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The Wire 300: Simon Reynolds on the Hardcore Continuum #7: Grime (And A Little Dubstep) (2005)
February 2013
Originally published as "The Primer: Grime " in The Wire #254, April 2005.
Grime emerged from London's pirate radio underground. Its immediate precursor was two-step (aka UK Garage), which at the turn of the millennium broke into the UK pop mainstream in a massive way. Two-step had been shaped by the "feminine pressure" for sing along melodies and wind-your-waist grooviness. Grime arose as a backlash against this crossover sound, a violent swing in the scene's inner gender-pendulum from yin to yang. Out went two-step's high pitched diva vocals, sensual swing, and sexed up amorousness; in came gruff rapping, stiff electro-influenced beats, and raucous aggression.
MCs have been part of the pirate radio tradition for at least fifteen years, going back through Garage and Jungle to the early days of Hardcore. By the end of the 90s, however, the MCs were moving beyond their customary restricted role as party 'hosts' and sidekicks to the DJ. Instead of gimmicky vocal licks and 'praise the selector' exhortations, they began to rap actual verses: initially, extended takes on traditional boasts about their own mic skills, but soon getting into narrative, complicated metaphors and rhyme schemes, vicious dissing of rivals, and even introspective soliloquies. The MC's rise swiftly eclipsed the DJ, hitherto the most prominent figure on rave flyers or the main designated artist on record releases. 2001 was the turning point, when MCs shunted selectors out of the spotlight. So Solid Crew broke into the pop charts, and the underground seethed with similar collectives modeled on the clan/dynasty structures that prevail in American hiphop and Jamaican dancehall.
Emerging from the transitional sound known as 'Garage rap', Grime really defined itself as a distinct genre when the first tracks appeared that were designed purely as 'MC tools' - riddims for rappers to ride. These Grimestrumentals were largely sourced in the electro diaspora - post-"Sleng Teng" ragga, Miami bass, New Orleans bounce, Dirty South crunk, and 'street rap' producers like Swizz Beats. Like these genres, Grime doesn't go in much for sampling but prefers synths, typically with cheap 'n' nasty timbres that vaguely evoke the Eighties and often seem to be influenced by pulp movie video soundtracks, videogame musik, and even mobile phone ringtones. But in Grime's textured beats and complex programming you can also hear the imprint of the Jungle that most of these late teens/early twenties producers grew up on, alongside folk memory traces of gabba and Techno. Sometimes, listening, you might imagine you can hear uncanny echoes of post-punk era electro-primitivists such as The Normal, DAF, Cabaret Voltaire, or the calligraphic exquisiteness of Japan, Thomas Leer, and The Residents.
Inherited from the period when two-step ruled the top 10, but also inspired by enviously watching the living large of American rap superstars, Grime feels a powerful drive to invade the mainstream and get 'paid in full'. Pirate radio, a broadcast medium with a potentially vast audience, encourages this grandiosity. One peculiar byproduct of Grime's ambition is the scene's craze for DVD releases, like Risky Roadz and Lord Of The Mic, containing documentary material with live footage. It's as if the scene is DIY-ing the sort of TV coverage it feels it deserves but isn't getting. Yet while some of top MCs are being groomed for stardom by major label-owned boutique labels, the day to day reality of Grime is grafting to get by in a narrowcast culture. Selling 500 copies of a track is considered a good result. The way Grime operates - small run vinyl-only pressings and mix-tapes, often sold directly to specialist stores - has a surprising amount in common with the microcultures familiar in these pages, such as Noise, free folk, Improv, and extreme Metal. Like these genres, Grime is what Chris Cutler would call an "engaged" culture, with a high ratio of performers to consumers. These aspiring MCs, DJs and producers have a deeper understanding of what constitutes skill and innovation in their scene. Grime even has an Improv element with its freestyles and MC battles. There's a glorious ephemerality to the way MCs riff off the cuff lyrics during pirate sessions, although fans have always tape recorded the shows and some are now getting archived on the web.
Unlike those globally dispersed microcultures, Grime is
geographically concentrated. It's popular across London and has
outposts in other multiracial UK cities, but its absolute heartland
consists of a few square miles in that part of East London not
served by the Tube. In truth, it's a parochial scene, obsessed with
a sense of place, riven by internecine conflicts and territorial
rivalries (the intense competitiveness being one reason Grime's so
creative). Still, despite this insularity, Grime has never been
easier for 'outsiders' to investigate, thanks to 1xtra (the BBC's digital
radio station for UK 'urban' music; check especially the weekly
shows by Cameo and Richie Vibe Vee), the trend for pirates like
Rinse FM to go online as well broadcast terrestrially, mail-order
via companies like Rhythm Division and
and the swarm of blogs covering the scene.
[page break]
So Solid Crew
So Solid 1999
Oxide & Neutrino
"Bound 4 Da Reload (Casualty)"
East West 2000
So Solid are famous as the first MC crew to crossover big-time - they hit number 1 with "21 Seconds"- and infamous for their frequent brushes with the law. In Grime terms, though, their single most influential track is this instrumental, which replaced two-step's sultry swing with an electro-derived coldness and rigour. This new starkness was a timely move given that two-step had reached the inevitable 'over-ripe' phase that afflicts all dance genres, its beats becoming cluttered and fussy. With its hard-angled drum machine snares and single-note sustained bass drone veering upward in pitch, "Dilemma" rediscovered the Kraftwerk principle: inflexibility can sometimes be funkier than suppleness. So solid, indeed: "Dilemma" is like a huge block of ice in the middle of the dancefloor, a real vibe-chiller.
So Solid affiliates DJ Oxide and MC Neutrino also scored a #1 UK hit with "Bound 4 Da Reload". Initially a pirate radio anthem through 1999, "Reload" created a massive rift in the Garage scene: older types loathed it, young 'uns loved it. Today's Grime heads would probably disown their teenage favorite as a mere novelty track. Which it certainly was, from the Casualty TV theme sample to the "can everyone stop getting shot?" soundbite from Lock, Stock and Two Smoking Barrels. Gimmicks aside, Oxide's production is heavy, from the ice-stab pizzicato violins ('strings of death', perhaps, given the track's allusions to the rising blood-tide of violence on London's streets) to the doom-boom of sub-bass to the morgue-chilly echo swathing much of the record. Probably equally repellent to two-step fans was the nagging, nasal insistence of Neutrino's rapping, which is remorselessly unmelodic but horribly catchy. Instantly transforming two-step from "the sound of now" to its current nostalgia-night status as "old skool", "Reload" has strong claims to being the first Grime tune.
Pay As U Go Kartel
"Know We"
Solid City 2001
Wiley and Roll Deep
Solid City 2001
Circulating on dubplate as early as 1999, "Know We" was in constant pirate rotation by the time of its 2001 release, alongside chip-off-the-same-block track "Terrible". Both are back to basics affairs: simple programmed beats, in each case adorned with the solitary hook of a violin flourish, functioning purely as a vehicle for the MCs. Another striking shared characteristic is the use of the first person plural. Each MC bigs up himself when it's his turn on the mic, but at the chorus individualism is subsumed in a collective thrust for prestige. "Now we're going on terrible," promise/threaten Roll Deep, and they don't mean they're about to give a weak performance. 'Roll deep' itself means marauding around town as a mob. But there's a hint of precariousness to Pay As U Go's assertions of universal renown. The sense of grandeur is latent; they're not stars yet. What does come through loud and clear on both tracks is the hunger. "Terrible" starts with a Puff Daddy soundbite: "sometimes I don't think you motherfuckers understand where I'm coming from, where I'm trying to get to." Both the PAUG and Roll Deep tracks were produced by a young prodigy named Wiley, whose catchphrase back then was "they call me William/I'm gonna make a million". Roll Deep are Grime's NWA (its ranks have included such luminaries as Dizzee Rascal, Riko, Flow Dan, Trim, and Danny Weed), with Wiley as its Dr Dre. If he's yet to make that first million, this human dynamo must surely have released close to that number of tracks these last four years.
Genius Cru
"Course Bruv"
Kronik 2001
The gangsta rap comparison isn't an idle one. PAUG and Roll Deep pioneered criminal-minded lyrics. Taking them literally isn't always advisable, as the imagery of "slewing" and "merking" is often purely metaphorical, signifying the destruction of rival MCs in verbal combat, the maiming of egos rather than bodies. Still, the genre wasn't always so relentlessly hostile. Just before the grimy era, 'Garage rap' outfits like Heartless Crew and Genius Cru exuded playful bonhomie. The follow up to their number 12 pop hit "Boom Selection", Genius's "Course Bruv" talks about spreading "nuff love" in the club and stresses that they "still don't wanna hurt nobody." The chorus even celebrates the rave-era ritual of sharing your soft drinks with complete strangers, the "course bruv" being Genius's gracious acquiescence to "can I have a sip of that?" Producer Capone weaves an effervescent merry-go-round groove of chiming bass melody and giddy looped strings, while the MCs hypnotise with the sheer bubbling fluidity of their chat. The verses are deliberately preposterous playa wish-fulfillment: "Number one breadwinner" Keflon claims he's "invested in many shares, many many stocks" while Fizzy purports to date "celeb chicks", "ballerinas" and even have "hot chicks as my household cleaners".
Platinum 45 featuring More Fire
Go Beat 2002
Pirate radio culture evolves in small increments, month by month. The onset of one genre or sub-flava overlaps with the twilight of its predecessor. There are rarely clean breaks. Still, every so often a track comes along that yells "IT'S THE NEW STYLE!!!!" in your face. "Oi!" was one of them. Drawing on the most anti-pop, street vanguard elements in black music history - ragga's twitch 'n' lurch, electro's (f)rigidity, jump-up Jungle's bruising bass-blows -producer Platinum 45 created a most unlikely #7 hit. Factor in the barely-decipherable jabber of More Fire's Lethal B, Ozzie B, and Neeko, and the result was one of the most abrasively alien Top Of The Pops appearances ever. The tune's pogo-like hard-bounce bass and uncouth Cockney-goes-ragga chants mean that "Oi!" has more in common with Cockney Rejects-style punk than you'd imagine. "Oi!", then - Grime's biggest hit to date, before the genre even had a name.
Musical Mob
"Pulse X (VIP Mix)"
Inspired Sounds 2002
Widely regarded at the time as UK Garage's absolute nadir,
"Pulse X" is actually a pivotal track: the scene's first
purpose-built MC tool. Locating a new rhythm at the exact
intersection of electro and gabba, "Pulse" is virtually
unlistenable - those dead-eyed claps, those numbly concussive kicks
- on its own. But in combination with a great MC, the skeletal
riddim becomes an instant and massive intravenal jolt of pure
adrenaline. It's not just the headbanging energy, though, it's the
track's very structure that is radical. "Pulse X" was the first
8-bar tune, so called because the rhythm switches every eight bars,
thereby enabling MCs to take turns to drop 16 bars of rhymes using
both beat-patterns. Far from being UK Garage's death rattle, "Pulse
X" rescued the scene, rudderless and demoralized after two-step's
pop bubble burst. The sheer phallomorphic rigour of "Pulse X" gave
the scene a spine, a forward direction.
[page break]
Dizzee Rascal
"I Luv U"/"Vexed"
Circulating as a white label from summer 2002 onwards, "I Luv U" turned London pirate culture around as much as "Pulse X". Legendarily creating the track in a single afternoon during a school music class, Dizzee took the same sort of sounds Musical Mob used - gabba-like distorted kick drums, shearing-metal claps - and turned them into actual music. Add a teenage MC genius desperate to announce himself to the world, and you have Grime's "Anarchy In The UK". The punk parallel applies because of the harsh Englishness of Dizzee's vocal timbre and the lovelessness of the lyric, which depicts the pitfalls of the, er, dating game from the point of view of too-much-too-young 16 year olds whose hearts have been calloused into premature cynicism. Dizzee's snotty derision is almost eclipsed by the comeback from female MC Jeannie Jacques, who throws "that girl's some bitch yunno" back in his face with the equally corrosive "that boy's some prick yunno." The original white featured the "I Luv U" instrumental, but tossed away on the XL re-release's B side is the classic "Vexed": Dizzee's stressed delivery makes you picture steam coming out of his ears and the music - beats like ice-floes cracking, shrill synth-tingles - renders obsolete the entire previous half-decade of retro-electro in one foul swoop.
Wiley Kat 2002
"Ice Rink"
Wiley Kat 2003
Ex-PAUG but at this point still Rolling Deep, Wiley invented an entire mini-genre of low key, emaciated instrumentals: asymmetrically structured grooves based around sidewinder b-lines that are "slinky downstairs" (as DJ Paul Kennedy put it), and glinting, fragmentary melodies. From his legion of imitators, these tended to be strictly MC-funktional beats, but in Wiley's case, more often than not the tracks are highly listenable standalone aesthetic objects even without rhyming. The first in an ongoing series of ice-themed tunes ("Igloo", "Frostbite", "Snowkat", et al), "Eskimo" was the blueprint for this dinky-yet-creepy micro-genre (which Wiley dubbed "Eskibeat"). "Ice Rink" took the concept of MC tool to the next level. Instead of just being sold as an instrumental for MCs to use, it was released in some eight versions featuring different MCs. Spread across two 12 inches, "Ice Rink" constituted a de facto riddim album. Dizzee's turn is the stand-out, his scrawny voice oozing the impudence of someone at the top of his game, as he invites all haters to plant their lips upon his posterior: "kiss from the left to the right/Kiss 'til my black bum-cheeks turn white". Wiley's palsy of gated door slam kicks and mercury-splash blips jostles with Dizzee for your attention.
"Weed Man"
Hot Sound 2003
Jammer featuring D Double E
"Birds In The Sky"
Hot Sound 2003
2003 saw a slew of 8-bar instrumentals suffused with cod-Oriental exoticism. As incongruous as a pagoda plopped smack dab in the centre of Bow, "Weed Man" is the supreme example of "sinoGrime", Hyperdub webzine's term for this micro-genre. Produced by Nasty Crew's Jammer, the track is dedicated to "all the marijuana smokers" and appropriately the tempo is torpid to a trip hop-like degree. The loping, sprained rhythm flashes back to Sylvian & Sakamoto's "Bamboo Music" while the ceremonial bassline and breathy flute conjure mind's eye imagery of Zen gardens and temples. But where Wiley's similar excursions Eastwards were fueled by record-buying trips to Sterns, Jammer mostly likely derived his notion of Oriental mystery from videogame music and martial arts movie soundtracks. "Birds In The Sky" has a similarly medieval atmosphere but, apart from the plucky twang of some kind of stringed Far Eastern instrument, is less obviously an ethnological forgery. The solo debut of one of Grime's greatest MCs, D Double E, "Birds" has a brooding meditational aura. The lyric pivots around the bizarre trope of a verbal drive-by, the MC firing off word-bullets that are also "like birds in the sky/Hit one of your bredren's in the eye". Double muses on his motivations -"why?/Cos I'm an evil guy"- then emits his signature vocal licks, the pain-pleasure groan of "oooh-oooh" and the mouth-mangled "it's me, me", which sounds more like "mwui-mwui".
Riko & Target
"Chosen One"
Aim High 2004
Ruff Sqwad
"Lethal Injection"
White Label 2004
Former PAUG stalwart and man behind the ace Aim High compilations, Target here creates one of Grime's most stirringly cinematic epics, placing a heart-tugging orchestral refrain amid a strange decentered drum track whose flurries of claps and kicks seem to trip over themselves. This groove's sensation of impeded yet steadfast forward motion totally fits the lyric's theme of determination and destiny. In his smoky, patois-tinged baritone, Riko (another PAUG alumnus) counsels calmness and composure to all those struggling, whether they're aspiring MCs striving to make it or regular folk trying to make it through everyday strife: "Use your head to battle through/Cos you are the chosen one." The synth swells favoured by Ruff Sqwad also have a cinematic grandeur, like gangsta Vangelis. "Lethal Injection", though, is one of their more minimal efforts, consisting of a wibbly keyboard line, the boom of a heavily echoed kick drum, and the Sqwad's rapid-fire jabber, swathed in a sussurating shroud of reverb and background chat. Not a tearjerker like "Chosen One", but incredibly atmospheric.
Terror Danjah
Industry Standard EP
Aftershock 2003
Pay Back EP (The Remix)
Aftershock 2003
Judging by Industry Standard, you could justly describe Terror Danjah as one of the most accomplished electronic musicians currently active. On tracks like "Juggling" and "Sneak Attack", the intricate syncopation, texturised beats, spatialised production, and "abstracty sounds" (Danjah's own phrase) make this "headphone Grime" - not something that could be claimed for too many operators on the scene. Yet all this finesse is marshaled in service of a fanatically doomy and monolithic mood, Gothic in the original barbarian invader meaning. The atmosphere of domineering darkness is distilled in Danjah's audio logo, a demonic cackle that resembles some jeering, leering cyborg death-dwarf, which appears in all of his productions and remixes. "Creep Crawler", the first tune on Industry Standard, and its sister track "Frontline (Creepy Crawler Mix)", which kicks off Pay Back, are Danjah's sound at its most pungently oppressive. "Creep Crawler" begins with the producer smirking aloud ("heh-heh, they're gonna hate me now"), then a bonecrusher beat stomps everything in its path, while ominous horn blasts pummel in the lower mid-range and synths wince like the onset of migraine. From its opening something-wicked-this-way-comes note sequence onwards, Big ED's original "Frontline" was hair-raising already. Danjah's remix of his acolyte's monstertune essentially merges it with "Creep Crawler", deploying the same astringent synth-dissonance and trademark bass-blare fanfares (filtered to create a weird sensation of suppressed bombast) but to even more intimidating and shudder-inducing effect.
Mark One Versus Plasticman
"Hard Graft 1"/"Hard Graft 2"
Contagious 2003
"Bombay Squad"
(on Grime 2, Rephlex compilation, 2004)
If you hadn't already guessed from the name, Grime inverts values. Dutty, stinkin', even disgustin' - all are positive attributes in Grime parlance. So when I say "Hard Graft" is utterly dismal, you'll know this is the thumbs up. Grime often represents itself as gutter music. Mark One and Plasticman go further, or deeper, with this track, and seem to plunge into the sewage system. Full of clanking beats, septic gurglings, eerie echoes and scuttling percussion, "Hard Graft" makes you imagine pipes, storm drains, dank chambers.
Mark One, Plasticman and their cohorts constitute not so much a subgenre of Grime as a side-genre, running adjacent to the scene proper. The sound is techy, MC-free, and more danceable than Grime. Although a number of black producers are involved, you could fairly describe this style's sonic coding as whiter than Grime, and situate it on a Euro continuum running through Belgian industrial techno (Meng Syndicate, 80 Aum) through the cold technoid end of rave (Nebula II) to No U Turn's techstep and Photek-style neurofunk (the beats on "Hard Graft" sometimes recall his "Ni Ten Ichi Ryu"). Plasticman's nomenclative proximity to the Richie Hawtin alias seems telling.
The black component to this genre without a satisfactory name is
dub (indeed its precursor was a UK Garage micro-genre known as
dubstep). Loefah's clanking skank connects to a lineage of
industrial-but-rootical UK music: On U, bleep 'n' bass (Ability
II's "Pressure", say), The Orb, Techno Animal. "Bombay Squad" is
built around what feels like a half-finished, or partially erased,
groove: massive echo-laden snare cracks, a liquid pitter of tablas
situated in a localized corner of the mix, and… that's it, apart
from the dark river of sub-bass that propels the track forward. The
title's intertextual traces include Public Enemy's producers and 2
Bad Mice's rave anthem "Bombscare", but actually allude to the
track's sole coloration, the plaintive ululation of a Bollywood
[page break]
Dumpvalve 2004
"Hype! Hype! (DJ Wonder Remix)"
Smoove/Ministry Of Sound 2005
Wonder works on the cusp between Grime proper and the Plasticman/One/Loefah sound. "What" makes something compellingly atmospheric out of the most meagre components: a beat dragging like a wounded leg, sub-bass yawning ominously like a portal into the underworld, a dejected one finger melody suggestive of an autistic desultorily toying with a xylophone, occasional dank blips of electronics. Overall, the audio mise en scene is something like "twilight falls on the battle-scarred moon". Also vaguely redolent of The Mover's gloomy brand of ambient gabba, Wonder's remix of "Hype! Hype!" replaces the perky original backing track (produced by the great Sticky) with a groan-drone of sick technoise. This catastrophe in slow-mo makes a marvelously incongruous backdrop for the roaring vocal hook chanted by North West London crew SLK.
Jammer featuring Kano
"Boys Love Girls"
Hot Sound 2003
Wonder featuring Kano
"What Have You Done"
New Era 2004
Terror Danjah featuring Kano & Sadie
"So Sure"
Aftershock 2004
The backing tracks are fabulous - Jammer's frenetic snare-roll clatter, Wonder's tonally harrowed synths, Danjah's aching ripples of idyllic electronics - but it's the MC who really shines. With some Grime rhymesters, the flow resembles an involuntary discharge (D Double E being the ultimate exponent of MCing as automatic poetry). But even at his most hectic, as on "Boys Love Girls", Kano always sounds in complete control. All poise and deliberation, Kano invariably sounds like he's weighing up the angles, calculating his moves, calibrating which outcomes serve his interests. That's blatant on "Boys" and "What Have You Done", both cold hearted takes on modern romance that depict sex in transactional terms, a ledger of positives and minuses, credits and debits; a war of the genders in which keeping your feelings checked and maintaining distance is strategically crucial. But it comes through even in the gorgeous ballad "So Sure", on which Kano blurs the border between loverman and soldier drawing up plans for conquest: "ain't got time to be one of them guys just watching you and wasting time/Next time I'm clocking you I'm stopping you to make you mine." As much as the acutely observed lyrical details, it's the timbre of Kano's voice that's enthralling: slick yet grainy, like varnished wood, and knotty with halting cadences that convince you he's thinking these thoughts aloud for the very first time.
Dirty Canvas EP
Paperchase Recordings 2004
White label 2004
"So Sure" is an example of the burgeoning subgenre R&G, basically a transparent attempt to lure the ladies back onto the floor, after they'd been turned off by the testosterone-heavy vibe of tracks more suitable for moshing than sexy dancing. As the name R&G, short for rhythm and Grime, suggests, the mini-genre replicates two-step's original move of copping American R&B's luxurious arrangements and diva-melisma. Alongside Terror Danjah, Davinche pioneered R&G with tunes like "Leave Me Alone". Too often these attempts at Brit-Beyonce fall short owing to a lack of grounding in songcraft and the studio art of micing vocalists, and end up sounding slightly thin and shabby. So I prefer Davinche's instrumental efforts like the Dirty Canvas series. The quasi-soundtrack orchestration of "Stinger" - flurrying strings, decaying tones from a softly struck gong - are designed to swathe any MC who rhymes over it with an aura of slightly harried majesty. Built out of similar pizzicato elements meshed to a beat like a clockwork contraption gone haywire, "Madness", I'd wager, drew inspiration from the paranoia zone reached after one toke too many on a spliff: racing thoughts, pounding heart, jangled nerves, the suspicion that you might just be losing your mind.
Grime is synonymous with East London, but other parts of the city are starting to get a look-in. Essentials, Davinche's crew, operate out of the South. This powerful sense of territoriality is integral to the concept of "Headquarters", which draws on the talents of a veritable battalion of MCs, some guests and some from Essentials' own barracks. At each chorus, a drill sergeant barks questions at the MC who's stepping up for his mic turn: "state your name, soldier", "state your location" (usually "East" or "South", sometimes a specific postal district), "who you reppin'" (usually a crew, like Essentials, N.A.S.T.Y, Aftershock, but sometimes just "myself"). Then the sergeant orders each recruit to get down and "give me 16" - not press-ups, but 16 bars of rhymes. The amazing production seals the conceptual deal, the chorus being accompanied by cello-like instrumentation that's been digitally contorted into an unearthly wraith-like whinny, or a cyberwolf howling at the moon.
Lethal B featuring Fumin, D Double E, Nappa, Jamakabi,
Neeko, Flow Dan, Ozzi B, Forcer, Demon and Hot Shot
Pow (Forward)
Relentless 2004
Following a failed mainstream-bid album, More Fire looked all washed up in 2003, but Lethal B rebuilt their street rep from the ground up. In 2004, his "Forward" riddim became the scene's biggest anthem. Renamed "Pow" on account of its main vocal hook, it ultimately barged its way to the outskirts of the Top Ten, achieving Grime's highest chart placing since… well, "Oi!". The riddim is basic, verging on crude, a madly gyrating loop that resembles an out-of-control carousel. "Pow!!!", Lethal's chorus chant, evokes the fisticuffs of comic book superheroes. Matching the track's rowdy vibe (it was reputedly banned in some clubs for inciting mayhem on the floor), a squadron of top MCs lay on the ultraviolence, the cartoon flavor of which can be gleaned from Demon's immortal warning "you don't wanna bring some beef/Bring some beef you'll lose some teeth".
J featuring Wiley, D Double E, Kano and Durty Doogz
"Destruction Remix"
White label
D Double E & P-Jam
"Anger Management"
Like "Pow", "Destruction" is a rollercoaster of pugilistic noise and lyrical aggro, but Jammer's production is marginally more sophisticated, slicing 'n' dicing brassy fanfares (probably from blacksploitation movies) and filtering them to create a sort of surging yet leashed effect, like the track is simmering with pent-up rage. The four scene-leading MCs rise to the occasion, from Wiley's riffed variations on "I know Trouble but Trouble says he don't know you," to Kano's quaintly anglicized gangsta boast "from lamp post to lamp post, we run the road". But the star performance comes from D Double. Seemingly battling multiple speech impediments, he expectorates glottal gouts of raw verbiage. As so often, there's that characteristic sense of involuntary utterance, like it's him who's being spoken through. "Spitting" is too decorous a word for his rhyme style; retching is closer. Witness Double's astonishing first six bars on "Destruction", a gargoyle-like gibber closer to hieroglyphics than language, and seemingly emanating from the same infrahuman zone Iggy plumbed on "Loose" and "TV Eye". On Double's first solo single since "Birds In The Sky", rising producer P-Jam's snaking wooze of gaseous malevolence sparks one of the MC's most Tourettic performances. Barely tethered to the beat's bar scheme, Double seems to be wading waist deep through sonic sludge. He boasts of "sucking up MCs like a hoover", an image possibly cued by the Mentasm-like miasma unloosed by P-Jam.
"Str8 Flush"
Colourful State 2005
Crazy Titch
"Sing Along"
In The Hood 2004
The sped-up diva on "Str8 Flash" might be a nod to Kanye West's Chaka-accelerating "Through The Wire" but equally could be a folk memory flashback to the early 90s, when Rave producers whisked female vocal samples into helium-squeaky hypergasms of spectral bliss. That said, everything else in Lowdeep's hot riddim testifies to the influence on Grime of the last half-decade of rap and R&B. Pizzicato harp-like sounds and stuttering beats create a frozen peak of tense glory. IMP Batch's "Gype", the inescapable riddim of early 2005 and the backing track for Crazy Titch's "Sing Along", takes Grime's quasi-orchestral ambitions to the next level. Using classical music samples (possibly Prokofiev), IMP Batch expertly chop up and resequence the refrains - fluttery flutes, cascading strings, a cello ostinato - to form a hilariously prissy yet dynamic groove. This parodic high-culture refinement makes a wonderfully incongruous setting for Crazy's hoarsely hollered anthem.
Aftershock 2004
"Not Convinced"
Aftershock 2005
Like most producers in most dance genres, Grime beat-makers typically invent a striking sound, then wear it out with endless market-milking iterations. Terror Danjah has often approached that dangerzone, but on "Boogieman" he shows how much scope for inventive arrangement remains in the "Creep Crawler" template. You can hear the cartoon-comical wooh-wooh ghostly touches best on the instrumental version, "Haunted" (on Aftershock's Roadsweeper EP). "Boogieman" itself is a showcase for rising star Trim, here honing his persona of scoffing imperturbability: "I'm not scared of the boogieman/I scare the boogieman."
On "Not Convinced", Danjah draughts a whole new template that
reveals the producer's roots in drum 'n' bass (the track's
futuristic tingles vaguely recall Foul Play "Being With You"
remix). Again, though, the MC makes it hard to focus on the riddim.
More than anyone apart from not-Grime-really Mike Skinner, Bruza
incorporates British intonation and idiom into a totally effective
style of rapping, in which the not-flow of stilted English cadences
becomes a new flow. It sounds "brutal and British," as Bruza puts
it. As his name suggests, the MC has also perfected a hard man
persona that feels authentically English rather than a gangsta
fantasy based on Compton or Kingston. He exudes a laconic, steely
menace redolent of bouncers. "Not Convinced" extrapolates from this
not easily impressed persona to create a typology of character in
which the world is divided into the serious and the silly, the
latter lacking the substance and conviction to give their words
authority. Bruza addresses, and dresses down, a wannabe MC: "I'm
not convinced/Since you've been spitting/I haven't believed one
word/Not one inch/Not even a millimetre/To me you sound like a
silly speaker/Silly features in your style/You spit silly."
Kano featuring D Double E & Demon
"Reload It"
from Home Sweet Home 679, 2005
Circling back to "Bound 4 Da Reload", this track celebrates the pirate radio and rave tradition of the DJ rewind, when the crowd hollers (or home-listening audience text-messages) its demand for the selector to wheel and come again. Until Grime, the trigger for rewinds would be a killer sampled vocal lick, thrilling bass-drop, or even just a mad breakbeat. Nowadays, the MC being king, the crowd clamours to hear their favourite rhymes. "This is what it means when DJs reload it/That sixteen was mean and he knows it," explains Kano, before listing the other top dog MCs who get nuff rewinds (two of them, Double and Demon, guest on the track). "I get a reload purely for the flow," Kano preens, and you can see why as he glides with lethal panache between quick-time rapping and a leisurely, drawn out gait that seems to drag on the beat to slow it down. The track itself, co-produced by Kano and Diplo, is all shimmery excitement, pivoting around a spangly filtered riff that ascends and descends the same four notes, driven by a funky rampage of live-sounding drums, and punctuated by horn samples, Beni G's scratching, and orgasmic girl-moans. The old skool breakbeat-like energy suggests an attempt to sell the notion of Grime as British hiphop, yet if Trans-Atlantic crossover is the intent, that's subverted by the lyric, its theme being as localized and Grime-reflexive as imaginable. "Reload It" encapsulates the conflicted impulses that fuel this scene: undergroundist insularity versus an extrovert hunger to engage with, and conquer, the whole wide world.


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Parts of Speech
Chapter 4 - Adjectives
An adjective is often defined as a word which describes or gives more information about a noun or pronoun. Adjectives describe nouns in terms of such qualities as size, color, number, and kind. In the sentence The lazy dog sat on the rug, the word lazy is an adjective which gives more information about the noun dog. We can add more adjectives to describe the dog as well as in the sentence The lazy, old, brown dog sat on the rug. We can also add adjectives to describe the rug as in the sentence The lazy, old, brown dog sat on the beautiful, expensive, new rug. The adjectives do not change the basic meaning or structure of the sentence, but they do give a lot more information about the dog and the rug. As you can see in the example above, when more than one adjective is used, a comma (,) is used between the adjectives.
Usually an adjective comes before the noun that it describes, as in tall man. It can also come after a form of the word beas in The man is tall. More than one adjective can be used in this position in the sentence The man is tall, dark and handsome. In later lessons, you will learn how to make comparisons with adjectives.
Most adjectivesdo not change form whether the noun it describes is singular or plural. For example we say big tree and big trees, old house and old houses, good time and good times. There are, however, some adjectives that do have different singular andplural forms. The common words this and that have the plural forms these and those. These words are called demonstrative adjectives because demonstrate or point out what is being referred to.
Another common type of adjective is the possessive
adjective which shows possession or ownership. The words
my dog or
my dogs indicate
that the dog or dogs
belong to me. I would use the plural
form our if the dog or dogs
belonged to me and other people. The chart below shows the forms of possessive
|1st Person
|2nd Person
|3rd Person
used here as a grammar word and has these meanings:
1st person or the self (I, me, we),
2nd person or the person spoken to (you)
3rd person or the person spoken about (he, she, him, her, they, them).
Review this lesson as many times as you want, and when you are ready, take the pop quiz on this chapter.
|Take Pop Quiz
|Table of Contents
|Go to Chapter 5
LanguageCenters - Created by Mark Feder
Pop Quiz for Chapter 4
1) Which contains an adjective?
|Table of Contents
|Go to Chapter 5
INTERLINK LanguageCenters - Created by Mark Feder

subset: commoncrawl


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by Rob E. Boley
Book One of the Scary Tales: A Killer Serial
The zombie sequel to Snow White begins where the classic fairy tale ends, with the Prince's kiss waking Snow from her cursed slumber. Snow wakes up, but she doesn't wake up right.
Now a deranged zombie, Snow infects both the Prince and the seven dwarfs' leader. That leaves the young dwarf Grouchy, who is secretly in love with Snow, to find a cure for her malicious curse. So begins an epic journey that pits the lovesick Grouchy against dwarf-hating human soldiers, Snow's ever-growing zombie horde, and his own bad temper.
But when Grouchy and his motley crew of survivors escape Snow's clutches and seek refuge in a nearby human village, he soon finds that her affliction has spread faster and further then he ever could have imagined. Snow is hell-bent on spreading her horrid curse across the land, and it's up to Grouchy to stop her before it's too late.
For fans of horror, dark comedy, horror comedy, dark fantasy, zombies, and mashups such as Pride and Prejudice and Zombies; Abraham Lincoln, Vampire Hunter; Sense and Sensibility and Seamonsters; Little Women and Werewolves; Queen Victoria: Demon Hunter; Henry VIII: Wolfman; Jane Slayre.
"Part delicious dream, part nightmare, That Risen Snow is an aberrant fairytale that is just as much a horror story. Boley has a knack for dark comedy and witty prose, and he blends it with a nearly-hardboiled voice uncharacteristic of (and therefore pleasantly unique in) dark fantasy fiction. It's a story you'll want to tear ass through but will equally want to slow down for, so you can savor the prose."
―Brady Allen, author of Back Roads & Frontal Lobes
"In 1912, the Brothers Grimm published an old German fairy tale they titled Snow White. Little did they know that a guy named Rob Boley would come along a hundred years later to reveal the 'true' and adult story of Ms. White, or 'Snow' as she was known in real life… No one could have possibly foreseen what would become of Snow in the hands of a diabolical, maniacal imagination like Boley's… Such a nice boy… with such a fevered mind. Read this with the lights on and a baseball bat or shotgun handy… you're gonna be glad you did. This is a Snow White you ain't gonna find in the middle school library… Get it, read it, and try to keep the screaming down."
―Les Edgerton, author of Hooked, Just Like That, and The Bitch
"That Risen Snow and That Wicked Apple make a deliciously diabolical tale―part Walking Dead, part turned-on-its-ear fairy tale. Rob Boley strikes the perfect balance of depth, drama, and dark humor to keep readers devouring the pages and leave them hungering for more."
―Linda Gerber, author of the Death by Bikini Mysteries


text:
Baffin is always happy to hear from you. We are at your disposal to answer your questions about our products, the company or to hear your feedback. Please use the form below to contact us!
To ensure your concerns do not get flagged as SPAM please do not send the same feedback to multiple departments


text:
Her name is Emilia. She was born last Friday, the 25th June 2010, at 4:31 post meridian. Neither Angela or I were allowed to be in the room for her birth, which we initially thought would be hard, since we were present at Mara's birth. But we joined the young mother's parents, brother and best friends in taking over the entire lobby of the childbirth center, and so we had a wonderful day of bonding within the very unusual community that we embodied, and we played Hearts and Bananagrams. In the end, the only person the baby's mother wanted in the room with her besides the nurse and doctor was her boyfriend, the baby's father. He, I must say — an eighteen-year-old boy not particularly beloved of the birthmother's family — really stepped up and saw the journey through.
For reasons touched on in my last post, it was a very difficult time for Angela and myself, but it was a difficult time for everyone involved. And the two days after the birth, during which the birthmother stayed in the hospital to recover and the baby stayed with her, felt like very sad days. We watched the birthmother and birthfather holding and weeping over the life they had brought into the world together and were about to entrust to our care forever. We felt mixed, a little like thieves or crows waiting, but we kept telling ourselves, as they also told us, that we were the answer to their prayers as they were to ours, and that they wanted us there, even to witness their grief. It was actually pretty damned awfully hard. But it was beautiful too in a way that we will never be able to forget, nor describe adequately.
We brought Emilia home Sunday afternoon, and after a hard, sleepless first night we spent yesterday doing only what was necessary. Laundry, a grocery run, lots of dishes, quick naps. My parents visited. Mara has been waiting a long time to be a big sister and is a tireless "Holder of the Baby". I wrote this to some friends and family last night:
Mara held Emilia in her lap for three solid hours today and wants to whenever she can, gets petulent when one of us gets a 'longer turn' than she does. Mara's main problem is that we did almost nothing today and so she didn't get the physical playtime she needs, so she was a little pent up and ornery by day's end. Otherwise, she was a peach."
Today was park day, a day when homeschool families gather at one of the local parks so kids can meet up and run around, climb stuff, and turn the volume up to eleven. Angela and Mara have been going for several months. Mara needed this today. I am off work for two weeks, so I went too, and met a few of the other parents — there were perhaps fifty, mostly the women — for the first time. Angela had Emilia in a Moby Wrap, which is a very very long cloth that you wrap around your torso several times in such a way that it creates a nifty seat and cover for the baby and holds her against your chest.
A number of the moms gathered around to congratulate us and admire Emilia, who is lovely. One of them said to me, "You must be over the moon!"
I thought about it for a second and said, "Yes, that's a great way to put it. That's exactly it."
I know she meant the phrase the way it is classically used — giddy with joy to the point of leaping like the storied cow. And we are. Giddy with the silly, bubbly kind of giggling that comes of being anuzzle with a newborn. But to me the phrase also sounded like a place where the emotional poles and currents are all alien and unintuitive and you retain your bearing only by looking back at a world so tiny and fragile and in need of compassion.
As we said to the birthmother's mother, a dear woman who understood that we were not able to celebrate this event the way people normally celebrate a child entering their family, "We'll get there. There will be a lifetime for celebration."
And we ARE getting there, very quickly. Tonight while I was writing this the birthmother called us, and it was great to hear her asking how Baby Emilia-pants is doing ("pants" is an endearing suffix in our home). It was healing to hear her laughter and know that she is going to be alright, that she can handle being in this bizarre relationship. Her phone call felt like permission to finally start leaping for joy.


text:
TRAVERSE CITY, Mich. (AP) - Michigan environmental regulators plan three public meetings in the coming week to discuss what officials say are widespread misconceptions about oil and gas development, and critics of a process known as 'fracking' say they'll be ready.
The Department of Environmental Quality has been flooded with questions and concerns about hydraulic fracturing, or 'fracking,' which involves pumping water, sand and chemicals underground to break open shale rock and release natural gas, spokesman Brad Wurfel said. It is controversial in many states, with opponents contending it pollutes air and groundwater, although the industry and many regulators say the technique is safe when done properly.
Officials with the DEQ and the Department of Natural Resources will host meetings Tuesday in Troy, Wednesday in Muskegon and Thursday in Traverse City. They're being held in advance of a May 9 auction of rights to explore for gas and oil on state-owned land in 17 counties.
'We needed a forum where we could cut through the fear-mongering and the hype and the misinformation,' Wurfel said.
Companies have used fracking on 12,000 wells in Michigan in the past 50 years without harming the environment because the state has strong regulations that are rigorously overseen, he said.
But opponents say the industry now is targeting deeper deposits and using a horizontal drilling method that will require significantly more water.
'Hundreds, perhaps thousands of new wells could be coming, and it could have a huge impact on our water system,' said Jim Nash, water resources commissioner for Oakland County who has convened his own meetings on the subject. He said he's worried about a number of potential problems, from pollution of lakes and ponds to truck traffic and noise.
Wurfel said there are no plans to use fracking in Oakland County because the area's geography isn't suited for it.
An opposition group is seeking petition signatures for a ballot initiative to outlaw horizontal fracking. LuAnne Kozma, its campaign director, said supporters would attend the state meetings to 'correct the record.'
--- Online: http://www.michigan.gov/deq/0,4561,7-135--300835--,00.html


text:
More than a picture, every photo includes
a piece of my heart.
This is a sample of my work. If you like what you see, please take a moment and explore the rest of my site. I add new images and galleries often so check back from time to time. Drop me a note and let me know what you think of my work .
My images are available for purchase. Please visit my Sales/Services page, contact me for pricing or visit my store, ImagesByCat, on Etsy.com.
You can also find me at
107 N Bent St.
Powell, WY
On Line:
Visit my Store at
ETSY.com - ImagesByCat
All photographs and graphics on this website are the property of ImagesByCat / Cat Pentescu Photography / Catherine Pentescu. All photographs and graphics are protected by U.S. copyright laws and are not to be downloaded or reproduced in any way without the written permission of the photographer / designer.
opyright 2018 © Cat Pentescu Photography ImagesByCat.com
All rights reserved


text:
As a female engineer with a degree in mathematical modeling and computing, I often have found that people I meet are surprised when I tell them what I do.
Most people do not expect words like theoretical mathematics, software engineering and technology consulting when they first see me. I do not mind this at all. I like surprising people and the response is always positive.
There is also a general impression that I must have a lot of male colleagues who are a bit nerdy. Here they are right, but it is a great part of why I love my job.
Most of my colleagues are men, but I am used to working in a male heavy environment from my time at university, so I don't think about it that much.


text:
The Christian Reformed Church in North America: Its History, Schools, Missions, Creed and Liturgy, Distinctive Principles and Practices and Its Church Government
Eastern avenue book store, 1924 - 255 pages
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activity already America Arminians Article Baptism Bavinck Bentheim Bible Boer brethren called Calvin College Calvinistic Canons of Dordrecht catechetical Chapter China Christ Christian Reformed Church Christian School church government Church Order Classis Confession congregations Consistory Covenant Creed Dathenus denom denomination divine doctrine Dordrecht Dutch early East Friesland elders faith fathers formed Friesian Gereformeerde God's gospel Graafschap grace Grand Rapids Heidelberg Catechism Hemkes Holland Holy Home Mission hymns instruction Iowa judicatories Jukao Kerk Kuyper labor land language later Liturgy Lord matter membership Michigan ministers ministry missionary movement of 1857 named Neo-Calvinism Netherlands Noordeloos organization pastors period of struggle pioneers prayer preaching Presbyterian principles Prof Psalms Psalter Raalte religion religious rule Scholte Seceders Secession Seminary sion societies South Holland spirit Synod Synod of Dordrecht teaching Theological School things tion truth union Vanden Bosch Vander Werp Vriesland Word worship Zeeland zijn


text:
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Purchase the fifth issue of Legendary Cougar Magazine Volume 1 as a single, online-only issue.
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text:
The Azure Code Samples are currently available in English
Contoso Insurance - Azure App Services Code Sample
What is Contoso Insurance?
Contoso Insurance is a sample that demonstrates the advantages of using the Azure App Service for building Modern Applications. It demonstrates using the following Azure App Services features.
Mobile Applications (Pre-Compiled)
Contoso Insurance is a Mobile-First, Cloud-First solution. It requires the use of a mobile application in order to submit new claims. To make things easy, we have created pre-compiled Mobile Client Applications for Android and iOS (iOS application is still pending) which are distributed via HockeyApp.
See Contoso Insurance Documentation.
A demo walk-through was presented at Microsoft Ignite, see the video Understand the future of software development in the cloud with the Azure Application Platform
See License


text:
Moonhee Cho
Primary tabs
In Press
Celebrity endorsement for nonprofit organizations: The role of celebrity motive attribution and spontaneous judgment of celebrity- cause incongruence. Journal of Promotion Management.(In Press).
Meeting the needs of the practice: An evaluation of the public relations curricula. Journalism & Mass Communication Educator.(In Press).
Communicating CSR on social media: Strategies, main actors, and public engagement on corporate Facebook. Public Relations Division of the Association for Education in Journalism and Mass Communication.(2014).
Corporate Donor-Charitable Organization Partners: A Coorientation Study of Relationship Types. Nonprofit and Voluntary Sector Quarterly. 43(4),(2014).
Donor empowerment: Enhancing nonprofit-donor relationships and donors' supportive behavior. International Communication Association .(2014).
Examination of influential factors of tablet PC use: An application of theory of pllaned behavior and technology acceptance model. Journal of Communication Science. 24(4),(2014).
How Korean newspapers and television news programs cover blood donation: A quantitative and qualitative analysis of facilitators and barriers. Health Communication Research. 10,(2014).
Influential factors of college students' intention to use wearbale device: An applicaiton of the UTAUT2 model. Korean Journal of Communication and Information Studies. 68,(2014).
Nonprofits' use of Facebook: An examination of organizational message. Public Relations in the Nonprofit Sector: Theory and Practice. 281-295.(2014).
Public engagement with nonprofit organizations on Facebook. Public Relations Review. 40(3),(2014).
Empowerment as a key construct for understanding public relations' potential for community building. International Communication Association.(2013).
Explaining the impact of organizational social capital on transparency and trust. The Korean Journal of Advertising and Public Relations. 15(2),(2013).
Exploring factors affecting tablet PC users' intention to purchase mobile applications: An extension of the UTAUT model. International Communication Association.(2013).
Exploring the role of social network sites in media brand relationship. Media management and social business: Value chain and business models in changing media markets. 735-748.(2013).
Perceptions of public relations students' empowerment, faculty interaction, and perceived relationship investment as determinants of relaitonship quality with their academic department. Journalism & Mass Communication Educator. 68(3),(2013).
Social media as branding tools: Exploring the effects of social media on brand relationship and the role of consumer characteristics. Media Management and Economics of the Association for Education in Journalism and Mass Communication.(2013).
Twitter activity following the Supreme Court gene patent decision. Consumer Genetics Conference.(2013).
Understanding publics' engagement with organizational social media: Why publics engage with organizational Facebook and how organizations interact with publics. International Public Relations Reserch Conference.(2013).
User perceptions of social media: A comparative study of perceived characteristics and user profiles by social media types. Online Jorurnal of Communication and Media Technologies. 3(4),(2013).
When and how do publics engage with nonprofit organizations through social media? A content analysis of organizational message strategies and public engagement with organizational Facebook pages. Association for Education in Journalism and Mass Communication .(2013).
An empirical study of micro-blogging: Integrated model for Twitter adoption. Pacific Telecommunication Council.(2012).
Media frames and ethnic minority women in Korea: Expanding a generic frame in minority studies. Asian Journal of Women's Studies. 18(4),(2012).
Understanding user adoption and behavior of smartphone. Association for Education in Journalism and Mass Communication.(2012).
Celebrity charities: Effects of Celebrity Motive Attribution, Identificaiton and Issue Involvement. American Academy of Advertising.(2011).
An Empirical Analysis of Social Media Use: Examination of Determinants of Attitude toward and Use of Twitter and Facebook. Association for Education in Journalism and Mass Communication.(2011).
The impact of organizational social capital on transparency and trust: Examining the roles of communication adequacy and accuracy. Association for Education in Journalism and Mass Communication.(2011).
Social media use in a mobile broadband environment: Examination of determinants of Twitter and Facebook use. International Journal of Mobile Marketing. 6(2),(2011).
When the 'Stroller Moms' take hold of the street: A case study of how social influence made the inactive publics active in anti-U.S. beef protest in Seoul-An issue processes model perspective. International Journal of Strategic Communication. 5(1),(2011).
Celebrity endorsements and nonprofit charitable organizations: The role of celebrity altruistic motive and identification. Association for Education in Journalism and Mass Communication.(2010).
Consumer perceptions of social media: A comparative study of perceived characteristics and consumer profiles by social media types. Association for Education in Journalism and Mass Communication.(2010).
An investigation and analysis of theory building in nonprofit academic literature. Association for Research on Nonprofit Organization and Voluntary Action (ARNOVA).(2010).
Roles of nonprofit organizatios as social oil: How local nonprofit organizations help multinational corporations build social capital in host countries. Association for Education in Journalism and Mass Communication.(2010).
Understanding benefits corporate donors expect from their contributions based on the mixed- motive model. Association for Research on Nonprofit Organization and Voluntary Action (ARNOVA).(2010).
Understanding media frames that cover an ethnic minority group in a homogeneous country: Expanding a generic frame in minority studies. Association for Education in Journalism and Mass Communication.(2010).
News and Events
Silicone Valley and Ms. Purple Read more
Read about CMST Alumni Brad Vinson...go to Alumni & Friends
Friday, March 29 CMST Alumni Advisory Board meet
Wednesday, April 3-7 Southern States Communication Association Conference
Tuesday, April 9 School of Communication Studies National Honor Society Lambda Pi Eta Initiation ceremony 5:30 PM Scripps Lab
Monday, April 15 Charles J McClung Public Speaking Contest 5:30-9:30 Cox Auditorium
Wednesday, April 17 CMST student trip to Chattanooga meeting with alumni about jobs and internships
Monday, April 29 School of Communication Studies Graduating Senior Reception 6-7PM at Holiday Inn World's Fair Park


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Recently, President Obama attended the White House Conference on America's Great Outdoors to speak and sign a memorandum that sets a 21st century conservation agenda to bridge public and private efforts to conserve outdoor spaces (including farmland) and connect Americans with the outdoors.
While the efforts of farmers and the importance of farmland conservation were mentioned by the President, I want to stress how vital farmland is to any strategy to protect the outdoors.
Why? Because farmers and ranchers are stewards of almost half the land in America. Moreover, farms produce more than food, fiber and renewable fuels. Increasingly we're pressing farm and ranch land into service to also address climate change, air and water pollution and energy concerns.
The President also noted that "conservation is not contrary to economic growth," but an integral part of it, and he's right. Environmental markets mean new opportunities for American agriculture. We no longer measure the production from our nation's farms and ranches by just bushels, bales, pecks, or animal units ―but now also miles per gallon, carbon offsets, water quality credits and bird nesting sites.
However, if we're going to have healthy farms, healthy food and a healthy environment, we have to remember that farm and ranchland is the critical component. We can no longer assume that increased agricultural productivity per acre will make up for the continued loss and fragmentation of our farmland, or offset the increasing demand on agricultural lands to provide these types of environmental benefits in addition to the basics of food and fiber.
Some of the broad goals of the America's Great Outdoors initiative include building on local and state and private priorities for the conservation of land, water, wildlife and other resources; and determining how the federal government can best advance those priorities through public private partnerships and locally supported conservation strategies.
There is much to gain if we focus on stemming the loss of America's farm and ranchland. Despite efforts to protect agricultural land, over 23 million acres has been lost since 1982. We need to clarify and understand the multiple demands on, and the benefits provided by well-managed agricultural lands, and determine our country's need for agricultural land as a national security asset in a sustainable green economy for food, environmental services, wildlife, energy and open space.
The Departments of Agriculture and Interior are accepting ideas to better support modern-day land and water conservation efforts happening in communities across the country. We hope you'll submit a comment expressing the importance of our farm and ranch lands in achieving any national conservation goals.
We can encourage the federal government to be an active partner and contributor to the efforts of private landowners, states and communities to secure and manage this resource base for future generations. At American Farmland Trust I know we're ready to work with the administration and stakeholders, and I hope you'll join in this effort, too.
About the author: Bob Wagner celebrates his 25th year at American Farmland Trust in 2010. He has worked in the field of farmland protection since 1981. In his current position, Wagner helps states and local communities nationwide build support for and create policies to protect agricultural land. He can be reached at email@example.com


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Issue-Related Reports
PSATS recently served on two state commissions to address issues that are having a major impact on townships: natural gas drilling and transportation funding. See the resulting reports below.
- Marcellus Shale Advisory Commission Final Report
Transportation Funding Advisory Commission Final Report
Additional Reports of Interest
- SR 6 Commission Final Report on Fire and Emergency Services
- Pa. State Transportation Advisory Committee: Financial Needs of Counties and Municipalities for Highways and Bridges Final Report, December 2011


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So I started out with a couple of these ....
1) I bought 2 Rast dressers from IKEA, and assembled the tables, except for the drawers.
2) I primed the 'body' of the dresser {assembled} and the fronts of the doors and then sprayed them using RustOleum's black lacquer spray {Tip, I would buy the attachment for spray paint cans to make spraying evenly much easier...oh, and wear a mask and spray in a well-ventilated area!}. I did 2 coats to get good coverage.
Ring pulls: Lee Valley (size: 51mm x 43mm- $2.40 x 12)
Here are a few images that I gained inspiration from for my tables:


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Faculty and staff whose departments and colleges have unique software needs should contact Information Technology Services to assist with the purchase, licensing and distribution of discipline-specific software. ITS is Northeastern's centrally managed software provider for applications used for research, teaching and university business.
ITS negotiates, procures and manages software licenses, often acquiring additional services and/or lower licensing costs. If possible, ITS attempts to identify other departments/areas of the university who have the same software needs, allowing you to cost share the purchase, which makes the software more affordable and more widely available. Once software is purchased, licensed and/or verified by ITS, we will work with your to distribute the software.
For more information on software installation and to prevent any licensing or integration issues, see the Software Policy page.
Get Started
Acquisition & Licensing
Faculty and Staff can submit questions regarding assistance in the acquisition of software or a request that the Software Licensing staff investigate, negotiate and help procure software by submitting a Request Software Assistance request through the ServiceNow portal (sign-in may be required). For more on this process, see the How To's. Once you have acquired the software, you can then submit a distribution request.
Faculty and staff also can submit a Software Licensing and Distribution request through the ServiceNow portal (sign-in may be required) for ITS to distribute department-owned software used for research, teaching and university business, or to provide lab use for a minimum of 25 computers. For more on this process, see the How To's.
- NOTE: Ample licensing is required to install software on Northeastern-owned machines for distribution and it is suggested that departments should contact ITS prior to purchasing an application. This may prevent any licensing/integration issues.
The software submission process will:
- Ensure software will work properly within Northeastern's computing environment without affecting other applications
- Prevent copyright infringement and guarantee compliance
- Enable faculty and staff to obtain the maximum benefits for budget funding spent
- Provide a central location of software licensing documentation
- Notify software owners of upgrade and/or expiration of a supported application
- Define level of support for software submitted
Software submission schedule:
Please allow 8 weeks (not including university holidays) starting from the time ITS has received the required software and documentation to the time you need the software available. This lead-time gives ITS the time it needs for testing and installation of multiple applications, along with necessary maintenance activities. Requests will be tested and installed in the order in which they are received, so please be aware of high volume requests periods prior to the start of each semester.
Please note that if ITS determines that the software will become part of the base image, the request must be received by the submission deadlines below.
|Submission Deadline
|Image Version
|Date Available*
|October 1
|January 1
|March 1
|May 1
|June 1
|September 1
* Date the software is expected to be available in the machines
Requests for distributing department-owned software submitted after the above closing dates will receive "best-effort" service. All on-time requests are given priority. Valid software licenses are required for all software installed on the Northeastern network.
In order to obtain the best purchase and licensing terms for your software needs, and to reduce the likelihood of licensing and integration difficulties, ITS welcomes your call prior to purchasing a software application. Contact us at firstname.lastname@example.com.
How To's
Software Acquisition and Distribution – How To's
- How To: Plan a software purchase for university business, research or teaching
- How To: Request distribution of department-purchased software


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Treatment options for grade III ogliodendroglioma
Dear OncoLink "Ask The Experts,"
My 36 year-old brother was recently been diagnosed with a grade III ogliodendroglioma in his right temporal lobe. The tumor was large, 8.3 mm, and he had surgery to remove it. The neurosurgeon got 95% of the tumor out and put in Giadel wafers as well. We are considering treatment options and are confused. We have been told that radiation therapy and chemotherapy late effects outweigh the risks of waiting to see if there is tumor recurrence. I feel my brother should do radiation and chemo while he's young and healthier. What could be side effects from radiation to that area and how severely could they affect day-to-day function? Would Gamma Knife and chemo be the better choice for what remains? I'm worried that if we do not attack the cancer leftover now, the tumor will most certainly return and the treatments will have to be applied anyway. Why not do it now while my brother is physically and mentally ready to fight? Your help would be appreciated!
Hui-Kuo G. Shu, MD, PhD, Assistant Professor in the Department of Radiation Oncology at the University of Pennsylvania, responds:
The standard therapy for all malignant gliomas is to attain as good a resection as possible followed by radiation therapy +/- chemotherapy. Gliomas, by nature, are infiltrative tumors and despite maximal surgery, some residual (whether visible or not on post-operative imaging) is invariably left behind. Radiation therapy is therefore used to treat this residual disease to hopefully prevent or delay potential recurrences. Gliomas can show either astrocytic, oligodendroglial or mixed differentiation. Multiple studies have shown that oligodendrogliomas tend to have better prognosis than astrocytomas and this fact may be a consideration in what adjuvant therapy to offer. The question of what sort of adjuvant therapy to offer for a WHO grade III, or anaplastic oligodendroglioma is one that is now more complex with the identification of markers that may predict response to chemotherapy and overall outcome. Recent reports show that many anaplastic oligodendrogliomas have a specific deletion of a portion of chromosome 1 and 19. These chromosomal deletions are highly correlated with responsiveness to chemotherapy and outcome. Therefore, knowing the chromosomal status of the tumor may provide valuable prognostic information. Given our understanding of this tumor, it is typically recommended radiation therapy and, most likely, chemotherapy for a patient in this circumstance regardless of the chromosomal status. However, if the deletion(s) is (are) present, this would portend an extremely good prognosis and response to therapies. Conversely, if the deletions are not present, this tumor would be less likely to respond to chemotherapy and this would definitely portend a worse prognosis. While some reports in the literature actually advocate using chemotherapy alone (after surgery) in patients with this chromosome 1 deletion and a normal p53 status, this approach (with omission of radiation therapy) still requires further validation in clinical trials.
Conformal radiation therapy to the partial brain is generally relatively well tolerated. Acutely, patients experience some level of fatigue and may start to experience headaches especially as the treatment proceeds. There will also be focal hair loss depending on the entrance and exit of the radiation portals as well as varying levels of skin reaction. Radiation reaction in the brain can occur leading to some increased edema and swelling in the area of treatment with side effects dependent on location in the brain (for example, reaction in the dominant temporal lobe may actually lead to some speech deficits because of effects in the speech center). Overall, these acute side effects are generally not excessive and the patient receiving radiation therapy could still expect to be able to do most of the things that they could do prior to the start of radiation. Late effects may include some neurocognitive impairments including decreases in memory. However, recent data from a group at the Children's Hospital of Philadelphia studying the effect of conformal radiation therapy on neurocognitive outcomes in adults seems to suggest that radiation therapy to the partial brain causes much less neurocognitive sequelae than was previously thought.
As far as what type of radiation therapy to use, I would recommend 3-D conformal therapy and would not advocate using radiosurgery (either delivered via a linear accelerator or a gamma knife unit). There are biologic advantages to giving an extended fractionated course of radiation therapy (typically given over 30 to 33 treatments) over a single, high dose treatment as is typical for radiosurgery. Radiosurgery as a boost to standard conformal therapy has been studied clinically but to date has not proven to be significantly better than a regular extended course of conformal radiation therapy.
In summary, the general recommendations for any patient in this situation would be 3-D conformal therapy to tumor plus margin with chemotherapy (the standard is probably PCV - Procarbazine, CCNU and Vincristine). These radiation treatments are generally extremely well tolerated and is likely to produce relatively minimal side effects that have been enumerated above.


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To say that recent energy trends both in the US and abroad have been confusing is a considerable understatement. Over the last several years, concerns over carbon emissions and government policies have led to significant investment and growth in solar, wind and nuclear. But aggressive development of domestic oil and gas resources, including shale gas, tight oil, tar sands and deep offshore resources, have led to a resurgence in domestic production that has tilted the energy playing field, reshuffling the pecking order in the process. Of particular significance is the widespread adaption of natural gas for electricity generation. This has left both nuclear and wind, which were previously competing successfully against coal, in a position to compete against natural gas, which has been more difficult.
 Given the falling natural gas prices, both nuclear and wind are having trouble competing. And, according to The New York Times, theyâre fighting each other as well. Because there is no national, comprehensive energy policy, but rather only what the Obama administration calls an âall of the aboveâ approach, which ends up diluting the both the effort and the investments needed. The market needs a clear signal because of the large investments involved. You can see this confusion at work also in the biofuels area, where weâve seen a backing off of the commitmentâunder a lot of pressure from the oil industry, I might add. That could potentially scare away investors.Â
Itâs true that falling gas prices have held back renewables. Prices were even lower in 2013 than they were in 2012, which were low enough to shake things up. Itâs a very dynamic market comprised of two major segments that are quite different: power generation and industrial/buildings. In the power generation world, utilities own both coal and gas plants, and have the opportunity to switch back and forth between them by flipping a switch in response to price signals. So the price of coal will drop in response to the low price of natural gas and vice versa. So much so that gas, which accounted for 40 percent of electricity generation power in 2012, fell to 35 percent in 2013, due to the decline in coal prices.
In the case of both buildings and industry, fuel selection is a question of capital infrastructure that is not so easily changed. That is why some analysts say that oil and gas companies, seeing the looming threat of renewables to their profitability, are making a deliberate effort to drive natural gas prices down as a survival tactic, hoping to induce customers to make such investments, lured by the low gas prices, thereby locking in those sales for years to come. The use of gas for industrial purposes, according to the International Energy Association, has remained high this year for exactly this reason.


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U.S. Department of the Interior, National Park Service
There are five basic types of historic vessels which may be eligible for listing in the National Register. These types are:
Qualifications for Evaluating Historic Shipwrecks and Vessels for the National Register of Historic Places
Individuals recommended to prepare nominations for historic vessels and shipwrecks should be knowledgeable in maritime studies. Usually, such persons have academic backgrounds or experience in such fields and disciplines as marine survey, maritime history, archeology, historic preservation, and American studies. Individuals competent to conduct work described in this bulletin should be familiar with the terminology used to describe wooden and iron vessel construction, hull types, rigging, marine steam, and other machinery. They should also be familiar with the development, trends, and chronology of vessel types and maritime trades in North America.
Evaluating Historic Vessels for the National Register of Historic Places
To qualify for the National Register, a historic vessel must have significance as one of the vessel types listed above and retain integrity of location, design, setting, materials, workmanship, feeling, and association, and meet one or more of the National Register criteria A, B, C, and D.
Determining the significance of a historic vessel depends on establishing whether the vessel is 1) the sole, best, or a good representative of a specific vessel type; 2) is associated with a significant designer or builder; or 3) was involved in important maritime trade, naval, recreational, government, or commercial activities. The significance of a historic vessel can only be determined through a systematic investigation of the vessel's qualities, associations, and characteristics. A typical investigation for a historic vessel nomination should include:
|National Register Home | Publications Home | Previous Page | Next Page


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Located at 81 Chenango St, Binghamton NY, the Greater Binghamton Transportation Center is your one stop station for local, regional, and interstate bus travel. The facility offers a safe, clean environment with a large indoor seating area and a host of amenities. Several restaurants and retailers are within walking distance. The Broome County Department of Public Transportation has its primary transfer point located at the facility for easy, convenient access to more places in the Greater Binghamton area.
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'The entire premise of the show is antithetical to the hunter-gatherer principles. It's a nightmare vision of primitive life! And the worst part of it is that now you hear people saying: 'You are so off the island.' " Like the rest of us, Richard B. Lee is talking about CBS's new hit "reality" series, Survivor. Unlike the rest of us, he actually knows of what he speaks.
Co-editor of The Cambridge Encyclopedia of Hunters and Gatherers and a world-class anthropologist specializing in African Bushmen, Dr. Lee is a forager expert. And the folks on Survivor—while they may gnaw on beetle larvae, hunt rats, run around with torches, go to a pseudo-primitive "tribal council" and paint their faces with mud—just don't cut it.
At his cramped office at the University of Toronto, Dr. Lee helps me sort out the differences between Survivor's tribes and the real thing. "Hunter-gatherers believe in sharing, inclusivity, and in making it all work together," Dr. Lee explains. In traditional Iroquois cultures, if food was scarce, whoever had food would share it equally among other tribe members.


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WENHAM, Mass. – The Georgia College women's cross country team took second place among 18 teams at the 42nd Annual Pop Crowell Invitational Saturday at Gordon College (Mass.).
The Bobcats finished with 46 points, 11 behind winner the University of New England, and ahead of the Emmanuel College Saints, who posted 113.
Lena White (Smyrna, Ga.) came in just one tick off the lead, finishing the course in 20:17 for second place in the 177-runner field, behind only UNE's Brittney Sorbello.
Rachel Pasko (Jefferson, Ga.) finished in 20:34 taking fifth place and leading a trio of Bobcats. Taylor Roeck (Cumming, Ga.) was sixth, less than a second behind Pasko, while Bekah Houston (Dalton, Ga.) took seventh in 20:37.
Elyse Renshaw (Snellville, Ga.) rounded out the Bobcat finishers in 26th, posting a time of 21:57.
The Bobcats are back in action Saturday, Oct. 4 at the USC Aiken Invitational in Aiken, S.C.
The Georgia College Department of Athletics, two-time winners of the PBC Commissioner's Cup, sponsors 11 varsity athletic programs at the NCAA Division II level. As a Division II program, Bobcat Athletics prides itself on balancing the life of the student-athlete, evidenced by the teams' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at @GCBobcats on Twitter and Facebook for up-to-the-minute reports, and visit www.GCBobcats.com for more information, and to nominate your favorite former Bobcats and Colonials to the GC Athletics Hall of Fame.


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OP25 project joins hosting on osmocom.org
Some days ago, I noticed that the famous OP25 project (a Free Software implementation of the APCO25 system, a digital trunked radio system) was no longer reachable on-line. It seems they were running this on a desktop PC in a university. As nobody in the project still seems to be at that university, a change in the network configuration had accidentally rendered the website unreachable.
After some quick e-mails, I offered to host them within the osmocom.org family of Free Software Projects for mobile communications. This is when op25.osmocom.org was created, and a full-site backup uploaded + installed.
I'm really happy that we were able to do a small part to help to make sure this valuable project remains accessible to interested parties in the signal processing and mobile communications field.


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After winning their first (and only) game of the season against the Blazers at home, the Wizards flew on their brooms en route to New York to try and propel on a two game winning streak. Not surprisingly, the Wizards have numerophobia of the number two, and they lost against the Knicks, causing their measly one game winning streak to fall into pieces. Despite being up by 9 at the end of the first quarter, The Knicks were annihilated on the offensive glass 13-3, which basically kept the Wizards in the game early (I know, that sounds pretty funny), but the Wizards didn't go further. Despite the Knicks sloppy start, they pretty much commanded the rest of the game. After having an early first quarter lead, the Wizards never regained the lead from the Knicks. Even if John Wall wasn't injured, he would of probably been jacking up random threes trying to improve his .071 3P% from last year. Even if Wall took ten threes, he would still probably miss all of them because he is a monstrosity of a three point shooter. Anyways, here are some notes:
- Pablo Prigioni gets tonight's honorary first bullet. Following up his excellent performance in Milwaukee from last night, Prigs played 25 minutes of excellent basketball. He may have only scored 8 points and dished out 5 assists, but he started to find his shot, shooting 3-4 from the field. It appeared that Prigs got rid of his shot hesitancy. One of his made shots was a stupefying contested jumper while the shot clock was about to expire early in the second quarter. I felt like stripping down all of my clothes and running outside like a deranged lunatic knocking on my neighbor's door and high-fiving them because it was that mesmerizing. Prigs also orchestrated a perfectly executed alley-oop to J.R Smith, in which J.R nailed a reverse dunk. I lost count on my Prigs inbounds steal counter, but whoever is keeping track, you can add another steal to that counter. Prigs continues to have a knack for aggravating inbounds passers after a basket. Prigs was the floor general tonight, which brings me to…
- Raymond Felton had an abhorrent first half. For some reason, Ray still believes that his Toney Douglas-esque floater can convert, while it continues to clang off the rim constantly. Thankfully, he only took one of those, but his shot selection in the first half was atrocious. Instead of attacking the rim, the Wizards' defense baited him into taking long twos. Ray resurrected from the dead and picked up the pace in the second half. Felton started to attack the rim more. That is where he absolutely succeeds, whether its getting overexcited with throwing lobs to Tyson Chandler (there was only one of those) or just plain aggressive drives. Poor decision making was Ray's first half, but he regained himself in the second half.
- Melo played 28 minutes and basically rested the 4th quarter. There were talks of David Stern implementing "substantial sanctions" against that, but I guess he didn't notice. Anyways, Melo had a typical Melo game shooting 6-13 from the field, made some nice pinpoint passes, one off of penetration, attacked the rim, drawing fouls, you know, as well as starting off the game with the elbow iso for like the 102957102597th time, or something like that. Maybe I have to guesstimate.
- Tyson Chandler missed a shot! TRADE HIM. Of course, I'm kidding. Ever since Tyson broke out of his early season slump against the Nets, he's been super freakishly efficient. Tonight, he didn't succeed in making every single one of his shots like he did against the Bucks, but he shot 5-8 from the field and had a double-double (12-10). Its safe to say that Tyson's early season slump has banished.
- You know that dunk I was talking about before? That dunk where J.R Smith channeled his inner Dominique Wilkins? Yeah, that one. That dunk essentially summed up J.R's performance. To end the first half, J.R shot 4-6 from the field, with a +16. He ended with 20 points on 9-14 shooting along with a +20, along with providing some solid help defense. Good J.R. Now you can go drown yourself in cognac at the club. Well, I don't know if that's your preferred alcoholic beverage, J.R, but I'm just assuming. Just bear with me, Earl.
- I noticed that Ronnie Brewer is starting to love the mid-range jumper. Meanwhile, Dave Hopla is fist pumping because he knows he's the best shooting coach out there. Brewer only made 19 threes last year. This year, he's made 12, but now counting the two threes he made tonight, Brewer has now made 14. Brewer is starting to become a corner specialist, hitting his only two threes from the left corner. On one possession, Kevin Seraphin grabbed a rebound and threw a careless pass right into Brewer's chest, which was followed by a Brewer assist to Tyson Chandler for a CHANDLER SMASH. Although Seraphin was mentally deficient on that play, it was still a great defensive play by Brewer nonetheless.
- Kurt Thomas started and got his 8 minutes. He committed two fouls. Vintage Kurt. He did what he was supposed to do.
- Sheed had a relatively quiet 17 minutes. He dropped only one Sheed bomb from downtown, but also had 4 rebounds. Not a lot of Sheedanigans tonight, or maybe there was some, I just didn't notice any.
- Steve Novak didn't exactly produce a carbon copy of his three barrage against Milwaukee, but he paid his three point shooting dues, going 3-6 from beyond the arc. I'm jumping with joy now that Novakaine is back. I'd rather not be deprived watching him jack up threes in garbage time like he did that one game against the Hornets. That was unbearable. Novak's back.
- Believe it or not, Cope got some significant minutes. In 13 minutes, he scored 6 points and was tagged with three fouls. Whatever, Cope.
- James White…garbage time uselessness. No tomahawk jams. Very disappointing, Flight. *cries in the corner*
- Walt said the phrase "tenacious D" and I immediately thought of this.
- Robert Randolph was tamed. However, I still loathe him, and he should self-loathe himself.
What did I take from this game? Well, the Washington Generals, err…I mean Wizards, love missing 4-8 foot shots. This is mostly in reference to Kevin Seraphin's copious amount of missed hook shots and short jumpers off of his own offensive rebounds (he had 7 offensive rebounds). Seraphin went 6-15 and had a double-double, but half of his shots were either his patented missed hook shot or his unlucky short jumper that rolled off the front rim. Remember when Nene was a starter? Oh yeah. Oh, and Earl Barron, HAHAHAHAHAHA. Also, there was the daily STEEEEEEEEEEEEEEEEZ (Jordan Crawford) bench appearance, which was pretty interesting, considering the fact that he was the leading scorer for the Wizards with 17 points. The dismantling of the Washington Generals halts their record at 1-13. The Knicks are now 11-4. I have something interesting I wanna share. If you guys weren't paying attention to my Twitter, (it's okay if you weren't. I have absolutely nothing against you) I tweeted at halftime that I once met A.J Price at a McDonald's in 2010. Weird huh? One time, my Dad and I were visiting family friends down in Amityville (I have been to the Amityville horror house too. Pretty creepy stuff.) and we stopped at a McDonald's, and oddly enough, I saw A.J Price wearing his Amityville Memorial high school jersey. This was during the offseason. He was a pretty nice guy. I talked to him about what it was like to be drafted, and he said "It was incredible. My dream came true…to become a professional basketball player representing Long Island. All of my hard work paid off. " There was more, but that's about all I remember. I think you guys would get the gist of it, though. Its too bad he hasn't found himself in the NBA. Oh well. The Knicks head into Phoenix tomorrow to play the Suns.
Follow James on the Twitter @J_Griff
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