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Download Diary of an Awesome Friendly Kid: Rowley Jefferson's Journal Free Books
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Name : Diary of an Awesome Friendly Kid: Rowley Jefferson's Journal
Publisher : Harry N. Abrams
Language : English
Number Of Pages : 104
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February 5, 2019 •
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Rwanda is taking a long-term view of its healthcare system and building the foundations for a precision medicine approach to patient care. With that being said, Kigali, the capital of Rwanda has been nominated among 16 finalists for the first edition of the...
October 12, 2018 •
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Bertram Allen will debut Harley VD Bisschop on an Irish team in Sunday's competition
By Irish Field Contributor on 14 June 2019
Rodrigo Pessoa names his squads for Nations Cup at Rome and Denmark this weekend
By Irish Field Contributor on 28 May 2019
Rodrigo Pessoa's side finished fourth of eight teams in the opening division one FEI Nations Cup of 2019
By Judith Faherty on 17 May 2019
Darragh Kenny won the opening five-star class at the French venue
By Irish Field Contributor on 16 May 2019
Rodrigo Pessoa has named a strong team to contest the first Longines FEI Jumping Nations Cup competition in La Baule, France, next week
By Irish Field Contributor on 10 May 2019
Victory went to the American team in Wellington, Florida, after a thrilling jump-off with Ireland
By Irish Field Contributor on 06 March 2019
As Team Ireland's 2019 campaign begins, Rodrigo Pessoa and Michael Blake relay their plans to Judith Faherty
By Judith Faherty on 01 February 2019
Judith Faherty looks back at the 2018 international show jumping circuit for Irish teams and riders
By Judith Faherty on 21 December 2018
The senior show jumping and eventing high performance directors are sticking with Team Ireland
By Judith Faherty on 14 December 2018
Rodrigo Pessoa's fate as Irish show jumping chef d'equipe will be decided in the coming weeks
By Judith Faherty on 26 October 2018
Third place at the Nations Cup World Final in Baecelona crowns a good season for the senior show jumping team
By Irish Field Contributor on 12 October 2018
The Longines FEI Nations Cup World Final takes place in Barcelona this weekend
By Irish Field Contributor on 02 October 2018
Rodrigo Pessoa spoke to The Irish Field after Ireland failed to get their qualification for the 2020 Olympic Games at WEG
By Judith Faherty on 28 September 2018
The American team were crowned the new world champions on home soil this afternoon
By Judith Faherty on 26 September 2018
A vital clear from Irish team anchorman Cian O'Connor on a tough day for the team at Tryon, saw Ireland progress to the show jumping finals at WEG 2018
By Judith Faherty on 21 September 2018
Judith Faherty looks back at another day of scorching hot competition, and temperatures, in Tryon
By Judith Faherty on 28 September 2018
Rodrigo Pessoa's team are "back in striking distance" after a shakey start in WEG
By Judith Faherty on 20 September 2018
Ireland are just off a podium place at the moment but have work to do in tomorrow's second round
By Judith Faherty on 19 September 2018
Rodrigo Pessoa named Cian O'Connor, Darragh Kenny, Paul O'Shea and Shane Sweetnam as his team for the World Equestrian Games in September in America
By Irish Field Contributor on 17 August 2018
Dublin-based young rider Matt Garrigan impressed Rodrigo Pessoa to win the bursary class
By Emer Bermingham on 17 August 2018
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Our philosophy starts with the simple belief that kids are capable of incredible things. Our job is to nurture that ability; our goal is to support kids' healthy development. Play is how kids learn--here, it is in both a STEM-rich environment and inviting outdoor experience.
Play matters blog
I recently received an email that moved me. It said in part: "I can't save everyone, but I can at least help shore up the walls around the things that really matter to me, and I've decided that I...READ MORE
One of the main goals we had for Discovery Woods and our accessible Treehouse was to tempt families to get outside, and then encourage them to also explore the 183 acres of the Great Hill...READ MORE
The Discovery Museums are a rich, joyful, and developmentally supportive experience for the kids who visit. But what about the kids who don't visit?
We know that every kid can benefit from...READ MORE
Despite having big windows in my office, from my vantage point I am unable to see all the work happening in our soon-to-open nature playscape and treehouse, Discovery Woods. So, a couple times of...READ MORE
Hello! I'm new here, so I'd like to introduce myself. I'm Alli, the new Director of Early Childhood Education here at The Discovery Museums. This past Fall the Museums were very sad to say goodbye...READ MORE
A team from the Boston College Morality Lab began collecting data at The Discovery Museums in June 2015. Larisa Heiphetz and her research team have been set up on the second floor of the...READ MORE


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The host cancelled this trip last minute. This message was automatically posted by Turo.
Turo-Jun 22, 2019
I rented his car out for 2 days. I returned it after 5 hours of use. I asked him if it was okay if I can return the car to Him early and he said it was all good he would cancel the trip early after I gave him his car back, He did not want to give me a refund for the time that I did not use. I DO NOT RECOMMEND THIS GUY AT ALL. He also doesn't reply to the messages and also doesn't answer phone calls.
Hamed M.-Jun 19, 2019
Great customer service
Carlos L.-Jun 14, 2019
Was a little late for pickup? But otherwise fantastic.
Victoria Leigh K.-Jun 9, 2019
Transition was soooo easy to deal with and the communication was great
Kamile D.-Jun 5, 2019
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Pep Guardiola felt Manchester City passed the latest test of their title credentials with flying colours in the 3-1 win at Crystal Palace.
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It could be your very first guitar or even your seventieth, whichever it is; purchasing a guitar is fun and is an opportunity to correct some mistakes that you did when purchasing the previous ones. Here, you can choose the right size, length and weight so that as you enjoy quality sound effects, you have the desired comfort. Here are some things you should consider to ensure that you make the right guitar choice.
Why are you shopping for the guitar?
This is one of the pertinent questions you need to ask yourself. You could be having a guitar but you're not digging it, find out why. With that information, you'll be better equipped with the things to remember when you go shopping and what to avoid. It could be a small body that you need or one with a built-in tuner. Take time and scrutinize your old guitar - identify what is lacking in the guitar, which is making you hit the shops.
What is your budget?
One of the most important factors that you'll need to consider is the much you are willing to spend on the guitar. Different guitars come in different price tags, and this depends on quality and the manufacturer. With this information, you will not need to take so much time searching for the appropriate one in the shops. An average beginner's guitar will go for a price range of $50-60 and this may go up depending on the brand, materials, and other accessories.
Is it acoustic or electric?
This is a critical question that you need to ask upfront. Which of the two types do you prefer; an acoustic or an electric guitar? If you are stumped on the decision, just ask yourself, the style of music you love to play. This is one of the main determinants on whether you go for acoustic or for the electric type. Before you get to the shop, it is important to make the decision first so that you don't have to spend all the time.
What body type do you prefer?
If it is the acoustic guitar you prefer, then the check the body depth. A shallow body is usually a preference for many because of its portable nature and easy to handle. Again, other people don't mind the big size and a full body. It could also be the round oval back that you love-make the choice. Comfort and feel are the main things while playing the guitar and therefore you must ensure that whatever the choice you make rightly fits that purpose.
A new guitar or second hand?
Depending on what you want to get into, it's a great idea to buy a used guitar. Just like purchasing a second-hand car, when buying a used guitar, you should consider what you're looking for. Ask yourself a few questions like; how does it sound? Is it generally in good condition? If the guitar has a pickup, then the best thing would be to plug it into the amp and try playing. That would tell you whether it's your perfect fit. Here you will also need to consider the type of guitar pedals you're using- if you are using the ones from Cusack music, it will also help you make your choice easily.
Do not purchase a guitar just because you heard people talk about it. You have your preference- take time and make a choice that would give you comfort even as you get quality sound effects.


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Do I need to learn how to create XML in order to develop Web services?
I would say yes. Given all the new tools that are appearing, it is possible to develop a Web service without understanding the XML underneath but it will be hard to debug, modify and maintain without knowing at least the fundamentals of XML.
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Review: Justin Timberlake, The 20/20 Experience – 2 of 2
Ultimately, The 20/20 Experience – 2 of 2 doesn't so much eclipse its predecessor as it settles into the format more believably.
By this point, complaining about how long Justin Timberlake's songs are is probably beside the point. It was hardly a surprising revelation that there would be a second installment of March's The 20/20 Experience—an album that, with its roster of marathon-distance jams, didn't exactly want for extension. When Michael Jackson was given MTV's Video Vanguard Award back in 1988, he spoke for a minute or two; Jimmy Fallon's distended introductory speech on Timberlake's behalf at last month's Video Music Awards lasted at least twice as long. As for Timberlake's performance itself, well, rumor has it that he's still indulging himself at Barclays Center for the 34th straight day with yet one more chorus of "What Goes Around…Comes Around."
So pointing out that there's only one single song on The 20/20 Experience – 2 of 2 that runs less than five minutes long is like observing that water is wet, that the sky is blue, and that twerking has brought sexy back. The title of the entire project should've clued everyone into Timberlake's intention to reward his own long-range vision. Not on board? Grab a pair of Coke bottles, Poindexter. Timberlake actively courts the more impatient members of his audience from the very first song, projecting onto them the mantra "Give Me What I Don't Know (I Want)," assuring them that their excitement isn't misplaced, even if their wandering ears seem destined to betray them. As a call to arms, it's actually about as approachable as anything on the album, with softball beatboxing underneath unthreatening R&B harmonies, with Timberlake promising, "Baby, I act like a gentleman that your mother would love, come get to know me."
That claim, like the song's comparative brevity, is a red herring, because much of what follows is notably darker in tone than the songs on The 20/20 Experience; it's the fugue to the first volume's prelude. Even the title of the breezy lead single, "Take Back the Night," had feminists and literalists sniffing out false flags ("Does Justin Timberlake endorse date rape?") well before the song regrettably popped up in a Bud Light Premium spot in heavy rotation on YouTube ("When you're up for anything…"). The Rod Temperton flourishes of the undeservedly underperforming single aside, it's become apparent that JT is no longer content to simply harness MJ's musical mannerisms. He's also started to interpolate Jacko's paranoiac compulsions. "True Blood" recasts sex as a blame-the-victim horror movie in which the red-eyed object of Timberlake's desire calls up "the demon in me…and the bones in my body start to quake." The brisk groove spins like a demented top, breaking down from what's already been broken down, taunting Timberlake into a whirlpool of horn-dog dementia. The climactic sample of Vincent Price's "Thriller" cackle is the final nail in the
bed coffin.
From devilish possession to pugilism, the blunt, unpleasant "TKO" defines the volleys of courtship as the exchange of blows in a brutally violent bout, but it's all cool because "the rematch sex is amazing" (that metaphor alone assures the girl in question wins this round on points). Elsewhere, love is alcoholism (the honky-tonking "Drink You Away"), burlesque (the start-n'-stop "Cabaret," a hearty callback to producer Timbaland's early days), neurological disorders ("Amnesia," a surprisingly elegant R&B waltz). But Timberlake truly hits his captivating rock bottom in "Murder," which swaps Colonel Mustard's candlestick for Miss Scarlet's snatch among his tool chest of homicidal instruments, and throws in whiffs of necrophilia for good measure: "Girl, your body is gonna end up under the ground, under the ground/I'll be down and throw it at that level." And yet, the track doesn't get truly lethal until Jay-Z arrives, observing: "Yoko Ono, she got that Yoko Ono, you know that shit that made John Lennon go solo/Know that shit got to be lethal if that pussy broke up the Beatles/Chocha ruined pop culture." Truly the words of a man whose artistry was long ago surpassed by his better half.
When you have something you want to share with the world, you do so quickly and directly. When you have something you want to hide from the world, you dodge and meander. Ultimately, 2 of 2 doesn't so much eclipse its predecessor as it settles into the format more believably. Its subject matter goes further into the disquieting root of what it means to be obsessed with a celebrity (Jackson) who was himself already intensely obsessed with his own persona. Throughout, Timberlake acts as though he's directing his gaze upon various vampire, corpse, and slasher women, but they're all McGuffins for his own insatiable drive toward brand-name status. In that sense, this volume's shady undertones are a better match for Timberlake's inability to self-edit than the first half's chipper gloss. Can't wait for the confessional follow-up EP.
Label: RCA Release Date: October 1, 2013 Buy: Amazon
Taylor Swift Drops Star-Studded, Pride-Themed "You Need to Calm Down" Video
The video takes the notion of visibility as a means of acceptance to the extreme.
After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff's deputy in her home state.
Swift's path to wokeness has been a long one, and while the launch of her new single, "You Need to Calm Down," during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. "To be an ally is to understand the difference between advocating and baiting," Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for "You Need to Calm Down," the second single from Swift's seventh album, Lover.
The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York's Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.
Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote ("Mom, I am a rich man"). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you'll ever see, and parades through the trailer park's pride-themed festivities, which includes a "pop queen pageant" featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.
The real Katy pops up for a heartfelt reunion with Swift that makes "You Need to Calm Down"—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift's allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.
Watch below:
Swift's album, Lover, is due August 23 via Republic Records.
Review: Yeasayer's Erotic Reruns Is a Collection of Benign Love Songs
The album aims for an enthralling vision of infatuation, but the band's message rings hollow.2
Yeasayer's decade-plus-spanning discography is eclectic, purveying everything from world music (All Hour Cymbals) to austere electro (Fragrant World) to outlandish psych rock (Amen & Goodbye). As a relic of the bygone age of neo-hippie pantheism marshaled by the likes of Animal Collective and MGMT, the experimental rock outfit faces the quandary of evolving their sound for today's indie landscape, which favors the low-key over the baroque. On Erotic Reruns, the band dives headfirst into flowery pop-rock, accomplishing yet another stylistic about-face and pruning away their most esoteric tendencies.
Throughout their fifth studio album, Yeasayer aims to transmit an enthralling vision of infatuation, but their message rings hollow. With its truncated verses and refrain, opener "People I Loved" seems hastily assembled, and its "na-na-na" hook quickly grows tiring. The band's lyrics are often half-baked, making the rapture of falling in love on the plodding piano-driven "I'll Kiss You Tonight" feel like a rather banal occurrence.
Even when Yeasayer is primed toward eliciting the longing and lust of infatuation, their sound is fettered by exaggeration. "Let Me Listen in on You" is chock-full of sweet nothings like "I can make your dreams come true," and its florid strings give the chorus a sense of overdone theatricality. Elsewhere, a high-pitched vocal and carnival synth grant "Ecstatic Baby" a whimsy so overblown that one imagines the track would be deemed too cheesy for an Apple commercial. When Yeasayar does accomplish to tap into love's exhilaration, they relay it with a heavy hand, making already sentimental concepts feel saccharine.
Erotic Reruns is a collection of ultimately benign love songs, as the eroticism proposed by the album's title is glaringly absent across 29 scant minutes. Yeasayer are amiable, starry-eyed musicians whose sound, at its best, is inviting even as it overreaches. But while a concern for authenticity may not be pop music's primary enterprise, among its virtues is its capacity to consistently excite and enchant. Try as they might, Yeasayer fail to attain either.
Label: Yeasayer Release Date: June 7, 2019 Buy: Amazon
Review: Titus Andronicus's An Obelisk Is All Sound and Fury, Signifying Nothing
On a superficial level, the ostensibly back-to-basics album could charitably be described as workmanlike.2
It takes balls to open your rock album by screaming about "an inferior version of rock n' roll," as Patrick Stickles does on "Just Like Ringing a Bell," the opening track of Titus Andronicus's An Obelisk. The band's ostensibly back-to-basics sixth album could charitably be described as workmanlike. Stickles and longtime sideman Liam Betson's guitar tones are fuzzy and chunky in all the right ways, and Stickles has his punk-rock growl down pat. But these are mere superficialities; loud guitars and screaming have hardly been the main focal point of the band's sound. On An Obelisk, though, they're just about all that Stickles and company have to offer. Forgive the cliché, but they asked for it by naming themselves after a Shakespeare's tragedy: The album is the very epitome of sound and fury signifying nothing.
An Obelisk arrives just 15 months after the expectation-subverting A Productive Cough, but it couldn't be more different, despite the fact that Stickles wrote both albums around the same time, separating the material into the bangers found here and the prior album's more complex and mellower epics. This may sound like a welcome news for fans who struggled to embrace A Productive Cough's cavalcade of guest musicians and auxiliary percussion, horns, and other instrumentation. But anyone who's been clamoring for Titus Andronicus to make a uniformly hard and fast punk album like this one hasn't been paying attention to what the band is about.
One of Titus Andronicus's greatest strengths has always been the dichotomies in their music—those juxtapositions of the quiet and loud, the portentous and the irreverent. This is, after all, a band whose first album, The Airing of Grievances, borrowed its name from a Seinfeld episode, and whose breakthrough, The Monitor, was an epic concept album about the Civil War that they managed to somehow top five years later with a 90-minute rock opera about bipolar disorder. An Obelisk is loosely conceptual, but unlike The Monitor and The Most Lamentable Tragedy, there's no discernable narrative or character to hang onto here. We do, though, get a narrator, known as Troubleman, who serves as little more than a thin veneer from behind which Stickles can excuse his under-baked ideas. After all, one wouldn't expect the guy who wrote ambitious epics like "A More Perfect Union" and "Number One (in New York)" to be capable of penning the adolescent inanities that constitute the lazy three-chord blunders that are "(I Blame) Society" and "Tumult Around the World." But he did.
From the generic stick-it-to-the-man platitudes of "(I Blame) Society" and the 68-second "On the Street" ("There's too many police on the street/And they're all after me!"), to the clearly unintentional parody of hardcore punk that is the 88-second "Beneath the Boot," it's almost hard to believe how dumb these songs are. Stickles has successfully managed to confront his demons in increasingly creative and resonant ways, from inventing a doppelganger on The Most Lamentable Tragedy to turning those demons into a party on A Productive Cough's "Above the Bodega (Local Business)," but "My Body and Me" is insultingly glib: "My body and me, we don't always get along/He tells me it's all right, I tell him he's all wrong."
Producer Bob Mould, apparently unable to transfer whatever is powering his late-career renaissance to other artists, does capture an organic live-in-the-studio sound that shows the band's current lineup—Stickles, Betson, and rhythm section R.J. Gordon and Chris Wilson—doesn't lack for intensity. But with so many flat, unoriginal riffs and unmemorable choruses, there's just not enough meat here to reward that approach, and despite its unrelenting volume, An Obelisk just feels empty without the wide-ranging dynamics and ambitious arrangements that have, until now, defined Titus Andronicus's music.
Mercifully, most of the songs are over and done with quickly enough, though only a couple—the bright "Just Like Ringing a Bell" and the freewheeling "Troubleman Unlimited," the only tracks here that don't sound like "an inferior version of rock 'n roll"—stick to the ribs at all. A few grind on unimaginatively for over five minutes, either to the point of boredom ("Within the Gravitron") or absurdity ("Hey Ma," with its face-palm-inducing imitation-bagpipe guitar solo). Like all of Troubleman's diatribes, they just feel like a lot of hot air.
Label: Merge Release Date: June 21, 2019 Buy: Amazon
Review: The Raconteurs's Help Us Stranger Is a Robust Return to Form
The album proves that there's still more to be mined from the supposedly anachronistic guitar-rock template.4.5
The Raconteurs were initially billed as an outlet for Jack White to step outside of the self-imposed sandbox of the White Stripes. But coming after a period during which White's work—as both a solo artist and with the Dead Weather—has become increasingly untethered from his original no-frills ethos, the Raconteurs's first album in 11 years, Help Us Stranger, feels like a robust return to form for the musician.
But the Raconteurs shouldn't just be viewed through a White-centric prism. There's no better contemporary rock example of two halves of a songwriting duo, like John Lennon and Paul McCartney, uncannily counterbalancing the other's strengths and weaknesses than White and singer-songwriter Brendan Benson. Benson's irrepressible melodic instincts keep White's focus on his songcraft, while White's boundless energy coaxes new tiers of passion from Benson, a less expressive vocalist and more rudimentary lyricist than White.
As White and Benson trade vocals on the album's savage opener, "Bored and Razed," with White's spitfire verses building into Benson's soaring choruses, their twin lead guitars batter away at each other like feral animals. Add Patrick Keeler's thunderous drumming, and the band enters a dimension of pure rock power they've only ever succeeded in accessing together. The Raconteurs may lack the unconventional optics and charming minimalism of the White Stripes or the relentless power-pop hooks of Benson's solo work, but Help Us Stranger is another compelling exhibit in the band's continuing quest to prove that there's still more to be mined from the supposedly anachronistic guitar-rock template.
Almost every track here is another example of one that would never have reached the same heights without the contributions of each band member. The main guitar riff of "Sunday Driver" is far from White's most indelible, but combined with Jack Lawrence's revving bassline and White's own swaggering vocals and squealing lead guitar—contrasted with Benson's laidback, psych-tinged, harmony-drenched bridge—the result is one of the most well-rounded and satisfying straight-up rock songs White has made since, well, the last Raconteurs album.
Likewise, with White's frenzied guitar and Lawrence's fat, greasy sonic low end, the Benson-led blue-eyed soul of "Now That You're Gone" becomes a lighter-waving anthem. The band proves itself able to apply this effortless chemistry to any type of song, running the gamut from the groovy Detroit-style garage rock of "What's Yours Is Mine" to the yearning bluegrass ballad "Thoughts and Prayers." With "Help Me Stranger," the Raconteurs even uncover something fresh, with White and Benson's Everly Brothers-style harmonizing and acoustic strumming getting a quirky, modern kick from the off-kilter rhythmic foundation provided by Keeler's upside-down snare drum and Lawrence's heavy bass-pedal work.
While the disparity in fame between the band members may forever doom the Raconteurs to being remembered as one of White's "side projects," such a view is ignorant of both the band's overall chemistry and White and Benson's virtually equal songwriting talents. In fact, it's the Benson-heavy songs here that make the most lasting impression, and White was clearly responsible for the album's only misfire, "Don't Bother Me," a generic bar-band choogle over which White angrily sputters about his old nemeses, the "clicking and swiping" generation.
Both the melancholy Beatlesque pop of "Only Child" and the swooning country-soul of "Somedays (I Don't Feel Like Trying)" rank among Benson's very best work to date, with White's multi-textured, ever-inventive guitar riffs and the rock solid rhythm section elevating Benson's usual sad-sack routine toward true pathos. Help Us Stranger reaches its emotional apex during the latter's honey-sweet outro: "I'm here right now, not dead yet," Benson repeats, leaping registers as the band slowly works up to a fevered pitch behind him. Corny as it sounds, he might as well be singing about rock n' roll itself. Few other bands out there are such compelling proof of its enduring viability.
Label: Third Man Release Date: June 21, 2019 Buy: Amazon
Review: Silversun Pickups's Widow's Weeds Is a Clear-Eyed and Intrepid Renewal
The album grants us backstage access to the band at its most vulnerable and personal.4
Ever since the success of 2006's Carnavas, the Silversun Pickups have had a hard time leaving the safety of their comfort zone. Without slipping completely into self-parody, each of the Los Angeles-based rock band's subsequent releases has seen them tempering their winning formula with only cautious variations on Brian Aubert's breathy, quavering vocals and their thick Gaussian blur of sonic distortion and reverb. The group's dalliance with Depeche Mode-style synth-pop on 2015's Better Nature boasted tantalizing moments of sparkling elegance and pulse-racing throttle, but its dependence on booming yet generically applied electronics left the album feeling vacant, even lethargic.
Enter Butch Vig. For a band that can't quite quit its love for '90s alternative rock, their choice to enlist the production wizard behind Nirvana, Smashing Pumpkins, Garbage, and the Foo Fighters seems only fitting. But their fifth album, Widow's Weeds, is anything but a sentimental rehash of the good ol' days. Instead, the album profits mightily from the veteran producer's ability to transition established acts into more mature, self-assured iterations of themselves, without scrapping the essence of what made those bands great in the first place.
Widow's Weeds thus grants us backstage access to the band at its most vulnerable and personal, but also its most clear-eyed and intrepid. After years of lackluster reviews and a string of personal struggles, the Silversun Pickups were perfectly poised for renewal and, as Aubert croons on "Don't Know Yet," the band has worked hard to "reboot the machine." Under Vig's steady hand, they've stripped away the stylistic accretions of their previous albums and come up with a much tighter, more identifiably rock sound. From its opening notes, the album presents a band brimming with reclaimed confidence and vitality, one that need no longer take refuge behind endless waves of feedback and sonic distractions.
Right out of the gate, "Neon Wound," as it chugs along to the metronomic precision of Christopher Guanlao's drums, unrolls the perfectly pointed welcome mat for those familiar with the Silversun Pickups. "Hello, my friend," Aubert sings, almost winkingly, "It's nice to see you again/Now that we're on the mend." The song's taut spareness gradually drifts off into what sounds like little more than a listless B-side from Better Nature, but "It Doesn't Matter Why" hurries in to take up the slack in full-charging tempo.
To be sure, Aubert and the gang have given up no ground in creating soundscapes of great power and intensity, sculpting with staccato rhythms and relentless builds the jumpy, nervous tension of a downed power line. Where on previous efforts that tension relied on muddy guitar riffs or Lester's alchemic keyboard effects, this is an album driven by instrumentation and tightly crafted movements. Excesses of distortion have been peeled away to reveal the musical proficiency beneath, so that the finger-picked intro to "It Doesn't Matter Why," the sensuous chord bends of "Simpatico," and the poppy electronics on "Don't Know Yet" receive their full technical due. And the timely flourishes of orchestral support across the album add interesting melodrama to the streamlined arrangements. What results is a sultry, if not still-too-hesitant, intimacy that allows songs to shimmer with moments of nuance and sophistication.
In keeping with this shift toward musical accessibility, Aubert's lyrics have acquired a greater transparency. His customary blend of cerebral metaphors and visual imagery still prevails, but his language has become more plainly self-referential, lending unmitigated tenderness to the songs. And without having to compete any longer with the drone of sheer loudness, he's able to showcase a range of peaks and valleys that ventures boldly outside of his typical monotone.
But for all of Aubert's newfound reach, the punch of his vocal thrusts throughout Widow's Weeds wouldn't be possible without the harmonic parries of bassist Nikki Monninger. Her contributions on albums past have supplied softness and moderation to some of the group's brawnier impulses ("Gun-Shy Sunshine," "Ragamuffin"), and while it seems she'll always be stuck at second mic, she's no longer merely echoing Aubert's lead. Her husky alto provides flawless melodic counterpoint on the ethereal "Freakazoid" and the restless "Songbirds," and she offsets Aubert's gravelly baritone on "Widow's Weeds" with delicate grace.
The album also conjures the ghosts of exemplars past, sampling a whisper of Placebo's "Pure Morning," a hint of Radiohead's "Paranoid Android," and a whiff of the guitar crunches from Alice in Chains's "Man in the Box." Especially on "Straw Man" and "Simpatico," the sleek, cleaned-up sound does little to hide the band's influences. But if the going recommendation is to steal like an artist, then Silversun Pickups have appropriated their indulgences happily and in good faith. "Songbirds" bursts out of the speakers like a post-pubertal "Panic Switch," still bristling with angsty vigor but far more composed and sure of itself. In contrast, "Bag of Bones," a meandering blunder, just shuffles along aimlessly and repetitiously.
Elsewhere, "Simpatico" spotlights the band's calmer, quieter tendencies while offering some of the album's most intricate guitar work. And the hardest-hitting yet most nostalgic track, "We Are Chameleons," lives up to its title by mopping up virtually every color and texture of Carnavas and wringing it out into a frenzied sonic meltdown that defies the restraint and self-control that led up to it. Widow's Weeds may lack the arena-sized atmospherics and anthemic party songs of past Silversun Pickups efforts, but with each additional listen the hooks sink in deeper and the melodies stay longer in your head. It's catchy, heartfelt, and far less forgettable than…what were those previous two albums named again?
Label: New Machine Release Date: June 7, 2019 Buy: Amazon
Review: Madonna's Madame X Is a Fearless, Eccentric Musical Memoir
The album is the work of an artist reawakened, and one who's got something to say.4
Madonna's 2005 EDM opus Confessions on a Dance Floor is considered by many to be the 21st-century standard for both every new album the singer releases and contemporary dance-pop at large. Though glorious in its own right, it seemed, at the time, like the work of an artist in damage control. The damage was 2003's American Life, a personal, politically strident, and humorless album that became Madonna's first commercial failure in 20 years. It also happens to mark the last time the queen of pop appeared to make music purely on her own terms, without any consideration of the charts or what the public expected of her—a novel idea for an artist in the business of making, well, popular music.
Of course, Madonna has never been your average pop star. Though her music has deep roots in R&B and disco, she is, at heart, a rock auteur, with all of the inclinations toward upending the status quo and expressing a singular vision that designation implies. Her last album, 2015's Rebel Heart, was designed by committee, while its predecessor, MDNA, was recorded during a period when she seemed more interested in directing movies and extending her brand than making music. So it makes sense that when she decided to forgo songwriting camps and aspirations of a late-career radio hit for her 14th album, Madame X, Madonna turned to French producer Mirwais, her primary collaborator on American Life.
In other words, Madame X sounds like the work of an artist reawakened, and one who's got something to say. It's a development reportedly inspired by her time in Lisbon, where she was surrounded by musicians and art in a way she hadn't been since her pre-fame days in the East Village. The influence of Lisbon's multicultural history can be heard on tracks like the fado-meets-Motown "Crazy"—co-produced by Mike Dean, the album's other principal knob-twirler—and the polyrhythmic "Batuka," featuring Afro-Portuguese group Orquestra de Batukadeiras.
Madame X plays like a musical memoir, sometimes literally: "I came from the Midwest/Then I went to the Far East/I tried to discover my own identity," Madonna sings on the Eastern-inflected "Extreme Occident," referencing her rise to fame and spiritual awakening, famously documented on her 1998 album Ray of Light. A multi-part suite that shifts abruptly from electro-pop dirge to classical ballet and back again, "Dark Ballet" is a Kafkaesque treatise on faith and her lifelong crusade against the patriarchal forces of religion, gender, and celebrity—an existential battle echoed in the Jean-Paul Sartre-quoting closing track "I Rise."
The album's autobiography is also conveyed sonically: It's a thrill to hear Madonna singing over a '90s house beat on the smoldering "I Don't Search I Find." But despite its ballroom strings, finger-snaps, and throaty spoken-word bridge, comparing it to "Vogue" or "Erotica" would be too easy. This isn't a song so much as a mood. It's downstairs music, the distant bassline rumbling beneath your feet as you slip into a bathroom stall for a quick bump or fuck.
Madonna has a reputation for being a trendsetter, but her true talent lies in bending those trends to her will, twisting them around until they're barely recognizable, and creating something entirely new. The album's pièce de résistance, at least in that regard, is the six-minute "God Control," which begins with Madonna conjuring the spirit and disaffected monotone of Kurt Cobain—"I think I understand why people get a gun/I think I understand why we all give up," she sings through clenched teeth—before the whole thing implodes into a euphoric, densely layered samba-disco-gospel mash-up. Throughout the song, Madonna's vocals alternate between Auto-Tuned belting, urgent whispers, and Tom Tom Club-style rapping as she takes on the gaslight industrial complex and so-called political reformers. On paper, it might sound like the ingredients for a musical Hindenburg, but—somewhere around the midpoint, when she declares, "It's a con, it's a hustle, it's a weird kind of energy!"—it all coheres into the most exhilaratingly batshit thing she's done in years.
If, metaphorically, Madame X represents Madonna's rediscovery of her voice as an artist, then it also highlights the literal loss of it. Over the years, the soft edges of her voice have grown sharper, and the album's pervasive vocal effects—most gratuitous on the electro-ragga "Future" and, to a lesser degree, the haunting "Looking for Mercy"—have a distancing effect. The heavy Auto-Tune on Music and American Life was deployed in service of larger conceptual themes like imperfection ("Nobody's Perfect") and anonymity ("Nobody Knows Me"), contrasted by the bare performances of more confessional songs like "Easy Ride." Here, filters are indiscriminately thrown on nearly every song, which only serves to obscure Madonna's humanity. On "Medéllin," for example, her admission that "For once, I didn't have to hide myself" is pointlessly cloaked in Auto-Tune, keeping us at a remove.
When Madonna isn't singing with what sounds like a mouthful of gumballs on "Crave," the rawness of her voice amplifies the nakedness of her lyrics: "Ran so far to try to find the thing I lacked/And there it was inside of me." Likewise, you can hear the grit and grief in her voice when, on "Crazy," she sings, "I bent my knees for you like a prayer/My God, look at me now." The track "Killers Who Are Partying" has been flagged by some critics for its lyrics—ostensibly inspired by scripture, the post-World War II poem "First they came…," or maybe both—but the naïveté of Madonna's words would be more cringe-inducing if her delivery wasn't quite so bewitching. Mirwais's arrangement, too, casts a spell: Old world meets new world as mournful fado guitar and accordion swirl beneath the track's stuttering beats and warped synths.
Madame X is fearless, the sound of an artist unapologetically indulging all of her whims and quirks. The garish favela funk of "Faz Gostoso" and the racy reggaeton of "Bitch I'm Loca"—featuring Anitta and Maluma, respectively—feel out of place amid the album's otherwise refined sonic palette. But even when Madonna falters, at least you know you're getting the real deal and not some version of a pop icon cooked up in a songwriting lab.
Label: Interscope Release Date: June 14, 2019 Buy: Amazon
Mykki Blanco Is a Trans Joan of Arc in Madonna's "Dark Ballet" Video – Watch
The self-described transfeminine rapper stars in the video from the queen of pop's upcoming album Madame X.
While presenting Madonna with GLAAD's Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for "Dark Ballet," the final track to be released in the lead-up to Madonna's new album, Madame X.
Directed by Dutch Ghanaian visual artist Emmanuel Adjei, "Dark Ballet" echoes the themes of Madonna's infamous "Like a Prayer" video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that's where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.
The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he's led by clergymen to be executed for an undisclosed crime. He's then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church's sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna's Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.
Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky's "Dance of the Reed Pipes" from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There's a brief, blink-and-you'll-miss-it shot from Carl Theodor Dreyer's 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.
Watch below:
Madame X will be released on June 14 via Interscope Records.
Review: Miley Cyrus's She Is Coming Feels Like Empty Posturing
The singer finds her groove when she follows a less strident tack.2.5
The only thing Miley Cyrus's critics found more problematic than her appropriation of black culture on her 2013 album Bangerz was the singer's utter abandonment of hip-hop on 2017's Younger Now. That album was marked by a more mellow pop-rock sound, complemented by a newly squeaky-clean image that found her literally frolicking in a country meadow. The move was seen as confirmation that Cyrus's interest in hip-hop is merely performative, and her recent renunciation of Younger Now and subsequent pivot back toward urban-influenced pop is unlikely to quash that impression.
She Is Coming, the first of three EPs that Cyrus plans to release throughout the year, is rife with references to her newfound toughness. Lead single "Mother's Daughter" boasts an admirable feminist-adjacent message—"Don't fuck with my freedom"—but Cyrus's standoffish pose feels like so much empty posturing, making the bravado of Taylor Swift's Reputation seem downright menacing. On the mercifully brief "Unholy," Cyrus tosses off glib vaunts like "I'm a little bit unholy/So what? So is everyone else," while an unintentionally comical quip about having sex next to takeout food may arouse little in listeners besides a sudden compulsion to sanitize their kitchen counter.
The EP's dubious employment of hip-hop tropes and graphic sexual metaphors reaches its nadir on ballroom-inspired "Cattitude," part boast track and part ode to Miley's female prowess: "I love my pussy, that means I got cattitude/If you don't feel what I'm saying, I don't fuck with you." RuPaul's presence lends a certain tongue-in-cheek quality to the song, but given the straight-faced appropriation on display throughout the rest of She Is Coming, it's impossible not to consider this one with as much seriousness—that is, not much at all. When, at the end of the track, Cyrus awkwardly raps, "You're just mad 'cause your hair is flat," it's hard to tell if she's taking the piss or deliberately provoking her critics.
Which is a shame, as Cyrus finds her groove when she doesn't try so hard, as on "D.R.E.A.M.," a hazy confessional that, true to its title, is dreamy enough to forgive its puerile conflation of chemical and romantic euphoria. Even an initially jarring coda from Ghostface Killah feels of a piece with the impeccably produced track's distorted guitars and slyly discomfiting beat. The ragga-inspired "Party Up the Street" likewise cushions its drug-induced reverie with pillowy keyboards and swoony orchestral flourishes. Unless the subsequent EPs in this series follow this less strident tack, Bangerz might start to seem like an act of cultural reverence.
Label: RCA Release Date: May 31, 2019
Review: Katy Perry Proves It's "Never Really Over" with New Single and Video
The video takes place inside a gated compound where the singer enrolls in a retreat for the brokenhearted.
Katy Perry's first solo single in two years, "Never Really Over," finds the pop singer struggling with residual ambivalence over a former flame. "Two years and just like that, my head still takes me back," she belts in her signature bellow. Co-produced by Zedd, who previously collaborated with Perry on the DJ's simmering electro-pop single "365" earlier this year, the infectious "Never Really Over" is a bright midtempo pop track that wouldn't sound out of place on 2013's Prism. And that's probably by design.
Despite the strength of its lead single, "Chained to the Rhythm," Perry's 2017 album Witness fizzled on the charts, selling a fraction of its three multi-platinum predecessors. So it wouldn't be a stretch to say that a lot is riding on "Never Really Over," the title of which could—depending on how the song is received—double as a bold statement of purpose or tragic irony.
From the sound of a ticking clock to marching-band percussion, time is a clever recurring motif throughout "Never Really Over." If Perry looked to the future on Witness, she mines the past for the music video for this track. But rather than revert to the retro, brunette bombshell look of her most commercially fertile eras, Perry opts for a long, wavy strawberry-blond coif and a '70s-inspired boho-chic aesthetic here.
Shot in Malibu, the video takes place inside a gated compound where Perry enrolls in a cult-like retreat for the brokenhearted. She her fellow romance recoverees dance merrily in a sun-kissed field and partake in cupping, acupuncture, and other forms of alternative medicine—"I guess I should try hypnotherapy/I've got to rewire my brain," Perry sings—culminating in a cheeky ayahuasca-style ceremony in which the participants drink their own tears.
Directed by Philippa Price, "Never Really Lover" is a playful and imaginative portrayal of love's intoxicating spell and the absurd lengths some of us will go to exorcise ourselves of it. The clip is ripe for repeat viewings and filled with New Age symbolism, including the compound's yin-yang-inspired logo and enough triangle imagery to keep illuminati conspiracy theorists occupied at least until Perry serves up her next visual feast.
Premiere: Heather Nova Goes Back to Her Roots with "Just Kids" Music Video
We've got the exclusive premiere of the second single from the singer-songwriter's 10th album, Pearl.
Released 25 years ago this fall, Heather Nova's breakthrough album, Oyster, earned the singer-songwriter a faithful following, due in large part to her angelic soprano, memorable pop hooks, and, above all, her alternately thoughtful and visceral ruminations on love and healing. Singles like "London Rain (Nothing Heals Me Like You Do)" and "Heart and Shoulder," from 1998's Siren, further solidified Nova as a cult pop figure at once capable of harnessing the grit of alt-rock, the candor of folk balladry, and the sleek accessibility of Top 40 music.
Following a series of more stripped-down fare, Nova's 10th album, Pearl, reprises the crisp, layered aesthetic of those early efforts, thanks in large part to the singer's reunion with producer Youth (The Verve, Dido, Pink Floyd). Nova describes the album's second single, "Just Kids," as a celebration of the "carefree sense of open possibilities" that new love can conjure in us. "It's a song about how love can make you feel like a kid again," she says.
Shot in Bermuda, where Nova was born, the music video for "Just Kids" is a charmingly simple visual depiction of the song's universal concept. Co-directed by Nova and photographer Vincent Lions, the black-and-white clip is largely composed of one long take that finds Nova lounging on the beach while Lions (Nova's boyfriend) frolics playfully in the background in a valiant attempt to make her break.
Watch "Just Kids" below:
Pearl will be released on June 28 via Saltwater Records.
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to 8:00pm
Tuesday: 10:00am to 8:00pm
Wednesday: 10:00am to 8:00pm
Thursday: 10:00am to 8:00pm
Friday: 10:00am to 8:00pm
Saturday: Closed
Sunday: Closed


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Vanas Apartments
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Points Of Interest
Hotel Description
Close to the beach
You'll find Nikolaos Monastery and Spetses Beach within a 15-minute walk of this Spetses aparthotel. Bouboulina's Museum and Port of Spetses are also within 2 miles (3 km).
Poolside dining
An outdoor pool, free self parking, and laundry facilities are featured at this aparthotel. Guests will appreciate freebies like buffet breakfast, WiFi in public areas, and a ferry terminal shuttle. A garden, luggage storage, and barbecue grills are also on offer.
Kitchenettes, satellite TV
The 18 apartments feature well-equipped kitchenettes with refrigerators and stovetops, as well as furnished balconies or patios and TVs with satellite channels. Other amenities include hair dryers, showers, and phones.
Reviews from Trip Advisor
% of guests recommend out of 14 reviews
About the Vanas ApartmentsLocation Thessi Sofou, Agioi Pantes, Spetses, 180 50
Property Features
Free breakfast is available daily. Public spaces have free WiFi. An outdoor pool, barbecue grills, and a garden are also featured at Vanas Apartments. Self parking is free.
- 18 guestrooms or units
- 2 buildings
- Buffet breakfast (free)
- Towels for the beach
- Umbrellas for the beach
- Poolside lounge chairs
- Umbrellas for the pool
- Self-service laundry
- Front desk (limited hours)
- Storage area for luggage
- Garden
- BBQ grill(s)
Family Friendly Amenities
- Family Property
- Outdoor pool
- Free WiFi
- Kitchenette
- Laundry facilities
- Refrigerator
- Free cribs/infant beds
Available in some public areas: Free WiFi
Free self parking
- Airport: Athens (ATH-Eleftherios Venizelos) (209.9 km / 130.4 mi)
- Property shuttles: Free ferry terminal shuttle
- Parking: Free self parking
Room Amenities
Vanas Apartments offers 18 air-conditioned accommodations with hair dryers and complimentary toiletries. Rooms open to furnished balconies or patios. Accommodations at this 3-star aparthotel have kitchenettes with refrigerators, stovetops, and cookware/dishes/utensils. Bathrooms include showers. Satellite television is provided. A nightly turndown service is provided and housekeeping is offered daily. Amenities available on request include irons/ironing boards.
- In-room kitchenette
- Private balcony or patio (furnished)
- Television
- Satellite channels
- Refrigerator
- Stove
- Kitchenware
- Shower
- Cribs (free)
- Housekeeping (daily)
- Nightly turndown service
- Hair dryer
- Toiletries (free)
- Telephone
- Iron and ironing board available
- Air conditioning
- Ensuite bathroom
Food & Drink
Guests are served free buffet breakfast daily from 8 AM to 11 AM.
Onsite venue - This poolside bar specializes in international cuisine and serves breakfast, lunch, and light fare.
Nearby Activities
Recreational amenities at the aparthotel include an outdoor pool.
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- In-room accessibility
Hotel Policies
- Check-in time starts at noon
- Check-in time ends at 11 PM
- Minimum check-in age is 18
Special check-in instructions:
The front desk is open daily from 8 AM - midnight.
If you are planning to arrive after midnight please contact the property in advance using the information on the booking confirmation.
The front desk at this property is open daily from 8 AM - midnight.
Guests arriving after midnight must make advance arrangements by contacting the property using the information on the booking confirmation.
- Check-out by noon
Payment types
Children and extra beds
- Children are welcome.
- Rollaway/extra beds are not available.
- Free cribs (infant beds)!
- No pets allowed, but service animals are welcome
Extra-person charges may apply and vary depending on property policy.
Government-issued photo identification and a credit card, debit card, or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed. Please note that cultural norms and guest policies may differ by country and by property. The policies listed are provided by the property.
Charges for extra guests may apply and vary according to property policy.
A cash deposit, credit card, or debit card for incidental charges and government-issued photo identification are required upon check-in.
Special requests are subject to availability at the time of check-in. Special requests can't be guaranteed and may incur additional charges.
- No rollaway/extra beds available
- Only service animals are allowed
- Property Registry Number - 0207K123K0209300
- No elevators
Guests will be asked to pay the following charges at the property:
- Tourism fee: EUR 0.50 per accommodation, per night
We've listed all charges provided to us by the property, but they may vary based on length of stay or the room booked.
Optional extras
Hotel Names
- Vanas Apartments Spetses Town
- Vanas Apartments
- Vanas Spetses Town
- Vanas Apartments Spetses
- Vanas Spetses
You should know
- Onsite cash transactions can't exceed EUR 500, due to national regulations. For more details, please contact the property using information in the booking confirmation.
- Vanas Apartments offers transfers from the ferry terminal. Please contact the property at the number on the booking confirmation with your arrival details prior to travel.
National Rating
For the benefit of our customers, we have provided a rating based on our rating system.
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Just a few words on the recent reports - apparently untrue - of proposals to require Jews and Christians in Iran to wear some kind of distinguishing mark or item of clothing. Understandably, this triggered associations with the infamous "yellow star" that Jews in Nazi Germany were required to wear.
Here is my response, edited from an e-mail I sent to a friend:
I've been following the Iranian "yellow star" story pretty closely on the web. I am a dyed-in-the-wool neocon hawk, and I follow Iranian events almost obsessively.
From everything I have seen in the last 24-48 hours, it appears certain that the story is incorrect. Amir Taheri offers the following response:
Regarding the dress code story it seems that my column was used as the basis for a number of reports that somehow jumped the gun. As far as my article is concerned I stand by it.
The law has been passed by the Islamic Majlis and will now be submitted to the Council of Guardians. A committee has been appointed to work out the modalities of implementation. Many ideas are being discussed with regard to implementation, including special markers, known as zonnars, for followers of Judaism, Christianity and Zoroastrianism, the only faiths other than Islam that are recognized as such. The zonnar was in use throughout the Muslim world until the early 20th century and marked out the dhimmis, or protected religious minorities. ( In Iran it was formally abolished in 1908). I have been informed of the ideas under discussion thanks to my sources in Tehran, including three members of the Majlis who had tried to block the bill since it was first drafted in 2004.
I do not know which of these ideas or any will be eventually adopted. We will know once the committee appointed to discuss them presents its report, perhaps in September.
Interestingly, the Islamic Republic authorities refuse to issue an official statement categorically rejecting the concept of dhimmitude and the need for marking out religious minorities. I raised the issue not as a news story, because news of the new law was already several days old, but as an opinion column to alert the outside world to this most disturbing development. "
Some have claimed that either Taheri or some other party deliberately fabricated the story. I do not believe this is the case. I do think it's very unfortunate that someone of Taheri's caliber allowed himself to be associated with a highly inflammatory story that could not be verified.
I suspect this will turn out to be the Iranian counterpart of the Iraqi "WMD" episode; that is, those who wish to accuse the "warmongers" of spreading deliberate falsehoods will seize on it with the ferocity of a pit bull. What's sad is that the real atrocities of the Iranian regime, like those of Saddam's Ba'athist gang, will be overlooked.
Let me say here that I unequivocally condemn any and all attempts to "embellish" the crimes of the Iranian regime. The reality is horrible enough and it does not need any help. If more people knew the truth of the atrocities committed by the sadistic gang of thugs in Tehran, the story of alleged "Jewish clothing" would seem very small indeed.
A few final comments:
Generally I make an effort to avoid or delay posting very sensational stories, precisely because there's a good chance they will turn out to be incorrect. I didn't post anything on this story for just that reason; but sometimes I do slip up. I'm taking this as a reminder to be extra careful about what I post here, because these are difficult and dangerous times, and people are getting killed. Writing about world events is a serious thing, and sometimes "PIMF" just doesn't cut it.


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Hotels close to Ministry Of Justice - Medina Madina
Ministry Of Justice located in Madina in Saudi Arabia, it is responsible for all administrative matters relating to the judiciary and law and the courts in the Kingdom of Saudi Arabia. In 1382 King Faisal bin Abdul Aziz was announced the establishment of the Ministry of Justice to oversee the courts and meet the financial and administrative requirements, the first minister of Ministry of Justice was Sheikh Mohammed bin Ali Harkan In 1390 the Ministry of Justice has begun its work. The main tasks of Ministry of Justice are: it working on enforcement of the Islamic law and its provisions, so as to achieve the country's security and stability, facilitate judicial service to citizens, residents and expatriates.
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Infant Rae'Lyn Tatum (nine months) Grambling, LA, was born July 23, 2018, and died May 6, 2019, in Grambling, LA. Funeral services will be held at noon Thursday, May 16,
Mr. Dexter White, 59, of Ruston, LA, was born May 29, 1959, and died May 8, 2019, in Ruston, LA. A wake will be held from 6 - 7 p.m.
Louisiana Tech went big and worldwide with its latest women's basketball signee. Lady Techsters head coach Brooke Stoehr announced the addition of forward Lotte Sant who signed a national letter
Buggs ups RHS tradition in pro football Thanks to the pass rush-happy terrorism invoked on opposing ball carriers by Isaiah Buggs and his teammates at the University of Alabama, the
DALLAS — He broke out the bats over the weekend and reaped the awards from his play on Monday. Following up on a huge week at the plate that included
METAIRIE (AP) — Former Florida safety Chauncey Gardner-Johnson completed all of two rookie minicamp practices when Saints secondary coach Aaron Glenn predicted that defensive coordinator Dennis Allen would find a
BIRMINGHAM, Ala. —"I love you." Those are the three words said in unison when members of the Louisiana Tech softball team break the huddle after practices and after games. While
Name: Dexter Antonio Mattox Age: 42 Address: 121 Igoe Inn Rd., Ruston Arrested for: Domestic abuse battery Date of arrest: May 8 Time of arrest: 10:12 a.m. Place of arrest:
NEW YORK (AP) — The deadly confrontation five summers ago flickers in Gwen Carr's mind, competing for attention with warm, happy memories of her late son Eric Garner's life. For
HOUSTON (AP) — Trained dogs detected the scent of human decomposition in the vehicle of a man arrested in connection with the disappearance of a 4-year-old Texas girl, according to
Click here to read Ruston Daily Leader
Ruston Daily Leader
212 W. Park Avenue
Ruston, LA 71270
© Ruston Daily Leader 2019


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Twisted Donuts by cdninswe
patterns > The Needle Emporium
> Twisted Donuts
© cdninswe
© cdninswe
© cdninswe
© cdninswe
Twisted Donuts
by cdninswe
This pattern is available for C$5.00.
Twisted Donuts is an easy knit in worsted weight yarn, customizable as a stole, scarf or cowl.
The pattern is comprised of two separate cables representing donuts, éclairs and crullers!
Stole (approx., 108" x18"): 1400 yards
Scarf adult length (approx., 88"x11"): 800 yards
Cowl or Childs scarf (approx., 66"x11"): 600 yards
The top three pictures are knit out of tosh vintage and the fourth scarf down is knit in double strand tosh merino light
Please contact The Needle Emporium to purchase the pattern.
About this pattern
by cdninswe
4 projects, in 9 queues
About this yarn
by madelinetosh
100% Merino
200 yards
42704 projects
stashed 34238 times
rating of 4.8 from 7138 votes
- Page created: February 20, 2014
- Last updated: January 1, 2015 …
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Caitlin Martin
Taking the path less traveled has been Caitlin's mantra and now it describes her travels as a contributor for Hundredbacklinks. From representing her dream clients in travel and hospitality at a top global marketing and PR agency and spending 10 years on the agency side, she's uncovering inspiration on the other side of the table. She's an east coaster at heart but enjoys living the beach life in Los Angeles, laughing loudly and singing in her Mini convertible. Follow Caitlin as she chronicles inspirational places and faces she meets along the way. She can be found on Twitter at or email [email protected]


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Hello! Guest
Welcome to the CelticsStrong Forums.
Latest Discussions
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