After foot hopes and dreams

An interesting thing about the Night Slugs label is that it's managed to maintain "Next Big Thing" status over the past couple of years without ever really defining what it's about. The London imprint, partly known for launching bass hotshots Kingdom and Girl Unit, employs stylistically diverse artists, and there's never been a convenient tag like "purple" or "rave-house" to pin on them. Label founders L-Vis 1990 and Bok Bok even stress this in interviews. "We've always hated any genre associations with our music and I think it's pretty impossible to label it, it's just held together by a vibe," the former said a little ways back. This slipperiness has served Night Slugs well, but at a certain point you want something a little more concrete-- what is that vibe, exactly?
Neon Dreams, the solo debut from L-Vis 1990 (real name James Connolly) does not answer this question. If Night Slugs' loose guiding principle up until now has been a colorful counterweight to dubstep and grime's murk and grit, Neon Dreams spins that idea in a hundred different directions. The record is (sometimes intriguingly, often frustratingly) all over the place. The starting point, though, seems to be pop. From the album title and M83-esque cover art to the use of guest vocalists, it's clear that Connolly is interested in making songs rather than just club tracks. And sometimes he does this really well. On "Tonight", for example, he throws some 1980s radio sheen on stuttery disco-house and winds up with catchy, retro-futurist boogie.
"Play It Cool", arguably the best song here, also fits into this pop mode. Gooey synths, heavy drama, breathy female vocals-- it nails a very specific kind of dark and dreamy electro-pop. (Worth noting that it fits comfortably alongside such 2011 standouts as the aforementioned M83, Neon Indian's Era Extraña, and the Drive soundtrack.) If Connolly had extended this format (or even this vibe) throughout the album, the rest of it may have been as successful, but instead he incorporates so, so many other sounds. There's a different style on almost every track. You've got a quirky, Chromeo-style one, some brooding instrumental ones, one where a dude talks quasi-motivationally over revved up Chicago house, and so forth.
None of these tracks are particularly bad; it's simply a case of too much. Too many songs with varying themes and no overarching vision to tie them together. It feels more like taking in a label compilation where you're hopping from one artist's style to the next, and even if that were the case I'd still probably say the sequencing is off. But it's possible that this is precisely Connolly's point-- to make something boundary-less and genre-agnostic, in line with the anything-goes Night Slugs ideology. Bass music, after all, is an ever-evolving thing, generating new sub-strains as fast as you can count them, and this corrals a bunch in one place. Still, offer a bunch of diversions instead of a clear path, and folks might get lost along the way.

Dream Poems and Poetry

 The Land Of Dreams by William Blake
A Dream by William Blake
Carlovingian Dreams by Carl Sandburg
Dreams in the dusk by Carl Sandburg
The Dream by Alexander Pushkin
I Dreamed Of Forest Alleys fair by Robert Louis Stevenson
The Dream by Louise Bogan
June Dreams, In January by Sidney Lanier
The Dream of Eugene Aram by Thomas Hood
The Captive's Dream by Anne Bronte
Dreams by Anne Bronte
Pilate's Wife's Dream by Charlotte Bronte
A Day Dream by Emily Bronte
A Dream by Helen Hunt Jackson
Love's Young Dream by Thomas Moore
Unstable Dream by Sir Thomas Wyatt
The Dream by Lord Byron
I Have Dreamed of You so Much by Robert Desnos
The Dream by Amy Levy
A Morning Dream by Li Ching Chao
We dream -- it is good we are dreaming -- by Emily Dickinson
The Dream by John Donne
The Dream Called Life by Edward Fitzgerald
The dreams by Eugene Field

Dream trip

　　
　　Above: College students from throughout San Diego gather at a college campus to hold a rally for the state and federal DREAM Acts in 2010.
SAN DIEGO — California Republican Assemblyman Tim Donnelly can begin his signature drive to overturn the DREAM Act, which was signed into law earlier this month by Gov. Jerry Brown.
Donnelly, a member of the Tea Party and founder of the Minuteman Party in California, has 74 days to collect signatures to put the DREAM Act up for a vote in November 2012. Donnelly needs to collect 504,000 signatures to place the repeal on the ballot.
At the start of his petition drive, Donnelly said the DREAM Act would come at a great cost to the state, especially at a time when universities have raised fees by 12 percent across California.
"Here we are, at a time when we have just slashed the university system by $1.3 billion, and there are fewer spots for all students," said Donnelly. "But somehow we have got that money to pay for people who are in the country illegally?"
The DREAM Act is expected to cost $13 million on its first year of implementation. But Democratic Assemblyman Gil Cedillo, who wrote the bill that Brown signed, has said the DREAM Act will help California in the long run despite the cost.

Dream life

　　
　　Created by Maria Bergström Shoulda Woulda Coulda Clock is an intersting combination of clock and organizer. It comes with color coded leather-covered magnets that can be added or removed from the clock face. Each magnet represents separate task. Completed tasks means removing a magnet, whilst incomplete tasks are automatically pushed forward into a new time segment by the single clock hand. "You can easily see what things you postpone, but at the same time it can help to create structur

I have dreamy

　　This article is about the speech by Martin Luther King, Jr.. For other uses, see I Have a Dream (disambiguation).

　　Martin Luther King, Jr. delivering "I Have a Dream" at the 1963 Washington D.C. Civil Rights March.
"I Have a Dream" is a 17-minute public speech by Martin Luther King, Jr. delivered on August 28, 1963, in which he called for racial equality and an end to discrimination. The speech, from the steps of the Lincoln Memorial during the March on Washington for Jobs and Freedom, was a defining moment of the American Civil Rights Movement. Delivered to over 200,000 civil rights supporters,[1] the speech was ranked the top American speech of the 20th century by a 1999 poll of scholars of public address.[2] According to U.S. Representative John Lewis, who also spoke that day as the President of the Student Non-Violent Coordinating Committee, "Dr. King had the power, the ability, and the capacity to transform those steps on the Lincoln Memorial into a monumental area that will forever be recognized. By speaking the way he did, he educated, he inspired, he informed not just the people there, but people throughout America and unborn generations."[3]
At the end of the speech, King departed from his prepared text for a partly improvised peroration on the theme of "I have a dream", possibly prompted by Mahalia Jackson's cry, "Tell them about the dream, Martin!"[4] He had first delivered a speech incorporating some of the same sections in Detroit in June 1963, when he marched on Woodward Avenue with Walter Reuther and the Reverend C. L. Franklin, and had rehearsed other parts.[5]

2010 – 2011 Show Announcements about pipedreamy

Adding Machine is an unusual, dark, and thought-provoking piece composed by Joshua Schmidt, with libretto by Joshua Schmidt and Jason Loewith. The musical is based on the 1923 play “The Adding Machine” by Elmer Rice, about an “unlikely anti-hero for the working man.” After 25 years of service to his company, Mr. Zero is unceremoniously fired and replaced with a machine. Angry, Zero kills his boss, is executed, and travels to the Elysian Fields, where he gets one more chance at love with his secretary Daisy. Ultimately, Mr. Zero must determine if his destiny is as a man, or merely a cog in the machine. Adding Machine was first produced in 2007, and made its off-Broadway debut in 2008. It was a critical success, winning several awards including the Lucille Lortel Award for Outstanding Musical. Pipedream’s production will be the Canadian premiere of the work, with April Green directing. We are actively searching for other production team members to join us in this exciting production. Adding Machine will be presented at the Waterfront Theatre in July of 2011. Elegies: A Song Cycle is William Finn’s work about the loss of family and friends. It was written in response to the 9/11 attacks in New York, and many songs were composed in memory of Finn’s friends. This beautiful and haunting show will be directed by Mike Mackenzie and will run in September of 2011, ten years after those unforgettable events. Pipedream is very excited to be presenting William Finn’s work again after a successful run of A New Brain in 2009, and will continue to plan this production with our newest board members. We are hoping that this production can be a part of the 2011 Vancouver International Fringe Festival, and will work on making that happen when applications are available.