http://maientertainmentlaw.com/?search=lasix-140-mg Welcome to The Breakfast Club! We’re a disorganized group of rebel lefties who hang out and chat if and when we’re not too hungover
we’ve been bailed out we’re not too exhausted from last night’s (CENSORED) the caffeine kicks in. Join us every weekday morning at 9am (ET) and weekend morning at 10:30am (ET) to talk about current news and our boring lives and to make fun of LaEscapee! If we are ever running late, it’s PhilJD’s fault.
AP’s Today in History for July 8th
Commodore Matthew Perry arrives in Tokyo Bay; Industrialist John D. Rockefeller born; Word of what becomes known as ‘The Roswell Incident’; North Korea’s Kim Il Sung dies; Ziegfeld stages first ‘Follies.’
Breakfast Tune Bela Fleck – Bach Partita No. 1003 / Sinister Minister – 4/5/2017 – Paste Studios, New York, NY
Something to think about, Breakfast News & Blogs below
JULIA SALAZAR, A candidate for the New York state Senate, was standing outside a barbershop in her North Brooklyn neighborhood one recent afternoon, when a barber looked up and saw her through the window. Squinting through the glass, he pointed to a “Salazar for Senate” sign on the wall of the shop, gestured in her direction, and mouthed, “That’s you?” She smiled. “That’s me.”
The 27-year-old community organizer has become a recognizable name and face in the neighborhood thanks to an aggressive ground game in her challenge to eight-term incumbent Democratic state Sen. Martin Dilan. Salazar and scores of volunteers have blanketed the district collecting signatures to get her name on the ballot for the September 13 primary. Salazar, her campaign told The Intercept, plans to submit many times more than the requisite 1,000 signatures from registered Democrats in the district by the July 9 filing deadline.
Dilan, a vestige of the corrupt patronage machine of former Brooklyn Democratic boss Vito Lopez, has held the North Brooklyn seat since Salazar, a working-class Colombian immigrant, was 11 years old.
Something to think about over coffee prozac
Take your delinquency elsewhere could be the subtext under every tune in the classical crime-fighting movement. It is crucial to remember that the tactic does not aim to stop or even necessarily reduce crime — but to relocate it. Moreover, such mercenary measures most often target minor infractions like vandalism and loitering — crimes that damage property, not people, and usually the property of the powerful. “[B]usiness and government leaders,” Lily Hirsch observes in Music in American Crime Prevention and Punishment, “are seizing on classical music not as a positive moralizing force, but as a marker of space.” In a strange mutation, classical music devolves from a “universal language of mankind” reminding all people of their common humanity into a sonic border fence protecting privileged areas from common crowds, telling the plebes in auditory code that “you’re not welcome here.”
Thus music returns to its oldest evolutionary function: claiming territory. Zoological research suggests that the original function of birdsong was not only attracting mates (as Darwin argued) but also asserting territorial rights. Experiments have demonstrated that birds usually refrain from entering regions where they hear recorded birdsong playing. These aggressive aspects of avian song extended to early humans. Primatologist Thomas Geissman speculates: “[E]arly hominid music may also have served functions resembling those of ape loud calls […] including territorial advertisement; intergroup intimidation and spacing.” The songs have changed, but the melody is the same — Warning: Private Property. Music carves public space into private territory, signaling certain areas are off limits to certain groups through orchestral “intimidation.” And no genre carries more intimidating upper-class associations than classical music.
The triumph of this symphonic segregation, however, suggests a larger defeat for classical music. We all know that music affects people below the level of active thought, whispering, if you will, to our unconscious mind. Marshaling the inhospitable associations of classical music as a gentrifying force risks further souring the public’s default attitude toward the art form from indifference to avoidance. In all likelihood, the orchestral intimidation strategy succeeds in driving away not only crowds of potential vagrants but also generations of potential audiences. Classical music may now discourage juvenile delinquents and juvenile devotees alike. It deters both loitering and listening.