The Latest Plan to Fix the Silicon Valley Housing Crisis Is to Build on Top of Trash. Housing in the Santa Clara region of California is insanely expensive. Tech companies have taken to building modern day versions of mill towns just so their employees have a place to live. The latest solution to pick up traction in the area is to build on top of disused landfills and regulators are warming to the idea. The housing situation has gotten so ridiculous in Palo Alto, the original home of Facebook and…Read more Back in August of last year, Bloomberg reported that the median price of a home in the Palo Alto area had risen to $2. That’s thirteen times the national average. Tech workers making six figures complain that they have to get roommates to afford to live. And residents have waged war against the homeless. Now, a developer named Related Companies is bidding to build a $6. It will be called City Place, exactly the kind of name you’d expect from an organization called Related Companies. The site is no longer used for dumping. A golf course and a BMW track were built on top years ago. But that’s not the same as proposing that 1,6. Toxic vapors, dangerous gasses, and ground water contamination are all issues that have to be accounted for. I went out on the streets of New York City to ask the people a question that has burned game-likers’ brains since the announcement of the upcoming Super Mario. The regulators were pretty skeptical at the start, I have to say,” Stephen Eimer, an executive vice president with Related tells Mercury News. After much back and forth, Bay Area regulators have finally accepted Related’s technical document that outlines how the site would be made safe. A foot- thick concrete barrier would be laid over 3. Housing would be built over shops and restaurants to create more distance between the residents and the waste. Sensors and alarm systems would monitor gasses and a separate system would collect and dispose of it. The Santa Clara County Department of Environmental Health, California Department of Resources Recycling and Recovery, and the San Francisco Bay Regional Water Quality Control Board have all accepted Related’s proposal but that doesn’t mean that it’s a done deal. The green light to build never really happens until you get the last permit,” Ruth Shikada, Santa Clara’s assistant city manager tells Mercury News. While other landfills in the area have been used for retail, nothing on the scale of what Related’s asking for has been approved before. Keith Roberson, senior engineering geologist with the water quality control board, called Related’s proposal “a solid plan,” and he worries about setting a precedent. He emphasized that all proposals will have to be evaluated on a case- by- case basis. More research and monitoring will be necessary before any approvals will be made. The City of San Jose is also suing the City of Santa Clara over the project. San Jose claims that the imbalance of 2. That argument certainly makes it sound like fixing one problem would just be creating another. ![]() If all goes to plan you could be living on top of a City Park Starbucks—with totally safe drinking water that definitely isn’t going to explode—within 5- 7 years.[Mercury News]. Hail to the Thief - Wikipedia. Hail to the Thief is the sixth studio album by the English rock band Radiohead. It was released on 9 June 2. Parlophone Records in the United Kingdom, and a day later by Capitol Records in the United States. Following Kid A (2. Amnesiac (2. 00. 1), which incorporated jazz, classical and electronic music influences, Hail to the Thief combines alternative rock instrumentation with drum machines, synthesisers, and digital manipulation. Hail to the Thief was produced by longtime Radiohead collaborator Nigel Godrich. To avoid the protracted recording sessions of previous albums, Radiohead recorded Hail to the Thief quickly and focused on recording live takes rather than overdubs. Songwriter Thom Yorke wrote many of the album's lyrics in response to the War on Terror and the resurgence of right- wing politics in the west at the turn of the millennium. Despite a high- profile internet leak ten weeks before release, Hail to the Thief debuted at number one on the UK Albums Chart and number three on the US Billboard 2. UK, US and Canada. It produced three charting singles: "There There", "Go to Sleep" and "2 + 2 = 5". The album received positive reviews and was the fifth consecutive Radiohead album to be nominated for a Grammy Award for Best Alternative Music Album. It was the last album released under Radiohead's record contract with EMI. Background[edit]With their previous albums Kid A (2. Amnesiac (2. 00. 1), Radiohead replaced their earlier guitar- led rock sound with a more electronic style.[6] On tour in 2. Songwriter Thom Yorke said: "Even with electronics, there is an element of spontaneous performance in using them. ![]() It was the tension between what's human and what's coming from the machines. That was stuff we were getting into." He stated that Radiohead did not want to make a "big creative leap or statement" with their next album.[7]In early 2. Amnesiac tour had finished, Yorke sent his bandmates CDs containing demos of songs he was considering for Radiohead's sixth album.[8] The three CDs, titled The Gloaming, Episcoval and Hold Your Prize, comprised electronic music and piano and guitar sketches.[9] Radiohead had tried to record some of the songs, such as "I Will" and "A Wolf at the Door", in the joint sessions for Kid A and Amnesiac, but were not satisfied with the results.[8] The band spent May and June 2. Spain and Portugal in July and August.[8]Recording[edit]. At the suggestion of producer Nigel Godrich, most of Hail to the Thief was recorded in two weeks in Hollywood, Los Angeles. Hollywood culture influenced the album's lyrics and artwork. ![]() In September 2. 00. Radiohead moved to the Ocean Way Recording studios in Hollywood, Los Angeles with producer Nigel Godrich and artist Stanley Donwood, who have both worked with the band since their second album, The Bends (1.
The location was suggested by Godrich, who had used the studio to produce records by Travis and Beck and thought it would be a "good change of scenery" for Radiohead.[1. Yorke said: "We were like, 'Do we want to fly halfway around the world to do this?' But it was terrific, because we worked really hard. We did a track a day. It was sort of like holiday camp."[7]Radiohead had created Kid A and Amnesiac through a years- long process of recording and editing that drummer Phil Selway described as "manufacturing music in the studio".[1. For their next album, the band sought to capture a more immediate, "live" sound.[8][1. Yorke told MTV: "The last two studio records were a real headache. We had spent so much time looking at computers and grids, we were like, that's enough, we can't do that any more. This time, we used computers, but they had to actually be in the room with all the gear. So everything was about performance, like staging a play."[1. Most electronic elements were not overdubbed but recorded live in the studio.[1. Greenwood used the music programming language Max to sample and manipulate the band's playing in real time,[1. Martenot, an early theremin- like electronic instrument he first used on Kid A.[1. After using effects pedals heavily on previous albums, he mostly used clean guitar sounds to see if he could "come up with interesting things" without effects.[1. Radiohead tried to work quickly and spontaneously, avoiding procrastination and over- analysis.[8] Yorke was forced to write lyrics differently, as he did not have time to rewrite them in the studio; [2. Kid A and Amnesiac.[2. Greenwood said: "We didn't really have time to be stressed about what we did. We got to the end of the second week before we even heard what we did on the first two days, and didn't even remember recording it or who was playing things. Which is a magical way of doing things."[2. The approach protected against the tension of previous sessions; O'Brien told Rolling Stone that Hail to the Thief was the first Radiohead album "where, at the end of making it, we haven't wanted to kill each other."[2. Inspired by the Beatles, Radiohead tried to keep the songs succinct.[2. The opening track, "2 + 2 = 5", was initially recorded as a studio test, and was finished in two hours.[8] Radiohead struggled to record "There There"; after rerecording it in their Oxfordshire studio, Yorke was so relieved to have captured the song he wept, feeling it was the band's best work.[8] Radiohead had attempted to record an electronic version of "I Will" in the Kid A and Amnesiac sessions, but abandoned it as "dodgy Kraftwerk"; [2. Like Spinning Plates" on Amnesiac.[8] For Hail to the Thief, the band sought to "get to the core of what's good about the song" and not be distracted by production details or new sounds, settling on a stripped- back arrangement.[8]Radiohead recorded most of Hail to the Thief in two weeks,[1. Radiohead's studio in Oxfordshire, England in late 2. In contrast to the relaxed Los Angeles sessions, which Godrich described as "very fruitful",[1. Yorke said: "We had massive arguments about how it was put together and mixed. Making it was a piece of piss, for the first time it was really good fun to make a record .. Cause there was a long sustained period during which we lived with it but it wasn't completely finished, so you get attached to versions and we had big rows about it."[2. Godrich estimated that rough mixes from the Los Angeles sessions were used for a third of the final album.[1. Lyrics and themes[edit]I was listening to a lot of political programs on BBC Radio 4. I found myself – during that mad caffeine rush in the morning, as I was in the kitchen giving my son his breakfast – writing down little nonsense phrases, those Orwellian euphemisms that [the British and American governments] are so fond of. They became the background of the record. The emotional context of those words had been taken away. What I was doing was stealing it back.“”Thom Yorke, Rolling Stone (2. Hail to the Thief's lyrics were influenced by what Yorke called "the general sense of ignorance and intolerance and panic and stupidity" following the 2. US President George W. Bush.[2. 6] He took words and phrases from discussion of the unfolding War on Terror and used them in the album's lyrics and artwork.[7] He denied any intent to make a "political statement" with the songs,[7] and told the Toronto Star: "I desperately tried not to write anything political, anything expressing the deep, profound terror I'm living with day to day. But it's just fucking there, and eventually you have to give it up and let it happen."[2. At the time the father of an infant son, Yorke adopted a strategy of "distilling" the political themes into "childlike simplicity".[2. He took phrases from fairy tales and folklore, such as the tale of Chicken Little,[9] and children's literature and television he shared with his son, including the 1. TV series Bagpuss,[8] whose creator Oliver Postgate is thanked in the liner notes.[1. Parenthood made Yorke concerned about the condition of the world and how it could affect future generations.[2. Jonny Greenwood felt Yorke's lyrics expressed "confusion and escape, like 'I'm going to stay at home and look after the people I care about, buy a month's supply of food'."[2. Yorke also took phrases from Dante's Inferno, the subject of his partner Rachel Owen's Ph. D thesis.[3. 0] Several songs, such as "2 + 2 = 5", "Sit Down Stand Up", and "Sail to the Moon", reference Christian versions of good and evil and heaven and hell, a first for Radiohead's music.[3.
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