text:
The Long Ride Home
If the standard pop band is the result of years of evolution and natural selection whereby the most well-adapted species rise to the top of the entertainment food chain, Depeche Mode is one of those rare experiments that no one can either fully explain or duplicate. Musically, the band has carved a unique niche that touches on everything from dancefloor anthems to moody, goth-tinged ballads to the band's own take on American rock and blues. And at the heart of it all is some of the strangest band chemistry in popular music. Where most acts generally rise and fall on the back of a central figure, the story of Depeche Mode is really the story of Martin Gore and Dave Gahan — with Gore often cast as the shy genius and Gahan the two-dimensional focal point. Suffice it to say, if there has ever been a formula for a dysfunctional relationship, this is it.
Despite the issues brewing under the surface, the band saw nearly unparalleled success through most of the '80s and into the mid-'90s. Ironically, it was at the peak of its career, while still promoting Songs of Faith and Devotion (Sire, 1993), that the band saw the departure of longtime keyboardist and collaborator Alan Wilder, and Gahan's own substance-abuse problems became impossible to ignore. Following a long period of rebuilding, the band has been regaining its momentum through releasing albums and mounting ambitious arena tours. And even though the group's popularity on the road has remained intact, neither Ultra (Reprise, 1997) nor Exciter (Mute/Reprise, 2001) managed to generate the same level of excitement as the Mode's previous works.
When the band finished touring behind Exciter, Gore, Gahan and keyboardist Andrew Fletcher each decided to take an extended break and concentrate on their own projects. Gore released his second album of covers, Counterfeit2 (Mute/Reprise, 2003), and Fletcher started his own record label, Toast Hawaii. For Gahan, the break enabled him to finally try his hand at songwriting on a massive scale, resulting in his first solo album, Paper Monsters (Mute/Reprise, 2003). The experience would prove to have a profound impact on the future of the band — and its new album, Playing the Angel (Mute/Reprise, 2005).
"Once we'd finished Paper Monsters, I just continued the process of writing," Gahan explains. "And to be honest, I went into this Depeche record like, 'I've got 15 songs demoed here, and I'm either going to do another solo record or we're going to do this Depeche thing.' And if we do this Depeche thing, at first I was like, 'I want half the songs.' And, of course, that went down like a ton of bricks. Martin was having a real hard time getting his head around that. Depeche has always been like, 'This is what you do, and this is what I do.' And that's half the problem for me. It's like I want to break that mold. If we're going to make another record, I think we need to stretch ourselves, and this could be the beginning of something rather than looking at it as something being taken away. So I kept pushing, and we ended up agreeing that I would have three songs."
For Gore, the idea of sharing the songwriting duties wasn't a completely unexpected turn of events. And his reservations weren't based on his own vanity; rather, he was concerned about tampering with what had always been a successful formula. "Well, I knew it was coming because Dave put out his solo record," Gore says. "He's obviously gotten into the writing process. So it didn't seem that unnatural to me that he wanted to contribute something to this album. I thought it was wrong for him to be pushing for 50 percent, because we've had something that has worked for 25 years. But I didn't think it was unreasonable for him to ask to write two or three songs on the record. It's also not without precedent. When Alan was in the band, he wrote a couple of songs on Construction Time Again and Some Great Reward, going back awhile. I haven't written every song since Vince [Clarke] left."
When it came time to start penning tracks, Gore decided to break with his decades-old tradition of starting songs on piano or guitar and instead chose to start working on the electronic elements right from the start. "I think the majority of the songs on this record I started on the computer with keyboards," he says. "I'd get atmospheres going and then start singing along or playing along to that. And that's something that I've always shied away from in the past because I always thought that that was sort of dangerous because you can get carried away with the sounds that you're creating, and maybe the song behind it is not necessarily as good as you think it is."
Gahan's songwriting process, on the other hand, was quite different. Instead of working alone, he brought in Depeche Mode touring drummer Christian Eigner and longtime programmer Andrew Phillpott. "Well, I like to write with someone else," Gahan explains. "And [for this record] it started out where Christian had sent me these sort of atmospheric, instrumental bits, and a couple of them I really liked and felt inspired to do something with. But he sent them to me right at the end of the Paper Monsters tour, so I kind of shelved them. When I finished that tour, I was still very excited about writing, and I wanted to continue writing. So shortly after that, I invited Christian and Andrew out to my little studio in New York, and we basically sat down together and sort of started from scratch. I have a little Pro Tools rig — a little Digi 002 — and we just started playing around.
"I go to my studio every day," he continues, "I get up, do whatever and hang out a bit and then go to work. Most of the time, nothing happens, and I end up watching TV or listening to records. But I'll try stuff out. It might be something that Christian sent me, or I'm just playing around with the Pro Tools stuff that I have that I'm really not very good with. I'm not patient. That's my problem. And I forget stuff really quickly. I have this guy in New York who helps me out, and he has lists for me everywhere of like, 'This is how you record a vocal,' 'This is how you set up your mic,' or 'This is how you access the keyboard.' I've got all these lists everywhere, and I still manage to fuck it up. Christian and especially Andrew are a lot more technical, and I kind of leave that up to somebody else so I can just kind of be free and go wherever I want to go with the song or with the melody. And I'm finding that I have something to offer there."
With some of the writing completed, the band decided to test the waters and book some time at Santa Barbara Sound Design, near Gore's home in Southern California. DM also brought in producer Bill Hillier, who, in addition to production duties, received the task of choosing which of Gahan's demos would work on the new album. "We're not very good at communicating, so we'll just generally decide to get together for a specific period and just see how things go," Gore explains. "And, obviously, after a four-year break, you kind of don't know what the dynamic of the band is going to be like and if we've chosen the right producer or not. So we decided to do a five-week trial period, and during that five weeks, we amazingly got 11 songs going — which is really unusual for us — and a direction started to form."
"I said to Ben, 'You choose,'" Gahan adds. "'You pick what you think is going work with the album.' At that point, Martin had maybe written five songs, and I had, like, 15. That kind of became the catalyst to make Martin write more songs, because he wanted to have more songs on the album. And there was one point where I was like, 'You need to write some more songs, or we're going to have to use mine.' It wasn't a thing that Martin didn't like the songs, it was much more a thing of, 'Can Depeche Mode fans handle this big of a change?' which was kind of ridiculous to me."
"I thought it was good for both Dave and Martin," Hillier adds. "I mean, Dave was very brave in it because, obviously, Martin had been writing songs for 25 years, at least, and he's one of the most accomplished songwriters that I know. He's consistently written hit singles on every record they've ever done. So for Dave, who has only been writing for three or four years, really, to step into that sort of arena and try to compete, if you like, is very hard. And I thought he did well. On Martin's side, having another songwriter is all of a sudden a pressure he's not used to at all. It was great to sort of have an added pressure to drive him on and to help him to create more."
The formal production stage for the record encompassed three different phases: The band tracked for several months in both Santa Barbara and New York before eventually traveling to London to mix. Throughout the tracking phase, Hillier utilized multiple Digidesign Pro Tools|HD 3 rigs in various rooms at each studio, which allowed the band and the production team to work on different elements in tandem. Sonically, Hillier and DM looked to make the most of their combined collections of analog synths, outboard processors and anything else they could get their hands on.
"We kind of brought a whole range of stuff with us," Hillier explains. "I also brought loads of stompbox guitar pedals. I didn't really want to set any rules like, 'We must use analog synths,' or 'We must use digital synths.' It was more like, 'We're going to fuck around with the sounds regardless of where they come from to get what we want.' If we were going to record a guitar, we'd probably run it though three different analog synths. And if we were recording a synth, it would probably go through three amps before we were done. There was a lot of turning things on their heads and messing about and stuff like that. That seemed to be the way that we could get everything to sit together the right way: by treating them in a slightly severe way.
"We had one of the largest collections of ARP 2600s that I'd ever seen," he continues. "We had five at one point and three sequencers. Martin has got a rack of three 2600s, which we were using as the best drum machine in the world because you could program a kick sound in one, a snare sound in the other and then a hi-hat sound in the third one — and then trigger that with the sequencer to create the drums with the great feel of the ARP sequencer and really great drum sounds. You could toy with the sounds while you were putting it down, so it was really good."
During the tracking process, Hillier also pushed the band to improvise as much as possible. And though it may say seem a tad strange for a group like Depeche Mode, the band actually came to embrace in-studio jam sessions as an important way to flesh out ideas. "Ben would quite often get on the drums," Gahan says. "We had a drum kit set up with all of these old Russian transducer mics, and it never really sounded like a drum kit. A good example is 'Lilian,' the second-to-last track. It's got, like, this pumping sound, which is kind of what the room made, but it was also these mics. Ben would kind of bash down a beat, and Martin would play, and I'd be singing, and it would get us going in this direction that really isn't what Depeche does. But that was a good thing because it would send us off somewhere, and then we'd have to reel it in and sort of dismantle it.
"It was sort of like we were jamming," Gahan continues. "I mean, as close as it ever gets for Depeche Mode. We would sort of look at each other, and it would be this cross between T. Rex and Kraftwerk, which is not a bad thing, but a little too much down that path. Even Fletch played some bass on one part. Martin wasn't there one day, and we needed a bass, so Ben was like, 'You played bass, right?' And Fletch was like, 'I haven't played bass in 20 years.' But it was okay; it was fun to change it up a bit."
Gore also decided, during the course of the record, to finally get up to speed with Pro Tools. Hillier thought the best way for Gore to learn a new piece of software was to just dive in and start writing with it, and the result was one of Playing the Angel's standout tracks, "John the Revelator." "Martin had always used Logic before," Hillier explains. "He'd spoken to me about Pro Tools, and I'm a big fan of Pro Tools, and I quite enjoy using it. I said to him, 'You should try using it and see how you get on.' So he was kind of getting to grips with it and learning how to use it, and he had started writing this kind of bluesy song. We'd been listening to a lot of old '30s recordings of blues and old gospel stuff, and he had kind of written a take on that. Martin usually presents his songs in a finished form, but I kind of lifted this one off of him before he was finished. It was quite exciting because that one was much more of an open book, and I got to start from nowhere with it, which was really fun. And Dave came along and sang the line that Martin had been singing in such a totally different way. It was really exciting because he put this real rock 'n' roll spin on it, which really kind of kicked it off."
"I wasn't even sure what I was doing," Gore confesses. "I had this out-of-tune guitar. All the strings were tuned to the same note, but they were all slightly off. So I just started playing a riff on that and put a drumbeat to it and added a few keyboard sounds. I wasn't even sure if it was any good, and then Ben came into the room and said that this was really interesting. So I carried on for another day, and it just seemed like it had this old gospel thing to it. So I just started singing the old traditional song 'John the Revelator,' which gave me the idea to add a different melody and different words, and it basically got to a point when Ben really liked it, and he kept saying we should really work on it as a team. And then it goes into the whole Depeche Mode blender, where everybody gets involved, and we're all on various things just trying stuff out, just adding to the picture."
One of the most striking things about Playing the Angel is that the album manages to reference classic elements of the band's sound without sounding like an exercise in repetition. "A lot of people are talking about it sort of referring back to somewhere between Violator and Songs of Faith and Devotion and having some of both of those things," Gahan says. "You've got all of the electronics and the textures and the layers, but it's also even harping by the mid-'80s stuff."
"I wanted to make a record that had some of the pop elements that I thought were Depeche Mode," Hillier explains. "My knowledge of the band was that they wrote really good, really powerful pop songs that were really well-crafted and had great sounds — and they were exciting to listen to. I wanted to make an album that had that kind of energy to it."
"I think it's ironic that this album does reference older Depeche Mode, because Ben wasn't really a big fan of the band," Gore concludes. "I'm not saying he didn't like us, but he wasn't a trainspotter who knew every album and every B-side that we've ever put out. He claims that he bought 'New Life' when it came out, but that was about it. He probably heard our songs on the radio, but I don't really think he owns any of our albums. We had to get a box of our releases sent over to the studio so he could see what we've been up to for the last 25 years. It's just funny that working with him has brought out this almost traditional-sounding Depeche Mode."
Computers, DAWs, recording hardware:
Apple Logic Pro 7 software, Mac G5/dual 2.5GHz computers (4)
Digidesign Pro Tools|HD 3 Accel systems (4), 192 I/Os (4)
Effects units:
Boss SYB-3 Bass Synthesizer
Crowther Audio Prunes & Custard
Electro-Harmonix Attack Equalizer, Deluxe Memory Man
Frantone Auto-Looper, Peachfuzz
HAZ Mu-Tron III+
Ibanez CD-5 Soundtank Cyberdrive
Lovetone Big Cheese, Brown Source, Doppleganger, Meatball, Ring Stinger, Wobulator
MXR DynaComp, Phase 100
Sovtek Big Muff
Z.Vex FuzzProbe, Ooh Wah
Lomo 19A4, 19A18, 19A19s (2)
Neumann CMV-563, U 47
Oktava ML-17, ML-219s (2)
RTT MKL-101s (2)
Shure 520D, Beta 91
Genelec 1031As
Yamaha NS10s
Outboard processors:
Korg Kaoss Pad
Roland RE-301
Sherman Filterbank
Software, plug-ins:
Ableton Live 4, Operator
Native Instruments Absynth 3, Akoustik Piano, B4, Battery, Elektrik Piano, FM7, Guitar Rig, Intakt, Kontakt 2, Pro-53, Reaktor 4, Vokator
Propellerhead Reason 3.0
Sonic Charge µTonic
Way Out Ware TimewARP 2600
Synths, samplers:
Access Virus Indigo synth
Akai MPC2000 sampling workstation, S3000 rackmount sampler
ARP 2600 synths (5), Axxe synth, 1613 sequencers (3)
Clavia Nord Lead 2 synth
EMS Synthi AKS, VCS3 synths; Vocoder 2000
E-mu SP-1200 drum machine/sampler
Fender Rhodes electric piano
Korg MS-20 monosynth, SQ10 sequencer, MS-2000 synth
Kurzweil K2500R rack synth/sampler
Octave Plateau Voyetra 8 synth
Roland JD-800, JP-8000, Juno-6, Juno-106, RS-09 synths
Sequential Circuits Pro One synth
Studio Electronics Midimoog synths (2)
Yamaha CS-5, CS-30 synths


text:
53rd Annual Primetime Emmy Awards
- Broadcast on CBS November 4, 2001
- Directed by: Louis J. Horvitz
- Executive Produced by: Gary Smith
- Host: Ellen DeGeneres
Invited to close the November 4, 2001 53rd Annual Primetime Emmy Awards at L.A.'s Shubert Theatre with "You'll Never Walk Alone," Rodgers & Hammerstein's inspirational song from their musical Carousel, Barbra Streisand surprised the theater and television audience in the show's closing moments with a thoroughly stirring rendition. She originally recorded the song for her 1997 Higher Ground album and performed it on stage for the first time at the Shubert. The finale segment, introduced by host Ellen DeGeneres, began with the camera focusing on a dimly lit stage adorned with candles and wall of names for those who perished on September 11th. A steady rhythm track and synthesizer created a serious tone, and soon, a calming voice in darkness and then silhouette facing the names sang, "When you walk through a storm, hold your head up high and don't be afraid of the dark." Turning to face the already appreciative audience and spotlight — "At the end of the storm is a golden sky and the sweet silver song of a lark" — it was indeed Barbra continuing her emotional performance, backed by a choir on stage. A rousing climax and poignant ending saw Barbra turning back to the wall of names before receiving a standing ovation as the house lights brightened the theater. Magical moments and a perfectly inspiring finish to the three-hour Emmy show. Barbra had rehearsed the David Foster-arranged number throughout the week and again on stage around midnight the Friday before. In fact, she requested that more camera time be spent on the wall of names and less on her. Immediately after the performance, she admitted being nervous to ET's Mary Hart backstage. "But I love the message of the song. We're all slightly afraid, aren't we?" Inspired by America, Barbra observed, "We at least are united as a people. It's wonderful to feel so much brotherhood..."
After the telecast, in the Chinese restaurant-turned-into-media center across the street, carrying the Emmy won earlier in the evening for Timeless, Barbra chatted with reporters about what brought her to perform in front of a live TV audience again.
"I was focused on my song and my stage fright," Barbra told reporters about her surprise performance. "I kept thinking, 'How am I going to stop my voice from trembling?' A performance like that with an orchestra takes a lot of work, and we didn't get enough rehearsal. You don't just show up and sing. The song was my priority. I was there to give something, not get something."
On E! she confirmed that "You'll Never Walk Alone" was the producers' suggestion, and she "couldn't have thought of a better choice" considering the current situation in this country. Asked whether it was difficult to sing on the show, Barbra said, "It's always difficult for me to sing...but there's a sense of purpose." She explained that since September 11th, particularly having not been asked to join the first televised tribute, she had felt compelled to perform in a patriotic spirit for the nation. Barbra humbly said, "This is just my little way of doing something because I don't enjoy public singing." In fact, Barbra hadn't intended to attend the Emmys until just recently, having decided "never to do this again" following her 1995 multiple-Emmy wins for Barbra Streisand: The Concert. "I didn't want to go to another award ceremony to compete against my fellow professionals." But, this year was different. "I'm just grateful we live in a country where we're allowed to sing and have music and express ourselves and our emotions. It's a very sad time in our history, a frightening time, and I wanted to give something back to the people and our country." Regarding the country's fears regarding terrorism and her own performance anxiety (including a dry throat remaining from the flu), Barbra turned it into a positive. "We need to let our fear make us into better people somehow. Tonight actually had a purpose, so I was a little less afraid actually. It was good that those of us who could came out to honor our profession and make a statement that we go on through our fear."
She had never performed on an Emmy Awards show, and she last sang for an audience on September 28, 2000 at Madison Square Garden. Her previous live TV performance (actually live to tape) was on ABC 2000 from her Millennium Eve concert in Las Vegas. For Barbra, singing for America was what this night was primarily about, not making sure to arrive in time perhaps to accept an award. Publicist Dick Guttman subsequently explained that she was driving to the theatre when her award was announced. To Extra's Leeza Gibbons, Barbra said, "I came to give a message in song and be part of the patriotism that is overwhelming the country in a positive way." Of the September 11th events, she reflected, "As they say, we will never forget. This is something that we will live with the rest of our lives." She acknowledged valuing her time at home with husband James Brolin (who escorted her to the theater, post-show Unity Dinner, and Trader Vic's West Wing party). "I think we have come to a different kind of consciousness, that we really take the time to smell the flowers and treat each other a little more respectfully and feel the power of love. The power of love is stronger than death." She told Gibbons, "Every day is a blessing. Every day is a gift — the gift of life." When someone raised the subject of politics and President Bush, Barbra asked the media to visit barbrastreisand.com for her current thoughts.
Barbra Streisand: Timeless had already received three Emmy Awards for the TV special, these coming during the Academy of Television Arts and Sciences 53rd Annual Primetime Emmy Awards Creative Arts Ceremony at the Pasadena Civic Center on September 8. The TV special garnered six nominations on July 12, including one for Barbra herself in the category of Outstanding Individual Performance in a Variety or Music Program. She won the award, but presenter Debra Messing announced that Barbra was unable to attend, perhaps unknowingly preserving the finale's surprise. The Academy of Television Arts and Sciences presented its 53rd Annual Primetime Emmy Awards on November 4, 2001 from LA's Shubert Theatre live on CBS. Originally scheduled for September 16, the awards presentation was rescheduled for October 7, with additional security measures and a more serious program planned. However, the Emmys were postponed again due to U.S. and British air attacks commencing in Afghanistan the same day. Timeless and Bruce Springsteen & The E Street Band both received the most nominations for a music special (6).
Here is the complete list of Emmy nominations for Barbra Streisand: Timeless.
- Outstanding Individual Performance in a Variety or Music Program — Barbra Streisand (Winner) (Others nominated: Steve Martin as Oscars host, Ellen DeGeneres, David Letterman, Will Ferrell, and Wayne Brady)
- Outstanding Music Direction — Marvin Hamlisch (Winner)
- Outstanding Sound Mixing for a Variety or Music Series or Special — David Reitzas (Co-Winner in tie)
- Outstanding Multi-Camera Picture Editing for a Miniseries, Movie, or Special — Michael Polito
- Outstanding Lighting Direction (Electronic, Multicamera) for VMC Programming — Peter Morse and Bob Dickinson
- Outstanding Technical Direction, Camerawork, Video for a Miniseries, Movie or Special — Several individuals including technical director John Pritchett, 10 camera operators, and 2 video controllers (Winners)
Barbra Streisand has previously received two Emmys for each of her TV specials – 1965's My Name Is Barbra and 1994's Barbra Streisand: The Concert. In May she received a Daytime Emmy for the documentary Reel Models: The First Women of Film. This Emmy for Timeless brings her personal Emmy total to six.
Another Streisand-related Emmy nomination went to Marvin Hamlisch and Alan & Marilyn Bergman for writing the song "On The Way To Becoming Me," performed by Lauren Frost on AFI Life Achievement Award: A Tribute to Barbra Streisand in May. Unfortunately, the song did not receive an Emmy.
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Introducing , the home swimming machine
Item Reference: BW52211
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text:
Few days are remaining for the grand finale for the first international franchise singing reality show of Nepal, Nepal Idol. The grand finale has been announced to be held in Doha, Qatar. With the grand final next door, top three contestants of Nepal Idol are busy canvassing for votes.
All the top three contestants have reached their home districts to meet their families and well-wishers and it has been a great opportunity for them to appeal for votes from their fans.
One of the strongest contestants of Nepal Idol, Pratap Das had a busy day today. He attended Banepa Festival in Banepa where he enthralled audiences with his magical voice. He then arrived at Lagankhel of his home district. He will be travelling to different places of the district today and ending his tour with a concert in Mangalbazaar.
A large crowd had turned up at Lalitpur to welcome the celebrity-turned contestant. People roared as the singer made his way to the stage. Watch the video.
-DC nepal


text:
Sally Scott Moore
Sally holds a degree in Journalism from Baylor University. When she isn't selling artwork at our gallery, she writes for the local newspaper; and for the past five years has hosted a Christian blog called Feverseason.com.
Art has always been a passion and before moving to Lake City, Colorado full-time, Sally made her living as a designer for several high end furniture houses. What she began in the mid-'90s as a part-time entrepreneurial enterprise, soon grew into a full-time endeavor as owner- head muralist of her own company. Artist in Residence created custom works of art in client's homes or businesses across four different states for over a decade.
With her art background and sales expertise, Sally is a wonderful asset to the Silver Street Fine Art Gallery.
Contact/About >


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Lots And Land
- $45,000 price
- 3378494 mls id
- Lot Size: 1.56 acres
- Status: Active
Beautiful building lot in Red Oak Plantation located just 20 minutes to downtown Asheville. Red Oak Plantation is a lovely Neighborhood featuring great Mountain views, paved roads,street lights, and underground utilities. There are minimum restrictions and covenants that insure high property values in the future: 1500 sq ft minimum build, stick built homes, well and septic. Fall in love with this quiet neighborhood of upscale homes to build your dream home. This lot is also listed to be combined with MLS# 3378466 at $65,000 for both lots.
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What's the difference between 'hope' and 'wish'? Read more to find out.
Category: Uncategorized
Do you know the meanings of lemons in English? Take a squeeze of this.
How many idioms using the word 'heart' can you think of? Here are ten of them.
This week in Connect 英会話, we are looking into the following idioms. They say 'The eyes are the window to the soul', but what does that mean? Today, we're looking at common English phrases that use one of the most beautiful parts of the body. How many do you know? A fresh pair of eyes … Continue reading 10 Idioms about Eyes you can learn in a 'blink of an eye'
Cake and idiom in one saying....Mmmmm...


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Smoking With Kawika Guillermo
by Brandon Wicks Read the Story March 26, 2012
Tell us about your inspiration for this story.
History gives me inspiration. It offers fantastic situations that seem somehow similar to our own. When we travel to another country, we gawk at how different everything is, but when we read a history book, we are delighted by the similarities. The writer of historical fiction looks for similarities. As an Asian American writer, we are expected to write stories about our grandfathers in the homeland, or about our parents coming to America. Yet, as an American who has seen the violence perpetrated by our military around the world, I have found inspiration not from my homeland, but with histories of past empires, past "bad guys." Sometimes I feel that we are like them, that our addiction to the thunder of war will one day come back to us, and when it does, history will be deaf to our own suffering. This is a point of deep anxiety. So it must be written about.
"Reunion" does a beautiful job of humanizing members of two historically vilified (for good reason and otherwise) groups—Nazis and Communists. How difficult was this to achieve in your work? And was this your intention from the start?
A Nobel winning scientist once said that in order to get good people to do evil things, it takes religion. But religions are just ideas, and if ideas, put in very convincing rhetoric, can convince good people to do evil things, simply being good people is not enough. Yet we pride ourselves every day in being good people. Companies donate a cent of every dollar we spend to help us feel this way. So I wanted to write a story about people who, like us, believed they were good, but were slowly realizing their own complicity. For them—Nazis and communists—it was too late. They were already in the hands of madmen like Hitler and Stalin. Rather than vilify these groups, who were driven recklessly into the theater of war, we can learn from them.
The ending also strikes a lovely tenor with that brief, empathic connection between the narrator and the young soldier. One can imagine it as the germ that created this story. Did you begin here or elsewhere? Tell us about your process of revision for this piece.
I wrote the story in one sitting, and the ending emerged as I wrote it. I came into fiction writing as a chatroom role-player, so events in my writing always depend on who the characters have become and what they would do after everything that has happened so far. Like role-playing, flash fiction is more fun if you don't have an ending planned, if it just emerges from the flow, like an improvised coda. By the time I arrived close to the thousand-word mark, I realized the story had to end this way. It just made sense.
What projects are you currently working on?
I'm trying to publish a speculative fiction novel. Unfortunately, "speculative fiction" still has not become a marketable genre type, so I've spent over a year collecting rejection letters from agents and publishers. The restrictive genre conventions of novels are a stark contrast to the still untamed expectations of flash fiction. By demanding so little of a reader's time, we flash writers are truly free to mess with them. So I'm still writing flash.
Lastly, if I'm not mistaken, Kawika Guillermo is a nom de plume. Can you tell us about your decision to use a pen name? And why this particular one?
"Guillermo" is my mother's family name, who is third generation Ilocano, and "Kawika" is the name she wanted to give me. The name is also a nod to Winnifred Eaton, the first Asian American fiction writer, who was part Chinese but called herself Onoto Watanna so she could write romances about Japanese geishas. If anyone at the time had thought to translate her name, they would have found "Onoto Watanna" meant something like "to change a name." She had a sense of humor, and I thought it would be funny to have a name that read "exotic" while writing about things like Nazis.
About the Author:
Kawika Guillermo is currently finishing his doctorate in Seattle, where he teaches college-level writing and writes fiction and poetry. He has been published in journals such as Annalemma, The Monarch Review, Unlikely 2.0, The Houston Literary Review and Danse Macabre. You can find more of his published works and his blog at kawikaguillermo.weebly.com
About the Interviewer:
Brandon Wicks is the associate editor for special projects at SmokeLong Quarterly. He is a freelance writer and illustrator based in Philadelphia. His debut novel, American Fallout, will be published by Santa Fe Writers Project in 2016. His fiction has appeared or is forthcoming in Pembroke Magazine, Potomac Review, Sou'wester, and other journals.
Like what you read in SmokeLong? Consider donating to us. $3 helps a writer get paid.


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MEMPHIS, Tenn. — Three people were shot in the 2100 block of East Alcy Road in South Memphis on Tuesday, Memphis Police said.
The incident happened at the Hillview Village Apartments.
Two males were transported to the Regional Medical Center along with a pregnant woman. That female was shot in the leg and is expected to be okay.
WREG's Kristen Holloway was told that two of the victims are related. The pregnant female is due next month.
Neighbors also said this all possibly started because of an argument on social media.
No suspect information is available.
Anyone with tips can call Crime Stoppers at (901)-528-CASH.


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KUKA is one of the world's leading manufacturers of industrial robots. The company's large portfolio of robots range from 3kg to 1300kg payloads, with reaches from 540mm to 3900mm. KUKA robots are specialists in metal fabricating, welding and cutting; providing best in class path accuracy, speed, quality and lowest operating costs.
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Senior citizens who meet the eligibility requirements can work off up to $400 of their Larimer County property tax as part of the Senior Tax Work-Off Program. Those accepted into the program are placed in temporary jobs in Larimer County departments.
Applicants must:
· Be at least 60 years of age
· Own property and live on that property in Larimer County
· Have a gross monthly income at or below $1,815 (for 1 person) and $2,452 (for 2 people).
Help NFN Grow
Applications will be taken the week of Feb. 6 by appointment only. Appointments can be made by calling 970-498-7751.
For more information, contact Katy Mason with the Office on Aging at 498-7759, or email@example.com.
Northern Colorado LiveMarket
1/25 - Live music with Mystic River Duo


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City Opens Bids for REC Center Replacement Work
07/27/2018- The City of Marinette now has a better idea of what it might cost to have the improperly installed exterior paneling replaced at the new Community REC Center. City officials met Thursday to open bids from four contractors vying for the job and the low bid came from C&C Services at a cost of $937000. Other bids were as high as $1.4-million. Mayor Steve Genisot says the next step is to present the bid results to the full city council to allow them to decide how to move forward with the project.
Mayor Geniost didn't have much to say on if or how the replacement work might impact the project's overall construction budget.
The REC Center was originally expected to open in March. Mayor Genisot says the completion date has now been set for mid-December, but incentives are available for the selected contractor to complete the work early.


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Founded in 1753, the British Museum is the world's first national public museum. Filled with priceless antiquities, it is a must-see on your next trip to London.
In Awe of Stonehenge
An iconic Neolithic site known around the world, there is only one Stonehenge. As we discovered, it's worth the journey to stand on this windy hillside in England in order to understand its allure and power.
Atop Ancient Akroteri
It is a tough climb to ancient Akroteri out of season, accomplished on foot through loose volcanic scree. But the view from the top, and the treasures to be found, make it worthwhile.
Kinomagewapkong: Rocks that Teach
Hidden in deep woods in the rocky, lake-dotted landscape northeast of Toronto, a sacred treasure is etched in stone: the petroglyphs of Petroglyphs Provincial Park, Kinomagewapkong, the rocks that teach.


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jihad khairallah is a Lebanese interior architect born in 1972, graduated from the Lebanese Americain University in 1995, earning a bachelor degree in interior design with distinction. Since his graduation he got involved on different project as Aishti department store in Jel El Dib (1995), working as an independent interior architect, he then realized various project as: IL Quadro Restaurant, COOP mega store. As of 2002, he established jihad khairallah architects engaging talented practitioner in the field of design, expanding its operation through the middle east realizing projects in various countries as Zuhair Murad in Beirut, Atos lombardini franchise in Dubai, Jacuzzi bay in Egypt, and he developed the architecture department collaborating on various projects, as GIAY in Yemen, Private Villa in Doha, Villa Qanat Bequish, and la scala tower in Beirut, Rmeil 579.
In 2005, we introduced a sister company under the name of IDETAIL IDETAIL is a young emerging distinguished contracting company in Lebanon, engaged in turnkey projects. We cover execution and project management services with a spread dedicated for refined details and a commitment to respect scheduled delivery. Passionate about our work, our foundations are based on "Process and Principles, Order and Intelligence". Our skilled team of Architects and experienced workmanship coordinates tasks from Architectural shopdrawing to sizing and installation on site. We care about our client's image as much as we care about our image.


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A UN climate change official, Patricia Espinosa, has recently warned that governments are behind on the greenhouse gas targets in the Paris Agreement which was established in 2016 and is required as part of urgent action to reduce global temperature increases.
Espinosa is the head of the executive secretary of the UN Framework Convention on Climate Change (UNFCCC), and has stated that governments are unlikely to hit the Paris Agreement target of limiting the increase in global average temperature to well below 2°C above pre-industrial levels; with the aim of limiting the increase to 1.5°C, since this would significantly reduce risks and the impacts of climate change.
What are the risks if global governments do not hit the Paris Agreement's greenhouse gas targets?
Espinosa has drawn attention to the global extreme weather conditions and heatwaves this summer as a reminder that governments need to act urgently and implement the greenhouse gas targets in the Paris Agreement.
Many countries and islands are at risk of catastrophic effects from climate change. This summer was one of Europe's hottest summers, with some countries reaching over 45°C, and it has recently been predicted that many global cities will reach 50°C soon, a temperature which would leave citizens at risk of deadly heat stroke.
What is the consensus on global climate change targets?
There have been numerous concerns about global governments not implementing the greenhouse gas targets in the Paris Agreement effectively. A letter has been signed by CEOs from ten leading energy companies addressed to the European Commission President Jean-Claude Junker and UK Prime Minister Theresa May, urging both the EU and the UK to ensure that the Brexit deal includes a climate and energy chapter to ensure their commitment to international climate change targets.
Today, international climate change negotiations in Bangkok have begun and the concerns of both Espinosa and the ten energy companies have been echoed by the Fijian Prime Minister Frank Bainimarama. Bainimarama has said that governments are unprepared for another climate change meeting in Katowice, Poland later this year, which aims at ensuring that the greenhouse gas targets in the Paris Agreement are being met.


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Emily Johnston, founder and editor of fashion and style blog Fashion Foie Gras, has been brought in to work across the agency to advise on strategy, including best channel selection and how to devise engaging content.
Having run the website for three years, the blogger, who designed a handbag in collaboration with accessories brand Coach and contributes to women's magazines, will now 'share her extensive knowledge of effective blogger relations and engaging content with clients and the wider team'.
Nasima Hussain, brands director at The Communications Store, said: 'Conversations and the seeking of opinions drive so many purchase decisions. We need to ensure we are providing our clients with the very best counsel on how to engage effectively in such conversations.'
Julietta Dexter, founder of The Communications Store, said: 'In today's media, anyone can put pen to paper and have their work published, often in real-time. We are confident with Emily's expertise we can help our clients work more effectively with this new generation of publishers providing informative, engaging content.'


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Making your own beautiful and unique cakes, puff or any pastry is SO EASY with right tools! Use these Artistic Pastry Nozzles Set, you can create a beautiful assortment of flowers for your birthday or wedding cakes.
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Your work place or office says a lot about your business, and a clean place of business will leave visitors with a positive impression after initial and subsequent visits. Whether your commercial space is an office with multiple floors and thousands of square feet, a retail space, or a waiting room that needs special attention, regular visits from Top To Bottom Cleaning Services can positively impact your bottom line by improving your relationship with your customers. Furthermore, a clean and well organized workspace also facilitates the creation of a productive work environment and enhances employee morale.
Top To Bottom Cleaning Services, LLC is a leading provider of office cleaning services in CT (Connecticut) with an outstanding reputation for quality, integrity and customer service. By choosing Top To Bottom Cleaning Services you can rest assured that your property will be impeccably maintained and will reflect the professional image you wish to project to your clients and employees. Enhance the professional appearance of your business by maintaining your facility with Top To Bottom Cleaning Services.
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More details are coming out around Samsung's family of Galaxy S10 devices. With the attention is now on the S10 Plus the latest information give us the clearest idea yet of the upcoming South Korean flagship.
The S10 Plus is the third of four handsets, lying just behind the powerful Galaxy S10 Ultra (which is expected to be the 'specs monster' with multiple cameras and potentially 5G connectivity), just ahead of the standard Galaxy S10, and well ahead of the entry-level S10 model. The Plus likely denotes a larger screen size (much as it does with the S9 and S9 Plus).
The latest leaked details confirm the 6.4 inch screen, a 1440x3040 resolution display, and up to five cameras (two selfie cameras and three on the read). We also have the dimensions of the handset, according to reports at SamMobile:
The Galaxy S10+ dimensions are said to be 157.5 x 75.0 x 7.8mm compared to 157.7 x 73.8 x 8.5mm of the Galaxy S9+. Some reports suggest that Samsung will ship its new Infinity-O display with all models of the Galaxy S10. The Infinity-O display has a hole in the active display area for the front camera. It's a way of ditching the notch in this seemingly neverending race to stretch the display as much as possible.
Since the Galaxy S10+ is expected to have a dual front camera, it would obviously have a larger hole in the display. The other two variants may only have a single front camera so they will require a smaller hole.
All of these details back up the notion that the Galaxy S10 Plus, the 'large' version of the standard S10 handset is going to feel physically close to the Galaxy Note 9. It may not come with an embedded holder for the S-Pen, but I'm intrigued to know if the BlueTooth enabled stylus will work with the S10 Plus (or any of the S10 handsets).
Questions were asked about the Galaxy Note 9 before it was launched and if it would be the last of Samsung's 'phablet' handsets. If the S10 Plus can deliver the same experience, and the Note 9 sales do not pick up, there's every chance that the S10 Plus will become the de facto 'big handset' in Samsung's porfolio and will be pushed towards enterprise customers.
That will leave the Galaxy S10 Ultra as the consumer handset with the ridiculous spec sheet, the regular S10 as the base model, and the S10 Lite as an entry level to bring up Samsung's average revenue per user of its leading smartphones.
Samsung is expected to announce the Galaxy S10 family early in 2019.
Now read more about how the Galaxy S10 will beat the iPhone XS and XS Max…


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(NewsUSA) – Sponsored News – An overmedicated society is in need of adjustment.
Last March the Centers for Disease Control and Prevention shook up the medical world by encouraging doctors to utilize conservative care options prior to prescription painkiller treatment.
The move came in response to growing alarm over the most recent statistics, show an annual toll of 28,647 deaths involving the potentially addictive drugs. The United States makes up only 4.6 percent of the world's population, but consumes 80 percent of its opioids — and 99 percent of the world's hydrocodone.
The most popular alternative approach, according to the Annals of Internal Medicine, is chiropractic care. And now the Foundation for Chiropractic Progress, the voice of the chiropractic profession, is out with a new white paper ("Chiropractic: A Safer Strategy Than Opioids") that doesn't stop at merely calling on prescribers to strictly follow the guidelines. Among the Foundation's other recommendations:
* "More responsible marketing and physician education" on the part of pharmaceutical manufacturers.
* Ensuring that chiropractic care is covered by all government and commercial insurance plans.
* Expanding chiropractic services to more veterans and active duty military members experiencing pain.
"The United States has awakened to the crushing impact of the opioid use/abuse epidemic," says Sherry McAllister, DC, the Foundation's executive vice president. Doctors of chiropractic, who have a minimum seven years of higher education, provide non-pharmaceutical care and conservative pain management rehabilitation to sufferers of such neuro-musculoskeletal conditions as acute and chronic back, low back and neck pain, as well as headaches. Numerous studies have shown chiropractic care yields improved patient outcomes, higher satisfaction and lower costs.
Learn more at www.F4CP.com.
More Responsible Marketing of Opioids Needed
(NewsUSA) – Sponsored News – An overmedicated society is in need of adjustment.


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Recap – Australian National Scooter Rally 2019
Join our Australian correspondent on his travelogue journey to the Australian National Scooter Rally riding A variety of Scomadi scooters, tuned and standard.Read More
Join our Australian correspondent on his travelogue journey to the Australian National Scooter Rally riding A variety of Scomadi scooters, tuned and standard.Read More
What is good about January in North America? A massive scooter rally trip to Australia, that's what! Join a plethora of UK and local scooterists for events in three cities across Australia. It's a once-in-a-lifetime chance to learn a whole lot about Australian geography and scooters!Read More
Join our intrepid scooterist faced with an impossible challenge, a 16-hour scooter ride on a 50cc, torrential rain and chronic underpreparedness. And of course, he would do it all again (perhaps with a better rain suit).Read More
Scooterists are the best people. Out of a terrible tragedy and uncertainty of the Tumbulgum Rally comes a example of the show must go on, and must go on for a good cause. Our best to the folks affected by the recent flood and especially to Matt and Chloe Kabealo. Our hearts are truly with you.Read More
Whether you are heading to Seattle for Amerivespa or just want to experience some of the excitement, check out the various auctions going on for the event.Read More
The story of one man, Gonzalo Gonzalez, and his epic battle with the 2016 Cannonball Run.Read More
I got my hands on a production unit of the STS, the Safe Turn System. I'll be installing it on my Honda CTX and reporting back if the magical turn signal canceler works as advertised and how it affects my riding enjoyment.Read More
Join Bill for a virtual tour of what amounts to many scooterists bucket list – attending a scooter rally in Italy, and one better, attending it on a scooter! Fair warning – you will want to book travel to attend an Italian rally after reading this story.Read More
Originally created to celebrate the 50th anniversary of the clash of the Mods and Rockers in Margate, this Aussie-styled event is now a yearly feature on the scooting and motorcycling calendar Down Under.Read More
Three scooter announcements from EICMA warrant closer looks. Why there aren't more this year.Read More


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In this edition of Audiography, we feature reviews of the latest albums by Canadian duo PS I Love You, Patrick Watson (both a man and a band), and hardcore supergroup OFF! We also have an interview with Screaming Females. A couple months back, we caught up with the New Brunswick punk trio as they were driving back from picking up vinyl copies of the band's latest release, Ugly. We talk about the making of the album, working with producer/engineer Steve Albini, the New Brunswick House Scene, and what goes into this band's unique and unconventional sound.
Featured Music:
01. PS I Love You – Death Dreams (excerpt), First Contact (excerpt)
02. Patrick Watson – Lighthouse (excerpt), Into Giants (excerpt)
03. OFF! – Cracked, Jet Black Girls
04. Screaming Females – "Rotten Apple", "High", "It's Nice", "Red Hand"
Audiography Episode 037 Screaming Females"
Written and Produced by Len Comaratta, Alex Young, Chris Coplan, Michael Roffman, Adam Kivel, Gilles Le Blanc, Bryant Kitching and Nick Freed.
Are you enjoying Audiography? Subscribe to the Podcast via iTunes!


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