Race Results for the Coke Zero 400 by Coca-Cola at Daytona International Speedway

1. Dale Earnhardt Jr.

2. Jimmie Johnson

3. Denny Hamlin

4. Kevin Harvick

5. Kurt Busch

6. Jeff Gordon

7. Austin Dillon

8. Ryan Newman

9. Trevor Bayne

10. Clint Bowyer

11. Casey Mears

12. David Ragan

13. Landon Cassill

14. Tony Stewart

15. Jamie McMurray

16. Paul Menard

17. Kyle Busch

18. Justin Allgaier

19. Ricky Stenhouse Jr.

20. Greg Biffle

21. AJ Allmendinger

22. Joey Logano

23. Matt Kenseth

24. Alex Bowman

25. Cole Whitt

26. Matt DiBenedetto

27. Brett Moffitt

28. Brendan Gaughan

29. Brad Keselowski

30. Sam Hornish Jr.

31. Josh Wise

32. Kasey Kahne

33. JJ Yeley

34. Aric Almirola

35. Danica Patrick

36. Jeb Burton

37. Michael Annett

38. Martin Truex Jr.

39. Kyle Larson

40. David Gilliland

41. Carl Edwards

42. Brian Scott

43. Bobby Labonte
Ottawa moves to revoke citizenship of convicted terrorist for first time since controversial law took effect
Hiva Alizadeh is a dual citizen with Iran convicted of possessing explosives with the intent to endanger life for the benefit of a terrorist group. That makes him eligible for revocation and deportation
By ,Stewart Bell

The government has begun the process of revoking the citizenship of an Iranian-Canadian serving a prison sentence in Edmonton for terrorism, according to sources familiar with the case.

Hiva Alizadeh is the first Canadian to be targeted by a law that allows Ottawa to strip the citizenship from Canadians convicted of terrorist offences, provided they are citizens elsewhere.

The legislation came into force on May 29. As a citizen of both Canada and Iran, Alizadeh appears to be a viable candidate. Should his Canadian citizenship be revoked, he would be deported.

Under the new system, Alizadeh has 60 days to respond to the written notice he has received from the government, which depicts the law as a response to the evolving terrorist threat to Canada.

“We have been clear: Canadian citizenship is a privilege that carries both rights and responsibilities,” said Kevin Menard, the spokesman for Citizenship & Immigration Minister Chris Alexander, when asked about Alizadeh.

Read more


Weekend Warrior

Between Friday and Monday morning I got a lot done:

  1. Fly home from Dallas
  2. Run 10 miles with run club
  3. Cut the grass w/ Beth’s help
  4. Remove sod from the drip line of 15 trees and bushes (this is back-breaking work) and lay down landscaping fabric to keep the weeds out.
  5. Spread 5 cubic yards of mulch
  6. Clean the AC 
  7. Turn on and fix the sprinkler system
  8. Change the oil and filters on the Jeep and Infiniti, replace both air filters in the Highlander 
  9. Fly to London Heathrow and check into a super small airport hotel, the Yotel.  They rent rooms by the hour.

Beth insisted that I take a picture of her in front of the hardware store because it’s her absolutely favorite place to go! (not)  Menards is great.  Where else could you go to buy rust remover, AC cleaner AND a gallon of milk?

What didn’t get done is any bike or swim training for Ironman.  But now that the landscaping is almost all done I can start concentrating on training again.

1. Bang on a Can.

In Berlin, at a friend’s apartment, I was pleased to hear a familiar piece of music wafting through the room: Brian Eno’s Music For Airports. But although the notes were in the right places, the record sounded different: more acoustic, resonant, physical, imperfect, detuned. “Is this the Bang on a Can version?” I asked. “No,” said my friend, checking, “I’m pretty sure it’s the original.” How odd. Could Eno have remastered it at some point, making it sound more real, more orchestral? Could the inventor of “possible worlds” have engineered some kind of organic compositional process by which Music For Airports actually alters itself over time?

2. Pierre Menard. 

Borges’ 1939 short story Pierre Menard, Author of the Quixote imagines a French author who has rewritten — somehow regenerated line by line — several chapters of Cervantes’ novel. The story’s narrator, a critic, asserts that this ingenious fragmentary duplicate is superior to the original, made more remarkable by its mode of composition and the altered context. In 2006 the artist Pierre Huyghe made and exhibited a book of the exact fragments described in Borges’ story. A fake fake Quixote was, in this way, made into a real fake Quixote.

3. Appetite and glamour.

Anyone who’s truly in love with culture would have to agree with Borges’ critic: things get more interesting the more they accumulate the rich patina of context, reference, heritage, interpretation, backstory. There’s also an accretion of desire: things get copied because they seem to incarnate something glamorous and good, something successful and enviable. Things are worth copying because they invoke appetite in both (re)producers and consumers. The act of copying is an act of theft, but intellectual property is not a zero-sum game; the original still exists. Nothing is ever really stolen. Something new is always made.

4. What’s interesting is getting things wrong.

The saving grace of every copy is that it gets the original wrong, and therefore becomes original itself. Even — as Borges points out — a work which reproduces a work correctly in every detail will get something wrong: it will come from a different place than the original, which will add interest. A fake Prada bag sold on a bridge in Venice by a Senegalese vendor keeping an eye out for the police is, arguably, a much more interesting cultural artifact than the original it’s based on. It also leaves much more cash in your wallet, money you’re free to spend on interesting experiences.

5. Mount Everest in flip-flops.

I spent 2014 making cover versions of songs by David Bowie and Howard Devoto for a cabaret at London’s Cafe Oto. Trying to cover Bowie’s Sweet Thing was like climbing Mount Everest in flip-flops. Singing and arranging an epic like that helped me to understand from the inside how Bowie worked in the 1970s, at the peak of his powers. It also made me understand that I could never match that, and should just get used to flip-flopping around in the foothills.

6. Für Elise.

The cover version of which I’m most proud is my minimal version of Beethoven’s Für Elise, recorded with bicycle spokes and a Fijian bone-whistle. You can find it on YouTube set to pinkened grabs from the Straubs’ film The Chronicle of Anna Magdalena Bach. My father used to play Für Elise repeatedly — failing each time — on the family Bösendorfer. I like to think that my cover is more a photocopy of his failure than of the original itself, because failure is what redeems a copy. Success tends to the fascistic, the stale, the repetitive. Failure can be something tentative, hesitant, unique, and cautiously new.

7. Takashi Nemoto’s record covers.

I saw an interesting exhibition last year at Osaka’s Pulp Gallery. An artist called Takashi Nemoto had visually “covered” famous record sleeves, adding all sorts of inappropriate imagery, mostly featuring genitals and seafood. Not only did this “wrong” detail freshen the over-familiar covers, helping to make them visible once more, but it served as a reminder that the musicians involved were probably doing something very similar: making inaccurate and respectfully disrespectful new versions of the music they loved. Nothing was in fact more appropriate than this “inappropriate” imagery.

8. Full circle.

It turns out that the version of Music For Airports I heard in Berlin was actually the Bang on a Can cover. But by telling me that the cover was the original, my friend did me a service: she conjured up a parallel world in which everything was inverted. Eno, in this speculative world, recorded the music with a small orchestra, live in Düsseldorf Airport. Several years later someone made a smoother, more ethereal synthetic version in a studio, using procedural principles borrowed from John Cage, Norbert Wiener and Stafford Beer. This “wrong” history is interesting for the same reason that a cover version is: by turning things on their heads you often cause a lot of hidden things to fall out of the pockets.

This article — Notes on Copying by Nick Currie — appears in the summer edition of Mousse magazine, Mousse #49.

ok honestly the thing that ive always wanted 2 know about traditional conjuration is where the fuck am i gonna draw that circle. on the floor. am i supposed to draw that complicated ass circle on the floor every time. and apparently the answer is: no! what you do is like…you buy a 9x9 ft piece of that floor protector fabric from menards (the stuff you put on the floor when youre painting if you think youre too good for newspaper) and you draw the circle on there so you can reuse it. which makes perfect sense actually thanks guy from magus

furgiearts said: “I know part of the draw for me and mom was due to the fact that most retail jobs were offering around $10/hr. (With the exception of the ever-cheap Menards at 9.28/hr) “

There’s no doubt that the pay is a huge draw- in more “civilized” towns like Minot, Stanley, etc you will find good paying jobs without the risk to your health and well being.  I know Kmart in Minot starts out at like $11.50 now. Hell, I make $25 just doing general office work and billing. It’s crazy!