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With New Orleans Suite, Eric Porter and Lewis Watts join the post-Katrina conversation about New Orleans and its changing cultural scene. Using both visual evidence and the written word, Watts and Porter pay homage to the city, its region, and its residents, by mapping recent and often contradictory social and cultural transformations, and seeking to counter inadequate and often pejorative accounts of the people and place that give New Orleans its soul. Focusing for the most part on the city's African American community, New Orleans Suite is a story about people: how bad things have happened to them in the long and short run, how they have persevered by drawing upon and transforming their cultural practices, and what they can teach us about citizenship, politics, and society.
New Orleans Suite Music and Culture in Transition
New Orleans, America, Music
... How much are we subject
to the metaphors we reference?
If we sing of mighty battles
will we conjure them?
New Orleans
the siege of New Orleans
Joan of Arc
in her 12th year
claimed to see God
Black boys
on bottle caps
heard voices
strangled in dance step
Sourced from the broken wind
of overgrown sea
within the waves
more black than white keys
Some songs we cannot sing
until we cross to the other side
New Orleans is at a crossroads
Music is at a crossroads
America is at a crossroads
-Saul Williams (2009)
Saul Williams's words, speaking of the power and possibility in creative work, the spirit, the natural world, human identities, and collective sensibilities, come from the liner notes of a 2010 CD titled Dear New Orleans. Released in August 2010 to commemorate the five-year anniversary of Hurricane Katrina and to respond to the Deepwater Horizon oil spill, the album was produced by Air Traffic Control (ATC), a nonprofit organization supporting activism, advocacy, and philanthropy among musicians.
Dear New Orleans consists of thirty-one tracks recorded by some of the sixty participants in the "artist activism retreats" in New Orleans that have been sponsored since 2006 by ATC and the Future of Music Coalition (FMC), the latter of which addresses policy, legal, technological, and economic issues on behalf of musicians. These retreats have brought musicians from across the United States together with local musicians, organizers, community leaders, tradition bearers, and other artists. According to ATC, retreat participants' interaction with local artists and activists left them with the "feeling that their lives have been changed by what they have experienced in New Orleans and with a sense of empowerment for what they can accomplish through their music and activism." These collaborations have, in fact, led outside musicians to engage in philanthropic fundraising for and activism on behalf of New Orleans-based community and grassroots organizations. They have also inspired a number of musical collaborations among participants. These two sets of practices come together on Dear New Orleans. In addition to offering some compelling music, the album raises money for Sweet Home New Orleans, which supports New Orleans cultural workers, and the Gulf Restoration Network, an environmental organization dedicated to protecting coastal wetlands and other projects.
As a listener, I like the breadth of this album. The performances on it represent a range of genres-pop, jazz, country, RB, folk, rock-and a diversity of inspirations. Some songs are directly about the city or Katrina. Others are merely thematically connected to New Orleans or the storm. Others simply remind artists of the city or were performed live at retreat concerts. I also like the ways the fusion of genres comes together powerfully on successive tracks and within individual performances. Listen to the way jazz pianist Vijay Iyer's mournful, tense original instrumental "Threnody" sets the stage for "Where Is Bobbie Gentry?," singer songwriter Jill Sobule's haunting follow-up to Gentry's 1967 number one hit, "Ode to Billie Joe," sung in the voice of the grown-up ghost of the aborted baby that, according to some interpretations, is the object that the narrator of "Billie Joe" threw off the Tallahatchie Bridge. And dig Nicole Atkins and trombone-centric band Bonerama's version of Joe McCoy and Memphis Minnie's "When the Levee Breaks" (as appropriated by Led Zeppelin). With its loose and bluesy horn arrangements, its distorted electric guitar and trombone solos, and Atkins's fantastic rendition of Robert Plant's caterwauling, it is simultaneously a brilliant parody of classic rock excess and a politically on-the-mark recontextualization of this blues lament about the Great Mississippi Flood of 1927. And to use a certain vernacular, it absolutely rocks.
As a writer, I appreciate what Dear New Orleans represents as it marks Katrina's fifth anniversary. The producers and musicians framed it as a response to New Orleans Times-Picayune writer Chris Rose's epistolary editorial "Dear America," published eight days after the storm hit. Rose expressed gratitude to the Americans who reached out to shelter the displaced and who sent resources or came in person to the city to rescue and rebuild. His letter was also a statement of local pride-in the place and its unique culture, and more importantly, in the people. It spoke of the resiliency of New Orleans residents and what they would offer the nation in the future. "So when all this is over and we move back home, we will repay to you the hospitality and generosity of spirit you offer to us in this season of our despair. That is our promise. That is our faith." And in response, five years later, "America" wrote back to New Orleans in the liner notes to Dear New Orleans, expressing our regret for the "super shitty things [that] keep happening to you" and for only writing when they do. America was thankful, too, for the city's music, even if we could not quite figure out what to make of it. But beyond just a "sorry" and "thank you" that were not quite adequate, America sent back some music "we made while thinking about you"-and some money.
Dear New Orleans performs an economy of obligation that has surrounded the city over the past several years, of political and moral failings needing to be rectified. Something we know all about, at least if we are willing to read against our own forgetfulness and many of the accounts offered by the corporate media. We know, then, about the damage caused by the winds and the rain, as well as the more devastating surge of water that overwhelmed the levee system and flooded 80 percent of the city. And the long-standing knowledge that the levees might fail, and the federal government's failure to maintain them despite that knowledge. And the deplorable conditions Katrina victims faced at the Superdome and Convention Center. And the delays in the arrival of active duty troops and National Guard personnel to rescue them. And the rapes and murders. And the exaggerated reports of rapes and murders and the concomitant "elite panic" that made the rescue efforts such a disaster as they put less focus on rescuing victims than on protecting others from them. And the police and vigilante killings. And the cluelessness of President George W. Bush and his mother. And the 1,800 plus officially counted dead in the immediate aftermath and the many more who died later from inadequate medical care, stress, or grief. And the suicides. And long-term and permanent displacement. And the innocent and minor offenders lost for months and years in jails and prisons. And the difficulty people have had extracting money to rebuild from governments and insurance companies. And the toxic FEMA trailers. And the unscrupulous contractors. And the diminishing workers' rights, the scaling back of environmental regulations, and other manifestations of "disaster capitalism," in which elites use a crisis to lessen state protections and further their market-friendly political agenda. And the closure of structurally sound Charity Hospital and public housing projects. And gentrification, planned and unplanned. And high rents. And the failures of the social safety net and the criminal justice system. And the fired public school teachers and a privatized public school system that still fails families without financial means. And joblessness and poorly paid jobs. And ultimately, as many of these phenomena attest, the ways poor people (especially black poor people) have been most dramatically affected by these things while being blamed for their own suffering.
But five years after the storm, this musical exchange also marks an important economy of inspiration and a horizon of possibility rooted in the heroic deeds of New Orleanians who have tried with varying degrees of success to bring their city back as they knew it or wanted it to be. And rooted also in the work of outsiders who have expressed their care for and dedication to the city. As Rebecca Solnit notes, disasters bring out the worst in some human beings but some of the very best in others, especially in a world defined increasingly by "private life and private satisfaction." "Disasters," she continues, "in returning their sufferers to public and collective life, undo some of this privatization, which is a slower, subtler disaster all its own." And there seems something particularly special about the ways many New Orleanians have risen to the occasion of Katrina.
We saw this public response begin immediately with citizen rescuers-the "Soul Patrol" of working-class black men from the Seventh Ward, Cajun fisherfolk from the surrounding countryside, and others from as far away as Texas-who brought their boats or found someone else's and navigated the floodwaters to save people when the government could not or would not. We subsequently saw it in the efforts of those who stayed, those who soon returned, and those volunteers from across the nation and beyond, who quickly began feeding, clothing, housing, and administering medical care to the needy in the wake of government and established aid agency failings. We know this has not worked smoothly. We know about the heroic deeds of local activists but also about the schisms that tore apart some organizations. We know about the activists who moved to New Orleans and acted with grace and virtue but also about those who did not listen to local concerns or acted as if establishing their activist credentials was more important than serving the community in which they settled. And about the artists whose representations have been haunting, beautiful, and inspiring, but who took bread from the mouths of local colleagues. And about the rents that the well-meaning transplants helped raise. And so on.
Ultimately, Dear New Orleans begins to map a space of collaborative artistic production and a broader economy of civic engagement in and around New Orleans that remains contradictory and uneven. This space has shifted from the incredible highs and lows, the rawness that defined the immediate post-Katrina period, into something more prosaic. The city is, of course, in many ways still reeling from the catastrophe. The past several years have been extremely difficult, especially for the displaced, the poor, the female, the young, and the elderly, the people who lost family members to the flood and to the state or criminal violence that followed. It is worth noting that Amnesty International reported shortly before Katrina's fifth anniversary that displaced New Orleanians (particularly low-income people of color), as well as some of those who had returned to the city, continued to experience human rights violations because of a lack of access to affordable and adequate housing, racial inequality in reconstruction projects, a lack of reasonable health care, police misconduct, and a dysfunctional criminal justice system. Yet things have been made better for some in the city, and not just for the elite. Optimism and levels of civic engagement exceed that of most places in the nation.
On the cultural front, though many worried that neighborhood-based cultures-Mardi Gras Indians, social aid and pleasure clubs and their parades-would disappear along with working-class black residents of New Orleans, these groups have reconstituted themselves and have played an important role in the reconstruction of the city through their public rituals and explicit activism. Major artists and even some previously underground performers, like transgender rap artists Big Freedia and Katey Red, have received national media attention. So in many ways we see a city whose unique culture is not only surviving but in many ways blossoming despite and in some ways as a result of the disaster that was Katrina. Indeed, New Orleans has much to teach us at a moment when, as Saul Williams puts it, we stand at a crossroads.
My initial reaction to what I saw happening in New Orleans was, like that of many others, one of outrage. The lesson of the storm indeed seemed to be, as Michael Eric Dyson put it soon thereafter, "The deeper we dig into the story of Katrina, the more we must accept culpability for the fact that the black citizens of the Big Easy-a tag given the city by black musicians who easily found work in a city that looms large in the collective American imagination as the home of jazz, jambalaya, and Mardi Gras-were treated by the rest of us as garbage." Moralizing about New Orleans has proliferated. Often called the most African of U.S. cities, New Orleans has functioned in the political imagination post Katrina much like Africa. As V.Y. Mudimbe describes the representational function of Africa, New Orleans often operates as a "sign of something else." Following Paul Theroux's description of contemporary affinities for Africa, post-Katrina New Orleans is often seen as an "unfinished project," where people can ennoble themselves by acting upon it. Over the past seven years this moralistic ennobling has sometimes taken reactionary forms, as in the we-told-you-so accounts of black savagery and the errors of big government in the immediate aftermath of the storm. One infamous example was Representative Richard Baker of Baton Rouge telling lobbyists, "We finally cleaned up public housing in New Orleans. We couldn't do it, but God did." But we have also seen the righteous performances of the Left, in which the traumatized, displaced, or dead bodies of New Orleanians have been the cudgels with which we symbolically beat down the racial, heteropatriarchal state, the interstitial power of Empire, and other evils. While my affinities lie with the second moralizing project, I recognize that it can obscure and silence some residents of the city, and that it does not always enable a very good understanding of the complexities of people's lives, their cultural movements, or their own analyses of the conditions they face.
One must, of course, try to come to terms with the ways the twin evils of exploitation and neglect have long helped to constitute New Orleans. Outrage remains an important motivation for writing and activism. But moving politically and analytically into the future also requires paying attention to insistent expressions of humanity. Watts's photographs do this. Some evoke the pain and the destruction, but most show "the beauty and fragility of the race, the ironic humor of everyday life, the dream life of a people." In other words, they help us to not be overly consumed by outrage about what happened to this city and its residents in the late summer of 2005 and its aftermath.
Ultimately, the possibilities of political and creative collaboration in the music and the affirmative content of (at least some of) Watts's photos encourage me to examine the ways that New Orleanians have "reinvented life" in the seven years after the storm and the levee breaks. As a writer, I am compelled to frame this story less as an argument for the necessary survival of a special place, as many fine works have done, than as an analysis that builds from the confidence one can find in the activism and cultural acts of New Orleanians in recent years. Even with all the difficulty and contradiction, such expressions perform the ways in which the city and its residents are surviving and have been since the moment the storm hit. Such practices now reflect less what was and what happened and more what is becoming.
To try to tell this story via music is like a dance on bottle caps: staccato, slippery, and precarious. People have long talked about the relationship between music and the social. Some of us have asked how history is sedimented in sound and lyric, how music reflects the complexities of political moments, and how it might point to utopian and dystopian futures. We have considered how music inspires people to imagine a better, or at least a different, world and about how people sometimes use it to try to change the world. But even those of us who are invested in music and social possibility recognize, at least if we are honest, that it is difficult to say with certainty what specific pieces, movements, or genres actually mean and do. Musical expressions are generally quite complicated. They often contain contradictory and ambiguous sentiments created by artists, producers, recording engineers, and businesspeople; and their diverse listeners hear them differently and selectively across time and space. This is true even when talking about music with lyrics carrying a relatively straightforward semantic meaning, let alone when considering music full of complex imagery and innuendo, or without lyrics at all.
Writing about power and possibility in New Orleans music brings with it a particular set of challenges. One stems from the depth of investment that artists, businesspeople, boosters, activists, politicians, and everyday people have in defining New Orleans as a musical city. We are thus faced with the challenge of separating fact from fiction regarding what music actually accomplishes and how it may actually relate-as opposed to mythically relate-to the specific needs, circumstances, and aspirations of the city's residents.
The HBO television series Treme, for example, the most prominent dramatic representation to date of New Orleans post Katrina, contributes to this phenomenon by portraying the city's predicament and recovery primarily through the lives of musicians and other cultural workers. As some have argued, such a focus, as well as the narrative needs of television entertainment, leads to a less than adequate treatment of complex social arrangements with deep historical roots that continue to unfold in the present. These include the profound and multifaceted racial and economic marginalization of large segments of the black population.16 It also potentially reproduces a flawed sense that multiracial musicians' networks-composed of people who often live very difficult lives, to be sure, but who are also cherished and privileged in a symbolic if not financial sense-may be seen as a sufficient reflection of the broader community's struggles for recognition, normalcy, and even survival.
One should instead stay attuned to the way traces of the contradictions that have defined the city's post-Katrina recovery are embedded in New Orleans music and also to the ways that music has served as one vehicle for creating these contradictions. We can examine how post-storm jazz funerals and second line parades have helped heal people and convinced them to stay in or return to the city. We can also look at the ways musicians are participating in progressive political projects. But another part of the story is how the New Orleans tourist economy is fundamentally exploitative in the wages paid to musicians and others and how honoring musical traditions following Katrina has served as cover for draconian political acts and social policies. We also need to contend with the ways that the production and consumption of New Orleans music facilitates an economy of cross-racial and cross-class desire that cherishes traditional culture bearers but can also ignore or breed hostility toward the needs of those members of poor or colored communities who are not engaged in such cultural work and whose presence-their assumed drain on resources, their criminal behavior-is read as a threat to everybody else's good time.
Adding to the challenge of mapping these contradictions is the fact that the fluidity and complexity of music scenes and audiences alike make it analytically dangerous to indulge in neat assumptions about how local music represents particular identitarian or political sentiments. Musical scenes bleed into and inform one another, artists are in dialogue across genres, and audience tastes are hard to pin down. Tom Piazza describes "the surprises that lurk so often around the corners of someone's seemingly straightforward identity. It is a lesson that one has to learn continually in New Orleans." Yet it is precisely this indeterminacy that allows the story of this city to be embedded in the music. As Billy Sothern has remarked, "Here, the cultural synthesis of past and present creates a vibrancy and originality in our music that defies simple categorization, makes life interesting, and locates the culture squarely in New Orleans." And on that last point Treme is quite incisive, as its creators represent, on camera and via its soundtrack, the multiple genres and hybrid expressions, the vast array of performance sites and spaces, and the diverse audiences that make up the New Orleans music scene. It is to the show's credit that it showcases, playing themselves or in character, not only prominent jazz and brass band musicians, but also venerable RB stars like Irma Thomas, ex-underground rappers like the aforementioned Katey Red and Big Freedia and up-and-comers like Ace B (playing Lil Calliope), genre-bending bands like Bonerama, and those, like pop rock vocalist Susan Cowsill, who work in genres seldom included in celebratory genealogies of New Orleans music.
There are clearly modes of writing about music that play into the aforementioned distortions, but some post-Katrina authors have showed us how music can be deployed to explode neat, problematic narratives and assist in the process of remembering complicated histories and understanding the present and future through them. Clyde Woods calls the confrontation between the forces of oppression and social justice that we are forced to confront again in the post-Katrina era "the dialectic of Bourbonism and the Blues." And he shows how various musical expressions, from the colonial to the present, not only can be placed within this dialectic but also bear the traces of this history. The singing, dancing, and drumming at Congo Square, the blues, second lines, brass bands, jazz, Mardi Gras Indians, gospel, RB acts, and hip-hop all emerged out of a complicated social and cultural matrix and provided a mechanism from the eighteenth century to the present by which black New Orleanians in particular could challenge in direct and subtle ways the conditions and acts that threatened to dehumanize them. And Ruth Salvaggio shows us how music can disrupt the process of the intentional and unintentional forgetting of the traumas of the past. Building on comments by clarinetist Sidney Bechet, she describes the "long song," which is both carrier of and metaphor for an enduring cultural memory, rooted in the racial and sexual regimes of slavery, that cannot be fully repressed. "It's a song that keeps breaking through the seams of a tidy history built on selective erasures and national amnesia. We can keep tracing this song farther and farther back because it always precedes history.... [I]t is a song about a problem that won't go away, about a pain-wracked body that keeps reemerging throughout history, or in sweltering attics after a flood."
As one writes about New Orleans music in the present, one must confront the return of history in often unexpected ways in the post-Katrina moment. Watts's photographs address historical return, and I have found myself looking to them for evidence of the ruptures that expose multiple pasts brought to bear on our present and future. These images ask us to consider multiple layers of local history and the exposure of this history and its contradictions by Katrina. And there are the chaotic aspects of this history, too, evident in photos that show the helter-skelter ways that New Orleanians' life histories were jumbled together inside houses and tossed into the street by the water and reconstruction workers in the weeks after. Sometimes clarity about the past with present-day import can emerge from such chaos. For example, while peering into the bedroom of a busted home in the Lower Ninth Ward in 2006, the elegant framed bed and nightstand, forced upward at a slant by rubble that had floated into the room and settled underneath, reminded me (albeit in a distorted form) of the working-class elegance I came to know as a boy in the homes of grandparents and great aunts and uncles. It was a memory that spoke against the denigration, romantic victimization, and intrusive surveys (yes, we were implicated) of the neighborhood's fate while demanding a different way of telling their story. But the massive debris fields in the Lower Ninth, exposing as they did the complexities of people's lives, also remind the historian (of music, of other things) that to convey the story of history's return is tremendously difficult. But we must try.
So music, for better and for worse, is my vehicle for trying to write about New Orleans as a place and an idea. It is also my analytical and theoretical frame. I try to tread carefully because of the complexities of the scene, the political and cultural noise surrounding the music, the dangers of giving it too much attention, and the scholarly tendency toward distortion. But I enthusiastically take this on because I know that dissonance can be productive and quite beautiful. I am simultaneously jaded and naïve, but that seems the correct perspective when writing about New Orleans, its residents, its culture, and the ways they might help us choose the best direction to go as we stand at the crossroads.
About the Book
"[Provides] stunning insight into the day-to-day lives of the citizens of New Orleans, both before and after the storm."—Critical Studies in Improvisation"Mainly, a kaleidoscope of styles, voices and sounds – all re-imagined and visualized in image and text… [the book] grounds the reader in the myriad of beats and rhythms of the city as well as historical and contemporary figures who performed [from] Ellington and Blanchard to Mahalia and Mos Def." — Deborah Willis, author of Posing Beauty: African American Images from the 1890s to the Present
"…A remarkable act of avowal. With a sharp eye and critical sensibility, Watts and Porter convey the power of place, expressive culture, and tradition in lives of black residents of New Orleans…[lending] their considerable skill and talent to the remarkable struggles, hopes, dreams, and spirit of this unique city and its extraordinary people." — Herman Gray, author of Cultural Moves
"The official history of post-Katrina New Orleans may never be written, but Lewis Watts and Eric Porter show us how much we can learn about the city simply by opening our eyes and ears. A deft blend of compelling photography and masterful music criticism, New Orleans Suite documents the Black community's determination to survive despite being systematically silenced and maliciously misrepresented." — George Lipsitz, author of How Racism Takes Place
Table of Contents
Foundations: Plates 1–16
Section 1. New Orleans, America, Music
Section 2. Reflections on Jazz Fest 2006
Hurricane Katrina: Plates 17–43
Funerals and Second Lines: Plates 44–62
Mardi Gras: Plates 63–80
Section 3. Parading against Violence
Section 4. Reconstruction's Soundtrack
Section 5. To Reinvent Life
Selected Bibliography


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subset: commoncrawl


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Omaha couple creatively announces newest addition
An Omaha couple came up with a creative way to announce their newest arrival.
Barbara Cunningham and Ian Aeillo are expecting a new addition to their family in December.
The couple recently welcomed their first child, Scarlett, in December.
The video, created by Aeillo, began with the search for a new band member, a drummer to be specific.
After multiple failed audition attempts and plenty of humor tied in, Cunningham comes up with the idea of making their own bandmate.
Check out their announcement video.
Friends and neighbors helped the three create the announcement video.
"I had tasked myself with coming up with a pretty good birth announcement. Our last one was a horror movie poster, and it was pretty funny, I thought. So Barb had set a deadline of a couple weeks for me to come up with a new idea, whatever it may be," Aeillo said. "I couldn't think of anything and, sort of, gave up. We had just planned on doing just another cute one where Scarlett wore a shirt that said 'Big Sister' or whatever. Like, sort of all the other ones you see online."
Aeillo said it took one day to film and several hours to edit, but the end result and reactions from friends and family proved the effort was worth it.
During one scene, a nonalcoholic beer is slid over to Scarlett.
"My friends got a kick out of this, because I don't really drink, Barb is pregnant, and the baby is, well, a baby," Aeillo said.
Aeillo and Cunningham are excited and anxious to meet the newest member and are grateful for all the love and support on their well-received announcement.


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Read more about our project for De Lotto: Krasloten December calendar game
Ad van Luijt, chairman of the Build@School Foundation
"Since 2015 we are playing a construction game at schools to encourage students to choose for construction technology. This game in which a Lego house has to be built, was supervised by a few game leaders. As it was becoming a problem to find enough game leaders every time, the decision was made to change the game into a digital construction game.
This is how I came in contact with DTT in Amsterdam. After meeting with Jeffrey and his organization, we decided to let DTT build the game.
This has been done to great satisfaction of our Foundation "Build@School". The employees of DTT were always there to process questions and suggestions that we had. The game is being played for a year now and we intend to expand the game further. Of course we would like to do this again with the cooperation of DTT."
Check our project for Bouwend Nederland: Bouwend Nederland e-learning tool.
Johan G. Gelderblom, Director Finance, Administrative Organisation and Information Technology
"We were looking for a specialist, that could guarantee speed, transparency and quality of service and product and think along with the client! DTT has managed well to deliver the first project, a sales app for our international branches.
We decided to give our second project, a web portal for our international customers, to DTT as well. I am curious whether DTT will manage to succeed here. After all, as they say "You're only as good as your last game", so you have to prove yourself over and over again!
Project 3 (a second Sales app) and project 4 (a complete new website) are still on the drawing board, so .......!? "
Read more about our projects for HG: HG Sales app II | HG Order Portal | HG Webshop | HG Order app
Karin Kramer, Online Communications adviser
"DTT has really done a great job by developing the first KNHS Dressage and riding tests app for iOS and Android. Despite the short development time (and thus high pressure on the project) DTT has taken the usability of the app into account and has given clear advice on functionality and design. Thanks to the pleasant and efficient co-operation, the app could be launched on schedule and within budget. This was well noticed: the app reached the number 1 position in the category 'best paid' in iTunes. The team of DTT is commited, enthusiastic, works fast and communicates clearly. An absolute must!"
Check our project for KNHS: Dressage test app
Minke Jellema, Purchasing advisor
''DTT has helped us tremendously with shaping our (many) wishes and ideas to a supportive web-app for all our tender processes. Shaping legal requirements to a 'simple' and user-friendly tool for our buyers has definitely been a challenge. DTT has fulfilled this challenge extremely well. We are very pleased with the end result! DTT is definitely a recommendation to work with. They are open and transparent and very good in carrying out a concrete idea.''
Check our project for the municipality of Medemblik: Municipality of Medemblik PWA.
Laura Vogelsang, Co-owner
DTT has developed the first Valtifest app for us. Public surveys show that visitors of the festival had given a very high rating to this app. The project management during the app development was on a professional level. A pleasant co-operation with a wonderful product.
Read more about our project for Valtifest: Valtifest festival app
Dennis van der Stoop, Head of Construction Management
DTT has developed several apps for NSI that saves time and paper for administration work. The needed documentation is reported and communicated directly to the customer. The rapid approach and continuous thinking along in the process made it easy to work with DTT.
Read more about our projects for NSI: NSI landlords app | NSI Parxx
Ramon Kostwinder, E-commerce Manager
"Together with DTT we have developed a native iOS and Android app for our b2b customers. With this app they can respond to assignments that individuals have placed on our Kluscontact.nl platform. We developed an API ourselves that communicates with the app.
At DTT they always fulfil their promises. Beforehand they clearly informed and advised us about various options related to native or non-native app. They also took into consideration all interactions and potential complexities that come with these options. The app is now live and our customers are very satisfied with it."
Check our project for Warmteservice: Kluscontact job platform app
Patrick Blom, Manager Marketing and Communication
We have asked DTT to re-design the My Tentoo hour declaration system for our customers. DTT has made a high-end desktop, tablet and mobile design, while taking into account our customer requirements. The cooperation was good and constructive.
Read more about our project for Tentoo: Tentoo Adaptive Webdesign
Bouke Molenkamp, Manager Zakelijke Markten
The experience we had with DTT as an app developer is very positive. They have a great ability to quickly and efficiently turn a joint idea into an actual working app. It is a proper challenge to develop a good concept with two independent housing cooperations in Amsterdam, Eigen Haard and The Alliance. With the commitment, expertise and pragmatic hands-on approach, DTT's work is beyond expectation. Through good, direct and precise communication we have created a great product in a very short time. Recommended.
Read more about our project for Eigen Haard: Blokster app
Anne Boer, Education Specialist
"DTT has developed apps for Aslan Music center to help students learn music. DTT works very quickly, is easy to communicate with and thinks along with you. The handling and aftercare are great. They delivered a clear, user-friendly and decent app"
Check our project for Aslan Music center: Aslan music school app
Mustafa Demirayak, Project Manager
"We have given DTT the assignment to develop a logbook/inspection app for our business. After working with DTT for 2 years, the end result was extremely positive. DTT is currently still working on new developments for our business app. The new app helps our employees to work faster, more efficient and more effective. Great to see that everything within our business has been fully automated, with thanks to the thoughtful team of DTT. Doing Things Together."
Check out our project for Flamma: Flamma Inspection app.
Erwin van Wegen, Senior researcher Neurorehabilitation
Since 2012 we have been doing business with DTT to develop our Parkinson Exercises Android app in different languages. We work from a non-profit foundation with charitable objectives and in the beginning we had a lot of budget-friendly solutions. After DTT has converted our first iOS app into Android app, they became our go-to developer for Android versions of our app in multiple languages. The latest French version has a more complex development challenge with an in-app purchase and code access system. DTT has quickly and efficiently implemented it. Employees are flexible, work good and fast and respond promptly to emails and phone calls. Overall, a good company with excellent employees.
Read more about our project for VU Medical Center: EFOX Parkinson's Home Exercises
Farid Azarkan, Owner
"We had an excellent cooperation with DTT. From the first contact they made a professional and competent impression.
During all stages, they are punctual, precise and they think along with possible alternatives and solutions. We completed the project on time and within budget. DTT also provides the agreed quality. What is special about Dylan and Jeffrey: they honor their agreements.
I would recommend everyone to do business with DTT. "
Read more about our project for Cleverstone: GRIP real estate manager
Nicolette Jansen, Middin
Together with DTT we have made a sex education app for people with a disability. Regardless of disability or age. Developing an app was a new experience for us and it was a new target group for DTT. DTT employees were able to translate our goals into a beautiful design and concept, which matched well with the target group. The DTT team listened very attentively and the communication was very pleasant. We are very proud of our result and the product meets our expectations.
Read more about our project for Middin: Middin sex education app
Gerald van Engelen, Owner
So far, DTT has built 4 Android applications for us on behalf of our customers. The success of this cooperation has recently been extended, DTT can also develop our iOS applications now. Commitment, professionalism and quality are at a high level. Framez Media is a very satisfied customer of DTT.
Read more about our projects for Framez Media: Framez | Staatsloterij Wielercam app | Fox Sports Camera app | Hi-tec Walking Cam app
Roos de Jong, Board Member
As a student association, communicating to your members is very important. Therefore, an application would be very valuable for us. DTT had carefully discussed the possibilities and use of the application with us. Jeffrey was very helpful, and I always received answers to my questions and demands. We, as medical faculty association of Nijmegen, are very proud of our application!
Maurice Bonn, European Marketing Manager
"Our task had an absurd deadline, scope-creep all over the place and a fixed price. DTT made it happen. With these stressful conditions, DTT has made a product we are extremely pleased with. The commitment to reach deadlines is commendable, work didn't stop even during evenings and nights and quality is simply beyond comparison. For me, DTT has proven to be a very knowledgeable and knowing company. All this gives me the confidence to pick up the phone and call them directly for the next assignment,"
Check our project for Kuraray Noritake Dental Europe: Kuraray noritake rating app
Romke de Vries, Technical director and co-founder
From the first contact we were very well supported by the DTT team. DTT suggests additional ideas and options for our native Android and iOS Daalder Payment app and responsive website. For our services a continuous process of improvement and adequate bug resolving is very important, DTT is always ready to diagnose problems and resolve them.
Check our project for Daalder: Daalder payment app
Michael Webbers, Founder
Last year we launched Festive - a platform for the event industry. After contacting a number of app developers in Amsterdam, we knew that DTT was the right company to develop the iOS and Android applications for the platform. We successfully launched a great application at the scheduled time in April 2015.
Read more about our project for Festive: Festive Companion app
Sabine Doets, ICT Manager
We were looking for a suitable partner for developing an app and soon found out about DTT. After the first phone call we got a clear picture about the various ways to develop an app and the pros and cons of these options. The offer was clear and good in terms of pricing. We quickly had an app developed that exactly met our needs. Our next app will also be developed by DTT.
Read more about our projects for Welzorg: Welzorg Breakdown Assistance app | RSR Breakdown Assistande app
Dave Simons, IT Consultant
"Adante E-meeting provides solutions for paperless meetings of your organization. Together with DTT, we have developed an app that allows the user to keep the documents for the current meeting and agenda on the iPad. With the app, you can also add annotations in the documents.
We spoke with a number of vendors and selected DTT. DTT sets itself apart with their strong involvement in the development of the app. DTT thinks, looks for the best solution and gives an honest opinion where necessary. Jeffrey and his team communicate quickly and completely so you always have everything under control, and you never have to wonder how's it going. In short, DTT has been an excellent partner, and we will continue to co-operate with DTT for the further development of the app especially."
Read more about our project for Adante: Adante E-meeting app
Jeroen Thuis, Marketing Manager
Glass Solutions was looking for a flexible company that could quickly develop an app. We've sent out our assignment and DTT reacted accurately and fast. Also during the fulfilment of the assignment they maintained a great service level. The realization of the app on Android and IOS, both phone and tablet is completely provided by DTT. Co-operation with the DTT team was excellent, with adequate and clear communication. Glass Solutions is a satisfied customer.
Bart Willemse, Owner
We approached DTT for the development of an internal iPhone app, we knew exactly what we wanted and what the challenges were. Several other app developers promised that they could deliver this app as well, but DTT was the only company that showcased that they could develop this application with the help of a video. This gave us the proof that we we're talking to the right company, and that is proven! Short reaction times, correct responses to questions and no fuss with minor changes. In short, we will certainly use their services more often.
Henk de Vreugd, General Manager
"For the development of our MobiGreen mobile application we chose the services of DTT. Working with DTT is:
Hopefully we will have many years of pleasant co-operation."
Laurens Oosting, Consultant MILK Strategy & Finance
MILK Strategy & Finance is one of the most prominent strategic and financial consulting companies for small and mid-market. Our services include: Financial Management, Mergers & Acquisitions and Strategic Management. We have worked with DTT on the development of a new strategy to advance the website of one of our customers. The speed and service provided by DTT makes them a pleasant business partner to work with.
Mark Berntssen, Sales and Marketing Manager
4Sight develops Virtual Reality for the urban planning industry. Thus we support and advise governments and developers in marketing their plans. With visualizations you can create more understanding, trust and support for the property development and infrastructure projects. We have asked DTT to extend our pallet of visualization products by an iPad application for infrastructure projects. Besides the very pleasant and open collaboration, DTT offers a quality product, with fast delivery terms at a very competitive rate. Multiple suppliers are able to deliver quality, but next to that, commitment and customer orientation in favor of the client is a second nature for DTT!
Arnold Gruppen, Owner
We decided to build a Mobile application to provide our advertisers with an extra platform and to react on the current consumer demand. For this project we approached DTT. We are very satisfied with the short delivery time that was needed to finish the application. The level of communication was above expectations as well. In fact, they chased us more, than we needed to chase them to finish this project :) The result is very pleasing. Next to that, the after sales service was just great.
Please feel free to contact us via phone or email. We will be happy to help.


text:
By Gary M. Douglas , Dr. Dain Heer
This unique class is about seeing the earth as the gift it is, and about receiving from it. It is about connecting to the earth and using the earth to create greater possibilities. All profits from this class will to towards investment in land in Costa Rica.
What kind of world would you like to live in? What future are you ready to create?
Translated version available. See details below!
Duration: 3 days
Facilitator: Gary Douglas & Dr. Dain Heer
Format: Video on Demand and MP3 Digital Download
Pre-Requisite: The Foundation
Have you ever been on a land that was so joyful that your whole body lit up? Or swam in a river that brought all your cells to life?
This unique class is about seeing the earth as the gift it is, and about receiving from it. It is about connecting to the earth and using the earth to create greater possibilities.
It is inviting you to let the earth know you are here, and for the Earth to touch you and let you know it is here for you too.
These three days are designed to give you the tools to create change wherever you go on this beautiful planet of ours…with the water, the land, air and people.
What if you are the difference this planet is asking for? What if what the Earth requires of us is to finally let go of all limitations and instead embrace the magic, joy and possibilities we truly be?
As part of the the class, Dr Dain Heer facilitated two special Energetic Synthesis of Communions for the Earth, the audios of which are included in this purchase.
What kind of world would you like to live in? What future are you ready to create?
100% of profits from this class will go towards investment in land in Costa Rica.
You're invited to join Gary Douglas and Dr Dain Heer for this special 3-day event online replay.
This allows the group to build on the awareness from these classes and take the step into the unknown, allowing magic to be created, continuously. If you haven't taken The Foundation or are interested in the latest class, you can learn more here:FIND FOUNDATION CLASSES
Class Deliverables Include:
Translated Languages:
Purchase the English version here and email email@example.com with your purchase receipt or confirmation email to request the downloads in one of these languages:
Shop support will email the translated files to you.
Delivery Information:
Access Livestream Replay: You will have immediate access to the replay from your Access account dashboard under Media/Video on Demand to watch over and over as many times as you'd like! How does it get any better?
Digital Downloads: Upon ordering the English version, a delivery email with download instructions will be sent to you so that you may download your files. And access is available in your downloads from your Access account dashboard under My Account/Downloads if you logged in prior to purchase.
Dr. Dain Heer
Dr. Dain Heer
Dr. Dain Heer, The Maestros


text:
Hi there,
I have bought the WD MyCloud Mirror GenII, 8 TB NAS and the drive is not
sharing the media files, especially music files. When I look at the sharing
settings, there are not videos, songs or photos are showing as being
shared. I already have activated the sharing option & SSH on the WD setting menu.
The drive has a Twonky software version 7.2.9-11 set-up on this drive.
I am trying to stream the music from the NAS to my Music Streamer n my home network and am
not able to get this working. My Streamer (Niam NDX SX), is able to read the NAS, but noting gets
shared in there.
Appreciate all your help and advice. Many thanks.
WD MyCloud Mirror Gen II Twonky Server settings
Other OS or NAS discussions
Post Reply
1 post • Page 1 of 1
Post Reply
1 post • Page 1 of 1


text:
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text:
|L-R: Arthur E. Graves, Cledith O. Graves, Carrie Mae (Haley) Graves
1. Vital Records
1.1. Birth Certificate
Carrie was born January 4, 1877 in Liberty Township, Seneca County, Ohio1. The State of Ohio did not require the keeping of birth records until 1867. State law required the probate court to keep these records from 1867 to 1908, according to the Ohio Historical Society webpage.
1.1.1. Birth Notice in Newspaper
If Carrie's birth was recorded in a newspaper, I have not yet discovered it. There are editions of the Sandusky Register in existence, and that is one avenue of research in the future.
1.1.2. Bible Record
I am not aware of any surviving Bible record of the Haley family. Will continue to reach out to extended family in hopes that one does exist.
1.1.3. Baptismal Record
The Haleys were members of the Evangelical Association. I am not aware of any baptismal record for Carrie at this time.
Later, Carrie was associated with the Church of Daniel's Band in Marine City, Michigan.
1.1.4. Adoption Record
There is no evidence that Carrie was adopted.
1.2. Marriage License
Carrie married February 23, 1895 in Jay County, Indiana to Arthur E. Graves2,3. A copy of their marriage license was the subject of a previous post.
Carrie married secondly September 25, 1924 in Midland, Midland County, Michigan to Elam Gifford Booth4. A copy of their marriage license was the subject of a previous post.
Carrie married thirdly to Sidney Marks between 1940 and her death.
1.2.1 Marriage Notice in Newspaper
Will need to search contemporary newspaper accounts to see if mention was made of Carrie and Arthur's nuptials and Carrie and Elam's nuptials.
1.2.2. Anniversary Notice
Will need to search contemporary newspaper accounts to see if there was any mention of anniversary celebrations.
1.2.3. Divorce Decree
There is no indication that Carrie was ever divorced, but a thorough search of court records in Midland County, Michigan needs to be completed.
1.3. Death Certificate
Carried died in 1956, according to my database, but this fact does not contain a source. Her tombstone states 1955.
1.3.1. Obituary in Newspaper
Will need to search contemporary newspapers in Midland, Michigan area to see if I can locate an obituary for Carrie. Will add this to my list of 'to-do' items.
1.3.2. Funeral Home Records
Once I have a copy of Carrie's obituary, I can contact the funeral home mentioned and see if they have any additional records of Carrie's funeral.
1.3.3. Tombstone Photograph
Carrie is buried in the Midland Cemetery, Midland, Midland County Michigan5, next to her first husband, Arthur. Her memorial on the FindAGrave website is here.
2. Census Records
2.1. Federal Census Records
2.1.1. 1940 Federal Census
On April 1, 1940, Carrie was enumerated in the Mark Langell household in Marine City, St. Clair County, Michigan6, as Carrie Booth, widow, age 63. She is listed as 'sister' to the head of household, but I believe this is more in the spiritual sense (Christian), as all were members of the Church of Daniel's Band. Her residence in 1935 was Seneca County, Ohio. She had completed the 8th grade in education. She owned her home valued at $1000. Her address was 246 Bruce Street.
2.1.2. 1930 Federal Census
On May 27, 1930, Carrie was enumerated in the Elam G. Booth household in Marine City, St. Clair County, Michigan7, as Carrie M. Booth, wife, age 53. She had been married at age 18 for her first marriage. She was born in Ohio, as were both of her parents. She could speak English. No occupation was listed.
2.1.3. 1920 Federal Census
On January 6, 1920, Carrie was enumerated in the Charles Lee household in Ward 3, Pontiac, Oakland County, Michigan8, as Carrie Graves, servant, age 43. She was married, born in Ohio, and both of her parents were born in Ohio. She could read and write and spoke English. Her occupation was listed as a cook at the hotel. Her husband Arthur was listed in the same household as a house carpenter.
2.1.4. 1910 Federal Census
On April 25, 1910, Carrie was enumerated in the Arthur Graves household in Midland, Midland County, Michigan9, as Carrie Graves, wife, age 33. She was married for 15 years and was the mother of 1 child, who was still living. She was born in Ohio, as were her mother and father. She could read and write and speak English. No occupation was listed.
2.1.5. 1900 Federal Census
On June 13, 1900, Carrie was enumerated in the Arthur E. Graves household in Noble Township, Jay County, Indiana10, as Carrie M. Graves, wife, age 23. She was born January 1877 in Ohio. Both of her parents were born in Ohio. She had been married for 5 years and was the mother of 1 child, still living. She could read and write and spoke English. No occupation was listed.
2.1.6. 1880 Federal Census
On June 22, 1880, Carrie was enumerated in the George W. Haley household in Liberty Township, Seneca County, Ohio11, as Carrie M. Haley, daughter, age 3. She was born in Ohio, as were both of her parents.
2.2. State Census Records
The State of Michigan enumerated census records every ten years in 1854, 1864, 1874, 1884, 1894 and 1904. I'm not sure how soon Carrie moved into Michigan, she might be covered on the 1904 census.
The State of Indiana conducted state census in 1853, 1857, 1871, 1877, 1883, 1889, 1901, 1913, 1919 and 1931. These, however, were merely for the purposes of legislative apportionment.
2.3. Agricultural Census Records
I have not yet investigated these types of records to see what light they might shed on the Haley farm.
3. Military Records
3.1. Draft Registration
Not applicable, as Carrie was female.
3.2. Pension Records
I am not aware of any military service by Carrie's husbands or father that would have made her eligible for military benefits.
3.3. Service Records
Not applicable, as Carrie was female.
4. Land Records
4.1. Deed Records
Deed records need to be thoroughly searched in St. Clair and Oakland Counties, Michigan, as well as Jay County, Indiana, to see what records might mention Carrie and her family. Will add this on my list of 'to-do' items.
4.2. Plat map / county map
Will need to search out plat maps in St. Clair and Oakland Counties, Michigan to see if I can locate her family and obtain any additional information.
5. Supplemental Records
Supplemental records to search for Carrie include city/county directories, court records and will and probate records. Will add these to my list of 'to-do' items for my next research trip.
1. Ohio Births and Christenings, 1821-1962, digital images, FamilySearch Internet online, [www.familysearch.org], accessed 6 February 2011.
2. Jay County, Indiana, Original Marriage License, "Arthur E. Graves to Carrie M. Haley, 1895"; County Marriage Returns Collection; Jay County Historical Society, Portland, Indiana.
3. Jay County, Indiana Marriage Records, Book C-G, page 577.
4. "Michigan Marriages, 1868-1925," index and images, FamilySearch (https://familysearch.org/pal:/MM9.1.1/NQQK-Y64 : accessed 03 Jun 2013), Elam Gilford Booth and Carrie May Graves, 25 Sep 1924.
5. FindAGrave Inc., FindAGrave.com (www.findagrave.com : accessed 24 Sep 2013).
6. 1940 U.S. census, St. Clair County, Michigan, population schedule, Ward 3, Marine City, enumeration district 74-24, SD 7, sheet 62A, 246 Bruce Street, dwelling 251; digital images, Ancestry.com (www.ancestry.com : accessed 3 June 2013); National Archives, Washington, D.C.
7. 1930 U.S. census, St. Clair County, Michigan, population schedule, Ward 3, Marine City, enumeration district 74-24, SD 15, sheet 12A, 246 Bruce Street, dwelling 296, family 298; digital images, Ancestry.com (www.ancestry.com : accessed 3 June 2013); National Archives, Washington, D.C.
8. 1920 U.S. census, Oakland County, Michigan, population schedule, Ward 3, Pontiac, enumeration district 187, SD 6, sheet 2A, 12 Perry Street, dwelling 18, household 30; digital images, Ancestry.com (www.ancestry.com : accessed 30 May 2013); National Archives, Washington, D.C.
9. Arthur Graves household, 1910 U.S. census, Midland County, Michigan, population schedule, City of Midland, ED 138, SD 10, sheet 15, dwelling 311, family 317, National Archives micropublication T624, roll 665.
10. Arthur E. Graves household, 1900 U.S. census, Jay County, Indiana, population schedule, Noble Township, ED 63, SD 67, sheet 7, dwelling 146, family 148, National Archives micropublication T623, roll 380.
11. George W. Haley household, 1880 U.S. census, population schedule, Liberty Township, Seneca County, Ohio, ED 193, SD 1, dwelling 401, family 405; National Archives micropublication T9, roll 1065.
This post was developed as part of the series relating to Building My 2011 Research Template, an attempt to systematically document and source the details of my ancestors' lives. Comments regarding this template and the conclusions drawn in this article are welcomed.


text:
Here's the deal: When it comes to the Olympics, we're just as invested in the athletes themselves as we are in the results board. Part of the fun is learning all the behind-the-scenes stuff, right?
So you know, we delved into their bags of tricks. We found Olympians' go-to moves for their kick-ass physiques and those gym-bag essentials that keep 'em fueled, primed and ready to go. But one thing we didn't have? How they psyched themselves up the way we like to do here at SELF -- with some good tunes.
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Gretchen Bleiler's "My Tops" Playlist:
Julia Mancuso's "Down Time" Playlist:
Hilary Knight's "Plane, Bus Walk" Playlist:
- Tips and Tidbits From Team USA!
- Try Our Gold-Medal Body Challenge
- Olympic Daily Dispatch: Updates and Buzz From Sochi
Image Credit: Courtesy of Rdio


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text:
Coming soon to a county park near you: geocaching. A year after getting the go-ahead to use the popular high-tech pastime as a way to attract visitors to their parks, Okaloosa County officials are ready to let the games begin.
Coming soon to a county park near you: geocaching.
A year after getting the go-ahead to use the popular high-tech pastime as a way to attract visitors to their parks, Okaloosa County officials are ready to let the games begin.
In the week or two following the July 4 holiday, the county�s Parks Division will open a website and release coordinates that can be used to find treasures � known to game enthusiasts as geocaches � hidden at more than 20 parks.
�We�ve got our coins, our boxes are primed and we�re starting to put them out,� said James Puckett, who heads the Parks Division.
The coins, yet to be publicly unveiled, are the trophies the hardcore geocachers will seek. They will be presented to those who find a given number of geocaches.
Geocaching has been defined as a �worldwide treasure hunt,� and has become popular worldwide. There are an estimated 1.4 million geocaches tucked in holes or taped to fence posts across the planet. About 20 geocaches are hidden in Antarctica.
Geocaching was made possible by the creation of the Global Positioning System (GPS), the satellite-based navigation network. It is accomplished using an Internet site (primarily Geocaching.com) and a GPS or GPS-equipped smartphone.
The game begins when someone stashes a geocache in anything from a film canister to an ammo box and announces what they�ve done on Geocaching.com.
Aficionados locate the latitudinal and longitudinal coordinates and find it using GPS technology.
Puckett said Okaloosa�s plan is to divide the county into four geocaching �quadrants� and force treasure seekers to locate geocaches in each section to earn a coin. This will encourage visits to every region of the county and introduce people to parks they might not know exist.
Puckett credited Michael Anderson, a C.A.D. technician with the county and avid geocacher, for doing much of the legwork to get the geocaching plans off the ground. County officials also accepted help from a group called Panhandle Geocachers.
�We helped supply some of the containers and gave them some advice on how they should get a checklist done,� said Tim Whitten, a member of Panhandle Geocachers.
Whitten, who traveled to Jacksonville when that city announced a program similar to Okaloosa County�s, said the county�s dive into geocaching has been much anticipated.
He said he�s talked to several friends and expects there to be a scramble when the county publishes the coordinates of its hidden prizes.
�Their parks should be visited more by locals,� he said.
Contact Daily News Staff Writer Tom McLaughlin at 850-315-4435 or email@example.com. Follow him on Twitter @TomMnwfdn.


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Hey everybody!
I'm new here at PBT (though I've lurked in the past), but I think I already know quite a few people here. For those of you who don't know me already: I am Katie, mom to Draego (1 yr old pit mix) and Fannie (2-3 yr old pit mix, maybe). Got involved in rescue after we adopted Draego last year, and now I volunteer for my local SPCA, have done home visits and transports, and briefly attempted fostering a couple of months ago. Sadly, I am a failure as a foster...but not so sadly, I get to keep Fannie forever and ever, so I'm actually pretty OK with joining the FFC on my first try
Pictures will be forthcoming when I can get my img codes off photobucket, which is blocked at my office


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Joe the Shoe Shine Guy
"It's the best shine this side of the Mason Dixon Line!" People actually box up and ship their shoes from around the country to Joe's Shoe Shine inside Bishop International Airport. His stand is located just up the land-side escalator to the right. Shoe shine hours vary seasonally and Joe is in on weekdays only.
Joe's hours:
Monday-Friday: 10:00am-5:00pm


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New Canaan forecast: A Thanksgiving Day to give thanks for
Today's forecast is something to give thanks for, according to the National Weather Service.
Skies this Thanksgiving Day across southwestern Connecticut will be clear, as temperatures rise to a daytime high in the mid-50s, with a northeast wind 5 to 7 mph becoming light and variable in the afternoon.
Tonight will be mostly clear, with a low temperature in the mid-30s.
Tomorrow, as the holiday shopping shifts into high gear, will be mostly sunny, with a high temperature in the mid-50s. There is a chance of showers late tomorrow night as clouds move in and the temperature dips to a low in the upper-30s. The odds of precipitation are about 30 percent, the NWS says.
On Saturday, there is a slight chance of showers before 8 a.m. Otherwise, the rest of the day is expected to be partly sunny, with a high temperature in the mid-40s. Chance of precipitation is 20 percent. Nighttime will be partly cloudy, with a low around temperature about 30 degrees.
Sunday should be mostly sunny, with a high temperature in the mid-40s. Saturday night is expected to be mostly clear, with a low temperature in the low-30s.
The outlook for Monday, according to the weather service, is sunny and temperatures in the mid-40s.


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New York Red Bulls 2, Toronto FC 2 | MLS Match Recap
HARRISON, N.J. – They left it late, but the New York Red Bulls were able to re-open their schedule with a point on Friday night after a 93rd-minute goal by striker Bradley Wright-Phillips gave the Red Bulls a 2-2 draw against visiting Toronto FC.
Wright-Phillips' point-blank shot from a header by late-game substitute Tim Cahill erased a deficit courtesy of TFC's DP strikers Jermain Defoe and Gilberto, who scored in the 55th and 72nd minutes, respectively, to overcome a first-half goal by Peguy Luyindula.
Defoe scored the equalizer in the 55th minute with a beautiful one-touch finish past Red Bulls goalkeeper Luis Robles off a feed from Dominic Oduro, and Gilberto gave the visitors the lead 17 minutes later by lashing home a freekick for his first MLS goal after joining TFC as a Designated Player prior to the start of the season.
The Red Bulls drew first blood in the 36th minute off a header by Luyindula, who met a floated cross from left-back Ambroise Oyongo Bitolo to finish from six yards out past a diving Joe Bendik. Oyongo took a pass from Thierry Henry before juking past Oduro and serving the ball in to Luyindula for his first career MLS assist.
Oduro made amends in the second half by driving a cross low to the near post for Defoe, but Gilberto needed no assist to smash home his 20-yard freekick, though he did need to win an argument with Defoe over who would take it.
The Reds looked to press throughout, and Robles was forced into action less than two minutes from the opening whistle when striker Luke Moore tried his luck from just outside the 18. Robles dropped down well to push away the low drive, but just nine minutes later TFC were unlucky not to score when a header by Collen Warner was blocked before Warner himself inadvertently blocked the follow-up shot.
In the end, the Reds' bid for all three points on the road would be quashed in stoppage time by Wright-Phillips.
The Red Bulls's next match will see them travel to Houston for a July 4 showdown with the Dynamo, while Toronto FC will look to bounce back with a July 2 match in Chicago against the Fire.
MLSsoccer.com Men of the Match
|What We Saw
|Jermain Defoe
|Netted a great goal, drew the free kick that led to Gilberto's strike, and was a key cog in Toronto's attacking play throughout the game
|Tim Cahill
|12 minutes was all the returning Australia international needed to make an impact. Was denied a goal at the first time of asking, but his perfect header set up the equalizer
|Dominic Oduro
|His speed caused problems for a young Red Bulls backline for much of the night, set up Defoe's goal with a fine low cross


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Wednesday, August 17, 2011
Pop Threat / Dirt N' Dust 1999-2003 Album Review
Such is the case with the band Pop Threat. Having become aware of the principal musicians involved during their second phase with The Manhattan Love Suicides - through their present incarnation with The Blanche Hudson Weekend - I was intrigued to hear they would finally be releasing a retrospective CD of their earlier bands works.
Now in possession of the recently released "Dirt N' Dust 1999-2003," nothing short of a full review of all 23 songs on it will do.
What saves previously unreleased album opener "One Track Mind" from the potentially monotonous experience that a "one chord" composition might suffer from is what's moving around it. Specifically, the descending bass line and vocal "do – do, do do's." Then there is the power charged doubletime stomp section the song keeps going back to. Everything about this song suggests forward motion. You most-likely wouldn't even be aware that it's "only one chord" – if it hadn't been spelled-out in the liner notes.
"So It Seemed" blends fuzzy Darren guitar with Caroline's upfront, effects-free soft vocals and tickety-high-hat percussion.
The wonderfully titled "Sugar Fuck" comes at you with explosive guitar chords, whose bombast make listening to Caroline's vocals not as easy as your typical pop song.
Four complete tracks from the album can be heard here:
"Ripen" has Caroline more prominently featured and sounds more like the wonderful pop music of Tracey Tracey's Primitives and the lovely English pop of that era. Caroline's voice is up close in your ear, creating a pleasantly intimate listening experience. The repeated vocal refrain of "I wanted to be somewhere else" is catchy and charming. Darren's clean guitar sound hearkens back to prime era Cure. There is also a long single keyboard note (played by the band's drummer Mick) that provides additional texture. A spoken word section of the song is accentuated by Darren's guitar noise run through a fuzz pedal and placed further back in the mix.
"Monochrome" (8 track demo) is full on razorbuzz guitar, 4/4 thunder drums with Caroline's unmistakable vocals, passionately delivering a lyric heavy story. It's overall mood (and power) is not dissimilar to what A Place To Bury Strangers frequently do.
The amusingly titled "Sludgy" is actually not really as much of a sludge-fest as one might expect from this name. The vocals, guitar, bass and drums can all be heard rather clearly. "It's easier just to shut my eyes, than to watch you slide" is Caroline's repeated vocal hook.
"D 4th S" (demo version) finds the band dipping into the experimental waters first explored by The Velvet Underground in the late 1960's – and then again by Brian Eno during his pop solo career in the 1970's. The warbly guitar work is prime "Taking Tiger Mountain by Strategy" era – specifically "The Great Pretender."
"Filth" is a sheer wall of buzzing, hissed-out guitars filling all the open spaces of the sonic spectrum, while clean bass and drums throttle the progression forward. On top of that is Caroline's un-effected lyrical recitation. The occasional pause, then guitar driven restart points towards the bands self-admitted Sonic Youth influences.
"No Way Out" swings a bit more, with poppy vocal "wha, ah, whoah, oh, oh's" and "whoah, whoah, whoah, yeah's." It also benefits from a multi-tracked, centrally located Caroline vocal segment.
"Vivia" takes the pop song progression and twists it in unsettling ways by way of the guitar sound choices. Alley cats howling late at night might be one way to describe it. Meanwhile the vocals trudge forward, oblivious to the sonic subversion going on all around this otherwise straightforward pop song.
"Towards An End" has an opening narration taken from the 1950's film "Yield To The Night" – something that has become a recurring occurrence on Darren's music – that, if anything, is used even more today with his current project – The Blanche Hudson Weekend. The sampled vocal clip is from Diana Dors (who, I've been told was England's answer to Marilyn Monroe). The song itself is a beautiful piece of gentle pop, with Caroline's soft vocals as the dominant focus. Keyboard synth strings are initially the strongest musical presence – ultimately giving way to guitar textures that slowly rise up in the mix.
"Hit it!" is a smile inducing shorty that encompasses the rawness of The Ramones, with a "do, do, do do" vocal passage that's pure JAMC.
The added white noise textures of tv static finds its way onto "The Last Resort" (because the band felt everything else was a bit too sweet). This certainly roughs up what is an otherwise clean and straightforward pop song. The structure shows thought and care, however, as there are some interesting chord changes and tempo shifts involved.
"Cheap and Vulgar" is fast and furious, capturing the energy that only live-in-the-studio can produce. The raw, aggressive punk feel of Iggy & The Stooges (Raw Power era) is fully represented here (especially in the slashing guitar chords and shouted vocals).
"Cheri" shows Caroline presenting the kind of lyrical story about some lost waif that would also become a recurring theme through the songs of Manhattan Love Suicides and currently with Blanche Hudson Weekend.
"Falling Spike" brings back the anthemic and glorious, with those ever satisfying "do, do, do do's." Of note is Darren's guitar tone, strumming and chord selection – which brings to mind the playing of John McKay on Siouxsie & The Banshees first studio album "The Scream."
"Sludgy" returns, this time as an 8 track demo version. It's even less "sludged out" than the earlier studio version and pretty clear to listen to. Caroline's vocal hook refrain is catchy and tailor made to sing along with.
"Amarantal Meltdown" finds Caroline 's vocals filtered through heavy effects. The first instrumental break kicks in with force and aggression. The guitar chords are strummed fast and furious, while other guitars are manipulated in unconventional ways, creating a myriad of whistling-like sounds. There's also some Beatles/Hendrix-like backward tape looping against Sonic Youth-style chiming chords.
"Dark Black" comes at you with the lyric "there's a fine line between hate and hate she said." Surely this is a much finer line than the one between clever and stupid. Violins, violas and other plucked instruments appear on this delicate number, showing a depth and range within this band's compositions that one might not expect, based on their other recorded works.
"Reverse Expectant" (8 track demo) is a straightforward rocker that employs the sound of glockenspiel plinks (currently in vogue again now, due to the popular band Cults use of them on their latest album). It's true that this instrument adds an uplifting sonic texture. Other sounds emerge later on in the song – theremin-like squiggles for instance.
"It's the Police" brings back the chaos via shredding guitars and shouted, obscured-thru-megaphone vocals (delivered this time by the bands bassist Juliet). It's a trashy raveup with equal parts Sonic Youth and early Iggy & the Stooges spirit.
"Ingrained" comes at you with clean guitars and easily understandable vocals. "The best is over now," Caroline sings. The more experimental guitar work returns for the chorus, however.
The albums final track – "Rediffusion" opens in anthemic fashion - with solo buzzing guitar, allowing Caroline 's doubled vocals to tell the impassioned tale. "La, la, la, la" is the simple (yet oh so effective) central hook. Layered buzzsaw guitars create a textured sonic bed that builds successively, until everything rises to an emotionally charged triumphant conclusion.
With that, this wonderful collection of songs is over.
For anyone who has ever loved the bands I mention in this review (and quite frequently in general) – the Jesus & Mary Chain, Sonic Youth, Iggy & The Stooges – or the other incarnations of the principal members of this band I have written extensively about over the years – The Manhattan Love Suicides, Blanche Hudson Weekend and Ailsa Craig – you will absolutely love this album. You owe it to yourself to go out and pick up a copy of this.
Do it.
Do it now.
For further reference (including how to obtain this album) follow these links:
11 comments:
Great review :)
- August 18, 2011 at 4:03 AM
- DaveCromwell said...
Anouk! You are one quick bunny.
Thanks for sayin'.
You know I only write about music I really believe in here.
- August 18, 2011 at 4:09 AM
- William said...
Thanks for sharing this man- very cool band- love what ive heard so far - will definitely check them out some more. You are like Nardwuar the Human Serviette but less twitchy
- August 18, 2011 at 4:31 AM
- Patricia said...
I'm delighted once again to have read another wonderful description Dave!
- August 18, 2011 at 5:24 AM
- DaveCromwell said...
William - to be even mentioned in the same sentence as the "great" Nardwuar the Human Serviette is truly the highest compliment anyone can receive.
Patricia, you are a sweetheart.
- August 18, 2011 at 6:54 AM
- Ivanka said...
great review!! you did good job!
and love that photos in black'n'white colors )) really cool)
- August 19, 2011 at 8:20 AM
- DaveCromwell said...
The B&W photos transfer rather well, Ivanka. Good call on that.
I often wonder how my "photo of a photo" will ultimately be received. Credit to the original composition, for sure.
- August 19, 2011 at 10:02 AM
It's interesting to see some older stuff. Recently you've been focusing on the most recent releases and gigs and this entry is a nice touch considering it dates back to 1999 when it comes to the music you write about here.
And it can be felt in this sound. 1999 was the time when the new wave of shoegaze and everything like it was beginning to emerge. Soon the great success of Raveonettes, White Stripes and other bands like the Kills changed the face of the music scene reminding everyone that rock and roll is still out there.
I think that both the band's music here and your writing, Dave, nail this specific atmosphere. From what I've heard in their tracks the band was both pretty sure about their musical identity and searching for a specific sonic language in the same time, thus many tracks differ from each other and show signs of an artistic travel. The final product may not be my cup of tea but one can't oversee the band's efforts.
A very good and intense writing about a very good and intense music.
- August 19, 2011 at 2:14 PM
- DaveCromwell said...
As expected, eagle - your comments are most insightful. Focusing on the emergence of bands starting out at that same point in time - The Raveonettes - The Kills - and The White Stripes - is essential information that I omitted. I'm happy to read you doing it here now. Yes, this is exactly the period we are speaking of. The fact that those three influential bands are still going strong today - ten years later - it's important.
Yeah, Darren and Caroline have gone through three bands now - but what they bring to the table is the same kind of consistent and creative rock music - as the three big names you mention there as well.
- August 20, 2011 at 11:22 AM
- Mr Smork said...
nice review, dave.
this band souns almost the same as you told ;)
like their retro appearance and sound.
- August 21, 2011 at 11:59 AM
- DaveCromwell said...
I'm happy to hear my descriptions match up to the sound you hear, Mr. Smork.
You should also be somewhat familiar with their overall sound as I have been promoting Darren & Caroline's music (across their various projects) for a few years now.
- August 21, 2011 at 1:23 PM