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This is TALK OF THE NATION. I'm Neal Conan in Washington. Congolese rebels today captured the city of Goma, as government troops melted away and U.N. peacekeepers stood by. And if that sounds a bit like deja vu, you may be remembering a similar battle on the same ground four years ago, or parts of other wars that have ravaged the eastern part of Congo for nearly two decades now, wars blamed for the deaths of five million over those years, along with a long list of associated crimes including systematic rape, looting and child soldiers.
The latest from Goma in just a moment. We'll also step back to see how this latest chapter fits in the bloody history of Africa's great lakes, about the other countries engaged in this fight and the role of the international community. If you have questions about the Congo conflict, give us a call, 800-989-8255. Email us, email@example.com. You can also join the conversation at our website. That's at npr.org. Click on TALK OF THE NATION.
Later in the program, the evolution of the point-and-shoot video game, but first the crisis in Congo, and we begin with Reuters correspondent Jonny Hogg, who joins us on the phone from Goma. Good to have you with us.
JONNY HOGG: Good evening, how are you?
CONAN: I'm well, thank you, and listeners of course can hear that long five-seconds-or-so delay from Goma, but please, tell us what happened there in Goma today.
HOGG: Well, it's been a fairly momentous few hours in the eastern city of Goma, and essentially, the last few days, the M23 rebel group has been edging ever closer to the town. But the question was would they actually dare to try and take the town, and if they did dare to try, would they be able to do it.
Now, that question was answered pretty conclusively today. We woke up this morning. It was very calm, but extremely tense. Government troops were deployed in the center of the city. We were hearing reports of fighting to the north of the city, towards the airport. And then (technical difficulties) try and make it to the airport, we saw rebel troops advancing down the road towards us. We turned around.
Shortly after that, there was heavy fire-fighting, which went on for perhaps a couple of hours. And then things started to die down, and what was actually happening was that government troops were evacuating out of the city. They were heading south. They were heading west. They were moving (technical difficulties), and they were ceding ground to the rebels who then marched in very calmly, very peacefully, into the center of the city towards the Rwandan border, which symbolically is a very important place to reach for the rebels.
They did that, and then slowly more and more rebels came in, and some members of the population actually came out onto the street to welcome them. Now, the city is much quieter. There's still every now and then sporadic bursts of gunfire, but the rebels seem to be largely in control, and certainly there's no evidence of government troops inside the city now.
CONAN: You said some of the residents came out to cheer the rebels as they took over. Obviously, some did not. Were they expecting the U.N., the MUNUSCO Force, as it's known, to protect them?
HOGG: Absolutely. I mean, you know, all through this crisis, people have been looking to the U.N., and they've repeatedly said that they would protect the city, that they would not allow Goma to fall. Tonight, the U.N. has said that obviously it cannot be a substitute for (technical difficulties) to stem the rebel advance. But at the same time, clearly there much anger amongst certain people within the population who are saying that what use were they.
And what we saw were U.N. peacekeepers simply standing there and watching as rebels marched through the city, and there's been no official comment from the mission here in Congo, but I did speak to one U.N. force, he told me, well, what were we to do? (Technical difficulties) there would have been clearly the risk is very high for civilian casualties. At the same time, that clearly hasn't done everything to stem the anger that is felt by the (unintelligible) people at the failure of the U.N. to protect the city.
CONAN: And we're losing the line there to Goma, but I will risk one more question. Where do the M23 rebels go from here?
HOGG: Well, that is a very good question. I mean, still I think there are - one of the big doubts is that they have the numbers to hold a city like Goma with all the problems and logistical challenges that that brings. And on the hand, if you compare their situation today to what their situation was perhaps 10 days, two weeks ago, where there (technical difficulties) support, where they were isolated in an area which they hadn't been able to expand, their position is infinitely stronger now.
And most importantly, the Congolese government's position is infinitely weaker. I suspect now we'll move towards the (unintelligible) negotiations, and that could end up being a very humiliating experience once more for the Congolese government.
CONAN: Jonny Hogg, thanks very much for your time. We know you're busy. We appreciate it.
HOGG: Thank you very much.
CONAN: Reuters reporter Jonny Hogg with us from Goma in the Congo. He's on the cell phone there, but according to Oxfam, more than two and a half million people are displaced in Congo. In recent days, tens of thousands more fled their camps and homes to seek shelter from the mortars and the shelling. With very few places left to find cover, the humanitarian crisis in eastern Congo is deepening.
Tariq Riebl is dealing with that situation firsthand. He's the humanitarian program coordinator for Oxfam, and he joins us now on the phone from Goma. And good to have you with us this evening.
TARIQ RIEBL: Hi, good to hear from - good to talk to you.
CONAN: And what is the situation there as far as you can see it in terms of, well, how people are getting along?
RIEBL: Well, basically the situation as yet not fully clear because we've not been able to move. We heard just now about the situation has only calmed down a few hours ago. We have been out and about yesterday, before the resumption of fighting, and we were able to see the camps, the situation was quite serious because on the - all the people on the eastern side of town were forced to move to the western side of town, fleeing the fighting as the M23 was advancing towards the airport and further into Goma.
So yesterday, the snapshot we saw was about 50,000 people that had fled the fighting. From what we know today, the skirmishes and the fighting across several parts of town led to many people fleeing through Rwanda. Across the border, many people were seen leaving, thousands of people in that direction. We also have people fleeing within Goma itself. So you have displacement from one neighborhood to another.
We also have reports of a lot of looting and pillaging that happened last night. That - we don't know the scale of it, but we have many reports of that happening, shops, as well. So...
CONAN: That would have been pillaging and looting like...
RIEBL: (Unintelligible) but it looks bad.
CONAN: Forgive me for interrupting. That would have been pillaging and looting by government forces.
RIEBL: You know, we don't know who the perpetrators all are. Some of it would have been opportunistic bandits, but definitely the armed groups involved in all of this are probably responsible to a large degree, as well.
CONAN: What has it been like for civilians since the rebel groups began advancing in eastern Congo? I mean, M23 just stands for March 23rd movement. This has only been going on a few months.
RIEBL: Well, yes and no. Nord-Kivu, like places such as Somalia or Afghanistan, has known conflict such as this for many years, at least 18 to 20 years for Nord-Kivu. So this is not new, and many of the displaced people we work with in Nord-Kivu have been displaced many, many times in the last years. So it's not new for them, unfortunately.
On the other hand, this new wave of violence has commenced since about July, when the M23 seized the Rutshuru area northeast of Goma. That led to displacement to the Goma camps, and we're seeing people now that were displaced again over the weekend. So displacement has been new, but many of the people, when you talk to them, this is not the first time they've been displaced, by a long shot.
CONAN: And where will they go? Where will they find food? Where will they find shelter?
RIEBL: Well, this is the big question now. One of the biggest questions we face in Goma is space. It's just that there isn't a lot of space to house even modest space. Goma was already hosting about 100,000 internally displaced persons before the events of this weekend. Now those people had to be re-displaced.
The fighting is over for the most part in Goma, but it's unclear whether the fighting has ceased in other parts of Nord-Kivu, whether they will be a resumption. People are in panic in many cases right now. So we'll have to find places for them.
The second step will then be trying to get supplies to them. This will require that the security situation allows free access of humanitarian access. That will allow us to move to where people are. And then of course we have the funding available to do kind of - provide the large amount of assistance we need to.
CONAN: And will the U.N. help you?
RIEBL: Well, the U.N. humanitarian agencies, some of your listeners may know the World Food Program or UNICEF. They will be operational as much as possible. And then there are many NGOs and the Red Cross, NGOs such as Ofxam and the Red Cross that will be operating as much as possible.
Again, many us have had to reduce our presence significantly over the last few days, given the deterioration of the situation. So we hope to be able to move and - move freely and also have full access to people.
CONAN: You're talking about relief agencies. What about the U.N. peacekeepers who were there? Will they help you?
RIEBL: The U.N. peacekeepers' role in this is to guarantee the protection of civilians. I think as was mentioned on the program, there are some concerns about this. What the U.N.'s role will be would be to make sure that where people settle, those people are protected from incursion, from looting, from pillaging, from attacks, from targeted atrocities.
And that's - that is what their mandate is. Their mandate will not be to provide the direct relief...
CONAN: I hear what you're saying...
RIEBL: The peacekeepers should be responsible for security.
CONAN: We just have a few seconds left. Is it too strong to say I hear a hint of skepticism in that answer that the U.N. will protect the people?
RIEBL: I'd have to say the track has not been good in the last few months, not just in Goma but across Nord-Kivu, and we require much stronger engagement.
CONAN: Tariq Riebl, humanitarian program coordinator for Oxfam in Goma, with us on the line from Goma. Stay with us. It's the TALK OF THE NATION from NPR News.
CONAN: This is TALK OF THE NATION from NPR News. I'm Neal Conan. As M23 rebel forces reportedly backed by Rwanda take Goma and civilians flee, it's easy to get the feeling you've seen this before. For nearly 20 years, Congo, Rwanda and their proxy forces have traded fire. Though the conflict started with the genocide in Rwanda in 1994, it's evolved into a fight over valuable minerals, from gold and diamonds to cobalt and tungsten.
Twice the fighting descended into war. Many fear this latest escalation may be headed there, as well. If you have questions about the conflict in Congo, give us a call, 800-989-8255. Email firstname.lastname@example.com. You can also join the conversation on our website. That's at npr.org. And click on TALK OF THE NATION.
And joining us now is Jason Stearns, who's been researching armed violence in the Congo for the past decade. He's on with us by Skype from Abu Dhabi, and it's good of you to be with us.
JASON STEARNS: Thank you very much.
CONAN: And what is this most recent escalation of violence, how does it fit in with this conflict that's been going on for decades now in the eastern part of the Congo?
STEARNS: Well, there's some similarities, but there's also some differences. On the similarities front, this current conflict has a lot to do with three factors, I would say. First, the deep weakness of the Congolese state, as we could see during this recent escalation of violence, the Congolese army ended up crumbling, fleeing, looting as the soldiers fled, and that's really the story for Congolese institutions in general.
You know, there was a peace process in the Congo. There have been two elections now since the peace process. But the Congolese institutions, including in particular the security forces, are still extremely weak. The second factor are very deep communal conflicts between communities that have to do with identity, ethnicity but also land - control over land.
And the third fact, which is probably actually the most important one in understanding this, are tensions between the Congo and its neighbor Rwanda. And here's also where some of the differences lie, I think, because this is the third time that Goma has fallen to a rebel force in the last 18 years. 1996 was the first time, 1998 and, now, it's 2012 is the third time.
The previous two times, it was an all-out Rwandan invasion. The Rwandan army deployed troops across the border. They occupied Goma. And then they had very good security justifications. They were fighting a war with rebels that had carried out a genocide in Rwanda and had subsequently fled into the Congo.
This time, Rwandan involvement is much more discreet. They backed the rebels, but they're going to great lengths at not revealing their backing. And their justifications are also much slimmer because the security threats to Rwanda are much lower than they were in the past.
CONAN: So as we look at this conflict, this is, as we keep saying, minerally wealthy area. Why does the DRC, the Democratic Republic of Congo, continue to be so weak? It can't defend its own borders from Rwanda, which we don't think of as a superpower.
STEARNS: Well, it has a lot to do with organization. I mean, you can have all of the abundance of minerals in the world and still have an organizational deficit, and the Congolese government is beset with immense organizational difficulties. Disorder has almost become part of the strategy of rule in the Congo. It's become a tool in the toolbox of Congolese rulers.
Instead of creating strong armies, they weaken their own armies in order to prevent those armies from overthrowing them, and that's been a feature of Congolese politics since independence, really, in 1960. So I think that the political logic of instability in the Congo runs extremely deep, whereas in Rwanda, this is a country that for centuries, now, has prided itself on a very strong central organization, in particular very strong military forces.
They go back to the pre-colonial period. So there's very - two different kinds of political organization we're talking about.
CONAN: Let's go to a caller, and let's get Tye(ph) on the phone, and Tye's with us from Laurel, Maryland.
TYE: Hi.
CONAN: Go ahead, please.
TYE: And hi to Jason, too. I wanted to ask a question about the role of Rwanda, but I think from the light of what your correspondent in Goma has said, I'm going to actually broaden it a little bit and make it: What's the role of the international community here? Because if we fear - we read through the lines of the declaration of the head of MONUSCO in Goma, it sounds as if he's making a, what do you call it a support, an actual allegiance to the rebels.
My question really here becomes twofold. The first one is: Who is ensuring the security of the territory that the M23 have taken so far? Would it be Rwanda? And that question comes with the - MONUSCO was supposed to be actually supporting the FRDC together with ensuring the security of the people.
So if the head of MONUSCO is saying that they are doing their work by just supporting the security of the people, what happens to the other part of the mission, which is to support the FRDC...
CONAN: We're hearing a lot of acronyms, which most people are not familiar. Jason Stearns, can you fill us in? And also, who's in these U.N. forces? Of course the U.N. doesn't have any forces of its own.
STEARNS: Right, well, those are some very good questions. Rwanda obviously refuses or denies any involvement in the eastern Congo. So they would not accept any responsibility for the goings on in the eastern Congo. With regards to the U.N. peacekeeping mission, and the caller has, you know, alluded to the FARDC, which is the Congolese army, the U.N. does have a mandate to prop up Congolese institutions and to back the Congolese army against threats.
And throughout this whole fight with, battle with the M23, they have been backing up the Congolese army, including by flying helicopter, attack helicopter raids against the rebels. But eventually that did not - that didn't work in the sense that the rebels were able to take Goma.
There's been enormous amount of criticism of the U.N. peacekeeping mission, and I think to a certain extent some of this is justified. But in general, the U.N. peacekeeping mission's mandate is to back the Congolese army. If the Congolese army then crumbles and flees the battlefield, it is extremely difficult for the U.N. peacekeepers to hold the front lines, especially against unconventional forces such as the M23, who are guerrilla forces fighting largely with small weapons, not in tanks deployed conventionally.
So it's extremely difficult for them. So I think that while one can be critical of the U.N., at the same time we have to realize that they have very strong limitations. With regards to who is manning and staffing the U.N. forces, these are largely, in the eastern Congo in particular, largely South Asian countries - Pakistani, Indians and Bangladeshis form the bulk of the contingents in the east, but there are also Uruguayans and South Africans, as well.
CONAN: Let's bring John Kron into the conversation, a reporter with the New York Times in East Africa. He's with us from Nairobi. Nice to have you with us today.
JOHN KRON: Thank you, sir, how are you?
CONAN: I'm well, thank you. And let me ask you a follow-on question about the United Nations: There's been a report that's been leaked, supposedly due to be published on Friday, which blames Rwanda to a greater extent and Uganda to a lesser extent for their parts in this most recent rebellion in eastern Congo. How has that complicated things?
KRON: That's quite a good question. Obviously it would be hard to distinguish the two entirely, but it is quite a good question. The president of Uganda recently stated that this leaked U.N. report or even the U.N. report in general, something that comes every six months, every 12 months, rotating on different topics, but over the years, you know, Rwanda has been a focus of a lot of attention from a number of parties.
And it would be hard to say one thing is the reason for something or another, but there's no doubt that over the course of the last several years, but maybe seriously picking up in the last year, there has been - things have felt, at least as somebody reporting on it, a bit more personal, and whether that plays into people's temptations to do certain things or make certain orders is unclear. But it's certainly - it's something the U.N. report 2008 just around the same time that rebels then were haunting down on Goma, so...
CONAN: And that sounds like an interruption in the phone line of some sort, so we'll try to re-establish the line to Nairobi there and get back on the line with Josh Kron. In the meantime, let's see if we can get another caller on the line. And this is Phil, and Phil is with us from Unionville in Pennsylvania.
PHIL: Hey, good afternoon. How are you?
CONAN: Good. Thanks.
PHIL: Yeah. Frankly, Zaire (unintelligible) is a failed nation state. You don't even have adequate roads (unintelligible) troops had to be airlifted out that way. I don't see any reason to continue the support this failed nation state which has not been able to bring order to Eastern Congo, and I see no reason why we should throw our support behind the rebels and allow them to create a nation state in Eastern Congo that actually will function and can bring some decent services over a long period of time. Mind you, it won't happen overnight. (Unintelligible) the residents of the eastern Congo.
CONAN: Jason Stearns, first of all, is that the rebel's goal, to establish a separate state in eastern Congo? And if so, might this be a de facto declaration of that?
STEARNS: Well, you know, it's funny. The drive to split up the Congo - and precisely because it's too large, it's unviable and it's, as your caller pointed out, it's decrepit - comes largely from Westerners, this kind of - this kind of logic gets very little traction in Congo, not because the Congolese government have - or the Congolese people have a great loyalty towards their own government that they're often very mistrustful of, but because - it's strange. There's very little functioning government in the Congo. But one thing that's functioning is patriotism. It's an extremely patriotic country that is extremely wedded to the idea of being Congolese.
Now, there are some exceptions, and the rebels that have conquered Goma may be one of these exceptions in the sense that they have previously said, at least in internal conversations, that they want to secede from the Congo - establish their own state, although it's not entirely clear what their final aims are. I would point out, however, that the rebels have a relatively narrow social base in the sense that they are not representative, I would say, of the larger - most communities in the eastern Congo. Most of them come from the ethnic Tutsis community in the eastern Congo, at least their leadership does. And many Congolese perceive them as stooges or allies of the Rwandan government, and many Congolese are resentful of Rwanda for past interference in the Congo. So I don't think that many Congolese would back the notion of your - that your caller just suggested.
CONAN: Josh Kron of the New York Times is back with us on the line from Nairobi. As you look at this situation, there is a fait accompli. The rebels have achieved something important. They've taken Goma and its airport. What happens next and are they going to be able to solidify that control?
JOSH KRON: Yeah. That's a good question. I think - I may not be the best to know, but I don't think it's time yet to say whether or not the rebels are going to stick around. Obviously the momentum of what happened today, they have control over the territory, and it doesn't look like the (unintelligible) are going to come back in the Congolese army and try to (unintelligible) things up. And the U.N. is not going to start a fight in town either. But it depends to be seen if they're serious about trying to overthrow a government or go to the following city or whether what they really want is to hammer out some better deals for themselves.
I think for a while, what we see today in Goma is what we're going to see, more or less, for a little bit, but it's really - it's really early to tell. It would be hard to think of a reason why the rebels would pull out. At the same time I think if you were betting against the rebels going into the city today, you would've lost some money. So it's really hard to tell.
CONAN: Josh Kron is with the New York Times in East Africa, with us by phone from Nairobi, Kenya. Also with us, Jason Stearns, author of "Dancing in the Glory of Monsters: A History of Congo," project director for the Rift Valley Institute. You're listening to TALK OF THE NATION from NPR News.
And let's see if we can go next to Quanque(ph), Quanque with us from Boston.
QUANQUE: Oh, this is Quanque.
CONAN: Oh, go ahead. I'm sorry I mispronounced your name.
QUANQUE: I'm glad you're having this discussion. I've been wondering whether the world has forgotten the conflict in the DRC. (Unintelligible) so many refugees coming across the borders of Uganda and Rwanda. I was in the refugee camp in September in Kisoro, and I saw many refugees with horrifying stories of their problems as they were running away from the villages, from the rebels. There are so many groups of rebels and bandits that I feel as though the refugees do not feel that the U.N. is providing adequate protection for them. And so my question is, I know that this conflict has been going on and off(ph) for the last 20 years. For some reason the political leaders are unable to talk to each other or take responsibility in resolving the problems so that the refugees can finally go home.
CONAN: I hear your question. Jason Stearns, let me ask you. And we do talk about the government as if it was a monolithic force and the rebels as if they were a monolithic force. There are allied militias who are less disciplined than even the government and the rebels.
STEARNS: Yes, absolutely. I think that's a very good point. There are several dozen armed groups in the eastern Congo. The M23 is only of them. So this is obviously a problem that's much larger than just the M23. And I think coming back to your caller's point that, you know, the U.N. is not providing security, the U.N. has always failed at - its principal mandate is protection of civilians in imminent danger. That's an extremely difficult mandate to execute. You know, you end up firefighting, responding to fires all over the place over an area almost the size of California, and it becomes extremely difficult to do that with the troops, with 18,000 soldiers.
What has been lacking, I think, since about 2006 has been some political process that the U.N. can insert its military pressure into. In other words, you have all of these different armed groups, probably first amongst them the M23, but you have no political process to deal with this. A military strategy alone is not going to work absent a larger political framework in which to insert that. And I think that's really what needs to happen now. There need to be some sort of political process involving international mediation that not only brokers a ceasefire and some sort of a short-term deal, but deals with some of these root causes of the conflict that involved not only the institutional fragility but also Rwandan interference in the eastern Congo.
CONAN: And let me finally end with Josh Kron on the point. Rwanda's biggest - one of its biggest and most important allies is the United States. Is the U.S. going to lean on Rwanda to back out?
KRON: Well, for the course of the last several years, it seems that via different state trips and speeches and so forth and programs, the U.S. has seemed to come a little bit closer maybe, if one had to put it that way, to the DRC. And in this world of Rwanda and Congo, at least for some of the people that live in this land, everything is really, really zero-sum. It's really hard sometimes for somebody in Rwanda, for instance, to see the U.S. getting closer with Congo and not seeing it as them getting further away from Rwanda. It's really a very, very airtight situation like that. But I think right now what's clear is that the ball's in Rwanda's court to some extent.
CONAN: Josh Kron of the New York Times, and we thank him. We also thank Jason Stearns, the author of "Dancing in the Glory of Monsters: A History of Congo." Stay with us. I'm Neal Conan. It's the TALK OF THE NATION from NPR News. Transcript provided by NPR, Copyright NPR.


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"If you don't want nude pics leaked, don't take nude pics with your phone —" *Tasers you* *steals your shoes* SHOULDN'T WEAR SHOES BRO
— Chuck Wendig (@ChuckWendig) September 1, 2014
I wrote that tweet yesterday in regards to the celebrity nude photo thefts.
(It's not a leak. Nor a scandal. It was theft, kay? Kay.)
It's had over 4500 retweets since then.
A tweet that goes that far and wide tends to get a response that is equally far and wide, and so of course I'm getting a lot of tweets from people (let's be honest: dudes) who are like BUH BUH BUT UHH THAT'S WRONG BECAUSE SOMETHING SOMETHING FALSE ANALOGY SOMETHING SOMETHING SECURITY AND HEY REMEMBER YOU SHOULDN'T PUT NUDE PHOTOS ON YOUR PHONE IF YOU WANT THEM STOLEN.
Basically reiterating the same thing I was attempting to refute in the first fucking place.
If that is your response, may I take this moment to elucidate an academic retort:
Fuck you.
Fuuuuuuuck you.
Fuuuu-huuuu-huuuuuuuuck you.
Please: now allow me to grow multiple arms like Shiva the Destroyer, and further, do note that at the ends of each serpentine arm you will find a middle finger, thrust up so that each finger is straining in an angry, arthritic fashion to convey the telepathic disdain I have for your bullshit, hypocritical, falsely equivalent opinion.
I think people should be allowed to take nude photos of themselves.
I think nude photos are rad. I think not taking nude photos is rad. I think whatever you want to do sexually or artistically is a-okay as long as its enthusiastically consensual — stick a carrot up your ass, if you want, while banging your genitals with a tambourine. Whoever you are, however you identify yourselves, I live in a world where I want you to have both the freedom to do what you want in this manner while simultaneously possessing the privacy to do it as you see fit.
Any violation of that is just that: a violation.
It is a crime. An actual, honest-to-that-blind-lady-with-the-scales crime.
It is not rape, but it is deeply demonstrative of rape culture because it is an act that exploits a woman and her body without her consent. And then, as if to vigorously rub salt into the wound with the heel of one's callused hand, the judgey-faced shitty-assed judgments of countless men follow in the wake of the violation: victim-blaming, slut-shaming, Puritanical finger-waggling.
"If you don't want nude pics to get into the world…"
"Something-something security…"
"Sure, sure, it's a crime, but still, you have to know realize that…"
Shut up.
Shut up shut up shut up shut up.
If you do that, you are on the side of evil, not the side of good.
Oh, I know. You're pretending that you have people's best interests at heart.
You want to remind them that the phone they carry is a vulnerable device.
It's basically a boat with a sprung hull. Anything might leak into or out of it.
So, you think that anything you have put on your phone is suspect? Or your computer or tablet? If I steal your banking information, or your credit cards, or your e-mails, or pictures of your wife, your kids — well, hey, that's your fault. You plugged in, bro. You shouldn't have driven on the Information Superhighway if you don't want to get run over by a couple joy-riding hackers, right?
And hey, driving on the actual highway is pretty dangerous, too. You shouldn't drive because you could get hit. Sure, I mean, a drunk driver shouldn't drive drunk — but it's kinda your fault too because you had the audacity to leave your home. Leaving your home is dangerous. Your whole body is basically a gelatinous jellyfish, just an animated sack of bones and meat quivering its way through life. If you don't protect yourself — guns, armor, various Mad Max-ian spikes and chains — then you can expect all kinds of violence. You're not at all secure out there. Your flesh isn't protected by a password. It's your fault if you get beaten up. Oh, they stole your wallet, too? That's what you get for putting all that vulnerable money inside a leather flappy thing ensconced within the soft downy pockets of your dumb acid wash jeans.
What's that? I just punched you in the face?
Okay, yes, that's a crime. Admittedly! Admittedly.
But you probably also should be wearing a helmet.
Your face is very vulnerable to the security exploit of my grumpy fist.
Of course, nobody's saying those things.
Because nobody thinks those things.
Crimes are not a thing we deserve just because we exist in this world.
And yet, that's what people (ahem, again, mostly dudes) are saying, here. This is the digital equivalent of, "Look at what she was wearing." A woman is raped and we ask all kinds of questions as to what she did to engender the act — did she protect herself? Was she dressed conservatively enough to thwart the unstoppable sexual aggression of men? Was she in a place — like a seedy bar, or a Ruby Tuesday's, or any street in America — where rape sometimes happens?
If I see a cake in a window and it's sufficiently delicious-looking, can I take it?
And when I do take it, will someone ask the bakery: well, how did you decorate it? Was it too delicious-looking? The icing is very enticing. Too enticing, really. Can you blame the thief? How can one control such base and vital hunger? You probably should've locked the case. Or hidden the cake behind a secret door. It's at least partially your fault the cake was stolen. Make uglier, less delicious cakes, next time — ?
One response read:
'…and i know i wouldnt bank online without the numerous security checks and verification systems they use.'
Well, yes, of course, but nude photos are also protected by the numerous security checks and verification systems afforded by using your phone. They didn't staple-gun their photos to a nearby telephone pole. The photos weren't public.
Another said:
'Im not 'Blaming' but security is your own responsibility. Do you keep your money in a bank, or hang it from a tree?'
Were the nude photos hung from a tree? No, they weren't. So, shut up.
Another called me an SJW, which of course stands for 'Social Justice Warrior' — a fascinating term that I guess is somehow supposed to be bad? Like, "Ew, social justice is gross, and also being a warrior for social justice, oh, yucky, blergh, fighting for things you believe in is such a jerk move. Trying to make the world a better place for society with justice is pretty weird! I mean, unless you're one of the Avengers, because they're great. Especially that hot red-headeded one with the naked pictures on line — did you guys see these?"
*Tasers you*
*sighs over your twitching body*
It's ugly out there, folks.
Can't be a woman online. Or worse, playing games — gasp!
Can't be a black dude in a convenient store.
Can't be transgender… well, pretty much anywhere.
You'll get judged. Deserving of a crime by dint of some perceived deviation.
How you're dressed. The color of your skin. The choice of your gender identity.
When you judge someone for taking nude pictures on their phone — and you suggest that what they got was, if not deserved then at least expected — you're a sexist shit-ferret. You're not really making a point about security or the porousness of the Internet. You're making a judgment based on that person's choices. You're judging the act of taking naked photos rather than the theft of the photos. You're putting the onus of the crime on the victim and not the criminal because — really, this is why, I swear! — you don't agree with their choices. Prurience must be punished. Sex is a sin. Where is their shame, you ask? Such shamelessness is provocative. It provokes a criminal response which basically makes the sinner culpable for their own victimization.
Stop it.
Cut the Puritanical crap.
A crime is a crime is a crime.
It is not invited.
You don't deserve it because of your lack of clothes or because you chose Apple as a brand.
You don't deserve it because you're a celebrity.
Nobody deserves it.
If you suggest otherwise: congrats, you're now part of a culture of rape, misogyny and sexism.
*Tasers you again*
*throws you out the airlock*


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Underwater Housing for Sony Cyber-shot W230
This product is no longer in production and we have no remaining new, blemished, or used inventory. We continue to provide service of this product even though it has been discontinued.
Camera Compatibility
Differences in lens and control placement prevent other cameras from being used in this housing.
Underwater Housing for Sony Cyber-shot W230
Sale price$ 0.00
Regular price (/)


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India MNH Definitive 5th Series Family Planning 5
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Welcome to our store – India Mint – The Most Comprehensive Online Shop for Stamps of India.
Please keep in mind that all stamp / stamps / philatelic materials are in excellent condition unless mentioned otherwise. We give best deals with combined shipping for both Indian as well as International dealers and buyers.
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Dolman Sleeve Shirt
Ref: 1712280453Couldn't load pickup availability
Collar Stay: No
Sleeve: Short Sleeve
Pocket: No
Fabric Type: Plain Structure
Delivery and Return Information
Click&Collect: 1-3 Days | Dubai: 2-4 Days | Other Emirates: 2-5 Days
Return Information
Please note that you can Exchange/Return during 30 days items in any of our stores. Special deals items are not available in our Sacoor Brothers branches however you still can be returned in any of our Sacoor Brothers branches or exchanged for different items and the price difference has to be paid. Order/items can be returned either at any of Sacoor Brothers and Outlet stores (Except Sacoor ONE & Sacoor Blue) or at our online website. - The orders that are placed from the store & Click & Collect orders the customer has to visit the nearest store to submit the return request. - Guest Checkout: You can make a return request through the confirmation email sent to you when your order has been processed by clicking on the return link in the email to submit your return request.


text: Use our real-time 1 Hour JPX-7537 live charts to analyze the current and historical JPX-7537 exchange rate. Each candlestick in the JPX-7537 candlestick chart above represents the open, high, low and close prices within a period. Click the indicators icon to apply technical analysis to our advanced charts including the most popular trend indicators, momentum indicators and volatility indicators.


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northern arctic
Take a look at our first official video
The world without photography will be meaningless to us if there is no light and color, which opens up our minds and expresses passion.
My style is a combination between photojournalism and fine-art photography with a touch of fashion and creative lighting. My photos are inspired by light, color, techniques from black & white processing, vintage photos, creative perspective, and of course, most importantly, the personalities of the people I photograph!


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More : All Dunwich Restaurants
Bistro $$$$$ Opens at 11:00 AM
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The octal number of 20031 is:
The octal number system represents numbers in a system to the base of 8. It uses the digits 0 - 7.
Historically, the origins of octal number system is in the 17th Century.
The octal system of numbers is used in the computer science, because each digit of an octal number can be represented by three bits. For example, octal numbers are used in file access rights under the UNIX operating system.


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Reno South Our Enrichment Model
Seize the Play® at Camp!
Is your dog getting the exercise and socialization they need? Treat your dog to a fun and active day at Camp and bring home a happy and pooped pooch! Camp Bow Wow® doggy day care services are designed to improve your pup's quality of life in a safe, fun, and nurturing environment. We provide both dog and human interaction that benefits mental stimulation and socialization. Our spacious play areas allow for maximum fun and the chance for your four-legged family member to burn off some of that pent-up energy.
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Treat your pup to fun-filled days of play! Make a Reservation


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Adjustable Height
Certified Green
Color Group
Green Certification
Number of Openings
Price Range
Product Type
Table Seating Capacity
Tabletop Core Material
Tabletop Surface Material
Tabletop Weight Capacity
Mobile Classroom Computer Desk (30"W)
Mobile Classroom Computer Desk (48"W)
Kidney Laminate Classroom Table - Hardwood Legs (76x24")
Mobile Classroom Computer Desk (30"W, Assembled)
Cubby Storage Preschool Table
Wooden Play Workbench
Kidney Adj. Height Laminate Classroom Table (76x24")
Rectangle Laminate Classroom Table w/ Hardwood Legs (44x30")
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Rectangle Laminate Classroom Table w/ Hardwood Legs (48x30")
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Rectangle Laminate Classroom Table w/ Hardwood Legs (60x30")
Rectangle Adj. Height Laminate Classroom Table (60x30")
Trapezoid Laminate Classroom Table w/ Hardwood Legs (60x30")
Trapezoid Adj. Height Laminate Classroom Table (60x30")
Round Laminate Classroom Table with Hardwood Legs (36"dia)
Round Adjustable Height Laminate Classroom Table (36" dia.)
Round Laminate Classroom Table w/ Hardwood Legs (48"dia)
Round Adjustable Height Laminate Classroom Table (48" dia.)
Which tables are best for your preschool? Hertz Furniture's preschool tables come in many fun shapes, colors and styles so you can find whichever kind you need at an affordable price. Young learners will just love working and playing at appropriately-sized classroom tables that are built just for them. We also have a large selection of classroom tables for all ages of learners.
There are many different kinds of preschool tables. Our sand and water tables provide great educational fun. Play tables are great for your imaginative-play centers and block corners. If you are working with little ones, check out our wonderful toddler tables.
The right activity table has to fit your classroom, your students and your needs. There are many different shapes to choose from, each of which offers unique advantages. Lower seating capacities facilitate more intimate work and play, while larger tables enable more children to work together.
What is the best shape for a preschool table?
Shape and color can add a lot to your learning environment. Educational Edge preschool tables feature colored edge banding that will brighten up your classroom. A circular, flower, kidney or trapezoid shaped table can really add some flair. Horseshoe-shaped classroom tables offer distinct advantages. Not only do they have a creative twist on the classic classroom table design, they also facilitate small group learning and cooperation. With one teacher seated in the middle and six children around the outside, everyone can interact while receiving personal attention from the teacher.
While many toddler tables are constructed from a combination of laminate and steel, we also have great wooden tables. Wood lends a natural feel to your classroom and can be coordinated with bookcases or wooden play furniture. We offer some specialized wood tables including the Wood Designs tot table and work bench, both of which are sure to become fast favorites in your preschool activity centers.
Tired of carrying crayons and pencils back and forth so students can draw? With the move-up game table from Gressco, your days of lugging heavy supply boxes are over. This convenient kids craft table features casters for easy relocation and built-in storage for all of your art supplies. The middle of the table opens into a compartment so students can easily reach in and get the supplies they need. This arrangement is great for art projects or a permanent drawing corner.
What kind of activity centers should I have in my preschool classroom?
No preschool is complete without a sand and water table. This fun piece of classroom furniture helps children develop their fine motor skills as they explore different textures and engage in cooperative play. We have a number of great water tables for kids, some of which come with lids to ensure that nothing unwanted will fall in. They are perfect for a sensory learning center.
For a bit of lunchtime fun, you might want to consider a bench table. No more pushing-in chairs and making sure that there are enough seats. Preschool picnic tables are the perfect size for your little ones, so they can slide in and sit down independently. This setup is perfect for meal times as well as activities and projects.
How can all of the toddlers in my preschool sit together at a table?
Try a six- or eight-seater toddler table for an excellent seating solution that caregivers and young students will just love. The built-in seats enable both little ones and their teachers to reach the surface easily without having to strain. This arrangement is exceptional because it lets the teacher interact with and take care of many children at once, while remaining seated. Instead of having to get a separate toddler table and chairs, you can have it all in one cozy unit.
What kind of table fits with the latest pre-k classroom trends?
Your preschool tables should be arranged to complement classroom centers. Today's educational trends are increasingly moving toward self-directed play and child-led learning. Having a flexible classroom with furniture that can easily be rearranged for group work and special activities is key. Choosing classroom tables in versatile shapes that can work for differentiated learning centers is important if you want to keep up with the latest in pre-k classroom design.
Preschool tables are a must-have for every preschool, daycare and early-childhood setting. They serve as a critical tool for skills development through activities, play and interactions. Hertz Furniture's excellent selection has everything you need to furnish your classroom from learning centers to eating spaces and beyond. If you need help choosing the optimal table or you are not sure how many can fit in the space you have, call the Hertz Design Center for expert project-planning advice.


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The Outdoor Jack 4-Seater U-Sectional in Soleil
Buyback Program
A lifetime lease. Get back up to 50% of your money in cash or store credit if you need to give up your Jack in the future.
Our Iroko teak frame is designed to last 50-100 years. So if you decide to part ways with it down the line, we want it back. We'll pay you for it to not see a landfill.
Read More →
- Wood for Good - Sustainable, Iroko hardwood designed to last 50-100 years.
- Water Resistant Comfort - Performance fabrics featuring a nontoxic finish manufactured to repel all water-based liquids, keeping the CertiPUR-US® Memory Foam and recycled down alternative cushions safe.
- UV Fade Proof - Maintains color integrity for up to 2,000 sunlight hours.
- Rot & Pest Resistant - Inherently durable, Iroko's rich internal resin composition enables resistance to splitting, warping and—unlike traditional teak—does not require tedious oil treatments for preservation.
- Mold & Mildew Resistant - Breathable air mesh liners topped with water resistant covers deter the growth of mold & mildew.
- Modular - An adjustable connection method enables a variety of configuration options.
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Weatherproof Fabric
☂ Our robust performance Canvas features a nontoxic moisture barrier enabling stain resistance to not just rain, but all water-based liquids (aka vino and your fave BBQ gravies).
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Every fabric cover is fully removable for easy, thorough cleaning. All fabrics are liquid-repellent, stain-resistant, and bleach cleanable for your convenience.
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Standard shipping & delivery is complimentary on all orders. White Glove shipping & delivery is available for purchase at checkout and includes room-of-choice delivery, assembly and packaging removal.
Buyback Program
A lifetime lease. Get up to 50% of your money back in cash or store credit if you need to give up your Jack in the future. Our Iroko teak frame is designed to last 50-100 years. So if you decide to part ways with it down the line, we want it back. We'll pay you to keep it out of a landfill. Read More →
Experience comfort, outdoors. Weatherproof cushions for rain or shine.
Rain Repellent
A nontoxic finish & moisture barrier, eco-engineered to repel all water-based liquids.
UV Fade Proof
Maintains color integrity for up to 2,000 sunlight hours.
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Manufactured to resist all of the frequent offenders. A little soap & water and it never happened.
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Cleaning, made easy. Fabric colors maintain hue integrity when cleaned with 100% bleach solution.
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A performance solution dyed Acrylic designed with water resistance properties, detering growth of mold & mildew.
Earth Friendly
Eco-engineered utilizing recycled water, contains no PFCs & is OEKO-TEX® certified in our GreenGuard factory.
Wet them, stain them, wash them. Removable, bleachable covers to make your life easier.
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50-100 Year Lifespan
Used to build ships, bridges & furniture—Iroko wood is for good. It's inherently resistant to splitting, warping and—unlike traditional teak—does not require tedious preservation treatments.
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Indestructible stainless steel hardware and an industrial strength webbing system used in the automobile industry.
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One product, heaps of different layouts. Spice up your setup in a snap for any old occasion.
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If you think you've ever been comfortable outside, think again. A bewitching blend of CertiPUR-US® Memory Foam and recycled down alternative beg you to stay seated.
Sustainably Made
Everyone says it. Find out why we mean it.


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Personal Care Middleton, WI
Need Personal care in
Middleton, wisconsin?
If you are looking for Personal Care in Middleton, we at Heritage Health Services can help!
Did you know that in Wisconsin certain residents with disabilities have the ability to choose who takes care of them in their own home?
Eligible people with Disabilities or their Guardians have the ability to designate who takes care of them. That person in most cases, with a few exceptions, can get paid for the care. It can even be a friend or a relative.
If you are taking care of a loved one, you could be paid for the care you are already giving your loved one!
Individuals who receive Title 19 or Medicaid have the right to choose their own personal care aid. We may even be able to help if you have Medicaid HMO coverage.
Heritage Health Services is here to help the residents of Middleton hire the caregiver they choose and in turn, giving them the peace of mind of no strangers in their home.
We will gladly walk you through the rules and regulations and the process. You need to qualify and stay qualified so that you do not lose the coverage.
We have been doing this for over 8 years and have served 100's of people just like you over the years.
This way you or your loved one will know they are getting the best care possible by someone they know and trust.
Think about this. If you are taking care of a loved one with disabilities you might be able to get paid for doing so.
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Wouldn't you rather not be forced to deal with a stranger from some big out of state company or some big impersonal franchise that is only concerned about their bottom line?
We are a proudly locally owned and operated Wisconsin company.
Please call us @ (262) 554-8800 and we will gladly help you.
*Help With Morning And Evening Routines
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*Incontinence And Restroom Help
*Living A Better Life


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Serpentine shape in Maple. Three full extension drawers. Curved tapered legs. Shown with Brass hardware. Also shown with optional painted accents and pinstriping.
Our furniture is sold through retail stores, interior designers and trade showrooms. For referrals, please contact Customer Service at 616-243-3676, ext 0 or email us at email@example.com. Thank you.
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Kindel Grand Rapids 4047 Eastern Ave SE Grand Rapids, MI 49508 616.243.3676
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LA Recording Studio , located near Canoga Park, California, is where gold records are made. We have over 50 years experience and have worked with the top names in the music industry over a wide range of musical genres. Come to LA Recording Studio and record your musical masterpiece with some of the leading sound engineers and music producers in the business. We have a wide variety of equipment to make your music sound incredible and have made certified gold and platinum records. Click on the contact link to book your session at LA Recording Studio near Recording Studio Canoga Park. Call or email now!
Recording Studio Canoga Park – Recording Studio near Canoga Park, California
A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring (listening and mixing) spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties (acoustic isolation or diffusion or absorption of reflected sound echoes that could otherwise interfere with the sound heard by the listener).
Recording studios may be used to record singers, instrumental musicians (e.g., electric guitar, piano, saxophone, or ensembles such as orchestras), voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks. The typical recording studio consists of a room called the "studio" or "live room" (and sometimes additional isolation booths) equipped with microphones and mic stands, where instrumentalists and vocalists perform; and the "control room", where sound engineers, sometimes with record producers, as well, operate professional audio mixing consoles, effects units, or computers (post 1980s and 1990s) with specialized software suites to mix, manipulate (e.g., by adjusting the equalization and adding effects) and route the sound for analogue recording (on tape) or digital recording on hard disc. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.
Often, there will be smaller rooms called "isolation booths" to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as an acoustic guitar a or fiddle. Major recording studios typically have a range of large, heavy, and hard-to-transport instruments and music equipment in the studio, such as a grand piano, Hammond organ, and electric piano.
Design and equipment
Recording studios generally consist of three or more rooms:
The "live room" of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit outputs to the mixing board (or by miking the speaker cabinets for bass and electric guitar);
Isolation booths or vocal booths. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists (or their loud speaker stacks). Vocal booths are similarly designed rooms for singers. In both types of rooms, there are typically windows so the performers can see other band members and the audio engineer/record producer, as singers, bandleaders and musicians often give or receive visual cues;
The control room, where the audio engineers and record producers mix the mic and instrument signals with a mixing console, record the singing and playing onto tape (until the 1980s and early 1990s) or hard disc (1990s and following decades) and listen to the recordings and tracks with monitor speakers or headphones and manipulate the tracks by adjusting the mixing console settings and by using effects units; and
The machine room, where noisier equipment, such as racks of fan-cooled power amplifiers, are kept. This equipment may make noise which could interfere with the recording process.
Recording studios are carefully designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy. This will consist of both room treatment (through the use of absorption and diffusion materials on the surfaces of the room, and also consideration of the physical dimensions of the room itself in order to make the room respond to sound in a desired way) and soundproofing (also to provide sonic isolation between the rooms) to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones.
A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms. Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader. As such, the "live room", isolation booths, vocal booths and control room typically have windows.
Equipment found in a recording studio commonly includes:
• A large professional-grade mixing console (some have as many as 72 channels)
• Additional small mixing consoles with 4, 8 or 16 channels, for adding more channels (e.g., if a drum kit needs to be miked and all of the channels of the large console are in use, an additional 16 channel mixer would enable the engineers to mix the mics for the kit)
• A large number of preamplifiers for microphones, such as the Neve 1272 and Neve 3104
• Multitrack recorder (analog tape until the 1980s and early 1990s, and digital hard disc recorders in the 1990s and following decades)
• Computers (e.g., Macs, Digidesign, etc.)
• A wide selection of microphones (cardioid microphones, condensor microphones, omnidirectional microphones, etc.). Studios often have Neuman Tube mics, AKG tube mics, RCA ribbon mics, and a number of Shure SM 57 and SM 58 mics.
• A large number of DI unit boxes
• Two or more record players (e.g., Technics 1200)
• Syncs (e.g., Digidesign Big Sync)
• A wide variety of microphone stands (boom stands, straight stands, tabletop stands) to enable engineers to place microphones at the desired locations in front of singers, instrumentalists or ensembles.
• Reference monitors, which are loudspeakers with a flat frequency response designed for listening to recorded mixes or tracks
• Power amplifiers for monitor speakers (e.g., Bryston)
• Studio monitoring headphones (typicallly closed-shell, to prevent sound from "leaking" out into the microphones)
• Consumer grade speakers, including car audio speakers, boom boxes and shelf stereo speakers. Engineers use these to hear how the finished mix will sound in regular listeners' speakers. If the engineers only listen to the mix on high-quality reference monitors, this is an excellent way to check the mix and sound, but it does not enable the engineer to hear how a consumer at home will hear the mix.
• Digital audio workstation
• Music workstation
• "On Air" or "Recording" lighted signs to remind other studio users to be quiet
• Outboard effect units, such as compressors, reverbs, or equalizers. Compressors by Neve, Urei, Empirical Labs, DBX are widely used. De-essers include DBX 902. Noise gates include Drawmer DS 201. Equalizers include models by Neve and Urei. Effects include plate reverbs, spring reverbs, Roland Space Echo. Some studios stock a selection of major guitar pedals.
• Music stands
Call or email to book your Canoga Park recording studio now.
A selection of instruments at a music studio, including a grand piano.
Not all music studios are equipped with musical instruments. Some smaller studios do not have instruments, and bands and artists are expected to bring their own instruments, amplifiers and speakers. However, major recording studios often have a selection of instruments in the "live room", typically instruments, amplifiers and speaker cabinets that are large, heavy, and difficult to bring (e.g., a Hammond organ) or infeasible (as in the case of a grand piano) to bring in for a single recording session. Having musical instruments and equipment in the studio creates additional costs for a studio, as pianos have to be tuned and instruments, tube amplifiers, and speakers need to be maintained.
However, it makes it more convenient for recording artists, as they do not have to bring in large, heavy gear, or for guitar amps, they do not have to bring in a number of amps and cabinets. As well, less costly studio time is spent moving in gear and setting it up. Another benefit is that microphones can be set up in appropriate locations near all of the studio-owned instruments, and bass amps can have their DI units plugged into the mixing board, which speeds up set-up time.
Instruments which may be present in a studio include:
• Keyboard instruments and related keyboard gear
• Grand piano (e.g., Steinway)
• Hammond organ and rotating Leslie speaker
• Fender Rhodes electric piano
• Wurlitzer electric piano
• MIDI keyboard or MIDI-equipped stage piano
• Vintage synthesizers (e.g., Moog synthesizers)
• Keyboard amplifier
• Acoustic drum kit: this may only include the wood-shelled drums and the stands. Studios typically own major brands such as Premier, Ludwig and Gretsch. Some studios have a selection of classic snares. Drummers typically prefer to use their own snare drum and cymbals
• Bass amplifier and bass speaker cabinet (e.g., a tube Ampeg SVT amp and an 8×10″ cabinet)
• Guitar amplifier and guitar speaker cabinets (e.g., a Fender Twin and a Marshall tube amp and speaker stack. Tube amps made by Vox, Ampeg, and Gibson may also be available.
• Vintage guitars and basses made by Fender, Gibson, and Rickenbacker
• In rare cases, studios may have a mellotron ethnic drums, sitars, a double bass, or unusual instruments that bands might wish to try for a particular sound.
Guitarists and bassists are often expected to bring their own guitars, basses and effects pedals. Drummers often bring their own snare drum, cymbals and sticks/brushes.
The types and brands of music equipment owned by a studio depends on the styles of music for the bands and artists that typically record there. A studio that mainly records heavy metal music will be likely to have large, powerful guitar amp heads and speaker stacks (e.g., Marshall Amplification amps for guitar). In contrast, a studio which mainly records country bands will likely have a selection of smaller, vintage combo amps (e.g., 1950s Fender "tweed" combos). A studio that records a lot of 1970s-style funk may have a vintage electric piano or Clavinet.
Digital audio workstations
Music production using a digital audio workstation (DAW) with multi-monitor set-up
In the 2000s and 2010s, general purpose computers have rapidly assumed a large role in the recording process. With software such as Protools, a powerful, good quality computer with a fast processor can replace the mixing consoles, multitrack recording equipment, synthesizers, samplers and effects unit (reverb, echo, compression, etc.) that a recording studio required in the 1980s and 1990s. A computer thus outfitted is called a Digital Audio Workstation, or DAW. Popular audio-recording software includes Apple Logic Pro, Digidesign's Pro Tools—near standard for most professional studios—Cubase and Nuendo both by Steinberg, MOTU Digital Performer—popular for MIDI and film scoring. Other software applications include Ableton Live, Mixcraft, Cakewalk Sonar, ACID Pro, FL Studio, Adobe Audition, Auto-Tune, Audacity, and Ardour.
In the 2010s, software applications are more reliant on the quality of the audio recording hardware than the computer they are running on, therefore typical high-end computer hardware is less of a priority unless MIDI is involved. While Apple Macintosh is used for most studio work, there is a breadth of software available for Microsoft Windows and Linux. If no mixing console is used and all mixing is done using only a keyboard and mouse, this is referred to as mixing in the box ("ITB"). The "OTB" is used when mixing with other hardware and not just the PC software.
Project studios
A small, personal recording studio is sometimes called a project studio or home studio. Such studios often cater to specific needs of an individual artist, or are used as a non-commercial hobby. The first modern project studios came into being during the mid-1980s, with the advent of affordable multitrack recording devices, synthesizers and microphones. The phenomenon has flourished with falling prices of MIDI equipment and accessories, as well as inexpensive direct to disk recording products.
Recording drums and amplified electric guitar in a home studio is challenging, because they are usually the loudest instruments. Conventional drums require sound isolation in this scenario, unlike electronic or sampled drums. Getting an authentic electric guitar amp sound including power-tube distortion requires a power attenuator (either power-soak or power-supply based) or an isolation box, or booth. A convenient compromise is amp simulation, whether a modelling amp, preamp/processor, or software-based guitar amp simulator. Sometimes, musicians replace loud, inconvenient instruments such as drums, with keyboards, which today often provide somewhat realistic sampling. The capability of digital recording introduced by the Alesis ADAT and its comparatively low cost, originally introduced at $3995, were largely responsible for the rise of project studios in the 1990s.
Call or email to book your recording studio near Canoga Park, California now.
Isolation booth
An isolation booth is a standard small room in a recording studio, which is both soundproofed to keep out external sounds and keep in the internal sounds, and like all the other recording rooms in sound industry, it is designed for having a lesser amount of diffused reflections from walls to make a good sounding room. A drummer, vocalist, or guitar speaker cabinet, along with microphones, is acoustically isolated in the room. A professional recording studio has a control room, a large live room, and one or more small isolation booths. All rooms are soundproofed by varying methods, including but not limited to, double-layer 5/8" sheetrock with the seams offset from layer to layer on both sides of the wall that is filled with foam, batten insulation, or cardboard egg crates, a double wall, which is an insulated wall built next to another insulated wall with an air gap in-between, by adding foam to the interior walls and corners, also known as ''bass traps'', and by using two panes of 1/2" or thicker glass on 5-15 degree angles reflecting the sound downward towards a carpet or other sound catching medium along with a air gap of 1" minimum on the smaller side of the V shape created by the two panes. This is just a basic starting point for a home studio and a studio designer would be a wise choice to hire. Using Table 3.1 Surface densities of common building materials and using the formula TL = 14.5logMf-16 can be used to calculate the transmission loss of various frequencies through materials .
Thomas A. Watson invented, but did not patent, the soundproof booth for use in demonstrating the telephone with Alexander Graham Bell in 1877. There are variations of the same concept, including a portable standalone isolation booth, a compact guitar speaker isolation cabinet, or a larger guitar speaker cabinet isolation box. A gobo panel achieves the same idea to a much more moderate extent; for example, a drum kit that is too loud in the live room or on stage can have acrylic glass see-through gobo panels placed around it to deflect the sound and keep it from bleeding into the other microphones, allowing more independent control of each instrument channel at the mixing board.
All rooms in a recording studio may have a reconfigurable combination of reflective and non-reflective surfaces, to control the amount of reverberation. In animation, vocal performances are normally recorded in individual sessions, and the actors have to imagine (with the help of the director or a reader) they are involved in dialogue (as opposed to a monologue). Animated films often evolve rapidly during both development and production, so keeping vocal tracks from bleeding into each other is essential to preserving the ability to fine-tune lines up to the last minute. Sometimes, if the rapport between the lead actors is strong enough and the animation studio can afford it, the producers may use a recording studio configured with multiple isolation booths in which the actors can see each another and the director. This enables the actors to react to one another in real time as if they were on a regular stage or film set.
1890s to 1930s
In the era of acoustical recordings (prior to the introduction of microphones, electrical recording and amplification), the earliest recording studios were very basic facilities, being essentially soundproof rooms that isolated the performers from outside noise. During this era it was not uncommon for recordings to be made in any available location, such as a local ballroom, using portable acoustic recording equipment. In this period, master recordings were made using a direct-to-disc cutting process. Performers were typically grouped around a large acoustic horn (an enlarged version of the familiar phonograph horn). The acoustic energy from the voices or instruments was channeled through the horn's diaphragm to a mechanical cutting lathe located in the next room, which inscribed the signal as a modulated groove directly onto the surface of the master cylinder or disc. Following the invention and commercial introduction of the microphone, the electronic amplifier, the mixing desk and the loudspeaker, the recording industry gradually converted to electric recording, and by 1925 this technology had replaced mechanical acoustic recording methods for such major labels as RCA Victor and Columbia, and by 1933 acoustic recording was completely disused.
1940s to 1970s
Electrical recording was common by the early 1930s, and mastering lathes were electrically powered, but master recordings still had to be cut direct-to-disc. In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature as the natural reverb enhanced the sound of the recording. In this period large, acoustically "live" halls were favored, rather than the acoustically "dead" booths and studio rooms that became common after the 1960s. Because of the limits of the recording technology, which did not allow for multitrack recording techniques, studios of the mid-20th century were designed around the concept of grouping musicians (e.g., the rhythm section or a horn section) and singers (e.g., a group of backup singers), rather than separating them, and placing the performers and the microphones strategically to capture the complex acoustic and harmonic interplay that emerged during the performance. In the 2000s, modern sound stages still sometimes use this approach for large film scoring projects that use large orchestras.
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Halls and churches
Because of their superb acoustics, many of the larger studios were converted churches. Examples include George Martin's AIR Studios in London, the famed Columbia Records 30th Street Studio in New York City (a converted Armenian church, with a ceiling over 100 feet high), and the equally famous Decca Records Pythian Temple studio in New York (where artists like Louis Jordan, Bill Haley and Buddy Holly were recorded) which was also a large converted church that featured a high, domed ceiling in the center of the hall.
Facilities like the Columbia Records 30th Street Studio in New York and EMI's Abbey Road Studio in London were renowned for their 'trademark' sound—which was (and still is) easily identifiable by audio professionals—and for the skill of their staff engineers. As the need to transfer audio material between different studios grew, there was an increasing demand for standardization in studio design across the recording industry, and Westlake Recording Studios in West Hollywood was highly influential in the 1970s in the development of standardized acoustic design.
In New York City, Columbia Records had some of the most highly respected sound recording studios, including the Columbia 30th Street Studio at 207 East 30th Street, the CBS Studio Building at 49 East 52nd Street, Liederkranz Hall at 111 East 58th Street between Park and Lexington Avenues (a building built by and formerly belonging to a German cultural and musical society, The Liederkranz Club and Society), and one of their earliest recording studios, "Studio A" at 799 Seventh Avenue.
Technologies and techniques
Electric recording studios in the mid-20th century often lacked isolation booths, baffles, and sometimes even speakers, and it was not until the 1960s, with the introduction of the high-fidelity headphones that it became common practice for performers to use headsets to monitor their performance during recording and listen to playbacks. It was difficult to isolate all the performers—a major reason that this practice was not used simply because recordings were usually made as live ensemble 'takes' and all the performers needed to be able to see each other and the ensemble leader while playing. The recording engineers who trained in this period learned to take advantage of the complex acoustic effects that could be created through "leakage" between different microphones and groups of instruments, and these technicians became extremely skilled at capturing the unique acoustic properties of their studios and the musicians in performance.
The use of different kinds of microphones and their placement around the studio was a crucial part of the recording process, and particular brands of microphone were used by engineers for their specific audio characteristics. The smooth-toned ribbon microphones developed by the RCA company in the 1930s were crucial to the "crooning" style perfected by Bing Crosby, and the famous Neumann U47 condenser microphone was one of the most widely used from the 1950s. This model is still widely regarded by audio professionals as one of the best microphones of its type ever made. Learning the correct placement of microphones was a major part of the training of young engineers, and many became extremely skilled in this craft. Well into the 1960s, in the classical field it was not uncommon for engineers to make high-quality orchestral recordings using only one or two microphones suspended above the orchestra. In the 1960s, engineers began experimenting with placing microphones much closer to instruments than had previously been the norm. The distinctive rasping tone of the horn sections on the Beatles recordings "Good Morning Good Morning" and "Lady Madonna" were achieved by having the saxophone players position their instruments so that microphones were virtually inside the mouth of the horn.
The unique sonic characteristics of the major studios imparted a special character to many of the most famous popular recordings of the 1950s and 1960s, and the recording companies jealously guarded these facilities. According to sound historian David Simons, after Columbia took over the 30th Street Studios in the late 1940s and A&R manager Mitch Miller had tweaked it to perfection, Miller issued a standing order that the drapes and other fittings were not to be touched, and the cleaners had specific orders never to mop the bare wooden floor for fear it might alter the acoustic properties of the hall. There were several other features of studios in this period that contributed to their unique "sonic signatures". As well as the inherent sound of the large recording rooms, many of the best studios incorporated specially-designed echo chambers, purpose-built rooms which were often built beneath the main studio.
These were typically long, low rectangular spaces constructed from hard, sound-reflective materials like concrete, fitted with a loudspeaker at one end and one or more microphones at the other. During a recording session, a signal from one or more of the microphones in the studio could be routed to the loudspeaker in the echo chamber; the sound from the speaker reverberated through the chamber and the enhanced signal was picked up by the microphone at the other end. This echo-enhanced signal—which was often used to 'sweeten' the sound of vocals—could then be blended in with the primary signal from the microphone in the studio and mixed into the track as the master recording was being made. Special equipment was another notable feature of the "classic" recording studio. The biggest studios were owned and operated by large media companies like RCA, Columbia and EMI, who typically had their own electronics research and development divisions that designed and built custom-made recording equipment and mixing consoles for their studios. Likewise, the smaller independent studios were often owned by skilled electronics engineers who designed and built their own desks and other equipment. A good example of this is the famous Gold Star Studios in Los Angeles, the site of many famous American pop recordings of the 1960s. Co-owner David S. Gold built the studio's main mixing desk and many additional pieces of equipment and he also designed the studio's unique trapezoidal echo chambers.
During the 1950s and 1960s, the sound of pop recordings was further defined by the introduction of proprietary sound processing devices such as equalizers and compressors, which were manufactured by specialist electronics companies. One of the best known of these was the famous Pultec equalizer, which was used by almost all the major commercial studios of the time.
Call or email to book your recording studio near Canoga Park, California now.
Multi-track recording
With the introduction of multi-track recording, it became possible to record instruments and singers separately and at different times on different tracks on tape, although it was not until the 1970s that the large recording companies began to adopt this practice widely, and throughout the 1960s many "pop" classics were still recorded live in a single take. After the 1960s, the emphasis shifted to isolation and sound-proofing, with treatments like echo and reverberation added separately during the mixing process, rather than being blended in during the recording. One regrettable outcome of this trend, which coincided with rising inner-city property values, was that many of the largest studios were either demolished or redeveloped for other uses. In the mid 20th century, recordings were analog, made on ¼-inch or ½-inch magnetic tape, or, more rarely, on 35mm magnetic film, with multitrack recording reaching 8 tracks in the 1950s, 16 in 1968, and 32 in the 1970s. The commonest such tape is the 2-inch analog, capable of containing up to 24 individual tracks. Generally, after an audio mix is set up on a 24-track tape machine, the signal is played back and sent to a different machine, which records the combined signals (called printing) to a ½-inch 2-track stereo tape, called a master.
Before digital recording, the total number of available tracks onto which one could record was measured in multiples of 24, based on the number of 24-track tape machines being used. In the 2010s, most recording studios now use digital recording equipment, which limits the number of available tracks only on the basis of the mixing console's or computer hardware interface's capacity and the ability of the hardware to cope with processing demands. Analog tape machines are still used by some audiophiles and sound engineers, who believe that digitally recorded audio as sounding too harsh and who believe that tape has a "warmer" sound. The scarcity and age of analog tape machines has increased their value, as does the fact that some audio engineers still believe in recording to analog tape.
Radio studios
Radio studios are very similar to recording studios, particularly in the case of production studios which are not normally used on-air, such as studios where interviews are taped for later broadcast. This type of studio would normally have all of the same equipment that any other audio recording studio would have, particularly if it is at a large station, or at a combined facility that houses a station group, but is also designed for groups of people to work collaboratively in a live-to-air situation (see Ahern, S, Making Radio).
Broadcast studios also use many of the same principles such as sound isolation, with adaptations suited to the live on-air nature of their use. Such equipment would commonly include a telephone hybrid for putting telephone calls on the air, a POTS codec for receiving remote broadcasts, a dead air alarm for detecting unexpected silence, and a broadcast delay for dropping anything from coughs to profanity. In the U.S., stations licensed by the Federal Communications Commission (FCC) also must have an Emergency Alert System decoder (typically in the studio), and in the case of full-power stations, an encoder that can interrupt programming on all channels which a station transmits in order to broadcast urgent warnings.
Computers are also used for playing ads, jingles, bumpers, soundbites, phone calls, sound effects, traffic and weather reports, and now full broadcast automation when no staff are present. For talk shows, a producer or assistant in a control room runs the show, including screening calls and entering the callers' names and subject into a queue, which the show's host can see and make a proper introduction with. Radio contest winner interviews can also be edited "on the fly" and put on the air within a minute or two after they have been recorded accepting their prize.
Additionally, digital mixing consoles can be interconnected via audio over Ethernet, or split into two parts, with inputs and outputs wired to a rackmount audio engine, and one or more control surfaces (mixing boards) or computers connected via serial port, allowing the producer or the talent to control the show from either point. With Ethernet and audio over IP (live) or FTP (recorded), this also allows remote access, so that DJs can do shows from a home studio via ISDN or the Internet. Additional outside audio connections are required for the studio/transmitter link for over-the-air stations, satellite dishes for sending and receiving shows, and for webcasting or podcasting.
Note: Actual recording studio equipment and recording studio availability in Recording Studio Canoga Park varies. Be sure to email to verify equipment list and availability before booking.


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Tazo Chai Tea Concentrate
Black tea takes a Saturday drive in a milk-and-honey mobile through an exotic marketplace. The essences of sweet cinnamon, spicy ginger and fragrant cardamom float in through the open windows while black pepper flirtatiously grabs the steering wheel - just to heat things up a bit.
- Serving Size: 4.000
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- Total Volume: 32.000
- Form: liquid
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other Info.
- Online Item #: 12954617
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