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DOG IN A SWEATER DOT COM!
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(None of these have been updated in ages)
***October Thirty First Two Thousand and Sixteen***
I was hoping to dress as a durian for halloween this year, but I guess it's not one of the options.
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Morning coffee. Cary, NC.
Her first pumpkin patch...the hay was more interesting. Apex, NC.
Hot Rod Johnson. Cary, NC.
The prettiest cow at the fair. Raleigh, NC.
Other Photos:
Finally got some medium format film from last summer developed, from my trip to California to hang
with my dudes Todd & Drew.
Dead boat, Inverness.
Elephant Seal Overlook, Point Reyes National Seashore.
South Beach, Point Reyes National Seashore.
Kyle Walker is almost too clean on his skateboard. So clean he makes the tricks look easy and less impressive than
they actually are. Here is a short vid of him and his friends. One of those friends is Ishod Wair, so it's worth watching
for his tricks too.
Raven Tershy went to Europe and Lakai made a video about it. Cody Chapman went too but I don't know enough
about that dude to get excited about him just yet - definitely some promise there though. If I could skate like one person
Raven would be on my short list of options.
Speaking of Crailtap, to introduce the two new Girl riders Simon Bannerot and Tyler "Manchild" Pacheco they
released a short vid of the team skating in Washington, imaginatively titled Girl Skates Washington State.
Here is a decent short doc on Andrew Allen, a nice combination of talking and skating. I still don't know why he left
Antihero, but he'll always be great to watch regardless.
Some band photos, some baby photos, and some phone photos from our trip out west are all included in this edition
of the photo journal. Subscribe today!
With Skylar Gudasz
Dorton Arena
The folks that used to handle the music booking for the North Carolina State Fair made a great decision last year -
instead of throwing a lot of money at washed-up and never-has-been rockers, country crooners, and family friendly
fare, give a little money to a local agency who can book local musicians and actually support local North Carolinians,
one of the main reasons to even have a state fair. The hard work of local scribe Grayson Haver Currin probably help-
ed them make this decision to change by digging up just how much money the Fair folks were losing on the crappy,
mostly unwanted acts they used to book - it was going so wrong, why not try something else? Long story short, a
bunch of shit changed behind the scenes at the State Fair and now I get to see Superchunk in Dorton Arena for free
after walking around eating junk food all day.
First though was Skylar Gudasz, their opener for the night. I got to the venue in time to see most of her set, getting
slightly delayed because I stopped first to eat a cinnamon roll half the size of my head. One of my better life decisions.
She was fronting a six-piece band featuring two keyboardists (one of which was sometimes Skylar) and the drummer
from Flesh Wounds (I'm not sure what bands the other members are from, but they all looked familiar). Most of Skylar's
performance focused on her debut album "Oleander," but there was a couple of new songs as well - if those are a pre-
view of her next release, I predict another gem. Her voice was as strong as ever, and sounded damn good in Dorton -
I've always heard folks say the sound in there was subpar, but it seemed pretty dialed in this night. It should be noted
that she doesn't sound quite as much like Karen Carpenter in person as she does on record...though it would be totally
fine if she did.
After not getting to see Superchunk for a couple of years, this would be my second time in three months. That's great
and all, but it's still not as often I'd like - once a month would be a lot better. You could tell they were excited to play
such a legendary venue - drummer Jon Wurster even posted a selfie on Instagram in the backstage shower where
"Gene Simmons might've had 2-minute workmanlike sex in 1976." For whatever reason they leaned heavily on their
classic hits this night, putting together what might be the strongest set list I've ever seen by them. The highlights includ-
ed "For Tension," "Detroit Has a Skyline," "Skip Steps One & Three," "Driveway to Driveway," "The First Part," a very
rare appearance of "Her Royal Fisticuffs," "Nu Bruises," "Cast Iron," a cover of the Magnetic Fields' "100,000 Fire-
flies," and they ended the night with "Throwing Things." That's basically every single one of my favorite Superchunk
songs minus "Animated Airplanes Over Germany" and "Why Do You Have To Put a Date on Everything." Due to pro-
fanity rules from either Dorton Arena or the State Fair officials, for the first time in forever they didn't play "Slack
Motherfucker" so as not to offend any old church ladies or small children or old church children or small ladies that
might have wandered into the free show. Fuck it though, they would have been a little better off in life to hear a little
live Superchunk, curse words or not.
with Amber Arcades
The last time I saw Nada Surf live was back in my SF days (aka pre-2008) - much to my dismay, the band doesn't
seem to have much love for shows in North Carolina. This is especially surprising since Matthew Caws has family in
the state, and some were even at this show, at least according to his stage banter. Perhaps their reticence to play is
the crowd, or lack thereof. My (often poor) estimate is there were probably a couple hundred people there, but I was
truly shocked that the place wasn't full, or close to it - sure it was a much more comfortable environment, but Nada
Surf deserve better. They're probably second best pure pop band working after Teenage Fanclub.
They're a pro outfit - every song sounds impeccable, they had their own fancy light rig synced up to the music, and you
can tell by the way they interact with the crowd that they're very comfortable on stage. To my surprise Doug Gillard is
now in the band - I guess this happened a few years ago, but like I said, I haven't had the chance to see Nada Surf live
in quite a while. This is at least the third band I've seen him with - Guided By Voices and Superdrag being the two
others (for some reason I feel like there is one more, but my brain just can't recall). They played for probably an hour
and a half, hitting nearly everything you might want to hear - there were classics ("Always Love," "Blonde on Blonde"),
new favorites ("Friend Hospital," "Rushing"), and they even played their nineties hit "Popular," which I don't think I've
ever heard them perform before. They closed out the night with a totally acoustic (as in no amplification at all) version
of "Blizzard of 77," complete with a robust crowd sing-along. There might not have been as many people at the gig as
there should have been, but those that did show up were very enthusiastic.
I caught about half of the set by openers Amber Arcades, who I knew not a single thing about. They were a five piece
with a female singer who reminded me of Mac DeMarco for some reason - visually, not musically. I think it was the hat
she was wearing, or maybe I'm just an idiot (or both). Musically they made me think a lot of the Aislers Set, a clean
shoegaze/jangle pop hybrid, and I quite liked it. When I'm dictator more bands will sound like the Aislers Set, per
official decree. Oh, and then after the show I googled the band and it turns out they're Dutch, it's primarily the work of
the singer Annelotte de Graaf, and she has two law degrees and works for the international war crimes tribunal. I
wonder if I play nothing but Amber Arcades around my daughter she will turn out that awesome?
with Hop Along
It's a pretty simple - if Built to Spill comes to town, I go. It doesn't even require any thought, the ticket just gets bought
the second I see them available for sale. God knows how many times I've seen them at this point, but I never leave one
of their gigs disappointed. I'm not sure if it's the first time I've seen the band as a trio, but it's definitely been a long
time - since the early days when Scott Plouf and Brett Nelson first started playing with Doug Martsch, back when his
plan was to have a different rhythm section every record (this didn't last long). These days it's the pair of young dudes
that have been touring with him the last few times Built to Spill came to town, and they do a fine job. I did miss (occas-
ional touring guitarist/Caustic Resin founder/all around rad dude) Brett Netson's added guitar playing though - luckily,
if anyone can hold down all of the Built to Spill guitar parts by himself, it's Doug. I mean, he did write them.
The first third (or so) of Built to Spill's set was dominated by this couple standing next to me rubbing on each other
constantly. I don't mean off-and-on either - for the entire 30-45 minutes they were next to me, the movement and rub-
bing was constant, like a sack full of dry eels. This would have been less of an issue had the Cradle not been so
packed, and I wasn't pressed right up next to them, thereby encountering unwanted accidental rubbing myself. Ick.
Eventually one or both of them likely climaxed and moved elsewhere, and things got a whole lot better, or at least more
comfortable, from there on out. Doug, personable as always, almost never spoke to the crowd even when he was
tuning his guitar...the occasional "thanks" counted as a verbal outburst. Tons of classics in their set: "The Plan," "Hurt
a Fly," "Reasons," "Kicked It in the Sun," "Big Dipper," "Carry the Zero," "Car" plus one of the best songs from their
newer material "Hindsight," and their cover this time (there's always at least one cover) was the Creedence Clearwater
Revival track "Effigy" - a song that sounds so much like something Doug would write that I'm sure some of the younger
folks in the crowd who might not have been familiar with the original probably didn't bat an eye, thinking it was just a
new Built to Spill tune.
Typically, the openers for Built to Spill shows are Boise/Idaho acts that are friends with the band. Also typically, I never
get to the show in time to see these openers, which bit me in the ass this time. The band was called Hop Along, are
apparently from Philly and putting out records on Saddle Creek, and like so many of the kids these days, are doing
their damnedest to reinterpret the sounds of the nineties for a modern audience. The crowd seemed way into it, so
much so that it's possible a chunk of them might have been there primarily to see Hop Along, not Built to Spill. I'm not
sure what an apt comparison would be, maybe Dinosaur Jr meets Courtney Barnett, or at least something in that gen-
eral ballpark. If they come back again I'll try to see more than two songs.
"This is pitiful. A thousand people freezing their butts off waiting to worship a rat. What a hype. Groundhog Day used
to mean something in this town. They used to pull the hog out, and they used to eat it. You're hypocrites, all of you!"
I made myself a mix of punk/garage/whatever seven inches, and then made this mix of my favorite songs from that mix.
Beat Beat Beat - Hate Me
Beat Beat Beat - Nasty Nightmare
Boomgates - Bright Idea
Buzzer - Disco Kiddz
Cheap Time - Other Stories
Hex Dispensers - Agatha's Antlers
Hex Dispensers - Hybrid Moments (Misfits cover)
King Tuff - Hands
Pampers - Right Tonight
Spray Paint - Rest Versus Rust
Schooner - Feel Better. I made fun of Reid forever for taking so long to release this record. And then I took forever
to upload any songs here.
It Won't Matter
Talking Heads - Psycho Killer. Live Talking Heads, because who doesn't love that?
The Girls Want To Be With The Girls
***October Second Two Thousand and Sixteen***
Is what Trump meant by "Make America Great Again" was they were bringing ALF back on the air...I'm not saying I
would vote for him, but I'd at least pause and think about it.
Butterfly on a buttertfly bush. Marion, NC.
Hard at work on her water table. Cary, NC.
End of 2016 beach season. Wrightsville Beach, NC.
Jarne Verbruggen - Never Skatebored. Jesus, not only is this kid amazing, but his trick selection and imagination
might be better than anyone else going right now. This whole thing floored me and left me with a giant grin at the
Girl/Chocolate - Yeah Right! Log Tape. Raw footage from the beginning of their filming for Yeah Right. I could
watch this for hours, I hope they release more of these.
All of the photos to accompany the Hopscotch reviews below are in the photo journal. Also, baby photos, if you're in-
to that sort of thing (aka grandmas).
Hopscotch Music Festival, Day One
It's that time of the year again, time to stand around in the heat and watch bands and wish this festival was later in the
year when it wasn't so damned hot! I've taken photos at every festival, but this year I would officially be taking photos
for the festival. Basically, the only real difference is I can now get into the photo pit at the big gigs...well, that and a free
pass that works like a VIP pass.
Is it a good thing or a bad thing that my favorite band of the entire event, Wye Oak, was the very first performance I
saw? I'll be optimistic and say it's awesome that a group I enjoy so much would be my welcome to the next three days
of musical decadence. It was great to see them on the big stage of City Plaza, hopefully winning over new fans that
had never heard their eighties new wave-inspired indie pop before. They definitely won me over again, but that out-
come was never in question. If Jenn Wasner was a religion I would be a strict adherent, because she is infallible.
There were lots of songs from "Shriek," a few new ones, and then they ended their far-too-short set with their greatest
track, "Holy Holy." I had hoped with Jenn moving to North Carolina we would get more frequent Wye Oak shows - this
has sadly not occurred, so every time I get a chance to see them play is a real treat.
The big City Plaza headliner this first night was Wolf Parade. Somehow I never saw them live before their hiatus in
2010, but I get to make up for that now. I have seen a number of their side projects though, and to be quite honest I
might prefer those solo efforts over the whole of Wolf Parade, and I mean that as no slight to Wolf Parade (I really
REALLY like Spencer Krug's Moonface, in particular). I forgot to take notes on their set list, but I specifically recall
them playing my favorite song "Dear Sons And Daughters Of Hungry Ghosts," plenty of other classics, and at least a
couple off of their latest EP, the imaginatively titled "EP 4." Just like on the recordings their songs live have a driving,
manic energy to them - if it was fun to see on the giant outdoor stage, I can't imagine how enjoyable it would be in a
small, indoor club. A couple of other super important notes from this performance: Dan Boeckner not only physically
looks like the Clash's Mick Jones, he looks like he's actually doing an impression of him; and Spencer Krug plays the
keys with one hand raised in the air as if he is constantly competing in a bull riding contest.
The "big" part of the night over, it was time to hit some clubs. I got to the Pour House in time to see Most of Wing Dam,
a band I seem to see/think about a lot at Hopscotch as they play often, and not much otherwise. It doesn't really make
any sense because they are a lot of fun live and should be interesting year round, but brains work in mysterious ways.
The club was packed with a crazy line outside, luckily this is where the photo pass helps a ton...sorry everyone I
skipped in front of. Once inside, I saw Sam from Future Islands and it occurred to me the Snails were closing out the
night at this venue...this crowd was just trying to get themselves Future Islands-adjacent. Or maybe they're just really
into bands that perform in snail costumes. Wing Dam are a little bit slacker pop, a little bit jangle, a little bit garage
rock, a little bit a lot of things actually - I've probably said it before but they remind me a lot of the mid-nineties Teenbeat
era, Versus and Unrest and Eggs and all that. Possibly the most noteworthy moment was when Sara Autrey's boobs
popped out of her low cut top in the middle of their set; instead of freaking out or being embarrassed, she instead
asked for solidarity from the rest of the band and the dudes took their shirts off. She then left them popped out, and
offered to "high five nipples" with anyone back at the merch table after the set was over (I have no verification if this
actually happened). A damn fun band, I look forward to their set next year at Hopscotch.
I decided to stay put at the Pour House to see some of Sneaks. I didn't know a single thing about them other than
they recently signed to Merge, and I like the bulk of the Merge catalog so it was worth a shot. The band is a duo of
young folks, a dude making beats on a computer and a dudette who rapped/sang/mumbled, occasionally played bass,
and was also wearing plastic pants that made me hot just looking at them. It was...not for me, to put it kindly. The
crowd seemed into it but I was totally confused. All of the songs were really short, the instrumentation very sparse,
and the vocals were way too low in the mix - hell, they played two or three songs before I realized they weren't just dick-
ing around doing sound check. I moved on after a handful of songs, but since each song was about a minute long a
handful didn't take long.
I smartly chose to stop off at the Lincoln to see some of Mutoid Man. I knew they played metal, had some connection
to Converge, and that was about it. I would best describe them as classic eighties-style thrash metal, but somehow
lighthearted and fun. And I don't mean lighthearted in regard to the lyrics, cause I don't have a clue what the hell they
were singing about - more so in the actions of the group, as they were clearly having fun. Smiling even! A metal band
smiling on stage, while simultaneously headbanging, fucking with each other, and more general antics! Unprec-
edented, I say - metal is usually such serious business. Oh, and they started their set by playing the last half of "Purple
Rain" (song, not album) - I can't think of a better, more fitting intro to this trio. My only regret is I didn't get to see more
of them, as I needed to get to Television...if it had been nearly any other band in the entire festival that I was off to see
next, I would have probably skipped it to see more of Mutoid Man.
Finally, Television. This was my most anticipated show of the whole festival, a classic band I've loved for ages but
had never seen live. Yeah, Richard Lloyd wasn't there so it wasn't the true classic line-up...but, and I say this with all
respect to Mr. Lloyd, I was there for Tom Verlaine first and foremost. Memorial Auditorium wasn't packed but there
was a healthy crowd there, a mix of old fans (like myself) and young kids there to probably see what all the fuss is
about with these "olds" on stage. After Tom requested the venue turn the lights nearly off (not ideal for taking photos,
obviously), the band launched into an hour-and-a-half set, playing nearly all of their classic "Marquee Moon" and plenty
more. After the show I heard some complaints that the band was boring and not very engaging or interesting, but that
was not true for me at all - it probably helped that I was front and center in front of Tom Verlaine the entire time, com-
pletely mesmerized by his effortless guitar acrobatics. I've probably seen guitarists that were better technically, but
I'm not sure I've ever seen anyone as effortlessly perfect. To no surprise they ended the set with an epic version of
"Marquee Moon," and as happy as I was to hear the likes of "Prove It" and "Elevation," finally getting to hear the title
track of their seminal album live was a legit bucket list item for me, and one I was very happy to finally fulfill.
My only real regret on the first night of Hopscotch is that Lambchop were playing at the same time as Television, for-
cing me to miss a local appearance by them for the first time in ages. Word is they were great, to no one's surprise.
Lambchop will be back though, most likely sooner rather than later. Television may never grace these parts again,
but here's to hoping.
Hopscotch Music Festival, Day Two
The second night of Hopscotch was a big night in the history of the event - not only was it the first time ever they would
be including Red Hat Amphitheater as a venue, they would be holding "big" shows both at both Red Hat and City Plaza
concurrently. It was an ambitious move, and might have worked out great...if the shows had started on time.
Gary Clark Jr was my first act of the night, at Red Hat. He was opening for Erykah Badu, but she was having flight
problems and was going to be late, and had her start time pushed back. Because of this, they had Gary start 15-20
minutes later than he was originally scheduled...fortunately, I was still able to see enough of his set to get a few photos;
unfortunately, I only got to see three or so songs before I had to leave for the next venue. That was a shame, because
his modern blues were sounding damn good to me at the time, and it's always a pleasure to watch Mr. Clark mangle
a guitar. I would have gladly stayed for a lot more of his set had it been possible. Plus, from a photographical per-
spective, he makes great faces while he plays. Yes, photographical is a real word, I looked it up. The internet never
lies.
Unfortunately I had to buzz it up the hill to City Plaza to see Anderson Paak, who seemed to be getting the most buzz
heading into this year's festival. In an ideal world Paak and Clark would have been paired together and I could have
seen both of their sets in full, but dammit no one asked me. In simplistic terms you would lump Paak into the genre of
hip hop, but he is so much more than that...most importantly, he plays with a full band, even throwing down on drums
himself on a few songs. Nearly every time I've truly loved live hip hop, it's been when there was a full band...that's pro-
bably the middle aged white guy in me talking, but the feelings still stand. Despite being from LA he gave off a nine-
ties East Coast/DJ Premier-esque jazz sample vibe to his sound, aka my favorite era in rap by a large margin.
There were many times where Paak & his band's sound was more funk and soul than hip hop...at least one song
sounded exactly like Curtis Mayfield, and a number of tracks reminded me a ton of the Brand New Heavies. I barely
knew a thing about Anderson Paak before this performance, but by the end I definitely left a fan.
After Paak I waited around for Beach House, who for unexplained reasons were also running late. Tired of waiting
and not really being a huge Beach House fan to start with, I decided to walk back down to Red Hat to catch the start
of Erykah Badu, as her amended start time was fast approaching. Of course, that was delayed even further and I
ended up waiting there for a while, only to hear through the grapevine that her plane had just landed, meaning it was
still going to be a while before she appeared on stage. So I went back up to City Plaza to actually catch some of
Beach House, who were finally playing. As I suspected, after a couple of songs I had had my fill - the music is mostly
fine (if a little boring), sort of a modern take on the Cocteau Twins, but they're not much for watching. They have as
much fog on stage as Sunn O))), only when you do get glimpses of the band it's not a bunch of metal dudes in crazy
monk outfits, instead run-of-the-mill indie rockers standing as still as possible. Between Badu and Beach House this
portion of the night was kind of a bust, but since I wasn't overly excited about seeing either band only my time was
really wasted.
I popped into Fletcher Opera Theater to see what was going on with Kid Millions & Jim Sauter Duo. Sparse crowd,
but given all the schedule fuck-ups with the "big" shows and the fact that both were still going on that wasn't particularly
surprising - I'm guessing the scene was somewhat similar in the other small clubs across town. The gig was pretty
much what I expected it to be - Millions pretty much just playing a long drum solo while Jim Sauter played some
skronky atonal saxophone over him. It's the exact sort of thing I find interesting for about fifteen minutes, and that's
about it. I may not always love everything Kid Millions does, but he's such an amazing drummer it's always worth
checking out any project he's involved in, I'll like way more than I won't.
Boulevards were playing next door at Memorial Auditorium, so off I went to see local lad(s) done well. I'm still not
entirely sure about who to call what here - Boulevards is the band name, but the band is technically only one person -
Jamil Rashad. So is he Boulevards, and do I refer to him as such, or do I refer to him as Jamil, member of Boulevards?
Regardless, he had two cats playing with him at this live show, one on drums and the other handling the rest of the
music on a computer, so for the purposes of this gig I will refer to Boulevards as the band. I'd be lying if I said I've lis-
tened to their record "Groove!" all that much, but you would be damn hard pressed to find a more engaging and ex-
citing live show, and you don't need to know the songs to enjoy it. Jamil owns the stage, prowling the entirety of the
giant Memorial stage like a caged Tiger, climbing on speakers, jumping into and out of the crowd multiple times - he
was definitely having fun, and so was the audience. I bet the dude burns 2000 calories over the duration of a show...
hell, I think I lost some weight just watching him move around so much. Musically it felt like being at a mid-eighties
New Jack Swing/Bobby Brown-esque gig - it doesn't hurt that Jamil looks like he stepped right out of a 1987 time
capsule. If Boulevards is playing in your town, don't miss it..unless you hate fun, then you should definitely miss it.
I decided to stay put at Memorial to see what all the Young Thug fuss was about, and also because I'm lazy. Not my
best decision, as it turns out. After being 45 minutes late, Young Thug's DJ finally came out and then proceeded to try
hyping up the crowd by playing snippets of the same songs Thug would be performing only a few minutes later. To be
fair the tactic worked, despite my bewilderment. Another 15 minutes later Young Thug himself finally came out, along
with one hype man and at least a dozen people who did nothing but mill around on the stage. One guy spent the entire
time checking his phone; another filmed the entire show on the biggest iPad I've ever seen, it was the size of a damn
cookie sheet; a number of others just smoked and drank (probably lean, or at least they wanted to appear that way)
out of Styrofoam cups. I'm not even sure what to say about the music...dude half-slurs a ton of his lyrics on record,
they're even less intelligible live. His music is generally interesting, but there was way way WAY too much bass...to
be fair that could be on the venue as much as it's on Young Thug, although both Big Boi and Killer Mike sounded
great here a few years back, so probably not. Long story short, it just wasn't for me. The very young crowd was loving
it though, so despite my sour reception it seems like a smart booking choice.
After a lot of Hip Hop and R&B for most of the night, there was only one sensible way to end things - metal. I had
hoped to see some or all of Cobalt, but due to Young Thug being so (unnecessarily) late, I saw an entire two minutes
of their very last song. That happens at Hopscotch sometimes, life goes on. Luckily I was able to get there in time to
see Yob, my main reason for walking to the Pour House anyways. I've seen them a couple of times, as well as lead
man Mike Scheidt solo, so I knew exactly what to expect - really heavy stoner metal bordering on doom, minus the
Cookie Monster vocals that turn me off from so many metal bands. This was probably the best I've ever seen them,
the band was tight and Mike was destroying his crazy looking custom Monson guitar. It wasn't butts to nuts in there,
but the crowd was healthy - I guess I wasn't only one who thought ending the night with some riffy metal was a great
way to finish off the second day of Hopscotch.
Hopscotch Music Festival, Day Three
The third day of Hopscotch is always the toughest to motivate for, at least for this middle-aged, out-of-shape, lazy bas-
tard. The first day runs on excitement; the second day runs on adrenaline; and the third day runs on...determination. It
didn't help that of the three days this one had the line-up of bands for which I was least excited, but there were still
some gems in there.
I'm not going to lie, I really only showed up early enough for Vince Staples at City Plaza because I thought I might get
some interesting photos, what with my pass-assisted access to the photo pit in City Plaza. Without that, I probably
would have shown up just early enough to catch a couple of songs at the end of his set. I did get a couple of decent
snaps so I guess it was worth it, but I can't say Vince's music ever won me over. Just not my kind of hip hop, and I
don't think I could even tell you why - neither his rapping style or his music really engaged me. Also, the audio quality
seemed all over the place - one track would be normal and clear, and the next would have so much distorted bass I
had a flashback to high school when all the rednecks (as well as one of my good friends) had those huge speakers in
the trunk of their cars. I once bribed my friend with a t-shirt he wanted to get him to turn his speakers down, it was so
loud I thought it was making my heart beat improperly. Anyways, I did eat a tasty chicken and cheese pita during his
set, so that was cool.
It's pretty impressive that the biggest turnout and most rambunctuous crowd I've seen in the seven years of Hopscotch
was for local favorites Sylvan Esso. It feels like it was only a couple of years ago they were opening for the Rosebuds
at Memorial, and now they're drawing thousands of people as a festival headliner...wait, it was just a couple of years
ago. I've seen them a few times since that Memorial outing, but this was the first gig I've seen where they actually
played new songs, songs not on their self-titled debut. They still played most of the songs from that record too, and of
course the crowd went nuts for each one of them, including me when they played their best song "Hey Mami" at the
end of the set. Who would have guessed that if you write super catchy pop songs and set them to an electronic beat
it would be so popular?
From electronic pop to mellow folk, I made my way to Fletcher Opera Theater to catch a little bit of Maiden Radio. I'd
never heard a single note by them, but read that Joan Shelley was in the group and she has a magnifficent voice so it
was definitely worth a shot. The band was a trio of females playing banjo, guitar and fiddle (in various combinations)
and singing solo or together (in various combinations). I only caught about half of their set, but it seemed like it was
mostly covers of old mountain folk songs - how much these songs resembled the originals or were complete reimagin-
ings, I have no idea. As to what Maiden Radio sounded like, think about all the Gillian Welch/Emmylou Harris/Alison
Krauss tracks from the "Oh Brother Where Art Thou?" soundtrack and you're on the right path. It sounded great, two
thumbs up from this dude.
I would have gladly stayed for the entire Maiden Radio set if I didn't need to get next door to Memorial Auditorium to
see Eric Bachmann. It was just him and two backup singers, local phenom Skylar Gudasz and another gal named
Avery, but I didn't catch her full name. Bachmann was in a snazzy suit, the ladies were in matching sparkly dresses,
and the crowd was seated and impeccably silent...of the dozens of times I've seen Bachmann play either solo or with
a band, I've never seen him quite like this. I took some snaps for a couple of songs, and then just sat down and lis-
tened intently for the rest of the set. He played most of his new self-titled record, which makes sense as so many of
those songs feature backing vocals, and these two ladies weren't on stage just to show off their sparkly outfits. Of the
couple of older songs he trotted out, I remember "Bad Blood" was one of them, a classic to be sure. I'm not sure if the
rest of the crowd was totally engrossed (like me), asleep, or just staring at their phones, but I was impressed with how
quiet and attentive everyone was. Easily one of the shows of the festival for me, but like the Wye Oak performance on
the first night, I knew this would be the case before he even played the first note.
Even though I had sorta just seen her with Maiden Radio, I popped back in next door at Fletcher to see Joan Shelley
play solo. Well, sorta solo, as she had a dude supplying guitar accompaniment the whole time, plus the other two gals
in Maiden Radio came on stage occasionally to add some additional instrumentation or vocals. I suppose the the big
difference between the two sets was during this gig Joan was playing her own songs instead of covers of old mountain
folk ditties. I don't really know any of her music well, I just know her voice - but it was real damn pretty and I stuck it out
for a few songs before I got itching to move on. Nothing against Joan, but I was needing something a little more rock-
ing than the delicate folk I've seen over the last three acts.
Walking down the street, I met a few friends that talked me into going to see Soldiers of Fortune at the Lincoln
Theatre because Cheetie Kumar from Birds of Avalon would be sitting in with them. I didn't know a single thing about
the band (noticing a theme with my lack of preparation this year?) but if Cheetie was participating it would be worth
checking out. Turns out they're some NYC supergroup featuring Kid Millions and others from Oneida, a dude from
Endless Boogie, another dude that plays with Interpol apparently, and plenty more vets (some that were here, some
that were not). Their set was just one long song, seemingly improvised or at least mostly so, which is not shocking
because of the level of talent present on stage. Kid Millions was handling the vocals from the drum kit, but I have no
idea what he was saying and I'm not sure it mattered. I'm not even sure how to really describe the sound - sort of a
repetitive kraut rock vibe, fairly heavy but never venturing into metal territory, and a shitload of guitar shreddery, espec-
ially from the guest star Cheetie. I probably could have just said it sounds like a crazier/bigger version of Oneida. For
something I randomly decided to go to, this was a nice find, and further proves the old adage "always trust the Birds
of Avalon." At least I'm pretty sure that is an adage people say.
Baroness was playing next at the Lincoln and since that who I was planning on seeing anyways, it made for a short
commute. Not only did I not have to exert myself and walk to another venue, but I was in a great spot to get photos of
the final act of Hopscotch. I saw Baroness play a number of years ago, but honestly don't remember a ton about it -
I certainly don't remember them being as polished as they were on this night. They were heavier and gruffer before -
now, I'd almost call them pop metal. That sounds like an insult and I don't mean it that way, but their songs have hooks
and harmonies that you usually don't get in a typical stoner metal setting. Also, how did I miss the news that Sebastian
Thomson from Trans Am is now their drummer? I knew their old drummer quit the band after their horrific bus crash a
few years back (they were actually supposed to play Hopscotch right after that crash, but that appearance was ob-
viously cancelled since almost the entire band nearly died), but I had no idea Sebastian was now their stickman.
Anyways, yadda yadda yadda, they put on an amazing show, it was basically an entirely different band than I saw so
many years ago, and I enjoyed it immensely - I was planning on only staying for a couple of songs but ended up
watching most of the show. I like this version of Baroness a lot more, for the record - what can I say, I'm a pop fan at
heart - make the metal songs catchy and all of the sudden I'm feelin' it.
I went home satisfied (and extremely tired) after my three day experience at Hopscotch 2016. Probably my favorite
festival since 2013 or so. I'm already excited for next year.
"Cat in the wall, eh? Okay, now you're talkin' my language! I know that game."
As a slight break with the usual, one full album and one full single in addition to the normal random tracks.
Mercury Birds - Saxitar Cosmosis. Kids these days don't know! Highly underrated classic band from Greensboro
in the late nineties. Hell, they were stupid underrated when they were actually around. Some of the dudes ended up
moving to Portland and joined a bunch of other bands over the years, one of which was the now-popular Red Fang.
Yeah Yeah Yeahs - Gold Lion (single). I don't have any good reason for including this entire single, other than I was
listening to it the other day. "Modern Romance" is still a great song, and TV on the Radio's cover of "Modern Ro-
mance" is even greater.
Clinic - Bubblegum. I'll forget to listen to Clinic for a long time, and then be all like "Clinic is awesome" for a couple
of weeks, and then forget to listen to them again.
David Bazan - Eating Paper. What I said about Clinic more or less applies to David Bazan/Pedro the Lion too.
Nada Surf - Friend Hospital. The new Nada Surf album is awesome, to no one's surprise. I haven't gotten to see
them live in ages though, but that will all be changing...tomorrow. Photos in future updates.
The Kingsbury Manx - Future Hunter. Their first record is still their best, but they've never released a dud. These
tracks are from 2013's "Bronze Age."
Weird Beard & Black Wolf
Archive -
December 2016 November 2016 October 2016 September 2016 August 2016 July 2016
June 2016 May 2016 April 2016 March 2016 February 2016 January 2016
December 2004 November 2004 October 2004 September 2004


text:
Fortune is het vijfde studioalbum van de Amerikaanse R&B-zanger Chris Brown en de opvolger van zijn album F.A.M.E. uit 2011. Als voorloper op het album werd op 6 april 2012 de single Turn Up the Music uitgebracht. Op 29 juni 2012 kwam het album uit en een week later op 7 juli kwam het album op nummer 1 binnen in de Nederlandse Album Top 100 en op nummer 34 in de Vlaamse Ultratop 100 albumlijst.

Tracklist

Hitnoteringen

Nederlandse Album Top 100

Vlaamse Ultratop 200 Albums

Muziekalbum uit 2012

redpajama_set_name: RedPajamaWikipedia


text:
{#
 # Licensed under the Apache License, Version 2.0 (the "License");
 # you may not use this file except in compliance with the License.
 # You may obtain a copy of the License at
 #
 # http://www.apache.org/licenses/LICENSE-2.0
 #
 # Unless required by applicable law or agreed to in writing, software
 # distributed under the License is distributed on an "AS IS" BASIS,
 # WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 # See the License for the specific language governing permissions and
 # limitations under the License.
-#}
{% extends "base.html" %}
{% block title %}Security{% endblock %}

{% block content %}

Reporting a security issue

We take security very seriously and ask that you follow our security policy carefully.

Important! If you believe you've identified a security issue with Warehouse, DO NOT report the issue in any public forum, including (but not limited to):

 Our GitHub issue tracker

 Official or unofficial chat channels

 Official or unofficial mailing lists

Instead, email security at python dot org directly, providing as much relevant information as possible.

Messages may be optionally encrypted with GPG using key fingerprints available at the Python Security page.

What happens next?

Once you've submitted an issue via email, you should receive an acknowledgment within 48 hours.

Depending on the action to be taken, you may receive further follow-up emails.

This security policy was last updated on March 14, 2018.

{% endblock %}

redpajama_set_name: RedPajamaGithub


Democratic Senator Elizabeth Warren of Massachusetts says that while she wants the proposed summit between the United States and North Korea to "work," she questions the Trump administration's strategy — or lack thereof — in getting to the talks.
"I want this to work to reduce the threat to South Korea, to Japan, to our allies in the region, to the United States of America, to the entire world, but it really takes a strategy," Warren told "CBS This Morning" on Tuesday.
Her comments come as the administration appears to be once again aiming for June 12 talks in Singapore with North Korea, less than a week after President Trump effectively canceled the summit in a letter to leader Kim Jong Un. On Tuesday, Mr. Trump tweeted that the Vice Chairman of North Korea, Kim Young Chol, was en route to New York to continue planning work on the summit.


text:
quis custodiet ipsos custodes
"Who shall guard the guards?" Juvenal, Satires
LawCite
AUSTLII
Vic unreported
Vic legislation
Criminal Procedure Act blog
Evidence Act blog
VicBar
VLRC
AIJA
Providing police recordings allowed or not?
at 5:00 am Posted by Kyle
Dr Manhattan Edit: There were practical problems with the breadth of the original legislation, and it has no undergone a nip-and-tuck in the Justice Legislation Further Amendment Bill 2010. The Explanatory Memo to this omnibus legislation can be found here.
Last year in Going Digital my colleague discussed what is now the Justice Legislation Miscellaneous Amendments Act 2009, which will insert new provisions in the Crimes Act 1958. It has received Royal Assent, but is yet to commence operation.
Section 464JA will provide in part:
(2) A person must not knowingly possess an audio recording or an audiovisual recording unless the person—
(a) is the suspect; or
(b) is a legal practitioner representing the suspect; or
(c) is an authorised person acting in the performance of his or her duties; or
(d) has possession of the recording in a sealed package in the course of his or her duties as a person engaged by a person referred to in paragraph (a), (b) or (c) to transport the recording to that person.
Penalty: Level 8 imprisonment (1 year maximum).
Note The maximum fine that may be imposed on a body corporate found guilty of an offence against this subsection is 600 penalty units: see section 113D of the Sentencing Act 1991.
(3) A person must not play an audio recording or an audiovisual recording to another person unless—
(a) the recording is played for purposes connected with the prosecution or defence of, or legal proceedings relating to, a charge to which the recording relates; or
(b) the recording is played for purposes connected with an investigation of a death or a fire or an inquest held by a coroner; or
(c) the recording is played for purposes connected with disciplinary action against a member of the force within the meaning of the Police Regulation Act 1958; or
(d) the recording is played for purposes connected with disciplinary action against a legal practitioner; or
(e) the recording is played in accordance with the direction of a court under section 464JB; or
(f) the recording is played in accordance with section 464JD; or
(g) the recording is played by an authorised person acting in the course of his or her duties.
(4) A person must not supply or offer to supply an audio recording or an audiovisual recording to another person other than—
(a) the suspect in relation to whom the recording was made;
(b) a legal practitioner representing the suspect;
(c) an authorised person acting in the performance of his or her duties;
(d) a person engaged by a person referred to in paragraph (a), (b) or (c) to transport the recording.
(5) A person, other than an authorised person acting in the performance of his or her duties, must not copy the whole or any part of an audio recording or an audiovisual recording or permit another person to make such a copy, unless the person is acting in accordance with the direction of a court under section 464JB.
(6) An authorised person must not knowingly or recklessly tamper with, modify or erase (in whole or in part) a recording, except in accordance with the direction of a court under section 464JB.
(7) A person must not publish or cause to be published the whole or any part of an audio recording or an audiovisual recording except in accordance with the direction of a court under section 464JB.
Penalty: Level 7 imprisonment (2 years maximum).
Note The maximum fine that may be imposed on a body corporate found guilty of an offence against this subsection is 1200 penalty units: see section 113D of the Sentencing Act 1991.
(8) An offence against a provision of this section is a summary offence.
The Scrutiny of Acts and Regulations Committee raised a few concerns about these provisions, and in Alert Digest 4 of 2010 at pp 51 – 55 published them and the Minister's response.
Sub-section (4) seems to be the most problematic, and on its face prohibits disclosure of co-suspect interviews to suspects or practitioners, or release of an interview to an expert or to non-legally-qualified advisers or confidants.
I won't reproduced all of the material here, but the nub of it is that the Minister says these new provisions affect disclosure of recordings themselves, but not the transcripts or summaries of them. Because the prosecution is obliged to disclose all material it intends to rely on, the accused isn't disadvantaged.
Although this is true as far as it goes, it doesn't seem to consider that such material might be used by an accused for exculpatory purposes, not just by the prosecution for inculpatory use.
It also seems contrary to the prosecution's ethical obligation of disclosure of all relevant material, exculpatory and inculpatory: Mallard v The Queen (2005) 224 CLR 125; Cannon v Tahche (2005) 5 VR 317 at [57]–[59], [77].
There is a general directions power for courts in s 464JB, but it's not clear if that allows a summary court (which possesses only those powers expressly conferred by statute or by necessary implication) to override or modify the effects of s 464JA.
Labels: human rights, law reform, legislation, procedural fairness
Nanny State said...
This is very problematic. In summary prosecutions where there are more than one accused, the police will often refuse to provide copies of a co-accused's record of interview recording on the basis that "they arent obliged to" or that it is irrelevant (both positions which I might add are totally misconceived - but try getting that through to some police prosecutors). This new legislation will only act to enforce the often taken police position. Also note thet the minister's response about the provision of "transcripts" or "summaries" is (not surprisingly) totally misconceived as transcripts are usually not prepared up until just before the Contested Hearing. At Geelong, they are often not prepared at all.
Jeremy Gans said...
Supply is actually permitted to a co-accused's legal practitioner (as s/he is an 'authorised person'). But, weirdly, supply is not permitted to the co-accused him/herself (even by the co-accused's lawyer) without a court order!
QCIC is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Australia License.
Some potted thoughts and meanderings about law, legal developments and criminal prosecutions in Victoria.
Drug-driving offences
Vehicle impoundment
School days 2012
Summary case conference contacts
Excessive speed penalties
Drink-drive penalties
Charter restrictions on validity of search warrants?
DPP (Cth) v D'Alessandro: child pornography senten...
The meaning of unavailable
DPP v Angell [2010] VSC 76: demerit-point notice s...
Legislation Watch: a fistful of bills
The costs of getting it wrong
Human rights, possessing drugs, and deeming provis...
False accounting
Court Craft
Unlawful assembly requires cooperation, not just t...
Documents must say something to be hearsay
R v Darmody [2010] VSCA 41: first Court of Appeal ...
More free online research resources
Summary case conference not the time to dismiss ch...
Jurisdiction for web-based offences
admission advocacy animal rights appeals appearance under protest apprehended bias assault attempt bail caution character charges child pornography children's court civil procedure coincidence commentary committal hearing common law common law offences triable summarily commonwealth law compensation complicity confiscation constitution contempt costs court criminal procedure cross-examination custody diversion dog double punishment drugs duplicity ethics evidence expert false accounting family violence firearms forensic procedure google hearsay high court honest and reasonable mistake House of Lords human rights i.o.t.s. identification identity theft impoundment indecent infringements intervention order intoxication iots ipad judgments judicial registrar jurisdiction law reform Legal Aid legal drafting legal research legislation licence Magistrates' Court mediation mental impairment negligence news notice to appear opinion parity pedantry people police possession precedent privacy privilege pro bono procedural fairness process proper venue public nuisance recording road safety act search search warrant self defence sentencing sex offences stalking standard of proof subpoena suspended sentences table tables technology tendency theft trespass UK UK Supreme Court USA victims voluntariness weapons website
Tweets by @kyleemcd
Acrobat for Legal Professionals
Correcting OCR Errors
Caen's Corner
When is a decision not a decision
Criminal Law Blog developments in leading appellate courts
Balancing and proportionality in admissibility decisions
CYB3RCRIM3
The University Computer Lab, the Pro Se Complaint and False Arrest
ElectricLawyer
Inground Swimming Pool Renovations Services in Atlanta - Review
iPhone J.D.
Mac Power Users #571 -- iPhone, iPad, Macs+PCs, touching up photos, home automation, and more
Law Geek Down Under
Hearings this week in the High Court of Australia
Lawyerist
Branch Out and Gain Ground with SEO and Postali
MacLitigator
Airtable – Tab Set Up for Case Analysis
nic.suzor.com
The Shirtain.
Open and Shut
Reveal: Politicians easily dodge accountability for their mistakes-because they can!
Peter Black's Freedom to Differ
Best Australian law schools according to the QS World University Rankings
Shredding The Document
What the Pandemic Has Taught Us About Law: Part 2
2020: Not Such a Good Year (Deaths)
R v Martin: Shedding Light on Screenshots as Electronic Evidence
The Lamp Post
Minister for Immigration & Citizenship v SZGUR
The Mac Lawyer
Importance of Technology in Divorce Cases
The Magistrate's Blog
So. Farewell then Bystander...
UKSC blog
In the Supreme Court W/C 18 January 2021

redpajama_set_name: RedPajamaCommonCrawl


A. Jeffrey Belden – representing Mr. Derrick Bartley - homeowner, is requesting a permit to install a 3" drain pipe into the BLD's easement on Macks Bayou to facilitate drainage flow off his property located at 232 Radbrook in the Sunflower Subdivision.
B. Micha Duffy, Coyle Engineering Co, Inc. – representing Mr. Zeyad Rahman, LLC, is requesting a permit to construct a new retail shopping center located at 2112 Airline Drive and encroach 100' Servitude on Lateral B-1 Ditch.
A. Donnie Barker – Mohr and Associates, Inc. on behalf of the developer, Bellaire Baptist Church, represented by the Pastor, Randy Harper requests a Permit to encroach along the high bank of Flat River for the installation of new drainage facilities for the proposed Victoria Meadows Subdivision - Unit 3. Also, to continue discussions regarding concerns with potential drainage issues into Flat River, Unit 2 that are still pending.
B. Discussion regarding IC-50 Crawler Carriers used for Red Chute Flood Fight – ($18,000.00 per month).
C. Mr. Mark Long, Operations Coordinator BLD – requests additional funding for the Pecan Valley MHP Ditch Project (the project was originally approved for $100,000.00); $150,000.00 is needed to complete repairs as initially planned.
D. Mark Long to review and seek approval of Pecan Valley Ditch repair quotes; low quote of $122,859.00 from F.J. Burnell Inc.
E. Mr. Long to discuss proposed facility upgrades with cost estimates; and requests for approvals.
B. Approval for cost sharing of two shipping containers for sandbags - $2,750.00 each; as per request received from the Parish.
C. Approval to hire outside channel herbicide maintenance contractor(s) not to exceed $45,000.00.
D. Resolution to provide the Bossier Levee District staff an employee recognition ceremony.


text:
Vreo
Token distribution & Contract migration
Dear VREO investors, partners and enthusiasts, it is a great pleasure to announce that we have finally started the token distribution, in the first wave to investors and partners, in the second to all other contributors, including bounty, by mid-to-end of September. During that process, we have decided to migrate…
Vreo's Partners
At Vreo we are always striving to improve the world of in-game advertising for all parties involved: Developers, Advertisers and, of course, gamers. We have already shared a lot of information about how we are working on achieving that goal, as well as why we are so passionate about this…
Partnering with Vreo
Vreo is a unique business opportunity for three significant sectors; gamers, game developers, and advertisers. Vreo is targeting two of the biggest money-making systems and bettering it through Blockchain integration. The advertising market worldwide was estimated at 550 Billion USD as of 2017 and is continuing to excel. The gaming…
Become a Vreo gamer to win regardless of the outcome
Gaming is an endorphin fueling experience for anyone who plays, different games incite different emotions for different people but winning is always enjoyed. Whether it be leveling up, a chicken dinner or victory royale; winning warrants a feeling like no other, having battled through and outsmarted your way to the…
Meet the experienced and diverse Vreo team
Vreo is an in-game ad embedding project that has chosen blockchain as the means of securing their services. The concept behind Vreo is astonishing yet straightforward; a revolution to the gaming, developing and advertising worlds. By embedding ads in-game, both advertisers and developers avoid swamping gamers with pop-ups pushing them…
Vreo for Advertisers
As an advertiser, you seek opportunities among the masses to promote your product, with gamers breaking the 2.2+ billion market audience threshold, it seems like a brilliant idea to target them. The only problem with game advertising today is the way it's being done, advertisers have become an annoyance to…
Vreo for game developers
Creating a game is hard; creators may lack the necessary funding, direction, and perspective. Developers can seek funding through sponsors or advertisers, although there are so many games being released, new developers with incredible ideas may not have the credibility to be noticed by sponsors. With advertisers come a variety…
Vreo Public Sale Update
The support, participation and response of the Vreo community has been outstanding so far and we are happy to have so many people believe in our project. …
The new Vreo Gamer Bounty
We have been working on a massive change to our bounty program for quite a while and just released the information about it at https://bitcointalk.org/index.php?topic=2898738.0. Please check the link to find all the details about the rules and rewards! How does it work To participate in our new Gamer Bounty you will have to…
The Vreo Marketplace
A vital part of the Vreo ecosystem is the marketplace that enables developers and advertisers to match brands or advertisers with games, and handles backend processing for analytics, billing, commissions, and so on. A user can register for free on the Vreo marketplace either as a: Developer / Publisher, with…
Embedded in-game advertising secured through blockchain technology


text:
Buy from the Bush delivers $5m sales boost
Finbar O'MallonAAP
Fri, 12 June 2020 2:01AM
Camera IconGrace Brennan deliverers the 2020 Australia Day Address
A campaign to get Australians to buy from businesses in communities hit by drought has boosted sales by $5 million.
The Buy from the Bush campaign connected Australians with select small businesses across the country that had felt the brunt of natural disasters.
Businesses experienced a 300 per cent jump in sales, one in five hired new workers, and more than one in three began shipping interstate.
The AlphaBeta report commissioned by Buy from the Bush and social media giant Facebook also found one in five businesses started shipping overseas.
Grace Brennan, who kicked off the campaign in October, said she wasn't expecting to raise millions.
"While I didn't start the project with that in mind, it doesn't surprise me now," Ms Brennan told AAP
"I think consumers want to connect with a story and want to know where their products come from."
She has now set her sights on a "Stay in the Bush" campaign to promote domestic tourism in the wake of the coronavirus lockdown.
Ms Brennan said she knew people wanted to help businesses in struggling communities but didn't know how.
She said the pandemic has also changed people's behaviours when it comes to buying local.
The report found nearly all of the business owners featured in the campaign were women, with 90 per cent of owners saying it had improved their lives by boosting self-esteem and easing financial pressures.
NSW was home to the majority of small businesses featured in the campaign.
Facebook's Australian policy head Mia Garlick said her platform had helped send a message of hope.
"Something as simple as a social media post can help business owners connect with customers across town, across the country or even in other countries," she told AAP.
Thai activist: govt trying to silence me
Vic MP fails to satisfy stacking auditors


text:
Thomas Herzog, MD
Scientific Advisory Board Member
MD – University of Cincinnati
Residency – U/C Good Samaritan Hospital, Cincinnati
Fellowship, Gynecologic Oncology – Washington University
Deputy Director, University of Cincinnati Cancer Institute and The Barrett Cancer Center
Paul & Carolyn Flory Endowed Professor, Obstetrics & Gynecology, University of Cincinnati
Vice-Chair Quality & Safety, Obstetrics and Gynecology, University of Cincinnati
Former Director, Gynecologic Oncology, Columbia University Medical Center
Former Associate Professor & Director of the Fellowship Training Program, Washington University School of Medicine
Editor, Gynecologic Oncology Research to Practice; Editorial Board Member, Gynecologic Oncology, Obstetrics and Gynecology International, and Hematology Oncology Times
International Gynecologic Cancer Society Board Member
Former Leadership Council Member, Society of Gynecologic Oncology and Foundation for Women's Cancer
Board of Governors Member, American College of Surgeons
Board of Directors, GOG Partners


We first encountered La Porte de Paris a few years ago when it was a little French bakery on Moganshan Road producing the best buttery, golden canelé we've had in Hangzhou. Since then, it's undergone some transformation and recently resurfaced in the CBD, on Zhijiang Road next to Hustle Bistro.
The owner of the bakery, Iko, originally trained as an industrial designer then got into baking as a way to make healthy, delicious cakes for her daughter to eat. From 2013, Iko had run a home-based bakery business which later turned into a retail shop. Iko has studied baking in France and still continues to learn and draw inspiration through courses and travels in France, Spain, Italy and Japan.
Today, La Porte de Paris continues to create French style desserts using imported ingredients and no chemical additives to stay true to the natural flavour of the sweets. Using her design training, Iko creates desserts that are as pretty to the eye, as they are delightful in the mouth.
The new shop is bright and airy with table seating and cakes on display downstairs and the bakery production upstairs. Each day, there will be a selection of cakes prepared, but customers are welcome to make advance reservations 2 days ahead of time to order their favourites, especially if ordering an entire cake.
We tried a range of items and the fruit based ones really stood out for us. Starting with Passionfruit Mango Mousse (百香果芒果慕斯, 320RMB for a 4-6 person cake, 540RMB for 7-10 person). Passionfruit is the perfect fruit for summer, its fruity sourness is a great pick-me-up for hot weather days and its exoticness instantly transports you to a tropical location. In this cake, the sourness of the passionfruit is balanced with sweetness of Vietnamese green mangoes and there's a middle cake layer with coconut. The inner circle of mango and passionfruit jelly is surrounded by an outer ring of strawberry purée and iced with white chocolate mousse.
The cute Mango (芒果, 60RMB) dessert looks like a plump, luscious mango. Cut through the orange coloured white chocolate shell, to first reveal a layer of mango mousse and then a filling of fresh and Vietnamese mangoes. A small amount of kiwi is mixed in to temper the sweetness of the mango.
Giardino di Boboli (波波利花园,48RMB) was inspired by Iko's travels to Florence, where she was enchanted by the verdant green colours in Boboli Gardens. The cake has layers of matcha green tea sponge cake, mashed purple sweet potato to represent the flowers of the garden, matcha mousse, scalloped white cream edges and a further dusting of green tea powder on top. The green tea used is very high quality and has a nice nutty, roasted, slightly bitter flavour.
Absolute Vanilla (绝对香草,50RMB) uses premium Madagascar vanilla pods in a white chocolate mousse and white cake creation.
Coincidence (好巧, 50RMB), this red ball encases a chocolate mousse flavoured with orange liquour, and "coincidentally", chocolate and orange makes a natural pairing. The bitterness of the liquor lingers pleasantly.
Drinks include coffees (35-50RMB), sodas and juice (42-48RMB), tea (35-48RMB) and craft beer from local Hangzhou brewery Taste Room.
Free delivery service within 10 km of the shop with orders over 200RMB.


text:
Hospitality in Belgium
Hospitality in Thailand
Thai Culture in Belgium
Siam in-between column
Affordable fashion, café racers and John F. Kennedy
By Glitterati • On February 4, 2018 • In Blog, Fashion
With my lovely wife moving to Belgium next month, some budgetary optimization will be needed temporarily if we want to keep up our slightly glamorous lifestyle. Plenty of inspiration for future posts there. With that in mind, I was pushed over the edge and into a C&A store. Result: an affordable fix for a long-term craving and a fashionable story that leads all the way to John F. Kennedy. Just do continue reading.
I do love leather café racer jackets, especially by British brand Belstaff. They carry a hefty price tag, though. Even when the price was cut in half when Superdry knocked them off in 2005, or when Belstaff recently appeared on Zalando, I didn't want to spend a big chunk of cash on something I would possibly grow tired of quickly.
David Beckham was the face of both Belstaff's and Superdry's biker vests
When I recently started going to the supermarket by foot, I spotted a frugal way to get my café racer fix. Yes, I do like to pretend that walking there is a way to reduce my carbon footprint and on this occasion, I could easily sell it to you as a way to cut my fuel cost. In reality, parking there is a huge drag. In the same lazy line of thinking, I often cut the walking distance by crossing through a C&A clothing store. While the old Steven wouldn't be caught dead in C&A threads, the new Steven spotted a smart faux-leather biker jacket. It fitted perfectly and was priced just EUR 59. Convinced that it was a mistake, I snatched a brown and a black version off the rack.
Walking through the store, I quickly realized that C&A just had such a low general price point. While many items have an awkward fit and some try to emulate a clumsy Superdry look-and-feel, other (basic) items are quite OK. Especially slim fit buttoned shirts seem to offer good value.
Most items for gentlemen at C&A, including my jackets, are branded Angelo Litrico. This is where the story takes an unexpected, interesting and historical turn.
In the early 1950's Angelo Litrico was a tailor's apprentice whose work was noticed by Italian glitterati and quickly rose to national fame, which allowed him to purchase the store he worked in. Keen to promote his services, he was the first to ever put on a men's fashion show. Prior to Litrico, the catwalk was strictly reserved for women.
When Litrico was invited to participate in a 1957 mission to promote Italian exports to Russia, Angelo used pictures to tailor a coat for Nikita Khrushchev. Impressed with his work, Khrushchev ordered a full wardrobe for his famous trip to the USA in 1959. Remember when he slammed his shoe on the table at the United Nations General Assembly? Those shoes were part of the wardrobe by Litrico.
The well-dressed Soviet premier directed attention to the Italian tailor, making him instantly famous. Litrico became the tailor to the statesman, dressing John F. Kennedy, Juan Peron, Tito, Dwight D. Eisenhower and King Hussein of Jordan.
When Angelo Litrico died in 1986, at age 58, his company passed to his sister Giusi and brother Franco, rebranding it to Franco Litrico. Franco's son did exactly the same, rebranding to Luca Litrico when he took over in 2004. The High Fashion line by Maison Litrico is supplemented by a ready-to-wear collection, which is not intended to open up a great deal to the public. Quite ironic, given the fact that a cheap off-the-rack collection bears the company founder's name.
My research could not reveal how and when the Angelo Litrico trademarks ended up in the possession of the COFRA Holding behind C&A.
A double fix of my café racer craving and an interesting story. Not bad a bad day, right?
PS: I'm still working on making selfies and smartphone pictures that are actually in focus 🙂
Adventures behind the Great Wall, my observations…
Siam in-between: A case of Thai expat's disease
How to fly to Thailand on a budget
How to get married to a Thai national in Belgium –…
Tags: budget, fashionblogger, fashionist, fashionman
One Response to " Affordable fashion, café racers and John F. Kennedy "
Thomas Arney
JFK would be called a fascist by current media standards.


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Dawn Golden and Rosy Cross
Mad Decent Block Party lineup revealed (Williamsburg Park is the NYC venue); TNGHT EP; new Bonde Do Role out now
Bonde Do Role at Bowery Ballroom in 2008 (more by Bao Nguyen) Back in June, we mentioned that the Mad Decent Block Parties were returning this summer and then earlier this month, they revealed a list of artists, but didn't say who was playing each c...
Mad Decent Block Parties lineup revealed (Action Bronson, Mr. MFN eXquire, Spaceghostpurrp, BADBADNOTGOOD & more)
Action Bronson at Red Hook Park in June (more by Eric M. Townsend) As mentioned, Mad Decent Block Parties are returning this summer, hitting Toronto, Philly, NYC, Chicago, and LA...
Hopscotch Fest returns to Raleigh (2011 lineup announced), Sharon Van Etten officially added to Northside Fest
The second annual Hopscotch Festival will go down in downtown Raleigh, North Carolina, across 12 different venues with over 135 bands, from September 8th through 10th...


text:
Brattle Street, which existed from 1694 to 1962, was a street in Boston, Massachusetts located on the current site of City Hall Plaza, at Government Center.

History

Around 1853, former Virginia slave Anthony Burns worked for "Coffin Pitts, clothing dealer, no.36 Brattle Street." Nearby, abolitionist John P. Coburn managed a clothing store at 20 Brattle Street. In 1850, Joshua Bowen Smith, a black abolitionist and member of Boston's Vigilance Committee, operated a catering business at 16 Brattle Street."

In 1921, the first Radio Shack store opened at 46 Brattle Street.

Gallery

See also
 Brattle Street Church
 John Smibert

References

External links

 Bostonian Society  has materials related to Brattle Street.

Streets in Boston
Former buildings and structures in Boston
1694 establishments in Massachusetts
1962 disestablishments
History of Boston
Financial District, Boston
Government Center, Boston


text:
Jean-Georges Lefranc de Pompignan (Montauban, 22 februari 1715 – Parijs, 29 december 1790) was bisschop van Le Puy (1743-1774) en graaf-aartsbisschop van Vienne (1774-1789). Hij was lid van de Staten-Generaal (1789-1790) in het koninkrijk Frankrijk en was minister van Staat (1789-1790).

Levensloop

Jonge jaren
Lefranc was een edelman die opgroeide in de familie van de markiezen van Pompignan. Deze familie was generaties lang betrokken bij de Cour des Aides, de fiscale afdeling binnen het Rekenhof tijdens het ancien régime. Lefranc studeerde voor priester in het seminarie Saint-Sulpice in Parijs, en behaalde de graad van doctor in de theologie aan de Sorbonne. Hij was vervolgens werkzaam als kanunnik en titulair aartsdiaken in Parijs.

Bisschop van Le Puy
In 1742 stuurde koning Lodewijk XV Lefranc naar Le Puy, waar hij het bisschopsambt bekleedde van 1743 tot 1774. Vanaf 1747 combineerde Lefranc dit ambt met de titel (en de inkomsten) van abt van Saint-Chaffre. De benedictijnenabdij van Saint-Chaffre lag in zijn bisdom Le Puy; vandaag staan resten van de abdij in de gemeente Le Monastier-sur-Gazeille. Vanaf 1755 zetelde hij in de Assemblée van de Franse clerus. Lefranc maakte deel van de fractie rond kardinaal de La Rochefoucauld; deze kardinaal hield het zogenaamde blad of feuille bij waarin genoteerd stond welke geestelijke welke inkomsten mocht betrekken in Frankrijk. De fractie van de kardinaal stond daarom bekend als de Feuillants. In deze periode publiceerde hij de meeste van zijn politieke essays. In 1774 sprak Lefranc een lijkrede uit bij de begrafenis van koningin Maria Leszczyńska.

Aartsbisschop van Vienne
Datzelfde jaar bevorderde koning Lodewijk XV hem tot graaf-aartsbisschop van Vienne (1774). Lefranc mocht de inkomsten van de abdij van Saint-Chaffre verder behouden. Als aartsbisschop van Vienne zetelde hij in de Staten van de provincie Dauphiné, alsook vanaf 1789 in de Staten-Generaal in Parijs. Hij viel op, in deze periode van de Franse Revolutie, door zijn voordrachten ten voordele van de steden en van de derde stand.

Minister
Vanaf augustus 1789 werd Lefranc minister van kerkelijke inkomsten, aangezien Lodewijk XVI beroep wenste te doen op de ervaring van Lefranc als Feuillant. Lefranc kreeg tevens de benoeming van minister van Staat, zodat hij zetelde in de ministerraad van de koning. Dit ambt was niet te combineren met zijn werk als prelaat, zodat Lefranc ontslag nam als aartsbisschop van Vienne (1789). Hij was de voorlaatste aartsbisschop van Vienne in de geschiedenis. Ter compensatie ontving hij inkomsten als titulair abt van de abdij van Buzay, een abdij van cisterciënzers gelegen nabij Nantes (vandaag Rouans). In november 1789, 3 maanden later, eiste de Staten-Generaal de opschorting van nieuwe toekenningen van kerkelijke inkomsten. Minister Lefranc werd minister zonder portefeuille en zetelde verder als minister van Staat. De Franse politici bereidden een nieuw statuut van de Franse geestelijkheid voor (1789-1790), iets waarmee Lefranc het niet eens was. Lefranc stond hiermee op dezelfde lijn als het protest vanuit Rome, van paus Pius VI. In augustus 1790 kondigde de koning het nieuw statuut goed van de Franse clerus, het zogenaamde constitution civile du clergé; Lefranc was evenwel volledig afwezig door ziekte. Hij bracht geen pauselijk protest over. Lefranc overleed op 29 december van datzelfde jaar 1790.

Werken
De essays van Lefranc waren politiek van aard, en gericht tegen Voltaire en andere filosofen die het niet eens waren met het klerikaal gezag en autoriteit. De toon van zijn werken was daarom vermanend.
 Questions diverses sur l'incrédulité (1753)
 Le véritable usage de l'autorité séculière dans les matières qui concernent la religion (1755)
 L'incrédulité convaincue par les prophètes (1759)
 La religion vengée de l'incrédulité par l'incrédulité elle-même (1772)
 Daarnaast meerdere pastorale brieven en verslagen als lid van de Assemblée van de Franse clerus tijdens het ancien régime.
 Postuum verscheen van zijn hand Lettres à un évêque sur plusieurs points de morale et de discipline (1802), een laatste pleidooi voor kerkelijke discipline.

Franse adel
Frans kanunnik
Bisschop van Le Puy-en-Velay
Benedictijner abt
Cisterciënzer abt
18e-eeuws abt
Frans essayist
Aartsbisschop van Vienne
Frans parlementslid
Persoon in de Franse Revolutie
Frans minister


I think I was too blind to see the code, typical me, thanks again! 😀 Anyway crazy article, alhamdulillah she was lucky and did not fall in love with a porcupine or something like that.
How wierd can people get?
her child will be none other than medusa herself..
In the 80's there was an Indian movie called Nagina, which starred Sridevi. She played a shape-shifter who could turn into a snake.
Holy crap! There was a movie like that!? I was afraid to ask if that memory was real or I was just a wierd kid. I remember when I was 5 and I saw a movie like that, freaked the hell out of me for sooo long. I think I still remember the main music theme from it. Was there a hindu priest or something played by that guy who usually plays villians in that movie, the guy from Indiana Jones: Temple of Doom I think it was. Eeek, you just brought back a wierd memory.
seems to be a new trend. not too long ago a british woman married a dolphin in israel. claims they were in love. fact #576 in 'how you know the world is coming to an end'.
That is nuts! Perhaps he will teach her all of his moves.
hindu lady marries snake. not so weird if your religion is weird. everyone country got weirdos. or what society tells you is weird.
Next PostNext Sami Yusuf in the US with Native Deen, Azhar Usman, Preacher Moss!!!


text:
Work With Chris
'Us' Vs. 'Them'
July 7, 2015 by Chriswrighto
If there's one defining factor of your relationship with a copywriter or financial publisher, it's whether or not you develop an 'Us' Vs. 'Them' partnership.
Simply put...
Whether you're the one cutting checks or producing the goods, you'll get the best results by working WITH each other.
This might sound like a no-brainer, but many copywriters and publishers enter into a project like an employer and employee would.
And that's not good.
We all know the phrase... "Shit rolls down hill."
Instead of working side-by-side, the copywriter is working 'for' the publisher.
And that's bad for three reasons...
1) It removes the copywriter from CARING about the outcome of the project. Here's the truth... copywriters aren't robots. They need to be emotionally stimulated to write great copy. Simply changing the relationship from 'working for' to 'working with' has a huge effect on just how much your copywriter is willing to commit to the project.
2) YOU become hard to work with. Whether you're the copywriter or the publisher... a 'working for' relationship can create friction. I've seen it happen. The publisher pushes the scope of the job, or begins to think they know better than the copywriter. The copywriter becomes defensive and thinks every piece of feedback is a personal attack on them. And the aftermath? Poor copy and poor sales.
3) It stops the copywriter from producing his/her best work. In a 'working for' agreement, you're essentially hiring a temporary employee. And as we've all experienced, your 'run-of-the-mill' employee only produces the minimum level of work to get paid. That's not good for sales.
But all three of these problems can be avoided with a simple switch to am 'Us' Vs. 'Them' relationship.
And that's easy to do -- whether you're the copywriter or the publisher.
You establish it at the beginning of the working relationship -- either directly or indirectly.
Simply tell the client/copywriter that you're planning on 'working with' them... That you recognize each others role in this project, and by sticking to the roles you'll be able to produce your best work.
Indirectly
If you're a publisher: Give your copywriter everything he/she needs to produce great copy. I'm talking about access to your service, previous successful promotions, information on your avatar, traffic sources, etc. Make it clear that you're there to support them and NOT there to watch over them.
If you're a copywriter: Dig deep into the publishers service with questions. Get everything you need from them. Make it clear to the client that you'll fulfil your end of the project (in-depth research, great copy, sticking around post-delivery), but you do expect them to keep answering your questions and requests promptly.
When you've created your 'Us' Vs. 'Them' relationship, you'll find each project to be a breeze -- and successful too.
By establishing a partnership, you'll be able to lock-in great results more often. And even if the promotion only does 'OK', because you've established a great relationship, the copywriter will WANT to help you bump up conversions!
Chris Wright, copywriter
P.S. Do you want a copywriter that works WITH you? If so, I'm your man. Click here.
Published in Client Management, Copywriter Management
Next A Great Offer Trumps Everything Else
Previous Building Intrigue With Little 'Curiosity Bombs'
"Chris is already making his clients a lot of money"
Chris is already making his clients a lot of money, bringing in more customers, and encouraging customers to spend more money, more often. Moving forward, he's only going to continue making his clients even more money. The only question is, will YOU be one of those clients?
I seldom actually write recommendations for folks, and especially not for copywriters. But Chris gets my recommendation - and deserves it!
-- Roy Furr, Direct Response Marketer and Consultant
Tip: Make Your Offer as Sticky as a Starburst on a Hot Summer's Day…
A Follow Up to 'My Predictions for Stocks'
Got One Hour to Learn How to Come Up With Great Big Ideas? Then Read On…
Let's Talk Takeaway Selling…
My Predictions for Stocks
How to Come Up With Big Ideas on Work With Chris
Let's Talk Takeaway Selling... - Wealth Copywriter on Work With Chris
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Contact Chris
chris@wealthcopywriter.com
Copyright © 2019 Wealth Copywriter. All rights reserved. Get Pro Framework.


UNI-T's UT213C is a 400A True RMS digital clamp meter with CAT III safety standards. These meters are designed with higher performance and safety ratings. a built-in flashlight also makes these meters useful tools when working in dark environments.


text:
Q: Azure SQL query performance significantly degrades when WHERE clause returns a high proportion of rows I have been trying to get to bottom of a performance bottle neck in a web app I am developing. I have managed to identify the SQL query which is causing the problem but I am uncertain as to how to resolve it. The basic query is:
SELECT *
FROM Table
WHERE ColumnA = 0
ORDER BY AnotherColumn
OFFSET 0 ROWS FETCH NEXT 20 ROWS ONLY

Column A is of type BIT, is nullable and holds no default value. At the moment every row (around 290,000 in the table) holds a value of 0. Currently the query takes around 1 minute and 50 seconds to complete.
What I find odd is that by changing a small proportion of the values of ColumnA in the database to 1 the performance dramatically increases.
Simply by running:
UPDATE Table SET ColumnA = 1 WHERE ID % 100 = 0

Which switches the value in about 1% of the rows, the query time is reduced to 7 seconds - over 90% quicker.
I don't understand why there is such a dramatic difference and can think of no way to optimise the query to resolve the issue. Removing the WHERE clause entirely results in the same ~7 second query time so I do not think it has to do with the data which is being returned.
I am using AzureSQL with EFCore but have been running the above queries in SSMS to try to get to the bottom of the issue.

A: The problem here was the lack of indexing. From your data, you only had 1 index on your table, on the Primary key, nothing else. This means, if you look at the values of the primary key, things are nice and quick, however, for other things, not so much.
When you start querying things, especially in the WHERE, ORDER, ON, etc clauses, on tables with a lot of data, and without indexes on those columns, things start to slow down. Why? Because the SQL Server doesn't know where to look for that data, so it has to check every row.
Consider your data, with it's ID column and Column A. Column A is actually a derived value of ID (Let's just go with ID % 100), however, your column is a persisted value but not calculated from ID. Then you ask the SQL Server "Can I have all the rows where the value of Column A is 0, please?" SQL Server has no idea what those rows contain, and it has no INDEX to help it, thus off it goes, checking every single one of them as it goes through all the IDs.
Now, imagine you have an INDEX on that column. Now, when you ask the Server the same question, it can look at the index. The index, will have an ordered list of Column A, and tell the Server its corresponding ID (which is where the data is stored). The SQL Server can then look at that and see that all the Column As with the value 0 have nicely been placed together in its list (Index); then it simply goes to each ID it needs. It doesn't end up checking the value of Column A for every row.
This is, of course, a very "simplistic" way of looking at Indexes. They are, in actuality, far more complex. Indexes, normally speed up getting data from your Server, but it's worth noting that they SLOW DOWN some tasks, such as INSERT. This is because when it writes the data, it also has to update the indexes. This means more IO as well, so slower discs will have performance issues as well (although they will for a SELECT as well). UPDATE commands can be faster, depending on what you're doing.
As I said, this is a very basic description; but might help you understand a little more. This is, in no way, me saying you should put an INDEX on every column. Knowing which columns to Index and how is a very important thing, but it can in no way be taught by a single Answer on SO.

A: Adding an index on (ColumnA, AnotherColumn) solved the problem. Now the query takes less than 1 second. Thanks to Larnu for pointing me in the right direction. I would still appreciate an answer than clarifies why the performance was so bad in the first place.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Naming convention for partial classes file names? If I have partial classes in C#, what should the file names be?
The class is called partial class Logic and would exist out of two or maybe three separate files.

A: For a class called Logic, I'd probably go for Logic.something.cs (where "something" is different for each file). This would be in the same style as the partial classes that Visual Studio generates (eg. the .designer.cs files for forms)

A: I would only use Partial Classes if I am generating code (CodeSmith, MyGeneration, Template Files (TT)). Microsoft have done a good job of doing this with generated proxies and datasets etc. As the code will be generated again in teh future it allows you to seperate out logic which you want to include but dont want overwritten.

Standard Based Upon Microsoft .NET Library Standards  http://10rem.net/articles/net-naming-conventions-and-programming-standards---best-practices

Pascal Case, no underscores or leading "C" or "cls".
Classes may begin with an "I" only if the letter following the I is not capitalized, otherwise it looks like an Interface.
Classes should not have the same name as the namespace in which they reside. Any acronyms of three or more letters should be pascal case, not all caps. Try to avoid abbreviations, and try to always use nouns. Why: This convention is consistent with the .NET Framework and is easy to read.
Examples Include

*

*Widget

*InstanceManager

*XmlDocument

*MainForm

*DocumentForm

*HeaderControl

*CustomerListDataSet

Here is an MS link on naming conventions
http://msdn.microsoft.com/en-us/library/xzf533w0(v=vs.71).aspx

A: I believe that you can choose the name of the files as you want to, as long the partial classes are placed in the same namespace!

A: Whatever you want but:

*

*Don't use partial classes. If your class is that big, better to split it into separate classes somehow.

*If you insist on partial classes, split them logically, so you could have Logic_Boolean.cs, etc.


text:
A perfect weekend affordable skiing in Flaine
More relevant, of course, is where you might stay in a resort where, over the years, as the appeal of Flaine's utilitarian-style architecture waned, its once-fashionable hotels were converted into sultry apartment blocks. Only Le Totem - an original Breuer building - remained until it, too, was finally abandoned in 2013. Fast forward three years and in steps the Sibuet family (famous for several exquisite hotels in France, not least Les Fermes de Marie in Megève) who, after a lightning-fast refurbishment, relaunched Le Totem as the first of their small Terminal Neige brand, which will roll out a handful of hotels in unconventional Alpine locations (Terminal Neige Refuge du Montenvers opened high above Chamonix a few months ago).
The brand is about youth and affordability, and Le Totem sets the benchmark. It is a no-frills experience - small bedrooms (though suites and the three-bedroom Loft are bigger), no turndown service, no water by the bed, no chocolate on the pillow, no shampoo or conditioner, a pay-as-you-go-spa - but it is fun and lively, colorful and creative. It is staffed by a young team and brimful of couples and families who convene in a large social space that is sitting room (with original Breuer fireplace at one end), bar and dining room combined. Exposed concrete pillars and walls, retro arcade games and fabrics and furnishings channeling mid-century vintage with a Navajo Indian vibe define the look and floor-to-ceiling glass windows capture an unblemished view of forest and snowy mountains.