Nashville-based nonprofit that heals, empowers and employs survivors of trafficking, prostitution and addiction. Switch out the video, though, and you'd miss both the intimacy of the performance, and the way the high, stark contrast of black dresses and blond wood stage reflects this every-note-counts homage to Adele.
The Sea The Sea: I'll Keep It With Mine (orig. Bob Dylan)
A transformed Dylan tune filmed and recorded live mid-year by way of introduction to old friends (and now married couple) Chuck and Mira's newly expanded foursome, still playing under the The Sea, The Sea moniker. A tight, controlled percussive sound and lush vocals that nonetheless retain the careful and sparse arrangements typical of their performance. After this fishbowl fantasy – and a lovely tree-side Concert Window session of holiday songs and carols that filled our own living room the night we brought our own tree home – we're looking to have them back to our Unity House Series as soon as we can find a date.
Comment » | Aoife O'Donovan, Best of 2017, Darlingside, Ed Sheeran, James Taylor, Jeffrey Foucault, Kina Grannis, Passenger, The Sea The Sea, YouTube
Tributes, Tradfolk, Compilations & more!
December 28th, 2017 — 11:44pm
Every year at around this time I take a moment to reconsider: both how we do this, and whether to do it at all.
But although the folkgenres are slippery, and the question of what and what is not folk enough for the blog continues to elude clear delineation, there is still this love inside me: for the way a song recreated can tie together the memory, the culture, the heart, and the mind. It's like a form of meditation, an approach to wholeness. The urge remains.
And so, here we are, at year's end again, sifting through a year of that aching in the chest, the surge of joy and gladness, the still moment by the hearth or in the sun, that sudden song on the radio that hits you so hard you have to pull over, panting and sobbing, into the nearest grassy patch, and just feel.
Which is to say: it was a wonderful year for coverage, if not always for blogging it. The soundtrack of our struggles and sorrows, our travels and triumphs, was spiked with hope and beauty, empathy and grace. And coming back to it at year's end again brings closure, of a sorts, even as it reminds us to keep our love near and dear, and cherish that which has made us, and will make us whole once again, lest it fade into the night, and be lost to the world.
And so we embrace the pensive purpose of Winter by sharing with the world our wholly subjective pleasures, once again carefully curated and celebrated, the better to bring the community closer, and the music more sustainable.
From the smooth to the ragged, then. From the delicate to the deep. From the bringers of light to the media of our melancholy; from the hoot and holler to the hushed and harmonic. From all corners of the broad tent that spans the folkways, shading it from the harshest of weather and whim.
Cover Lay Down is proud to present our Best Of The Year, starting with our very favorite folk, roots, bluegrass and Americana tribute albums and covers compilations of 2017 – with thirty five albums and over fifty songs in all, and all beloved. May your winter, too, be filled with the light of a year gone by.
+ The Wailin' Jennys, Fifteen
+ Mark Erelli, MIXTAPE!
+ The Sumner Brothers, To Elliot: In Remembrance of Wolf
+ Misner & Smith, Headwaters
+ Travis Knapp, Wintery Mix 2018
+ Ane Brun, Leave Me Breathless
+ Shelby Lynne & Allison Moorer, Not Dark Yet
+ Eric Brace, Cartes Postales
It's nice to see familiar faces atop this year's solo artist list. Reassuring, too, to recognize that though their sounds are distinctive in every case, all six of the artists whose covers albums lingered longest and – as a consequence -
were loved most here at Cover Lay Down in 2017 define themselves as folk in one way or another.
But after winnowing down past a strong field of honorable mentions, our final solo-artist Best Covers Albums list for 2017 is also notable in that it is representative, in its way, of the two separate threads which intersect here at Cover Lay Down. For in just four albums, we find both the vast breadth and diversity of contemporary folk – itself a mode or subgenre hard to define – and a pitch-perfect spread of the various approaches to considering source material in choosing coverage for the covers album, most especially as an increasingly de rigueur mid-career movement in the artistic community.
Call it a tie for first, then. On the one hand, The Wailin' Jennys, still at the very peak of their sound fifteen years after their founding (and five since we featured their coverage in full): a deliberately lush, gentle, sweetly arranged trio of voices in tender treatment of well-beloved sadsongs, celebrations, and ballads from Patty Griffin, Neil Young, Emmylou Harris, and other beloved songwriters of the folk-and-beyond community. On the other, local hero and Americana troubadour Mark Erelli, whose Kickstarter we celebrated a few months ago, wringing raw, almost primal soul from Mixtape, his thirteenth outing, an oddly comforting spread of popular songs from Richard Thompson to Phil Collins rebuilt from the inside out – technically not fully released until mid-January, but easy to preorder, and too amazing to hold back on now. Taken as ethnographic mile markers, they offer a field tender and intimate, triumphant and torn: albums to take us anywhere, and back.
A strong second this year goes to another surprisingly representative pairing from a slightly younger generation which also matches slow and broken with upbeat precision. First, Headwaters, the fifth album from California duo Misner & Smith, and their first covers compilation; a homespun collection that finds Sam and Megan, a pair of actors-turned-folk rock/Americana band, yawing wide as they bring diverse songs and influences from The Talking Heads and Dr. Dog to Gram Parsons and The Lovin' Spoonful into their own sharp and distinctive harmonic register. Alongside it: Vancouver alt-folk band The Sumner Brothers, whose traded vocals drip with Van Zandt heroin and dust as they meander through a host of slower alt-country songs on To Elliot: In Remembrance of Wolf, wringing hoarse depth and angst from Springsteen's ghosts, Warren Zevon's western saloon town, Hank Williams' morose guitar, Jolie Holland's timeless bluesfolk, and more. Both Headwaters and To Elliot are short – just 8 tracks – but cohesive, easily transcending the brevity of the EP format, providing a full and immersive experience for new listeners and long-time fans the respective duos.
And those honorable mentions? Almost too many to mention – it was, in the end, a banner year for coverage. Favorites include wonderful albums from Travis Knapp (whose tenth annual Wintery Mix, released just last week, offers a perfectly imperfect collection of bedroom folk covers of Anais Mitchell, Marc Cohn, Amos Lee, Chris Stapleton and more, on piano, banjo, and guitar), Ane Brun (whose Leave Me Breathless does, with a dreamy folkpop vibe that fans will find both comforting and crystal clear), Eric Brace (whose Cartes Postales, released last month on Red Beet Records, is a fun, jazzy, squeezebox-and-clarinet driven croissant of a tribute to the French-language favorites of his father's generation) and Allison Moorer and Shelby Lynne (some of whose slippery country fried rockers, like the hard-edged Nirvana classic Lithium, hardly count as folk, though overall, Not Dark Yet – the first collaboration between these siblings – is a true-blue delight). Ah, such riches.
The Wailin' Jennys: Wildflowers (orig, Tom Petty)
The Wailin' Jennys: Not Alone (orig. Patty Griffin)
(from Fifteen, 2017)
Mark Erelli: Brokedown Palace (orig. Grateful Dead)
Mark Erelli: Ophelia (orig. The Band)
(from Mixtape, 2017)
Misner & Smith: It Makes No Difference (orig. The Band)
Misner & Smith: Return of the Grievous Angel (orig. Gram Parsons)
(from Headwaters, 2017)
The Sumner Brothers: On The Evening Train (orig. Hank Williams)
The Sumner Brothers: The Ghost Of Tom Joad (orig. Bruce Springsteen)
(from To Elliot: In Remembrance of Wolf, 2017)
Ane Brun: I Want To Know What Love Is (orig. Foreigner)
(from Leave Me Breathless, 2017)
Travis Knapp: No Heart No Pain (orig. Tenzin Chopak)
(from Wintery Mix 2018, 2017)
Shelby Lynne & Allison Moorer: Lungs (orig Townes Van Zandt)
(from Not Dark Yet, 2017)
Eric Brace: Nuages (orig. Django Reinhardt)
(from Cartes Postales, 2017)
+ Genevieve Racette, Covers
+ Erin Drews, Caught, Kept
+ Mia Mallet, Chapter One / Chapter Two
+ The Chinworth Brothers, Six Songs
+ RM Hubbert, Recovery (EP1)
+ AJ Lee, Aj Lee
Sometimes, simple is best. Take, for example, Caught, Kept, a precious four-track released way back in February from Minnesotan amateur Erin Drews – a perfect teaser for her full album of originals, released in May – which captured our heart and ears with throaty voice, etherial harmonies, and the gentle strum of the singer-songwriter diamond in the rough. Or Montreal-based Genevieve Racette's pitch-perfect transformations of Bonnie Raitt and Nirvana, Dylan and The Beatles, hushed and lush, tense and true, with sparse synths over floating indie guitar and sweet, supple voice. Or Parisian songstress Mia Mallet's two tiny, gorgeous, hollow lo-fi covers EPs, with their ringing piano and airy, layered voices that leave us weak.
If it was, as they say, a very good year for the shortform covers collection, it was thanks primarily to a spate of independent Bandcamp sets like these, from a host of bright rising stars, previously undiscovered. Like The Chinworth Brothers, who turned in a six song powerhouse, split evenly among soaring-yet-earnest traditionals and startlingly non-traditional indiefolk-and-more treatments of Elliott Smith, Phil Ochs, and Sashatchewan singer-songwriter Andy Shauf. Or Glaswegian RM Hubbert's "sincere and melancholic" EP Recovery, a broken, rusted artifact from the anti-folk junkyard which broods its way into our psyche.
In the end, of all these amateur and truly indie tiny loves, it is Racette's Covers that edges out ever so slightly over the rest – if only for the diversity of sound it packs in so tight a space, and the poise it manages to maintain between pristine and purposeful as it takes on the small canon. But all of these small albums deserve our respect and celebration, nonetheless.
Still, let us not forget, at least in passing, our one exception to the Bandcamp trend this year: young California bluegrass breakthrough AJ Lee's self-titled EP, an eagerly awaited delight "paying tribute to…the founding voices of [the] California cosmic country sound" via songs by Gram Parsons, Merle Haggard, Gillian Welch, and Bob Dylan which arrived in hard copy. Tight and highly produced alongside a four-piece band, the songs evoke the rich summery sound of the originals, with perfect Grateful Dead vibe and harmonies on Herb Pedersen's Wait A Minute the crowning glory of a still-growing career. A rich field, indeed – like folk, and like the songs it brings together.
Genevieve Racette: I Can't Make You Love Me (orig. Bonnie Raitt)
Erin Drews: Lakes Of Canada (orig. Innocence Mission)
(from Caught, Kept, 2017)
Mia Mallet: Gravity (orig. John Mayer)
Mia Mallet: Falling Slowly (orig. Glen Hansard and Markéta Irglová)
(from Chapter 1/Chapter 2, 2017)
The Chinworth Brothers: Pitseleh (orig. Elliott Smith)
The Chinworth Brothers: Willie Of Winsbury (trad.)
(from Six Songs, 2017)
RM Hubbert: The Freed Pig (orig. Sebadoh)
(from Recovery (EP1), 2017)
AJ Lee: Tomorrow Is A Long Time (orig. Bob Dylan)
(from AJ Lee, 2017)
The Year's Best Covers Compilation (multiple artists)
+ Burst And Bloom 50
+ Sad! A Barsuk Records Compilation for the ACLU
As has sometimes been the case – see, for example, last year's Best Of collections, which featured covers albums from Fast Folk, tribute-house American Laundromat Records, and a third iteration of Locals Covering Locals from production house Red Line Roots – digital-only label-driven navel-gazing held sway in the world of mixed-bag covers compilations again this year, a trend which pushes the boundaries of our focus on folk, and on the very concept of album. We say this not to denigrate the category – there's much to celebrate here – but mainly to warn those lulled into a sense of delicacy by the previous category winners that folk is a wider tent, and the alternative crowd is where the labels often live and breathe great coverage.
Enter exhibit A: Burst and Bloom, a small, independent record label and book publisher based in the increasingly hip seaside town of Portsmouth, NH, which came out of nowhere this year to blow us away. We'll see more of their loving curatorial work in our Best Tribute Albums below, too, thanks to a 2 CD tribute to Brown Bird. But here, in our compendium of mixed-artist covers albums, it is Burst & Bloom 50, a loving tribute to the label's own roster in celebration of their fiftieth release, which nets our highest honors, as a stunning, raw gem, with 25 covers, no more than one per original record, comprising a discomforting set which vibrates on the edge of freakfolk, alternative grunge, and other underground sounds associated with but not always squarely under the folktent.
And who cares if we don't know the originals or recognize most of the original artists? The Burst & Bloom collection serves its purpose, sending us into the back catalog, starting with 2009 release 'All My Friends Are Right Here With Me', a CD compilation of fringefolk artists covering songs by the indie-folk collective Tiger Saw, 2012′s Lucky Numbers, a tribute to indie DIY rock and soul legend Viking Moses, who has toured with Jason Molina, Phosphorescent, and Devendra Banhardt, and of course Through The Static and Distance, their marvelous 2015 posthumous tribute to Jason Molina.
Barsuk's smaller collection Sad!, a glitchy 7 song indie-slash-alt-folk collection spearheaded by Mates of State, David Bazan, Nada Surf, and Maps & Atlases covering fellow labelmates John Vanderslice, Pedro The Lion, Death Cab For Cutie, Ra Ra Riot, and more, comes up roses, too – both for its strong musicality, and its unabashedly political bent, arriving as it did on the eve of a new presidential ascension, with all work donated by the artists in solidarity, and all proceeds from the dollar-a-track release going to support the ACLU " in defense of the civil liberties of all Americans".
Zach Tremblay: My Worried Mind (orig. Gideon Brown)
Dan Blakeslee: Commerce In The Night (orig. Tiger Saw)
(from Burst & Bloom 50, 2017)
David Bazan: The Commander Thinks Aloud (orig. The Long Winters)
(from Sad! A Barsuk Records Compilation for the ACLU, 2017)
+ Bonnie "Prince" Billy, Best Troubadour
+ Old Crow Medicine Show, 50 Years of Blonde On Blonde
In a year where long-awaited Dylan tributes from Joan Osborne and Old Crow Medicine Show ran closer to sultry radiopop and R&B and brash twangy roadhouse country rock than folk, respectively, it was hard to figure out whether we should collapse the single artist tribute album category or simply let it go. A sigh of relief and a tip of the hat, then, to indiefolk maverick Bonnie "Prince" Billy, whose usually broken voice is surprisingly melodic and aptly troubled on his category-saving Merle Haggard tribute Best Troubador, a May 2017 release which flew under our radar for months before earworming its way in via an unexpected encounter with radioplay late at night on a fleeting local college station.
It's a thread we're glad to have pulled. Regular readers may note that we have long had a love-hate relationship with the artist formerly and sometimes also known as Will Oldham, though we did name his last tribute album, a tribute to the Everly Brothers recorded with Dawn McCarthy, atop this same category in 2013. But this collection is redemptive, with guest vocalist A.J. Roach, fiddler Cheyenne Mize, and singer and flautist Nuala Kennedy, and other underground luminaries lending their talents to a fitting tribute to a lost soul whose earnest honesty and iconoclastic outlook have, clearly, deeply influenced Oldham's approach to music and the universe. The Bonnie "Prince" gets full marks for an especially intimate tribute to both Haggard himself, and to the ache of the country.
Bonnie "Prince" Billy: The Day The Rains Came (orig. Merle Haggard)
(from Best Troubador, 2017)
Old Crow Medicine Show: I Want You (orig. Bob Dylan)
(from 50 Years of Blonde On Blonde, 2017)
+ Cover Stories: Brandi Carlile Celebrates 10 Years of the Story
+ A Light I Can Feel: A Tribute To Brown Bird
+ Treasures of the Broken Land: The Songs of Mark Heard
The multi-artist tribute album is so often imperfect. Even our favorite homages generally have a weak spot: a track or two to skip as well-intentioned artists and songbooks find their mismatch. The potential for trouble doubles down when artists have the sheer unadulterated chutzpah to take on recreation of a seminal album, such as Brandi Carlile's 2007 release The Story; it triples when it is the original songwriter herself who solicits and curates the album. And surely, it's pushing our luck to name an album featuring both Pearl Jam and Adele as a folk tribute, let alone our favorite multi-artist tribute of the year.
And yet. Adele performing Brandi Carlile's Hiding My Heart with nothing but solo acoustic guitar is folk, for sure. The Avett Brothers, the Indigo Girls, Shovels & Rope, Old Crow Medicine Show and Dolly Parton turn in stellar performances. The Secret Sisters are now our new favorite female duo. Cover Stories: Brandi Carlile Celebrates 10 Years of the Story shouldn't work, at all, but in the end, the syrup of Kris Kristofferson, the psychedelic jam of Jim James, and the fully typical fuzz of Pearl Jam are anomalies on what is otherwise a strong survey of modern Americana and Roots performance. And Brandi Carlile earns our respect over again, over a decade after we first fell in love with her – and then once again, for using this album to highlight the plight of children in war-torn regions of the world.
A close second, as noted earlier, comes by way of A Light I Can Feel, a tribute from label Burst & Bloom that simply overflows with warm friendship and respect for beloved RI-based folk duo Brown Bird, whose co-founder David Lamb passed from leukemia in 2014. Originally conceived of as a fundraising venue for Lamb's treatment, the sprawling 32 track tribute was released posthumously in March, with proceeds to benefit others through the Sweet Relief charity organization, and "to continue to share the music of Brown Bird with the world." Chock full of raw performances, each mesmerizing in its way, the album pulls off what it aims to, and more: a triumph of scale, and a tender homage.
Third place honors go to the predominantly country side of folk represented on Treasure of the Broken Land: The Songs of Mark Heard – not the first such folk tribute to Mark Heard, but the first in 20 years, which explains just how many newcomers appear on the album. Like previous folk tributes to this undersung, unabashedly Christian singer-songwriter who passed from an on-stage heart attack in 1992 on the cusp of greater glory, this collection offers both Buddy Miller and a mixed bag of good-to-great performances of a songbook cut short, predominantly gathered from Heard's final three releases, with the worst suffering from a touch of the same overproduction that typified their original contemporary folk radioplay era. Still, with strong coverage by Birds of Chicago, Sean Rowe, Amy Helm, Sierra Hull, Over The Rhine and more, the collection is worth pursuit and ownership.
The Secret Sisters: Losing Heart (orig. Brandi Carlile)
(from Cover Stories: Brandi Carlile Celebrates 10 Years of The Story, 2017)
The Devil Makes Three: Fingers To The Bone (orig. Brown Bird)
Anna Vogelzang: Black Sea (orig. Brown Bird)
(from A Light I Can Feel: A Tribute To Brown Bird, 2017)
Amy Speace: House Of Broken Dreams (orig. Mark Heard)
Sierra Hull: Strong Hand Of Love (orig. Mark Heard)
(from Treasure of the Broken Land: The Songs of Mark Heard, 2017)
The Year's Best Tradfolk Album
+ Max Godfrey, Before The Ice Melts
+ Offa Rex, Queen Of Hearts
+ Nathan Lewis Williams, Across The Water
+ Lindsay Straw, The Fairest Flower of Womankind
+ Jayme Stone, Jayme Stone's Folklife
+ Alathea, His Eye Is On The Sparrow
+ Ranky Tanky, Ranky Tanky
As both the year's archives and the huge list above anticipate, it was, in many ways, a gold standard year for traditional folk recordings from across the globe, from the Gullah strains of newly-formed jazz-meets-roots quintet Ranky Tanky (featured back in July, in anticipation of its well-celebrated September release) to The Decemberists and Olivia Chaney, collaborating together as Offa Rex, in a faithful but still sweet retro turn on the UK tradfolk canon, as channeled and strained through both the arrangements and the influence of the "genre heavyweights" of 60′s folk and rock revivalists Martin Carthy, Ewan MacColl, Fairport Convention, Steeleye Span, Colin Meloy fave Shirley Collins, and more, with clear echoes of Maddy Prior, June Tabor, and Sandy Denny in the mix thanks to powerful, nuanced vocals from Chaney.
But in the end, if I prefer the polished quietude of the canon, why, here were joys enough for days: delicate, broken balladry selected and arranged to emphasize lyrical gender empowerment by Iguana Fund recipient and local hero Lindsay Straw, whom I very much hope to catch live at this year's Boston Celtic Music Fest towards the end of January; the soft, almost faerie-found strains of Glastonbury's Nathan Lewis Williams and Caelia Lunniss; Jayme Stone's next generation Folklife album, a follow-up to his 2015 Lomax project, which sees the bandleader and archive revivalist taking on a wider swath of cultural catechism alongside Moira Smiley of tune-yArDs, Dom Flemons of Carolina Chocolate Drops), Felicity Williams of Bahamas, and more luminaries on a musical journey through the Appalachians, the Sea Islands and the Caribbean; Christian folk duo Alathea's His Eye Is On The Sparrow, a bright, often boisterous crowdsourced collection of hymns noted earlier this month in our first holiday coverfolk feature.
Our surprise frontrunner, though, comes from sifting through precious gems from the amateur set: Max Godfrey's Before The Ice Melts, which mixes tradsongs (and one Dylan cut, and a 1920s hit later revived by Bessie Smith and others) with new lyrics and a few licks, is truly down to earth, a fine sophomore outing from an artist just now making the traditions his own. Just for fun, and because Godfrey makes them sound so…well, traditional, we've shared just the non-trad tracks here; download the rest to see just what that creaky, timeless voice can do with the truly traditional canon.
Max Godfrey: Nobody's Business (orig. Anna Meyers)
Max Godfrey: Don't Think Twice, It's Alright (orig. Bob Dylan)
(from Before The Ice Melts, 2017)
Nathan Lewis Williams & Caelia Lunniss: I Know You Rider (trad.)
(from Across The Water, 2017)
Alathea: Wayfaring Stranger (trad.)
(from His Eye Is On The Sparrow, 2017)
Lindsay Straw: Geordie (trad.)
Lindsay Straw: Fair Annie (trad.)
(from The Fairest Flower of Womankind, 2017)
Offa Rex: Willie O'Winsbury (trad.)
Offa Rex: Blackleg Miner (trad.)
(from The Queen Of Hearts, 2017)
Jayme Stone's Folklife: Hey, Lally Lally Lo (trad.)
(from Jayme Stone's Folklife, 2017)
Ranky Tanky: Turtle Dove (trad.)
(from Ranky Tanky, 2017)
The Year's Best Tradfolk EP
+ Thom Ashworth, Everybody's Gone To The Rapture
English folksinger and bassist Thom Ashworth is just starting his career, but two small releases this year promise big enough things to make it worth sustaining a category despite a single entry. If the first, January 2017′s 4-track EP Everybody's Gone To The Rapture, is the feature here, it's only because November's second release, Hollow – also a 4-track – is a half-and-half, with two originals and two traditional songs arranged by Ashworth himself. Both are worth pursuit, however, and bookmarking, too, as we watch for Ashworth's continued output with bated breath.
Thom Ashworth: Crow On The Cradle (trad.)
(from Everybody's Gone To The Rapture, 2017)
The Year's Best Half-Covers Album
+ Laura Baird, I Wish I Were A Sparrow
+ Brock Simpson, The Gardener Child: Scots Songs Both New and Traditional
+ Red Molly, One For All & All For One
The two records which top our final folk category this year are similar in many ways: sparse neo-traditionals, perfectly balanced, with little in the way of flourish and a lot in the way of authenticity. Our by-a-hair favorite is Laura Baird's simple, unadorned tribute to the fiddle-and-banjo tunes of her own Appalachian youth, her first full-length solo outing after years of performing with her sister Meg, and an even-steven six-and-six split of covers and originals that intermingles her own work with the songs of her Great-Grandfathers' hills so smoothly and successfully, we had to keep the liner notes handy.
Toronto teacher-musician Brock Simpson's The Gardener Child is a similar but blurrier halfling: simple and elegant solo stuff, framed with but a winsome, sensitive voice and gentle guitar. Here, too, unlabeled tracks had us scurrying to figure out which was which, until we realized that – as with Baird's delight – what matters most is the sound, and the consistency of sentiment.
Our third-place finisher in the half-covers category couldn't be more different in its approach to its respective canon, a four-and-two EP with energetic close harmonies familiar and fine recorded and released as part of Red Molly's swan song crowdsource project, designed to drive the production of solo albums from all three band members. I've heard two of three of these albums so far – and am proud to announce that Laurie MacAllister's delightful contemporary all-covers album The Lies The Poets Tell will be the first album of 2018 to grace these pages in the new year, and may well be our earliest contender for a following-year Best Of award in the history of our nominal countdown. In the meantime, we'll include a favorite from what well may be Red Molly's last record, at least for a while, as we bid our own list adieu.
Laura Baird: Pretty Saro (trad.)
Laura Baird: Pretty Polly (trad.)
(from I Wish I Were A Sparrow, 2017)
Brock Simpson: The Gardner Child (trad.)
Brock Simpson: I Live Not Where I Love (trad.)
(from The Gardner Child: Scots Songs New and Traditional, 2017)
Red Molly: Rain (orig. Patty Griffin)
(from One For All & All For One, 2017)
The Year's Best Mixed Genre Covers Album
+ Various Artists, Don't Stop Now: A Collection of Covers
+ Love + War, Nine Lives
+ Various Artists, Cha Cha Cha: The Songs of Shotgun Jimmie
+ Various Artists, Failed Tribute Bands 2
If you come here for the folk and only the folk, now would be a good time to skip to the last few songs below; we've winnowed out the best and folkiest of this year's mixed-genre covers collections, and if they're all you want, we won't hold it against you.
But true cover-lovers know that sometimes the very best tracks come from surprising sources. And so we present our annual coda: four albums which are decidedly NOT folk records, but which provide so much more in the way of breadth and beauty, we just had to mention them.
Our utter tie-for-favorite here is sprawling, indeed: a 37-track collection, released on Inauguration Day 2017 just like the aforementioned Barsuk collection, and – like it – a decidedly politicized collection, pre-emptive and angrier in its way, designed to support the ACLU. But where both Burst & Bloom and Barsuk produced covers albums which were at least nominally folk, Don't Stop Now is unabashedly mixed-genre, with plenty of potent indiefolk tracks plus retro-alternative rock, post-punk, and hopping, hopeful otherstuff taking on songs from Joy Division to Harry Chapin.
Meanwhile in an unusual turn, a solo artist appears atop the category, at least on paper: Nine Lives, a covers collection from Nashville-based writer-producer team Coury Palermo & Ron Robinson, aka love+war. Glitchy electro-soul and grungy folkpop tracks mix oddly well in this covers album, pushing it to the top of the list as a second strange bedfellow. Drowning in tape hiss and lush with click-track reverb, with pitch-perfect guest vocalists like Angel Snow – the very first artist featured here, ten years ago, in our New Artists, Old Songs series – the entire thing, from covers of Prince and Springsteen favorites to hits from Terence Trent D'Arby, Depeche Mode, and The Eurythmics, is a guilty pleasure, with emphasis on pleasure.
Honorable mention? Easily Comin' Around Records' lovely lo-fi tribute to the songs of Polaris Prize nominee and art school student Shotgun Jimmie – a mixed bag, but with some solid tracks from familiar North-of-the-border fringefolk standbys like Old Man Luedecke and Woodpigeon, all to raise money for the Dawson City Music Festivals' Songwriter in Residence Program.
And Failed Tribute Bands Two!, which earns its emphatic punctuation easily: by the time you get to the fifth track, it's hard to figure that there's going to be anything approaching folk here…and then, suddenly, Allysen Callery, whose recently completed 12 Days of Covers Soundcloud series is a bonus trove of DIY ghost folk treasures.
Laura Stevenson: Tower Song (orig. Townes Van Zandt)
Chris Farren: Bamboo Bones (orig. Against Me!)
(from Don't Stop Now: A Collection of Covers, 2017)
Love+War ft. Angel Snow: Go Your Own Way (orig. Fleetwood Mac)
Love+War ft. Rachael Lampa: At This Moment / If You Don't Know Me By Now (orig. Billy Vera / The Blue Notes)
(from Nine Lives, 2017)
Old Man Luedecke: Cut Me Off (orig. Shotgun Jimmie)
Steve Haley: King of Kreuzberg (ibid.)
(from Cha Cha Cha: The Songs of Shotgun Jimmie, 2017)
Allysen Callery: Kid (orig. The Pretenders)
(from Failed Tribute Bands Two!, 2017)
1 comment » | Allysen Callery, Angel Snow, Best of 2017, Infamous Stringdusters, Mark Erelli, New Artists Old Songs, Old Crow Medicine Show, Red Molly, Shovels & Rope, Sierra Hull, The Wailin' Jennys, Tributes and Cover Compilations
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Business / Industry / Biotech
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Building capacity in stem cell research
Department of Biotechnology's Bengaluru-based Institute for Stem Cell Science and Regenerative Medicine (inStem) is conducting a 10-day laboratory wo
Read more ... Fetched 2 hours ago from Business Line - Science (India)
Categories: Business/Industry/Biotech
Science Setu programme encourages students to take up research as career option
National Institute of Immunology, an autonomous institution under the Department of Biotechnology, has trained 107 undergraduate students from differ
Merck wraps up $2.7bn acquisition of biopharmaceutical firm ArQule
Via its subsidiary, Merck has completed the cash tender offer to acquire all the outstanding shares of ArQule at a purchase price of $20 per share. Merck said The post Merck wraps up $2.7bn acquisition of biopharmaceutical firm ArQule appeared first on Pharmaceutical Business review.
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Categories: Business/Finance/Investing · Business/Industry/Biotech, Pharmaceutics
EQRx launches to develop me-too drugs at a steep discount
The biotech firm has $200 million in funding to support its drug development experiment
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Categories: Business/Industry/Biotech, Pharmaceutics · Science/Chemistry
Think JPM seemed slow this year? You're not alone—and here's why
For many attendees, this year's J.P. Morgan Healthcare Conference didn't seem to live up to its trademark frenetic energy. Last year, Bristol-Myers' $74 billion Celgene deal announcement—which happened just days before JPM—set the biopharma world abuzz, and Lilly kept the ball rolling with its $8 billion Loxo pact on Day 1 of the meeting. But this year? Crickets.
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Breakthrough on curbing dengue
Scientists from Australia's national science agency, CSIRO, and the University of California San Diego have engineered the first breed of genetically modified mosquitoes resistant to spreading all four types of the dengue virus.
Read more ... Fetched 18 hours ago from EurekAlert! - Chemistry, Physics and Materials Sciences (USA)
Categories: Business/Industry/Biotech · Science/Chemistry
Improved brain chip for precision medicine
The Akay Lab biomedical research team at the University of Houston is reporting an improvement on a microfluidic brain cancer chip previously developed in their lab. The new chip allows quick assessment of the effectiveness of cancer drugs on brain tumors.
Fresh from the biotech pipeline—2019
Nature Biotechnology, Published online: 15 January 2020; doi:10.1038/s41587-019-0405-7 The biopharmaceutical industry's positive regulatory momentum carried on through 2019, despite an early-year government shutdown, a data manipulation scandal around a high-profile approval, and many months without permanent leadership at the FDA.
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Noxopharm spin-off Nyrada floats on ASX
Sydney biotech company Nyrada has made its debut on the ASX in the first float of the year following an $8.5 million oversubscribed initial public offering.
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Trade Deal Phase 1: "Righting the Wrongs"
The U.S. and China signed an initial, phase 1 trade deal on Wednesday which U.S. President Donald Trump says is "righting the wrongs of the past and delivering a future of economic justice and security for American workers, farmers and families." China has agreed to purchase at least an additional $200 billion worth of U.S. farm products and other goods and services over two years, over a baseline of $186 billion in purchases in 2017. This includes $54 billion in additional energy purchases, $78 billion in additional manufacturing purchases, $32 billion in additional farm products and $38 billion in services. The agreement also includes significant commitments by China on accepting U.S. agricultural biotechnology products. Trump says China has agreed to end its practice of forcing foreign companies to transfer their technology to Chinese companies in order to gain market access. China will address numerous longstanding intellectual property concerns in the areas of trade secrets, trademarks, enforcement ...
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redpajama_set_name: RedPajamaCommonCrawl


Osagyefo Dr. Kwame Nkrumah once said "United we stand, divided we fall". And I'll add that we can only thrive under one Ghana. There is no nation called Northern Ghana neither is there a nation called Southern Ghana. There is only one Ghana. However, Justice Sarpong's article on Ghana web with the title "Northerners Should Pay To Feed Their Children In SHS" speaks to the contrary of one Ghana.
In spite of the outright bigotry Mr. Sarpong has shown towards Northerners, I will like to respond to him in the kindest and simplest tone possible. Because despite the hatred and the insults on Northerners, his arguments may seem appealing to some Ghanaians.
Disclaimer: I'm a Northerner who benefited from the subsidized school feeding.
I will like knock down the erroneous contention that, so many reasonable Ghanaians believe in, that is, subsidizing the school fees of Northerners is discriminatory. No is not. Ghana is a big family. Like every big family, the head of the family wants everybody in the family to succeed, hence, provide its scarce resources according to needs. Simply put, say you have twins, Ama and Umar. Ama has a job and Umar doesn't. Will it be fair to give each of them equal daily allowance? Of course not. However, does it mean you are discriminating against Ama by giving her less money? Of course not. Just like the parents, in the case of a nation, we all contribute by paying taxes unequally. And the resources are shared based on needs unequally. On a first thought, it may seem unfair. But, on a second thought, it does not only seem fair but it is a very fair practice. Think about it. A discovery of natural resource in any part of Ghana doesn't only belong to the owner of the land in which the resource is found but the entire nation. So, if we accept the glory of every city as the glory of Ghana, we must also accept the agony of every city as the agony of Ghana. And we always to do that, for instance, fire out breaks in Accra. The people in the North didn't sit unconcern; they agonize with the people of Accra, because we are the same people from the same nation.
Furthermore, the idea of government subsidizing less develop cities is not new. It dates back to antiquity, from Mesopotamia to date. Wait a minute, before you dismissed this as an American idea. The practice cut across cultures, tribes, nations and religions. Take the reunification of Germany as a case to be examined. The Germany government has spent billions of Euros to modernize East Germany to be like the west. These are not the equivalence of subsidize school fees. These are just direct investment from direct taxes. Moreover, I can easily state the amount of money the UK government spends every year to subsidize some cities but I don't want it to be like a promotion of the west. So I'll leave it at that.
Even more important reason to keep subsidizing the feeding of SHS in the North is the gap difference for natural reasons. The educational gap between the north and the south is about 50 years. Moreover, the South gets its first secondary school 75 years before Tamasco came along. Make no mistake, this was not entirely the fault of the Northerners but it was a natural cause; i.e. The South had gold which the white man needed so he decided to settle in the south, and partly because the Northerners started with Mankaranta –due to trade with the Hausa people—which delayed their acceptance to secular education. So until we are equal, Ghana has a moral duty and obligation to subsidize education the same way, almost, every nation does throughout human history.
Back to Mr. Sarpong's argument, he argued Ghana is suffering from infrastructural deficit therefore; we must stop subsidizing the education of those who can't afford to pay to fix our infrastructural. Which weird for two reasons: one, Ghana will always face infrastructural problems even if we dedicate all our resources to building infrastructure because of scarce resources and depreciation. Second, he supports building schools and encourages constructing of roads as supposed to helping children attend those schools. It's like advocating buying phones for your children but rejecting ever having to buy units on the phone.
To Mr. Sarpong credit, he suggested a solution, which is; making all Northern SHS Day Schools. To which I say the cure is worse than the disease. Day School doesn't solve the problem it just creates a much difficult ones. First, it will make it harder for students from far distances to attend certain SHS. Example, it will be difficult for children from Bolga to attend Nobisco or Tamasco. Moreover, how many families will be willing to let their 14 years old girls and boys travelled to Tamale to live on their own for SHS ? Not many. Even under school authorities' supervision, we have heard of students involved in prostitution, how much more, zero supervision? Also, making every school a day school comes with a cost, i.e. the cost of building more schools in each community. Which I suggest will necessarily surpass providing subsidies to SHS.
All of these problems will be created without solving the main problem at hand: the wealth gap. As someone born and raised in the North, I know too well what families go through. Some families are in abject poverty such that even under this subsidize school fees; they cannot still afford to pay. They are hundreds of families if not thousands children whose parents have to take out loans from neighbors or source support from generous neighbors to pay their children school fees, not when they are in school( because they couldn't afford to pay) but after graduation to collect their WASSCE Results Papers. As someone who attended secondary school in the North, I have heard very horrible stories of people suffering to pay school fees from friends, and family members. And the idea that, every Northerner has animals to sell pay for his or her children school fees is simply false and wishful thinking. It is like saying every American has a private jet.
That is why I think our political leaders deserve great commendation for keeping this subsidized feeding program in place, from the NDC to the NPP. As someone who had to stay home for weeks during the Kuffour administration due to lack of funds, and a stern critique of the Mahama administration, I will like to personally thank the president for not repeating past mistakes, of over delaying school feeding funds, by disbursing the funds quick this time round.
To the president, I say thank you. To Mr. Sarpong, despite the insults and the hatred, I say Northerners love you.
You welcome. Can we all get back to work? We have very important things to do.
The ideas expressed here are that of Umar Najeeb Mohammed, a Ghanaian student in the US. He can be reached at umarnajeeb@yahoo.com.


Description: Karthi (Karthikeya) is an NRI who has no emotions and family attachments at all. As promised to his father, Karthi visits India and there he gets close to a girl called Anjali (Simrat Kaur). Who is this Anjali? What kind of changes does she bring in Karthis life? Will Karthi change his mindset? What happens to this love story? That forms the rest of the story.


For all of you looking to save money on gym memberships, go ahead and borrow a couple of kids under the age of three. (Mine are available by the way... evenings work for me...) I have been on my feet running non-stop all day and the pedicure I splurged on yesterday is wrecked already. But on the bright side I am in the best shape of my life.
But Oh my God I am so tired. They say it gets easier.


text:
'We are the champions'
Reds marching band wins State Championship
Charlotte Reynolds, Feature Editor
The Fightin' Reds Marching Band finished their season strong, becoming the first-ever Eaton band to win State Championships. Last season the band made it to State Championship finals for the first time and placed fourth overall.
Natalie Dyer
Each rehearsal of hard work led to the band's victory on Monday, November 4. The band ended its season with its highest score, 77.15, the perfect way to end.
"To me, the finals performance felt like the climax of this four-year journey I've been on.""
— Colton Sell
The band placed second in the semi-final round, right under The Classical Academy by a tenth of a point. This left room for motivation to improve and to leave an unforgettable performance on the State field. High brass section leader Nick Sell (21) said, "My last performance of 'Home' felt like home. I finally knew what it was like to be a part of something truly great. When I locked eyes with Colton for my very last note I knew I did my job, and I did it well. Knowing it was my last time I would play this show, I felt proud."
Every band member shared a cathartic sensation as they completed their show. Front Ensemble section leader Joelle Green (20) said, "Our last performance was definitely our best. I was soaking it all in by listening to the show as a whole, as I turned around to face Nick that's when the emotions started to kick in."
Following their finals performance, it did not matter to the band whether or not they won first place because they knew they left every bit of their energy and emotion on the field. The band entered the field one last time along with each finalist band to hear the results. Drum Major Colton Sell (20) marched front field to salute and accept the first place State Championship trophy. Nick Sell (21) said, "It felt amazing hearing that we were first. I looked around and saw so many smiles, I didn't know if I should smile or cry. It was a moment I will never forget." The 2019 Eaton Fightin' Reds Marching Band has become historic by making records at every competition they competed in this year but most importantly becoming the first Eaton band to win State.
https://www.youtube.com/watch?v=zgT1ccqqL1k&t=306s
Kim Sell
1stplace
statechampions
Charlotte Reynolds, News Editor
Charlotte Reynolds is a sophomore at Eaton High School. She became a part of the Eaton Red Ink staff second semester of last year. Charlotte is a member of Eaton High School's Marching Band, Symphonic Band, and Jazz Ensemble, in which she plays percussion. She is also sophomore class president and on the cheer team. She enjoys spending time with her friends, writing (obviously), and going to youth group. She looks forward to challenging her writing skills and meeting new people throughout the process. She is a very outgoing student, who loves to attend school activities such as sporting events and concerts. Charlotte also loves expressing herself through fashion and clothing.
The New Style is Solo
The dangers of vaping
End of semester choir concert spreads holiday joy
Actors deliver in "Our Town"
Eaton school district honors our Veterans
Swimmers become pool ready
Full hearts, fast feet
Volunteers to the rescue
The Student News Site of Eaton High School


Most times, it is so easy to go out for Japanese food. I mean, we can find one (or many more) in any given neighbourhood. This even applies to the 'burbs, even smaller places like Ladner and New West. But when "authentic" and "Japanese-run" are added to the criteria, then the list shrinks considerably. In fact, less than 5% in the entire GVRD fit this description. So when Viv and I felt like some carefully crafted sushi, we took the drive all the way to North Van. No, not the ones littering Lonsdale, rather, we visited Hamaei. This little place is easily missed being tucked behind the McD's just off Westview at Hwy #1.
A few of Viv's co-workers swear by this place and as we arrived late on a weekend, there was still a lineup. Hence, we ending up sitting at the bar with the kiddies (my daughter was mesmerized by the sushi chefs). We started with the Assorted Sashimi consisting of tai, ika, hotate, tako, Atlantic salmon and 2 types of tuna. After our first few pieces, it was pretty obvious the quality of the fish meant the natural flavours and sweetness really came through. Suffice to say, everything had a nice sheen and textures were on point. Next, we had a 4 pieces of Nigiri including tai, salmon, hotate and unagi. By virtue of sitting at the sushi bar, I was pleased to see that no microwave was used to warm up the unagi, rather, they used a toaster oven. Again, everything was good including the nicely textured sushi rice which rode the fine line between chewy and still being moist. It was also properly seasoned.
At Hamaei, they don't do specialty rolls with special sauces and such, so we ended up with the classic Chopped Scallop Roll. As much as I don't mind glizty rolls, going back to the regular means simplicity with not much to hide mistakes. In this case, the roll was well-constructed where it ate without falling apart while not being too firm. Inside, the buttery scallops were accented by the pop of fish roe. One dish we weren't overly impressed with was the Grilled Marinated Black Cod. Despite its beautiful appearance, it was really salty. Even with the addition of lemon, grated daikon and ginger, it could not cut through the salty sting. In terms of texture, it was soft, yet a touch past that it was no longer buttery-flaky.
With my son's aversion to the raw stuff, we had to get some other cooked items. Therefore, we ordered an Appetizer Tempura comprised of 2 ebi, zucchini, golden squash and yam. Although the batter was relatively crispy, it was a touch heavy on the ebi. Regarding the ebi, it was meaty, but overcooked where it was a bit chewy. Also, the yam was undercooked where it was still a bit crunchy. We ended with the Nabeyaki Udon (also for the kiddies) with tempura served on the side. This was simple, yet enjoyable with a flavourful dashi broth where the bonito really came through. Overall, we enjoyed our meal at this little gem in North Van. Of course, nothing can ever be perfect and this was the case here. The sushi was really good while the cooked items were so-so. However, for some real sushi, Hamaei is a solid choice not only in North Van, but for all of the GVRD.


text:
Q: Install npm packages programmatically How to install npm packages programmatically? i have multiple local repos and each has its own package.json. Now i want to install packages from all those repos into a single node_modules folder which is outside of all repos. Can someone provide a sample script/guide for this?
var repos = ['repo1', 'repo2', 'repo3'];

repos.forEach(function(repoName, index) {
   //todo: install packages from this repo.
   // dest: '/Users/lokesh/Documents/node_modules'
});

A: One option is to use gradle node plugin and use config nodeModulesDir specific a global nodeModulesDir.
node {
  // Version of node to use.
  version = '0.11.10'

  // Version of npm to use.
  npmVersion = '2.1.5'

  // Version of Yarn to use.
  yarnVersion = '0.16.1'

  // Base URL for fetching node distributions (change if you have a mirror).
  distBaseUrl = 'https://nodejs.org/dist'

  // If true, it will download node using above parameters.
  // If false, it will try to use globally installed node.
  download = true

  // Set the work directory for unpacking node
  workDir = file("${project.buildDir}/nodejs")

  // Set the work directory for NPM
  npmWorkDir = file("${project.buildDir}/npm")

  // Set the work directory for Yarn
  yarnWorkDir = file("${project.buildDir}/yarn")

  // Set the work directory where node_modules should be located
  nodeModulesDir = file("${project.projectDir}")
}

I don't know if this is helpful, if you don't want use gradle.
Gradle Node Plugin

redpajama_set_name: RedPajamaStackExchange


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text:
Lodewijk Karel "Loki" Bruckman (; 14 August 1903 – 24 April 1995) was a Dutch magic realist painter. He lived and worked in the Netherlands, the United States, and Mexico. Museum de Oude Wolden in the village of Bellingwolde has a permanent exhibition of his paintings.

Biography
Lodewijk Karel Bruckman was born on 14 August 1903 in The Hague in the Netherlands. He was the son of house painter Karel Lodewijk Bruckman (1868–1952) and Wilhelmina Frederika Hamel (1869–1930). He had two sisters and two brothers, one of whom was his twin brother Karel Lodewijk Bruckman (1903–1982).

Bruckman studied with his twin brother at the Royal Academy of Art in The Hague, where he was a student of Henk Meijer. He worked first as a set painter, later as a drawing teacher, and eventually as a fine artist.

In 1949, Bruckman and his life partner Evert Zeeven, who was also his manager, moved to the United States. They lived in New York City and Provincetown in the U.S. and also in Morelia in Mexico. Bruckman had several gallery exhibitions in New York.

In 1968, they returned to the Netherlands, where they lived in Wemeldinge, Haarlem, and Bellingwedde. Bruckman stopped oil painting in 1986, but continued with pencil drawing. In 1989, they moved to Leeuwarden. Zeeven died on 30 November 1993. One and a half year later, Bruckman died on 24 April 1995 in Leeuwarden, at the age of 91.

Painting

Bruckman painted figuratively, forest views, and other still lifes with fruit, flowers, shells, eggs, feathers and towels. His style can be described as realistic, surrealistic or magic realistic. In 1958, Frank Crotty described Bruckman's painting with the following words:

Bruckman gained popularity in the United States, while he remained relatively unknown in the Netherlands. His painting Composition With Peaches won the popular vote at the Boston Arts Festival in 1953 and he became second in 1957. He won the J. Porter Brinton Prize in 1954. The Metropolitan Museum of Art in New York City has a still life called Mobile (1955) by Bruckman in its collection and the Cape Cod Museum of Art in Dennis a painting named Rancho Style (1960).

In the 1980s, Bruckman donated fifteen paintings to the municipality of Goes and 21 paintings, with an estimated value of 363,000 euro, to the municipality of Bellingwedde. Museum de Oude Wolden in Bellingwolde in the Netherlands has a permanent exhibition with his paintings from the municipal collection of Bellingwedde.

References

External links

 Lodewijk Bruckman (in Dutch), website of Museum de Oude Wolden

1903 births
1995 deaths
20th-century Dutch painters
Artists from The Hague
Dutch male painters
Dutch still life painters
Dutch LGBT painters
Magic realist artists
20th-century Dutch LGBT people
20th-century Dutch male artists

redpajama_set_name: RedPajamaWikipedia


For each project sensors need to be selected with the appropriate measuring range to ensure accurate settlement measurements: the elevation differences need to be within the range, even after the expected settlements.
During installation the sensors are interconnected by means of a pressure line, an air compensation line and a digital data cable.
The elevation changes of the individual sensors in the system are then derived from the liquid pressure. This is done by comparing the liquid pressure at each sensor with the pressure at the reference sensor.
The system responds immediately to settlements, as there is no liquid flow between the sensors. The sensor also directly digitises the measurement data and performs automatic temperature compensation.
As the fully digital system is equipped with a GSM-link, you can retrieve the data from your office PC at any time. You can quickly process, export and graphically display the measurement results on a Windows display.


The Columbus Blue Jackets might be getting all the attention with their jaw-dropping 16-game winning streak, but the greatest active streak in hockey remains the Detroit Red Wings' 25 consecutive playoff appearances -- and it's at great risk of ending this season.
Following a hot 6-2-0 start, the Red Wings are now 16-17-5, have been outscored 109 to 88, are one point out of last place in the Eastern Conference and seven points behind the Boston Bruins for the final playoff spot.
Four statistical models place Detroit's chances of making the playoffs between 4 and 14 percent. Sports Club Stats places it at 2.5 percent, Moneypuck gives them a 6.5 percent chance of making the playoffs, Hockey Reference is at 6.3 percent and Playoff Status is the optimist of the group at 14 percent.
That means that the Red Wings are quite likely to miss the playoffs for the first time since 1989-90. Just to put that into perspective, Borje Salming was on that team, which was one of only 21 teams in the NHL at the time. The Russians were first arriving in the NHL, and Sergei Makarov of the Calgary Flames won the Calder Trophy. Guy Lafleur was playing for the Quebec Nordiques, and was one of several players to compete without a helmet. Jaromir Jagr had yet to play his first NHL game. So yeah, this was a very long time ago, and it's hard to believe that it could have anything in common with 2016-17, until now.


In Memphis, TN during August the average high temperature is 92.0°F. The hottest day on record was August 31, 2000 when the temperature hit 107.1°F.
During August the overnight temperature drops to an average of 72.3°F, with the lowest temperature of 53.1°F being recorded on August 29, 1986. In August it has never frozen overnight.
In August the average monthly rainfall in Memphis, TN is 3.31 inches with rain usually falling on between 8 and 9 days. 1994 was the driest August with only 0.52 inches of rain falling, and 1978 was the wettest August with 10.61 inches of rain. The wettest single day in August was 5 August 1978 when 3.23 inches of rain fell.
There are thunderstorms on between 5 and 6 days in August.


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'Why can't we just do it?': Trump nearly upended summit with abrupt changes
Ashley Parker,
White House reporter
Josh Dawsey,
Josh Dawsey
Reporter covering the White House
Carol D. Leonnig and
Carol D. Leonnig
National investigative reporter focused on the White House and government accountability
June 14, 2018 at 9:17 PM EDT
Some of the most intense drama surrounding President Trump's summit with North Korean leader Kim Jong Un came not across the negotiating table, but in the days and hours leading up to Tuesday's historic meeting — a behind-the-scenes flurry of commotion prompted by Trump himself.
After arriving in Singapore on Sunday, an antsy and bored Trump urged his aides to demand that the meeting with Kim be pushed up by a day — to Monday — and had to be talked out of altering the long-planned and carefully negotiated summit date on the fly, according to two people familiar with preparations for the event.
"We're here now," the president said, according to the people. "Why can't we just do it?"
Trump's impatience, coupled with a tense staff-level meeting between the two sides on Sunday, left some aides fearful that the entire summit might be in peril.
Ultimately, Secretary of State Mike Pompeo and White House press secretary Sarah Huckabee Sanders persuaded Trump to stick with the original plan, arguing that the president and his team could use the time to prepare, people familiar with the talks said. They also warned him that he might sacrifice wall-to-wall television coverage of his summit if he abruptly moved the long-planned date to Monday in Singapore, which would be Sunday night in the United States.
The debate, which has not previously been reported, underscores the ad hoc nature of the summit, which was abruptly announced, called off and then reinstated all before either leader had touched down in Singapore.
The pageantry and spectacle surrounding the first meeting between a U.S. president and a leader of North Korea's autocratic regime also obscured the fact that the North Koreans agreed to little in the way of specific or tangible concessions. Although Kim signed a statement committing to the "complete denuclearization of the Korean Peninsula," the joint statement between the two leaders included no timetable for when or how North Korea would reveal, destroy and allow verification of its nuclear arsenal.
Harry Kazianis, director of defense studies at the Center for the National Interest, described the Singapore extravaganza as "21st-century diplomacy" with a Trumpian twist.
"It felt more reality TV than it did an old school 1980s, Cold War summit," Kazianis said. "Trump is going to do it differently. He's going to do it in a media-savvy way. The very long handshakes, the long corridor walks — it's all his distinct way."
At one point, after watching North Korean television, which is entirely state-run, the president talked about how positive the female North Korean news anchor was toward Kim, according to two people familiar with his remarks. He joked that even the administration-friendly Fox News was not as lavish in its praise as the state TV anchor, one of the people added, and that maybe she should get a job on U.S. television, instead.
At another point, Trump marveled at how "tough" the North Korean guards seemed, noting that they were always stone-faced and refused to shake hands, the two people said. One recalled the president joking that they could probably take on White House Chief of Staff John F. Kelly, a retired four-star Marine general. A second did not remember the president specifically mentioning Kelly, but just noting more generally that Kim's guards seemed formidable.
A North Korean government video released Thursday shows Trump returning the salute of a North Korean general, drawing criticism from those who saw it as feeding Pyongyang's propaganda.
Retired Navy Rear Adm. John Kirby, a former spokesman for both the Defense and State departments, called the image "striking." Kirby told CNN it was "inappropriate from a protocol perspective," and "you most certainly don't do it with the leaders of foreign militaries of an adversary nation." After exchanging salutes, the two men shook hands.
Behind the scenes before the summit, other dynamics were also unfolding.
The language in the agreement that Trump announced with Kim, for instance, was almost entirely prewritten before Trump arrived in Singapore — a standard diplomatic practice for leaders' meetings, which are normally preceded by extensive negotiations and discussions between lower-level officials.
But Trump repeatedly asserted that the final agreement was based on his ability to size up Kim in person and build a working relationship with him. "We got to know each other well in a very confined period of time," the president told reporters on Tuesday. "I know when somebody wants to deal and I know when somebody doesn't."
While some negotiations did continue once on the ground in Singapore, nearly all of the terms — including North Korea's vague commitment to denuclearize — were part of scripted talking points the leaders could cite as agreement. At least three of the four pledges listed in the Kim-Trump statement were agreed to before Trump's arrival, according to a person familiar with the negotiations: to jointly work toward denuclearization of the Korean Peninsula; toward a peaceful and stable bilateral relationship; and toward a lasting and stable peace on the peninsula.
Trump appeared to allude to that process in his news conference Tuesday. The 1½ -page joint statement, he said, was "not something that just happened to be put together. This was done over months." Yet at the same time, the president said, there was "much, much more" that was agreed upon but not included in the final document because "we didn't have time."
Based on Trump's comments to the media, it was difficult to tell what had been agreed to ahead of time, what was on the agenda for the summit and what had not been agreed to at all. Earlier negotiations between North Korean officials and Pompeo included discussions of Pyongyang's long-standing insistence that the United States dial back or cancel its annual military exercises with South Korea. Although that was not mentioned in the signed document, Trump announced that he had agreed to it.
As part of creating a personal rapport with Kim, Trump also privately talked about wanting to extend an unusual olive branch to the North Korean leader: The president suggested he might be able to orchestrate a meeting or proposal with some of his real estate developer and financier friends, who could bring lucrative development deals to Kim's country. It is unclear whether he ended up mentioning the idea to Kim.
Sen. Lindsey O. Graham (R-S.C.), who spoke with Trump as he flew home from Singapore on Air Force One, said the president was simply being his natural "salesman" self.
"He is selling condos, that's what he is doing," Graham said. "He's approaching North Korea as a distressed property with a cash-flow problem. Here's how we can fix it."
In a news conference Tuesday before departing Singapore, Trump hinted at his dreams of real estate diplomacy, noting that he had played Kim a video — derided by some as more akin to North Korean propaganda than the work of the president's National Security Council — to show him the possibilities of a deal with the West.
"As an example, they have great beaches," Trump said. "You see that whenever they're exploding their cannons into the ocean, right? I said, 'Boy, look at the view. Wouldn't that make a great condo behind?' "
The president continued: "You could have the best hotels in the world right there. Think of it from a real estate perspective."
There were other challenges and unexpected twists, as well. After watching former NBA star Dennis Rodman, who also flew to Singapore for the occasion, praise him on television, Trump dispatched Sanders to call Rodman to thank him for his kind words, a White House official said.
"He called, his secretary and she called me and said, 'Dennis, Donald Trump is so proud of you, and he thanks you a lot,'" Rodman told CNN.
And in the pre-summit negotiations, one official said, the administration found itself in the unusual position of trying to explain to the North Korean regime — which has no free press — why Trump could not just leave the White House press corps behind in Washington.
Louise Sunshine, a former longtime executive at the Trump Organization, laughingly described the summit as "like watching a reality TV show," before adding that the president "deserves a lot of credit" for simply brokering a face-to-face meeting with Kim.
"Donald represents the concept," she said. "His focus was on creating eye contact, a bond, a relationship. I don't think he was there to negotiate. He was there to create a relationship. It was all about the relationship."
John Hudson and Greg Jaffe contributed to this report.
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As you can imagine Christmas is one of our busiest times here at Basketsgalore. We also operate the rest of the year round, when customers can pick a "preferred delivery date". At Christmas we have to narrow this down to a "preferred delivery week". Other hamper companies remove this option altogether, and you are only allowed to pick December or Christmas delivery.
We do our best to accommodate your preferred week in December, but with thousands of hampers being dispatched each day I'm sure you can understand why we can't guarantee specific delivery days or weeks.
Courier companies also get swamped with deliveries during the Christmas Season, so even if parcels are sent on a 24-hour service, we ask that customers understand that delivery can take a little longer than during the rest of the year.
Although you may be tempted to pick a delivery date as close to Christmas as possible, we advise picking slightly earlier dates to make sure your gift arrives on time. Sometimes the recipients may not be at home to sign for the parcel, and then they may take a few days to ring up & ask for re-delivery. Don't worry about the best before dates on food items, they will all have a long enough shelf life to be fresh for Christmas.


text:
8 hours ago Presidential clashes: Four African countries where successors and predecessors fell out by Nii Ntreh
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American rapper T.I. and wife Tameka Cottle visit Ghana's slave castle in 'Year of Return'
December 11, 2019 at 10:30 am | Diaspora Connect
Michael Eli Dokosi | Staff Writer
Michael Eli Dokosi is a journalist and a formidable writer with a decade's experience. He is a blogger, voice-over artist and MC. Dokosi is fluid with both spoken and written communication. He is for the African cause and reckons Africa shall regain its rightful place in world affairs soon.
How Lincoln University molded Nkrumah and Azikiwe to become African presidents
'The Rock' Johnson heartbroken with passing of W.W.E. Hall of Famer dad
T.I. with wife and crew at the Elmina Castle via ghgossip.com
Clifford Joseph Harris Jr., professionally known as T.I. and wife Tameka Cottle are the latest African-Americans to land in Ghana as part of the 'Year of Return' initiative.
The initiative is to attract diaspora people with Ghanaian or African heritage to make a return.
The 39-year-old American rapper and actor from Atlanta, although received some backlash online for revealing he went to the gynecologist every year with his daughter Deyjah Harris to check if she still was a virgin has been warmly received in the land of cocoa, gold, oil and technology.
Teacher placed on administrative leave for 'set your price for a slave' class assignment
Why is America spending taxpayers' $944m to incarcerate innocent blacks?
Meet Mariah Parker, the politician who rejected the Bible and was sworn in on Malcolm X's autobiography
From burying kings with live humans to exacting justice by drinking poison; here are four customs of ancient Ghana Empire
The couple with their team were treated to some drumming and dance by a dance ensemble at Terminal 3 of the Kotoka International Airport on Sunday, December 8 upon their arrival.
Already, Ghana's 'Year of Return' Secretariat has indicated that its data for the first nine months of 2019 showed 80,862 more arrivals from the United States of America (USA), Britain (UK) and other key target nations than the figure recorded the previous year.
The figures show that in-bound airport arrivals from the USA increased by 26 per cent (17,455).
"Although not all the 80,862 passengers could be classified as tourists, the YoR impact has undoubtedly surged interest in Ghana among Diasporan Africans in the UK and the USA since the programme got underway," according to the YoR Secretariat.
And for T.I., his wife and crew visited the Elmina Castle which is also a museum in Ghana's Central Region – one of the sites which held kidnapped Africans shipped to the Americas and has been a source of sober reflection for many of the diaspora returnees. The pair also were seen in a video having a swell time at a night club with fellow American rapper Cardi B who was in the country on Sunday.
T.I. is regarded as one of the artistes who popularized the hip hop subgenre trap music, along with Jeezy and Gucci Mane.
He has released 10 studio albums, with seven of them reaching the top five of the US Billboard 200 chart. He also has several highly successful singles, including Billboard Hot 100 number one hits "Whatever You Like" and "Live Your Life."
Harris' sixth album, Paper Trail (2008), became his most successful project, with the album being certified gold for first-week sales of over 500,000 copies in the United States.
As the festive season beckons, patrons will be spoiled for choice as many more events and shows have been lined up right into January 2020.
Wilmot Collins, the Liberian refugee who became the first black mayor in Montana
Meet the Ghanaian designer helping Africans in the diaspora connect with their roots
How coconuts played a major role in Ghana's 'Year of Return'
Black celebs who visited Ghana as part of the 'Year of Return' festivities
How this popular black evangelist colluded with FBI to destroy MLK in the 1960sby Mildred Europa Taylor
Before Emmett Till, 17-year-old Jesse Washington was roasted to death by a white mob and captured on camera for postcardsby Michael Eli Dokosi
Killed over a bottle of orange juice, this 15-year-old helped spark the 1992 L.A. riots


text:
CURRENT POSITION: HOME > ARTICLE > INSTALLATION > TEXT
source:AIRBFTsuspension date:2022-12-24
AIRBFT air suspension official website shares airbag kits of various models for you, as follows:Installation Course of 2022 Ford Raptor F150 Airbag Inflator Pump.
Product link:
2022 Ford Raptor F150 airbag kit
2022 Raptor F150 Inflatable Kit
The following photos are taken after installation:
There has not been much change in appearance, mainly in details. Chinanet is still the blackened Ford logo Chinanet, which is very recognizable among many pickups. The most obvious change in the front of the car is the lights. The original "sun" driving lights have become the current "7" driving lights. The headlights of the car have also changed from the original xenon headlights to the current laser headlights. Another difference between the Chinese version and the American version is that there is no yellow light in the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the American version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the American version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the Chinese version of the.
The overall design of the rear part of the car continues the overall design of the previous generation. However, the brand new Raptor comes with a cover plate from the original factory. You don't need to add an auxiliary factory when you buy it. The original car is ready for you directly, so that you can have a cleaner environment when storing things in the boot. In addition, the trunk lid of the vehicle can also be lifted and lowered electrically, so that after off-road driving, there is no need to touch the dusty trunk lid, and the electric sense of ceremony is stronger. The wheels are still equipped with 17 inch wheels and 35 inch Blucher KO2 tires. The overall visual sense is very good with such a giant.
Article link: https://www.airbft.com/installation-course-of-2022-ford-raptor-f150-airbag-inflator-pump.html
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