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We offer FREE quotes on UK Billboards, get in touch today.
We can offer a number of Clear Channel billboards at the best rates across the United Kingdom to ensure you get maximum exposure.
There are many factors which can alter the Clear Channel advert prices, the main being size and location.
We offer large billboard advertisements in order to ensure you that you can create a marketing strategy that can suit your requirements.
Clear Channel are one of the biggest, most well-known and well-loved billboard suppliers in the UK.
Their sites are in brilliant locations in Ansford and well maintained all over the country; they are true market leaders. You will notice their sites all over the country (their name and logo at the bottom of the billboards, on the frames). They have various outdoor advertising options for customers to choose from, including back-illuminated (back-lit), digital billboards as well as more standard poster sizes.
Most typically you will see their 48 sheet large posters - https://www.billboardadvertising.org.uk/size/48-sheet/somerset/ansford/ in key locations such as at roadsides, round-abouts and areas of high footfall, however, they have a variety of sizes and locations for you to consider for your Out of Home campaign.
We work with approved media planners who are able to book these brilliant Clear Channel billboard sites, so if this is something you are interested in please contact us today.
If you are interested in out of home advertising then Clear Channel UK is one of the top billboard marketing companies in the world and in opting for these particular sites you can be certain of high-quality and success. Even though their sites are so iconic and recognisable they still offer excellent value for money, so don't let potential cost deter you from opting for these sites.
There are a number of different factors which can affect the costs Clear Channel billboards, including the size and location, but this is the same of any supplier and advertising with them offers great value for money.
Factors which typically affect billboard costs are the size (bigger sites generally cost more to produce, set up and run), the location of the billboard (as some locations will cost more to advertise on than others if they are in high-footfall areas) and length of campaign (how many weeks they are up). For more information on billboard costs factors visit - https://www.billboardadvertising.org.uk/costs/somerset/ansford/
For those who are undecided about the best ways to promote their products, goods or services, our media planners are able to help you select the right ads to do so in order to be successful. Clear Channel billboards offer a number of different outdoor options for you to consider and if easier we can suggest a plan and what would work for your budget and target market. Their options typically include the following, in a variety of locations including rail station, shopping centres, busy roads and town/city centres:
Clear Channel is one of the greatest companies for OOH marketing which is why we recommend their products at Billboard Advertising. As a skilled outdoor media firm, we will guide you through the whole process when you book outdoor ads to bring you the most successful campaign possible and if Clear Channel are your preferred supplier will strive to secure these sites for you.
Our professionals know how to locate the best sites and negotiate great rates; which means you get the best value for money with your marketing campaign. Before starting a campaign we believe it is essential to know who your target market is. With that knowledge, it's then our responsibility to inform you of the correct sites for promoting your business, product or service.
By simply studying audience conduct and with a clear understanding of who you are targeting, will get a better concept of how they think and what would appeal to them. Planning your advertising in advance is also key, as most of the prime and well-desired sites, get booked early and well in advance by companies.
If you need help with the design we also have designers who can producer innovative and eye-catching ads.
As leaders in the billboard marketing field and with teams who have years of experience, we pride ourselves as being one of the top independent agencies in the United Kingdom and work with businesses of all sizes – from small starts ups to large national chains. At Billboard Advertising we are leading offline marketing provider which allows you to receive the greatest value for money, no matter how big or small you are. As well as providing outdoor sites we have suppliers who can help with other forms of marketing including TV, radio and press ads (should you wish to compliment your campaign).
If you would like to find out any more information about our other services - such as street talk, look here - https://www.billboardadvertising.org.uk/brand/street-talk/somerset/ansford/ or speak to our specialists today who can offer more guidance.
We consider ourselves a top billboard company and pride ourselves on helping our clients to produce a high-standard of billboard and outdoor commercials all over the UK, whilst providing great customer care and value for money. Our team at Billboard Advertising will make sure your ads meet the standards authority advertising association code of conduct. Ofcom broadcasting codes plus the British code of advertising make sure all advertisements are clear and true.
Being a specialist company, Billboard Advertising will generate a campaign strategy that is distinctive to target your audience effectively.
If you are interested in having an OOH campaign created for your business, we can provide you with Clear Channel billboards in Ansford BA7 7 at great prices in iconic locations. Get in touch with our team today via the enquiry form on this page and take that next step in seeing your business or product on these industry-leading billboards.

subset: commoncrawl


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Pantry pests
Find the solution for Pantry pests crossword clue. This crossword clue belongs to Eugene Sheffer Crossword July 16 2018 Answers. We share the answers and solutions for every crossword daily. Our staff has just finished solving today's Eugene Sheffer Crossword puzzle and has just posted the crossword clues below. While some of them were simple and quick to solve, there were some other crossword clues that were very difficult that is why we decided to share all the Eugene Sheffer Crossword Solutions with you below. In case something is wrong or missing do not hesitate to contact us by simply leaving a comment below.
Last Seen: July 16 2018
Did you solved Pantry pests? Check the main post of Eugene Sheffer Crossword July 16 2018 Answers.


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« Back to people
Koichi NishiAlumni, Class of 2005
Koichi is a designer, artist and educator who has been working in digital media for a number of years. He has received a number of awards including Siggraph and Ars Electronica. He has lectured on the university level and exhibited his work.


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The contact person we have for Independent Retailer is Customer Service and the location is Online, Michigan. Please contact this company
for more information regarding the geographical areas of Michigan that they offer their products and services.
This information was last updated on 11/19/2011 . Independent Retailer is categorized in Retail Trade Pubs, Magazines, Webinars. Login HERE to update the details if you are the responsible party for this company. Opportunites to enhance your listing are also available.
Submit a well-written interesting press release and syndicate it throughout the Internet. Build Traffic, Rankings, and Business with Online Press Release Distribution! e-Release is a Google News approved press release syndication service.
We accept interesting articles for our network of blogs. If you have an interesting article related to Michigan and would like it featured on the Michigan Blog - Contact us for details.
Visit our new Michigan Travel section to learn more about the beauty of Michigan's Great Outdoors.
Learn how you can link directly to the
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Kitchen islands & carts are fabulous kitchen organization tools. They range in size from small kitchen island carts to large kitchen islands, and the additional features vary from model to model. One theme that runs throughout all kitchen islands, though, is the innovative way they bring convenience and order into your home.
From preparing meals, to assisting with homework and organizing groceries, there never seems to be enough counter space to work with. A kitchen island table provides you with an extra work area, something that will never go to waste in a busy kitchen. Smaller apartments in particular will make great use of a handy kitchen island table. This convenient work surface can also double as an eating area for one or two, making a quick breakfast that much more pleasant.
Kitchen island carts are movable kitchen islands that combine additional work and storage space with the utmost convenience; mobility. A moveable kitchen island can be placed wherever you want it at the time. Keep the kitchen island table into your kitchen for help in meal preparation and bring it into the dining room to serve as a handy resting place for serving dishes that needn't clutter up your eating space. Moveable kitchen islands can even be placed wherever you need an extra seat or two when you've got more company than your regular table can handle.
Stationary kitchen islands are usually the butcher block kitchen island type. These are substantial pieces of furniture that will assist you in both cooking and serving meals. A drop leaf kitchen island certainly offers the maximum in space-efficient seating and surface area. A drop leaf kitchen island has one or two panels that can be opened to extend the table area and dropped closed when not in use. Some kitchen islands come with wire baskets, drawers, and shelves, all perfect for kitchen organization. Kitchen islands & carts often have cabinets with doors, so you can have additional storage area below.
From minimal space-conscious to deluxe versions, there is a kitchen island table waiting for you. So start your journey into home and kitchen organization today with beautiful kitchen islands & carts.


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Daphne The Boxer Dog Cashmere Charm
All orders will be fulfilled by Burberry Limited and shipped from the UK. When you place your order, you accept Burberry's Terms and Conditions and confirm that you have read our Privacy Policy.
Size Guide
Use the Size Guide to choose the best fit for your measurements.
In this window, you can find out the shipping and returns options for the selected item.
In this window, you can contact customer service for further assistance.
- A charm in studded Scottish-woven cashmere and leather. The Burberry Clan is a group of charming creatures lost and found in our design studio. Playful mismatches of fabrics and fastenings are stitched together to create the whimsical new characters. Attach to a day bag for an animated accent.
- This is not a toy and it is intended for collectors of 14 years of age and above.
- 100% cashmere
- Trims: 100% leather and 100% brass
- Filling: 100% polyester fibres
- Polished metal hardware
- Imported
Item 80004391


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- Home
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- Solutions for You
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The dedicated professionals at Wintrust Wealth Services® have the experience
and resources to help clients amass, manage, preserve and transfer their wealth to make their financial goals a reality. Wintrust Wealth Services provides traditional and innovative solutions for even the most complicated issues concerning significant wealth. Clients receive the highest degree of personalized attention to ensure that each decision will be the right one.
Private Bankers at Wintrust Wealth Services understand the importance of robust and coordinated solutions to maximize growth, protect assets, and manage cash flow. Wintrust's Wealth Services division has the strength of all that the Wintrust Company has to offer. With the tools and services that Wintrust provides as a foundation, Wintrust Wealth Services is able to meet each client's needs on a personalized basis with the utmost privacy.
We believe that in today's ever more complex financial world, it takes a team of professionals with wide-ranging experience, working together, to achieve your goals. The Wealth Services team has priority access to the multi-faceted professionals throughout the Wintrust organization, including The Chicago Trust Company®, Great Lakes Advisors®, Wintrust Investments®, Wintrust Commercial Banking®, Wintrust Commercial Realty Advisors and Wintrust Business Credit. Our services include, but are not limited to:
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Banking products provided by Wintrust Financial Corp.® banks (Member FDIC and Equal Housing Lender). Mortgage products provided by Wintrust Mortgage®, a division of Barrington Bank and Trust Company N.A.® and affiliate of all Wintrust banks. NMLS # 449042.
|Securities and insurance offered through Wintrust Investments (Member FINRA/SIPC), founded in 1931. Trust and Asset Management services offered by The Chicago Trust Company, N.A. and Great Lakes Advisors, LLC, respectively. Investment products such as stocks, bonds, and mutual funds are not insured by the FDIC or any federal government agency, not bank guaranteed or a bank deposit, and may lose value.


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Directory of Online Games
There are lots of free online games that you can play when you are bored. Braingle helps you find the best ones by categorizing and ranking them by popularity and difficulty.
If you have found a fun online game, please share it with the rest of the Braingle community.< Return to Categories
Word Games


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BLACKBURN Rovers say there is no need to offer Gary Bowyer a new contract after the manager reiterated his commitment to the club.
Bowyer was linked with the vacancy at Leeds United at the weekend after guiding Rovers to eighth place in the Championship during the 2013/14 campaign.
But Rovers insist they have had no approach from Leeds and their new Italian owner Massimo Cellino, and are not worried about losing their manager.
Bowyer yesterday issued a statement confirming he was 'fully committed to building on the foundations put in place over the past 12 months'.
Bowyer signed a 12-month rolling contract when he was appointed as permanent boss last summer and, unmoved by the Leeds links, managing director Derek Shaw says there is no need for talk about a new deal.
"That would be more with discussions with the owners, that type of decision isn't mine, but I don't think we've ever really looked into that whatsoever," he said.
"Gary is happy and we're happy.
"Even when you have a three-year deal or a six-year deal there is normally a period of settlement, which is usually 12 months or 18 months.
"It doesn't make a massive difference, 12 months' compensation would have to be paid of settlement, which is usually 12 months or 18 months.
"It doesn't make a massive difference, 12 months' compensation would have to be paid by any club who wanted to take him and I don't really know whether the likes of Leeds United are in that position.
"But we don't really want to go there, we're quite happy with our manager. We've had no contact at Blackburn Rovers over Gary and I very much doubt that we will do.
"I'd be amazed if the next manager of Leeds United isn't an Italian coach. I'm sure that's the way they will go."
Bowyer said: "I recently met with the owners in India and those discussions were both positive and constructive.
"I am fully committed to building on the foundations we have put in place over the past 12 months.
"There is a strong sense of unity with all concerned at Blackburn Rovers and I look forward to that continuing as we plan for next season."
Bowyer is currently working on assembling his squad for next season and yesterday allowed Alan Judge (below) to join Brentford for an undisclosed fee, with the midfielder signing a three-year deal at Griffin Park after a successful loan spell in the capital.
Judge told the Lancashire Telegraph last week that he wanted to play regular football next season.
"I have no doubts that he will make a significant impact in the Championship," said Brentford boss Mark Warburton.
"There is no doubt that many clubs were seeking his services."
Rovers recently transfer listed six players as they attempt to fall into line with the Football League's financial fair player regulations, but Shaw says those regulations could make it difficult to find buyers.
He expects that Rovers will be unable to reduce their wage bill sufficiently to avoid a transfer embargo when the new rules kick in on January 1.
"I would be surprised if we can do that in time for January," Shaw said.
"It's a difficult market at the moment because even if they have the money, owners are being forced into much tighter budgets because of the fair play rules, so we'll just have to wait and see.
"We had and we still have players who are on big money who are not in the team so we've had to make settlements and bring new players in.
"We've gone a long way down that road, but there's still a long way to go."


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Motorcycling for daily mobility can be difficult, but as the weeks and miles add up it gets a lot easier. And safer. You get smarter, stronger, sharper, and smoother.
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Appreciation for going on the record
Getting local business owners to open up about lottery dollars proved to be a daunting task.
(Nathalie Hardy/N-R reporter) The truth is, I like most of the people I get to interview. But every now and again I meet someone whose story stays with me long after I close my notebook.
Wes Ferguson, Jr., owner of McMinnville's Stampede Barbecue Company, happens to be one of those people. Not only did his personal story resonate with me, although most of it was to share another time, it was his willingness to go on the record with the truth about the two-faced elephant in the room: video lottery dollars.
Most of the other local restaurant and tavern owners I talked to agreed the state gaming terminals were a "necessary evil."
While I respect the preference of those who didn't want to talk with me about the lottery's impact on business, I appreciate that Ferguson did because it helped me write a more honest account of the lottery's lure.
Ferguson was the only one willing to open his books and show me the receipts to illustrate the dilemma faced by himself, and many others like him: restaurant owners trying to make a living during a recession.
Part of the story Ferguson shared with me was that he knows all too well what hungry feels like. Even though it was more than three decades ago that he collected bottles along Route 66 to help feed his siblings, the memory is as clear as the glass he recycled for food.
But, he said after resisting the advice from industry colleagues to have the machines, he gave in and installed them to help make ends meet. He said he figured that people who wanted to play were going to go somewhere, so why not where he might be able to serve them some good food and engage those who want to talk in a good conversation about getting through hard times, it happens to be something he knows a thing or two about.
See Friday's issue of the News-Register for more about the economics of state gambling and how it worked out for Ferguson.


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The Raid 2: Berandal
There was a bare and efficient kind of storytelling in 2011's The Raid: Redemption. The film told a simple story of man vs. building, as series hero Rama (Iko Uwais) steadily progressed through a tower of terror, floor by floor and fight by fight, with just the flimsiest thread of a plot stitching all of the action together. It wasn't an intricate weave of a story, but one sewn for efficiency - and it was damn effective, even if it could all unravel with the slightest bit of mental tugging. The Raid was a lean and mean action thriller that got right to the brutal business of fighting, and that's part of the reason why it's sequel, The Raid 2: Berandal doesn't thrill quite as consistently as its predecessor. This one actually has a story it has to tell beyond "Hey Rama, go into this tower and don't die," and it doesn't measure up to the graceful carnage of the fight scenes.
This time around, Rama gets caught in the middle of two rival crime bosses who have carved up Jakarta with a meat cleaver; sneering Bangun controls one part of the city, while a set of Japanese gangsters controls another. It's an over stuffed powder keg full of posturing gangsters and assassins, and all it takes are a couple of sparks from both sides set things ablaze. The Raid 2 is markedly more ambitious film than the first, and that's both a gift and a curse. The film postures itself as a sprawling crime epic, liberally plucking from some of the most celebrated crime films of all time, and at times, the story works well enough. This one does feel decidedly bigger in scope, and towards the end of the film it seems like Rama won't get a rest until he's managed to roundhouse kick the entire country of Indonesia.
But because of this ambition, the film starts to sag under all the extra weight. The mobster story has a fresh sheen of Indonesian style, but it's still a generic pastiche of tired mob tropes - you've seen it all before, and you'll see it all again. While the story of the first Raid was more of an afterthought, here it's treated as almost the main attraction. Whole minutes pass by without Rama pulping someone's innards into mashed potatoes, as the story spends precious time constructing a tapestry of mob alliances and betrayal, and at 148 minutes, the film slightly overstays its welcome (especially compared to the first film's snappy 101 minutes).
Truly, the film is at its best when it's moving, and when it's introducing gleefully absurd killers like Hammer Girl (Julie Estelle) and Baseball Bat Man (Very Tri Yulisman). There's a deep black humor running through Berandal and watching the duo of assassins using everyday household items to dispatch their enemies is a sadistic pleasure. But like its predecessor, the film isn't about soulless bloodletting. The best fight scenes are like a intricate dance of body blows and bone breaking kicks, shot in long cuts that put the shaky cam and hyperactive editing of other movie fight scenes to shame. Also, some of the effects shots are truly horrifying. It's all a marvel to behold and cringe at.
Unfortunately, even extreme violence hits a point of diminishing returns, and Berandal is just too long, which make some of the action scenes jammed into the middle of the film feel like a forgettable wash of violent white noise. But just when I thought I was tired of Bernadal, the last 40 minutes unfold in a marvelous showpiece of action choreography that features a revolving door of opponents for Rama to face, and it's when the film is singularly focused on providing bone crunching carnage at a rapid pace is that the film works best. And it's no small coincidence that the best part of the film is the section that most closely resembles the first Raid: a base under siege sequence, except Rama is the monster. It feels like Evans and Co. saved their best fight choreography for last third of the film, and from then on, it's nothing short of epic.
The Raid 2: Berandal is missing the streamlined charm of the original, but that's a small complaint in a largely fantastic experience. When it works - which is an overwhelming majority of the time - The Raid 2 is marvelous, a celebration of gore and grace that will leave the genre fan dizzy with glee, and everyone else frantically searching for a sick bag. It's an audacious, brassy, and exhilarating sequel to The Raid. It doesn't tell as great as a story as it wants to, but this is a movie that reaches for the stars, and comes up short by just a few precious inches.


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I'm really happy with this facelift and I hope you like it as well. Hannah from Craner Design Studio was my blog plastic surgerion! She was great, she just asked me a few things and I think I told her something in the lines of simple and goofy, because that's who I am, and then she came up with this. She even made a design of me based on a picture. And you know what? That is exactly the happy face I do when I'm baking cookies! Visit Hannah's site or her blog if you would like a blog makeover yourself!
Speaking of cookies....
I've made a Chocolate Chip Cookie Chart with 10 famous recipes! I think it's cool to compare them side by side and makes it easier whenever I want to come up with a new recipe. I've leveled all recipes by the number of eggs and quantity of butter, to end up with similar amounts of dough. I decided to share the chart with you, because I know you all love chocolate chip cookies!
*Creaming Method: Beat butter with sugar(s), add egg(s) and finally mix in the powders and chips. *AHBECCC: Check this post. I left the last one empty so you can add your own favourite! I hope you find it useful. Remember you can click on the images the enlarge them. If you can't see it properly, email me and I'll be happy to send you a Word Document of the chart.


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The Bourne Legacy
Do the Bourne movies make any sense? Enough. The first three films The Bourne Identity, Supremacy, and Ultimatum throw in just enough detail into the covert ops babble and high-speed action that, by the end, Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A ''sidequel'' to the original trilogy, Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs, jumps, and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue, chase scenes, morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover, introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past, erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy, Cross' own training program, Outcome, is terminated. Unlike Bourne, Cross is enhanced by ''chems'' (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended, Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology, Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts, but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz, vibrant in nearly every role she takes on, plays a chemist who is key to Cross' chemical woes. The two are forced into partnership, Weisz limited to screaming, cowering, and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths a darker, more aggressive character than Damon's Bourne, but with one out of every five of the character's lines being ''CHEMS!'' shouted at the top of his lungs, Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton, Duplicity, and the screenwriter of the previous three movies) is a master of dense language, but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase, Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene, when Gilroy finally slows down and unleashes absolute terror on screen, is striking. Unfortunately, the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion, it only feels like the first hour has played out. The movie crawls which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead, Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
Hollywood.com rated this film 2 stars.


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Massage Extender
Massage Extender is specifically formulated to extend glide time up to 10 times. Add one drop to extend any massage creme, butter, or lotion. Can also be used alone for full body, hands and feet massage. 12 month shelf life.
The Occupational Safety and Health Administration requires that MSDS/SDS be available to employees for potentially harmful substances handled in the workplace under the Hazard Communication regulation.


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As was noted far and wide earlier this week, Seattle is looking to buy a loo for Pioneer Square. Specifically, Mayor Mike McGinn announced plans to buy what's known as a "Portland Loo" from our hip, environmentally conscious neighbors to the south in the Rose City, which is selling their patented stainless steel potties for roughly $90,000 apiece. If all goes as planned the Portland Loo will be installed on west end of the Sinking Ship Garage in Pioneer Square sometime late this summer or early this fall.
But this isn't purely a story of the Pacific Northwest's first and second cities coming together for a less shitty tomorrow. To use a phrase, Portland stepped in it with these stainless steel loos. Seattle's helping to pull them out of it. But more on that later.
Seattle, of course, is no stranger to public restroom debacles. In 2004, Seattle installed five self-cleaning cans throughout the city for a cost of $5 million. The expensive toilets became havens for garbage, drug use and prostitution. Eventually Seattle was forced to offload the cans - via eBay - at a substantial financial loss, not to mention plenty of embarrassment.
Designed with slats at the bottom so an occupants feet can be seen – by police or anyone else who cares to gander – the Portland Loo, in many ways, is a reaction Seattle's public bathroom failures. "We really looked at Seattle as what not to do," Anna DiBenedetto, a staff assistant to then Portland city commissioner Randy Leonard – the man behind Portland's patenting of its loo - told The Atlantic Cities in 2012. "We think it was the design that was the fatal flaw. Trying to be comfortable and private makes people feel more empowered to do the illegal activities that people do in public toilets."
It's good to see other cities learning from Seattle's public toilet mistakes. On the other hand, while the Portland Loo gets plenty of props and positive press for its design and functionality – much of it deserved – as Willamette Week's Aaron Mesh details in a lengthy cover story this week, the Portland Loo hasn't come without headaches for PDX.
Most importantly, the city seems to have forgot one very important aspect when planning for the installation of the six Portland Loos that dot the city: budgeting money for their cleaning.
According to Mesh's story, in Portland the cost of cleaning the city's six Loos has "ballooned to nearly $90,000 a year." It's an expense that has been footed by water and sewer city ratepayers, resulting in plenty of fussing, and even a lawsuit, with what Mesh describes as "irate water ratepayers" suing the city for the "$617,588 spent to date on maintaining the loo and marketing it."
This substantial budgeting oversight in Portland is what has led the city to peddle its Loos. In an effort to break even, Portland is marketing the city's patented public toilets and trying to convince cities like Seattle to fork over $90,000 apiece for them. As Mesh points out, "If the city wants to make the loo self-funding, it would have to sell at least four toilets a year." Add in the salary and benefits of the woman whose job it is to sell the toilets and that figure jumps to eight loos a year.
According to Willamette Week, "Since it began marketing in 2010, [Portland] has sold three."
Now Seattle is poised to buy a Portland Loo, which will surely help the Rose City's plight. But much like Portland apparently learned a thing or two from Seattle's expensive mistakes in the public toilet realm, so too has McGinn.
"The west end of the Sinking Ship Garage was identified by neighborhood stakeholders and City staff as the preferred location. Much progress has been made – SDOT traffic has approved the site, Seattle Public Utilities has located water and waste water infrastructure nearby and the Pioneer Square Preservation Board is supportive of the Loo facility and the proposed location," Seattle's mayor notes in a blog post announcing plans to install a Portland Loo in Pioneer Square.
"Most importantly, we have identified non-City sources of funding for both installation and maintenance of the facility."
As Portland's crappy experience has taught us, that's probably a wise move.


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Located at the northern end of Brooklyn's waterfront, Greenpoint's young creatives mingle among the neighborhood's Polish heritage, blending a unique community equally familiar with punk rockers and pierogies. Many families comfortably make their homes in the area, and contribute to a...
Explore Greenpoint
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When I was 6 years old, my parents got divorced.
It was fine; it happens to a lot of kids. For the most part, they kept it civil and everything was totally OK. They are both wonderful parents. I would visit my dad in Seattle on the weekends and spend the rest of the time with my mom back in Maple Valley, which is two towns over from where that guy died from having sex with that horse, just so you know.
One morning when I was 15, I came out of the shower and found my mom and dad in a shouting match at the door. I don't remember why it started, but I remember thinking I'd never seen my parents shout at each other like that. I watched the whole thing unfold with only a towel on from upstairs, just standing there, frozen. I felt betrayed, and naked.
The first thing I did was go in my room, shut the door, and put on Wolf Parade.
"If I could take the fire out from the wire, I'd take you where noooobody knows you, and nobody gives a damn anyway," Spencer Krug warbled in my ears. I played that song on repeat until I felt like I actually went to that place. That place where nobody knows you and nobody gives a damn. Any place but where I was sounded really good.
The title of this piece may sound dramatic, but over the course of this project, I've found that it's not that far from the truth. To help celebrate the 25th anniversary of Seattle's biggest record label, we went out and collected your stories. We asked for your memories of the impact that Sub Pop songs or albums have had on your life. I was surprised by how much common fabric these stories share.
When I interviewed Dick Dawson, he talked about cathartically crushing cans in his parent's garage, listening to "Shadows" by Sunny Day Real Estate. I thought back to that moment with my parents and "I'll Believe in Anything," and instantly understood where he was coming from. When I talked to Natalie Walker about how Sleater-Kinney very directly informed her professional career as director of the Rain City Rock Camp for Girls, I could relate. After seeing Chad VanGaalen's video for "Molten Light," I immediately downloaded the animation program he uses. I use that program at work all the time.
It's funny how a record label can shape someone's entire career. In the case of Brian Albright, who now works for pharmaceutical giant Pfizer, the stakes are even higher. If it weren't for an obscure Sub Pop split single in 1992, he might never have met his wife.
Only a quarter-century later has it become clear what Sub Pop really is. On the surface it's just a record label, but in reality it's the sum of all these stories. From the first Green River EP in 1986 to this month's release of Rose Window's The Sun Dogs, the label's 1,053rd record, Sub Pop has managed to put out landmark rock, folk, hip-hop, and electronica albums while simultaneously defining new genres unto themselves. But among all those records also lies a lot of humanity that isn't listed in Sub Pop's catalogue.
This collection of your stories is our addition to that catalogue.
Learning to Scream
Nicki Michaels is the long-haired 17-year-old lead singer of Scinite, a rock band he formed with his high-school friends in Sammamish. Scinite just released its new EP, West Coast Strut, which the band recorded with the drummer's dad. At the time of our interview, Michaels had recently played Teenfest at Sammamish City Hall. When he picks up the phone, he informs me he's in the middle of drinking vodka to prepare for Scinite practice. Scinite is "more motivated" than Michaels' now-defunct punk band, Hearabout Nancy, which he describes as being "a bitchin' little band for a while." He started the band when he was 15.
My guitar teacher told me about this movie called Hype, about the early-'90s grunge scene and how Sub Pop rose to power and all that. I think the first song we ever played [in Hearabout Nancy] was "Touch Me I'm Sick" by Mudhoney. We played a ton of Mudhoney covers. We would go into our garage and we would plug a microphone into a guitar amp and we would just scream those songs. When we were warming up, we would play the entire Bleach album and [trade] off our instruments and stuff. That was so fun. We used to rock, like, "Floyd the Barber" and "Blew." Uh, "Paper Cuts" and "Big Cheese" and "Swap Meet." We played Mudhoney a lot too. We played shit like "Sweet Young Thing Ain't Sweet No More" and "Hate the Police" and "Flat Out Fucked." Oh damn, it was good stuff. [Nicki goes on to list nearly every song in the Mudhoney catalog.] Oh my God, I can't even remember all of them. All those songs, that was our stuff.
First song I ever learned to play on guitar was "Polly" by Nirvana. I learned all the early Nirvana riffs. I still to this day can play Bleach from the top to bottom, and I can play a highly butchered version of every single solo. I would sit in my room late at night, and me and my friend Mark would listen to Bleach. We'd play it for five seconds, then pause it. Then we'd sit down and play that five seconds on guitar. It was the same thing over and over until we could play the entire album. We'd take Adderall. Like, speed. A couple days of doing that, and then we came out of my room being able to play the entire album.
When we did start writing our own songs it was very Bleach-esque. Raunchy lyrics, tuned-down drop-D guitars. It was more about the aggression of it, not so much the musicality. You could just write about anything and then scream a loud chorus.
The Hell Out of Denver
David Clifford is the founder of Us/Them Group, a Los Angeles-based artist promotion company. He is also the drummer for the band Red Sparowes.
It was June 1989 in Denver, Colo., when I bought Roadmouth by local heroes The Fluid. It was a fateful day in which I bought that album, Steel Pole Bathtub's Butterfly Love (themselves a former Denver band, now making an impact nationwide), and Dinosaur Jr.'s Bug. I'd seen The Fluid live, and their MC5-infused retro-garage punk seemed nothing like what I'd heard in Mudhoney's sludgy "Touch Me I'm Sick" single. But it wasn't until hearing The Fluid's second Sub Pop album paired with the noisier works of STB and Dinosaur Jr. that it all seemed to make sense in a way that things were all headed in a really exciting new direction of beautiful noise. And it meant that if The Fluid could get out of Denver and become pioneers, then I should dare to give it a try as well.
Years later my own band, Pleasure Forever, signed to Sub Pop. I had a very fancy job working for a fancy record label, with expense accounts, living bicoastally between San Francisco and New York City, etc. I gave it all up just to make a record for Sub Pop. And though very little came of it, I don't regret it in the slightest. I made some great lifelong friends at the label, toured like crazy, and had some incredible experiences, all due to that lone, crazy record label that changed my life back in 1989.
Going Grunge
Chris Conkling, now in his 40s, grew up as a misfit in the Bavarian-themed tourist town of Leavenworth in the early '90s. "It was kind of like a theme park," he says. "It was pretty weird." He now lives in Renton and runs his own independent Northwest-music blog, donewithaplomb.wordpress.com.
Leavenworth was an odd town to grow up in. You knew everyone, it was pretty secluded. This was pre-Internet, so I didn't have access to the wider music scene. I used to drive down to Wenatchee and pick up Alternative Press or some other cool magazine like that. And I think I first heard about Mudhoney from a Sub Pop comp, The Grunge Years. There was a Mudhoney track on there, and I went out and bought their most recent record. There was nobody playing stuff like that on the radio out there, and they weren't on the air on MTV or anything yet.
When I liked a band a lot, I would write them a letter or fan mail or something. I wrote Mudhoney a letter. I knew they were a pretty shocking band, so I tried to write them a pretty shocking, out-there letter to grab their attention. They actually wrote me back and thanked me for being a fan. I don't even remember what I wrote the letter about . . . some crazy thing. I was just trying to be cool to the rock stars.
Interacting with a band back then, pre-Internet, was a big deal. It gave me more confidence in who I was and what I wanted to do, and what I do today.
They also sent me a sticker . . . it was an orange sticker that said the band name on it, so I slapped it on the bumper of my car. I was driving a '67 Ford Falcon; it was awesome. I'd be driving around this small town. I'm a pretty quiet kid, everyone knew who I was, and all of a sudden I've got this Mudhoney sticker on my car and I'm blaring Every Good Boy Deserves Fudge. That album meant a lot to me. I got a lot of strange looks, and some ribbing from my family at my attempts to "go grunge." That band was exactly what I needed at that time in my life. They will always be my favorite band of the era.
Journey to the Center of the Universe
Brian Albright has the dubious, self-proclaimed honor of being the first guy to launch Viagra into the Seattle market. Before doing marketing and PR at Pfizer, one of the country's largest pharmaceutical companies, he was the manager of his college radio station at the University of Connecticut from 1987–92.
Signing up for the Sub Pop singles club at the radio station, it was the coolest. They started off sending out singles with their sort of signature Seattle grunge sound, but quickly they started doing all sorts of other stuff. They were highlighting bands they liked that were not on the label. Nobody was doing that at the time. They were pioneers.
What I like in music is really this fuzzy, crunchy, indie-pop sound. They were really good at that, but it was so varied. Reverend Horton Heat, Billy Childish, Thee Headcoats, which has sort of a cult following in London, but I'd never heard of it before that Sub Pop single. The thing that kind of sealed it for me, though, was in 1992. It was one of the last singles they released before I moved to Seattle: Tsunami and Velocity Girl. At the time, Velocity Girl was my all-time favorite band. It was like, "OK. These guys [Sub Pop] are the coolest people on the planet." It, just, I, it was . . . [Brian stammers for a moment in excitement.] It was like Seattle was the center of the universe. It was unbelievable. You know, at the radio station when Nevermind came out, it really was like the perfect record. But these singles, they were the icing. And then Seattle, the cake, was there waiting for me to come and take a bite out of it.
Having been in radio before, I had some contacts here. I landed this gig as music director of this company. Any department store in the country, whether it was Macy's, Nordstrom, JCPenney, Sears, all the way to Toys "R" Us—anywhere in the country you would go and see music videos playing on TVs, from '92 to '93, that was me. That was me picking and making all those shows throughout the country. We literally had the contract for every single department store. It was great, but, as you can imagine, after days and days, you start to get kind of numb.
I got fired for showing this silhouette of Gloria Estefan laying on her side . . . you couldn't see anything, but you could tell that she was naked. The manager at the Toys "R" Us is looking up at the monitor at that exact split second [laughs]. Oh, man. That was the end of that career.
It was a good time to lose that job. It brought me to a new job working at Orpheum Records on Broadway up on Capitol Hill. That was not far from where Cobain was living at the time. Every rock star would at least stop through, but Cobain was a regular. He would come up and be like, "What's new, man? What can you show me?" At the time, that was like absolute, utter heaven. I was like, "You're asking me?"
We would talk about all these obscure things. Cobain had really expansive taste in music, he wanted obscure stuff. I remember we were having a hard time tracking down the Pontiac Brothers, which is like, you know . . . "Who?" We would talk Guided by Voices. He was really into all that stuff.
How crazy is that? I feel pretty blessed that for years I sort of lived my dream. That was what I wanted to do. I wanted to come here, I wanted to be immersed in the whole scene. And you know, coming out here I did meet my wife.
Crush and Release
Dick Dawson was raised in Duvall. As a young man, he fancied himself a budding guitar hero. Dawson played in bands around the community, including a couple of shows at the Redmond Fire House and one memorable set opening for some of the guys in Mudhoney. His parents were "educated hippie types," and took him to lots of rock shows growing up. He still plays guitar.
In the early '90s, I was really into Seaweed, who were a Sub Pop band at the time. I'd seen them a number of times, like at the Pearl Jam Drop in the Park show. I found out that they were playing at the Mural Amphitheatre for the Pain in the Grass series. When I got there, there were all these signs around that said "Sunny Day Real Estate." I was clueless at the time, and kept asking my dad if they were planning on selling the Mural Amphitheatre. So then Seaweed starts to play, or what I think is Seaweed starts to play, and at the time, Jeremy Enigk and Aaron Stauffer, the lead singers, had similar builds and haircuts.
So Sunny Day Real Estate starts playing, and I think it's Seaweed. I start rocking out, and then Seaweed comes on after, and I was like, "Oh."
Right after, we went to Silver Platters, and I bought Sunny Day Real Estate's new record. It's been my favorite record ever since. That was a really interesting way of coming upon them.
In "Shadows," there's this part near the end of it where they do this different kind of break and he does this neat fuzzy guitar. I could sing it for you, but I'm not sure that's going to be helpful. [Dawson begins enthusiastically making guitar wail sounds.] Like that. Oh, right, and then he starts saying something about "Leaves falling short . . . " uh . . . "dream's over."
The first time I heard that song, I was crushing cans in my parent's garage. They just would drink soda pop like crazy. There were always those black Glad bags just filled with aluminum cans, and I would take that CD down there with me. That was the soundtrack to a number of stomping sessions. It was the second CD I ever bought for myself with my own money. That must've been '94, so I was what, 15?
[I ask Dick if he ever resented having to stomp his parent's soda cans at that age.] Oh, yeah. We never got any soda. It was a menial task; I was a kid who didn't really like doing chores. The first time I heard "Shadows," I must've backed it up and played that one part like 15 or 20 times. There was something about that guitar tone—just that part of the song really got to me, it really spoke to me.
It felt like a palpable sense of release. There's just a change of mood in that song. When that part comes on, it sounded triumphant, but yearning at the same time.
I think it was just that I was 15, I was a guitar nerd. I was just starting to teach myself guitar, really starting to find my voice. That song, that record—there was something in the way everything was phrased. When I listened to Sunny Day Real Estate, I felt like I'd found a kindred spirit.
Growing up in Duvall made it a little bit more difficult for me. I was perhaps a bit more progressive than some of the people who grew up with me. I wore my hair long. They used to call me names. I was skinny. I can't tell you how many times I got called a fag. To be honest, I was a bit of a provocateur. Some days I'd wear fucking barrettes in my hair. I knew that it was going to piss off those people. But it didn't matter. There's just something so cathartic about being able to listen to a song and having it exorcise whatever feelings, or support whatever feelings, you might be brooding over. Sunny Day Real Estate did that for me.
Where the Strings Come In
Jacob McMurray is the curator of the Experience Music Project at Seattle Center. He recently put together an exhibit called "Nirvana: Taking Punk to the Masses," which found him in the attic of bass player Krist Novoselic, looking through old boxes.
I've never been a Sunny Day Real Estate fan, so when Return of the Frog King [the solo debut of lead singer Jeremy Enigk] first came out, in '96, I sort of dismissed it. But there was this big article in The Rocket sometime around when that record came out that was about Jeremy Enigk and his conversion to Christianity with that record. I think in a way it was weird that there was so much press dedicated to his religious beliefs, but I don't know. That article described the record and all the orchestration and everything, and I remember picking it up.
I was 24, living in the U District, going to the University of Washington working on an archaeology degree. I think what was really interesting was that all the stuff I loved at the time right specifically then was, like, Built to Spill, Modest Mouse, Violent Green—you know, a lot of pretty full-on mid-to-late-'90s indie rock—and this was so different than that. I think that's why it made such an impact on me, and why people either loved it or hated it, because it was pretty atypical for what was going on at the time.
I still think I'm sifting through that record today; it's a phenomenal record. It's about a half an hour long, and you know, it's just him with an acoustic guitar and a 21-piece orchestra or something like that. What I loved about it, and what I still love about it, is that it still pushes the same buttons in me as Wizard-era King Crimson or the first Roxy Music record. It kinda has this sort of baroque, almost medieval sensibility to it. I don't know—he has such a beautiful but rough voice. It's really moving.
Letter Bomb
Scotto Moore is a 41-year-old recovering music blogger from Seattle. He spoke to us at the Sasquatch! Music Festival the day that The Postal Service was playing, 10 years after the release of the group's only record, Give Up.
I was a music blogger for six or seven years, and I heard Give Up when it first came out. And I knew it was going to blow up when I posted two or three tracks on my blog and my servers basically almost crashed. People were so excited about it and pounded my servers. So later, when they released "Against All Odds," I actually had to rename it—and tell the people who were reading my blog "This is Barry Manilow"—so my servers wouldn't be pounded by anyone other than my regular fans.
As someone who was really paying attention to music at the time, it seems a little cliché, but they certainly invented this entire style. And for years, you would hear bands that would come along and be near-misses—trying to capture that magic of the digital side and the acoustic side. Because if you listen really closely, it's not just "bleepy-bloopy," which is the electric part of it. But it had the vocal richness, and you could hear the guitar in there, and I think a lot of people overlook how dense the sound is. And it's not just computerized.
"District Sleeps Tonight"—there's a remix of it that when I DJ just totally kills. And I'm absolutely in love with how that works.
The Laws of Thermal Energy
Witt W. is the very tall 29-year-old guitarist and lead singer of an Atlanta-based folk-punk band. He hasn't shaved in a while, and covers his long mop of hair with a beanie. I caught his set after his set at Victory Lounge out on the deck, where he sat down for a cigarette. His bandmates mentioned to me earlier that he has tripped the South American psychedelic plant ayahuasca a number of times. I ask if it's OK if we talk about it, and he emphatically insists that we do. "More people need to hear about this stuff," he says, "it's really important."
The first time I went, you go and everyone is in a circle. The shaman takes ayahuasca with you, and he's learned these songs that he was given by the plants. Over the course of his life he's developed this repertoire of songs that sometimes aren't in any decipherable language. They're just melodies and words that come to him. His power and his status grows with the more songs he has. The whole six hours he's singing songs that kind of guide the energy of the trip. If it gets really dark and he knows everyone in the group is feeling that energy, he knows the right song to get the energy back up. It's very musical.
I was raised Jewish. At a certain point the shaman's songs all start sounding like very ancient Jewish Hebrew songs to me. To me it's the most quintessentially religious experience anyone can have in the modern world. We're not, like, a psychedelic band, but our last album was almost entirely written from my own personal psychedelic experience. I had a friend that passed away last year, and psychedelics were really important to me in understanding the space that he moved on to. You're having an after-death experience with this stuff—you are forced to kill your ego and have an objective sense of yourself, which is impossible normally. It made me think a lot about "Where does melody come from? Where do these lyrics come from?" I do think there's some kind of energy-channeling that's happening.
Even at punk shows, man, it's 30 minutes where people get out their anxieties, what they have to do tomorrow, their regrets. It's 30 minutes of being in the moment; it's almost transcendental. I think when you are feeling an energy exchange, you are experiencing the real idea of the gestalt in its physical manifestation.
There's a sense of sincerity or authenticity when you watch bands. Even if they're technically good, you just know if this is something they're trying to do. You sense that ego.
I love the Thermals. I think the Thermals are one of the most authentic, sincere bands. That's why I respect them so much. Good songs . . . there's this idea that you are channeling them from somewhere else, you are like a conduit. The Thermals do that.
Fuckin A to me, just as a whole album, is the pinnacle of what they do. Fuckin A is the album, man. As a cohesive unit, it's amazing. They made that album as a cohesive thought. I think they are intentional about the flow of the album, the sequencing. I don't think it's a technical thing they've got going on. It's just when you see them live, they're locked in. They're one of the few bands that do that. They channel that energy.
They're a band that goes for energy over technicality. I think that's really important. When we record, we record live. We go for the take. It may be a take with a missed note or a missed hit, but when you finish, you just know that this one is it. There's this ephemeral energy to it. Like, let's keep that one. Everybody kinda finishes, and everybody wants to be quiet for a few seconds so nothing bleeds into the recording. But in those seconds, if it's the one, you kinda feel it, and everyone looks around and it's like, "Yeah. Mm-hm." [Laughs.]
There's this balance that bands should have between not sounding like shit live, but also being able to present this certain amount of energy. A lot of bands will get really sloppy when they get energetic. The Thermals have that balance; there's this full sound and they're playing really well, but there's this . . . they are just giving away this energy. When you watch them, you are, like, "These guys are working hard. I want to be a part of that." That's what's really important. I truly believe that. It's all about exchanging that energy.
Speakers Blown
Natalie Walker is the director of the Seattle-based Rain City Rock Camp for Girls, "a nonprofit organization dedicated to building positive self-esteem in girls and encouraging creative expression through music." Over the course of a week, girls at the camp choose an instrument, form a band, and write a song together which they later perform at a real rock venue in town. Walker herself plays bass in an all-female rock band called Another Perfect Crime. While interning for music journalist Everett True in 2005, she got her hands on an advance copy of Sleater-Kinney's last album, The Woods.
Everett had just gotten done interviewing Sleater-Kinney for, I think it was Plan B magazine? They had just gotten done mastering The Woods in January or February of that year, but they weren't releasing it until May. So anyways, we are driving around in the car, and he goes, "I JUST GOT A COPY OF THE NEW SLEATER-KINNEY ALBUM, IT'S RIGHT HERE," and I just went "WHAAAAAT? I CAN'T BELIEVE YOU HAVE IT. I AM THE BIGGEST FAN." So he puts the CD in the CD player in my car, and the first track comes on, "The Fox." It's just, like, kind of growling at us, and we both look at each other and go, "Wait. Did they give you the right CD?" We did not think it was them [laughs]. But then of course Corin Tucker comes in with her crazy wail growl, and we were like, "Oh, OK, this is obviously them, but is there something wrong with the CD?" I mean, it was amazing and awesome, but it sounded really off in some places. Like, "Are my speakers blown?" Like, "It sounds like there's bass. Did they get a bassist?" I remember Everett looking at me and going, "Wow, they went to Sub Pop and now all of a sudden they sound grunge" [laughs].
That was a really cool moment for me. I'm a huge super-fan, and I'm listening to the record before it is released, and it's everything I love about the Seattle sound and the Sub Pop sound, and my favorite band is now kind of embracing that too.
The track on that record, "Modern Girl," is one of my favorite tracks ever. Ever since I heard it I've been trying to write a song like that. I haven't quite gotten there. It's like, you know, this really bleak kind of thing, and then toward the end when the band comes in, your speakers get blown.
I guess it's just the contrast. It's the really pretty guitar line, the simple beginning, and the lyrics, going from really happy to "I'm really pissed of" by the end . . . it's just the perfect song.
One hundred percent, Sleater-Kinney informs what I do at Rain City Rock Camp now. It was seeing them live that encouraged me to start playing music, you know, in a rock band. It took having a same-sex role model doing that to get me onstage. Knowing that informed the creation of this rock camp, where we're basically saying "Hey! Here's a bunch of role models." We're just going to put that in your face. They're going to be your teachers. They're going to be your lunchtime performers. They're going to be your role models, and we're not going to make it hard for you to find them because they're all here at camp. It really directly influenced that.
Tale of Two Cities
Annie Holden is originally from Phoenix, Ariz. She recently graduated from the University of Washington. Holden has worked on marketing and communications for Seattle's all-ages venue, The Vera Project, for a little over a year now.
I knew I was coming to Seattle for college. I really liked all of the local music coming from Seattle; I loved Fleet Foxes. So I go to the local record store in Phoenix, like one of the coolest places, and I say to the guy working there, "Hey, so I'm moving to Seattle soon. Do you have any recommendations of local bands? Here's a list of bands I like, would you have anything else?" And he goes, "Oh yeahhhhh. Seattle. For sure." He walks me over and gives me Blitzen Trapper's Furr. I hop in my car on the way home, and I really like it. It's become one of my favorite albums of all time—BUT . . . I was telling my friend about this awesome band from Seattle, Blitzen Trapper, and they're like, "Uh, no. They're from Portland, not Seattle. Portland and Seattle are very different."
That's when I started learning about the weird music rivalry between the two. I mean it makes sense that the record-store guy would do that to me, because, you know, Sub Pop and Seattle, but . . . I don't know. I just always feel mad about it. Like, he lied to me, you know?
I was just, like, "I wanted Seattle music, not Portland music. That's so different." But I mean, it's all the Pacific Northwest. That album gave me so many preconceived notions about the Pacific Northwest before I got here. I'd only been here once before. I guess I really thought I'd be going into the wilderness a lot and . . . morphing into a wolf or something. Maybe one day, but not yet. Blitzen Trapper let me down, even though it's a great album, and I love it.
Call of the Evergreens
Joseph McGeehee is a prolific artist and a recipient of the Sub Pop Scholarship, a program started by the label that doles out money to help young "losers" pay for college based on their weird talents and freaky interests. I was lucky enough to have won a scholarship in 2009; McGeehee received his in 2012. His work features melty, surreal forms and landscapes that are often either dripping or levitating. A student at the Pacific Northwest College of Art in Portland, McGeehee recently held his first gallery show, Metamorphic Forms, and released the first issue of his comic series The Impossible Future, about a dog and a boy and their botched attempt to make home brew. His work can be viewed at artistflu.tumblr.com.
I have a really strong memory of being on the 550 bus, the express bus from Bellevue to downtown Seattle, and we were going across the I-90 bridge. It was a beautiful, sunny day, and I was listening to "Grown Ocean" off of Helplessness Blues. I was so overwhelmed by the beauty of the Pacific Northwest, just with how much I love it here. That song always brings up the strongest sense of loving the place where you live. I think it really vibes with the feel of this region. It definitely feels like somehow the song is a part of the region itself.
That was my senior year of high school, and I guess that's another part of it. That was in the midst of my big decision time: "Am I going to leave the Pacific Northwest to go to college?" I was really looking at the Art Center College of Design down in Pasadena. I don't know. I visited the school. I liked it. But I couldn't see myself living in L.A. at all.
It was a really hard decision. On that bus ride, that song just really intensified this strong connection I feel to this region of the country. It intensified my appreciation for everything that is the Pacific Northwest.
I also just love the laid-back energy here. In Portland it's really encouraging to be strange, and outwardly so, which I think is really conducive to art practice. You don't get that kind of encouragement most places. Every time I listen to Helplessness Blues, it's just all about thinking about your life, and the scope of your life, in relation to this larger thing. You know, where you live. I think maybe it's an aesthetic attraction for me—like, maybe instinctively I want to call evergreen trees and sweaters paradise, because they resonate so deeply for me. I just feel like I wouldn't want to be anywhere else when I listen to that album.
Mellow Strong Sexy
Michelle O'Connor works with Natalie Walker at Rain City Rock Camp for Girls as an instructor.
When I think of my fave Sub Pop songs, I immediately think of "Queens" by THEESatisfaction from AwE NaturalE.
First of all, we all were so excited about this album being released on Sub Pop. It was like one of our own was getting the recognition they deserved. And the album itself is incredible. Unique, smart, and unlike anything I had ever heard in hip-hop . . . or ever.
When I first heard "Queens," it blew my mind. From that mellow, sexy intro directing us to leave our BS at the door and let loose to the infectious "Don't funk with my groove" hook, this definitely has always meant cool female empowerment to me. Like, "This is how it's gonna go down, sister. So there." It's just one of those hooks you wish you wrote.
So after spending a few weeks obsessed with the song, I was moved to write my own, with that mellow, strong, sexy vibe as inspiration. This song still makes me want to be as cool as Cat and Stas.
Additional reporting by Mark Baumgarten and Keegan Prosser.
Sub Pop celebrates its 25th anniversary with a Silver Jubilee on Sat., July 13, in Seattle's Georgetown neighborhood. The free event will feature performances by many of the label's artists. For a full lineup, go to silverjubilee.subpop.com.


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The configure script of PHP 5.3.0 has some test lines that use expr with the option --, my expr (version 2.0) does not except --. This causes a run of error messages from the shell like:
./configure: line 2xxx: test: =: unary operator expected
expr: syntax error
I used buildconf --force to see if it would fix this.
While it resulted in a quit different file, it still had the lines of code with expr -- in it.


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Lac qui Parle County, MN
has the largest amount of
Medicare Reimbursements per Enrollee
. The next two highest amounts were in
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with $10,610 and in Stevens County, MN with $10,134 .
Medicare Reimbursements per Enrollee
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were $7,850 in 2014 , but $7,270 in 2013 . These numbers represent a 7.98% growth during that year. Medicare Reimbursements per Enrollee in Stearns County, MN are $$1,738 less than the national average.
Medicare is a Federal program which provides health benefits to older Americans. This chart shows how per enrollee amounts have changed in Paynesville, MN compared to national reimburesments.
In Stearns County, MN in 2014 , 86 Medicare enrollees were treated for Congestive Heart Failure , 54 for Pneumonia , and 40 for Acute Myocardial Infarction .
Congratulations, you've landed an interview! Now your goal is to prepare for a successful interview and get the position. An interview is a basic information exchange, but a formal one. The better the rapport between you and the interviewer, the more successful it will be.
You'll need to focus some energy on "selling" yourself. Your two main goals for the interview should be:
The interviewer's main goal is to assess how closely your qualifications match the requirements of the position. The interviewer will also want to present the organization and position positively, and supply accurate information to you.
Think about what you want to emphasize during the interview, what you don't want to emphasize, and what your strengths and weaknesses are. Write them down and memorize them. The more you practice, the less likely you are to forget or be nervous. Also check out
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for how to more successfully answer those tough questions.
If they have a website, review it thoroughly. Make it clear to them in the interview that you've done your homework and know some basics about their organization. This will let them know you're serious about the position.
Prepare questions that reflect your knowledge of the position and company, and some that will help you form your own opinion about them. Your first goal is to impress the interviewer, but you also want to determine if the position/organization is a good fit for you and if you would be happy working there.
First impressions are important! If you need tips about interview attire, see
ACCESSORIES Hats Soulland aNxmzmEVj
or stop by CLA Career Services.
The CLA Career Services office provides free mock interviews to CLA students. Contact us to schedule one. You can also do one at any time online with InterviewStream .