The Man in the Can and the squirrel family have made it into the sewers. However, they are far from the other animals, and the sewer is a maze. Will they find the others?

Find out in today's episode of the Adventures of the Man in the Can.




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The destruction of the park has begun!! The Man in the Can quickly realizes a family of squirrels is in the mist of the mayhem. Can Yellow Bird and Man in the Can save the family?

Find out in this episode of The Adventures of the Man in the Can.



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Yellow Bird, Man in the Can and the creatures in the park all decide to escape the overhaul of the park by escaping into the sewers. But will they be able to pull off their exit plan in time?

Find out in this episode of The Man in the Can.



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Now that the holidays are over the Adventures of the Man in the Can are back!

The Man in the Can, Yellow Bird and all the animals in the park rejoice as the elder birds return to their homes in the park. But in their celebration, everyone fails to notice changes that are beginning to happen all around them.



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It's Christmas and Lobotomy Boy has a special version of "The Night Before Christmas" for everyone!

Enjoy this special Holiday Edition of Bedtime Stories My Kids Love.



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Happy and Snappy get their Christmas lists ready and head out to the mall to meet Santa but to their surprise, things are not always as they appear to be.

Enjoy this special Holiday Edition of Bedtime Stories My Kids Love.



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The Gophers visit the Graveyard of Terror and get a little bit more for the price of admission than the other guests at the Haunt....

Enjoy this special October edition of Bedtime Stories My Kids Love.

No worries, the Adventures of the Man in the Can will continue in November.


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Ed Ball was one of the most significant presences in—and busiest contributors to—the British indie rock scenes of the 70s, 80s, 90s: He ran labels, Whaam! Records and Artpop! Records most notably; he was intimately involved with Alan McGee's Creation Records, home to many of his own recordings, too; and he fronted or toured with perhaps nine dozen different groups. Hyperbole aside, he was certainly active.

I mostly knew him as a member of the cult-fave group Television Personalities, Dan Treacy's band, and for his own, the Times, a garage act normally done up in paisley flowers or melted down into acid-trip lava-lamp ooze.

In the late 70s, however, he had a short-lived project called Teenage Filmstars, and he released a few rinky-dink mod singles under that name. In the early 90s, after a string of Times LPs, he revived it, and made perhaps the best album of his career, Star. On it, he lost the toothy, sunshine-and-lollipops affect that had become his trademark and slid into a fuzzy, distorted chasm of feedback, echo and delay all the way down. It's a triumph of early-days shoegaze, a disoriented morass of strained noise, stretched and squeezed like putty, and yet it's unrelentingly melodious, like what could've been if My Bloody Valentine had made Loveless a record of only big-hooks songs like "Soon."

Let's talk about Momus.

A little.

There's no obvious way to crack into his body of work; you can begin anywhere and proceed to draw a map around that starting point. The essential aerial-view basics, however: Momus is Nick Currie, and while he has mostly recorded under that mononym for over four decades, he began his musical career in the Happy Family, one of 4AD's first signings.

I initially came across him while digitally digging through crates of Shibuya-kei records as a teen; I was enamored with his writing and production for Kahimi Karie and POiSON GiRL FRiEND, amongst others. He slid sublimely into that biome—Burt Bacharach blossoms splashed across Serge Gainsbourg grasses under kitschy exotica electronica canopies.

At some point in the 90s, he fell into a dramatic, emotional, ultimately fraught tangle with a teenage British-Bangladeshi girl named Shazna Nessa, daughter of a "London-based Bangladeshi restaurant and factory owner," though what exactly transpired is unclear, in part because only the Daily Report tabloid covered it.

At any rate, it was with Shazna that he started a project called Milky, and it is their one and only album, Travels with a Donkey, that marks the beginning of my journey with Momus. I'm sure I came upon it either through the Darla website (he had an imprint, American Patchwork, that was distributed by them) or one of the many music blogs with an ear turned to Japan that I followed. A delightfully sweet, twee record that's as much a children's lullabies collection as it is a bedroom pop demo tape.

Shazna was also in an easy-listening lounge-pop act called Maria Napoleon that released an LP in 2000, and that is also worth a listen.

Nearly twelve months have passed without a peep from me, and I think—think!—that's going to change in short order.

I've new, albeit modest, things coming via Nilo soon (a sequel to the "Please Honk" bumper sticker), and I'm contemplating ways to more efficiently and quickly publish and distribute all the gobbledygook that is suffocating in my mind and crammed into my notebooks. I am certain some or all of it will live on or be connected to BBBD, though whether this twenty-year-old blog is a hub or spoke remains to be seen.

At any rate, I'll start jottings things down here again, in more typical journal format. In the meantime, follow the four playlists I'll be maintaining as per usual (they're embedded below) and behold my latest "product," a song-a-day experiment. There's an RSS feed for it if that's your jam. (There's something intoxicating about rejiggering a Spotify playlist into, essentially, a microblogging platform, and I'm happy I finally hacked it. This is something I've been wanting to make for ages.)

It's been a long while, and it will remain that way for at least a little while longer.

I did want to post the playlists I've been maintaining for this year, however. While I'm not writing about music at the moment, I am, as always, collecting, collating, curating these.

For 2023, I'm breaking things down a little more granularly, with two new playlists, "Clurb" and "Calm," being added to the regular offerings of "Classic" (at least ten-ish years old) and "Current (mostly from this calendar year, but maybe some 2022 material makes it past the censors).

A full archive of all these can be found on the Playlists subpage.

In the 90s, Mark Pritchard was best known for his work in ambient house, IDM, downtempo, primarily through the duo Global Communication, who always managed to be unusually patient, supple, loving, elegant.

When that union dissolved, he pushed ahead in the same direction but with a shift in contextual foundation; he left the cerebral chill of Northern Europe and let his mind and ear drift across the Atlantic to the unhurried and free-spirited coastal enclaves of Brazil for a bossa nova and samba record under the alias Troubleman.

 

Time Out of Mind is a tranquil and warm album that seems built around the possibility of making electro-bossa music, very much in vogue in the post-Theivery Corporation and MPB-revival era, with white privilege and collector culture not at the epicenter. It's a sincere record, one that compassionately seeks to not only reference but build upon and expand another culture's sound through thoughtful, meditative reverence.

Most the elements are live, a celebration of organic sound and meandering arrangement, influenced by Brazil's storied musical tradition and yet so very imbued with Pritchard's precise and club-oriented, Western electronic wizardry.

Highlights are "Toda Hora," a collaboration with Brazil-born Smoke City vocalist Nina Miranda, and the pair that is "Paz" and "Zap," the latter song being not much more than the former in reverse. Eerie and sensual.

 

"How does it feel? / The way I feel / Doesn't feel quite real"

With lyrics like those (not to mention a name like theirs and a debut album titled  Against Perfection, a perfect encapsulation of melancholic Gen X irony), why Adorable posters aren't plastered on dorm walls and their songs on all high school first-love and breakup mixtapes out there is... baffling. 

Formed in Coventry, England, and fronted by Piotr Fijalkowski, the band was around at the apex of the shoegaze scene, but they perhaps slid left, right, up, down a little much—too melodious in their waves of distortion, too jangly to be grunge, too poppy to be punks, too pretty and straight to be Madchester ravers. Too often, it's a group's hard-to-place-ness that prevents them from turning a passing sizzle into something sustainable.

A reputation for cockiness and label pressures and spats certainly didn't help. Sometimes, though, a perfect moment is meant to only last for that perfect moment, and it's wonders like this record, so assured and contained, that remind me that the "what if?" question we often find ourselves confronting is a distraction, a red herring, an impulse to fan the flames of infatuation not with deeper connection to that subject of interest but with, well, more shit. 

In the case of Adorable, that desire led to the recording of Fake, a modest LP that tilts towards a flat, less complicated dourness and downcast spirit, one the debut wasn't informed by. Against was a gleaming gem of Echo & the Bunnymen's arena-filling, heartswelling post-punk anthems crossed with the warm fragility of the Jesus and Mary Chain and the fried, blown, tattered brawn of Ride. Often, it's one-and-done series that are the most meaningful. A sense of an ending is a precious gift.

I'm going to explore some of his other works, many of which have been lost to time and lack of translation, both into English and digital formats. As so much of this music only ever existed on CD—and was only ever packaged in Japanese text—it's difficult to track down, let alone be aware of. The man was obscenely prolific, however, and I'd like to spend a little time shining light on the efforts he made outside of his flagship project, Pizzicato Five (ピチカート・ファイヴ, P5).

And we shall begin with T.V. Jesus, a duo comprised of Masumi Arichika (有近真澄) and Rieko Teramoto (寺本りえ子).

If P5 was primarily an exploration of the past through jazzy pop, Burt Bacharach ballads, space-age lounge, rendered in polarly-opposed palettes—soft pastels, gentle and intimate, or bright neons, biting and intense—then T.V. Jesus was the same journey, but with fuzzier and greasier guitars and live drums, a glam-rock corollary to Konishi and Maki Nomiya's (野宮 真貴) union.

 

Robert Wratten was a heartbroken guy.

For a few years, in the late 80s, early 90s, he was in the Field Mice, the beloved jangle-pop outfit signed to Sarah Records. When they fell apart, Wratten and his girlfriend and bandmate, Annemari Davies, formed Northern Picture Library, and continued to write rather melancholic songs, but with a certain duskiness and lonely chill rather than the peppy twitchiness and innocent twinkle from before. (Their first LP, Alaska, is very good.)

Northern Picture Library ended when Wratten and Davies split, and thus Trembling Blue Stars was born. (I see your breakup album and raise you a breakup band!)

  

Two Japanese ladies, who look like they could be sisters, one accordion, a bag of campy lyrics, and an orchestra comprised of canned horns and soft strings for the backing band—would you believe their one and only U.S. release arrived through They Might Be Giants' John Flansburgh's Hello Recording Club?

A return to Australia, eh.

At least through the 80s, when they started, calling this ragtag assembly of Sydney folks a band would be generous; their namesake bassist, Michelle Cannane, left shortly after they stumbled into a studio, and all other personnel either wandered in or out a couple times, or overslept and missed a gig, at least once, it seems.

And it shows, particularly on the debut album, A Love Affair with Nature, which sounds like an admittance they'd rather be laid out in a field, grass tickling their faces. It's messy and meandering, unstructured and always out of breath from trying to catch up with itself.

And yet! It is quite a delight. The Go-Betweens if they'd be fronted by Mo Tucker on her sleepiest of Sundays. Lyrically, full of emotion and this sassy irony—a fizzy blend, particularly when it's muffled-under-the-duvet bedroom pop, fried-with-the-curling-iron lo-fi.

(Bonus: As a Unicorns diehard, I can't help but sense a strong cosmic bond here, especially on songs like certain ones Alden Penner recorded when he peeled off from the band—in Australia.)

 

A bit of an oddity for their label, Mo Wax, Parsley Sound was, at their most effective, a bit of dreamy indie-pop coming from a downtempo production approach. Sweet and gentle, a little twee, heavily filtered and electrified, despite pursuing a color palette that's au naturel, creaky, sun-bleached.

Perhaps this is what would've happened if Lemon Jelly had gotten Elliott Smith in the studio.

 

Always a sucker for late-80s pogo-stick guitar pop from Scotland, I cannot resist the Groovy Little Numbers, yet another late-80s pogo-stick guitar-pop outfit from Scotland.

They're noteworthy—or at least more of a curiosity than others—and differentiated from contemporaries in a few ways, however. Lead vocals were often shared by Catherine Steven and Joe McAlinden, who started the band and seem to be considered the only core members, and this boy-girl tag-team adds a twist the Pooh Sticks, Close Lobsters, the Soup Dragons, the Hepburns, and most the rest in the scene didn't have.

Additionally, while trumpets were certainly a feature of the post-Postcard Scotish sound, the way these guys laid it in was gentler, sweeter. Generally, they were gentler, sweeter, more reserved Burt Bacharach than twitchy Violent Femmes.

As you might expect, this two-singles group was a sort of power-pop incubator for at least a couple of those involved: McAlinden started Superstar and was in BMX Bandits; Gerard Love got in with Teenage Fanclub at the onset.

 

What a name.

Cally Davis and Catrin Rees called él Records home and its proprietor, UK indie-pop patron saint Mike Alway, their lodestar. Though they didn't make what you'd expect, exactly, if you're familiar with the él catalog, both before and after it was absorbed into the Cherry Red empire. Sure, it's jangly guitar pop with a twee twinkle and primitive production qualities, but these two women had a deranged Rezillos bite and a whimsical songwriting style that's more Todd Rundgren than Morrissey. 

A record that has been on repeat as of late, perhaps in part because of my obsessive reimmersion into Shibuya-kei. (If you missed the big playlist I began, check it out.) Reconnecting with it deeply, thoughtfully, and from the perspective of me as I am today as opposed to through a desire to, frankly, wrap myself in warm, fuzzy nostalgia, has unlocked new respect and reverence. Its whimsical expressiveness and lightning-bolt vigor and costume-party playfulness come from, yes, overstimulated and itchy brains, fidgety crate-digger fingers, but, more importantly, from curious hearts that want to simply celebrate life. Thus, while it's artificially about a sort of cosplay, it's a sincere, pure body of work, and that's what makes it so remarkably special.

With bands like Scars, I'm reminded of how pop music, Top 40 and underground alike, and regardless of genre, is all about flavor-of-the-month trends. As with everything else available in our capitalist marketplace, we must create an abundance of choice and maintain a level of homogeneity while simultaneously seeking out first-, second-, and third-place winners in order to maintain focus and inertia. As the rewards for the winners are high, there's incentive to throw one's hat in the ring, despite the fact the odds of success—and sustained success—are minuscule. And you only have one shot; five years or so is the average lifespan of a band, and those that exist longer will never be cool in the most valuable way—via novelty—again.

You wouldn't be blamed for assuming Coralie Clément is a contemporary of Françoise Hardy or Jane Birkin's; her coquettish and sultry, whispered vocals, suave touches of bossa and samba, and splashy dabblings in yé-yé make her sound like Brigitte Fontaine buffing out her scratches and sanding down her bristly edges.

Her debut LP, Salle des pas perdus, is a collaboration with her brother Benjamin Biolay, who wrote and arranged it, only further reinforcing her throwback nature. For a time during the 90s, Momus did a lot of his own Serge Gainsbourg-styled team-ups with elegant yet wryly sassy chanteuses—the Kahimi Karie songs, the Poison Girl Friend songs, the Laila France songs—and this record plucks at the same heartstrings.

The subsequent albums are interesting and possessed with the same sort of low-key charisma, with Toystore perhaps being the most aggressively different: in place of gentle strings and unhurried horns are skippy ukuleles, tinny tambourines, frothy farfisas.

Extract all incorrect words in first.txt file and all correct ones in second.txt file using the following sed command.

sed -n 's/."(["])".*/1/p' DocumentList.xml > first.txt

sed -n 's/["]"["]"["]"(["])".*/1/p' DocumentList.xml > second.txt

1. Select "Internet Link" from Character styles.
2. Right click Internet Link and select Edit style
3. In the tab Font Effects, click the button Reset to Parent.

1. File > Templates > Save as Template
2. Give it a name and select "My Templates".
3. Tick the box Set as default template. Click Save
4. File > Templates > Manage templates,
5. Right click the template with a green tick beside it and select Reset Default.

You can "discretize" or "bin" continuous features into categorical features.

from sklearn.preprocessing import KBinsDiscretizer

kb = KBinsDiscretizer(n_bins=3, strategy='quantile', encode='ordinal')

kb.fit_transform(df['Fare'])

You can create User Defined Property in libreoffice writer. File – Properties – Custom Properties – Add Property – Set the type: Date) – Set the value.

To use this property goto Insert – Field – More Fields – DocInformation – Custom.

To use a custom paragraph style for a heading, choose Tools - Chapter Numbering, select the level and choose a style in Paragraph Style box.You can also choose number 1,2,3 for each level if you need 1.1, 1.1.1 numbering for heading.

Settings > Digital Wellbeing and parental controls. Tap your preferred Focus Mode or create your own by selecting Add. Select Start to start using that Focus Mode.

If you use a font that the recipient is unlike to have, select Files > Proprties > Font > Embed fonts in the document before exporting to PDF. Note that embedding will vastly increase the file size if you you have a large number of fonts.

To open the Navigator, select View > Navigator, or press the F5 key, or select the Navigator in the sidebar.On the simplest level, the Navigator lists all of a document’s objects, including outline levels – headings by default, other paragraph styles as well if you edit outline levels. Clicking a list item in the Navigator jumps to it in the editing window.

The settings for Tools > Options > Language Settings > Writing Aids > Options > Minimal number of characters for hyphenation. These settings are over-ridden by any formatting in the document itself.

The line divisions can be improved by running Tools > Language > Hyphenation as a final touch on the document. This tool not only works interactively, giving you more control, but also generally does a better job than the on-the-fly hyphenation, if run when the document is complete.

The Characters at line end and Characters at line begin fields can sometimes be manipulated to improve hyphenation by playing one off against the other. Working by itself, the Maximum consecutive hyphenated lines field can also make a difference. adjusting the settings on the Text Flow tab. The number of letters at the end and start of the line should be 1–4. The typographical convention is not to allow more than two lines in a row to end with a hyphen.

If you are using Libre office then template changer extension is very important.

extensions.libreoffice.org

You can link the current document to a template or cut that link. Once the document is linked to a new template, all styles saved in that template will be available to be used. You can find the current template name by going to File - Properties.

you can select Edit > Find and Replace > Other Options > Paragraph styles to locate where a style is used in a document. "Attributes" and "Format" dialog box will help us find character styles.