Podcasts about Ban

In This Episode Erin and Weer'd discuss: an article from The Atlantic about rethinking "Run, Hide, Fight" in a manner that shows some minds are being changed; the Chesapeake, VA Walmart shooting; and Biden's declaration that semi-automatic weapons "have no redeeming features." Next, Savage1R returns to the show to give us a breakdown of the FTX Cryptocurrency Scandal; and finally, Weer'd sits down with Ian McCollum to discuss his upcoming book, Clockwork Basilisk. Did you know that we have a Patreon? Join now for the low, low cost of $4/month (that's $1/podcast) and you'll get to listen to our podcast on Friday instead of Mondays, as well as patron-only content like mag dump episodes, our hilarious blooper reels and film tracks. Main Topic: Rethinking ‘Run, Hide, Fight' Lurking Rhythmically: Unwelcome Defender Sources identify the Walmart manager who shot and killed 6 people at his store in Virginia Biden Calls for Ban on Semi Autos Savage1R Segment: Never seen 'such a complete failure' of corporate controls, says new FTX CEO who also oversaw Enron bankruptcy Crypto billionaire Sam Bankman-Fried's downfall could deprive Democrats of key donor Ian MacCollum: Forgotten Weapons Clockwork Basilisk  

Để kiếm tiền nhiều bạn cần phải học cách xây dựng mối quan hệ với mọi người xung quanh. Ngoài ra, trong audio tôi còn chia sẻ với bạn 2 cách kiếm tiền khác sẽ giúp bạn nên giàu có. Cách kiếm tiền 1: Mua đất quanh nhà Đối với những người có tổng tài sản dưới 200tr tuyệt đối không được mua hay đầu tư bất kỳ gì. Cứ kiếm tiền được thì ập trung vào mua đất quanh nhà. Cách kiếm tiền 2: Bán hàng online Tuyệt đối không bỏ số tiền lớn nhập hàng chỉ vì chiết khấu cao. Ban đầu chỉ nhập số lượng ít, khi nào bán được, có khách nhiều thì mới nhập hàng nhiều. Với cách kiếm tiền trên tiktok, bạn thậm chí không cần phải nhập hàng.

Leland breaks down inconsistencies and inefficiencies of a local gun ordinance in Colorado. Governor Ron DeSantis (R-FL) goes on offense against Apple for targeting Elon Musk and potentially removing Twitter from their platform, while doing China's bidding in suppressing the ability of protesters to communicate.

Năm 2022 là tròn 50 năm thẻ đường sắt Interrail tồn tại ở châu Âu. Riêng từ năm 1998, nhờ thuê bao Interrail, 10 triệu du khách châu Âu đã có thể đến 40.000 điểm đến thuộc 33 nước tại châu Âu, chủ yếu bằng tàu lửa (250.000 km đường sắt) và có thể là bằng phà. Tham gia chương trình là 40 công ty đường sắt và đường biển của châu Âu.   Ra đời ngày 01/03/1972, Interrail đã ghi nhận sự thành công, bởi cho phép các công dân trẻ tuổi được đi lịch đến 21 nước châu Âu trong vòng 1 tháng với chi phí khá khiêm tốn. Trong năm đầu tiên, đã có 87.000 thẻ được bán ra. Báo Đức Der Spiegel, được Courrier International dịch lại, gợi nhớ : « Cách nay 50 năm, ý tưởng này đã làm một cuộc cách mạng về du lịch đối với thanh niên dưới 21 tuổi. Hôm nay ở Venise (Ý), ngày mai ở Nice (Pháp) và xen vào đó là một đêm tiệc tùng vui vẻ trên tàu : vé Interrail khiến các chuyến du lịch khắp châu Âu bằng tàu là có thể được ». Đối với nhiều thanh niên « thế hệ Interrail », Pass Interrail đánh dấu trải nghiệm lần đầu được du lịch một mình, thoát khỏi vòng tay bao bọc của cha mẹ, đi từ phía bắc xuống phía nam châu Âu và hoàn toàn được tự quyết lộ trình theo ý muốn.   Interrail phát triển « bùng nổ » vào thập niên 1980-1990. Sự sụp đổ của bức màn sắt và sự thống nhất nước Đức đã mở ra chân trời mới cho các du khách châu Âu, Đông - Tây khám phá nhau. Khi châu Âu phát triển, biên giới thu hẹp lại, ngày càng có nhiều tuyến đường sắt tham gia chương trình Interrail. Nhưng đến những năm 2000, nguồn lực chương trình đã suy giảm, đặc biệt là do sự cạnh tranh từ các hãng hàng không giá rẻ, người châu Âu có xu hướng đi du lịch xa hơn, « đi Bali thay vì đến Budapest, đến Luang Prabang thay vì chỉ đi Luân Đôn ». Để đối phó với tình hình này, các biểu giá và thuê bao được mở rộng, nhưng theo báo Đức Der Spiegel, Pass Interrail « đã mất đi sự đơn giản vốn dĩ là sức hấp dẫn - một tháng đi khắp châu Âu với mức giá cố định ».  Đến những năm gần đây, mọi chuyện có sự đảo chiều. Lượng thẻ Interrail bán được vào năm 2018 nhiều gấp 3 lần so với năm 2005. Lý do chủ yếu là tàu hỏa được ưa chuộng hơn, được xem là loại phương tiện ít gây ô nhiễm hơn máy bay, đặc biệt là ở các quốc gia Bắc Âu, nơi khởi xướng khái niệm flygskam, theo tiếng Thụy Điển có nghĩa là « nỗi xấu hổ khi đi máy bay ».   Tại Pháp, chỉ riêng mùa hè 2022, hơn 6 triệu vé tàu đã được bán cho những hành khách sử dụng thuê bao Interrail. Nhìn rộng ra châu Âu, năm 2019, đã có 600.000 du khách tận dụng Interrail để khám phá châu Âu. Từ 2 năm nay, Interrail ghi nhận thuê bao tăng « bùng nổ ». Le Figaro ngày 12/08 trích dẫn Interrail, theo đó « trong quý 1/2022, nhu cầu đã tăng vượt mức của cả năm 2019. Song song với sự tăng trưởng này là việc ngày càng có nhiều gia đình, người trưởng thành và người cao tuổi quan tâm » đến thuê bao vốn dĩ ban đầu chỉ dành cho thanh niên.   Xin nhắc lại Pass Interrail chỉ dành cho các công dân hoặc những người sinh sống hợp pháp tại châu Âu. Các du khách đến từ các nước ngoài Liên Âu có thể đăng ký một thuê bao tương tự, có tên là Pass Eurail. Để hiểu thêm về Pass Interrail, ngày 23/08/2022, RFI Tiếng Việt đã có cuộc phỏng vấn ông DEWUNDARA, phụ trách bộ phận Thẻ quốc tế của công ty SNCF Voyageurs, thuộc tập đoàn đường sắt Pháp SNCF.  RFI : Ông có thể cho thính giả, độc giả của RFI biết ý tưởng về thẻ Interrail xuất phát từ đâu ? Ban đầu, mục đích của việc cho ra đời Pass Interrail là gì ?   DEWUNDARA : Pass Interrail ra đời hồi năm 1972 và dành cho thanh niên châu Âu dưới 21 tuổi nhân dịp kỷ niệm 50 năm thành lập Liên Minh Đường Sắt Quốc Tế. Ban đầu, Interrail là loại thẻ đặc biệt và chỉ có một loại duy nhất, nhằm động viên khích lệ giới trẻ đi du lịch và cổ vũ tình bằng hữu giữa các nước thành viên Liên Hiệp Châu Âu.  Sau khi sáng kiến đầu tiên về Pass Interrail ra đời và đạt được thành công, thẻ Interrail đã tiếp tục được cung cấp và theo thời gian, Pass Interrail thậm chí đã mở rộng đối tượng khách hàng và cho phép ngày càng nhiều người đi du lịch bằng tàu lửa và lộ trình ngày càng được mở rộng ra nhiều nước tại châu Âu. Hiện nay, Interrail đưa du khách đến 33 nước châu Âu với hơn 33.000 điểm đến.    RFI : Ông có thể giải thích rõ hơn về lịch sử phát triển, mở rộng Interrail trong nửa thế kỷ qua ?   DEWUNDARA : Trong vòng 50 năm, Pass Interrail gần như đồng nghĩa với « du lịch không biên giới », nêu bật các giá trị về sự tự do, các chuyến phiêu lưu, tính linh hoạt, và đặc biệt là sự cởi mở. Việc mở ra các chuyến du hành không biên giới, bằng tàu lửa, khắp châu Âu, đã trở thành một cuộc cách mạng. Và như tôi đã nói ở trên, đối với du khách, thẻ Interrail đồng nghĩa với một sự trải nghiệm du lịch khó có thể quên.  Chính vì ngày càng được nhiều người biết đến, ngay từ năm 1998, chương trình Interrail đã được mở rộng và cho phép người châu Âu ở mọi lứa tuổi đi tàu khám phá châu Âu. Trẻ em từ 4 đến 11 tuổi được đi du lịch miễn phí. Thanh niên dưới 27 tuổi và những người trên 60 tuổi thì được giảm giá. Đó là nhằm mở rộng chương trình, để có thể nhắm tới mọi đối tượng khách hàng. Trong những năm đầu thập niên 1990, khách mua Pass Interrail chỉ tăng ở mức khá ổn định, rồi trong những năm tiếp theo đó đến năm 2020, lượng khách giảm nhẹ do sự xuất hiện của hàng không giá rẻ. Nhưng từ năm 2005 đến năm 2019, số thẻ Interrail bán ra đã tăng gấp 3 lần. Riêng năm 2019, 380.000 thẻ đã được bán ra. Trong thập niên qua, Pass Interrail giữ được mức ổn định, nhưng đương nhiên là với đại dịch Coivd-19, chúng tôi đã trải qua 2 năm khá là khó khăn.  Chúng tôi ngày càng mở rộng mối quan tâm đến các nhóm du khách, nhất là đối với hộ gia đình, người trưởng thành và người cao tuổi. Ban đầu, khi mới ra đời, Pass Interrail là thẻ dành cho thanh niên nhưng chúng tôi thấy rằng nhóm khách hàng là hộ gia đình, người trưởng thành và người cao tuổi đạt mức tăng ổn định.    RFI : Theo ông, đâu là những điều làm nên thành công cho Pass Interrail ? Và đâu là điều đặc biệt mà chương trình Interrail đã đem lại cho du khách trong 50 năm qua ?  DEWUNDARA : Sự thành công của Pass Interrail trước hết là sự thành công và ngày càng được biết đến rộng rãi của phong trào du lịch bền vững. Chúng tôi nghĩ rằng Pass Interrail đang khơi dậy sự tò mò, hiếu kỳ từ các đối tượng thuộc thế hệ mới. Trong một nửa thế kỷ tồn tại vừa qua, Pass Interrail vẫn luôn tiếp tục phát triển thông qua việc dự báo các nhu cầu của các thế hệ khách hàng mới.   Tôi nghĩ rằng người châu Âu có bản sắc về du lịch có trách nhiệm. Ngày càng có nhiều du khách ý thức được rằng tàu lửa là một phương tiện đi lại thuận tiện nhất, cả về giá cả và hành lý. Tàu lửa thường đưa du khách đến thẳng khu trung tâm của các thành phố. Các biểu giá Pass Interrail khá là rõ ràng, cố định trong suốt cả năm. Và đương nhiên là cũng có khuyến mại, giảm giá vào một số dịp. Trẻ em 4-11 tuổi thì đi miễn phí.   Biểu giá khá là rõ ràng. Nếu quý vị chọn đi du lịch qua nhiều nước và với nhiều điểm đến thì Pass Interrail thực sự là một trong những lựa chọn giá rẻ nhất và đương nhiên là cũng tốt nhất cho môi trường sinh thái. Tôi xin nói thêm một chút về khái niệm « khoảng cách ». Đối với những chặng đường dưới 1.000km thì tàu lửa thường là phương tiện chuyên chở nhanh nhất. Nếu tính thời gian đi lại, so với thời gian làm thủ tục ở sân bay cộng với thời gian bay nếu đi máy bay, thì thời gian đi tàu là có thể cạnh tranh được.   Pass Interrail thực sự tạo cho những hành khách hiếu kỳ, ham khám phá một chuyến du hành khá đặc biệt và cho phép họ khám phá kho báu còn đang được cất giấu ở khắp châu Âu. Điều mà chúng tôi nhận thấy từ 50 năm qua là Interrail đã thực sự xây dựng một lịch sử chung cho toàn thể cư dân châu Âu ở mọi lứa tuổi.   RFI : Vậy đâu là điểm đến ưa chuộng của du khách Châu Âu khi tham gia chương trình Interrail ? Và Interrail thu hút nhóm du khách nào nhiều nhất ?   DEWUNDARA : Về các điểm đến, tính theo thành phố, được du khách đến thăm nhiều nhất trong năm 2022 là Paris, Hambourg (Đức), Copenhague (Đan Mạch), Berlin (Đức) và Barcelone (Tây Ban Nha). Đó là 5 thành phố lớn được du khách dùng thẻ Interrail đến thăm nhiều nhất.   Còn theo phân loại hành khách trong năm 2022 thì 59% là thanh thiếu niên từ 12 đến 27 tuổi, 41% còn lại là người trưởng thành, trẻ em và người cao tuổi. Chúng tôi thấy là Interrail là loại thẻ hướng khá nhiều đến giới trẻ. Tuy nhiên, người trưởng thành và người cao tuổi vẫn chiếm đến 41% tổng lượng khách chọn mua thẻ Interrail và tỉ lệ này đang trong quá trình tăng ổn định. Từ khoảng chục năm qua, ngày càng có nhiều người trưởng thành và người cao tuổi đi du lịch với Pass Interrail. Điều này ngày càng được trông thấy rõ. RFI : Ông có lời khuyên nào dành cho các thính giả, độc giả của RFI đang sinh sống tại châu Âu và quan tâm đến thuê bao Interrail ?    DEWUNDARA : Lời khuyên của chúng tôi là du khách hãy thực sự dành chỗ cho sự hiếu kỳ, tính phiêu lưu khám phá và sự linh hoạt. Pass Interrail cho phép du khách được tự do lựa chọn. Điều chúng tôi vẫn nói về Interrail, đó là « du lịch là ở hành trình khám phá nhiều hơn là ở điểm đến cuối cùng ». Đối với những chuyến tàu mà hành khách bắt buộc phải đặt chỗ trước thì quý vị phải trả thêm chút phí đặt chỗ. Trong trường hợp quý vị quyết định đi những chuyến đó thì lời khuyên của chúng tôi là để thuận tiện, quý vị nên đặt chỗ sớm nhất có thể để bảo đảm sẽ có chỗ và được hưởng chuyến đi thật thoải mái vì những tuyến đó thường đông khách.   Còn nếu hành khách muốn đi du lịch trên những chuyến tàu không bắt buộc phải đặt chỗ trước thì lời khuyên của chúng tôi là quý vị hãy đi tàu liên tỉnh, tàu liên vùng thay vì đi tàu cao tốc. Quý vị cũng nên đi tàu đêm, bởi vì tàu đêm cho phép quý vị dịch chuyển nhẹ nhàng và quý vị có thể tận dụng những chặng nghỉ ngắn, ở những điểm dừng thì xuống tàu một chút cho khỏi mỏi người và nhất là có thể khám phá những điểm thú vị còn đang ẩn giấu ở châu Âu. Interrail mang lại cho quý vị tới 33.000 điểm đến trải khắp châu Âu, tức là có chừng đó ga và địa điểm cho quý vị khám phá. Mục tiêu của chương trình Interrail thực sự là đưa quý vị ra khỏi những trục lộ lớn để rồi quý vị thấy mình « lạc » đến khắp mọi nẻo ở châu Âu, khám phá một châu Âu mà mọi người thường ít được biết đến.   RFI Tiếng Việt cảm ơn ông DEWUNDARA đã tham gia chương trình.

In this episode, I chat with Colombian Creative Director and Illustrator Daniela Jordan-Villaveces. Daniela is a US and Colombian Dual Citizen who was raised in Colombia up until high school before moving to Naples, FL. Her work injects joy and happiness through her use of punchy bold colors and vivid patterns. Keep on listening to hear us chat about Daniela's international upbringing, why she majored in Printmaking at OCAD, and how she became a Creative Director.EPISODE LINKS- Watch this Episode on Youtube (Premiering at 5pm ET)- Support [Draws in Spanish] on Patreon- Host: Follow Fabiola on Instagram, YouTube, TikTok- Guest: Follow Daniela on Instagram and view her websiteTOPICS COVERED:Dealing with Perfectionism and Social MediaHer experience being born and raised in Bogota, ColombiaHow she identifies as Colombian despite being a dual citizenIdentifying more with her Colombian identityWhat it means to be from BogotaHow many differences there are in cultures across Latin AmericaWhy she chose to move to Naples, Florida in High SchoolAttending Ontario College of Art & Design University (OCAD) for Art School in Toronto, CanadaMoving to New York City with only $1,100 after graduatingHow she viewed the US as the entertainment capital of the world as a childHow isolated the US is from foreign culturesPursuing a BFA in printmaking despite wanting to pursue illustrationHow she became the Creative Director of Ban.doHer journey from apparel design to product design management and ultimately to Creative DirectorHow she worked with clients like HBO, Target, ban.do, Allbirds, Chobani, Samsung, Chunks, Vox, Google, EaterWorking with All BirdsWorking with Target for their Más Que A Month Collaboration for Latinx Heritage MonthThe intricacies of Spanglish within the Latinx communityWhy it's uncool when brands co-op spanglish for Latinx Heritage MonthWhy the question “What does being Latina mean to you?” drives us crazyWhy it's important to play to your creative strengths with your clientsThe technical tools she uses to create patternsWorking with a Wacom and iPad for her digital workHer Advice for those interested in getting into surface pattern designHer Favorite Colombian term, food, and cultural significance

Join the guys as they discuss the most recent mass shootings? How do we change this? Ban the guns? What is a Nuclear Family, and where did it go?What does AR Stand for?Why did black Friday seem so different this year? Listen in as the guys tell the story of Fortenberry the Designate Driver, never again Fortenberry!Lifefromthepatio.com

O Jiřím Stivínovi je známo, že zahraje na cokoliv dutého, je multiinstrumentalista, nevyhýbá se žádnému hudebnímu žánru a miluje improvizaci. Využívá i věci, které původně hudebními nástroji nejsou: hřebeny, lahve, gumové hadice a rozezněl i banán. „Ano, vsadil jsem se a podařilo se mi to. Banán ale nevydržel dlouho, protože shnil.“

O Jiřím Stivínovi je známo, že zahraje na cokoliv dutého, je multiinstrumentalista, nevyhýbá se žádnému hudebnímu žánru a miluje improvizaci. Využívá i věci, které původně hudebními nástroji nejsou: hřebeny, lahve, gumové hadice a rozezněl i banán. „Ano, vsadil jsem se a podařilo se mi to. Banán ale nevydržel dlouho, protože shnil.“

O Jiřím Stivínovi je známo, že zahraje na cokoliv dutého, je multiinstrumentalista, nevyhýbá se žádnému hudebnímu žánru a miluje improvizaci. Využívá i věci, které původně hudebními nástroji nejsou: hřebeny, lahve, gumové hadice a rozezněl i banán. „Ano, vsadil jsem se a podařilo se mi to. Banán ale nevydržel dlouho, protože shnil.“

O Jiřím Stivínovi je známo, že zahraje na cokoliv dutého, je multiinstrumentalista, nevyhýbá se žádnému hudebnímu žánru a miluje improvizaci. Využívá i věci, které původně hudebními nástroji nejsou: hřebeny, lahve, gumové hadice a rozezněl i banán. „Ano, vsadil jsem se a podařilo se mi to. Banán ale nevydržel dlouho, protože shnil.“

O Jiřím Stivínovi je známo, že zahraje na cokoliv dutého, je multiinstrumentalista, nevyhýbá se žádnému hudebnímu žánru a miluje improvizaci. Využívá i věci, které původně hudebními nástroji nejsou: hřebeny, lahve, gumové hadice a rozezněl i banán. „Ano, vsadil jsem se a podařilo se mi to. Banán ale nevydržel dlouho, protože shnil.“

Martín Sancia Kawamichi nació en Buenos Aires, en 1973. Estudió el profesorado de Lengua, literatura y Latín en el Instituto de Enseñanza Superior Alicia Moreau de Justo y realización cinematográfica en el Cievye. Es autor de literatura infantil y literatura para adultos y dicta talleres literarios para todos los géneros, tanto para grandes como para chicos. Hace algunos años que su nombre se asocia a literatura de calidad no solo por su talento para contar historias originales sino también por la intensidad narrativa de sus relatos. En 2014, su novela Hotaru obtuvo el primer premio en el concurso de novela negra BAN. Es autor de, entre otros libros, la novela Shunga, el libro de cuentos Este pálido mundo mío y la novela Sugokuse. Recientemente la editorial Evaristo publicó U, la nueva novela de Sancia. Úrsula pinta aves embalsamadas, trabaja en la traducción de un texto sobre la Condesa Sangrienta y quiere escribir una novela, para la cual busca un caso, el de una mujer sin rostro. Úrsula o U, es. además, una mujer golpeada que, de un día para el otro, deja de ser violentada por su marido. No es un día cualquiera, el sorprendente cambio ocurre el 9 de julio de 2007, mientras nieva en Buenos aires. Con una prosa apasionada y una tensión narrativa que avanza en formas inusuales, Sancia Kawamichi cuenta la transformación de U, que es, también, una forma de la venganza. En la sección Voz alta Emilia Zavaleta leyó “El vestido de terciopelo” de Silvina Ocampo del libro “La furia” de 1959. Emilia es Licenciada en Relaciones Internacionales y Magíster en Integración Latinoamericana y es la creadora de Mulanas, un proyecto que rescata la memoria de las escritoras latinoamericanas a través de libros y talleres. Y en Mesita de luz, Tute contó que libros está leyendo. Juan Matías Loiseau es dibujante, Publica desde 1999 en el diario La Nación. Es el creador de Batu, el personaje de la tira gráfica que ya tiene siete libros y saltó a la pantalla en micros televisivos (Pakapaka). En 2019 publicó Diario de un hijo, una autobiografía dibujada. Y en 2021 Superyó, cuya original tapa contiene un espejo y que, luego de Tuterapia y Humor al diván, cierra su trilogía dedicada al psicoanálisis. Su último libro es “Mabel y Rubén” En Bienvenidos Hinde habló de “Poesía reunida”, de Gilda Di Crosta (Iván Rosado) Edición al cuidado de Daniel García y “Gato Barbieri. Un sonido para el Tercer Mundo”, de Sergio Pujol. (Planeta) y en Libro que sí recomendó “Bocetos de natación”, de Leanne Shapton, traducción de Laura Wittner (Blatt & Ríos) y “Ladrilleros”, de Selva Almada (Random House)  

Wayne Resnick sits in for Bill Handel and is accompanied by Jason Middleton (filling in for Jennifer Jones Lee) for the Early Edition of Wayne on the News. The two discuss news topics that include: Red flag warnings remain in effect through Friday morning as the Santa Ana winds persist, having left thousands without power on Thanksgiving, inflation hovers over shoppers heading into Black Friday, and President Biden says he'll renew his push for an assault weapons ban following the recent series of mass shootings.

Bumbi instagramjaautók érkeztek az életbeSzipi  - érkezés az amerikai autóbaN.A.A.F. - komáromi autós találkozóMindennapos autó-e?Mitől lesz amerikai egy autó? Sztereotípiák.pompakocsi: Kinga meséi - Cadillackel a másvilágra Te hogyan képzelted el gyerekkorodban?névadásokVégső búcsú II. Erzsébettől - ez a világ leghíresebb pompakocsijaújságírás, tartalommegosztásEgy Trabant élete Zwickautól MonacóigRézmányi Balázs- RézmonyóTcha Limbergeramerikai álomközösség az autók körülTwitterünk - Kotyogós podcast officialAntenna twitterenGergő twitterenBence twitterenÍrhatsz nekünk e-mailt: kotyogospodcast@gmail.comHa meghívnál minket egy kávéra és ezzel hozzá szeretnél férni a specialty tartalmunkhoz megjelenés pillanatában:Patreon támogatásHa beszélgetni akartok velünk és hallgatótársaitokkal akkor Telegramon is megtehetitek ha a "t pont me per kotyogos"-ra mentek.

After a long hiatus, Mr2Drinks returns and is also joined by special guest Krissi to discuss - Growing Up In Care (3:58), Psychological Warfare (14:10), Vaping While Pregnant (16:53), Twitter Bots & OF (24:40), Body Shaming (29:25), Row vs Wade (39:44), The Marriage Business (49:08), Ban on Afro hair (53:27), and much much more… Host: Rhys Waul - Twitter: @Raw_like_me - Instagram: Rawlikeme, Mark Brown - Twitter: @Mister2Drink - Instagram: Mister2Drink - Kaydia - Instagram: @kay.veronica.fennella - Twitter: @KSmall91 - @AURofficial_ MrOh - Twitter: @MrOhYes - Instagram: Misterohhhhh Websites https://differentstrokespodcast.onpodium.com/ https://markanthonyphotography.online/ https://www.mroh.co.uk/

FIRE's new Director of Public Advocacy Aaron Terr and the Cato Institute's Will Duffield join the show to discuss a slew of recent free speech news. California gets it right on rap lyrics but wrong on coronavirus misinformation. One Texas school district repeatedly ventures into book banning. LeBron James spreads “hate speech” misinformation. Is government “jawboning” censorship? And, yes, Elon Musk . . . again. Show notes: Watch the video of the podcast conversation “VICTORY: After FIRE lawsuit, court halts enforcement of key provisions of the Stop WOKE Act limiting how Florida professors can teach about race, sex” “Jawboning against Speech: How Government Bullying Shapes the Rules of Social Media,” by Will Duffield “Fact Sheet: Texas School District Bans 'Gender Fluidity' from Library Shelves” “California Restricts Use of Rap Lyrics in Criminal Trials After Gov. Newsom Signs Bill,” “The ACLU Says California's Ban on COVID-19 ‘Misinformation' From Doctors Is Gratuitous and Unconstitutional,” LeBron James, via Twitter: “So many damn unfit people saying hate speech is free speech.” “Markey fires back after Musk mocks his Twitter complaint” “Biden asked whether Elon Musk is ‘threat' to national security, says relationships ‘worth being looked at'” www.sotospeakpodcast.com YouTube: https://www.youtube.com/thefireorg Twitter: https://www.twitter.com/freespeechtalk Facebook: https://www.facebook.com/sotospeakpodcast Instagram: https://www.instagram.com/freespeechtalk/ Email us: sotospeak@thefire.org

Einstein is real, so get at me Hawking. The theory of No NyQuil November has proven it. You can take shrooms in Colorado, but make sure to shave the balls. You don't want to get cancelled by the cali-Ban.

HE'S BACK! Donald Trump is BACK on Twitter after Elon Musk lifts the BAN! The MELTDOWN begins! New To The Podcast? Looking for a alternative to WOKE Media?! You Are In The Right Place! Make sure you subscribe! New To The Channel? Hit the Subscribe Button and Check out Our Website For Exclusive Content and Livestreams: www.blackandwhitenetwork.com Get your MERCH here: https://teespring.com/stores/blackandwhitesports Use Promo Code "USAFIRST" for 25% Off! --- Support this podcast: https://anchor.fm/blackandwhitenetwork/support

In this 72nd episode of About the House with Troy Galloway, Troy talks to Blake House of Crawlspace Medic St. Louis about crawlspaces. Find out why homeowners choose crawlspaces over basements and find out some of the strangest things Blake has found in a crawlspace. Contact Blake by calling 314-750-5033 or visit his website at https://crawlspacemedic.com/locations/st-louis-mo/ Submit your questions at the Galloway Building Services Facebook page https://www.facebook.com/GallowayBuildingServices About the House brought to you by http://gallowaybuildingservices.com/ 2:47 Blake House is the market director for the St. Louis branch of Crawlspace Medic 4:33 There are a lot of crawl spaces in the midwest and even more in the south. Crawlspace Medic started in the Carolinas 5:16 Why do people build crawlspaces? 7:17 What are the most commons mistakes Blake sees with crawlspaces? 9:35 What are some of the crawlspace building codes? 9:55 How much does crawlspace encapsulation cost? 10:25 What is poly vapor and how thick should it be in a crawlspace? 12:15 Can poly vapor adhere to concrete in a crawlspace? 13:12 How hard is it to service a furnace in a crawlspace? 13:30 Scary ways to support your home in a crawlspace 15:09 Home inspectors will not enter a crawlspace if it looks unsafe 16:45 Digging a trench because there is not enough clearance 17:25 A remote control car probably won't work in a crawlspace 18:25 Plastic shims should not exist 19:20 Can a home be supported by just wood or metal in a crawlspace? 23:15 Can a dehumidifier be put in a crawlspace? 24:23 What to do with old wires hanging in a crawlspace 24:50 Perimeter concrete walls in crawlspaces are porous and should also be covered in polyvinyl 26:38 Can a sump pit be added to a crawlspace? 27:50 Ban boards and plate moisture 28:50 Brand new homes can also have the elevation too high 30:20 Take care of your crawlspace now or you will lose money later when you sell your home 30:55 Is it hard to get an electrician in a crawlspace? 31:20 Pests will eat wires. Pests will eat everything. ( Link to past pest episode with Noel Buckingham https://gallowaybuildingservice.com/radioshow/pest-control-with-noel-buckingham-of-buckinghampestcontrol-com/ ) 36:22 Mudslides in crawlspaces 37:33 A dead man anchor keeps a home from sliding down a hill 39:45 Plastic soil 40:00 The piers were not deep enough to keep the home from sliding down the hill 41:50 What weird things can be found in a crawlspace? 43:05 Reinsulating the floor of a crawlspace 46:40 Does crawlspace repair come with a warranty? 47:30 Offering video proof of work done in a crawlspace 49:33 Is there a bear sleeping in my crawl space? ( https://www.nbcnews.com/news/animal-news/5-hibernating-bears-source-california-crawl-space-snores-rcna25879 )

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More colleges are offering admission to students who never applied. California might be on its way to banning rodeos as the movement to have them stopped continues to grow. And Wayne Resnick joins the show for an all-new edition of 'Do They Have A Case?'

This week, we take a close look at the results, some still ongoing, of the 2022 midterm elections. We also talk about conservatives continuing to ban books, Elon Musk tanking Twitter, and more! If you like our podcast, make sure to leave a 5-star review!  Useful links from the episode:More conservative book banning in Wisconsin schoolsElon Musk tanking Twitter harder than the Packers 2022 seasonMusk discusses putting all of Twitter behind a paywallA “verified” Kari Lake account gained traction after tweeting she concededNintendo of America account posted Mario flipping the bird on the day of a big Nintendo Direct eventPharmaceutical company Eli Lilly's stock dropped after an impersonator tweeted that “insulin is free now”Impersonating accounts was previously against the Twitter TOS, but Musk has professed support of the practice saying “comedy is now legal on Twitter”U.S. judge strikes down Biden's student debt relief planPokemon's Ash Ketchum wins world championshipWaukesha County judge won't order military absentee ballots to be set asideElection officials combat voter intimidation across U.S. as extremist groups post armed militia at some pollsVoting machine problems in Arizona seized on by Trump, election deniersNBC Exit Polls 2022How different groups voted according to exit polls and AP VoteCast

Ban on puppy, kitten sales goes into effect; Dallas mid-air collision kills 6; Man charged with capital murder jailed after cutting off ankle monitor; Elon Musk warns Twitter's survival is at stake as staff quits; Deadly 2021 winter storm data disregarded in models for new ERCOT power grid market report

Sớm ban hành kế hoạch Cao điểm chống buôn lậu, gian lận thương mại và hàng giả dịp trước, trong và sau Tết Nguyên đán Quý Mão 2023 - Tháng 11 này được nhận định là cao điểm sản xuất, tập kết hàng hoá phục vụ nhu cầu tiêu dùng tăng cao dịp cuối năm và Tết. Theo đó, tình hình buôn lậu, gian lận thương mại và hàng giả, hàng vi phạm sở hữu trí tuệ có chiều hướng gia tăng và diễn biến phức tạp trên tất cả các mặt hàng, địa bàn, lĩnh vực kinh doanh, gây thiệt hại nặng nề cho doanh nghiệp, chủ sở hữu quyền, người tiêu dùng, đồng thời làm thất thu ngân sách nhà nước. Chính vì thế, Ban chỉ đạo 389 Quốc gia chỉ đạo các Bộ, ban ngành, địa phương, lực lượng chuyên trách sớm ban hành kế hoạch “Cao điểm chống buôn lậu, gian lận thương mại và hàng giả dịp trước, trong và sau Tết Nguyên đán Quý Mão 2023”. Chủ đề : ban hành kế hoạch, Cao điểm, chống buôn lậu, Tết Nguyên đán Quý Mão 2023 --- Support this podcast: https://anchor.fm/vov1kd/support

Are you feeling a little off and wondering why? Listen in to find out what are some signs you might be experiencing burnout. Knowing and understanding the signs that something might be off is the first step to taking your mental health seriously. My guest today shares her wisdom on this important topic. What We Talked About: Parenting is an ever-evolving dance The importance of trusting yourself and your gut  Why is it so hard to seek out help when you suspect something is wrong or don't feel like yourself Defining Mommy Burnout and how to know you are experiencing it. How to avoid Mommy Burnout. Helping your children have good Digital Wellness. Things to Remember: “Parenting is like a dance. Sometimes you want to speed up and sometimes you've got to lay low. Sometimes you have to let them shine and sometimes you have to be the one to take a lead.” “Take the things that inspire you and that you learn and make them your own. It's your own artwork.” “Self-care is health care.” “Ban busy. Busy builds walls.” “To do it in community is so much easier than to be on your own. That means attracting people with the same value that you have.” - Dr. Sheryl Ziegler “Burnout is what happens when you try to avoid being human for too long.” - Michael Gungor   Click here for Show Notes and more from Jeanne-Marie, Your Parenting Mentor

On this day in 1961, the Professional Golfers' Association of America ended its longstanding ban on non-white members.See omnystudio.com/listener for privacy information.

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Demi heads to Côte d'Ivoire; the Wades are on a World Tour (of Africa); The Tabitha gets two Emmy nods; Diddy's in love; Drake is a BAN; Tiffany Cross parts ways with MSNBC; Jeff Bezos is the new “What about Weinstein?”;  the NHL take a surprising stance Thanks to our sponsors: Cancel unnecessary subscriptions at https://signup.rocketmoney.com/rachet Find your inner detective -- Download June's Journey today Try Peloton risk-free with a 30-Day Home Trial. New Members only. Not available in remote locations. See additional terms at http://onepeloton.com/home-trial Use promo code RESPECT today at http://shipstation.com to sign up for your FREE 60-day trial. Learn more and save 10% off your first month at https://betterhelp.com/ratchet Learn more about your ad choices. Visit podcastchoices.com/adchoices

Overtime PODCAST HR 2 "Ban the Pants" 11-7-22 by FOX Sports Knoxville

Vào tháng 6/2022, Ban quản lý vịnh Nha Trang đã ra thông báo tạm ngừng hoạt động bơi, lặn biển tại các điểm lặn xung quanh Hòn Mun kể từ ngày 27/06. Nhưng quyết định này được đưa ra có thể nói là quá trễ, trong bối cảnh mà san hô Việt Nam đang đứng trước nguy cơ bị xóa sổ hoàn toàn, nếu không có biện pháp nhanh chóng để bảo tồn.  Ban Quản lý vịnh Nha Trang đã ra quyết định nói trên sau khi báo chí trong nước, cụ thể là tờ Thanh Niên, có loạt bài phản ảnh về sự suy giảm rạn san hô tại vịnh Nha Trang, đặc biệt là vùng lõi biển Hòn Mun. Điều đáng nói là chỉ đến khi báo chí lên tiếng, chính quyền tỉnh Khánh Hòa mới “vào cuộc”, mới quan tâm đến ý kiến của các chuyên gia, nhà khoa học về tình trạng đáng báo động của san hô tại vịnh Nha Trang. Nhưng không chỉ có ở vịnh Nha Trang, ở nhiều nơi khác của Việt Nam, san hô cũng đang bị "bức tử" do chính hoạt động của con người, chẳng hạn như tại vịnh Quy Nhơn. Theo tờ Người Lao Động ngày 04/04/2022, rạn san hô ở Hòn Sẹo, xã Nhơn Lý, thành phố Quy Nhơn, đang chết hàng loạt, khiến hệ sinh thái biển nơi này bị ảnh hưởng nghiêm trọng. Tờ báo ghi nhận: “Hệ sinh thái biển khu vực này vốn khá đa dạng, là nơi trú ngụ và sinh sống của nhiều loài thủy hải sản quý, nhưng nay chỉ còn lác đác vài con cá bơi lượn quanh những rạn san hô đã chết.”  Nhiều ngư dân ở xã Nhơn Lý cho rằng sở dĩ san hô ở Hòn Sẹo chết hàng loạt thời gian qua là do một nhóm người từ địa phương khác đến lén lút khai thác vào ban đêm. Trong khi đó, theo Người Lao Động, chính quyền địa phương có vẻ như không hay biết gì. Cho đến khi có bài báo của Người Lao Động, ông Ngô Hoàng Nam, Chủ tịch Ủy ban nhân dân Thành phố Quy Nhơn, mới chỉ đạo các phòng, ban liên quan và Ủy ban nhân dân  xã Nhơn Lý “khẩn trương phối hợp với Chi cục Thủy sản Bình Định kiểm tra hiện trạng rạn san hô tại Hòn Sẹo nói riêng và các điểm du lịch khác ở xã Nhơn Lý nói chung". Việt Nam có một bờ biển dài tổng cộng 3.200 km, với nhiều nơi có bãi cát tuyệt đẹp, nước biển trong vắt, thu hút rất nhiều du khách, các vùng biển Việt Nam cũng có những loài sinh vật rất phong phú. Hãng tin AFP vào cuối tháng 6 trích dẫn báo chí Việt Nam cho biết vào năm 2020, khoảng 60% đáy biển sát bờ của Việt Nam vẫn còn được bao phủ bởi san hô sống. Nhưng các nghiên cứu gần đây cho thấy tỷ lệ này nay chỉ là 50%. Nhằm mục tiêu giải cứu các sinh vật biển và hồi sinh các rạn san hô bị hư hại tại bờ biển miền trung Việt Nam, anh Lê Chiến đã sáng lập một tổ chức phi chính phủ tại Việt Nam mang tên Trung tâm Cứu hộ Sinh vật biển ( SASA ). Trả lời RFI Việt ngữ, anh Lê Chiến báo động về tình trạng của san hô Việt Nam hiện nay:  " Việt Nam nằm ở khu vực cận nhiệt đới và nhiệt đới, mà lại trải dài. Đây là điều kiện rất tuyệt vời cho những rạn san hô biển phát triển, được hình thành trên viền những rạn đá ngầm, hoặc là những rạn san hô nguyên thủy, có rất nhiều ở Việt Nam. Chúng ta còn có những rạn san hô barriere, tức là san hô hàng rào chắn ở những hòn đảo. Có thể nói tình trạng san hô tại Việt Nam rất là tồi tệ. Tất cả các san hô biển đều không được bảo vệ, vì chúng không nằm trong khu bảo tồn biển. Hơn 90% rạn san hô ở Việt Nam đều bị hủy hoại nghiêm trọng, bởi con người, bởi khai thác du lịch, bởi xây dựng, bởi biến đổi khí hậu toàn cầu và bởi hành vi khai thác. Còn những rạn san hô trong những khu bảo tồn biển, được bảo vệ, thì rất là nhỏ nhoi. Ở Nha Trang, các báo cáo khoa học đã nêu lên rồi: san hô bị thoái hóa đến 90%.  Theo những nghiên cứu và những quan sát của chúng tôi, trong 5 năm vừa rồi, chúng ta chỉ có một lần duy nhất có hiện tượng gọi là mass bleaching, tức là tẩy trắng hàng loạt san hô vào năm 2020 do nước biển toàn cầu nóng lên quá nhanh, quá lâu. Trong năm 2020, có một khoảng thời gian, nước biển đạt ngưỡng 30, 31 cho đến 31,5 độ C, từ bề mặt cho đến tầng đáy từ 10 đến 15 mét. Hiện tượng này diễn ra khắp miền Trung Việt Nam và không chỉ ở Việt Nam mà còn ở toàn bộ khu vực Ấn Độ - Thái Bình Dương. Chúng ta đã mất phân nửa diện tích san hô trong toàn bộ khu vực. Nhưng sau đấy, san hô phục hồi rất tốt. Nhưng cho dù tốt cách mấy, tốc độ kiến tạo của san hô cũng không bằng tốc độ hủy hoại của con người.  Ở đây, chúng ta thấy là quá trình xây dựng, các dịch vụ khai thác thủy hải sản dẫn đến việc là tất cả các diện tích san hô của Việt Nam đều bị thu hẹp từng ngày. Tốc độ hủy hoại của con người có thể chiếm từ 60 đến 70%. Ví dụ như trong những rạn san hô bị tẩy trắng hàng loạt mà chúng tôi đã khảo sát, thì chúng tôi thấy là ở đâu đó, các mầm sống vẫn thích nghi được và sau đó sẽ phát triển lên, chỉ trong một, hai năm thôi là có thể tái tạo được 10 đến 20% số lượng bị mất đi. Nhưng cá thể đã thích nghi được với biến đổi như vậy rồi, đến lúc con người tham gia vào, gây các ô nhiễm, ô nhiễm về chất lượng nước, ô nhiễm về rác thải nhựa, những hành vi khai thác đã dẫn đến việc là gần như không còn cơ hội nếu chúng ta tiếp tục như vậy”. Trong bài viết với hàng tựa :” Nghĩa địa san hô của Việt Nam ở Vịnh Nha Trang, một hồi chuông cảnh báo về sự tàn phá của biến đổi khí hậu”, đăng ngày 24/07/2022,  tờ nhật báo Hồng Kông South China Morning Post trích dẫn các nhà khoa học ghi nhận là hiện chỉ còn 1% rạn san hô là “khỏe mạnh”, những rạn san hô còn lại thì đều đối diện với nhiều nguy cơ đe dọa đến sự tồn tại của chúng.  Tuy nhiên, tờ báo nhắc lại là vào năm 2017, Viện Hải Dương Học ở Nha Trang cho biết là 42% rặng san hô ở bán đảo Sơn Trà, một khu bảo tồn thiên nhiên ở Đà Nẵng, đã bị “xóa sổ” trong khoảng thời gian từ 2006 đến 2016, mà nguyên nhân là phát triển đô thị ven biển và khai thác thủy sản quá mức.  Vịnh Nha Trang, với 250 loài san hô cứng, từng là một nơi có mức độ đa dạng san hô cao nhất ở Việt Nam. Nhưng các kết quả khảo sát cho thấy san hô ở vịnh này đã bị suy giảm 90% trong vòng chưa tới 4 thế kỷ, từ thập niên 1980 đến năm 2019. Tỉnh ủy Khánh Hòa trong một báo cáo ra ngày 20/06/2022 đã kết luận việc suy giảm rạn san hô tại khu bảo tồn biển Hòn Mun một phần là do tác động của biến đổi khí hậu, do ảnh hưởng của cơn bão Damrey năm 2017 và cơn bão số 9 năm 2021, nhưng một phần là cũng do “nhiều hoạt động của con người tác động lên hệ sinh thái biển vịnh Nha Trang nói chung và rạn san hô tại khu bảo tồn biển Hòn Mun nói riêng vẫn chưa được xử lý kịp thời (khai thác thủy sản trái phép, nạo vét, xây dựng các công trình ven biển không đúng quy định, xả thải từ các hoạt động du lịch,…)”. Theo lời anh Lê Chiến, riêng trong ngành du lịch, gây tác hại nhiều nhất chính là các dịch vụ đi bộ ngắm san hô dưới đáy biển ( sea trekking ) :  “ Khi chúng tôi quan sát thực tế ở khu vực mà chúng tôi làm việc như Đà Nẵng và Nha Trang, thì đều thấy là sự hủy hoại rất khủng khiếp. Thứ nhất là những hoạt động dịch vụ du lịch lặn sâu ở Việt Nam đều không có quy chuẩn. Chúng ta có luật, nhưng chúng ta không có những người quản lý luật đó, chúng ta không có người hành pháp và chúng ta không xử phạt nặng những người dẫm đạp san hô. Một ví dụ đơn giản  : Một nhóm du khách khoảng từ 2 đến 3 người thôi có thể dẫm đạp 100m2 san hô rất nhanh chóng chỉ trong vài tiếng đồng hồ. Mà để tự nhiên cho san hô phục hồi được thì phải mất 10 năm! Để con người can thiệp vào với tiền bạc và với rất nhiều thứ khác ( để san hô phục hồi ) là phải mất 5 năm! Thứ hai là những dịch vụ mới phát triển gần đây, đó là dịch vụ sea trekking, tức là đi bộ dưới đáy biển, chúng ta được đội một cái mũ để đi bộ ngắm san hô ở đáy biển. Thế thì câu hỏi được đặt ra đó là san hô đó ở đâu? Tại sao mà san hô lại ở trước cửa nhà người ta được? Tất cả những dịch vụ đi bộ ngắm san hô ở Việt Nam đều làm cái việc là khai thác san hô tự nhiên, rồi đưa về, nhưng không làm được cái việc là cố định các cá thể san hô đó, cho nên đến hết mùa, bị sóng đánh bay là nó chết. Họ khai thác cạn kiệt nguồn san hô tự nhiên. Đấy là một trong những yếu tố dẫn đến thảm họa tại Nha Trang: Có quá nhiều dịch vụ ngắm san hô và hầu như chúng ta không có đủ nguồn lực để khống chế việc đó. Họ đi gỡ, bẻ san hô, quật san hô ban đêm…  Rất là nhiều vấn đề. Nói chung, ý thức khai thác của cộng đồng doanh nghiệp rất là kém. Hiện tại ở Nha Trang hay ở Phú Quốc đã có rất nhiều nơi cấm các dịch vụ sea trekking rồi, bởi vì câu hỏi được đặt ra là con giống đó ở đâu ra? Chúng ta đều biết san hô là một loài động vật, chúng ta phải có một trang trại ươm con giống, gọi là coral farming hoặc là coral gardening để tạo ra một con giống bền vững, để giảm tải đối với san hô tự nhiên. Nhưng chúng ta chưa làm được như vậy." Bên cạnh du lịch, ngành nuôi trồng thủy sản cũng góp phần không nhỏ vào việc làm hư hại san hô ở Việt Nam, theo lời anh Lê Chiến:  “ Tác hại lớn nhất của nó là thức ăn cho thủy hải sản. Chẳng hạn ngành thủy hải sản có thể nói là tiêu biểu nhất ở Việt Nam là nuôi tôm hùm. Thức ăn mà người ta cho ăn bao giờ cũng nhiều hơn lượng thức ăn tự nhiên cần thiết. Lượng thức ăn như vậy sẽ tạo ra lượng hữu cơ dư thừa cực kỳ lớn, tạo ra một cái phân hủy, hút dần oxy trong nước và làm cho cả môi trường xung quanh biến đổi theo chiều hướng rất tệ.  Việc quản lý nuôi trồng thủy sản rất là khó, vì nó liên quan đến sinh kế của người dân. Chính phủ đã có quy hoạch tốt hơn cho 10 tới 20 năm. Chỉ có những khu vực nào mới được nuôi trồng thủy sản. Ở những khu vực đó thì chúng ta phải chấp nhận những rủi ro như vậy. Ở những khu vực khác, dựa trên tính toán dòng nước, tính toán chất lượng nước, không bảo đảm được việc giữ môi sinh chung thì không được làm. Như vậy việc nuôi trồng thủy sản không còn là vấn đề lớn nữa.  Nhưng có một vấn đề ở những nước nhiệt đới như chúng ta, đó là các cơn bão nhiệt đới, hàng năm vẫn có từ 9 đến 12 cơn bão ở miền trung Việt Nam. Đôi khi những chủ lồng bè không phản ứng kịp với những cơn bão như vậy, nên những lồng bè đó bị bão cuốn đi hoặc đánh chìm dưới đáy, càn quét dáy biển, càn quét các rạn san hô. Chỉ cần một hệ thống lồng bè là có thể càn quét bay cả một dãy rạn san hô. Đó là thảm họa mà chúng ta chưa thể nào quản lý được. Phải chờ có những công nghệ như bên Úc chẳng hạn, họ có những hệ thống lồng bè có thể chống chọi được sóng bão. Vấn đề là chúng ta phát triển công nghệ đến đâu.” Trong bài báo đăng ngày 26/07, South China Morning Post cho biết bà Bùi Thị Thu Hiền, điều phối viên Chương trình biển và vùng bờ của Liên minh Quốc tế Bảo tồn Thiên nhiên và các nguồn tài nguyên thiên nhiên ( IUCN ), đã từng báo động chính quyền thành phố Nha Trang về hiện tượng tẩy trắng san hô hàng loạt, kêu gọi họ phải xét lại cách quản lý san hô. Bà Hiền cho biết các vùng bảo tồn biển của Việt Nam chỉ mang tính hình thức, chứ không có một sự đầu tư thật sự nào. Bà cho rằng sự hỗ trợ của các chính quyền địa phương mang tính chất quyết định cho thành công của các nỗ lực bảo vệ môi trường biển.  Riêng anh Lê Chiến thì đề nghị nên thành lập các khu bảo tồn san hô một cách bền vững:   “ Chúng ta phải nhân rộng khu vực bảo tồn san hô. Khu vực bảo tồn biển là một khái niệm rất rộng: bảo tồn rừng ngập mặn, bảo tồn thảm cỏ biển, bảo tồn rạn san hô, bảo tồn nguồn lợi thủy sản….. Nhưng chúng ta phải thu hẹp nó lại trong khu vực không thuộc khu bảo tồn biển. Đấy là những khu vực mà theo lịch sử đã có những rạn san hô ở đó và vẫn đang tồn tại ở đó, hoặc có thể tái tạo được, bây giờ chúng ta quy hoạch lại thành khu vực bảo tồn san hô.  Ở những khu vực bảo tồn san hô như vậy, chúng ta phải có quy hoạch riêng về cơ sở hạ tầng, quy hoạch riêng về phát triển, nâng cao nhận thức của người dân, thay đổi hành vi khai thác và phải xác định xu thế phát triển kinh tế ở khu vực đó là như thế nào, phát triển du lịch bền vững hay du lịch cao cấp. Bắt buộc phải có những cái như vậy thì việc bảo tồn san hô mới bền vững được.”

Join us for an in-depth discussion as we explore "Akallabíth", the legend of Númenor's fall from JRR Tolkien's The Silmarillion. Learn about the rise of Sauron, Pharazôn's assault on Valinor, and the escape of Elendil and Isildur to establish Arnor and Gondor.WATCH THE VIDEO » https://youtu.be/JRqaGOaRkz0 EXECUTIVE PRODUCERS » Kaitlyn of Tea with Tolkien, John R, Jacob Lockham, John H, Scotchy Bobo, Eru27With Morgoth having been finally defeated in the War of Wrath, the Men allied with the Elves of Beleriand are rewarded with an earthly paradise: the Island of Númenor. Yet over the course of a 3300 year history, the Men of Númenor tragically discover that the soul of Man desires things that the natural world cannot provide.QUOTE OF THE WEEKfrom The Waldman Letter (#131)..."The Downfall is partly the result of an inner weakness in Men – consequent, if you will, upon the first Fall, repented but not finally healed. Reward on earth is more dangerous for men than punishment! The Fall is achieved by the cunning of Sauron in exploiting this weakness. Its central theme is (inevitably, I think, in a story of Men) a Ban, or Prohibition."LINKS & MATHOMS:- listen to The Silmarillion for FREE » https://www.audibletrial.com/everon- buy The Silmarillion » https://amzn.to/3FOKAY5- buy The Atlas of Middle-earth » https://amzn.to/3KLOxQa- buy Tolkien's Requiem » https://tolkiensrequiem.com/- buy Tolkien's Overture » https://tolkiensoverture.com/- Timeline of Arda » https://lotr.fandom.com/wiki/Timeline_of_Arda- EXPLORING THE SECOND AGE PLAYLIST » https://youtube.com/playlist?list=PLqUat2OcwnPAA9xTbKdL0rQ4rKMzplEKt *** RELEASED THREE DAYS EARLY FOR OUR AMAZING PATRONS ***SPECIAL THANKS:- John R- Kaitlyn of Tea with Tolkien- Jacob Lockham- John H- Scotchy Bobo- Eru27- Ms. Anonymous- Andrew T- Redhawk- Shannon S- Brian O- Emilio P- Zeke F- James A- James L- Chris L- Chuck F- Asya V- Ish of the Hammer- Teresa C- David of Pints with Jack- Jonathan D- Eric B- Johanna T- Mike M- Robert H- Paul D- Julia- Werty- Matthew W- JoeBagelMan- Chris K- Jacob S- Richard K- Matt R- Garret P- John W- Eugene DAS WELL AS THOSE CELEBRATING THEIR PATRON ANNIVERSARY IN NOVEMBER OF 2022- Matthew F- Michael L

Philosopher Stefan Molyneux – who has decades of experience in entrepreneurial software development, as well as moral philosophy – describes an easy, cheap and wildly efficient process for moderating social media content.

Merriam-Webster's Word of the Day for November 5, 2022 is: abandon • uh-BAN-dun • noun Abandon means “a feeling or attitude of wild or complete freedom,” and is often used synonymously with enthusiasm and exuberance. It also appears in the phrase with reckless abandon to describe something done without fear or concern for consequences. // In an act of reckless abandon, she quit her job and moved to Tahiti. See the entry > Examples: “Just as VHS tape users were once asked to be kind enough to consider the next user, [Rachel] Goclawski said foragers should also be mindful of other foragers—both the animal and the people variety—and not be ‘unscrupulous.' This is especially important to consider during a drought year where animals may already be strapped for resources and plants are under a lot of stress. The exception to that rule is, of course, invasive plants like garlic mustard and autumn olive, which can be harvested with guilt-free abandon ...” — Lillian Eden, Metro West Daily News (Framingham, Massachusetts), 9 Sept. 2022 Did you know? You may associate this word with the act of leaving and never returning, given the familiarity of the verb abandon. But the noun abandon, with its more pleasant connotations of freedom, is likely here to stay despite being a relative newcomer. It only entered the English language in the early 1800s, as a borrowing from French that goes back to an Old French word meaning “surrender.” (English had borrowed the verb abandon centuries before from the French speakers living in medieval England.) Louisa May Alcott recognized the word's utility; she used it of Jo in Little Women, writing that “when the writing fit came on, she gave herself up to it with entire abandon, and led a blissful life, unconscious of want, care, or bad weather ...”

Nâng cao trách nhiệm chống buôn lậu, gian lận thương mại - 10 tháng qua, lực lượng chức năng cả nước đã kiểm tra, phát hiện và xử lý gần 100.000 vụ việc vi phạm liên quan đến buôn lậu, gian lận thương mại và hàng giả, thu nộp ngân sách nhà nước gần 8000 tỷ đồng. Riêng quý 3, các lực lượng chức năng cả nước phát hiện, xử lý gần 43.000 vụ vi phạm, tăng nóng gần 23% và thu nộp ngân sách tăng đột biến 58% với gần 4.000 tỷ đồng. Đây là những con số đang nhận được sự quan tâm đặc biệt của dư luận xã hội trong công tác đấu tranh chống buôn lậu, gian lận thương mại và hàng giả từ đầu năm đến nay. “Sẵn sàng kế hoạch cao điểm đấu tranh chống buôn lậu, gian lận thương mại cuối năm” là yêu cầu của Ban chỉ đạo 389 Quốc gia trong quý cuối năm này. Chủ đề : chống buôn lậu, cuối năm --- Support this podcast: https://anchor.fm/vov1kd/support

La elsendo estis preparita kaj prezentita de Franciska Legado: 1)el literatura Foiro numero 319 “ Dediĉi numerojn al specifa lando dum tuta jaro : jen laŭdinda afero” de Carlo Minnaja  2)el  la revuo Kosmos “ Letero de Zamenho Kanto:el la kompaktdisko Banĵo Esperanto de Armel Amiot “ Mi memoras” Prelego : Margaret Zaleski Zamenhof parolas […]

The L.A. ban on homeless encampments near schools and day cares has become a heated election issue. Speaker of the House Nancy Pelosi, who's been vilified by Republicans for years, is a top target of threats. And because it's Halloween - some fun Halloween facts and demystifying zombie behavior!

My moral reasoning process - happy to hear your thoughts!

The meek shall inherit the earth? Really?Also - Twitter!

The U.S. Supreme Court will hear oral arguments on Oct. 31 in Students for Fair Admissions v. University of North Carolina and Students for Fair Admissions v. Harvard, the latest cases to look at the legality of the limited use of race and ethnicity in college admissions. Pace University President Marvin Krislov and ACE General Counsel Peter McDonough join host Jon Fansmith for a preview of the hearing and what to watch for. Krislov was vice president and general counsel at the University of Michigan during the landmark 2003 admissions case Grutter v. Bollinger. Here are some of the links and references from this week's show: Students for Fair Admissions, Inc., Petitioner v. President and Fellows of Harvard College Students for Fair Admissions, Inc., Petitioner v. University of North Carolina, et al. ACE Leads Nearly 40 Associations Urging the Supreme Court to Reaffirm the Legality and Value of Race-Conscious Admissions         Using Race in College Admissions Protected by First Amendment, Groups Say The Washington Post (sub. req.) | Aug. 1, 2022 Over 6 in 10 Americans Favor Leaving Race Out of College Admissions, Post-Schar School Poll Finds The Washington Post (sub. req.) | Oct. 22, 2022 Regents of the University of California v. Bakke (1978) Grutter v. Bollinger (2003) Supreme Court Upholds Michigan's Ban on Affirmative Action NPR | April 22, 2014 Fisher v. University of Texas (I and II)

We are living in extraordinary times. The racism, misogyny and anti-immigrant vitriol unleashed by the Trump presidency has generated tremendous social discord in America. Decades of public policies crafted to bridge a cavernous racial wealth gap imploded under this administration. Even the most vigilant news consumers are hard pressed to keep up with right wing attacks on voting rights, bodily autonomy, and democracy itself. But mainstream reporting does not often tell the whole story of what is happening in America. Grassroots organizations are making transformational change in historically marginalized communities. The Workers Center for Racial Justice, a Chicago-based grassroots organization, is building power in Black communities from the ground up. Led by the gifted and inexhaustible DeAngelo Bester, WCRJ is producing a level of engagement and policy change that should be headline news. It's Ban the Box Campaign is just one example of what community organizing, powered by formerly incarcerated citizens has made possible. In this episode DeAngelo tells the story of formerly incarcerated community leaders who stood up to discrimination in hiring and won. They are building a new narrative that we all need to hear.  

Streaming on Rumble @ https://rumble.com/v1pjztx-battle4freedom-2022-domestic-violence-awareness-month-setting-people-free.htmlhttps://ncadv.org/2022DVAMhttps://nationaldaycalendar.com/national-domestic-violence-awareness-month-october/https://www.huffpost.com/entry/arizona-gop-candidate-blackface-allegations_n_635389a9e4b051268c54fcc9https://www.dailymail.co.uk/news/article-11345727/Maniac-shoves-stranger-NYC-subway-tracks-THIRTEENTH-person-pushed-platform-year.htmlhttps://www.dailymail.co.uk/news/article-11346769/Texas-man-charged-killing-two-nurses-opened-fire-girlfriend-giving-birth.htmlhttps://www.dailymail.co.uk/news/article-11346787/Portland-mayor-announces-plan-BAN-unsanctioned-homeless-encampments.htmlhttps://www.dailymail.co.uk/news/article-11346313/Socialist-Seattle-Dem-pushed-police-defunding-fumes-cops.htmlhttps://www.dailymail.co.uk/news/article-11344419/NYC-mayor-tells-subway-users-phones-headphones-away-avoid-crime.htmlhttps://www.dailymail.co.uk/news/article-11346241/California-court-rules-favor-Christian-baker-refused-bake-cake-lesbian-wedding.html

Hôm qua 22/10 đại hội XX của Đảng Cộng sản Trung Quốc đã bế mạc với sự ra mắt của 205 thành viên Ban chấp hành Trung ương Đảng. Còn hôm nay 23/10, bảy thành viên Ban thường vụ Bộ chính trị, nắm quyền lực tối cao của Đảng cộng sản Trung Quốc đã được công bố. Kết quả người đứng đầu Đảng cộng sản Trung Quốc vốn đã được dự báo, tuy nhiên những nhà quan sát còn chú ý hơn đến những vấn đề gây tranh cãi có thể sẽ định hình quỹ đạo của đất nước Trung Quốc trong 5 năm tới. Đó là những vấn đề gì và một đất nước Trung Quốc dưới sự lãnh đạo tuyệt đối của một cá nhân sẽ như thế nào?

Tune in! @djhardhittinharry & @DJayCeenyc presents another brand new episode of @haitian_all_starz Radio Podcast on @wbai995 & WBAI.ORG 2am - 4am late Monday/early Tuesday.Streaming on all major platforms: Apple Podcast / Google Podcast / Amazon Music / iHartradio / and many more..

Future of Microsoft Office, Legs in VR, NVIDIA RTX 4090, Project Starline Peach Only SMA 11:04 Brianna Wu. Meta Meets Microsoft – Stratechery by Ben Thompson. Microsoft (MSFT) US Army HoloLens Goggles Gave Soldiers Nausea, Headaches. Is this a technology that anybody really wants? @warren_craddock: I've worked on a number of high-profile failures. They all had a fatal flaw. Everyone saw the flaw. But the culture that arose in these teams purposefully ignored the flaw. Lenovo's new Glasses T1 are the coolest PC accessory I've seen that just makes sense. Google's Project Starline is the real deal. Meta's Virtual Reality Legs Video Was A Lie, Used Some Mocap. Even After $100 Billion, Self-Driving Cars Are Going Nowhere. Microsoft brings DALL-E 2 to the masses with Designer and Image Creator. Steve Jobs AI features in spooky 'interview' with Joe Rogan AI. Synthetic Media Startup D-ID Launches Image-to-Video Platform. NVIDIA RTX 4090 review: Unholy power. American Executives in Limbo at Chinese Chip Companies After U.S. Ban. GiveDirectly: Send money to people living in poverty. Vault by CNN shutdown results in "rug pull" accusations from NFT buyers. Mac shipments shoot up a whopping 40%. When Is Apple Launching the M2 iPad Pro and M2 14-inch and 16-inch MacBook Pro? Musk Will Have Absolute Control Over Twitter, Documents Show. Elon Musk is now selling perfume that smells like burning hair. Elon Musk tweets on Starlink: 'We'll just keep funding Ukraine govt for free'. Netflix Basic with Ads streaming launches in November. Alex Jones Says Brianna Wu Defamed Him in a Tweet. Host: Leo Laporte Guests: Brianna Wu, Daniel Rubino, and Sam Abuelsamid Download or subscribe to this show at https://twit.tv/shows/this-week-in-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: Stamps.com promo code TWiT kolide.com/twit noom.com/twit mintmobile.com/twit