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Jessica Chastain is Spectacular in The Eyes of Tammy Faye
As a child, I vividly remember sitting and watching The 700 Club and PTL (Praise The Lord) with my relatives, who just loved themselves some Tammy Faye! Tammy Faye Bakker, was mostly known and seen as the flamboyant televangelist, singer and woman alongside husband Jim Bakker (Andrew Garfield). As they built a multimillion dollar ministry empire, Tammy Faye became known more for her outrageously thick eye makeup and unique speaking voice. What we didn't know is this was a woman who was told her entire life that she would be nothing and was often ridiculed and belittled, while going against the grain of her religious roots illustrating compassion to those seen as sinful or unworthy.
Jessica Chastain in the title role delivers a captivating performance full of heart, complexity and verve! Her transformation into a woman whose fashion and makeup choices are now cemented into pop culture is nothing short of earning her the moniker "Lon Chaney of Actresses." With every role, Chastain literally throws every fiber of her being onto the screen, but she takes Tammy Faye from a media punchline to a vulnerable human dealt blow after blow, yet handing it with grace and humility all the way up to the end of her very colorful life. She's even doing all the singing, which take massive courage if you have never done so on camera or otherwise.
Director Michael Showalter shepherds Chastain into a performance with sincerity, compassion while humanizing a portrait of someone with humble beginnings as the secret only child of her mother's failed first marriage, to her unexpectedly passionate college courtship with Jim. The Bakkers refined the delivery of gospel attracting millions of followers to their satellite network and Heritage USA theme park, until it all came crashing down at the height of their success as Jim was convicted for defrauding viewers and donors in 1989.
Based on the 2000 documentary of the same name, The Eyes of Tammy Faye is also a tender portrayal of Tammy Faye's personal faith spotlighting her compassion for the LGBTQ community during a time when they were ridiculed and ignored making her a beloved icon in the community to this day.
Produced by Searchlight Pictures, The Eyes of Tammy Faye is in theaters now.


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As it Happened: Harvard President Claudine Gay's Inauguration
A Proposal to Merge Harvard's Small Language Programs Has Fallen Flat. What's Next for the Humanities?
Cambridge Public Schools MCAS Scores Return to Pre-Pandemic Levels
'Celebrations Come to Life' for Harvard Students Celebrating Rosh Hashanah, Yom Kippur
Harvard College Suspends 'Senior Gift' Campaign Amid Falling Buy-in from Students
The Harvard College Democrats formed a coalition with more than 40 other college Democrats chapters across the nation Wednesday to boycott donations to the Democratic Congressional Campaign Committee in response to a recent policy change that the college groups argue favors incumbents.
The DCCC announced in March that it will no longer hire any vendor who "works with an opponent of a sitting Member of the House Democratic Caucus."
A press release issued by the college Democrats coalition argues the policy change will prevent new candidates from entering politics.
"Primary challengers are essential to ensure that the Democratic Party is continually held accountable to the needs of our constituents," the press release reads. "The rule would financially deter and greatly disadvantage vital new voices in our party, who are often younger and come from underrepresented and historically marginalized communities and identities."
The statement calls the DCCC's new policy "undemocratic and antithetical to our values of inclusion and diversity." The coalition additionally advocates for "a national boycott of donations to the DCCC until it reverses this blacklist rule and institutes policies that support, not punish, new voices in the Democratic Party."
The coalition comprises many types of schools from across the country, including historically black colleges and universities, liberal arts colleges, and state universities. Only one other Ivy League chapter — Dartmouth College Democrats — joined the coalition.
Jeremy A. Stepansky '21, legislative director of the Harvard College Democrats, said he proposed creating the coalition because he opposes the DCCC's new policy. He noted that several Democrats, including Representatives Ayanna S. Pressley and Alexandria Ocasio-Cortez, have also spoken out against the rule.
"We can't only be concerned with holding onto a Democratic majority — we have to push to change what a Democratic majority means: does it uphold the status quo? Or does it fight for economic, social, racial, and environmental justice for all, inside and outside the US?" Stepansky said.
DCCC officials, in contrast, have argued that the policy change protects incumbents and will help facilitate efforts to maintain the party's majority in the House of Representatives.
Harvard College Democrats President Hank R. Sparks '21 said he thinks the coalition of multiple college Democrats chapters will give their demands more weight.
"The power of a coalition is to say it's not just us from our so-called ivory tower at Harvard saying, 'You should change this,'" he said. "It's college Democrats from every background, from every state across the nation speaking out against this policy."
The Harvard College Democrats called for a boycott of the DCCC because the new policy makes group members uncomfortable donating to the Democratic committee, according to Sparks. He said he thinks instituting a boycott will draw more attention to the issue than just issuing a statement condemning the policy change.
"If we just released a statement saying we disagree with this, to be honest, it wouldn't get much attention, and we feel like we had an obligation to bring attention to this issue," he said. "And so we might not have a big financial impact on the DCCC through this coalition, but I'm hoping that they'll hear us."
— Staff writer Kevin R. Chen can be reached at firstname.lastname@example.com.
— Staff writer Laura C. Espinoza can be reached at email@example.com.
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In the Studio
Having the freedom to work on whatever I want in my senior studio honestly stressed me out at first. I tend to do better when I'm given a direction or an idea to build off of. I wasn't sure how to get started so instead of wasting time, I used most of my first day in the studio working on a project for another class. (during the making of this piece, I figured out what my first studio painting would be.)
The assignment was called Obstructions. One of my peers had to give me a few limitations/guidelines to follow when making a piece. I knew I wanted to do a portrait and include some abstraction in the background (after seeing Andrea Soos' work--the topic of my first post). The obstructions assigned to me were "use one brush for the whole piece" and "paint the portrait with unusual colors."
I started off by setting up my color palette. Then I began creating a background of shapes and color by referencing a photo of main street in Ephrata. Once the acrylic dried, I adjusted the placement of the portrait based on the background. The portrait was done in all blue with the exception of the glasses which I wanted to make pop. The last step was building up some of the shapes from the background on top of the figure to merge the two.


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What's the Best Luau for Me?
Planning a trip to the Hawaiian Islands seems like an endless string of decisions to be made. What airline do I use, which hotel is best for kids, what adventures should I go on, do I have time for a visit to Pearl Harbor? These are just some of the questions that should be considered before setting off on your big trip, but there's one more we think you should throw in: "which luau is best for me?"
If you've never been to a luau, the question can be a tricky one to answer. How are you supposed to know if you don't know what you're basing the decision on? That's where we come in! Booking the activities for your Hawaiian vacation shouldn't be stressful, so we've broken down what you need to consider when you're choosing your luau. At the end of each section, we'll give our recommendation, which may help you narrow down your choices.
What's on the Menu?
You'll quickly find that most luaus offer similar foods, typically including poi, poke, lomi lomi salmon, kalua pork, lots of fruits and vegetables, and likely some version of teriyaki chicken. It's all delicious, but not particularly helpful when deciding which luau to choose.
That is, unless you're into "farm-to-table" dining. For that, Diamond Head Luau stands out as being the island's only farm-to-table luau. What is "farm-to-table," you ask? Everything on the menu at Diamond Head Luau is freshly grown locally and delivered straight to the luau. Nothing is shipped in, so everything is as fresh as can be. Using only fresh, local ingredients really elevates the flavor, which jumps Diamond Head Luau ahead of the others.
Recommendation: Diamond Head Luau
What About Booze?
Even if you're not a big drinker, the tropical setting and social nature of the luau may have you wanting a refreshing grown-up beverage. If this is important to you, you can scratch the Luau at the Polynesian Cultural Center off your list. It is the only dry luau in the islands. Of course, for some people, the lack of alcohol is a plus.
Generally, adult luau admission includes a drink ticket or two. Anything after that is pay-as-you-go.
Recommendation: Tie
Are There Activities for Kids?
If you're bringing kids, you want them to be entertained and feel like a part of the festivities. Feeding them unfamiliar food only goes so far. Luckily, virtually all luaus offer family-friendly activities that the keiki (kids) will love to participate in.
Most luaus feature hula lessons and lei-making, but Chief's takes it further. Here, the little darlings can learn how to weave headbands from palm fronds, get a Polynesian-inspired (temporary) tattoo, learn how to make fire (responsibly), and even be shown how to throw a spear!
Recommendation: Chief's Luau at Wet 'n' Wild
Convenient to My Hotel?
Most luaus are some distance from the main tourist area of Waikiki, and generally they offer an optional transportation add-on. Since most luaus offer plenty of tropical cocktail options (see above), we highly recommend leaving the driving to the experts.
Two exceptions are Rock-a-Hula and the Diamond Head Luau, both of which are conveniently located within walking distance of the major hotels. Each has its own unique charms.
Recommendation: (tie) Rock-A-Hula and Diamond Head Luau
Who Has the Best Extras?
When you sign up for a luau, you can expect entertainment, tasty food, and a great atmosphere. Some luaus offer something extra, throwing in access to activities to enjoy before the festivities begin.
For example, Diamond Head Luau comes with admission to the Waikiki Aquarium, Ka Moana offers entry to Sea Life Park, and the Polynesian Cultural Center Luau includes access to the Island Villages which introduces you to the unique cultures of the Polynesian Triangle. Adults and children alike enjoy learning about different elements of Polynesian culture, some of which find their way into luau traditions.
Recommendation: Polynesian Cultural Center Luau
What Kind of Entertainment Do I Want?
All luaus culminate in a performance that captures the spirit of Hawaii through stories, song, and dance. Fire-knife and hula dancing are staples of most luaus, but there is one that stands out as having a different kind of show: Rock-A-Hula.
Rock-A-Hula adds to the customary hula and fire knife dances with rock and roll performances featuring Elvis Presley and Michael Jackson tribute artists.
Recommendation: Rock-A-Hula
Bottom Line
Every luau offers something distinctive that makes it "the best" for someone. Hopefully, this list will help you decide what's most important to you so you can choose your own personal "best."


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Your WD refusal is not very helpful
Just a quick reminder why WD HDDs suck:
- Do a web search for 'wd lcc issue' or 'wd lcc problem'. Parking drives to death is something WD is famous for
- SMART attribute 199 is really great since it allows you to spot cabling/contact problems easily when you start to use a new HDD (SATA specs define a rather primitive CRC mechanism to ensure data integrity 'over the wire' and good HDD manufacturers expose these CRC errors via SMART). Not with Western Digital. For whatever stupid reasons they do not allow their customers to get a clue if they run into cabling issues with their new drives -- low performance and the risk of data corruption for exactly no reason.
- Their USB3 drives claim to be UAS compatible but you need to blacklist UAS since numerous strange problems occur otherwise
- Now this violation of specifications and the firmware increasing ATA error count for no reason
And while this increased ATA error count is just a cosmetical issue it obviously scares users.


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Anchivas Web Security Appliances have the ability to store more than one million signatures and currently hold over 750,000 malware signatures for long lasting protection against spyware and other malware with long lifecycles. Developed around Anchivas RapidRX ASIC high-speed data inspection engine and patent-pending malware identification techniques, Anchivas architecture scales to near gigabit rates and ensures Internet traffic flowing in and out of corporate networks is secure, without impacting performance. Designed for enterprise organizations and service providers, Anchivas Web Security Appliances deliver a distinctive solution that scans the volumes of inbound and outbound messages passing through network infrastructures to ensure business applications continue running as usual.
With the increase in Web 2.0 applications and technologies in the enterprise, and the potential financial rewards hackers can gain, enterprises are looking to protect their networks at both inbound and outbound entry points. Security solutions available today need to have in-depth, application-centric, scanning and filtering capabilities to protect vital data. Anti-virus and anti-spyware signatures need to be updated frequently to protect companies against all threats while maintaining the pace of business. Having a security solution that addresses a complete range of security threats as well as performance needs is crucial to mission-critical, optimal business operations. Anchiva not only addresses these issues and threats, but does so at nearly 3 times faster than traditional software solutions and has a comprehensive signature database that is updated daily with new malware signatures.


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India's biggest record label T-Series has grown at whirlwind speeds in recent times.
After months of competing neck-and-neck with Sweden's PewDiePie, the homegrown company became YouTube's numero uno channel by subscribers on March 29. Led by chairman and managing director Bhushan Kumar, the music and movie production company expanded its subscriber base on YouTube from 30 million at the start of 2018, to 70 million within a year. It is now nearing the 100 million subscriber mark.
After acing the YouTube battle, Kumar and his team are now working on strengthening T-Series' digital offerings, which has emerged as the Mumbai-based company's biggest revenue source. In an interview with Quartz, he talks about how critical it is to churn out good content, stepping up the company's game in films, and the necessary evil that smartphones are.
Edited excerpts from the interview:
What does being the number one channel on YouTube mean to you? Does it help business?
We were never in this tussle to become number one or two with anyone. But all along there were these sarcastic comments from PewDiePie. And that's how we decided to respond to the comments. I launched the #BharatWinsYouTube campaign, seeking more subscriptions from Indians. For us, this status does not result in any change on the commercial front. However, it changes the perception about who we are. With these developments, T-Series gets promoted. What is heartening is that now we are seeing growth even in countries where people were not watching our channel earlier.
Has online as a medium become big enough to start contributing significantly to your revenues?
Digital today is the biggest revenue stream for anybody. At T-Series, we count some parts of revenue coming from TV under the digital head. We have divided our revenue into physical and non-physical sources. So, in that sense, online platforms, that is excluding TV and radio, contributes anything between 60% and 70% to our revenue.
Are you creating content exclusively for the web?
When it comes to music, we tied up with (the music streaming app) Hungama as early as 2005. It was our first digital streaming partnership. At the time, the association was more about promoting caller tunes. Today, there are multiple players in the music streaming space alone. There is JioSaavn, Gaana, Amazon Music, Spotify, Apple Music, and Airtel Wynk. We have partnerships with most of these players.
We are also into creating content for web series. For us Hotstar, Amazon, and Netflix are good platforms. Work on web series is in its initial stage. We are working on content and partnerships. We do not have specific investment numbers to give out for that.
You are also betting big on films?
We have 20 to 25 film projects. We are backing good content-driven films. The company has movies like Bharat, Tanhaji: The Unsung Warrior, De De Pyaar De, and Bhuj: The Pride Of India. T-Series is doing four projects with actor Ajay Devgn. Then we have one with Ranbir Kapoor. We are investing Rs500-600 crore in films this year.
What do you think is the future of over-the-top (OTT) and digital media in India? Will it kill TV and cinemas?
Smartphone usage is on the rise and mobile data is getting cheaper. People are watching a lot of content on their smartphones. So, digital has a bright future in India. TV is also there to stay. Those who are in the TV business say advertising revenue is growing 15-20% per year. In comparison, digital is growing four-fold annually. Irrespective of the medium, it is good content that is going to win the game.
Digital platforms have offerings at cheap prices. Movie tickets are still expensive. Shouldn't there be a price correction at cinemas?
Digital platforms are priced cheaper because they have an advertisement-led business model. In the movie business, the value chain is completely different. Theatres works on occupancy levels. Even if there are just 15 to 20 people, you have to run the show for them. They say they are running losses, hence increasing prices is not the solution. Also, theatres claim they do not make much money, but their valuations are on the higher side. I am not in the theatre business, so I am not in a position to point out what are the exact dynamics.
We are into production and distribution of movies, so from our point of view, hiking prices is not an option. We want to see more screens being added and ticket prices going down to attract more people. Pricing has to be reasonable.
Have you set up a separate team for digital? How big is the team and what is the mandate given to it?
We run our digital team on the lines of a boutique firm. We do not believe in keeping 100 people, instead, we have a team of 20 running our digital business. It is led by a bunch of our senior-most people.
Do you enjoy this shift in consumer preference from theatres to smartphones? Have you shifted, too?
For a businessman like me, smartphones are a lifeline. I use the device to watch promos of my films, songs, and videos. There are days when I end up spending as much as five hours on the phone.
Using a smartphone for long hours is stressful, bad for the eyes and overall health. But a smartphone is a necessity today. You cannot do without it. Obviously, over-usage of everything is bad and the same holds true for a smartphone as well. We need to watch the time our kids spend on the device. There are times when I wish I could go back to my good old (feature) phone with no internet.


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Tonight is one of my favorite nights … Evening Star Productions brings back the Heart and Sol Radio Hour in partnership with Talk 4 Media. We will be broadcasting tonight's performance of THE LAST FIVE YEARS live to shut ins, friends and family members around the globe. In the house will be The Dean K. […]Read more
Category Archives: NBC
The White Elephant Grand Opening Party
The White Elephant #GRANDOPENING! NEW OWNERS! TOTALLY NEW MENU! Get Trunk with us! @The The Adventures of Pipeman Radio Show and W4CY Radio of Talk 4 Media partnered with #iHeartRadio will be broadcasting live 8-10PM ET on Saturday, August 1, 2015 . Meet and Greet with PipemanRadio hosts #ThePipeman & Michaela Paige Kaman from #NBC […]Read more
Don't Miss Celebrity Adventures of Pipeman
Today 9PM to 11PM ET on www.w4cy.com W4CY Radio brought to you by The Intertainment Network don't miss The Celebrity Adventures of Pipeman featuring Celebrity Fashion Designer Jimmy Star, NBC's The Voice's Michaela Paige and more celebrity guests. This will be the best show of the year. The Power of You Radio Show, The Power of We Relationship Radio Show, The […]Read more
What do Pipeman, Michael Paige, NBC, and CBS have in common?
Today is a big day at W4CY Radio brought to you by The Intertainment Network, UEC Military Freedom Network, W4WN Radio – The Women 4 Women Network, W4CS Radio – The Cancer Support Network, and The Intertainment Network, Intertainment Network. We have The Adventures of Pipeman Radio Show with our new cohosts at our new time featuring special guest Bishop Glover as seen […]Read more
Tune in Monday night to check out Michaela Paige as she pitches her radio shows on W4CY & W4WN Radio EXCITING BREAKING NEWS!!!!! Our very own radio host Michaela Kaman of F.M.L. (Friends. Music Life.), Pursue Your Passion, and Off Topic on W4CY Radio brought to you by The Intertainment Network and W4WN Radio – The Women 4 Women Network has auditioned for […]Read more


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Tremendous amount of progress in Lynn
"There is not another Gateway city where there is so much development actively that is ready to pop," he said. "Tremendous progress has been made since we announced Lynn is a priority for us."
LEAD's goal is to focus city, state and federal expertise on a dozen projects scattered across downtown and the waterfront. Since November, that effort has included Ash's meetings with National Grid representatives. The utility is the leading owner of oceanside land in the city, said James Cowdell, executive director of the Economic Development and Industrial Corp.
Citywide development, including the former General Electric River Works, the Whyte's Laundry site on Willow Street and the former Beacon Chevrolet land, where an $80 million Lynnway apartment complex is planned, offer "similarities and their own unique challenges," said Ash.
"We're tackling them one at a time. With each, we are getting closer to development," Kennedy said.
One of the challenges has been linking the 1,100-unit proposed gear plant project to commuter rail service. State Transportation Secretary Stephanie Pollack said she is optimistic that scheduled train stops can be arranged at the River Works stop, now reserved exclusively for GE employees.
An overarching goal in the LEAD discussions is increasing the city's market-rate housing. State Rep. Brendan Crighton said the city and state can combine forces to lure developers with tax credits.
"The only way to attract market housing to Gateway cities is through creative financing," he said.
Crighton and Moulton said talks are underway with GE representatives about opportunities to repurpose River Works land for residences or innovative businesses.
"We have a lot of good ideas," said Moulton. "We need to see them come to fruition."
But not all the news coming out of Friday's session was good. Don't expect to sail on the commuter ferry this summer. Pollack said the search continues for money to help the city buy a ferry and to cover operating costs.
Thor Jourgensen can be reached at email@example.com.
April 8, 2016newsLynn, NewsEconomic Development and Industrial Corp, General Electric River Works, James Cowdell, Jay Ash, Lynn, Lynn Economic Advancement and Development team, Mayor Judith Flanagan Kennedy,National Grid, Secretary of Housing and Economic Development, State Rep. Brendan Crighton, State Transportation Secretary Stephanie Pollack, Thor Jourgensen, U.S. Rep. Seth Moulton, Whyte's Laundry
Back to News


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At DataMatrix, we offer fast, accurate and secure Medical Practice Solutions
We build solutions that help healthcare professionals take better care of their patients.
Initially, we conduct a complete analysis of your entire business workflow to find issues with the existing system. We then design customized solutions to tackle your practice's specific issues. Thus, providing valuable support to your healthcare practice and facilitating its long-term health.
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Service Dog Fund
Train Your Existing Dog
Some people decide a current, older pet might become a suitable partner
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Have Our Trainer Match You With a Dog To Be Trained
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© Service Dog Fund, Corp.
Providing Veterans and their families with Service Dog Training
Founded 501(c)3


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April 1st is International Bird Day, which was established to draw attention to the need for preserving the species diversity and numbers of birds in their natural habitat. The date is timed to coincide with the start of the birds' return from their wintering grounds. It has been celebrated officially in our country since 1926.
Environment protection is an integral part of the Company's corporate culture and operation principles. The Company has been a member of the UN Global Compact for more than 10 years. In 2018, the Company confirmed its commitment to 17 UN Sustainable Development Goals, including goals No. 14 Life Below Water and No. 15 Life On Land.
Rosneft scientists are observing the birds as part of environmental monitoring. Biologists work on geophysical vessels and escort vessels. They collect data on species composition, bird occurrence and migration routes. Scientists report considerable diversity and abundance of birds in the northern seas, especially on ship transits along the mainland coast and islands. The Company develops biosphere monitoring programmes based on the data it collects during project implementation.
Since 2020, Rosneft has been implementing a targeted innovative 'Assessment of Arctic ecosystem sustainability based on research into the dynamics of key species' project as part of the Business and Biodiversity national project and a cooperation agreement with the Russian Ministry of Natural Resources. One of the species under study is the Ivory gull population, which is one of the indicators of the sustainable state of Arctic marine ecosystems.
The Ivory gull studies are carried out by the Arctic Research Centre (part of the Rosneft Oil Company) with the involvement of specialists from the Arctic and Antarctic Research Institute (St. Petersburg). In 2021, scientists analysed material that had been collected during the 2020 expedition in the islands of the Kara Sea. For the first time, the white blood cell formula of Ivory gulls has been described and comprehensive studies have been carried out to assess the stress level of the birds and the health parameters of the population.
In the 2022 field season, the Ivory gull surveys will continue in the area of the islands of the north-eastern Kara Sea. Collecting data on the presence and numbers of Ivory gull colonies is planned to be carried out during aerial surveys by visual observation as well as by photo and video recording means. Specialists will conduct ringing, tagging and biometric examinations of the individuals, and take samples for analysis.
Note for Editors:
The Ivory gull, a rare and protected species, is the smallest and most endemic species of Arctic seabird with a limited breeding ground. Most of the global population nests in Russia from Spitsbergen eastward to the Laptev Sea. Included in the Red Book of the Russian Federation and the Red List of the International Union for Conservation of Nature.
The Ivory gull lives permanently in the Arctic. It is also referred to as a feathered polar bear, as it is so closely associated with the high latitudes. Even the population size of the Ivory gull is comparable to that of the main polar predator and they often live side by side.
The remoteness and inaccessibility of ivory gull's habitat and nesting areas and uneven distribution through the habitat area affect fragmentation of information on the number of the species and its dynamics, territorial links and population structure.
Ivory gulls are characterised by movements during the non-breeding period. The Ivory Gull is a typical seabird and only goes on land during the breeding season. Young and skip-breeding birds stay exclusively at sea and roam widely in the Arctic Ocean waters within the drifting ice zone.
The Ivory gull is very adaptable in its choice of nesting habitats. The vast majority of Ivory gull colonies are located in a variety of mountainous and rocky habitats. There are also nesting sites at artificial sites (e.g. weather stations) in areas that have been developed by people.
Information Division
April 1, 2022


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We Want 2000 Appointments for Chemistry Teachers! He started sharing on Twitter a few days ago. #chemistryteachers2000atama Our Chemistry Teachers, who try to make their voices heard with the hashtag, continue their struggle.
Minister of National Education Nabi AVCI said that the appointments would be in July and determined the number as 40,000. However, this period has been moved to August and it has been reported that the lion's share of the teacher appointments to be made in the last week of August will be English, Guidance and Psychological Counseling, Classroom Teaching, Science Technology, Turkish and Mathematics Teaching.
In August 2013 appointments, the base score of Chemistry/Chemical Technology Teacher was 79,216.
Out of 1410 applications, only 168 people were appointed. In February 2014, 76,93 base points and only 99 people were appointed.
As the Chemistry News team, we want to allocate 2000 quotas in the appointments of Chemistry Teachers and to eliminate the grievances. We look forward to your support.
📩 23/07/2014 08:47


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Inspired Incompetence
Episode 50 - Lifting the Fog
Holy hell, we made it to the end of Book 2 of Tyrant's Grasp. We seem to have finally cleared out the rot infecting the Bastion of Light and now all that remains is to figure out a way to remove that evil yellow fog that has had us penned in since we emerged from the Dead Roads. It's time we earned our freedom.
Apple Podcasts | Google Podcasts | Podbean | Stitcher | Spotify


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If you have been to Thailand you know that they will flaunt things that are quite illegal in many other countries, like the US. Not going to make a list of the questionable things that you can buy in Thailand, but you get the idea. So why is Thailand the only country to ban Bitcoin? Because they are scared of it. The Thai government, Bank of Thailand, and the Foreign Exchange Administration and Policy Department voted to make this digital currency illegal.
You can no longer, legally, buy, sell, trade, or transfer Bitcoins in or out of Thailand. While some think this type of move makes the Bitcoin less relevant, I think it actually makes the Bitcoin stronger. No different than when the US government made it illegal to own gold (April 5, 1933). It doesn't disappear it just goes underground for a while. The US
pulled their head out of their a$$ and made gold legal to own again in 1974. My point is, this type of thing only fans the flames. Go Bitcoin.


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GameStop has reportedly ordered stores to stay open 'even during lockdowns'
Leaked internal memo claims company offers "essential retail" service
Retail chain GameStop has told its US stores to stay open regardless of city or state shutdowns to protect against the ongoing COVID-19 outbreak.
That's according to a company memo obtained by Kotaku, which reportedly instructs employees that GameStop stores are "essential retail" similar to groceries and pharmacies and should therefore be exempt from enforced closures.
"Due to the products we carry that enable and enhance our customers' experience in working from home, we believe GameStop is classified as essential retail and therefore is able to remain open during this time," the retailer reportedly said in a memo sent to staff.
The letter allegedly goes on to state that should police attempt to enforce closure of a GameStop store, then managers are approved to provide a document which encourages them to call GameStop's corporate headquarters.
GameStop has been criticised by employees and the media for its failure to react to the COVID-19 crisis.
However, in a statement sent to Polygon on Thursday the retailer outlined a number of measures it had put in place to combat the virus.
These include suspending trade-ins, limiting the number of customers allowed in each store to ten, reducing hours to 12 – 8, disabling all in-store game stations, and cancelling all events and midnight launches.
Additionally, it said it had implemented heightened cleaning practices on all high-touchpoint surfaces within stores.
GameStop said in a statement: "Like many businesses, we are continuing to monitor the COVID-19 pandemic closely and adjusting our business practices to align with CDC recommended guidelines, while satisfying our gamers demand for the product they want in a manner that protects both our customers and our associates."
Update: GameStop claimed in a follow-up statement: "While GameStop is best known as a provider of gaming and home entertainment systems, we also offer a wide array of products and devices that are important to facilitate remote work, distance learning, and virtual connectivity.
"As millions of Americans face unprecedented challenges adapting to virtual learning, working and interaction, there is significant need for technology solutions and we are one of many providers of these products that are remaining open at this time.
"Schools, businesses and families are now suddenly dependent on being able to connect through technology. While there are many businesses and organizations far more critical than ours, we believe we can have a positive impact during this very challenging time.
"The health and safety of our employees and customers is of utmost importance and we have and will continue to take extensive precautions consistent with CDC guidelines. We are complying with all state, county, city and local ordinances and we will continue to adjust to any future developments."


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Starz's hit drama 'Outlander,' adapted from Diana Gabaldon's book series of the same name has a life of its own now, especially after the character Murtagh Fitzgibbons played by (Duncan Lacroix) was seen alive, well and rebelling in season 4 of the time-traveling drama.
Now, fans fraught with 'Droughtlander,' are ruminating about Murtagh's ultimate fate after season 4's cliffhanger, and sadly, we cannot even turn to the books for answers. Season 4 ended with Murtagh's life in jeopardy along with Jamie Fraser's (Sam Heughan). Soon after Brianna Fraser and Roger MacKenzie reunited in River Run, a team of horses come with Redcoats, with a special message for Jamie Fraser from Governor William Tryon.
The governor has entrusted the Scottish Highlander to kill the "criminal" Murtagh Fitzgibbons for leading the rebellious group Regulators to fight against the Redcoats. The Regulators are an underground group of Scottish people who despise the British for what they consider unjust taxation. Murtagh happens to be the leader of the group and a wanted criminal.
However, in the books, the Regulators are mentioned in passing and Murtagh, who is also Jamie's godfather, dies in 1745 at the Battle of Culloden between the Scots and the British. The character, resurrected in the series, gets a bigger storyline as he gets into an unexpected relationship with Aunt Jocasta.
The powerful Aunt Jocasta and a powerful godson may be able to protect Murtagh and the upcoming season may heavily focus on the conflict. However, ever since we re-met Murtagh in season 4, the fan-favorite character has a lurking hypocrisy.
Murtagh gave a stirring speech against the British when he took Jamie to see the underground revolutionary meeting, staunchly accusing the British of robbing them of their hard-earned income. However, hypocrisy was noted when Young Ian met Murtagh for the first time in Wilmington not knowing he is related to him.
Jamie asked Young Ian to get a horse bit fixed because they had to return to Fraser's Ridge the same evening after an unsuccessful run to find settlers in Fraser's Ridge. Murtagh, who was the blacksmith that Young Ian approached for the work, seemed least interested in fixing the horse bit and said he would do the deed only if he was paid a whopping amount of 21 shillings.
That was all the money Young Ian had and he did not want to disappoint his uncle, Jamie, so he paid the entire amount. When Young Ian told Jamie that all the shillings were gone to get the shoe fixed, enraged Jamie went to charge the blacksmith who had basically robbed the young boy. Ironic.
As it turned out, it happened for the best since that is when the Frasers reunion took place. They flung open hugs and Murtagh eventually returned the shillings to Young Ian at the bar when they needed money for a beer refill.
However, because it was Murtagh Fitzgibbons, the fan-favorite character, we chose to overlook that he had basically committed the same foul deed he accuses the British of, "robbing" them by means of taxes, charging them much more than required.


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Walnut Creek, CA, March 07, 2022 (GLOBE NEWSWIRE) — Lumens, a part of YDesign Group, is pleased to announce the launch of its new brand identity. Passionate about design, from timeless icons to the latest in modern décor, a core component of the new brand is creating an authentic connection with its trade and residential customers. With a team of design and American Lighting Association-certified product experts, the company seeks to transform interior and outdoor spaces with thoughtfully created, high-quality pieces that are meant for living and intended to last a lifetime. This mission is exemplified by the company's new tagline: Enlightened by Design.
The new Lumens leverages its core heritage in lighting and focuses on light lines to bring the visual identity of the brand to life. Included in the rebranding efforts are an updated website design, a new site section dedicated to design products and stories, and a new content hub, The Edit, devoted to style guides, product picks, technical design knowledge and interviews with the designers behind the industry's favorite brands and designs.
"Design is inspiring, personal and collaborative," says YDesign Group CMO, Anne Berger. "Design is for life. These are the values that led our cross-functional team throughout the months of our rebranding process. Our customers have their own design style, and we're excited to help bring their vision to life with the new Lumens."
YDesign Group joined Design Holding in 2021, an international group of design-focused companies, including B&B Italia, FLOS, Louis Poulsen and other internationally renowned brands. With an assortment spanning more than 350 global brands, the new Lumens offers a best-in-class customer experience serving trade professional, residential and commercial customers.
"Each employee is dedicated to creating inspiring experiences," says YDesign Group CEO, Laura Walsh. "From our interactions with customers to searching the globe for the best products, our new brand is a reflection of our ethos and commitment to providing a personal connection to good design."
In support of the new Lumens, the company has increased their marketing investment, providing increased exposure for brands while better communicating the quality and the stories behind their products to inspire architects, designers and consumers. The company has also focused its efforts on digital channels, direct mail and print advertising, as well as an active PR program, all of which will serve to accelerate the brand's growth, and the growth of their brand partners. On March 1, 2022, the new Lumens officially turned on the lights.
About YDesign Group
YDesign Group is the leading online destination for modern and contemporary design lighting, offering a curated selection of lighting, fans, furniture and décor from over 350 brands through www.lumens.com and www.ylighting.com, including many exclusive products. YDesign Group inspires our customers to confidently fulfill their interior design vision by providing an unmatched assortment, comprehensive product information and educational content, in addition to price-matching, fast shipping, easy returns and American Lighting Association-certified sales and service teams. Based in California, YDesign Group serves consumers, trade professionals and commercial customers in the U.S. and Canada.
About Lumens
Lumens Light + Living was founded in 2004 with one goal in mind: to be the best place to shop for lighting, fans, furniture and accessories for people who love modern design. In 2021 Lumens joined the Design Holding portfolio of design companies alongside B&B Italia, FLOS, Louis Poulsen and other internationally renowned brands. We offer a vast assortment of products from over 350 global brands such as SONNEMAN A Way Of Light, Visual Comfort, Tech Lighting and WAC, as well as iconic brands like Artemide, Kartell and Tom Dixon, including hundreds of exclusive designs. Lumens offers a best-in-class customer experience with a service team composed of American Lighting Association-certified lighting and design enthusiasts serving residential, trade professional and commercial customers.
- Lumens.com new brand identity: Enlightened by Design
- Lumens Design Event Trade Catalog Cover


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We discuss whether you can get a rebate on your new buyer payday mortgage account at Test Into Cash. Funds. Funds can be deposited into your checking account as quickly as the next business day. Money transfers. Some shops now have Western Union money transfer companies. Check cashing. You possibly can cash virtually any verify onto a prepaid debit card or cash.
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Examine Into Money additionally offers the flexibility of making use of on-line or in-store, whichever is easiest for you. Because of this, many Check Into Cash reviews price its companies quite highly. Nonetheless, some states haven't got in-store places, and a few don't supply on-line providers, so check on their website before committing your self to a alternative.
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Deciding Upon No-Hassle Advice Of Check Into Cash
So far as Verify Into Cash promo codes go, the gives listed online are sometimes for short-time period loan merchandise, and not something from the list above. Though the business of brief time period lending wasn't new again then, their methods were. Now, Check Into Cash operates over 1,000 stores across 30 states and remains one of the largest payday lenders within the U.S.
Check Into Cash has a toll-free support hot line. All you must do is dial 877-262-MONEY to connect to the workplace nearest to you. Alternatively, call the overall service hotline at 800-504-9101. Go to the Examine Into Money website at for extra details on our money advance procedures and charges.
The employees are very nice and helpful when you might have a question and so they at all times name and remind you when it's time to are available to pay. The store is always clear and organize. Very helpful and educated with all of the products they offer right here. I'd suggest this place.
As for the in-retailer utility process, you will write a personal check for the cash advance plus the fee, which the corporate will hold until your next payday. You will get the cash and repay the loan plus the payment if you obtain your next paycheck.
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Great! The very best thing to do is funds on your cost. With brief-time period loans, your interest and principal will usually be due by you next verify, so it is necessary to have the ability to cover the whole cost of the mortgage before you borrow. What you borrow from Examine Into Money should solely be used to cowl an emergency or funds shortfall. Due to the high interest, it's crucial to only take out what you want while you need it.


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by Mike Davenport, Coaching Sports Today
I've noticed many coaches (especially myself) have a few coaching tricks we hold on to.
Honestly, I've tried many of the new, latest-and-greatest tricks. Especially when it comes to using the newest technology whiz-bang gizmo. But seldom do I find new ones that work as well as my current tricks, so I keep coming back to just a few tricks I can count on.
A few special ones that really work for me.
I keep my coaching tricks in a bag that is never far from hand, just like the cartoon character Felix the Cat.
That's the way most old coaches are. We hold on dearly to what works and keep them close by. And I do consider myself an old coach (with around four decades of coaching experience).
After all those years there are two things I have learned
First, OLD coaches can learn NEW tricks. Certainly.
But second, and more importantly. . .
YOUNG coaches can (and should) learn OLD tricks.
The type of trick that is BOMB PROOF.
A trick that works, and works, and works. Time-tested, if you will.
Because young coaches are a highly motivated group. Looking for ways to improve. Trying to get to the finish before the other coach does. Willing to try new and old tricks alike. The old tricks that have survived usually do so because they work.
What does this have to do with you?
If you consider yourself an old coach (been through, say, more than 7 seasons) how about writing down 3 or so tricks that you always use in your coaching. Just don't think about them, write them down. Then, share those old tricks with a young coach.
Sounds awkward, I know. And maybe egotistical.
But by sharing even just one of those old coaching tricks in a graceful and generous manner, with a young coach, you may reap rewards in ways that will surprise you. And if you're a young coach, six seasons or less, how about asking the advice of an older coach. You may be surprised at what you learn, and might make an old coach feel just a little bit better about coaching.
A little give-and-take can go a long way. That right there is one of my coaching tricks.
Learn from Dr. Davenport's four decades of college coaching experience by visiting Coaching Sports Today. Or, to work with Mike in his role as National Recruiting Coordinator here at Tudor Collegiate Strategies, email him at email@example.com


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Lawmakers propose $60M for teaching students as young as kindergarten to evaluate the media
Democratic lawmakers are proposing spending $60 million over five years to teach students as young as kindergarteners how to evaluate the media.
Democratic Michigan Rep. Elissa Slotkin introduced the "Digital Citizenship and Media Literacy Act" in the House last week.
"We know that foreign entities continue to target ads and disinformation at voters in states like Michigan, that seek to divide our communities and influence our political process," Slotkin told FOX Business.
"An important part of safeguarding our country against foreign influence is making sure individual citizens have the tools to spot that disinformation. In this new age of digital information warfare, education is critical — and I'm proud to join my colleagues in introducing a bill to help encourage media literacy education," she continued.
"Learning to critically analyze and create media is a lifelong process," the bill says.
Right now, the bill is cosponsored by six members of Congress, including Virginia Rep. Abigail Spanberger and New Jersey Rep. Mikie Sherrill. They're among several freshman representatives with military and national security backgrounds who banded together to form Task Force Sentry, a group that aims to prevent foreign election interference.
The bill cites Russian, Chinese and Iranian attempts to spread disinformation to disrupt to democracies like the U.S. as evidence that children as young as 5 need media literacy education.
The bill charges the Secretary of Education with overseeing the program, which would give grants to state media literacy advisory councils to work with local education agencies on developing curricula, training teachers and evaluating "student learning in media literacy."
It would give the Department of Education $20 million to spend on grants in fiscal years 2020, 2022 and 2024. Fiscal year 2020 began Oct. 1.
Democratic Minnesota Sen. Amy Klobuchar, who is running for president, introduced an equivalent bill in the Republican-controlled Senate in the summer.
"Adversaries are targeting our democracy with sophisticated information campaigns designed to divide Americans and undermine our political system. One of the best ways we can fight back is to give people the tools they need to identify these disinformation campaigns and that begins with educating students," Klobuchar said in a statement in July.


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Instaknow Partners with Apogen Technologies to Provide Unparalleled Collaboration Technology to First Responders
January 3, 2006 (South Plainfield, NJ)
Instaknow and Apogen Technologies announced today a partnership that will bring the Instaknow Active Collaboration Engine (ACE) ® into Apogen's current work developing information systems for first responder agencies.
Instaknow-ACE's paradigm technology is highly-advanced and patented wizard-based artificial intelligence software that builds unlimited custom rules and logic, across all digitized information sources and systems, empowering decision-makers and automating real-time processes and actions without writing code and without change to existing systems. Apogen plans to leverage the unique capabilities of Instaknow as part of their software solutions for first responder collaboration and communication.
"Instaknow's technology really raises the bar for the possibilities of technology to overcome interoperability challenges in our emergency preparedness system today," commented David Mize, Senior Vice President, Apogen. "We are looking forward to bringing in Instaknow as a critical tool in solving our customers' mission critical challenges."
"Imagine FEMA, the National Guard, the Army, state agencies and the corporate community sharing real time information without limit, automating processes and decisions, getting the right information to the right people at the right time. Instaknow's rapid deployment gains the agility and resiliency vital to event management," said Jeff Sherer, Senior Vice President, Instaknow. "Together with Apogen's experienced staff we will increase the effectiveness of emergency operations and leverage government resources to levels previously thought to be unattainable."
About Instaknow.com. Inc. Located in South Plainfield, NJ Instaknow's breakthrough platform has gained attention across all sectors winning contracts with the military, government agencies, and corporate America.
For more information, visit www.Instaknow.com or Email: email@example.com
About Apogen Technologies
Apogen Technologies provides technology solutions to government entities to address their complex, mission critical challenges of national significance. Current customers include: U.S. Department of Homeland Security, U.S. Department of Agriculture, U.S. Census Bureau, U.S. Customs and Border Protection, U.S. Department of Defense, U.S. Department of Energy, Internal Revenue Service, and the U.S. Navy. Apogen Technologies is ranked number 48 on Washington Technology's Federal 100 list and is also listed in the top 10 Department of Homeland Security contractors. Apogen Technologies' growth has been noted with a 10th place ranking on the Washington Business Journal's 50 fastest growing company's list and a 35th place rank on Deloitte's Virginia Fast 50 list. Apogen Technologies is a wholly owned subsidiary of QinetiQ North America. More information can be found at www.apogen.com


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Stacked To Fuck: Stud Fingers, Licks & Bangs 3 Horny Chicks
Today's Hands on Hardcore episode by DDF Network is another intense masterpiece featuring stud Mugur and the three horny chicks Athina, Zazie Skymm, and Cecilia Scott. He fingers, licks, and bangs the three stunning Hungarian bombshells in this absolutely breath-taking XXX premium porn scene. Watch the groupsex awesomeness unfold, as Athina and Zazie enter the bedroom and find Mugur drilling Cecilia's tight twat on the bed. Soon, the blonde college babe starts making out with maid Zazie while the long-haired hottie Athina gives him a sensual blowjob.
Mugur licks her in return and soon stuffs her fuckhole with his massive cock. He bangs her hard and deep while she receives some face sitting by the brunette beauty Athina. The three voracious girls share his cock and lick his balls before they get stacked to fuck! One babe climbs on top of the other and Mugur works their shaved pussies one after the other. He fingers and licks two holes while banging the third one. The chicks play with their natural tits and enjoy his dick in their pussies until he blows his cum all over their tongues!


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- Super Heroine Jr Saves the Crisis !! Imaginer Dream
- Product No.
- Actress
- Ayaka Fukumasu Shieri Nakamura
- Director
- Eiji Kamikura
- Time
- 60 min | making 17 min
- Download Release Date
- 2006/09/08
- Label
- Under-15 Heroine
* We are stopping Distribution of Sample Movie. Restart schedule is undecided. We would appreciate your understanding in this matter.
- You can download indefinitely.
This movie can be played only by a new player called "GP PLAYER".
You be sure to install "GP PLAYER" and check the test movie, please.
Install New Player
- The school child and three Hayume for which it yearned to a super-hero picked up the black note that the space alien of a certain day mystery had dropped. The monster and shadow raged in the town in the news of TV that night passes though the dream joyfully drew the monster It was a companion, and who it was an appearance that I become a super-hero, and was enemy who fought together in the note. The dream's having drawn in the note has realized it. Naturally, to the thing that the dream also obtains the transformation ability... The dream of feeling the responsibility of my doing in the town of pandemonium confronts the shadow alone, and a desperate fight is one-sidedly almost defeated, too. The last hope is placed, the persuasion is tried to the companion and the Kitami mind drawn in the note when it wants you to fight together, and it is refused tragically. The shadow keeps raging in the town, and people are sacrificed one after another. The dream in one person shadow in a desperate resolution the re-war to the pinch again ahead of the difference of overwhelming power though it challenges. However, having come there to help the dream...
- A surprising attack is a charm in the variety of ..child of a full nature.. action and the monster shadow.
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Andrew Cuomo Announces He's a Republican and Will Be Running for Governor of Arkansas Next Year
LITTLE ROCK, AK – Disgraced former Governor of New York Andrew Cuomo announced today that he has switched political parties as a Republican and will be running for governor of Arkansas next year.
The news comes after Cuomo was forced to resign as Governor of New York after over a dozen viable accusations of sexual harassment were levied against him.
"I just love having the power of being the Governor so much that I'll do anything and flip flop on any political position as long as it benefits me politically. Besides, now that I'm a Republican, they don't give a shit if you molest or assault a bunch of women. Look at Trump," said Cuomo.
When asked what he knows about Arkansas, Cuomo admitted that he didn't know much but that he's confident there will be a lot of beautiful women for him. GOP governors Ron Desantis of Florida and Greg Abbott of Texas also announced that they have welcomed Cuomo with open arms now that he's a Republican.


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Photograph courtesy of Dan Wilton
"And I'm still just waiting for it to stop, and for it to have all been some happy little interlude, but it's going well. I will make sure that it continues, but I'm like, 'I can't really believe this is happening,'" says Karen Gwyer, reflecting on her music career so far. It's early summer and we're in the beer garden of a pub in South London. You can only hope that she'll make good on that promise, considering how it's gone up till now: it was only last year that the producer released her debut album, the excellent, heterogeneous Needs Continuum, which she's rapidly followed up with two EPs, Kiki The Wormhole and New Roof, describing an arc that's seen her sound meander through kinetic, house-flecked bangers and sepulchral ambience, both imprinted with her distinctive sonic approach.
Music figured heavily in her life from an early age: growing up with cellist parents in the Midwest, she was forced to take up instruments, something she wasn't so keen on. "It's funny, I only recently told my parents that I never learned to read music," she says. "They were like, 'What?! You faked it for years?' And I was first chair viola in the orchestra and everything. I just memorised the whole thing based on what other people were playing." She'd previously had to abandon a fledgling career as a ballerina owing to her height ("my teacher took me aside and said, 'You're too tall, it's not going to happen. You're, like, freakishly tall'") and, following a stint in her high school jazz band, left music behind, moving to New York to study photography in art school followed by a job as a graphic designer. It was only when she moved to London with her husband that she took it up again, becoming a frequent attendee of gigs at Dalston's Cafe OTO and taking part in an experimental music festival, "hooking kitchen appliances up to contact mics", and, after being asked to join a band, acquiring a synth, paving the way for what would result in her first EP, 2012's I've Been You Twice.
The music Gwyer's releasing now already feels like a distinct progression from that and Needs Continuum. It's still touched with the same immersive atmosphere as the album, hewn in layers of thick, gauzey synth and drums that are itchy and fractious, straining to pull out of the confines of regular patterns. The tracks now mostly work in long-form, stretching out to around the 15-minute mark allowing motifs to seep in and take shape before dissipating into gradual decay, embedding the listener in a hinterland soundscape. It's not placeless - Needs Continuum's 'Waukon' is named after a small town in Iowa– "we drove through a lot when I was little, in our green wide wale corduroy Oldsmobile, me in the back covered by an enormous, hot hairy white dog," Gwyer recalls – but her irreverent titling (she cites "a source of content created largely by nutters and teenagers, most either angry or horny, where the pickings are so good for the most random, off-kilter stuff" as part-inspiration for the track names) helps to leave it in liminal orbit.
The tracks' expansiveness may, in some part, owe to Gwyer's live performances, improvisatory sets where her recorded material exists in palimpsest-like form, a basis on which to build. "The gulf between 'this is my music' and what I play live, what people can expect when they come to see me, is just getting wider and wider and wider," she explains. Earlier this year, at Supersonic Ltd Edn - coinciding, in a strange twist of fate, with a set from Wolf Eyes, Gwyer's high school frog dissection partner Nate Young among their number - her show took the fraught energy of New Roof's 'Lay Claim To My Grub' as its framework, before lapsing into mesmeric drone, meshing into the Custard Factory's industrial complex, while a slot at St John Sessions in July saw her bank more heavily on the latter, revolving around the tumultuous groan of an organ in contrast to the fading summer balminess of outdoors.
Mulling over her approach to music-making, Gwyer's a terrific commentator, frequently reflecting on her statements instantaneously and taking a different tack or refocussing, ornamenting her points by mimicking the drum machines and synths she's using and at one point even pondering on expressionist cartoons as the most efficient means of capturing the essence of a techno producer's sound. We start off by discussing the fluid nature of her own music.
Karen Gwyer: I have an aesthetic that I'm sort of striving towards - it's not that I can actually feel I've achieved it. I want to be loud and I want to be banging and I want the music to not be what people expect. I want it to be meandering and weird and straddle house and techno, with a bit of hugely experimental noise thrown in. So that's a broad enough thing that I can sort of fart around in there, as opposed to farting around and, quite early on after the first album, I was like, no more vocals, that's not what I want to do. You end up getting lumped into the "lady who sings" camp. It's like, no, I don't actually want to be that lady, at all!
They feel like the least "vocal" vocals I've heard, because they're entirely part of the track.
KG: It's just an instrument, but people don't view it as an instrument, they focus on it as the glue around which everything else is sticking. That was never the case, ever. I may come back to it, but the last time I tried to do vocals that were like that, I got laryngitis! It was on the Opal Tapes tour and I was like [makes strangulated noise] and I had to give up the vocals after two nights, but that was great, because then I ended up improvising my way around it and then after that, I was like, "Well, one really good reason not to do vocals again is that you can get laryngitis." I don't want to have to worry that I'm going to be like [strangulated noise] into a microphone when I mean to make it sound suitable.
Are you working on new material at the moment? Does it sound different?
KG: Ah, yeah - very different. I can't even listen to Needs Continuum - I haven't been able to for a long time. I like some of the chords and the melodies, and at St John I played, largely, one of the Needs Continuum tracks, in a completely different way. A really, really dark scary, horrible way. Yeah, I feel like I'm still doing the same sort of things, basically, but in a totally different way, 'cause I think that it sounds so accessible! It's just way too accessible. It's the whole thing with No Pain In Pop - Tom King from No Pain In Pop has been absolutely wonderful and supportive and everything but just the identity of that label is one that I was not necessarily comfortable with. I've had him say stuff to me like, "Would you like to play some in-stores at Urban Outfitters?" It's like, "nooo" I don't think I should actually.
I wouldn't mind getting some money, but I don't actually think I should do that. I probably would have said that back in the beginning as well, but I wouldn't have known where I am now back at that point, I wouldn't have necessarily anticipated that I would want to sound that weird now. I probably don't sound that weird now, but I want to sound weird; I'm trying desperately to make it weird and a lot of it has to do with gear and gear is expensive! I mean I just flumped out on a new sequencer. But it's been like two years in the coming just to get a new thing. You go and see people playing with their shit, and they have weird instruments - that's why it sounds weird! They don't have your typical mass market synthesisers or drum machines and, you know, money isn't falling out of the sky, I still haven't won the lottery. I've identified now that part of that isn't down to my perseverance in sounding weird, it is that I actually need to get gear that facilitates that weirdness of sound. I'm doing what I can with the stuff that I have and eventually it will start to liberate.
It's interesting that you're talking about trying to sound weirder. Do you feel like you've opened up those sensibilities in general or is it that you'll strike upon something that is weirder and then try to push in that direction?
KG: Yeah, definitely. That is only part of it. We're buying loads of good techno records all the time. Techno records, techno records. I still want - this is going to sound terrible, this is going to sound like the lady is moaning again. I still dream of a day when I can play techno alongside other people who play techno. The reality of that is not what's in my mind. I don't make straight-up pounding techno where I just rock up for forty-odd minutes, an hour, bodyjacking away. I'm aiming on the next piece of recorded material to establish a direction that is a bit more directionless, in an exciting way so that nobody's going to say, "I'm just not sure I want to buy this because I just don't like this one solitary thing that's going on."
Have you tried going for a 4/4 techno track?
KG: Yeah! Loads of times! [laughs] And then I'm like, "Let's just make it a bit strange". I have done that actually - it didn't surface that much, but I made a jungle track for the latest Opal Tapes compilation. I put the Amen break in there - it's pretty much all jungle, as reinterpreted slightly by Karen Gwyer. 'Cause I just thought, why the hell not? I've spent ages talking to you now about all this experimentalism, but I just like straight-up jungle as well. It's so hard to pin down anything, because I'm a human being and I have a thousand different records at home that I want to emulate because I think they're amazing. Not just that, but be inspired by, because I want to do things and make people dance. You talk yourself into a corner trying to explain.
Right - you start off with the intention of doing something and then it ends up becoming something else entirely.
KG: It's not a cerebral process either really. I've spoken to other people about this, how, so often, when you make music and then people respond to it in a way that generally ends up being on the internet, in article form. The main theme is that you are going through a heavily cerebral process when you make music, and it is not like that, it simply is not. You say, do you ever sit down and play 4/4? Yeah! But it might be saying do this up here [points to head] but it doesn't happen that way, because I have my hands. You don't ultimately have total control over what you're doing. I'm not Stephen Hawking, I don't have the computer hard-wired straight to my brain - if I did it would be different. But my brain is just like, "Make it something different, just make something really, just perfect dance music" - I can't, it just keeps on not happening. But I'm not beating myself up, too much, about it. I do a bit. I just don't have control, ultimately, over everything. And sometimes, you're making with your intention in something, and sometimes you say, "Well, fuck it, it's not what I set out to do, but it sounds half decent". Might as well just keep seeing where it goes.
Maybe it's not something you should be beating yourself up about!
KG: Ah, I beat myself up about everything! [laughs]
But if that's the way it comes out, it's good that it ends up coming out sounding different. Maybe the aim of the game isn't to churn out some precision-tooled dance music.
KG: I think it's a simplicity issue. A friend of mine, Will Bankhead, runs the Trilogy Tapes label, and of course we get all those records. We come home and you put them on, and some of them, you're like: "That is just effortless!" What's happening there is effortless and it's beautiful and it's simple and it doesn't sound like anybody toiled over that. And it sounds like they're just so bloody gifted, they just sat down and were like, "That's what you want - you want a really banging record, there it is right there!" It's always what I'm trying to do, just be like, "Bam, there you go!" But getting there is the most fun. I'd love to talk to those people and find out how that happens.
What kind of artists do you have in mind?
KG: Low Jack. Seriously, like [mimics hard kick drums]. My music doesn't sound anything like that, but if I told you that's who's really influential. You're probably not that surprised because I'm telling you in person, but if you're reading that, you're like, "What?!" [laughs] "She is really flowery and melodic, why does she want to sound like Low Jack?"
But that's the thing - when people talk about influences, you expect some kind of replication...
KG: Similarity! Like if someone said to me, draw a picture of Low Jack, draw a really expressionist cartoon of Low Jack, it would really be how Low Jack sounds. I don't know where I was going with that statement, but I had something really decent to say. I guess, that's just - no, I don't like listening to people who are flowery. I do sometimes, but not in the way that people expect. And I've never enjoyed listening to folk music! As much as I enjoy using vocals, that's not, no, I enjoy listening to people's music which is just powerful in one way or another. Whether it be very delicate or beautiful or just dirty and kind of horrible, nasty.
Part of me just wants to be accepted by that scene. But it's not really all about that. I think that's just kind of a woman thing, because you're automatically not accepted. You start out on the outside and you have to sleep your way or somehow disguise your way into it. It's just the reality - it's all controlled by men, all the promoters are men, except maybe one promoter I've ever had was female. Yeah, that whole world is guys and I don't know, I always come back to an insecurity about making beautiful music, because I'm not a guy and I don't know if guys like beautiful music. I always go to bed at night asking myself that question. Even if 100,000 guys came up to me and said, "No, I like beautiful music", you'd be like, "No!" Also, because I'm not a very girly woman and I like beautiful music, but I don't like girly, beautiful music. There are a lot of men making music that I don't like because it's a little bit too 'lovely'. It's all a big knot of this influences that and this has an effect on that. I think when it's your own career and you know that men are in control, part of you wants to give them what they would like so that you can actually get there, you can be in that space. But what do you do? Do you compromise yourself? I think my strategy, which is not a strategy, but it's happily what I decided to do anyway, is just to make it less all about the beauty, and about what I do actually like, which is the weirder stuff, and hopefully - knock on wood - I'll start to approach that world a bit more. I probably am already there a little bit, I just don't necessarily realise it yet. Knowing guys who control it, like Will, and who just put out the most amazing records, you know that you're not a part of that, and you won't be, regardless of what you do.
Because it's a judgemental scene?
KG: Oh, massively. I don't understand why women aren't really allowed to say "it is sexist", because that's a form of judgement, when everyone else is allowed to say the music world is hugely judgemental when not discussing male and female. Everyone admits, "Yeah, it's a hugely judgemental scene" and what people's opinions are and what people publish is hugely important to everyone's careers. That's fine, everyone can talk about that, but the minute you say, "Part of this shit is just because I've got boobs" - oh no no no no, you're not allowed to talk about that kind of judgemental stuff. But it depends on where you are? Germany is fantastic: women, it's not a problem there, it's not a problem.
Why is that?
KG: It's because it's a cultural thing. End of story, it's a cultural thing. Germans have their differences, yeah, but they like the music and the music is great and they're judgmental about music in lots of ways, I'm sure, but if you're a woman in Germany, fine. Laurel Halo's just recently moved to Berlin which was partly because she was simply not getting very many gigs in the States. Partly because the scene is not there, but partly because, come on, we all know. Look at the Movement festival in Detroit - techno, there are like two women playing; I mean, come on. I can't not discuss it, because it is a reality.
I remember one of our writers picked this up a while back - when various magazines do their top 100 DJ rundowns, there are very few women. That's very telling - when you boil it down, it's insane.
KG: It's insane. It's a joke. As soon as any woman comes out and says anything about it - bash, "you bitch!" You just get absolutely slammed for saying this, but you know, fuck it... it's a joke and it's dumb. Guys just don't get this, they're just oblivious. My male friends that run really amazing record labels, that repeatedly put out exclusively male-produced records, they are oblivious, they do not get it. They do not seek out women, and other people do. Stephen Bishop of Opal Tapes has admitted to me that he has actively tried to find women who are doing good stuff, or at least I think that's what he said, and that's a sad thing. That's just sad, it shouldn't have to be like that.
So I got booked to play this Wysing festival at the end of the month - nobody told me at the time that they booked me that it was going to be all women, pretty much. When I found that out, I was like, "Goddamnit! Why don't you just have ten men and ten women?" Just don't perpetuate the novelty - we're not novel; just a person, I'm not a novelty.
The more you do things like that, the more it just underscores the tokenism.
KG: Yeah, it's the tokenism of it. And the end of year lists, everybody had in their top ten, Laurel Halo was either one, two or three - what's going to happen next year? Seriously, all these dudes writing these lists are going to be like, "Shit, last year we had a woman in the top ten, and this year I've got to find another woman, otherwise I'm going to look sexist". I can just see these guys - "what am I going to do?" Or maybe not, maybe all men again. Now that there's been that token woman - good on her, great, but it is a token thing. Why not have three? Oh we've got the one - tick! That's done. It's just a ridiculous, ridiculous thing. That's one thing, making music is another. As soon as you put the music out there, it's out there and it's in that world.
It's subject to those forces.
KG: Yeah, and those forces have testicles. So to go back to my original statement, I would just really like to be - 'accepted' sounds stupid, it sounds whiny and complaining - I would really like to be, not... On the one hand I would like to be genderless and on the other hand I would like to be able to not have to give a damn in my career. I would like it to be fine, turn up to a gig and play loud music and... You get these e-mails come through, "here's this night, here's this night, here's this night, dudes, dudes, dudes, dudes, dudes, dudes". It's just boring.
Does it put you off playing a night if it's an all-male line-up?
KG: It doesn't put me off, but I am often put on first or second, if it's not a night put on by my own people, I am not given the chance. And I fully expect never to headline anything - that's my expectation, because if I set my expectations nice and low, I won't be disappointed. I don't know any women apart from Laurel Halo and Stellar Om Source who headline anything in electronic music right now. And you have hundreds of men who do, and you can count the number of women who do on two or three fingers. I'm not going to lie, I might as well not expect anything, otherwise I'll be sorely disappointed, but it's my career.
But Germany - yay! Go Germany! Women come and they dance without being with guys, they don't have the expectation of being groped, they can enjoy themselves, they can put on gigs, they can DJ, they can promote, they just seem to be able to lead their lives normally. I'm not saying I'm going to move to Berlin or Hamburg, but it is an appealing idea for a lot of these reasons, because I just want to be like everybody else. But that's a lot of moaning and complaining - there is a lot that I'm very thankful for, I'm thankful for everybody who comes and enjoys the music and doesn't give a shit about how tight my shirt is, I'm sure that is a lot of people.
It's hard not to talk about it, because it's like the elephant in the room. In electronic music - if you're making it and you're a woman, you're different. And you're going to get booked for women's festivals and you're going to get published in the women's electronic music special in the magazine, which I have, in both instances.
You'd think that people would have realised that that's really patronising.
KG: It's the norm, it's the norm here, and it's the norm in a lot of other countries. So as long as it's the norm, why expect anything else? I guess the solution would be to be a promoter and start to try and change things. I would like to put on gigs and take a slightly different approach. Maybe down the line.
Do you think it will shift in the UK?
KG: [laughs] Not here and in the States. I think those will be the last ones to shift. Because of the culture here and the way that we're treated. But maybe as I get older, I'll care less. I'll just care less about that whole discrepancy, because I'm also entering this whole thing quite late, like a lot of people are 23 and they've already got a couple of records, and I'm in my mid-30s, so I think I'm already... maybe when you're young, you don't care, because you're naive, and then you learn how crap it is, and then you care the most right around the age of 30. And then as you get older, you care less, because you realise you actually have no control over it whatsoever. You don't. I can only just make my next record and see what happens. I would like to be playing some really amazing nights alongside some people that I really respect. But it's not, it's not. [laughs] But, you know, you can't do anything but keep going.
Karen Gwyer plays 555-5555 at Power Lunches in Dalston tomorrow; for full details and tickets, head here


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Last time I was in St. Louis, I woke up to find strangers in my backyard turning the lawn upside down in large machinery. I asked, "Who are you, and what are you doing?" My dad emerged from behind a large mud pile near the far end of my backyard and excitedly explains he has begun making one of his dreams a reality….the strangers were hired to start building waterfall type structures in my backyard.
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Asked by
To ask Her Majesty's Government what plans they have for the future (1) funding, and (2) governance, of Channel 4.
My Lords, I am tempted to invite the noble Lord, Lord Watson, to respond. As part of their ongoing strategic review of the UK system of public service broadcasting, the Government will be consulting on the future of Channel 4, including its ownership model and remit. A fast-evolving media landscape, increasing competition and changing audience habits pose imminent challenges. Moving Channel 4 into private ownership and changing its remit could help secure its future as a successful and sustainable public service broadcaster.
Does the Minister accept that for the sale of Channel 4 to bring in the amount of money that the Government are talking about, the remit will have to change? At the very least it would have to be watered down, with disastrous consequences for our public service broadcasting sector and the wider creative economy. No change to the remit means no real profit for the Government, so why do it? Could this be ideologically driven rather than economically—something to do with a melting ice sculpture?
I do not think it is anything to do with a melting ice sculpture. The Government are committed to having a thriving PSB sector. I know the noble Baroness understands full well what the trends are in advertising revenues for linear television. We are trying to address that and make sure that Channel 4 has a secure, sustainable and thriving future.
My Lords, in earlier eras, matters of important public policy such as this would have been preceded by Green Papers and White Papers before Parliament considered any primary legislation that it felt necessary. On broadcasting, this Government take a rather different approach, preferring to set up ad hoc advisory committees, such as the one looking at public service broadcasting. So what is it to be this time? Can the Minister spell out what the Government will do here and explain how Parliament is going to be involved?
The noble Lord refers to the expert advice that Ministers will receive from the independent PSB panel but he overlooks the digital radio and audio review that we will be publishing this summer, the Ofcom review of PSBs that will be published in mid-July, and the consultation that we are carrying out on Channel 4 and video on demand, which will result in a White Paper and legislative proposals. I do not think that looks like taking decisions in secret.
My Lords, the Government are on record as praising the unique public service remit that Channel 4 has, especially for serving underrepresented communities and its strong partnership with our diversity of independent production companies. Channel 4 made its debut in 1982, 39 years ago, with an episode of the excellent "Countdown". Please will the Government not simply "count down" to a rushed sale of Channel 4 to the highest bidder but instead help protect Channel 4 from unfair regulatory competition from the likes of Netflix and Amazon, which operate with less regulation?
We are addressing the noble Lord's final point through our consultation on regulation for video-on-demand providers. The noble Lord is right that Channel 4 has a strong reputation for its innovative and diverse content, and we think that could mean that it appeals to a number of different purchasers should we decide to pursue a sale.
My Lords, how long do Her Majesty's Government calculate that Channel 4, in its present public and private independent structure, can survive as a going concern?
There is no doubt that Channel 4 has performed very well recently but, as I mentioned in an earlier answer, all linear broadcasters are facing significant challenges from developments and disruption in the sector, including from international players. The consultation will give us the time and the information to consider how Channel 4's future is best served.
My Lords, is it not quite clear that the Secretary of State and Mr Whittingdale support public service broadcasting like the rope supports the hanging man? Is it not time that the one-nation Tories stood up for one of the great creations of Willie Whitelaw, an organisation that has fulfilled its remit in spades?
The noble Lord will be aware that I have often quoted both my right honourable friend the Secretary of State and the Minister for Media and Data, who have both been absolutely clear about wanting to see a thriving PSB sector, which is particularly important in a time of misinformation and disinformation.
My Lords, what means are open to the public and the authorities to encourage Channel 4 to report the news in an accurate and unbiased way and thereby triumph over the present, frequently prejudiced environment of the media?
If my noble friend or any members of the public have concerns about the accuracy of any broadcaster, including Channel 4, they can send those concerns to Ofcom.
The digital streaming television world depends heavily on access to archive. At the moment Channel 4 has no archives since terms of trade agreements with content suppliers mean that IP is kept by independent production companies and is seen as a crucial means by which they can grow their businesses. Do the Government intend to maintain the present terms of trade agreement between any new owner of Channel 4 and its content suppliers?
The noble Viscount raises an important issue. There is a tension between ownership by the independents and the PSBs. We will be setting out more on this in the White Paper.
My Lords, one of the big fears about privatising Channel 4 is that the current statutory requirement for it to invest profits back into independent programming through commissioning —the very thing that makes it unique—will be dropped in order to make the channel sellable. What guarantees can the Minister give that the requirement to reinvest will be assured and that Channel 4's innovative edginess will not be sacrificed? Will she also list the material restrictions that are allegedly holding Channel 4 back? Does she really believe in this policy?
I think the policy of consulting and getting an understanding of what would create a strong strategic future for a key public service broadcaster is entirely valid. The noble Lord is right that Channel 4 has been hugely successful in supporting our independent production sector. The Government are committed to seeing that continue, and we will take into account any impacts on that sector as we move forward.
My Lords, the Reuters Institute for the Study of Journalism at the University of Oxford has found that the UK has the lowest average local news topic access of any of the countries measured in its recent survey. If there were any reason for not privatising Channel 4, it would be to use the platform as the basis of a new local and regional television service. Has my noble friend considered that?
I agree with my noble friend that locally relevant television and, in particular, local news is a very important part of the UK's public service broadcasting, which has been highlighted by the pandemic. These are issues which will form part of our strategic review of PSBs.
Can the Minister inform the House on whether BBC editorial policy trumps the law of the land regarding the legal rights of presenters and contributors? If so, should there not be safeguards in governance against the danger of individual producer prejudices being portrayed as BBC policy?
It is clear that BBC editorial policy does not trump the law of the land. The noble Lord will be aware that the BBC is undertaking a review of its editorial policy, which will report later this year.
In what specific ways does the Minister think Channel 4 might benefit from private ownership? What changes in its remit, if any, might government propose?
We hope through the consultation to discern two particular areas among others. One is access to additional capital; Channel 4 is reliant on advertising for 90% of its revenue. The other is potentially greater agility to respond to market developments as we move forward.
My Lords, all supplementary questions have been asked. We now move to the next Question.