Continuing from the last post, I think maybe some of us know about the red-bean Japanese dessert. For me, before researching more into this dessert, I thought this red-bean sweet is composed of red beans and some white thing that I don't know what it is, and yeah….that it tastes very sweet.
In reality, there are 2 versions of this! One is called "Oshiruko" and you will see this in a can, sold in vending machines as well! The other is called "Zenzai". Some Japanese might not be able to tell the exact difference (which is the whole point of the TV program introduced in the last post).
Let's see how they differ!
First…Oshiruko is basically sweet red-bran soup. A word "shiru" means soup. The sweet is soup made from red-bean, containing mochi. For Kanto area, koshi-an (strained bean paste) AND tsubu-an (the red "beans") are usually put in the soup, while in the Kansai area, only the koshi-an is included. In the past, this treat is usually eaten in cold weather as a dessert to keep your body warm.
What about Zenzai? In Kanto, sometimes the mochi is simply topped with sweetened red beans as a simple Zenzai dish. In contrary, the Kansai version of this treat is actually very similar to the Kanto version of Oshiruko, having red beans and some sweetened liquid on top the mochi. Unlike Oshiruko, zenzai has more substance, having mochi as the main star, and, for some, is usually eaten as food (食事)rather than dessert.


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Alec Baldwin Lunges At Reporter After Being Challenged About Rust Shooting (VIDEO)
NEW … I ran into Alec Baldwin on the Upper East Side pic.twitter.com/8pG5Vpshw2
— Jon Levine (@LevineJonathan) December 7, 2021
Who would have thought Alec Baldwin was the easily triggered type to just fire off like that? Well, fair play to him for sticking to his guns I guess. Just not sure that threatening to use an umbrella as a weapon is the best play for him at the moment, all things considered. Of course it's annoying having journalists hound you with difficult questions on the street, but that's what you sign up for when you're an A-list celebrity who just shot someone to death, right?
Obviously these are tough and surreal times for Alec Baldwin. From the fatal shooting on the set of his movie, to his bizarre interview last week where he claimed he didn't pull the trigger and doesn't feel guilty about the shooting. Baldwin believes it is "highly unlikely" he'll face criminal charges for the death of cinematographer Halyna Hutchins, but the Santa Fe District Attorney hasn't ruled out the option, saying "certain individuals may be criminally culpable for his/her actions and/or inactions on the set of Rust."
Everyone involved in the handling and use of firearms on the set had a duty to behave in a manner such that the safety of others was protected, and it appears that certain actions and inactions contributed to this outcome.
Considering Baldwin was holding the gun when it fired, and that he's the executive producer of the movie and thus responsible for everyone who was hired and everything that happens on set, it doesn't look too good for him. Probably not doing himself any favours by talking about the incident so publicly either. Oh well, we'll have to wait and see how it plays out.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Take It Away: The Complete Paul McCartney Archive Podcast
Just to try to finish up on this fascinating Flowers in the Dirt period, Chris and Ryan reminded me of just how many conflicting forces that had to be going through Paul's head in 1988 and 1989. Paul certainly needed a hit album after his commercial failure with Press to Play. It was also a different "music" world in the late 80's and how would Paul navigate in this new world. Some of the conflicting forces for Flowers in the Dirt were:
modern record with heavy production vs. retro Beatles, more stripped down sound (e.g. mid Period Beatles)
multiple producers vs. working with Elvis only
Paul/Elvis songs vs. Paul only songs
With all these forces at play, it is no wonder that the final album had its share of flaws. It is also easy to look back in hindsight and say...If only Paul had done this or included this song etc. etc. That being said, the final album (just my opinioin) is still "top tier" for me relative to Paul's Post Beatles' works. I say this mainly because "Flowers" yielded 6-8 of Paul's very best Solo songs. These "best" songs were not only Beatle worthy but some, in my opinion, would be Top 20 of Paul's best Post Beatles' songs period. Like Tug of War, Flowers in the Dirt offered smart, mature lyrics that actually had common and universal themes. For that reason I put Flowers ahead of some of his previous albums like Press to Play, Pipes of Peace, McCartney 2, London Town, and Back to the Egg. When you think about it, Paul ended the 80's with a strong album just like he began the 80's with Tug of War.
As a big time Macca fan however, I also felt conflicted. As far as I was concerned, Flowers in the Dirt should have been a masterpiece. As I said in the last post, Flowers in the Dirt in the 2nd half went out with a wimp. He had so many better choices than the last 2 (Motor of Love and Ou Est Le Soleil) tracks. You feel like shaking Paul and saying...How could you leave "The Lovers that Never Were" and/or Tommy's Coming Home off the album? In retrospect, Flowers should have had a couple more Paul/Elvis collaborations in that 2nd half and both songs would have been perfect. On top of this, he had 2-3 B-sides that were also better. I'm thinking of songs like Back on My Feet, Flying to My Home and Loveliest Thing. All are terrific, complete songs that would have enhanced the overall album over what we got.
But the good news as I have continued to say is that we have tremendous material for a Deep Anthology of Paul's Post Beatles' music. And I'm not talking about a "glorified" Greatest Hits package! While many people look at Paul's 80's period as quite weak, I think just the opposite. Paul's 80's period might be one of the most surprising of Paul's decades with many very good to great hidden gem type songs. Other songs written in the period that the guys played and I liked are:
Good Sign
First Stone
Same Love (loved the piano on this one)
Anyway, looking forward to Off the Ground!
Thanks for your in-depth posts regarding FITD. Like we both have mentioned, McCarntey needs a very strong producer who will cut some of thes clunkers off some pretty good albums. FITD served many purposes for McCartney when it was released. It was a return to form after after some not very good albums/movie. It also gave him 5-6 songs that he could go out on tour with and I personally loved hearing them all live.
Thanks as always Yankeefan for your replies. Seems like it is just you and me on this "Take It Away" subject and Podcasts. I love them! I think we are Paul "music" fans first and foremost. We appreciate his tremendous musical talents but also see so many of his misteps too. The way he just ignores so much of his very good Solo career just blows our minds.
I just sent in another post trying to finish out the Flowers in the Dirt period that you should also see. My total focus is not so much what he should have done in the past (Flowers in the Dirt had several key flaws that, in my opinion, kept if from being a close to Masterpiece album) but what a great "Antholoy By Decade type Package" he "should" do. A package like this would be great for an early 2020 release (after his new album everyone is waiting for). For this potential Antholoy, he already has very good to great material in his vaults. It is just a matter of having a couple of key people to discern what should be included by Decade. Paul if you are listening, I have 2 tremenous Paul "music" fans that will work very cheaply (Yankeefan and me...ha ha) to help you. We love your Post Beatles music and so much of it (from the 80's on) is relatively unknown.
I would happily work for him free of charge(lol) to put out a great Anthology type package. Just think of the unreleased songs, B sides and demo (exp On The Wings Of A Nightengale) that could be included which would be awesome. Throw in some different songs he has played in soundchecks and this could be really cool for us solo fans and hopefully others.Of course, you would have to have his better known solo songs included but I think people like us would point out some "deep" cuts from albums that he has probably forgotten - ha ha.
After yesterday afternoon and the crazy world we live in, it's actually probably a good time to "escape" in music and particularly our interest in Paul's overall Catalog.
Yes, I would also happily work on a Macca Anthology free of charge. Just cover our expenses! Please Paul send us a Private message and we would love to discuss it (ha ha).
As far as the content by Decade, Paul easily has enough great, relative unknown material for even a Volume 2 in both the 70's and 80's. As you say, he has so many unreleased songs, B-sides, tasty demos etc. But for the 90's and beyond, we might have to include some good "covers" like That's All Right (Elvis Presley song), and Maybe Baby (from a movie soundtrack) etc. As you have often pointed out, Paul has such a great voice for 50's style rock and roll. And many of these covers are unknown to the masses.
But for an Anthology like we are proposing, absolutely no Beatle songs. The whole idea should "generally" be songs that he has written alone or jointly after the Beatles. I love the Beatles but those songs are so well known and that's not the point here. Just listen to Sirius Radio (channel 18) and you get all the Beatles anytime you want.
You also bring up "deep" cuts from his Post Beatles'albums. I'm all for including some songs exactly as they appear on his albums, but they should be very good to great "forgotten" songs and not studio album versions he has already included on Pure McCartney. No duplications are needed because he has so much material.
For example, on a 70's Anthology Disc, why not include 2-3great ones from Red Rose Speedway like Single Pigeon, Get on the Right Thing or Little Lamb Dragonfly. Talk about Lost Classics! When was the last time you heard those songs on the radio or Paul himself playing them at a Live Show. The less successful Paul albums deemed inferior always have a few great "deep" cuts on them. Of course, it would be even better if Paul had a great demo of these type of "forgotten" songs. Serious fans would love it! Either way, I'm ok with including these type of lost classics that are not on previous compilation sets.
That being said, I think this type of Deep Cut Anthology should avoid the big hits from an album like Band on the Run where Paul has played them to death or where they are already available on "past" Greatest Hits Compilations. Those kinds of compilations are for the casual fan where what we are talking about is more for the serious fan. Word of mouth alone will get the casual and younger generations to eventually find this type of "deep cuts" Anthology. The nice thing is that from Tug of War on, almost all of Macca's good stuff is "underrated" except for the big duets with Stevie Wonder and Michael Jackson. Again, those 2 songs should be avoided too. From the 80's on, it's free sailing with all the unreleased stuff, great demos and lost classics from albums. Potentially, it would be a great Set for both Paul's legacy and his more serious fans.
Yes, Paul has had a very good Solo Career musically but you would never know it from his own "Live" shows or what you hear on the radio.
I agree with you on deep cuts. Maybe songs like "A Certain Softness", "About You", Two Magpies", "Mr. Bellany", "I Can Bet" and "Get Out Of My Way" would be songs for the more serious fans. As we have mentioned before McCartney himself has played a major role in why his solo career has not been appreciated. From his live shows not playing much after 1980 to always having his Beatle career dominate interviews almost 50 years later it is no wonder he does not get radio play anymore.
If Paul put us in charge (ha ha!) of his new 2020 "Deep By Decade Anthology" CD Compilation (Post Beatles from 1970), my thought would be that this Compilation would not be "for completest" only. It would not be filled with the weirder McCartney 2 type stuff. From unbelivable unreleased material, B-sides, rare demos and even great but lost Album tracks, there is plenty of good to great material in his vaults. I'm talking about McCartney-esque style material that the more casual McCartney and Beatle type fans would find very satisfying to have in an collection. And then you have the younger generations that would potentially be discovering Paul in a different way. So much of it would be "new" to his target audience and of course fan like you and me (harder core Macca fans) would be in line to buy this type of compilaton. As I have said before, I didn't even "buy" Pure McCartney because so much of it was "duplicatlion" of greatest hits and well known songs that I already had.
Love some of your songs above and would certainly be candidates for this type of Anthology. I think "A Certain Softness" is a great bust lost and forgotten song from Chaos and like you, I love "About You" from Driving Rain. I also love "Mr. Bellamy" from Memory Almost Full. It shows Paul's wacky but not weird side in a McCartney-esque way.
I also look at 2 songs from respective maligned Paul albums. "One of These Days" from McCartney 2 and Through Our Love are great ballads but get totally lost in Macca's Catalog because they were on albums that the preceding songs were so bad (bad 2nd half albums). Both songs in my opinion would make total sense (even using the studio album version) because 90% of the proposed target audience wouldn't know them. Love those songs!
On my reply above, I forgot to incude that "Through Our Love" is the last song on Pipers to Peace.
Since I heard all of the podcasts from albums right before and after McCartney 2, I decided to do it next. I like to do maligned albums since there are often hidden gems on these albums.
I also found McCartney 2 interesting because Chris and Ryan were on opposite ends of the spectrum of Paul's Post Beatles' albums. Chris had it as a bottom 5 album whereas Ryan had it ranked in the top 5. I have to go with Chris on this one but maybe not for all the same reasons. I like these guys because they are significant younger than me and also because they are more educated when it comes to music theory, instruments, production etc. I pretty much go by what my ears are telling me and if I like it. They are also more open to different styles than I probably am.
Growing up as a huge fan of Paul for his Pop-Rock instincts as a writer and singer, I have McCartney 2 at a low tier because in general it is too experimental, ecentric synthpop and electronica for my taste. Like his first one man band album, McCartney (10 years earlier) there were also too many tracks that sounded like demo's and doodles. I rank McCartney 1 pretty close to McCartney 2 (at either bottom mid or low tier) but at least, as Chris pointed out, McCartney 1 had Maybe I'm Amazed, Junk and Every Night so I rate it a little higher. Still, Mac 2 did have some very good tracks in my opinion.
Going through the track order, here are some of my thoughts:
Coming Up - Like Chris and Ryan said, this opening track is definitely a highlight and was a big hit. There is varying opinions on which version is better....the album version (which John Lennon loved) or the live version from Glascow which most Americans heard on the radio. I like them both! The guys didn't mention the video (using the album version) but I found Paul and Linda to be hillarious in it. To this day, it is still my favorite Paul video of all time (with probably Pipes of Peace being 2nd)
Temporary Secretary - Both guys love it also but this is very much a polarizing type of song to Beatle and Paul Beatle fans. The older fans don't tend to like it at all. I think it is a good album track for the reason that it really capsulizes McCartney 2 and Paul's experimental synthpop side. Paul's musicianship and creativity in the studio is really shown here. I didn't like that Paul added it to his recent "live" shows because in my mind he had 50 better Solo songs that he could have played (even one from the same album...One of These Days.
On the Way - Both guys liked this Bluesy track as do I. It is barebones production but I love Paul's bluesy guitar and vocal.
Waterfalls - Again both guys like this track and I agree. It is beautiful albeit with unusual dark and depressing lyrics for Paul. Still I love his vocal and guitar.
Nobody Knows - (end of side 1) Chris doesn't like it at all and feels this is where the album starts to go off the rails. I disagree with this specific track but agree that the album begins suffering on Side 2 (the following tracks). I personally know a few other Paul fans that don't like "Nobody Knows" much but I really like it for Paul's vocal. Macca sounds so much like Little Richard here and I love the 50's rock style which Paul normally does very well. Paul really lets it rip vocally and it has a good melody.
Front Parlour and Frozen Jap - (6th and 8th tracks) I don't dislike these instrumentals as much as the guys do but I agree they sound more like demo's. Both songs surely fit the album's feel, but I don't tend to like instrumentals a lot with Paul. Kind of forgettable tracks.
Summer's Day Song - Another highlight song for me. Love the melody and Paul's vocal. A hidden gem in my opinion.
Bogey Music - I don't like it very much and neither did Chris and Ryan from what I remember.
Darkroom - A little better than Bogey Music but still an inferior track to me.
One of These Days - The guys both like it alot and so do I. Doesn't sound experimental like a good bit of the album but this is one of Paul's best hidden gems of his Solo Career. Just a beautiful vocal delivery by Paul with peaceful lyrics and production. It is a very Beatleesque folk song and one of the guys compared it to "Mother's Nature Son"
While I rank McCartney 2 overall in Paul's lower tier, there is still several tracks that belong on the Deep Anthology Compilation that I have been talking about. Let me start with the last track...One of These Days. This song gets so lost by a very subpar 2nd half that I believe that most Beatle Paul fans don't even know it (or only heard it once and that was it). Criminal that Paul has never played it live.
Other hidden gems and candidates that belongs on a Deep Anthology Set in my opinion would be Summer's Day Song, Nobody Knows, On the Way and Waterfalls. I like these songs (and One of These Days) for an Anthology because they are not too experimental like several of the other tracks and certainly most of the b-sides and extra tracks. The songs above are more "traditional Pop/Rock style songs" that Paul Beatle fans would really like if they only heard them. Since the 80's have so many Paul "hidden and lost gems" (unreleased, b-sides, demo's etc.) you could have 2 80's discs and spread the songs above over each disc (if there is a Volume 2).
While personally I wouldn't want to duplicate greatest hits'tracks that were already on Pure McCartney, Wingspan, All the Best etc. you could probably consider a real "rarity" type version of a big hit. A good example would be Coming Up. For example, Paul played Coming Up at one of his "very rare" live show with only 300 people in attendance. It was the ICA Show back in 2007. Paul and Band played it quite a bit different (faster than normal) and it sounded terrific. That would be a type of rarity that harder and casual fans would love.
After listening to Chris and Ryan's podcast on McCartney 2, it moved me to find my Remastered Archive Collection of this album which was released in 2011. (You might remember that Paul's company released both Archive Editions of McCartney and McCartney 2 at the same time. I wanted to hear both the album and Bonus Audio disc of McCartney 2 since it had been a long time since I heard them.
Because I'm not big into Paul's experimental side so much and I am a much bigger fan of his tradional Pop-Rock roots, my feelings for the album hasn't changed. While it is still lower tier for me among Paul's albums, I do appreciate why some people might like this type of genre and it also gives me even greater appreciation for the natural music abilities that Paul has considering he almost totally did this project by himself. I did notice that Paul did include 3 tracks from the album on Paul's recent Pure McCartney Deluxe Compilation....Coming Up, Temporary Secretary, and Waterfalls. He obviously likes these tracks.
As far as the extra bonus audio package included here, McCartney 2 actually contained much more depth of material than the bonus disc in McCartney which was noticeably slim. Listening to the Bonus Audio (CD2) more closely, it shouldn't surprise me that I liked 3 of the tracks better than 3 or 4 songs on the proper album. Blue Sway (beautiful melody) Check My Machine (nice funky grooves) and Secret Friend are all better than Front Parlour, Frozen Jap, Bogey Music and Dark Room in my opinion.
As I said in the previous reply, I could see several more McCartney era songs on a future Deep Anthology particularly songs that are not as weird and still have a lot of McCartney style Pop Rock to them. Without duplicating the 3 songs on Pure McCartney, I could see songs like One of These Days, Summer's Day Song, On the Way and maybe Nobody Knows on an 80's Anthology Disc especially if there is a Volume 2. As far as bonus disc songs, I could possibly see Blue Sway and Secret Friend included as well. Secret Friend has a very nice melody and lyrics but it would have to be an abbreviated version compared to the 10:30 minute version on the Archive Bonus Disc.
One unrreleased song that the Boys played in the McCartney 2 podcast was called (If I have it right) "I Can't Write Another Song". It was only a snippet but I really liked it. Hopefully there is a more complete version in the vaults. It was more standard McCartneyesque and sounded like it could have originated during the Late Wings' period. It was rather obvious why Paul wouldn't have put it on McCartney 2 but it sounded quite lovely. It is the unreleased stuff like this that I'm so hopeful for an eventual Anthology type project. As I have said, he has so many of these songs from his entire Post Beatles' career.
Although Coming Up was a big hit and was on a couple of Compilation CD (including Pure McCartney) I think a real tasty "live" rare version (not on any other previous CD) would be nice on this type of Anthology Set. Coming Up was obviously the biggest song on McCartney 2 by far. It also made me think about Mull of Kintyre. While most people have heard the "Single" version and it is on Pure McCartney, a rare live version would be a great choice for an Anthology. Paul has done some great live versions of "Mull" at several of his Canada shows and most recently at his Australia/New Zealand shows.
calicoskych2001 last edited by
I Can't Write Another Song:
Every single second of our lives We can use to chase the clouds away
calicoskych2001 wrote:
Thanks calicoskych
Albeit too short (1:29) this would be yet another unreleased song for a Deep Anthology CD Set.
This is in my least favorite McCartney album of all time and that is saying something if it is below "Wild Life". The only song to me that is tolerable is "Coming Up" and the rest is just bloody awful. I don't mind experimental if it is good quality like parts of different Fireman albums. I can't tell you how mind blowing it is to me that of all the great songs McCartney could play live he chose something like "Temporary Secretary" I guess you get my feelings about this album so I will not go on any further - lol.
Yankeefan 2, I agree with you!
Yankeefan,
I agree with you that McCartney 2 is "lower tier" relative to Paul's Post Beatles' albums, but I have to respectively disagree with your opinion on the album after the first track Coming Up. I don't consider all the remaining tracks to be bloody awful.
Whille McCartney 2 is certainly a significant departure for Paul....heavily synthpop and studio experimentation...I did find some quality tracks once I got used to the album's style. Were there songs I didn't like...for sure. Some were awful relative to "traditional" Pop-Rock McCartney. That was not only true with the Bonus audio (some weird tracks) but also with the proper album. But as usual, I found some hidden gems.
The last track (as with some other Paul albums with inferior 2nd half's) One of These Days is to me the best song on the album. To my ears it is not only a terrific song, but one of Paul's most underated ones in his whole Solo Catalog. Not liking the eccentric style of the album, I can see where you or anyone would never get to it since it is the last track preceded by a couple of alwul ones. It is a lost song for sure that's actually in Paul's traditional style compared to the makeup of the whole album. Both commentators loved this song and one even compared the style to One of These Days to "Mother's Nature Son". It does have that peaceful Macca mood to it.
There were 3-4 other songs that while "initially" sounding different for Paul (either vocally or musically) grew with me pretty quickly. They include:
Summer's Day Song - typical beautiful McCartney melody
On the Way - has that bluesy style that Paul sometimes writes and I love his guitar work
Waterfalls - yes it has some goofy lyrics but again the melody is beautiful
Nobody Knows - While Paul seems to employ some studio tricks with his vocal, I love his Little Richard sound. It has the 50's rock style to it
They are the good quality tracks in my opinion and even though they sound little different, I still see McCartney Pop-Rock roots in them.
I agree with you about Temporary Secretary. As I said, there are at least 50 Solo Songs that I would have preferred Paul had added to his Tour Setlists. I do see the "creativity" of this song but I just don't like it either.
I forgot Waterfalls was on there. I do like that one, plus I love how he looks in the video! Lol!
thrillington last edited by
I discovered the podcasts about 3 weeks ago (actually I saw it talked about on this forum).
I have listened to all of the podcasts and have listened to several of them a few times.
I like that the fact that Ryan and Chris are knowledgeable about music, appreciate the genius of Paul but also willing to criticize. Their analysis has helped me reinterpret some of Paul's works. Right now, I am thinking about their point that starting with FITD, Paul started becoming more consistent but has lost some of his experimentation. I agree with the consistency part and think that the Fireman is his outlet for experimentation.
Some highlights for me:
1-The clip of John Landis talking about the song, "Spies Like Us" and Paul's phone call (hilarious). Funny, I like the song, particularly the fast ending. A silly song for a silly movie (and it has some memory for me as it was my first year in college).
2-The whole Hugh Padgham disssing of PTP. Why would a producer diss an album that he just produced? Like Ryan and Chris say in the podcast on the album, there lots of good songs from that session presented by Paul. Most problems are the production. I have never liked Hugh after this. PTP is a solid album, particularly when you listen to the demos.
3-I like how they discuss how they were introduced to Paul and how early memories impact how we evaluate his work. The first Paul album that I actually bought (I inherited BOR) was Pipes of Peace in 1983. I actually loved "Average Person" when I bought that album, I thought it was as good as "Penny Lane." The song gets dissed a lot but my memory is so positive of that song that I still love it (and was glad that Ryan and Chris did not diss it). The first album that came out and that I bought after I met my future wife in 1988 was FITD in 1989. I taped that cassette on another cassette and sent it to her in the mail because we were living in different towns during the summer. She mailed me back and told me her favorite song was "Motor of Love." While I agree with Ryan and Chris that the production is very dated, I still love that song because it made my wife a Paul fan. Our memories of songs and albums influence what we like and don't like.
4-In anticipation of the OTG podcast, I just listened to OTG, the Complete Works today (I found it in a music store in Idaho as an import). I look forward to what Ryan and Chris have to say about it.
5-Best albums are BOR, Ram and TOW. Ram is my most listened to Paul album. I did not listen to Ram until 1993 after a friend gave me a cassette of it. It is pure genius. I have renewed respect for V&M after the podcast. It never rang true to me like it does some people but I have been re-listening since hearing the podcast. Back to the Egg is a guilty pleasure and is Press to Play and McCartney 2.
6-Agree that "With a Little Luck" is an absolute gorgeous song, my love for it grows with time (love the long synthesizer part). It should be a Paul staple song.
7-How could anyone say, "Paul has not written a good song since the Beatles" after listening to this podcast (warts and all)? I wish Paul would do an extended interview with Ryan and Chris.
April 5, 2002, Las Vegas, NV, MGM Grand
October 18, 2002, Portland, OR, Rose Garden
November 4, 2005, Portland, OR, Rose Garden
July 13, 2010. Salt Lake City, UT, Rio Tinto
August 7, 2014, Salt Lake City, UT, Energy Solutions
thrillington wrote:
Thrillington,
Great post...really well written. I really enjoy Chris and Ryan's comments/analysis of the various Solo/Wings time periods also. I like to hear other opinions about Paul's Post Beatles' works and projects. Most of the time I agree but I find differences too. For example, I like FITD quite a bit more than they do while they like Pipes of Peace better than me. Just some comments to your reply point by point:
I loved the Jon Landis story also about "Spies Like Us". Shows how competitive Paul still was at the time. I get a kick out of the song despite the over the top 80's production. I also think it added to the trend at the time that people (especially Beatle fans) were beginning to get tired of Paul...the ups and downs of the music business where Paul was being overplayed on the radio with the "pop" of the time.
Interesting point about Hugh Padgham and Press to Play. Seems like Hugh just has a bad taste of working with Paul and it might have less to do with the music and more to do with business/money arrangements. Money always is a hidden motivation. Anyway, I'm one of the few Paul fans that really likes much on Press to Play especially with the CD version and the 3 extra tracks. Most of the production is good 80's production to my ears. I think PTP as solid mid tier among Paul albums and highly underrated. Love Footprints by the way.
Excellent point about how our early emotional memories can sometimes sway our opinions of certain songs. A good example for me is "When I'm 64". While some Beatle fans (particularly John fans) make fun of the song (worst song on Seargent Pepper etc.) I will always love this song. Fell in love with "64" the first moment I heard it. I also find it fascinating that among Beatle and Paul fans, there is always wide ranging opinions about certain songs. Different than you, I never liked the song "Average Person" very much, but love "The Other Me" from the same album. I know some fans can't get past the "dustbin lid" line. Your other example of "Motor of Love" is perfect relative to your "earliest memory" idea. As I mentioned, I love FITD but thought Motor of Love was one of the weaker tracks mostly because of the production and length of the song. When I heard the simple "demo" on the Podcast I could immediately see the potential and beautiful melody to the song. By the way, the guys don't like "We Got Married" at all whereas I think it is a very strong track. I just keep thinking how many other songs (especially Paul/Elvis songs) were better than the last track on the album that I think is total filler. FITD should have been one of Paul's masterpieces but I still like the album a lot.
Also looking forward to the Off the Ground Podcast especially the Bonus CD. I only have the original CD. Another album that gets maligned but I think there are some very good tracks.
BOTR, Ram and Tow are Top Tier Paul albums for me also along with Chaos, Memory Almost Full, Flaming Pie and FITD. Back to the Egg, London Town and Press to Play are guilty pleasures for me too.
I love "With a Little Luck" also. Can't believe that they put the Edited "Single" on Pure McCartney instead of the original from the album. Besides the extended synthesizer part that is cut out, I love Paul's vocal part that is edited out.
Anyone that says that Paul hasn't written a good song since the Beatles are just Paul haters. He has written many terrific songs after 1970 many are Beatle worthy and some are right up there with his most famous Beatle songs. Yankeefan and I (among others) get frustrated that Paul doesn't seem to like his Solo career as much as we do. He totally ingnores so much of his career at his live shows with his Beatle songs and big Wings' hits. As I have been saying, he needs a "Deep Anthology" by Decade to showcase his total Solo Catalog. I think these Podcasts so far are showing this fact. The Pure McCartney Compilation just didn't do it for me as there were far too many duplications from previous Compilations.
Can't wait for the OTG Podcast and beyond!
Thanks BJ Conlee: I liked and appreciated your reply to my post.
First of all, I absolutely agree about Distractions and I actually like Press to Play despite some concerns about production (Move Over Busker, and However Absurd are among my favorites on that album along with Distractions).
When I ranked my favorite albums, I should have clarified that I met the albums in Ryan and Chris's podcast series (so far). Moving forward, Flaming Pie, Chaos and Memory are all in my top list along with Electric Arguments. Don't know if anything can beat Ram for me in terms of pure enjoyment but these latter day albums come close.
Maybe I will go and find these songs and give it another listen. I doubt my opinion will change but you never know - lol
Hope you are doiing well.
The one song on McCartney 2 you should really check out is "One of These Days". You can easily find it on You Tube.
The song gets totally lost by fans who just don't like the album (as there are many) because it is the very last track . It also begs the question of why Paul would even put "One of These Days" on McCartney 2 in the first place. After all, he had other alternative tracks (made into B-sides) that perfectly fit the album's style. One of These Days, on the other hand, is standard McCartney folk-pop fare (and a very good one at that!) that didn't fit the McCartney 2 experimental theme at all.
I think One of These Days would have been great on Tug of War (Paul's next album). Put it on "Tug" and remove "What's That You're Doing" (totally out of place on the album) and in my opinion, Tug would have been truly a masterpiece. On top of that, Paul fans (And Beatle fans as a whole) would know this song. As it is, a song as great as this is relatively unknown. As we have often pointed out, it doesn't help that Paul has never played it "live". Of course, we could say that about many very good songs from his Solo career.
Love these podcasts from Chris and Ryan. I really dove into the 80's because I found the period so fascinating. To some (from Beatle and even Paul fans, haters and all points in between) this began the period that Paul really began going downhill. As a big time Paul music fan, I totally disagree. Yes, he definitely had quite a few missteps and some bad songs, but I look at the bigger picture and as the guys said, there was so much material to be digested. Chris and Ryan really gave great background information that really sets the stage for why Paul might have been so confused and with shaken confidence. Just look at some of the things going on to one of the most famous men on the planet at the time.
John's tragic death of course started off the decade and obviously that really shook him. Then after he had huge commercial success with Tug of War and the overplayed Stevie and Michael collaboration hits, he then finds out that Mr. Jackson steals the Beatles' song rights right from under Paul and Yoko's feet. Not getting along with Yoko certainly didn't help his cause.
On the music side, he then had his big flops (Broad Street and Press to Play). This is a guy that isn't used to failures. Because he is obsessed with music and is a workaholic (blue collar background) he was trying so hard by the mid 80's to be relevant again. That had to be a very tall order since he was getting older (Rock is for the youth) and the music styles and even recording techniques were changing at such a rapid pace. He even had the misfortune and embarrassment at Live Aid where his "mike" didn't work.
With this in mind, Paul was desperate for hits again and he consequently was going through Producers (Phil Ramone, David Foster, Hugh Padgen etc.) left and right. The guys really explained this period very well. No wonder Paul was confused and made many misteps at the time.
But here we are in 2018 almost 30 years after the end of that terrible decade for Paul. Conversely in my mind here is good news. As always and throughout his entire career, Paul doesn't stop even with failures (remember Wildlife). He continues to write songs and record. Yes, some are bad ones and admittedly some that should be for compleatest (Big Day, Atlantic City etc.) only. But on the other side, there are many good to very good gems that should be unearthed.
I loved the part in the "Pepperland" Podcast where Chris and Ryan put together a made up album of these forgotten/unknown songs. But what, in my opinion, Paul really needs is a 2 disc set (at the very least) for each decade because he has so much good material. And doing it by Decade makes so much sense.
In my mind this should be the anti Pure McCartney and All the Best compilations which are loaded with the hit songs and singles that everyone knows and already has. Here is my example of a 2 Disc, 80's Package that Paul needs primarily for his own legacy. After all, he is far more than just his famous Beatle and Wings' hits/songs.
80's Disc 1
Coming Up - great rare and "faster" live version from the ICA 7/5/07 show with only 300 people in the audience)
The Pound is Sinking
Somebody Who Cares
Rainclouds (B-side)
Sweetest Little Show
Simpe As That (great little rare Paul song off the Anti Heroin Project album)
No Values
On the Wings of a Nightingale (great demo given by Paul to the Everly Brothers)
Move Over Busker
Back on My Feet (B-side Paul/Elvis Costello collaboration)
Love Come Tumbling Down (great Unreleased track)
Yvonne's the one (great unreleased track)
My Brave Face (album version)
You Want Her Too (album version)
Lovers That Never Were (Demo with Elviss)
Tommy's Coming Home (Demo with Elvis)
Loveliest Thing (B-side)
Disc 2 (80's)
Here Today (best live acoustic version)
Summer's Day Song
I'll Give You a Ring (B-side)
The Other Me
Through Our Love
Tough on a Tightrope
Once Upon a Long Ago (Single only)
Put It There (live version with the extra ending)
Figure of 8 (Single version)
This One (album version)
That Day is Done (album version)
25 Fingers (Paul/Elvis demo)
So Like Candy (Paul/Elvis demo)
Don't Be Careless Love (Paul/Elvis demo)
Distractions (album version)
I Love This House (CD single)
Flying to My Home (B-side)
Love Mix (CD Single)
21) Return to Pepperland (unreleased song)
Lindianna (unreleased song)
Just look at these songs which is suppose to be Paul's "down" decade. This is the type of compilation that I was hoping "Pure McCartney" was going to be. Something that the "true" fans would want to have. More importanly, it would show that Paul was far more than his Wings' and 70 hits. Except for Coming Up and Here Today which are totally different versions, there aren't any duplications here from Pure McCartney. And I'm only going by what I have heard on You Tube and these podcasts. Just think if you would have access to Paul's vaults. I'm sure you might find some tasty demo's of some of the "forgotten" album tracks I've included here.
Thanks again Chris and Ryan. Can't wait till you begin the 90's.
JFYI, Love Come Tumbling Down, while never put on an album, was officially released as the B-side to Beautiful Night.


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Guidance on building better digital services in government
USWDS
USWDS Monthly Call - September 2021
Thursday, September 16, 2021 2:00 PM – 3:00 PM ET
Hosted by Digital.gov and the U.S. Web Design System
View the slides (PowerPoint presentation, 5.19 MB, 58 pages)
View the Webinar Recap
Slide by SlideUSWDS Monthly Call Script for September 2021
Slide 1: Hi there and welcome to the U.S. Web Design System monthly call for September 2021. It's been a couple of months since we've seen some of you — and depending on where you live you may be seeing a bit of fall color already, just like the oranges and browns in our logo.
Slide 2: My name is Dan Williams, and I'm the USWDS product lead and this is my avatar, which may look a bit like me. Thanks for being here! First, I'd like to mention that we're recording this monthly call, so please refrain from turning on your camera. We will manually turn off any cameras to ensure the recording doesn't show us on camera. I'd also like to remind you that all attendees must abide by the TTS Code of Conduct, which is online at handbook.tts.gsa.gov/code-of-conduct.
We've posted the link to the code of conduct in the chat. We'll be posting other links and references into the chat as we go along, and I encourage you to ask questions in the chat at any time. If any member of our team can answer your question in the chat, we'll do so, otherwise there'll be some time for questions and answers at the end of the hour. Also, be sure to introduce yourself in the chat as well — it's nice to know who's here. It's good to have you here today. For those of you who find the chat distracting, you're welcome to close or hide the chat window during the main presentation. You can reopen it later during the Q&A session at the end of this call. So thanks! And, with that, let's get started!
Slide 3: So, what's our agenda for today? Well, we're trying to keep today's call lean and mean, so there's just one topic on the table, but it's a good one: Where do we go from 2.0?
We'll spend all our time on that topic, and save all the rest of the time for Q&A. So ask questions in the chat as we go, or hold on to your Qs to the end.
Slide 4: Today, I'm going to talk about where we go from 2.0. Now, I know we're on 2.12.1, but this does rhyme, and it gets to the main point I'd like to discuss today: When and why do we release a new major version of the design system. What does a new major version even mean?
Slide 5: But before we look forward: a look back. We released USWDS 1.0 about four and a half years ago — February 2017 — as our first pass at a style guide for government. This was something that was still a bit new: a collection of tools and best practices for building websites. A little bit of a starter project and a little bit of a style guide. And right from the beginning, we were able to do something of what we still hope to do with the design system: help teams focus their time on high-value problems, by providing a toolkit of ready-to-use website building blocks. And thanks to some of the early developers and adopters, like 18F and USDS, it caught on and was used to build a number of sites.
Slide 6: But while it was a great starting point, it had a few issues. It was very opinionated and had a lot of greedy styles. Thus, it was hard to add to an existing site without a lot of unexpected effects, and made incremental adoption quite challenging. And it lacked an explicit design language that connected its components. Once you started customizing it, it was hard to tell just what made a USWDS site at all. You either used its default styles or you went off on your own. The design system didn't have any way to guide teams when they made these necessary customizations.
Slide 7: We designed USWDS 2.0 to address these concerns. We wanted a design system that was easy to add incrementally, and one that's built to adapt to project needs, while still speaking a common design language.
This is why we rebuilt the way we wrote our stylesheets and markup.
This is why we introduced a broad range of expressive design tokens and utility classes.
This is why we developed customizable project settings.
And this is why we expanded our guidance and documentation.
Slide 8: As we said at the time, USWDS 2.0 was "built to grow."
Slide 9: And it has grown. Since launching USWDS 2.0, we've added 25 components and 6 templates — more than doubling both components and templates. We're now used by almost 400 websites, at 86 agencies and 27% of executive branch domains — with over 250 million sessions on USWDS-powered sites per month. By many metrics, USWDS 2.0 has been a successful release — and we've improved it over the last two and a half years, over a series of releases that bring this line up to 2.12.1.
Slide 10: But — and there's always a "but" — it wasn't all good news coming out of USWDS 2.0. We made so many changes moving from 1.0 to 2.0 that migrating between versions was a real PITA.
Slide 11: And if you're not familiar with acronyms and government-speak, PITA is short for Pain In The Neck. While USWDS 2.0 offered significant improvements over 1.0, we couldn't realistically suggest migration for many projects. Breaking changes can require a lot of time and technical know-how to manage. You do have to think about resources and cost-benefit analysis. The return on investment can be too low to justify. The design system was supposed to make things easier, right?
Slide 12: So we managed to prove it to ourselves. Fact: migrations suck, and breaking changes will always give teams pause and require project-specific justification. Is this worth our time? So, as we moved forward with the 2.0 line, we tried to break things as little as possible. "Promote continuity" is one of our design principles, and it's one we take to heart.
Slide 13: However — and there's always a "however" — when we're concerned about not breaking things, this can also make it difficult to change and evolve. This puts the design system in a bit of the ol' double-bind — when it's easier to grow than change, it reduces your maneuverability over time. This increases the cost of change, and can lead to painting yourself into a corner. So, paradoxically, this highly risk-averse model gradually increases the necessity of change over time, and this buildup of pressure can result in large, disruptive, and risky Big Bang changes instead of ongoing, incremental improvements. Put simply: Risk-aversion doesn't always reduce risk, it sometimes just delays it.
Slide 14: We know that the design system has to change over time. As the world changes, the design system needs to adapt and evolve. It needs to learn from its environment, and — because this is one of the reasons for having a design system in the first place — it has to make it easier to scale what it's learned — its improvements — to the teams that use it. Today, we see a couple of necessary changes on the horizon that we'd like to address sooner rather than later.
Slide 15: First, ending support for IE11. IE11 will go out of support for certain operating systems starting June 15, 2022. IE11 usage has consistently been below our 2% support threshold (as monitored by analytics.usa.gov) since May, and there is every indication that this trend will continue. It is in the best interest of the design system and the teams that use it to officially end our support for this browser.
Slide 16: Second, support for modern Sass syntax. Sass is our stylesheet language, and its syntax had some major changes in 2019. Support for this new syntax (called the Sass Module System) has been on a bit of a bumpy road over the last couple years, but at this point, there are consistent support and compiling solutions. As of next month, October 2021, the Sass project will deprecate the old @import syntax, and drop legacy support altogether by October 2022. If you've been compiling USWDS stylesheets recently, you've probably started to notice deprecation warnings. The new syntax will not only get rid of these warnings, but allow us to deliver smaller, more performant, and better customized stylesheets. Again, it is in the best interest of the design system and the teams that use it to update to this modern syntax.
Slide 17: The design system needs to make these changes and clearly signpost them. That is, we need to be very clear that before a certain point, we did things one way, and after that point, we'll be doing things another way. If you need IE11 support, you need to stay behind a certain obvious version. If you need legacy Sass syntax, you need to stay behind an obvious version. At a clear signpost version and beyond, the rules have changed. Now, there's one other concept that needs similar signposting, and that's related to how we use JavaScript with the design system. Since the beginning, USWDS has taken a little bit of a wait-and-see approach to JavaScript. We've attempted to design our components so they work without JavaScript or as JavaScript-powered progressive enhancements on native HTML elements. This can improve resiliency and performance, but not necessarily.
While data on JavaScript-disabled browsers is unfortunately scant, as of 2010 (11 years ago!), this number was about 2% in the US. As of 2012, it was at 1.2% of screenreader users, and as of 2016 it was at 0.2% in the UK. Even 10 years ago, this number was close to our 2% support threshold, and we do not believe the increasing reliance of the modern web on JavaScript has moved this number up. WCAG 1.0 from 1999 required that pages be functional and accessible with scripting disabled, but WCAG 2.0 and all other modern guidelines allow you to require JavaScript. We've waited and seen, and it's time for us to drop the "must work without JavaScript" requirement as no longer relevant and practical to the modern web.
We need to do more to support JavaScript development with USWDS, and to make USWDS components more compatible with modern frameworks and ways of working. So, together, these three necessary changes — dropping IE11 support, enabling modern Sass, and requiring JavaScript for some functionality — provide new rules for how we can build the design system, and how you can build with it.
Slide 18: So, when I talk about a clear signpost version, is this USWDS 3.0? The short answer is yes, but before we really talk about what USWDS 3.0 means.
Slide 19: It's worth asking: What does a version number even mean?
Slide 20: One thing to note is that version numbers are not just a marketing gimmick. Real version numbers aren't like Web 2.0, shorthand for something hand-wavy.
Slide 21: Version numbers should be meaningful. In fact, version numbers should have a very explicit meaning.
Slide 22: That explicit meaning is captured in a concept called semantic versioning. And to be clear, this isn't a USWDS concept, this is a widely adopted software development concept. The purpose of semantic versioning is to tell developers what to expect about the content of a release.
Slide 23: So, given a three-part number in the format number-dot-number-dot-number, like 2.12.1, each section can be seen like a little odometer, incrementing up and up. Each time a number increments, each number to its right resets to zero. You've probably noticed this before, at least with USWDS versions: we'll have a release like 2.11.0, which might be followed by:
Slide 24: 2.11.1, and then
Slide 26: 2.12.0
Slide 27: What are all these numbers supposed to mean? What's the difference between 2.11.2 and 2.12.0? Why change one number and not the other? In semantic versioning, any version number is actually a chain of three numbers which are actually three distinct version numbers — three different versioning types. Version numbers are written in the form MAJOR VERSION-dot-MINOR VERSION-dot-PATCH VERSION. We'll work from right to left, starting with
Slide 28: The patch version. In our example version number of 2.12.0, the "oh" at the end is the patch version.
Slide 29: Increment the PATCH version when you make backwards-compatible bug fixes — an internal change that fixes incorrect behavior using existing conventions, like fixing a Sass mixin or function to work as expected.
Slide 30: The middle number — "12" in our example — is the MINOR version.
Slide 31: Increment the MINOR version when you add features or functionality in a backwards compatible manner, that is, using existing conventions — like, for instance, adding a new component or a new function. Increment the MINOR version if you mark any feature as deprecated.
Slide 32: Finally, the first number, the MAJOR version. "2" in our example.
Slide 33: Increment the MAJOR version when you do something that may require downstream effort. That is, when you change the conventions and old conventions may not work as expected. Typically, in this case, the downstream user may have to do or change something in their code. You've changed the interface in a way that is not — as we say — backwards compatible. This is also called "making incompatible API changes" where API is the "Application Programming Interface", or how users interact with your code.
Slide 34: Now, every version you release is categorized as only one of these types. You don't ever release a single version that increments, for instance, both MINOR and PATCH versions because you both fixed bugs and added functionality. Lesser — scare quotes — versions kinda "go along for the ride" when combined with a more impactful version.
If we have a version with minor changes and patch changes, we increment the minor version.
If we have a version with major changes and minor changes, we increment the major version.
If we have a version with major changes and patch changes, we increment the major version.
Slide 35: Now here's where it gets kinda funky for a project like USWDS: If a major version is "making incompatible API changes," what the heck is the API for USWDS? Is it a major version change when we update a class name? When we change the markup of a component? When we change its interaction, style, or display? When we change its interaction, style, or display "a lot"? What does that even mean? Is USWDS guidance subject to semantic versioning as well? These are good questions!
Slide 36: Depending on how we interpret the USWDS API, the design system might realistically be on version 21.2.1 now instead of version 2.12.1. Would this freak you out? Maybe!
Slide 37: But — practically and realistically — this ambiguity about how we implement semantic versioning, and even if we do, makes it harder for developers, designers, and program managers to really know what we've changed and what its impact will be on their projects. This ambiguity reduces trust. Teams need to know what has changed, when it's "safe" to move from one version to another, and when moving from version to version might require additional time, energy, or other resources. Without good knowledge, teams can't make good decisions.
Slide 38: And an additional complication is one we might call the "bundle problem" or "the battleship", like the big gray battleship we see on this slide — thanks for the image, Library of Congress! In the battleship problem, we can think of the codebase as a battleship — a complex monolith, where every element, in our case, every component, is bundled together in a single package. Connected, tightly coupled, and co-dependent. Every part of the battleship moves and turns at the same time.
Slide 39: Let's look at how this works. At the left, we see a schematic simplification of the codebase, with six components. In our example, the codebase is at version 1.0.0. As we develop the code, we move to the middle diagram and we see we've made some changes: a couple of the components got patches, one got a minor change, and one got a major change — maybe we needed to change its markup.
The diagram on the right of slide 39 shows the final release. Since the change we made was a MAJOR change, the whole release is a major release, moving the project from 1.0.0 to 2.0.0. So, given a collection of changes to components, even if components evolve at different speeds, they all release in the same version. Unfortunately, this means that specific component patch or bugfix updates can be dependent on unrelated major or minor updates elsewhere in the codebase!
Slide 40: This means that battleship codebases can block patches and features with major changes. Major changes in any individual component can prevent teams from adopting patches in unrelated components, and can block subsequent patches as well. As we saw in the previous slide, a major version might include patch changes, minor changes, and at least one major change. Teams that might want the patch changes could be unwilling to upgrade since they risk introducing a breaking change at the same time. For example, imagine a developer looking at updating to a potential USWDS version and thinking: "I want to get this accessibility improvement to combobox, or this JavaScript improvement to modal, but I don't want to have to break our header to get it." And not only are the patches in that specific release blocked, but any subsequent patch or minor updates to these components will be blocked as well.
Slide 41: So, why not just avoid making major changes? Well, battleships will tend to inhibit necessary changes! Since we want to reduce major breaking changes, we may put off necessary major changes in favor of other work, but the major need does not go away. On this slide, the major need is shown with a dotted red line. While we continue to make patch (blue) and minor (gold) changes in other components, development on one component stalls because it would introduce a breaking change in the component, and thus, in the entire codebase. Depending on the risk aversion, this change could sit uncompleted for some time!
This doesn't work in the service of incremental development. The battleship not only can make patch versions dependent on unrelated major or minor versions but the flipside is also true: it can prevent necessary major or minor changes because of guaranteed downstream development cost, even for teams that don't want, need, or are able to implement that specific change. Thus, battleships turn slowly and poorly. Right now, USWDS is a battleship, but it should not be one, and it cannot effectively operate as one.
Slide 42: Instead of a battleship, it can be more useful to see USWDS as a collection of more loosely-related individual projects: the components themselves. This model is less of a battleship and more of a flock of birds, like the murmuration of starlings we see on this slide. In fact, we introduced the concept of USWDS components as individual packages in USWDS 2.1.0. Now, it's time to bring this idea to the next level of maturity.
Slide 43: In the flock model, the component becomes the unit and each USWDS component is its own official npm package, with its own semantic version history and its own dependencies. There could (and would!) still be an omnibus package — like the current uswds package — but that package would simply include all the relevant component packages as dependencies and contain little unique code of its own. So, where a battleship bundles components as a single package, in the flock, each component is a package.
Slide 44: The flock is configurable. The flock model decouples individual components and allows developers to choose which parts of USWDS they need in their projects, and which components they have the time and resources to keep up-to-date from sprint to sprint and increment to increment. As we move from left to right in the diagrams, we see that each component is a package. In the center, each package has its own version history. And on the right, we see a project-specific subset of USWDS packages. Teams include and update only what they need.
Slide 45: This allows USWDS to be very clear about how components have changed over time, and to use more accurate semantic versioning for everything we publish. Each component has its own clear history. Each component has its own clear history, and we can track each package and its dependencies with npm. On this slide we see individual timelines for each of the components we saw in the subset in the earlier slide. As each component matures from left to right, each component has patch, minor, and major version increments.
Slide 46: Individual component packages allow teams to either update packages immediately and stay at the most current version, as we see in these timelines with the project's active version also being the most current version in the timeline. Not every team has the same resources. Some may choose to implement even major changes.
Slide 47: But some may not, and may wait to update until it's right for their project. Teams can update packages at their own pace, as we see in this slide, with the project's active versions at different stages in their timelines.
Slide 48: The flock model can provide less overhead, less unused code, and better component tracking. We expect to see projects moving from the omnibus uswds package to component-specific packages for just these reasons.
Slide 49: So, there's a new major version of USWDS coming soon, and moving to this major version is going to be a whole lot easier than the move from 1.0 to 2.0.
Slide 50: This new version is going to do four very specific things:
Signal the end of IE11 support
Update to modern Sass Module Syntax
Allow requiring JavaScript
Publish versioned component packages
Slide 51: And we don't want it to do much else! Here's what this release will not do:
Move straight to cutting-edge CSS
Change markup or look-and-feel
Radically change our JavaScript
Remove the familiar uswds omnibus package
It's important to say that while this release will signal the end of IE11 support, it doesn't mean that we'll launch with a new grid-based layout grid or a bunch of CSS custom properties. We won't change our CSS much at all. Similarly, removing the "Must work without JavaScript" requirement doesn't mean that we're going to launch with a new Web Components version of USWDS. We won't change the JavaScript much at all. But as we'll discuss over the next few months, the four changes together suggest and support a number of potential improvements moving forward.
Slide 52: We plan to release this new major version of the design system in January 2022, with a Beta program starting next month — in fact, it will be a continuation of the Library Beta program we're already running.
Slide 53: As we learned from 2.0, we'll be working hard to make sure that this update requires as little migration hassle as possible, and points us in the direction of more joyful updating as we move forward. And I'm serious when I mean that we intend to reduce this hassle to as close to zero as we can. The biggest change here from a developer's perspective will be the Sass Modules work. But we think that most teams will only need to update a couple lines of code and it will just work. Like minutes or seconds. Our focus is on making it as easy as possible for designers, developers, and program managers to know how the design system is changing, how those changes impact their project, and stay up-to-date with improvements to the design system.
Slide 54: This isn't the last you'll hear about these changes. This major release is still four months away. We'll be talking more about what's coming, what this could mean, and how you can participate and provide feedback, over the next few months.
Slide 55: As we move beyond 2.0 we move beyond a design system that's built to grow.
Slide 56: And we move to a design system that's built to evolve — and that's pretty exciting.
Slide 57: So, now we're going to stop the recording and answer your questions!
Slide 58: Thanks for joining today's USWDS monthly call. Next month, we'll be talking about connection, contribution, and community. As always, I encourage you to join our community in the #uswds-public Slack channel so you can follow our progress, get answers, and contribute to the discussion. Follow us on Github at github.com/uswds, check out our website, and visit designsystem.digital.gov/about/community to join us and your colleagues across government who are using USWDS. And next month we'll be talking about how we might do this community thing a little better! Thank you, and see you in October.
Where does the design system go from USWDS 2.0? What did we learn from that release? What challenges can the design system better address as we move forward? How can the design system be ready to grow and evolve alongside the teams that use it?
Join Dan Williams for the next USWDS Monthly Call, Thursday, September 16 from 2-3pm ET, to hear what the design system team is thinking, as we peer into the crystal ball and look into the future.
This event is part of a monthly series that takes place on the third Thursday of each month. Don't forget to set a placeholder on your personal calendar for our future events this year.
About the USWDS
The U.S. Web Design System is a toolkit of principles, guidance, and code to help government teams design and build accessible, mobile-friendly websites backed by user research and modern best practices.
The U.S. Web Design System
Follow @uswds on Twitter
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Originally posted by Dan Williams on Sep 16, 2021 Dan Williams
GSA | Portland, OR
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text:
Car hire with
a Chauffeur
24 hour, 7 day a week
on call service provider
We are able to handle very
last minute requests
Via di Cima Vorno 7A, Vorno, (LU)
E-mail: info@roman-limo.com
For your transfers,
events & excursions
Copyright 2021 @ roman-limo.com
This Application collects some Personal Data of its Users.
Name: Roman Janiga
Fiscal Code: 02374800460
Address: Via di Cima Vorno 7A - 55060 - Capannori (LU)
Email: roman@sdsk.sk
Type of Data Collected
Among the Personal Data collected by this Application, independently or through third parties, are: Email, First Name, Last Name, Cookie, Usage Data, Phone Number, Profession, Province, Country, Zip Code, Birth Date, City, Address, Business Name, Website, various types of Data, Sex, VAT Number, Tax Code, Business Sector, User ID, Geographic Location, Image, About Me, Data disclosed during the use of the service, Username, Camera Permission and unique identifiers of devices for advertising (for example: Google Advertiser ID or IDFA identifier).
Other Personal Data collected may be indicated in other sections of this privacy policy or through information texts displayed at the same time as the collection of the Data.
Complete details on each type of data collected are provided in the dedicated sections of this privacy policy or through specific information texts displayed before the data is collected.
Personal Data may be entered voluntarily by the User, or collected automatically during the use of this Application.
Unless otherwise specified, all data requested by this application are mandatory. If the User refuses to communicate them, it may be impossible for this Application to provide the Service. In cases where this Application indicates some Data as optional, Users are free to refrain from communicating such Data, without this having any consequence on the availability of the Service or its operation.
Users who are unsure of what Data is mandatory are encouraged to contact the Data Controller.
Any use of Cookies - or other tracking tools - by this Application or the owners of third party services used by this Application, unless otherwise specified, is intended to identify the User and record their preferences for purposes strictly related to providing the service requested by the User.
Failure by the User to provide certain Personal Data may prevent this Application from providing its services.
The User assumes responsibility for the Personal Data of third parties published or shared through this Application and guarantees that he/she has the right to communicate or disseminate them, releasing the Owner from any liability towards third parties.
Method and place of processing of the collected data
The Data Controller processes Users' Personal Data by taking appropriate security measures to prevent unauthorized access, disclosure, modification or destruction of Personal Data.
The treatment is carried out through computer and/or telematic tools, with organizational methods and logics strictly related to the indicated purposes. In addition to the Data Controller, in some cases, the Data may be accessed by categories of employees involved in the organization of the site (administrative, commercial, marketing, legal, system administrators) or external parties (such as third party technical service providers, postal couriers, hosting providers, IT companies, communication agencies) also appointed, if necessary, as Data Processors by the Data Controller. The updated list of Data Processors can always be requested from the Data Controller.
Legal Basis of Data Processing
The Data Controller processes Personal Data relating to the User if one of the following conditions exists:
- the User has given consent for one or more specific purposes. Note: in some jurisdictions, the Controller may be authorized to process Personal Data without the User's consent or another of the legal bases specified below, until the User objects ("opts out") of such processing. However, this does not apply where the processing of Personal Data is governed by European legislation on the protection of Personal Data;
- the processing is necessary for the execution of a contract with the User and / or for the execution of pre-contractual measures;
- the processing is necessary to comply with a legal obligation to which the Controller is subject;
- the processing is necessary for the performance of a task carried out in the public interest or in the exercise of public authority vested in the Data Controller;
- the processing is necessary for the pursuit of the legitimate interest of the Data Controller or third parties.
However, it is always possible to ask the Data Controller to clarify the concrete legal basis of each processing operation and in particular to specify whether the processing is based on law, provided for by a contract or necessary to conclude a contract.
The Data are processed at the operational headquarters of the Data Controller and in any other place where the parties involved in the processing are located. For further information, please contact the Data Controller.
Your Personal Data may be transferred to a country other than the country in which you are located. For further information on the location of processing, please refer to the section on Personal Data processing details.
The User has the right to obtain information about the legal basis for the transfer of Data outside the European Union or to an international organization under public international law or formed by two or more countries, such as the UN, as well as about the security measures adopted by the Data Controller to protect the Data.
In the event that one of the transfers just described takes place, the User may refer to the respective sections of this document or request information from the Controller by contacting him at the contact details given at the beginning.
Data are processed and stored for the time required by the purposes for which they were collected.
Accordingly:
Personal Data collected for purposes related to the performance of a contract between the Controller and the User will be retained until the execution of such contract is completed.
Personal Data collected for purposes attributable to the legitimate interest of the Controller will be retained until such interest is satisfied. You may obtain further information regarding the legitimate interest pursued by the Controller in the relevant sections of this document or by contacting the Controller.
When processing is based on Your consent, the Controller may retain Personal Data for longer until such consent is revoked. In addition, the Controller may be obliged to retain Personal Data for a longer period in compliance with a legal obligation or by order of an authority.
At the end of the storage period, the Personal Data will be deleted. Therefore, at the end of this period the right of access, cancellation, rectification and the right to data portability can no longer be exercised.
Purposes of Data Processing
User Data is collected to enable the Owner to provide its Services, as well as for the following purposes: Accessing accounts on third party services, Contacting the User, Managing contacts and sending messages, Managing payments, Managing support and contact requests, Hosting and backend infrastructure, Commenting on content, Social features, Managing tags, Statistics,
Interaction with social networks and external platforms,
Heat mapping and session recording,
Interaction with support and feedback platforms, Location-based interactions, Permission to access Personal Data on the User's device, SPAM protection, Advertising, Registration and authentication, Remarketing and behavioral targeting, Content and feature performance testing (A/B testing), Data transfer outside the EU and Viewing content from external platforms.
To obtain further detailed information on the purposes of processing and the Personal Data concretely relevant for each purpose, the User may refer to the relevant sections of this document.
Facebook Permissions Required by this Application
This Application may require certain Facebook permissions that allow it to perform actions with the User's Facebook account and collect information, including Personal Data, from it. This service allows this Application to connect with the User's account on the social network Facebook, provided by Facebook Inc.
For more information on permissions below, please refer to Facebook's permissions documentation and privacy policy.
The basic information of the User registered on Facebook which normally includes the following Data: Id, Name, Image, Gender and Language and in some cases Facebook "Friends". If the User has made additional Data publicly available, the same will be available.
Personal Data Processing Details
Personal Data is collected for the following purposes and using the following services:
Access to accounts on third party services
These types of services allow this Application to take Data from your accounts on third party services and perform actions with them.
These services are not activated automatically, but require the express permission of the User.
Content Commentary
The comment services allow Users to formulate and publish their comments on the content of this Application.
The Users, depending on the settings decided by the Owner, can also leave the comment in anonymous form. If the Personal Data provided by the User includes email, this may be used to send notifications of comments on the same content. Users are responsible for the content of their comments.
If a comment service provided by a third party is installed, it is possible that, even if the Users do not use the comment service, it collects traffic data relating to the pages where the comment service is installed.
Contact by phone (this Application)
Users who have provided their phone number may be contacted for commercial or promotional purposes related to this Application, as well as to fulfill support requests.
Personal Data Collected: Phone Number
Contact Form (this Application)
The User, by filling out the contact form with his or her data, consents to the use of such data for the purpose of responding to requests for information, quotes, or any other purpose indicated in the header of the form.
Personal Data collected: Zip Code, City, Tax Code, Last Name, Date of Birth, Email, User ID, Address, Country, Name, Phone Number, VAT Number, Profession, Province, Business Name, Gender, Industry, Website, and various types of Data.
Contact and Message Manager
This type of service makes it possible to manage a database of email contacts, telephone contacts or contacts of any other type used to communicate with the User.
These services may also allow the collection of data relating to the date and time of viewing of messages by the User, as well as the User's interaction with them, such as information on clicks on links included in messages.
Mailgun (Mailgun, Inc.)
Mailgun is an address management and email delivery service provided by Mailgun, Inc.
Personal Data Collected: Last Name, Cookies, Date of Birth, Usage Data, Email, Address, Country, First Name, Phone Number, Profession, Gender and various types of Data.
Place of processing: United States - Privacy Policy.
This type of service has the function of hosting data and files that allow this application to function, allow its distribution and provide a ready-to-use infrastructure to provide specific functionalities of this application.
Some of these services operate through servers located geographically in different locations, making it difficult to determine the exact location where Personal Data is stored.
Google Cloud Storage (Google Ireland Limited)
Google Cloud Storage is a hosting service provided by Google Ireland Limited.
Personal Data collected: various types of Data as specified in the privacy policy of the service.
Place of processing: Ireland -Privacy Policy .
Interaction with Social Networks and External Platforms
This type of service allows you to interact with social networks, or other external platforms, directly from the pages of this Application.
The interactions and information acquired by this Application are in any case subject to the privacy settings of the User relating to each social network.
If a service for interaction with social networks is installed, it is possible that, even if Users do not use the service, it will collect traffic data relating to the pages where it is installed.
Facebook "Like" Button and Social Widgets (Facebook, Inc.)
The Facebook "Like" button and social widgets are Facebook social network interaction services, provided by Facebook, Inc.
Personal Data Collected: Cookies and Usage Data.
Place of processing: United States -Privacy Policy .
Non-continuous geolocation (this Application)
This Application may collect, use and share Data relating to the User's geographical location in order to provide location-based services.
Most browsers and devices provide by default tools to deny geographical tracking. If the User has expressly authorized this possibility, this Application may receive information on his or her actual geographical location.
The geographic localization of the User takes place in a non continuous manner, upon specific request of the User or when the User does not indicate in the appropriate field the place where he is and allows the application to automatically detect the position.
Personal Data Collected: Geographic Location.
This type of service analyzes the traffic of this Application, potentially containing Personal Data of the Users, in order to filter it from parts of traffic, messages and contents recognized as SPAM.
Google reCAPTCHA (Google Ireland Limited)
Use of the reCAPTCHA system is subject to Google's privacy policy and terms of use.
Place of Processing: Ireland - Privacy Policy.
By registering or authenticating, the User allows the Application to identify him/her and give him/her access to dedicated services.
Depending on what is set forth below, registration and authentication services may be provided with the help of third parties. If this occurs, this application may access some Data stored by the third party service used for registration or identification.
The services contained in this section allow the Data Controller to monitor and analyze traffic data and serve to track User behavior.
Flazio Stats
Flazio provides a statistics service that analyzes and displays the personal data of users who visit the websites.
Place of processing: Ireland -Privacy Policy Opt Out.
The Data Controller may transfer Personal Data collected within the EU to third countries (i.e., all non-EU countries) only in accordance with a specific legal basis. Therefore, such transfers of Data are performed in accordance with one of the legal bases described below
The User may request information from the Controller regarding the legal basis concretely applicable to each individual service.
Transfer to Third Countries on the Basis of Standard Contractual Clauses (this Application)
Where this is the legal basis, transfers of Personal Data from the EU to third countries are made on the basis of standard Personal Data protection clauses adopted by the European Commission.
In such cases, the recipients of the Data have agreed to process the Personal Data in accordance with the levels of protection provided by the legislation. Users may request further information by contacting the Data Controller at the contact details indicated in this document.
Transfer to Third Countries Based on Consent (this Application)
When this is the legal basis, the transfer of Personal Data from the EU to third countries occurs only when the User has expressly consented to such transfer after having been informed about the risks due to the absence of an adequacy decision and the appropriate safeguards adopted
In such cases, the Data Controller informs Users and collects their consent through this Application.
Personal Data Collected: Various Types of Data.
Data Transfer to Countries that Guarantee European Standards (this Application)
When this is the legal basis, the transfer of Personal Data from the EU to third countries takes place on the basis of an adequacy decision adopted by the European Commission. The European Commission adopts adequacy decisions with respect to individual third countries that it deems to ensure a level of protection of Personal Data comparable to that provided by European legislation on the protection of Personal Data. You can view the updated list of adequacy decisions on the European Commission's website.
This type of service allows you to view content hosted on external platforms directly from the pages of this Application and to interact with them.
In the event that a service of this type is installed, it is possible that, even if the Users do not use the service, it collects traffic data relating to the pages in which it is installed.
Google Fonts (Google Ireland Limited)
Google Fonts is a font display service operated by Google Ireland Limited that allows this Application to integrate such content into its pages.
Personal Data Collected: Usage Data and various types of Data as specified in the privacy policy of the service.
Widget Google Maps (Google Ireland Limited)
Google Maps is a map visualization service managed by Google Ireland Limited that allows this Application to integrate such contents within its pages.
Place of Processing: Ireland -Privacy Policy
User Data Analysis and Forecasting ("profiling")
The Owner may process the usage data collected through this Application to create or update user profiles. This type of treatment allows the Owner to evaluate the choices, preferences and behavior of the User for the purposes specified in the respective sections of this document.
User profiles can also be created thanks to automated tools, such as algorithms, which can also be offered by third parties. To obtain further information on the profiling activity, the User may refer to the respective sections of this document.
The User has the right to object to this profiling activity at any time. To find out more about the User's rights and how to exercise them, the User may refer to the section of this document relating to Users' rights.
Personal Data Collected from Sources Other Than the User
The Owner of this Application may have legitimately collected Personal Data relating to the User without the User's involvement, drawing on sources provided by third parties, in accordance with the legal bases described in the section on the legal bases of processing.
If the Data Controller has collected Personal Data in this way, the User may find specific information regarding the sources in the respective sections of this document or by contacting the Data Controller.
Sale of Goods and Services Online
The Personal Data collected is used to provide services to the User or to sell products, including payment and delivery. The Personal Data collected to finalize the payment may be that relating to the credit card, the bank account used for the transfer or other payment instruments provided. The Payment Data collected by this Application depends on the payment system used.
Users may exercise certain rights with reference to the Data processed by the Data Controller.
In particular, the User has the right to:
- withdraw consent at any time. The User may revoke the consent to the processing of their Personal Data previously expressed.
- object to the processing of their Data. You may object to the processing of your Data when it is done on a legal basis other than consent. Further details on the right to object are provided in the section below.
-access to their own Data. The User has the right to obtain information on the Data processed by the Data Controller, on certain aspects of the processing and to receive a copy of the Data processed.
- verify and ask for rectification. The User can verify the correctness of his / her Data and request its updating or correction.
- obtain the limitation of the processing. When certain conditions are met, the User may request the limitation of the processing of their Data. In this case the Data Controller will not process the Data for any purpose other than their preservation.
-obtain the cancellation or removal of their Personal Data. When certain conditions are met, the User may request the deletion of their Data by the Data Controller.
-receive their own Data or have them transferred to another owner. The User has the right to receive his or her Data in a structured, commonly used and machine-readable format and, where technically feasible, to have it transferred without hindrance to another controller. This provision is applicable when the Data is processed by automated means and the processing is based on the User's consent, a contract to which the User is a party or contractual measures related thereto.
-propose a complaint. The User may lodge a complaint with the competent data protection supervisory authority or take legal action.
Details on the Right to Object
When Personal Data is processed in the public interest, in the exercise of public powers vested in the Data Controller or to pursue a legitimate interest of the Data Controller, Users have the right to object to the processing for reasons related to their particular situation.
Users should note that if their Data is processed for direct marketing purposes, they may object to the processing without providing any reasons. To find out whether the Data Controller processes data for direct marketing purposes, Users may refer to the respective sections of this document.
How to Exercise Rights
In order to exercise the User's rights, Users may address a request to the contact details of the Controller indicated in this document. Requests are filed free of charge and processed by the Controller as soon as possible, in any case within one month.
Further Information on Personal Data
The Personal Data collected is used for the provision of services to the User or for the sale of products, including payment and possible delivery.
The Personal Data collected to finalize the payment may be those relating to the credit card, the bank account used for the transfer or other payment instruments provided. The Payment Data collected by this Application depends on the payment system used.
Further Information on the Treatment
Legal Defense
The User's Personal Data may be used for the defense by the Owner in court or in the preparatory stages of its possible establishment, from abuse in the use of the same or related services by the User.
The User declares to be aware that the Data Controller may be required to disclose the Data upon request of the public authorities.
At the request of the User, in addition to the information contained in this privacy policy, this Application may provide the User with additional and contextual information regarding specific services, or the collection and processing of Personal Data.
System Log and Maintenance
For operational and maintenance purposes, this Application and any third party services used by it may collect System Logs, i.e. files that record interactions and which may also contain Personal Data, such as the User's IP address.
Information Not Contained in This Policy
More information in relation to the processing of Personal Data may be requested at any time from the Data Controller using the contact information.
Exercise of Rights by Users
The subjects to whom the Personal Data refer have the right at any time to obtain confirmation of the existence or otherwise of such data at the Data Controller, to know its content and origin, to request a copy of all data processed, to verify its accuracy or request its integration, the cancellation of the account and data processed, updating, rectification, transformation into anonymous form or blocking of Personal Data processed in violation of the law, and to oppose in any case, for legitimate reasons, their treatment. Requests should be addressed to the Data Controller.
For any request on the processing of your data on roman-limo.com write us at roman@sdsk.sk. This Application does not support "Do Not Track" requests. To find out whether any third party services used support them, please consult their privacy policies.
The Data Controller reserves the right to make changes to this privacy policy at any time by advertising it to Users on this page. Therefore, please consult this page often, taking as reference the date of last modification indicated at the bottom. In case of non-acceptance of the changes made to this privacy policy, the User must cease using this Application and may request the Data Controller to remove his/her Personal Data. Unless otherwise specified, the previous privacy policy will continue to apply to the Personal Data collected up to that moment.
About this Privacy Policy
The Data Controller is responsible for this privacy policy, drafted from forms prepared by Iubenda and stored on its servers.
Personal data is any information relating to a natural person, identified or identifiable, even indirectly, by reference to any other information, including a personal identification number.
This is the information collected automatically by this Application (or by third party applications that this Application uses), including: IP addresses or domain names of computers used by the User who connects to this Application, URI (Uniform Resource Identifier) addresses, the time of the request, the method used to submit the request to the server, the size of the file obtained in response, the numerical code indicating the status of the response from the server (successful, error, etc.) the country of origin, the characteristics of the browser and the operating system used by the visitor, the various temporal connotations of the visit (e.g. the time spent on each page) and the details of the itinerary followed within the Application, with particular reference to the sequence of pages consulted, the parameters relating to the operating system and the User's IT environment.
The individual who uses this Application, who must coincide with or be authorized by the Data Subject and whose Personal Data is being processed.
The natural or legal person to whom the Personal Data refers.
Data Processor (or Manager)
The natural person, the legal person, the public administration and any other body, association or organization appointed by the Data Controller for the processing of Personal Data, in accordance with the provisions of this privacy policy.
The natural person, legal entity, public administration and any other body, association or organization that is responsible, also jointly with another owner, for decisions regarding the purposes, methods of processing personal data and the tools used, including the security profile, in relation to the operation and use of this Application. The Data Controller, unless otherwise specified, is the owner of this Application.
The hardware or software tool through which the Personal Data of Users are collected.
Small portion of data stored in the User's device.
This privacy policy is written on the basis of multiple legislative orders, including Articles 13 and 14 of Regulation (EU) 2016/679.
This privacy policy applies exclusively to this Application.
If you have any questions regarding this Privacy Policy, please contact us atroman@sdsk.sk.
Date of last revision:06/12/2022


Mercury Free: The wisdom behind the global consumer movement to ban "silver" dental fillings.
By Hal A. Huggins DDS, M.S. & Thomas E. Levy, MD, J.D.
Facebook: Californians for Green Dentistry, No More Toxic Teeth, You Put What in My Mouth?,  Mercury Exposure, Mercury Undercover, The Mercury Autism Cover-Up, Trace Amounts, Banning of Mercury Amalgam Silver Tooth Fillings, No Mercury Fillings.
YouTube: Mercury Exposure, Pandora's Mouth, Mercury Matters, Mercury in Retrograde, Mercury Poisoning, How Mercury Causes Brain Neuron Damage – University of Calgary.


Hungary Top Charts Find brand new music videos, artists and songs related to Hungary . Charts on daily, weekly, monthly and annually basis.
All artists from Hungary ranked by views, likes, dislikes or number of videos.
All videos from Hungary ranked by views, likes, dislikes or number of weeks aired.
Hungary is a landlocked country in Central Europe. Its capital, Budapest, is bisected by the Danube River. Its cityscape is studded with architectural landmarks from Buda's medieval Castle Hill and grand neoclassical buildings along Pest's Andrássy Avenue to the 19th-century Chain Bridge. Turkish and Roman influence on Hungarian culture includes the popularity of mineral spas, including at thermal Lake Hévíz. Hungary Top 40 Music Charts has started at March 02, 2016 (Wed) .