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**tomt** · August 22nd, 2020, 02:03 PM

]https. ://www.instagram.com/https%3A%2F%2Fwww.instagram.com%2Fplan8.39%2F?fbcl id=IwAR3rozpc5r65cIt6SmjXhGulswLxuvzgfgqlkrmTs9Und hbSf4SHFvZkCwI

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Lets hope that google dies.

Then we can have phones that work, instead of phones that play.

**tomt** · August 22nd, 2020, 09:09 PM

William Barr: Nearly 1,500 Arrests Made Under Operation Legend

**tomt** · August 24th, 2020, 09:33 AM

https://scontent-lax3-2.cdninstagram...94&oe=5F6C80A1

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**tomt** · August 24th, 2020, 05:37 PM

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21 Apr 2001 - 7 Feb 2020

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Norman Raeben was one of the most influential people in Bob Dylan?s life. It was Norman Raeben, Dylan said, who, in the mid ?70s, renewed his ability to compose songs. Dylan also suggested that Norman?s teaching and influence so altered his outlook upon life that Sara, his wife, could no longer understand him, and this was a contributory factor in the breakdown of the Dylans? marriage. It?s strange that, given the importance of Norman Raeben?s influence on Bob Dylan, he isn?t even mentioned in either of the big biographies published in the 1980.

Dylan first began to talk about Raeben in the round of interviews he did in 1978 to promote his movie, Renaldo & Clam, though for a while he wouldn?t specifically identify him. ?There ain?t nobody like him,? Dylan told Pete Oppel, of the Dallas Morning News. ?I?d rather not say his name. He?s really special, and I don?t want to create any heat for He was, Dylan told Playboys Ron Rosenbaum, ?just an old man. His name wouldn?t mean anything to you.

Dylan?s interest in Norman began sometime in 1974, when several friends of Sara came to visit:

They were talking about truth and love and beauty and all these words I had heard for years, and they had ?em all defined. I couldn?t believe it... I asked them, ?Where do you come up with all those definitions?? and they told me about this teacher.

Sufficiently impressed, Dylan looked up the teacher the next time he was in New York. It was the spring of 1974 when Dylan popped his head around Norman?s door:

He says, ?You wanna paint?? So I said, ?Well, I was thinking about it, you know.? He said, ?Well, I don?t know if you even deserve to be here. Let me see what you can do.? So he put this vase in front of me and he says, ?You see this vase?? And he put it there for 30 seconds or so and then he took it away and he said, ?Draw It?. Well, I mean, I started drawing it and I couldn?t remember shit about this vase ? I?d looked at it but I didn?t see it. And he took a look at what I drew and he said, ?OK, you can be up here.? And he told me 13 paints to get... Well, I hadn?t gone up there to paint, I?d just gone up there to see what was going on. I wound up staying there for maybe two months. This guy was amazing...

When Dylan looked back upon what happened during those two months, he came to believe that he was so transformed as to become a stranger to his wife:

It changed me. I went home after that and my wife never did understand me ever since that day. That?s when our marriage started breaking up. She never knew what I was talking about, what I was thinking about. And I couldn?t possibly explain it.

Dylan talked about Norman at length to Pete Oppel, describing in more-than-casual words how Norman taught in his eleventh-floor studio in Carnegie Hall:

Five days a week I used to go up there, and I?d just think about It the other two days of the week. I used to be up there from eight o?clock to four. That?s all I did for two months...

In this class there would be people like old ladies ? rich old ladies from Florida, - standing next to an off-duty policeman, standing next to a bus driver, a lawyer. Just all kinds. Some art student who had been kicked out of every art university. Young girls who worshipped him. A couple of serious guys who went up there to clean up for him afterwards ? just clean up the place. A lot of different kinds of people you?d never think would be into art or painting. And it wasn?t art or painting, it was something else...

He talked all the time, from eight-thirty to four, and he talked in seven languages. He would tell me about myself when I was doing something, drawing something. I couldn?t paint. I thought I could. I couldn?t draw. I don?t even remember 90 per cent of the stuff he drove into me.

It seems, then, that Norman was more interested in metaphysics than in technique. His teaching dealt with ultimate realities which could be expressed in a variety of modes. It is not certain that Norman made Dylan a better painter, but he clearly changed Dylan:

I had met magicians, but this guy Is more powerful than any magician I?ve ever met. He looked into you and told you what you were. And he didn?t play games about it. If you were interested in coming out of that, you could stay there and force yourself to come out of it. You yourself did all the work. He was just some kind of guide, or something like that?

It was some time later when I was finally able to identify Dylan?s mysterious man called Norman as Norman Raeben, born in Russia in 1901, who visited the USA with his family when be was three years old and emigrated for permanent residence when he was about 14. Norman?s father was the noted Yiddish writer, Sholem Aleichem (1859-1916), a man best known today for having created the character Tvye, whose fictional life-story was adapted for the musical, Fiddler On The Roof. The most remarkable change brought about by the months Dylan spent in Norman Raeben?s studio was upon the way Dylan composed lyrics.

Dylan told Rolling Stone?s Jonathan Cott that following his motorcycle accident on July 29, 1968, he found himself no longer able to compose as freely as before:

Since that point, I more or less had amnesia. Now you can take that statement as literally or as metaphysically as you need to, but that?s what happened to me. It took me a long time to get to do consciously what I used to do unconsciously.

Dylan reiterated the point to Malt Damsker:

It?s like I had amnesia all of a sudden...I couldn?t learn what I had been able to do naturally ? like Highway 61 Revisited. I mean, you can?t sit down and write that consciously because it has to do with the break-up of time...

In the interview with Jonathan Cott, Dylan described his albums John Wesley Harding and Nashville Skyline as attempts:

...to grasp something that would lead me on to where I thought I should be, and it didn?t go nowhere ? it just went down, down, down... I was convinced I wasn?t going to do anything else.

It was in this mood of near-despair of ever composing as he once had, that Dylan had the ?good fortune? to meet Norman, ?who taught me how to see?:

He put my mind and my hand and my eye together, in a way that allowed me to do consciously what I unconsciously felt.

The time with Norman helped Dylan?s psyche be redirected sufficiently for him to write some new songs, the songs that were included on what is still his most celebrated LP, Blood On The Tracks:

Everybody agrees that that was pretty different, and what?s different about it is that there?s a code in the lyrics, and there?s also no sense of time...

Dylan made further efforts to explain the concept of ?no time? in the new songs to Matt Damsker:

Blood On The Tracks did consciously what I used to do unconsciously. I didn?t perform it well. I didn?t have the power to perform it well. But I did write the songs... the ones that have the break-up of time, where there Is no time, trying to make the focus as strong as a magnifying glass under the sun. To do that consciously is a trick, and I did it on Blood On The Tracks for the first time. I knew how to do it because of the technique I learned ? I actually had a teacher for it...

In the Biograph booklet, Cameron Crowe?s comment on Blood On The Tracks seems to be the product of an uncredited observation by Dylan himself:

Reportedly inspired by the breakup of his marriage, the album derived more of its style from Dylan?s interest in painting. The songs cut deep, and their sense of perspective and reality was always changing.

?Always changing? is the product of the LP?s sense of no-time. Speaking to Mary Travers on April 26, 1975, Dylan commented upon the concept of time, the point he tried to make being not only that ?the past, the present and the future all exists?, but that ?it?s all the same? ? something learned from Norman, Dylan told Jonathan Cott, who used to teach that:

You?ve got yesterday, today and tomorrow all in the same room, and there?s very little that you can?t imagine happening.

Dylan?s assertion to Malt Damsker that he didn?t perform the songs on Blood On The Tracks particularly well may be surprising but, he went on, ?they can be changed... ?. In fact, Dylan has continually reworked the songs, changing the lyrics again and again in such songs as ?Simple Twist Of Fate? and ?Tangled Up In Blue?. Dylan ties up ideas of time and change to the idea of song-as-painting with specific reference to ?Tangled Up In Blue? on the jacket notes to Biograph, where he says of the song:

I was just trying to make it like a painting where you can see the different parts but then you also see the whole of it. With that particular song, that?s what I was trying to do... with the concept of time, and the way the characters change from the first person to the third person, and you?re never quite sure if the third person is talking or the first person is talking. But as you look at the whole thing, it really doesn?t matter.

The dissolving of persons and of time in the Blood On The Tracks songs was a remarkable achievement; Dylan was to try to apply the same technique when he made his film Renaldo 8? Clara. In tracing the influence of Norman Raeben?s thinking, Dylan called Jonathan Cott?s attention to Renaldo & Clara:

...in which I also used that quality of no-time. And I believe that that concept of creation is more real and true than that which does have time...The movie creates and holds the time. That?s what it should do ?it should hold that time, breathe in that time and stop time in doing that. It?s like if you look at a painting by C?zanne, you get lost in that painting for that period of time. And you breathe ? yet time is going by and you wouldn?t know it. You?re spellbound.

Small wonder, then, that Dylan was most annoyed by those who criticized the film?s length, and perhaps it is not inappropriate to mention a more recent statement of annoyance ? at those who tried to pin down one of his no-time, no-person songs from Blood On The Tracks:

?You?re A Big Girl Now?, well, I read that this was supposed to be about my wife. I wish somebody would ask me first before they go ahead and print stuff like that.

Dylan once unconsciously created songs with the no-time quality of painting. Many times he spoke of parallels between song and painting ? one recalls, for example, Dylan?s introduction of ?Love Minus Zero/No Limit? in concerts in 1965 as ?a painting in maroon and silver? or ?a painting in purple?, but only after studying with Norman Raeben was he to recapture his apparently lost ability to write such songs, now with the notable difference of conscious composition. And if Blood On The Tracks was to be the first attempt to translate what Dylan had learned from Norman into song, it was Street-Legalwhich Dylan would come to regard as the culmination of the insights into the nature of time as no-time. As he told Matt Damaker:

Never until I got to Blood On The Tracks did I finally get a hold of what I needed to get a hold of, and once I got hold of it, Blood On The Tracks wasn?t it either, and neither was Desire. Street-Legal comes the closest to where my music Is going for the rest of time. It has to do with an illusion of time. I mean, what the songs are necessarily about is the illusion of time. It was an old man who knew about that, and I picked up what I could...

**tomt** · August 25th, 2020, 01:47 PM

The CIA, is a goonsquad for the Rockefellers.

Also one of the largest organized crime gangs,

In existence.

They harrassed Michael Jackson,

Because he had 800 million dollars a year,

Income.

One of the most successful businessman ever.

But they wanted his money, so the used the media

To spread ugly rumors, to get him to lose his fortune.

They have already hijacked Jeff Bezos and Amazon.

That means the Washington Post, is now a mouth for the CIA.

They have hijacked Bitcoin, as well.

**tomt** · August 26th, 2020, 08:06 PM

Here's the smallest AI/ML supercomputer ever | TechRadar

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https://mobile.twitter.com/EmmaAttle...06172882837506

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Officials break ground at Avion Burbank project site near airport - Los Angeles Times

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Skinny teen rides big black cock Porn Videos

**tomt** · August 27th, 2020, 02:45 AM

Scent - LIFE COACH (supermarket_edit) by Wichita Recordings - Listen to music

**tomt** · August 29th, 2020, 03:19 AM

Only about half of the 15,000 hotel and motel rooms that California has leased for mostly homeless people to slow the spread of the coronavirus are now occupied, a review of state records by The Times shows.

More than a month into Gov. Gavin Newsom’s program to get homeless people off the streets, the occupied rooms account for — at most — less than 5% of the 151,000 people who sleep on street corners, under bridges and in emergency shelters across California.

As of Monday, 7,919 hotel rooms had guests and another 7,700 were vacant, according to figures released by Newsom’s office.

CALIFORNIA

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The actual number of rooms leased for homeless people in the statewide program known as Project Roomkey could be even lower since Newsom’s goal also included rooms reserved for people, homeless or not, who needed to quarantine or isolate themselves because of the coronavirus.

What Newsom launched in early April as a coordinated effort to address homelessness during the pandemic has led to mixed results. But, in general, it has progressed so slowly that it has fallen short of many expectations and is unlikely to get most of those who need help indoors.

In some counties, the largest impediments have been delays in preparing leased rooms for occupancy, not, as the governor has complained, NIMBY interests at the local level. In other counties, it has been a shortage of staff to care for homeless residents, providing services, such as food services, security, nursing and case management.

Track L.A.'s effort to house thousands of homeless people during coronavirus

“This has not been a challenge of leasing hotels,” said Sacramento Mayor Darrell Steinberg, who is co-chair of the state’s homelessness task force. “The challenge is much more in insufficient numbers of service providers to deal with a much larger capacity of people and a big question about rehousing.”

Under the program, county officials are responsible for determining how many rooms to set aside for homeless people. But the actual implementation of Project Roomkey is forcing officials from many counties to question how many homeless people “the program can bring in,” Steinberg said. That’s because there aren’t enough service providers to help run the hotels and eventually help transition the residents into permanent housing.

Sacramento County is doing better than the state as a whole, with two-thirds of the 420 rooms it leased now filled. But because of the backlog of people waiting for a room, it has held off on signing leases for another 570 rooms, Steinberg said.

It’s a predicament that has not yet arisen in Los Angeles County, where the pace has been set by how fast negotiators have been able to sign leases with hotels and motels. The Los Angeles Homeless Services Authority has filled most rooms within two to three days of their availability. But that could change as the agency finds the ranks of local service providers thinning.

HOUSING & HOMELESSNESS

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“We’re frankly getting close to understanding what our system capacity is,” said LAHSA’s interim Executive Director Heidi Marston. “Our big [service] providers are getting stretched. That’s a very real concern. Unless we can bring in more human capital to do this work, we’re going to have a hard time continuing to expand capacity.”

Project Roomkey is largely funded by the Federal Emergency Management Agency, which has vowed to reimburse the state and individual counties for 75% of the cost of leasing hotel rooms and providing services. Only homeless people who meet certain criteria, including being older than 65 and having health conditions that make them susceptible for dying of COVID-19, qualify.
However, only rooms that are occupied are covered by FEMA under the program. And while it’s unclear whether some counties are paying hotel owners for rooms that they have leased but haven’t filled, that is not happening in L.A. County.

The program’s goal of leasing 15,000 rooms would be enough to house about 10% of California’s estimated homeless population — a figure that falls far short of the total number of homeless people in the state who are 65 or older or have chronic medical conditions such as heart disease or diabetes.

In Los Angeles County alone, officials have identified 15,000 people — a quarter of the county’s homeless population — who meet the age or health criteria and set that as its goal. As of Monday, the county had secured 3,245 rooms and moved guests into 2,102.

On Wednesday, the San Diego Convention Center opened its doors as the city’s newest emergency homeless shelter.

(City of San Diego)

Statewide data provided by Newsom’s office on Monday showed that two large Southern California counties have more trouble filling rooms. San Diego has filled only about 20% of the 2,029 rooms it has under lease, and Orange County just under 30% of its 666 rooms.

A senior official with Newsom’s administration told The Times that the state was very proud of the pace and scale at which counties have gotten homeless people into hotels and motels. It’s an effort that took weeks and otherwise would’ve taken months or years. This official said the state still wants to see counties moving faster to fill beds and bring people indoors.

The state data doesn’t specify how many of the leased rooms are for those in need of quarantine or isolation for COVID-19, as opposed to those who are homeless.

Craig Sturak, a spokesman for the San Diego County Health Department, gave slightly different numbers than the state, saying Friday that the county had about 1,700 rooms leased and 370 rooms occupied. Many of the beds were secured before Project Roomkey began, he said, “in anticipation of a large number of COVID-19 cases that would not require hospitalization but also would not be able to isolate at home.”

About 200 of the 370 rooms are for homeless people older than 65 with underlying health conditions, he said.

Sturak didn’t explain why so many beds that could be used to house homeless people are empty, even as thousands remain on the streets, but said “there are other resources and programs to serve homeless individuals who do not need the level of care provided at these rooms.”

The San Diego Convention Center, famous for hosting Comic-Con and other events, is housing nearly 1,200 homeless people during the pandemic. Most were brought there from cramped shelters, where the virus is more likely to spread.

Joel Jon Roberts, chief executive of the statewide homeless services and housing development agency PATH, said that San Diego’s leaders are well aware of what might happen if there’s a sudden jump in coronavirus cases among the local homeless population. According to the county’s federally mandated point-in-time count, 7,619 homeless people were living outdoors or in shelters as of January, a 6% drop from the previous year.

“My sense is that they are trying to keep rooms open in case of an outbreak,” he said. “Nobody knows what the number could be. Look at New York City and how bad it’s been there.”

In addition to running shelters in San Diego, PATH is providing services at four leased hotels in Los Angeles County as well. While it has been able to fill rooms quickly, in some cases, it has taken more than two weeks to get rooms ready after the leases are signed.

CALIFORNIA

The coronavirus crisis in visuals

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More than 600 unoccupied rooms are in hotels that are not yet ready to open — in some cases because former guests had yet to leave or in others because repairs were needed.

L.A. city and county negotiators have struggled to strike deals with large hotels near downtown, where the highest concentration of homeless people live on the streets in skid row. Including several smaller hotels in the vicinity of downtown, there are enough rooms for less than 4% of the area’s homeless population, according to a Times analysis.

But the owners of some small hotels and motels have complained of being shut outof the process. LAHSA, which is responsible for operating the hotels, has asked negotiators to target properties of 100 rooms or more to ease the logistics of contracting for food service, security, healthcare and case management.

Echoing Steinberg, Roberts said his agency has had to scramble to find people with the proper training to help run the hotel shelters. Still, he’s very pleased with how quickly they’ve gotten rooms up and running.

“We can’t just, next week, hire 20 clinicians to do this kind of work,” he said. “So we’re moving people from outreach and other contracts.”

At least two Southern California counties have outpaced Los Angeles in filling hotel and motel rooms, though they both have much smaller homeless populations.

Riverside, which rented individual rooms rather than whole hotels, has secured 266 rooms and has filled them all — a number accounting for about 10% of its homeless population. Ventura County started working on rooms in mid-March and has among the state’s highest success rates. Its 388 rooms are more than 80% occupied.

Tara Carruth, manager of Ventura County’s homeless oversight agency, said hotel owners were eager to lease rooms and the county provided staffing. In total, the county identified about 350 people who met the age or health criteria for Project Roomkey — or about 27% of its homeless population — and has leased enough rooms to accommodate that number and more.

Even as rooms eventually fill up, the impact of the statewide program will be hard to gauge, partly because of the duplicate goal of both L.A. County and the state to get 15,000 homeless people off the streets, and a lack of accurate population data for comparison.

Acknowledging that the pace of leasing rooms and the limits on staffing for services will probably put the county’s goal out of reach, Marston said she’s not backing down. There has been a lot of enthusiasm for Project Roomkey despite its shortcomings.

“I do think there are ways of serving 15,000 people,” Marston said. “We have built an amazing capacity. Let’s keep building the capacity we have and turn the rooms over so we can serve more people.”

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