Emergency Dentist London Can Cure All Your Teeth Related Problems}

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Emergency dentist London can cure all your teeth-related problems

by

Brian Miller

Oral hygiene is one of the most important regimes that you should follow if you would like to lead a healthy life. However, sometimes it becomes necessary to take the help of an emergency dentist London. When faced with an abrupt painful mouth ulcer, often we are at our wit’s end. It becomes an absolute necessity to not only visit a dentist, but also procure enough tips for further prevention. Since the actual cause of mouth ulcer is not definitely known, it can happen anytime and can cause a lot of harassments. Generally, mouth rinses or vitamin supplements are prescribed such as vitamin B12. If you have crooked teeth but don’t want to opt for metal braces, Invisalign braces London are there to help you out.

Invisalign braces London are great alternatives to regular hard metal braces. These help in straightening of the teeth with the help of a custom made aligner series built specifically according to the shape, size and inclination of your teeth. The aligners are made of clear almost invisible plastic trays that you wear over your teeth. These definitely take a little longer time than ordinary metal braces to set your teeth as the aligners gently shift and put your teeth into its ideal places. In return you do not have to wear ugly looking metal wires or brackets. Note that you do need to change the set every two weeks approximately. For your other needs an emergency dentist London is always by your side.

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An emergency dentist London becomes your saviour when it comes to dealing with crooked or broken teeth, wisdom tooth or dental abscesses. When the pulp of the teeth which contains the nerves and blood vessels become irritated, it can often result in hideous tooth aches. It can also result from decayed or cracked tooth, receding of the gums or periapical abscesses. Several other possibilities like bruxism, gingivitis and other types of a gum disease can lead to a visit to the dentist. If you have a crooked tooth or a set of crooked teeth then the doctor would suggest Invisalign braces London, which is a much modern concept.

Invisalign braces London are an easy and discreet treatment that most celebrities opt for. This medical procedure helps to effectively straighten teeth and give you back the confidence you need and deserve. Most clients are generally given ten to forty eight sets for the upper and lower set of teeth. The braces are required to be worn for long hours daily. Generally it takes from anything between five to twenty four months to get results. You should discuss the full process with your emergency dentist London and proceed accordingly.

It is extremely easy to maintain a decent level of oral hygiene with Invisalign braces London. You can remove them when you wish to eat or when you have to brush. Even if you have a missing tooth, it is quite easy to accommodate with an artificial tooth built in. Now if you suddenly suffer from a bacterial infection caused by accumulation of pus on the ends of your tooth then you might want to consider the help of an emergency dentist London before it turns into something more serious.

If you are suffering from any dental problems then visiting an

emergency dentist London

is a must. If you desire straight even teeth then

Invisalign braces London

can be a great solution.

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Augusten Burroughs on addiction, writing, his family and his new book
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Augusten Burroughs on addiction, writing, his family and his new book

Friday, October 12, 2007

I had an unofficial phone call from Gay Talese last Tuesday. He had just flown back from Colombia and he was cranky. “I’m happy to do an interview with you,” he said, “but what the hell could you ask me that’s not already out there? Have you even bothered to look?!”

“Jeez, Mr. Talese, lots of things,” was my response. I lied. The truth is that when I call people to interview them, I do not have a set of preconceived questions. My agenda is to talk to them and gain a sense of who they are; to flesh them out as humans. To find out what they think about the world around them at that moment. With Gay Talese I had little interest in talking about Frank Sinatra Has a Cold and with Augusten Burroughs I had little interest in discussing Running with Scissors. I want to know what they think about things outside of the boxes people have placed them in.

With a memoirist like Burroughs, even this is a challenge. What parts of his life he has not written about himself, other interviewers have strip-mined. When we met for dinner at Lavagna in the East Village, I explained to Augusten this issue. I suggested we make the interview more of a conversation to see if that would be more interesting. “Instead of you in the catbird seat,” I said, “let’s just talk.”

We struck an instant rapport. What set out to be an hour and half interview over dinner had turned into four hours of discussion about our lives similarly lived. I removed half of the interview: the half that focused on me.

Below is Wikinews reporter David Shankbone’s conversation with writer Augusten Burroughs.


Contents

  • 1 On addiction and getting sober
  • 2 On the Turcottes and his mother
  • 3 On his work
  • 4 On the response to his work from addicts
  • 5 On belief in a higher power
  • 6 On the gay community
  • 7 On his new book, A Wolf at the Table, a memoir about his father
  • 8 On women’s breasts and tattoos
  • 9 On losing his hair
  • 10 Sources
News briefs:January 11, 2008
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News briefs:January 11, 2008

Contents

  • 1 Wikinews News Brief 01-11-2008 01:20 UTC
  • 2 Introduction
  • 3 Events of worldwide notability, military action, disasters etc.
    • 3.1 At least 24 killed in suicide bombing in Pakistan
    • 3.2 Alabama father throws children in river
    • 3.3 British troops may have received contaminated blood from American donors
    • 3.4 George Bush arrives in Middle East
    • 3.5 Pentagon releases video of incident involving Iranian ships in Persian Gulf
    • 3.6 China has plan to obtain North Korea’s nuclear weapons
    • 3.7 Hezbollah network Al-Manar available to wider international audience
  • 4 Non-disastrous local events with notable impact and dead celebrities
    • 4.1 Moderate earthquake strikes off the Oregon coast, US
    • 4.2 Hollywood “Mayor” Johnny Grant dead at 84
    • 4.3 China bans free plastic bags
    • 4.4 John McCain and Hillary Clinton win New Hampshire primaries
    • 4.5 Canupa Gluha Mani speaks about Lakota Oyate, Lakota freedom
  • 5 Business, commerce and academia
    • 5.1 Singapore Airlines bid for China Eastern Airlines unsuccessful
    • 5.2 Apple to lower UK iTunes prices
  • 6 Arts and culture
    • 6.1 Global premiere of Lordi horror movie Dark Floors next month in Oulu, Finland
  • 7 Frivolities and trivia
    • 7.1 Fourteen days left to send National Geographic your shoe for world record
    • 7.2 Dr. Phil’s consultation meant to be private: Spears family
  • 8 Footer

[edit]

Low Maintenance Decks}

Low-Maintenance Decks

by

bluestarcarpentry

Low-maintenance decking is good news. Traditional wood decks look great, but you have to refinish or reseal them every few years to keep them looking that way. Low-maintenance alternatives now promise much of the same look and feel of wood, but without the worry that they’ll crack, split or warp if you neglect them.

Wood composites (mixtures of wood fiber and plastic) are leading the way. We’ll introduce you to two types of composites”solid boards and a variety of hollow shapes. We’ll also tell you about vinyl and aluminum decking options that require even less maintenance than composites.

If you like the look of a traditional wood deck, solid composites are for you. They imitate the look, feel and workability of wood deck boards. They’re roughly the same size” about 1 to 1-1/4 in. thick and 5-1/2 in. wide. They’re tough and durable, and they resist insect and rot. The finished deck will have a solid feel underfoot with minimal flex. Every composite board is identical and flat, without twists, warps or knots to slow installation time. However, composites may require an annual cleaning to remove mildew and dirt. They aren’t structural (use wood joists).And solid composites are heavy; they’re a chore to handle if you’re working alone.

If you’re accustomed to working with wood, it’s easy to make the transition to solid composites. You can cut a board with a circular saw, round over the edge to a bull nose with a router, and soften the ends or erase a scratch with a sander. Use a 24-tooth carbide circular saw blade and carbide router bits (high-speed steel dulls quickly). Frame your deck with pressure-treated wood joists 16 in. on center (12 in. on center (o.c.) if you set the decking at a 45-degree angle).

Low-maintenance decking is good news. Traditional wood decks look great, but you have to refinish or reseal them every few years to keep them looking that way. Low-maintenance alternatives now promise much of the same look and feel of wood, but without the worry that they’ll crack, split or warp if you neglect them.

Wood composites (mixtures of wood fiber and plastic) are leading the way. We’ll introduce you to two types of composites”solid boards and a variety of hollow shapes. We’ll also tell you about vinyl and aluminum decking options that require even less maintenance than composites.

If you like the look of a traditional wood deck, solid composites are for you. They imitate the look, feel and workability of wood deck boards. They’re roughly the same size” about 1 to 1-1/4 in. thick and 5-1/2 in. wide. They’re tough and durable, and they resist insect and rot. The finished deck will have a solid feel underfoot with minimal flex. Every composite board is identical and flat, without twists, warps or knots to slow installation time. However, composites may require an annual cleaning to remove mildew and dirt. They aren’t structural (use wood joists).And solid composites are heavy; they’re a chore to handle if you’re working alone.

If you’re accustomed to working with wood, it’s easy to make the transition to solid composites. You can cut a board with a circular saw, round over the edge to a bull nose with a router, and soften the ends or erase a scratch with a sander. Use a 24-tooth carbide circular saw blade and carbide router bits (high-speed steel dulls quickly). Frame your deck with pressure-treated wood joists 16 in. on center (12 in. on center (o.c.) if you set the decking at a 45-degree angle).

Blue Star Carpentry has been specializing in custom decks for over a decade. When you sit outside with your family around you, enjoying the most beautiful days of the year, we want you to be on the deck of your dreams. For more info on

deck builder long island

visit http://bluestarcarpentry.com/

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A380 collides with regional jet at JFK airport
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A380 collides with regional jet at JFK airport

Wednesday, April 13, 2011

On Monday, an Air France Airbus A380, operating as Air France Flight 007, collided with a Comair Bombardier CRJ-700, operating as Comair flight 553/Delta Connection flight 6293 in Delta Connection livery, on a taxiway at John F. Kennedy International Airport in New York City. The A380 had 520 people onboard, and the smaller plane had 66.

The Comair jet had just arrived from Boston Logan International Airport, and was stopped on the tarmac, awaiting a gate to offload passengers. The A380 was preparing to depart for Paris-Charles de Gaulle airport, and was taxiing along a taxiway when its wingtip struck the tail of the other plane. The impact spun the CRJ around 90 degrees and resulted in some damage to both planes.

A passenger on board the A380 said that “It really felt just like a speedbump or like hitting a pothole—a jolt—but it didn’t feel right [it felt] like that shouldn’t be happening.”

LiveATC.net captured the recording of the flight deck and ground control communications before and after the incident. In the recording, one can hear controllers giving taxi instructions to the Air France plane, then later a controller calling for emergency personnel to the intersection of taxiways Alpha and Mike.

The National Transportation Safety Board plans to investigate the incident, and will study the flight recorders, air traffic control recordings, and data from radar on the ground.

Death toll of Bahrain tourist boat capsizing rises to 57
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Death toll of Bahrain tourist boat capsizing rises to 57

Saturday, April 1, 2006 At least 57 people are now known to have died when a boat designed similar to a traditional dhow capsized one mile of the coast of Bahrain in the Persian Gulf. Seventeen were Indian and a further 13 of the dead are British; people of another six nationalities are also known to have died. The passengers were mostly foreigners from the Nass-Murray and Roberts construction company, and were enjoying an evening dinner cruise in celebration of their completion of part of the Bahrain World Trade Centre towers. Most who died were dining on the lower deck, and were trapped below.

Over 130 people were onboard the boat at the time, although some say the boat was only licensed to carry 120. Others say the limit was 150. Eyewitnesses say the boat was overloaded. The boat capsized in calm seas soon after it left, trapping many below. Helicopters from the US Navy searched for 13 missing persons until Friday morning, when the search was called off. The dhow had been modified to have an extra, higher deck making the vessel less stable. The exact cause is unknown – suggestions from eyewitnesses include the boat suddenly turning left, being hit by a wave, and many of the passengers moving to one side of the boat together. The Bahrain Interior Ministry is to investigate the accident and establish if the boat was seaworthy.

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Chula Vista, California becomes model for blight control laws in the US
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Chula Vista, California becomes model for blight control laws in the US

Tuesday, October 14, 2008

The San Diego, California suburb of Chula Vista has responded to the recent housing crisis with an aggressive blight control ordinance that compels lenders to maintain the appearance of vacant homes. As foreclosures increase both locally and throughout the United States, the one year old ordinance has become a model for other cities overwhelmed by the problem of abandoned homes that decay into neighborhood eyesores.

Chula Vista city code enforcement manager Doug Leeper told the San Diego Union Tribune that over 300 jurisdictions have contacted his office during the past year with inquiries about the city’s tough local ordinance. Coral Springs, Florida, and California towns Stockton, Santee, Riverside County, and Murietta have all modeled recently enacted anti-blight measures after Chula Vista’s. On Wednesday, 8 October, the Escondido City Council also voted to tighten local measures making lenders more accountable for maintenance of empty homes.

Lenders will respond when it costs them less to maintain the property than to ignore local agency requirements.

Under the Chula Vista ordinance lenders become legally responsible for upkeep as soon as a notice of mortgage default gets filed on a vacant dwelling, before actual ownership of the dwelling returns to the lender. Leeper regards that as “the cutting-edge part of our ordinance”. Chula Vista also requires prompt registration of vacant homes and applies stiff fines as high as US$1000 per day for failure to maintain a property. Since foreclosed properties are subject to frequent resale between mortgage brokers, city officials enforce the fines by sending notices to every name on title documents and placing a lien on the property, which prevents further resale until outstanding fines have been paid. In the year since the ordinance went into effect the city has applied $850,000 in fines and penalties, of which it has collected $200,000 to date. The city has collected an additional $77,000 in registration fees on vacant homes.

Jolie Houston, an attorney in San Jose, believes “Lenders will respond when it costs them less to maintain the property than to ignore local agency requirements.” Traditionally, local governments have resorted to addressing blight problems on abandoned properties with public funds, mowing overgrown lawns and performing other vital functions, then seeking repayment afterward. Chula Vista has moved that responsibility to an upfront obligation upon lenders.

That kind of measure will add additional costs to banks that have been hit really hard already and ultimately the cost will be transferred down to consumers and investors.

As one of the fastest growing cities in the United States during recent years, Chula Vista saw 22.6% growth between 2000 and 2006, which brought the city’s population from 173,556 in the 2000 census to an estimated 212,756, according to the U.S. Census Bureau. Chula Vista placed among the nation’s 20 fastest growing cities in 2004. A large proportion of local homes were purchased during the recent housing boom using creative financing options that purchasers did not understand were beyond their means. Average home prices in San Diego County declined by 25% in the last year, which is the steepest drop on record. Many homeowners in the region currently owe more than their homes are worth and confront rising balloon payment mortgages that they had expected to afford by refinancing new equity that either vanished or never materialized. In August 2008, Chula Vista’s eastern 91913 zip code had the highest home mortgage default rate in the county with 154 filings and 94 foreclosures, an increase of 154% over one year previously. Regionally, the county saw 1,979 foreclosures in August.

Professionals from the real estate and mortgage industries object to Chula Vista’s response to the crisis for the additional burdens it places on their struggling finances. Said San Diego real estate agent Marc Carpenter, “that kind of measure will add additional costs to banks that have been hit really hard already and ultimately the cost will be transferred down to consumers and investors.” Yet city councils in many communities have been under pressure to do something about increasing numbers of vacant properties. Concentrations of abandoned and neglected homes can attract vandals who hasten the decline of struggling neighborhoods. Jolie Houston explained that city officials “can’t fix the lending problem, but they can try to prevent neighborhoods from becoming blighted.”

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Does Chula Vista’s solution save neighborhoods or worsen the financial crisis?
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CEO Robert Klein of Safeguard, a property management firm, told the Union Tribune that his industry is having difficulty adapting to the rapidly changing local ordinances. “Every day we discover a new ordinance coming out of somewhere”, he complained. Dustin Hobbs, a spokesman from the California Association of Mortgage Bankers agreed that uneven local ordinances are likely to increase the costs of lending. Hobbs advised that local legislation is unnecessary due to California State Senate Bill 1137, which was recently approved to address blight. Yet according to Houston, the statewide measure falls short because it fails to address upkeep needs during the months between the time when foreclosure begins and when the lender takes title.

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Well Recorded Electric Guitar}

Submitted by: Karl Turka

Well recorded electric guitar part 2

In the first part of this article, we have been looking at the traditional method of electric guitar recording sound registration with the microphone cooperating with the amplifier. Ill be always recommending is firstly because there is no better way. However, I know that sometimes its simply impossible to make a registration in this way (conditions of accommodation, weak equipment). Then we have to plug in an instrument on instrumental input on interface (or via DI Box) or using hardware amplifier simulations and then put it on interface line-input.

Id like to mention that even if you have got real amplifier, its worth to make a registration of clear, direct signal because it will be needed in the next phase. If you wouldnt be satisfied, there will always be an additional copy of a part registered without any character given. Then it will be easy to choose good sound and use plugs or Re-amping method. Despite the fact that in a phase of edition the clear part would show waveform and then it will facilitate an alignment of a track terms of time. You just need to group both tracks (from amplifier and a direct one) and edit taking as a reference the direct part. As we know, there is some problems with the part from amplifier (sometimes it is compressed or changed in a different way and it hinders to recognize accents. No one said that we have to listen to this humdrum DI signal, but it will be an excellent reference to edition.

How to record a direct signal and a signal from amplifier at once?

Ive already mentioned DI Box. This appliance has usually one instrumental input (with a very high impedance), which is adapted to get the signal from a guitar (or bass). Inside the box, the signal is divided into two outputs for the connection with an amplifier (called Through and realized through TS jack), the second is symmetric and it is dedicated to take a signal to the interface (or mixer), which is looking for a signal with low impedance. Then you have to attach a microphone to an amplifier and take the signal to the interface. This is the way to register at once the part which is theoretically the same, but in fact is sounds differently on two separated tracks.

During this process, you have to remember that time of signal will be different the signal from a microphone will be delayed relative to the direct signal (its way is longer). Those differences should be inconsiderable, but it is possible that after the summing you will get an unwanted phasing effect or deviations of some periodicities (it depends on microphone techniques and other factors). Then you will have to move the track from microphone manually on the timeline.

If you dont have DI Box (ex. I dont have one), you can record a direct signal firstly and then let it out by one of additional outputs of the interface (supposing you have got more than two main outputs) and then connect them with an amplifier, setup an expected sound and plug a microphone to the result of all operation. Re-Amp Box would be needed for this operation (it works exactly in the opposite way to DI Box and changes a symmetric signal to asymmetric one with a high impedance which is wanted in the input of an amplifier). Nevertheless, it isnt necessary, it is possible to bypass this element you wont lose very much if you do it without the Box.

Have we got more possibilities?

If you dispose lots of effect, amplifiers simulations etc, then (depending on the model) it is possible to register more than one signal. Line 6 POD X3 Live or Eleven Rack have outputs at the same time for a signal processed and a clear, direct signal from a guitar. If we get a satisfactory sound from this appliance, its worth to put the direct signal in our DAW for future edition. If youre not the best guitar player, like me, it would be very helpful.

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I also have another conclusion. My dedicated, external one-channel microphone preamplifier has two (rightly three) outputs, the signal from both is very fluent and thats why I can use it as DI Box. I can do re-amping without any problems (the second output has two options: symmetric and asymmetric – two different plugs), and I can send the signal directly to line input (symmetric) in the interface. Its really good.

Lately, there are new appliances available guitar amplifier simulations in the form of bars (stomp type). These are fully analog devices which unite the way of input from an amplifiers and the line output of the interface (like in POD). Thats why we can register processed signal from amplifiers simulations without using a microphone and annoying the environment. Ive bought Tech 21 Character Series British some tie ago and now I consider an expansion of the variety of sound by some new variants.

Were going back again to the keynote of this article and were going to look how to create a sound from the clear DI signal. Lets abandon the sound of an amplifier which was discussed in the previous article.

Plug-ins simulating guitar amplifiers

There is a lot of available plug-ins in this type. It is possible to find some really good simulations, which are paid, but there is still something for free for unprofessional users. I recommend to follow the websites like KVRAudio, where we can find information about those products. This site is a great source of information about different VTS products, also the free ones.

The commercial options:

1. IK Multimedia Amplitube 3

2. Native Instruments Guitar Rig

3. Peavey ReValver MK III

4. Waves GTR3 / GTR Solo

5. McDSP Chrome Tone

6. SansAmp

7. Line 6 Pod Farm

8. Mellowmuse MellowHead

9. Softube Vintage Amp Room / Metal Amp Room

10. Overloud Th 2

11. Studio Devil Virtual Guitar Amp

12. Universal Audio Nigel

And much more! It is worth to download DEMO versions of this product and try them on your own, before any investments. Dont forget that in some workstations include amplifiers simulations which may be sufficient to meet basic needs. Personally, I like to use Eleven included in Pro Tools for free in cutted version Ive expanded it to full version and I dont regret.

To create an interesting sound it is needed to manipulate in some plug-ins. Every plug-in will have saved presets, like a start point, but the real fun starts in the moment of interference in the setting. For example Amplitube 3 gives an possibility of pairing different amplifiers and types of microphones, manipulating voices from the accommodation, breaking signals on two tracks, connecting two different simulations and so on

For several hundred dollars we have an access to thousands combinations, unlimited possibilities and endless fun. I really recommend to try some settings, but I also have to warn you- there is a trap it such a big number of possibilities. You can never decide which sound is the best for you and you will always change something. I always try not to spend more than 10-20 minutes on searching the best sound and record processed signal on new track, then I deactivate original track with plug-in to save processor power and then move forward! In case of necessity to change something, I can still activate the track with inserted simulation, do all changes and record the new one. I always try to avoid it but having a possibility is very important.

Speakers responses

The thing becomes more interesting when we dispose impulses created for the convolution technique. Someone invented the way to register speakers response (Impulse Response) paired with particular amplifiers as a short audio files it gives the access to real simulations. The main idea is to put that type of audio file in plug supporting weaves (ex. like Convolution Reverb) and to get strengthened guitar signal. Due to the fact that some of plug-ins gives an opportunity of signal tooling in two phases, we can skip included speaker simulation and send strengthened signal straight to the chosen speaker. The results can be very convicting.

The last option mentioned is talking about different grounds, which also can surprise by the amount of combinations and sounds. If we will get a device, one again well have lots of hours of fun. Its worth to read the instruction to use all potential. Another advantage of this device is the possibility of using it on the stage firstly, they look great and make an impression, then we also have an access to lots of effect in one, big box.

The summary

Registration of a direct signal isnt very difficult. If you follow universal rules of setting the amplifier, you will get a good signal to edit. Creating the sound with plug-ins or another combinations isnt so clear everyone has to choose his own style. All the more, each guitar player needs to have his original sound and we can help him in some way, but the final decision is him

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Bat for Lashes plays the Bowery Ballroom: an Interview with Natasha Khan
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Bat for Lashes plays the Bowery Ballroom: an Interview with Natasha Khan

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.


DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

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Plane crashes into office block in Austin, Texas/suicide note
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Plane crashes into office block in Austin, Texas/suicide note

This is the online suicide letter authored by Andrew Stack, the man believed to be responsible for flying a light aircraft into a building in Austin, Texas. It was originally posted at Stack’s site, http://embeddedart.com/. The hosting company, T35, took the site offline per an FBI request. The note is reproduced here in its entirety.

If you’re reading this, you’re no doubt asking yourself, “Why did this have to happen?” The simple truth is that it is complicated and has been coming for a long time. The writing process, started many months ago, was intended to be therapy in the face of the looming realization that there isn’t enough therapy in the world that can fix what is really broken. Needless to say, this rant could fill volumes with example after example if I would let it. I find the process of writing it frustrating, tedious, and probably pointless… especially given my gross inability to gracefully articulate my thoughts in light of the storm raging in my head. Exactly what is therapeutic about that I’m not sure, but desperate times call for desperate measures.

We are all taught as children that without laws there would be no society, only anarchy. Sadly, starting at early ages we in this country have been brainwashed to believe that, in return for our dedication and service, our government stands for justice for all. We are further brainwashed to believe that there is freedom in this place, and that we should be ready to lay our lives down for the noble principals represented by its founding fathers. Remember? One of these was “no taxation without representation”. I have spent the total years of my adulthood unlearning that crap from only a few years of my childhood. These days anyone who really stands up for that principal is promptly labeled a “crackpot”, traitor and worse.

While very few working people would say they haven’t had their fair share of taxes (as can I), in my lifetime I can say with a great degree of certainty that there has never been a politician cast a vote on any matter with the likes of me or my interests in mind. Nor, for that matter, are they the least bit interested in me or anything I have to say.

Why is it that a handful of thugs and plunderers can commit unthinkable atrocities (and in the case of the GM executives, for scores of years) and when it’s time for their gravy train to crash under the weight of their gluttony and overwhelming stupidity, the force of the full federal government has no difficulty coming to their aid within days if not hours? Yet at the same time, the joke we call the American medical system, including the drug and insurance companies, are murdering tens of thousands of people a year and stealing from the corpses and victims they cripple, and this country’s leaders don’t see this as important as bailing out a few of their vile, rich cronies. Yet, the political “representatives” (thieves, liars, and self-serving scumbags is far more accurate) have endless time to sit around for year after year and debate the state of the “terrible health care problem”. It’s clear they see no crisis as long as the dead people don’t get in the way of their corporate profits rolling in.

And justice? You’ve got to be kidding!

How can any rational individual explain that white elephant conundrum in the middle of our tax system and, indeed, our entire legal system? Here we have a system that is, by far, too complicated for the brightest of the master scholars to understand. Yet, it mercilessly “holds accountable” its victims, claiming that they’re responsible for fully complying with laws not even the experts understand. The law “requires” a signature on the bottom of a tax filing; yet no one can say truthfully that they understand what they are signing; if that’s not “duress” than [sic] what is. If this is not the measure of a totalitarian regime, nothing is.

How did I get here?

My introduction to the real American nightmare starts back in the early ‘80s. Unfortunately after more than 16 years of school, somewhere along the line I picked up the absurd, pompous notion that I could read and understand plain English. Some friends introduced me to a group of people who were having ‘tax code’ readings and discussions. In particular, zeroed in on a section relating to the wonderful “exemptions” that make institutions like the vulgar, corrupt Catholic Church so incredibly wealthy. We carefully studied the law (with the help of some of the “best”, high-paid, experienced tax lawyers in the business), and then began to do exactly what the “big boys” were doing (except that we weren’t steeling [sic] from our congregation or lying to the government about our massive profits in the name of God). We took a great deal of care to make it all visible, following all of the rules, exactly the way the law said it was to be done.

The intent of this exercise and our efforts was to bring about a much-needed re-evaluation of the laws that allow the monsters of organized religion to make such a mockery of people who earn an honest living. However, this is where I learned that there are two “interpretations” for every law; one for the very rich, and one for the rest of us… Oh, and the monsters are the very ones making and enforcing the laws; the inquisition is still alive and well today in this country.

That little lesson in patriotism cost me $40,000+, 10 years of my life, and set my retirement plans back to 0. It made me realize for the first time that I live in a country with an ideology that is based on a total and complete lie. It also made me realize, not only how naive I had been, but also the incredible stupidity of the American public; that they buy, hook, line, and sinker, the crap about their “freedom”… and that they continue to do so with eyes closed in the face of overwhelming evidence and all that keeps happening in front of them.

Before even having to make a shaky recovery from the sting of the first lesson on what justice really means in this country (around 1984 after making my way through engineering school and still another five years of “paying my dues”), I felt I finally had to take a chance of launching my dream of becoming an independent engineer.

On the subjects of engineers and dreams of independence, I should digress somewhat to say that I’m sure that I inherited the fascination for creative problem solving from my father. I realized this at a very young age.

The significance of independence, however, came much later during my early years of college; at the age of 18 or 19 when I was living on my own as student in an apartment in Harrisburg, Pennsylvania. My neighbor was an elderly retired woman (80+ seemed ancient to me at that age) who was the widowed wife of a retired steel worker. Her husband had worked all his life in the steel mills of central Pennsylvania with promises from big business and the union that, for his 30 years of service, he would have a pension and medical care to look forward to in his retirement. Instead he was one of the thousands who got nothing because the incompetent mill management and corrupt union (not to mention the government) raided their pension funds and stole their retirement. All she had was social security to live on.

In retrospect, the situation was laughable because here I was living on peanut butter and bread (or Ritz crackers when I could afford to splurge) for months at a time. When I got to know this poor figure and heard her story I felt worse for her plight than for my own (I, after all, I thought I had everything to in front of me). I was genuinely appalled at one point, as we exchanged stories and commiserated with each other over our situations, when she in her grandmotherly fashion tried to convince me that I would be “healthier” eating cat food (like her) rather than trying to get all my substance from peanut butter and bread. I couldn’t quite go there, but the impression was made. I decided that I didn’t trust big business to take care of me, and that I would take responsibility for my own future and myself.

Return to the early ‘80s, and here I was off to a terrifying start as a ‘wet-behind-the-ears’ contract software engineer… and two years later, thanks to the fine backroom, midnight effort by the sleazy executives of Arthur Andersen (the very same folks who later brought us Enron and other such calamities) and an equally sleazy New York Senator (Patrick Moynihan), we saw the passage of 1986 tax reform act with its section 1706.

For you who are unfamiliar, here is the core text of the IRS Section 1706, defining the treatment of workers (such as contract engineers) for tax purposes. Visit this link for a conference committee report (http://www.synergistech.com/1706.shtml#ConferenceCommitteeReport) regarding the intended interpretation of Section 1706 and the relevant parts of Section 530, as amended. For information on how these laws affect technical services workers and their clients, read our discussion here (http://www.synergistech.com/ic-taxlaw.shtml).

SEC. 1706. TREATMENT OF CERTAIN TECHNICAL PERSONNEL.

(a) IN GENERAL – Section 530 of the Revenue Act of 1978 is amended by adding at the end thereof the following new subsection:

(d) EXCEPTION. – This section shall not apply in the case of an individual who pursuant to an arrangement between the taxpayer and another person, provides services for such other person as an engineer, designer, drafter, computer programmer, systems analyst, or other similarly skilled worker engaged in a similar line of work.

(b) EFFECTIVE DATE. – The amendment made by this section shall apply to remuneration paid and services rendered after December 31, 1986.

Note:

· “another person” is the client in the traditional job-shop relationship.

· “taxpayer” is the recruiter, broker, agency, or job shop.

· “individual”, “employee”, or “worker” is you.

Admittedly, you need to read the treatment to understand what it is saying but it’s not very complicated. The bottom line is that they may as well have put my name right in the text of section (d). Moreover, they could only have been more blunt if they would have came out and directly declared me a criminal and non-citizen slave. Twenty years later, I still can’t believe my eyes.

During 1987, I spent close to $5000 of my ‘pocket change’, and at least 1000 hours of my time writing, printing, and mailing to any senator, congressman, governor, or slug that might listen; none did, and they universally treated me as if I was wasting their time. I spent countless hours on the L.A. freeways driving to meetings and any and all of the disorganized professional groups who were attempting to mount a campaign against this atrocity. This, only to discover that our efforts were being easily derailed by a few moles from the brokers who were just beginning to enjoy the windfall from the new declaration of their “freedom”. Oh, and don’t forget, for all of the time I was spending on this, I was loosing income that I couldn’t bill clients.

After months of struggling it had clearly gotten to be a futile exercise. The best we could get for all of our trouble is a pronouncement from an IRS mouthpiece that they weren’t going to enforce that provision (read harass engineers and scientists). This immediately proved to be a lie, and the mere existence of the regulation began to have its impact on my bottom line; this, of course, was the intended effect.

Again, rewind my retirement plans back to 0 and shift them into idle. If I had any sense, I clearly should have left abandoned engineering and never looked back.

Instead I got busy working 100-hour workweeks. Then came the L.A. depression of the early 1990s. Our leaders decided that they didn’t need the all of those extra Air Force bases they had in Southern California, so they were closed; just like that. The result was economic devastation in the region that rivaled the widely publicized Texas S&L fiasco. However, because the government caused it, no one gave a shit about all of the young families who lost their homes or street after street of boarded up houses abandoned to the wealthy loan companies who received government funds to “shore up” their windfall. Again, I lost my retirement.

Years later, after weathering a divorce and the constant struggle trying to build some momentum with my business, I find myself once again beginning to finally pick up some speed. Then came the .COM bust and the 911 nightmare. Our leaders decided that all aircraft were grounded for what seemed like an eternity; and long after that, ‘special’ facilities like San Francisco were on security alert for months. This made access to my customers prohibitively expensive. Ironically, after what they had done the Government came to the aid of the airlines with billions of our tax dollars … as usual they left me to rot and die while they bailed out their rich, incompetent cronies WITH MY MONEY! After these events, there went my business but not quite yet all of my retirement and savings.

By this time, I’m thinking that it might be good for a change. Bye to California, I’ll try Austin for a while. So I moved, only to find out that this is a place with a highly inflated sense of self-importance and where damn little real engineering work is done. I’ve never experienced such a hard time finding work. The rates are 1/3 of what I was earning before the crash, because pay rates here are fixed by the three or four large companies in the area who are in collusion to drive down prices and wages… and this happens because the justice department is all on the take and doesn’t give a fuck about serving anyone or anything but themselves and their rich buddies.

To survive, I was forced to cannibalize my savings and retirement, the last of which was a small IRA. This came in a year with mammoth expenses and not a single dollar of income. I filed no return that year thinking that because I didn’t have any income there was no need. The sleazy government decided that they disagreed. But they didn’t notify me in time for me to launch a legal objection so when I attempted to get a protest filed with the court I was told I was no longer entitled to due process because the time to file ran out. Bend over for another $10,000 helping of justice.

So now we come to the present. After my experience with the CPA world, following the business crash I swore that I’d never enter another accountant’s office again. But here I am with a new marriage and a boatload of undocumented income, not to mention an expensive new business asset, a piano, which I had no idea how to handle. After considerable thought I decided that it would be irresponsible NOT to get professional help; a very big mistake.

When we received the forms back I was very optimistic that they were in order. I had taken all of the years information to Bill Ross, and he came back with results very similar to what I was expecting. Except that he had neglected to include the contents of Sheryl’s unreported income; $12,700 worth of it. To make matters worse, Ross knew all along this was missing and I didn’t have a clue until he pointed it out in the middle of the audit. By that time it had become brutally evident that he was representing himself and not me.

This left me stuck in the middle of this disaster trying to defend transactions that have no relationship to anything tax-related (at least the tax-related transactions were poorly documented). Things I never knew anything about and things my wife had no clue would ever matter to anyone. The end result is… well, just look around.

I remember reading about the stock market crash before the “great” depression and how there were wealthy bankers and businessmen jumping out of windows when they realized they screwed up and lost everything. Isn’t it ironic how far we’ve come in 60 years in this country that they now know how to fix that little economic problem; they just steal from the middle class (who doesn’t have any say in it, elections are a joke) to cover their asses and it’s “business-as-usual”. Now when the wealthy fuck up, the poor get to die for the mistakes… isn’t that a clever, tidy solution.

As government agencies go, the FAA is often justifiably referred to as a tombstone agency, though they are hardly alone. The recent presidential puppet GW Bush and his cronies in their eight years certainly reinforced for all of us that this criticism rings equally true for all of the government. Nothing changes unless there is a body count (unless it is in the interest of the wealthy sows at the government trough). In a government full of hypocrites from top to bottom, life is as cheap as their lies and their self-serving laws.

I know I’m hardly the first one to decide I have had all I can stand. It has always been a myth that people have stopped dying for their freedom in this country, and it isn’t limited to the blacks, and poor immigrants. I know there have been countless before me and there are sure to be as many after. But I also know that by not adding my body to the count, I insure nothing will change. I choose to not keep looking over my shoulder at “big brother” while he strips my carcass, I choose not to ignore what is going on all around me, I choose not to pretend that business as usual won’t continue; I have just had enough.

I can only hope that the numbers quickly get too big to be white washed and ignored that the American zombies wake up and revolt; it will take nothing less. I would only hope that by striking a nerve that stimulates the inevitable double standard, knee-jerk government reaction that results in more stupid draconian restrictions people wake up and begin to see the pompous political thugs and their mindless minions for what they are. Sadly, though I spent my entire life trying to believe it wasn’t so, but violence not only is the answer, it is the only answer. The cruel joke is that the really big chunks of shit at the top have known this all along and have been laughing, at and using this awareness against, fools like me all along.

I saw it written once that the definition of insanity is repeating the same process over and over and expecting the outcome to suddenly be different. I am finally ready to stop this insanity. Well, Mr. Big Brother IRS man, let’s try something different; take my pound of flesh and sleep well.

The communist creed: From each according to his ability, to each according to his need.

The capitalist creed: From each according to his gullibility, to each according to his greed.

Joe Stack (1956-2010)

02/18/2010

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