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The Love of Music Project
Blog turned Twitch stream highlighting incredible talent to keep the love of music alive by Brooke Brown under BB Media Industries.
Have you heard of Cyclonious & Tha 4orce?
Now you have. More great artists from the U.K.
Cyclonious & Tha 4orce are...
Uhuru - 5 Track Album Sampler
The 'noteworthy' duo, Uhuru (Cyclonious & Tha 4orce), are releasing an album sampler giving an insight into their remarkable sound. With a back drop of slick production and engaging lyrics, this debut reveals the potency from their collaboration.
Expect The Unexpected - The first single on the album, this fire starter of a track intends to get you out of your seat. Expect the unexpected.
African Wisdom - This atmospheric song grips the listener with its tribal 3/4 beat pattern and lyrics that come across as a chant. Pulsing, engaging, Africa.
Test - Vocal prowess is the name of the game here. A knowledge and love of hip hop help create a tune for real hip hop heads and authentic music lovers.
Deeper Understanding - This second single taken from the album takes more of a thought provoking approach. Race, religion and capitalism..... no subject is out of bounds.
Prestige Feeling - Classic hip hop, classic bars, this track is for the hip hop fans who desire authenticity. With a vintage boom bap sound, dope lyricism, scratching and cuts, its all here.
This is a limited edition album sampler introducing you the listener, to Cyclonious and Tha 4orce's amazing collaborative sound,
brand new yet authentic, professional and thought provoking,
Uhuru The Album is set to be the longed for return to the high bar level in UK Hip Hop missing from the United Kingdom for a while.
Connect with Uhuru:
www.uhurumusic.uk
uhurumusicinfo@gmail.com
www.facebook.com/uhurumusic.uk
Posted by Brooke Brown at 4:53 PM No comments:
The Latest From Black Stax
From Felicia Loud (Black Stax):
"As 99 is our latest video, it is also a reflection of our past video's, "I Love My Life" & "Spell On You." All three video's have a specific concept(s) that we create, along with specific directions. However, the participants in these video's engage through their own creative expressions. That creative expression is welcomed and related to The Producers Series Vol. II. Each producer who participates in the series is creatively contributing music that they feel is our, Black Stax sound. And we do have our own sound. ;-) Jace-Ecaj and myself narrow the choices to 6-8 instrumentals, title them, then we proceed to develop the sound with the producer. Or as we sometimes say, "we be staxin' 'em." For this series, Movement Music by Rob Eramia (Rob Bank Beats) we did ALL that, and as a result of continued collaboration we came up with 6 new pieces, one of which we chose as a live piece.
I will say that one purpose of the 99 video is to encourage people to continue to understand that power is built on personal strength as well as collective work. Nothing survives on it's own.
Stay Staxin'
For those of you unfamiliar with Blackstax please feel free to check out our latest video entitled 99. ( visit artistecard.com/blackstax or YouTube-Enjoy!!!!"
Album Review: "Delirum" by Ellie Goulding
Ellie Goulding has been tearing up the music scene for years now, more noticeably with her collaborations to lend her vocals on tracks with Calvin Harris. As explained before on this blog, Ellie knows how to put a great live show, and well her past music has not disappointed.
Ellie is known for her sultry voice, upbeat music due to her mutual love and respect for electronic dance music, plus her well written songs. From the music to the vocals to round out each song, Ellie has found the perfect formula to keep and grow her fan base.
This brings us to her latest album release "Delirum" that of course entails the popular song from "The Fifty Shades of Grey" movie soundtrack "Love Me Like You Do" as well her smash hit with Calvin Harris "Outside". These inclusions add to the 'Deluxe' edition that has 22 tracks in total. Thus, not sure why you would not listen to every track on the album.
Let's begin with "Aftertaste", "Something In The Way You Move", & "Keep On Dancin'" all of which fall after the album intro "Delirum". Each song is upbeat with great lyrics, vocals, and great musicianship. You should recognize "On My Mind" from radio, TV spots, and plays out in society. This song has been gaining it's way up the Billboard charts for weeks now, and probably will stay there with more promotion. Should mention if you aren't dancin' to "Keep On Dancin'", then you have some sort of issue. Obviously this song is infused with EDM (Electronic Dance Music) influences.
"Around U" and "Codes" are upbeat great story teller songs, but "Holding On For Life" has elements of Gospel and Folk genres that add to the eclectic mix of the album. "Don't Need Nobody" encompasses many genres from EDM, Funk, R&B, & Rock. To conclude, highly suggest to take a listen or two to this album, support Ellie on tour, and marvel in a talented women in the music business!
Album Review: "Unbreakable" by Janet Jackson
Just in case you haven't been paying attention this year, another music icon has released a new album and is currently touring to support this album as well as all of the former hits. That icon would be Janet Jackson. There may have been claims over the years that Janet followed in her brother's footsteps, but if you have any musical awareness whatsoever, then you would know that this woman has set herself apart in many ways.
This brings us to the review of her latest album "Unbreakable", which fittingly begins with the song "Unbreakable" where Janet sings lyrics about a great love and connection she has learned to embrace over the years to a great R&B/Funk vibe. The next song is a collaboration with hip/hop icon herself Missy Elliot "BURNITUP!" that immediately starts with a catchy vibe on its own as well as rhymes from Missy. This song will sure to get plays at clubs, parties, and road trips alike. What Missy Elliot has done for the music business will be kept for a separate post. The next song is "Dammn Baby", and well if you like great R&B musicality mixed with Janet's vocals you will be shaking your head along to this song; oh, don't discount the breakdown of the song for a change of pace.
Next song is "The Great Forever" that begins with funky electronic vibe with a lyrics and vocals from Ms. Jackson that provide great story telling. Just listen. The following songs "Shoulda Known Better", "After You Fall", "Broken Hearts Heal", "Night", "No Sleeep" featuring J.Cole, and "Dream Maker/Euphoria" provide a narrative to the album along with remaining songs on the album.
As you listen to this album from the first track to the last one, you will notice that the adoption of electronic music has been adopted by Janet and her producers. Electronic Dance Music is not considered a underground genre anymore, thus lending to the R&B, Funk, Rock, Classical undertones that has always been associated with Janet Jackson throughout her illustrious career. This album deserves to be bought, but if you are the streaming type, check it out on Spotify, then add the album to your collection. It's clear that Ms. Jackson took some time to live life, observe music, and put a labor of love into this album since it's been since 2008 for a new album.
Posted by Brooke Brown at 1:48 PM 1 comment:
The Package Tour 2013-NKOTB, Boyz II Men, & 98 Degrees
Decided to delete an old blog started almost 8 years ago. Instead of deleting all posts, I will post many that were needed at different points of my life. Enjoy!
Originally posted June 17, 2013
Hello. How are you? Yep, it's been awhile. Life is busy. For those who keep track of my statements via social media, I had this plan of cruising with NKOTB and my fellow Blockheads. Yeah, that didn't go as plan. Thus, as The Package Tour approached I got the fever, and really the ONLY prescription was to go. I have had so many good times with my fellow Blockheads, and I wanted to keep my "traditions" going. One of these days, I will see Dave Matthews Band and others in concert. Despite having the fever, I really wasn't stressing out about buying tickets. Why? Well, it is normal for Blockheads to over buy tickets of any form. It was inevitable that as shows approached and friends, family or others backed out, tickets would become available. In case you are new, I haven't ever done a 5* (Meet & Greet) for a show. Mainly because the specific package sold out so quickly, and I had never seen the point. Well, there is a first time for everything. While trying to find tickets as plans changed daily, 5* from people became available. I decided that I should try what everybody who has experienced one or many find so great. Not to mention I had only planned on the Las Vegas & Phoenix shows. I appreciate every experience I get when it comes to NKOTB. You can say I continue to grow as a person. It isn't so much about the concert or event as it is hanging out with people who "GET IT". After talking to people selling 5*, it was established that I was finally going to do this. I found groups to join. Honestly, I could care less who I stand with, as long as I had the chance to hug every member and say a few words. I don't get star struck, so I leading up to the day, & majority of the day I was completely calm. Just taking in the experience, such as completing the group. It was nice that there wasn't any drama about spots, and people just filled the spots we needed last minute. I have heard horror story after horror story. Blockheads need to chill. I know we all have a favorite, but GEEZ. I must repeat what I have said in other blog entries about looking at New Kids on the Block as GUYS. Yes, they are human. The experience is what you make it. Upon lining up in the order of how NKOTB was standing, the 5* went as planned. Danny Wood is an absolute sweetheart. Mister asked us how were were doing, if we were enjoying ourselves, and a short conversation about Big Dan Wood. Thanks for hug Jordan (Buddy). Then came Donnie (Big Papa). Upon receiving my hug, I said "What's up Big Papa? I am saxy15 on Twitter." To which he replied, "Oh, I know who you are, and you are cool one." Then I went for a hug from Joe. I asked him if he remembered the banner I gave him from his "One Too Many at Midnight" run at The Palms Lounge. Special paused, then said, "Oh, I remember you," followed by another hug. Last, but certainly not least Jon (Dude) was next. He gave me a hug then said," Thanks for coming again." Hilarious considering it was my first time meeting him. Perhaps he's used to seeing people over and over. ;-) All in all, a great first experience.
The following week was my local show. Yes, the Phoenix (technically Glendale), but I digress. Upon talking to seller(s) of 5*, I was all set to have one for Sunday. Or so I thought. After a morning of hanging out with fellow Blockheads and brunch, I contacted the person I was buying it from to give her the money. I wanted her to know I was good for it. I proceeded to go to another Blockhead meet up at the Yard House to see and meet everybody I could. While chilling at the table, I received texts from the seller about not being comfortable with me giving her a check. I proceeded to ask her if she would reconsider if I gave her cash. Freaking ATM fees. The time to check in for 5* arrives. She is nowhere to be found. I began texting her, trying to call her. She kept responding with I can't get out of line, and other excuses. Umm, when I see you hours before and tell you the plan of exchange, just be straight up. I even got permission from VIP Nation to go down to the room to get everything from her, but I am PRETTY sure she ducked into the restroom. Just FUCKING say you are going to take it. I figured it out, and I can take it. Needless to say, I had a plan B. I don't trust people just as much. I had a floor seat available. Which was my plan A at one point. I am too practical, and OCD about planning things. I HATE stressing out before fun. I ended up front row barricade again with this ticket. I didn't get to share Big Papa with a friend, but I knew I had the after party still. After checking in to the after party. I joined a group. Despite "special guests", I went straight for Big Papa. I have been drawn to that man since I was 3 years old. Standing next to Wanya from Boyz II Men as I was holding the rose he gave me wasn't bad either.
I would have to say my favorite moment other than just partying with everybody would be when Big Papa handed me his mic during "This Is How We Do It" by Montell Jordan for me to sing; since I knew the lyrics. Having him look directly in my eyes as I was "singing" will forever be a memory. I then proceeded to hand the mic back, but he looked surprised. You are the host man, I didn't want to take over. ;-)
As much as I try to quit these guys, I just can't. The shenanigans with friends as well as the overall events just get better and better.
L*A*W TALKS TO THE FANS
Greetings Earthlings
This is truly a state of emergency for you Planet 12 fans
As most of you know, I'm currently in the process of finishing up my "Psychotic Chameleon" album & I truly need the fans to start showing up & showing out more on the social media side. I'm not seeing enough presence & I know we can do better. Life does not revolve around me in no fashion, shape or form but this is an investment in your love for music especially mine
I only have a staff of 5 when it comes to handling Planet 12 business so it's truly gonna take the love and support of all of you on high volumes to achieve what I believe can be a major success for this next album because I'm planning a bigger promo campaign for this one than I did when I put out the 1st album so it's truly gonna take strong visibility of the fans showing up, re-tweeting, liking, talking, using the hashtags, downloading and especially purchasing. Even putting L*A*W or Planet 12 in your Twitter or IG bios help too. I just learned that some of you who claim to be Planet 12 fans haven't even purchased the 1st 2 albums. How that's gonna look if a music exec or just an inquiring potential fan coming to you and asking you what's your favorite song & YOU DON'T EVEN HAVE THE ALBUM. Not being pushy or hasty but We can't win unless the support is there. We accomplished a lot but we still have so much to prove even more now so again, constant support is needed....I go hard for y'all and I do expect that in return because when the smoke clears, you all are gonna be the proud ones to say "WE WERE HERE SINCE IT STARTED"....it's your stories that's gonna make the difference in serving notice to an industry that does NOT support indie music. Ask NKOTB & Johnny Gill who put out great albums that would have never gotten noticed if it wasn't for us supporting them since they are no longer on the major labels. Tyrese just recently went #1 on the top 200 Billboard charts with a real R&B on his independent label so again I say.....IT'S POSSIBLE IF WE WORK TOGETHER AND DO WHAT IT TAKES
If it's a movement, we have to act like it & treat as such. For us artists, there are 4 quarters in which we have up until the 2nd week of December to be effective before the industry shuts down so I'm trying to make 5 months count so again I humbly ask.....LET'S GO EVEN HARDER AND SEE WHAT WE CAN DO ESPECIALLY BEFORE I LEAVE FOR LONDON
THANK YOU SOOOOO MUCH AND I LOVE YOU ALL
THERE IS NO ME WITHOUT YOU SO LET'S GO HARDER TO GET BETTER
L*A*W....THE MOST TALENTED KID IN THE MUSIC BIZ
#Planet12
https://www.facebook.com/pages/The-Official-Fan-Page-Of-LAW-Planet-12-Productions-/189013589954
https://twitter.com/planet12law
Posted by Brooke Brown at 9:32 AM No comments:
Concert Review: 'Heart & Soul Tour' featuring Earth, Wind, & Fire & Chicago
When you talk about longevity in the music business, you might think of Paul McCartney or the Rolling Stones, but in my case Earth, Wind, & Fire & Chicago define that word. They have been touring, and creating music for more than 45 years! Yes, that is close to 20 more years than I have been on this Earth.
Let's get in to the 'Heart & Sour Tour' shall we? So due to popular demand from the prior 4 tours from these two bands, another one was born. The amount of hit songs each band has produced over their 45 year career, was probably enough to get fans to buy a ticket to a date, but from previous experience of attending prior tours, it was to be enjoyed.
The concert began with a brief, but awesome trip down memory lane of their hits over the years. Then both bands came out swinging with a collaborative opening of songs from both bands. Upon that, Earth, Wind, & Fire began their set of favorite hits spanning their career. Despite the age of Philip Bailey, Maurice White, and Verdine White, the show they put on with other younger members is something to rival the newest of act out there today. Legitimate musicianship and vocals from great bands just adds to a great show. Chicago followed suit after a brief intermission to keep the show going.
The best part of the concert was the finale of both bands playing their most popular hits. Everybody FINALLY stood up to enjoy the music. Yes, I don't agree with the behavior of the crowd when the band is older and putting on a great show. Get up, dance, sing along, and enjoy a concert or don't ruin it for others. We ALL pay for tickets!
Enjoying these two bands with my mother was an added bonus knowing how much she adores both bands. If you ever have the chance to catch a show on this tour or any future tours, it's HIGHLY recommended!
Mr. Phillip Bailey killing those vocals as usual! #EWF #45years
A video posted by Brooke Brown (@saxy15) on Jul 21, 2015 at 8:56pm PDT
Album Review: " Hollywood: A Story of a Dozen Roses" by Jaime Foxx
When most people think of Jamie Foxx, they look at him as a great comedian, actor, & impressionist. However, the man is a classically trained pianist, and singer. Jamie Foxx has had a few hit songs and albums over the years. So it's time to call him a musician as well.
After hearing, seeing appearances on talk shows, I knew I had to review his latest album, "Hollywood: A Story of a Dozen Roses". Jamie's ability to collaboration with other popular artists is not forgotten on this album. The song "You Changed Me" features Chris Brown. The only gripe with this album right off the bat is the use of the N word lyrically. R&B music shouldn't be alienated as "Black Music" anymore, thus the use of this language set us back as a society.
"Like a Drum" features rapper Wale, and aside from the beat and music, the song is a amateur lyrically. "Another Dose" is much better with the vocals by Foxx as well lyrically, it also has a great R&B beat. This song makes you wonder why the collaborations thus far aren't really that good. Then comes the collaboration with Pharrell Williams "Tease" and you are instantly dancing along.
It's clear why the first single off of the album is "Baby's in Love" featuring Kid Ink. It has an infectious beat, killer vocals by Foxx, and Kid Ink adds a flare to the song you would expect. "Text Message", "Hollywood", "Vegas Confessions", "Socialite", all tell person stories along with great beats and music composed by Jaime. It's clear that this album is a way for Jamie to get many things off his chest about life, love, and being a celebrity.
"Dozen Roses" interludes add to the album, but that's about it. "In Love by Now" tells a heartbreaking tale of being single in the public eye as well raising a daughter. "Jumping Out the Window" displays Foxx's skills at the piano as well as a songwriter. "On the Dot" features Fabulous, and is also has an infectious beat to dance to. Take a listen to "Right Now", "Pretty Thing", & "Ain't My Fault" to round out the album as the you might hear homage to Michael Jackson, as well as other in the R&B music game.
Overall, it's a good album, but I expected it to better. Then again the competition in the music industry these days, and need to stay relevant.
Concert Review: #TheMainEvent Nelly, TLC, & New Kids on the Block
For the past 7 years, New Kids on the Block has been touring, and along with that trying to figure out how to make their shows unique and entertaining. Who can forget the NKOTBSB tour? Most thought a Boyband Palooza was going to come out of that, yet it did not happen.
So when #TheMainEvent tour was announced with tour mates Nelly and TLC, many were just as excited to get tickets like #ThePackageTour with Boyz II Men and 98 Degrees brought in 2013. The questions of whether or not fans of each artist would get a long or if the idea was too weird to wrap a head around weren't asked this time around.
The theme of a huge Boxing match granted the tour started the day before the Mayweather vs. Pacquiao fight in Las Vegas was very clever. Or was that a coincidence? It was nice to see Nelly play all of his hits to bring the nostalgia of his entire career to life on stage with little theatrics. From the first album "Country Grammar" to the latest album, plus a couple other songs to keep the crowd hyped worked to Nelly & company's advantage.
Despite missing the late Lisa 'Left Eye' Lopez, TLC and dancers didn't disappoint by performing their hits well. From "What About Your Friends" to "Ain't Too Proud to Beg" to "No Scrubs" and the tribute to their lost member with "Waterfalls" there set was a blast from the past! Remember TLC is still considered the most successful Female group of all time to many.
The boxing theme was alive and well for the entrance of New Kids on the Block after a great music video by Danny Wood, and cheesy commercial from Donnie Wahlberg from the "Blue Bloods" set. Then "Block Party" (released along with the 2013 album "10") to set the tone for the fun to come during their set. Highly suggest night a fun by buying a ticket to this tour. Check it out for yourself!
Yves Jean's Love for Music
Ever since I was a child, I've always enjoyed music. It was not until my senior year in High School, that I wanted to be creative. I've always wanted to counter what was on the radio, or what was considered popular music. Unfortunately, many talented artist, don't get to see the light of day, in regards to exposure. However, the internet has given a great path to artist like myself. It allows us to stay creative with our vision and reach potentially millions of people.
I've put out five albums since 2000. I treat my releases as a time capsule to my past. The lyrics and the arrangements showed what influenced me, musically, socially and politically at the time. My current EP Stand A Little Taller, has evolved into a mature, lyrically driven, multi-genre with a pop aesthetic feel. I never planned for the EP to sound this way. It just came out naturally. By being independent, I can do what I want.
http://www.yvesjeanmusic.com/
http://www.twitter.com/yvesjean
http://www.facebook.com/yvesjeanmusic
Album Review: Rebel Heart by Madonna
It's the month of March in the year 2015 and pop icon Madonna has a released a new album titled "Rebel Heart". Let's talk about this album as well as the legacy Madonna will leave.
The first track on the album titled "Living For Love" is the first single off of the album as seen by performances on this year's Grammy's and BRIT Awards. If you have been paying attention to Madonna in recent years, or perhaps her entire career, you will notice that Madonna marvels in telling stories and addressing issues lyrically that may be avoided by others. The beauty of a song by her are the melodies that will in turn make the song appealing to the masses. Madonna's adaptation to the EDM (Electronic Dance Music) scene has been a good move. Some EDM purists may not like the inclusion, but Madonna's vocals and lyrics add grace to a track meant to bring people to a dance floor.
The second and third tracks on the album "Devil Pray" and "Ghosttown" share emotions that all of us can relate to in life. These tracks are more tied to the Pop genre rather than an upbeat dance track, but should not receive any lack of recognition. As Madonna has called herself an "Unapologetic Bitch" many a time, the fourth tract with a Reggae vibe with the familiar vocals by Madonna will probably turn into an anthem for feminism. Upon first listen of this song, you may find yourself dancing along.
"Illumanati" the fifth track begins with a list of other popular artists laced with electronic beats that vary in tempo keeping you listening. This applies for the next track "Bitch-I'm Madonna (feat. Nicki Minaj)". It's clear the choice to collaborate with famed DJ and Producer Diplo was the best thing for this album. However, it's not the first time these two have joined forces, with appearances at music festivals and the like.
Your challenge is to listen to the album in entirety, (try Spotify for Free). Each track belongs on the album, and remember Madonna is not known for her voice, but her message that addresses what others miss. Forget her age, and marvel in her ability to evolve right along with music. Perhaps in years to come we will see Madonna not only as an Pop Icon, but also a Evolutionary Artist. Remember Madonna is the most successful female artist of all time!
Artist Review: Straight No Chaser
If you are a music enthusiast, you may have heard of this 10 part A Capella group from Indiana. If you the music novice you probably have not considering the genre of music is not as popular as it once was, and well as it should be now.
Straight No Chaser began at Indian University in 1996 breaking off from a bigger choir to 10 guys to basically sing for girls and food as they tell their story. Just like any group formed in college, they all graduated, went on to do other things, keep the legacy group at the IU, and well lived life. When the 10 year reunion rolled around, one of their founding members Randy Stine uploaded a video to YouTube for them to reminisce.
This upload went VIRAL, and the president of Atlantic Records sent a message to get the gang back together as they would be needed to sign a record deal. Speaking as a Chaser (fan of SNC), their appeal isn't just limited to their RAW TALENT, it's also attributed to their sense of humor.
This brings me to the records, albums, lists of songs, or whatever the kids use these days. They began as a group that does holiday songs, but is also known for their covers of pop songs that you know and love. Their "Straight No Chaser Twist" is just what is needed to a group that not only loves music, but loves to have fun as well. It's translated in their performances throughout their many tours that they have had up until now. This is where you are highly urged to check out "Christmas Cheers", "With A Twist", "Six Pack", "Six Pack Vol. 2", "Holiday Spirits", "Under The Influence", & "Under The Influence: Holiday Edition".
This group is BRILLIANT, been suggested on the Podcast Trending Topics with BB, and deserves even more praise for their talent.
I will leave you with a few more videos for your auditory, and visionary pleasure.
The Sound & Connection of Black Stax
Our sound is one where we take all forms of 'Black music' and do our best to 'stack (stax)' them together to create the most Quality material. While paying homage and acknowledging those who have laid the path for us to build on.
Our connection to music is Genuine. We come from the admiration of the artists we have listened to growing up and those that inspire us as our peers. And, see the Future in our youth. Our connection is to the Community we come from, the Struggles that have been fought, the experiences we've had , the responsibility to continue the Culture and the Humbleness to be able to create. We believe we have to be Purposeful in our messages in our music, while having the ability to capture the audience (newborn-80) with the Soul and Spirit that resonates inside our US.
Always being Thankful for our God given Talents! And, speaking for those that are not always listened to or Represented.
www.blackstaxmedia.com
@blackstax (on twitter)
www.facebook.com/black.stax
black_stax (on instagram)
soundcloud.com/blackstax
'Black Stax at Madaraka Festival'- http://youtu.be/iZKFe5dMW4c
'Black Stax VOL 2:Staxin Continues' (promo video)- http://youtu.be/iZKFe5dMW4c
'I Love my Life'- http://youtu.be/lCHTAFjE3Sg?list=PLO9JTZ_e41QF3SxcSS5DumJC4lPM1OUsc
'STAR' Black Stax ft Naomi WamBoe (Kenyan vocalist)- https://soundcloud.com/blackstax/star Produced by DJ Shingi, Visual created by Lady Flava
Black Stax
Antonio Fresco's Love for DJing & EDM....
As person who has always been involved with music since a young age, and coming from a family who is ingrained in music in some sort of facet, it was only inevitable that, I would take my place in the family legacy and continue the tradition. From playing the Alto Saxophone at the age of six, then switching to drums during my middle school years, and then finally picking up the turntables in my late teenage years, my love for music was quite evident.
Growing up in Baltimore, Maryland, during a time when the "Baltimore Club Music" sound was so prevalent and dominated the club scene, dance music was a very popular thing. This sound, was my first real taste of dance music, which caused me to dig further deeper into uptempo music. Along side my love for DJing, and music as a whole, my love for music expanded even further as I got into the radio industry as a DJ.
Working for a college radio station, I got to experience a lot of music that was underground and not as popular as the mainstream sound. This sowed early seeds for me to later become a music producer, as my radio career led me to Dallas, Texas to become a dj on one of the biggest radio stations in all of Texas. Today, producing and DJing is not only my passion, but my career as well.
Focusing on dance music as my main inspiration for creating, I also try to make sure I consume as much music from other genre's as well to help keep my thinking/creativity "Outside The Box", and keeps my perspective fresh.
So for me, a love for all music drives me as a DJ, and my love for creating music drives me to become the best EDM Producer and Artist that I can be.
Until we meet again, continue to Love each other...
-Antonio Fresco
//CONTACT ANTONIO FRESCO
antoniofresco.com
Twitter: twitter.com/djantoniofresco
SoundCloud: soundcloud.com/AntonioFresco
Facebook: facebook.com/djantoniofresco
Show Days by Andrea Godin
Show days are my favorite part of being an artist. There is so much preparation and behind the scenes work that goes into each show, and it all pays off when you get to perform and show the audience what you've been working on.
The day of a show, myself and my team usually have a very busy day ahead of us, so of course stocking up on coffee is a must before hitting the road! After days and hours of long rehearsals to get my show just right, this is when I really start to get excited and thankful for another opportunity to get on stage. The road trip to the show is always fun because our team is like a 2nd family and I have so many fun and happy memories with them throughout the past 2 years.
Once we arrive, it's time for hair and makeup! This is when I relax, go through the show in my head, and have tea & honey for my voice. Once the dancers and I are glammed up, I start my warm ups and we begin going through the show together, even if it means rehearsing in our hotel room. I like to be very prepared because giving the audience a memorable show is so important to me.
Sometime in the midst of all this I get to do my sound check. The sound is different in every venue so a sound check makes me a lot more comfortable with the stage and vibe of the venue.
I still get pretty nervous before I go on stage. I always have and I think I always will because, like I said, every show is important to me. But the excitement always outweighs the nervousness. Right before it's time to go on stage is when I'm the most nervous, but as soon as I start performing the nerves usually disappear. Being on stage is what I work so hard for and to see an audience get so into my show makes me want to work even harder so that I can continue to travel and go on hundreds of more stages in my life.
After I get off stage, I love meeting and getting pictures with everyone. Nothing makes me happier than someone saying how much they loved the performance or a certain song that I performed. To me, that's the whole point of making music!
This year I know there is going to be so many more amazing memories and I cannot wait to see what they may be! To anyone reading this who I have met at a show and has shown your support ever since (you know who you are!) thank you so much. Some of the goals I've had and will have haven't been easy, but it makes it that much better knowing you guys are there showing your huge amount of support. Looking forward to more shows, meeting more amazing people, and making more memories with the awesome people that I've met.
Andrea Godin is no stranger when it comes to the music industry. Born and raised in St. George, Ontario, this beautiful Pop/Dance/R&B recording artist knew at a young age she wanted to be a singer. After her first performance at 11 years old, Andrea was ready to get her career started. More information available on her website!
Album Review: "We Are All We Need" by Above & Beyond
Yes, there might be a trend of album reviews of DJ/Artists in the Electronic Dance Music (EDM) scene these days. You must remember that the purpose is to highlight music & musicians for the talent they possess. That being said, upon finding out that a member of the A Capella group Straight No Chaser is also an EDM junkie, he suggested to check out Above & Beyond's new album "We Are All We Need".
Instead of worrying if there is enough money in the budget for albums, there is the wonderful invention called streaming. Thus, it was easy to get right on this task. As explained in previous posts of EDM album reviews, the vibe to enjoy yourself and the music continues. The concept of this album is explained by it's title.
The first track "Quieter is Louder" is brilliant, as it is what you might call a quiet ambient track, yet it speaks volumes as you listen. Well, that's the interpretation thus far, take a listen for yourself. The next track is the title track "We Are All We Need" featuring the vocals of Zoe Johnson, and it fully delivers on its promise to bring to life Above & Beyond's musical talent adapted to the electronic sound. "Blue Sky Action" featuring Alex Vargus continues the trend.
Let's just say, the break down of each track could continue. However, in this review, not only is the introduction to the album a goal, but deeper understanding of Above & Beyond is warranted. In fact, let this acoustic set the tone.
The adaptation of acoustic to electronic and back again needs to acknowledged. Have you added "We Are All We Need" to your collection yet?
Album Review: "United We Are" by HARDWELL
For a genre that was once considered an Indie not set for mainstream, Electronic Dance Music (EDM) has made a name for itself as mentioned in previous posts on this blog. There have been many great EDM albums released in recent years, but today it's time to focus on DJ and Producer HARDWELL's debut feature album "United We Are".
The EDM Movement the we are seeing in popular culture these days stems from the unity both the artists and the fans carry from every event. Attendance records are constantly being broken, and as Las Vegas is seeing, the adoption of Electric Daisy Carnival (EDC) has helped improve their economy tremendously. Another reason to believe this movement has caught on is the willingness of each DJ/Producer/Artist to collaborate and allow the masses to stream their music on services such as Spotify, Pandora, etc.
"United We Are" begins with the song "Eclipse", which has been an opening track HARDWELL has used to begin his live sets, some of which are posted on YouTube these days. The dramatic music lead in to a solid dance track is sure to pump up those ready to have a good time. In commentary about this release, HARDWELL has said his support and positive vibe from his fans lead to calling the album "United We Are". The second song "Follow Me" features Jason Derulo, which will get both sets of fans in on the fun. Collaborations among dance and popular artists tend to be the trend as of late. The next song "Sally" is just a club/dance jam.
"Let Me Be Your Home", "Colors" featuring Tiesto, & "Where is Here Now" continue to the great dance vibes that will be sure to get people singing along as well as dancing to the sick beats. The title track "United We Are" sets a tone for the entire album, especially when the vocals by Amba Shepard enter the song. The collaboration with Fatman Scoop & W&W on "Don't Stop the Madness" really gets the raging going, and is really brilliant on HARDWELL'S part. Then again in the commentary about this track, HARDWELL explains that using Fatman Scoop a lot in his live sets lead to his motivation and collaboration for this track.
The following tracks on the album do not disappoint as well. HARDWELL created a great album full of great collaborations, sick beats, and great dance vibes. It is really fitting that "United We Are" has the potential to unite all who love EDM, and this movement.
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To retain and penetrate multi-site accounts with the MRO potential of $500K-$19 million. Develop headquarters and site specific relationships to drive contract compliance, expansion and to ensure Acklands-Grainger becomes the organization's primary MRO provider in both product and services.
This role will negotiate profitable agreements, ensure the implementation and compliance to agreements both with the customer and direct sales team and Acklands-Grainger resources.
Provide visible leadership and facilitation of the sales management process to create improved revenues and earnings for the Company.
Develop and implement programs and plans for the accomplishment of Company sales, GP and related services objectives.
Provide functional direction and personal involvement as required to support the direct sales and customer service teams in the planning, penetration and barrier removal within high potential sites.
Develop/negotiate new agreements that position Grainger as the Primary or sole source MRO provider.
Evaluate, negotiate and direct the development, maintenance, or discontinuation of Customer agreements through the contract management process.
Develop and ensure the implementation of value-added programs and key measurements that align the customer's business objectives and our core value proposition.
Coach Field Sales Team members relative to the strategic and tactical implementation of customer specific market plans while providing feedback for their professional development.
Provide leadership in Change Management methodology throughout the customer's organization.


We may not be able to beat the banks, but we don't have to play their game. We can take our marbles and go home. The Move Your Money campaign has already prompted more than 600,000 consumers to move their funds out of Wall Street banks into local banks, and there are much larger pools that could be pulled out in the form of state revenues.
States generally deposit their revenues and invest their capital with large Wall Street banks, which use those hefty sums to speculate, invest abroad, and buy up the local banks that service our communities and local economies. The states receive a modest interest, and Wall Street lends the money back at much higher interest.


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ArtistsExhibitionsBooksViewing RoomsArt FairsVideoNewsAbout
Leon Polk Smith
GRAY Chicago
Sep 13 - Nov 23, 2019
Installation view of Leon Polk Smith: Endless Space, 2019.
September 13 - November 23, 2019
Opening reception:
Friday, September 13, 2019, 6-8PM
Gray Warehouse, Chicago
Richard Gray Gallery is pleased to announce Endless Space, an exhibition examining the paintings and drawings of Leon Polk Smith (1906 - 1996). The exhibition opens at Gray Warehouse on Friday, September 13, 2019 with a public reception from 6-8 PM.
Leon Polk Smith: Endless Space features paintings from the artist's iconic Correspondence and Constellation series which he produced over a nearly twenty-year span between the late 1950s and the 1970s. Characterized by their interactive multipart compositions, the canvases created during this time period have come to be known as the artist's most signature works. Endless Space expresses Smith's nimble and daring shift from rectilinear canvases to shaped supports, and from single-panel works to complex, polyptych installations. Fusing together bright colors at a curved edge, Smith's compositions push the confines of the canvas. "I was fascinated by the interchange of the positive-negative aspect of [Mondrian's] paintings with no background," Smith described in a 1966 artist statement. "I was thrilled to think that if I could liberate this quality which he confined to the rectangle into a free form, that I would be able to express the endless space."
As Smith's large-scale paintings reveal an abundance of formal ingenuity, they also contain elements of personal narrative that demand further examination. Smith was born in 1906 to mixed, half-Cherokee parents near the territory of Chickasha one year before it was incorporated into the state of Oklahoma. The artist's Native heritage and proximity to indigenous traditions provide a nuanced background for the role of space and color within his compositions. With this biographical context, Smith's abstract expanses thereby reemerge as open roads, infinite plains, and vast skies — vestiges of his childhood landscape and rural upbringing, working on his family's farm, and his work constructing highways. Offering an important frame of reference alongside Smith's Native identity are his experiences living as a gay man in McCarthy era New York City. In the exhibition's accompanying catalogue, injecting the predominant formal analysis of Smith's work with queer theories of anthropomorphism, art historian Jonathan David Katz discusses the artist's painted forms as a coded representation of then-illegal homosexuality, a "redirection of the impersonality of geometry towards the chaos of desire." Between these formal, social, and political readings, Smith's works adamantly coalesce around one vital certainty — the notion of endless, polyvalent, and colorful space.
ABOUT LEON POLK SMITH
Leon Polk Smith (American, 1906 - 1996) was a painter heralded for his lifelong commitment to exploring color and shape through reductive geometric compositions and shaped canvases. Born on Native American lands, Smith grew up with his eight siblings in a farming community among American Indians of the Choctaw and Chickasaw tribes. Smith received his primary and college education in Oklahoma, and moved to New York City in 1936 to pursue a graduate degree in arts education at Columbia University Teachers College. In New York, he worked at the nascent Museum of Non-Objective Art (later the Guggenheim Museum) where he encountered the works of Modernists such as Piet Mondrian, Constantin Brancusi, and Jean Arp. Smith was immediately drawn to the ways in which Modernists harnessed geometry and space, concerns that would remain at the forefront of his practice throughout his life. From the mid 20th century onwards, Smith was predominantly seen within the category of geometric abstraction. But as abstract and minimalist painters of the time began to diverge from Modernism, Smith continued onwards, innovating the formal and rational elements of the Modernist tradition. From his first solo exhibition in New York City in 1941 until his death in 1996, Smith's paintings exuded a buoyant optical tension—or what critic Roberta Smith would term a "slightly unhinged optimism"—that would come to be regarded as central to the foundation of the hard-edge movement.
Smith's work has been the subject of solo exhibitions at several major institutions including the Rose Art Museum and San Francisco Museum of Modern Art (1968), Musee de Grenoble, France (1989), The Brooklyn Museum (1996), and the Munson-Williams-Proctor Arts Institute (2017). His work also resides in an array of important institutional collections including the Art Institute of Chicago, Albright-Knox Art Gallery, Brooklyn Museum, Cleveland Museum of Art, Crystal Bridges Museum of American Art, Dallas Museum of Art, Detroit Institute of Art, Hirshhorn Museum and Sculpture Garden, Los Angeles County Museum of Art, The Metropolitan Museum of Art, The Museum of Modern Art, The National Gallery of Art, and the Whitney Museum of American Art, among others.
The Leon Polk Smith Foundation was established by the artist and has been active since Smith's death in 1996. More information on Leon Polk Smith and his work can be found at the foundation's website: www.leonpolksmithfoundation.org.
Leon Polk Smith Foundation
Newcity
Irregular Motion: A Review of Leon Polk Smith at Gray Warehouse
By Caira Moreira-Brown
The Brooklyn Museum
Leon Polk Smith | Brooklyn Abstraction: Four Artists, Four Walls Aug 12, 2022 - Aug 6, 2023
This installation of works by Maya Hayuk, José Parlá, Kennedy Yanko, and the late Leon Polk Smith—four artists with strong connections to Brooklyn—creates a dynamic environment through four distinct, visually immersive experiences. Animating the monumental architecture of the Museum's Beaux-Arts Court, each artist transforms the iconic space with brilliant and subtle colors, intriguing surfaces, and wide-ranging materials.
Palm Springs Museum of Art
Leon Polk Smith: 1945-1962 Mar 26 - Aug 28, 2022
This exhibition presents the work of the innovative painter, Leon Polk Smith (1906-1996), whose significant contributions to twentieth-century art are becoming increasingly recognized. This presentation focuses on paintings and works on paper from the 1950s when Smith's mature style began to flourish.
Newcity September 25, 2019
Caira Moreira-Brown reviews Leon Polk Smith:Endless Space for Newcity. The exhibition is on view at Gray Warehouse through November 23, 2019.
Gallery Talk: David J. Getsy, Jonathan David Katz, and William Smith
Gray Warehouse, Chicago Saturday, September 21, 2019, 12 PM
Richard Gray Gallery is pleased to host distinguished scholars and curators David J. Getsy and Jonathan David Katz, in conversation with Art in America Editor-in-Chief William Smith. The panel discussion takes place on the occasion of Endless Space, an exhibition surveying the paintings of Leon Polk Smith from the 1950s to 1970s.
EXPO Chicago: Art After Hours + Musical Performance by Majel Connery
Gray Warehouse, Chicago September 20, 2019, 8-9 PM
Richard Gray Gallery is pleased to participate in EXPO Chicago's Art After Hours program with a performance by multi-hyphenate musician and vocalist Majel Connery on Friday, September 20, 2019 at Gray Warehouse.
Leon Polk Smith: Endless Space
info@richardgraygallery.com
GRAY MICHIGAN AVE
875 N Michigan Ave, Ste 3800
chicago@richardgraygallery.com
2044 W Carroll Ave
Tuesdays appointment only
Wednesday - Saturday
GRAY NEW YORK
1018 Madison Ave, Fl 2, 4
newyork@richardgraygallery.com

redpajama_set_name: RedPajamaCommonCrawl


text:
Alternate image for Nathan "Nate" L. Kinard
Tammie M. McClendon
William & Mary Law School (J.D., summa cum laude, 2015)
Vanderbilt University (B.Mus., 2012)
President, Federalist Society for Law and Public Policy, Chattanooga
Chattanooga Bar Association
State Bar of Georgia
Virginia State Bar
William and Mary Law Review Executive Board, Senior Articles Editor
Dean's Scholarship and Leadership Award
Virginia Trial Lawyers Award for Most Outstanding Trial Advocate
Dean's Certificate
Legal Practice Scholar
Blackstone Legal Fellowship, Fellow
Marshall-Brennan Constitutional Literacy Project, Fellow
ABA Labor Law Competition (D.C. Region), First Place in Mock Trial for William & Mary Law School
South Texas Mock Trial Invitational, First Place Brief
Tennessee High School Mock Trial Competition, 2017-2019
Nate loves to spend time with his wife, Megan, and their Great Dane, Duke. He enjoys traveling with Megan, and working on cars (especially BMWs) and home improvement projects. He cheers for the Vanderbilt Commodores and Chattanooga FC. He is an avid reader and is heavily involved in his church. Nate was born in Argentina and grew up in Chattanooga, Tennessee.
Grayson Chambers
Logan C. Threadgill
Kelly B. Etchells
Nathan "Nate" L. Kinard
E. nkinard@chamblisslaw.com
The most rewarding part of my job is devising creative strategies to solve our clients' toughest, most complicated legal problems.
Nate Kinard is passionate about achieving his clients' objectives in complex, high-stakes litigation and arbitration matters, including bet-the-company cases. He prides himself on developing cutting-edge arguments and solving seemingly intractable questions of law.
He regularly appears before arbitrators, judges, juries, and appellate courts, and also has successfully resolved cases using critical motions such as motions to dismiss, motions for summary judgment, and motions for JNOV. He has represented clients in appeals in Tennessee, Texas, the 6th Circuit, the 11th Circuit, and the U.S. Supreme Court, and in trial-level cases in state and federal courts all over the country.
Nate provides top-level risk management advice to general counsel for established businesses and startups, primarily regarding complex disputes over sales of goods, large construction projects, manufacturing and distribution contracts, intellectual property, and products liability.
After graduating summa cum laude from law school, Nate served as a law clerk for the Honorable Andrew Kleinfeld on the U.S. Court of Appeals for the Ninth Circuit.
Nate is licensed and admitted to practice before Tennessee and Georgia courts. He is also licensed in Virginia.
Obtained complete defense victory in AAA arbitration, representing manufacturer against a dealer that claimed wrongful termination and sought over $6 million in damages; arbitrator ruled that dealer's cause of action was unconstitutional
Successfully briefed and argued case regarding enforcement and interpretation of judgment before Tennessee Court of Appeals
Successfully obtained dismissal of case for lack of personal jurisdiction, and authored merits brief resulting in affirmance by Tennessee Court of Appeals
Obtained complete defense victory in trademark dispute in Central District of California, through dismissal for lack of personal jurisdiction
Principal author of merits brief before the Tennessee Supreme Court in connection with high-net-worth individual's estate
Successfully defeated petition to Tennessee Supreme Court
Principal author of brief to U.S. Court of Appeals for the Eleventh Circuit, resulted in favorable settlement before argument
Defended prime contractor in multimillion-dollar defective construction suit involving over a dozen parties, resulted in favorable settlement
Principal author of writ of certiorari to U.S. Supreme Court
Defended food manufacturer in multimillion-dollar contract dispute in Georgia, resulted in favorable settlement
Principal author of application for permission to appeal to the Tennessee Supreme Court
Defended large healthcare provider in Eastern District of Missouri regarding contract dispute
Successfully represented client in FINRA arbitration asserting negligence claims against financial advisor
Co-author of brief and second chair in argument before U.S. Court of Appeals for the Sixth Circuit
Jeffrey Maddux and Nate Kinard Featured in Spring/Summer Issue of TDLA Journal
Free Estate Planning Clinic "Wills for Heroes" Benefitting Local First Responders
Chambliss Litigation Team Grows with Three New Hires


Studio 4:07 Juggernaut album. Extremely common. Available new in CD and digital form.
Studio 4:07 Anthology album. Moderately common. Available new in digital form.
Live Acoustic 4:33 Mark Seymour Titanic album. Moderately common. Available new in CD and digital form.


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Adelaide Festivals / Cabaret / Comedy / May 22, 2015
My Vagabond Boat Sails Into The Banquet Room, With Nigel Ubrihien At The Musical Helm – Adelaide Cabaret Festival Interview
by Sian Williams.
My Vagabond Boat is an exploration of ideas, looking at various situations of displacement, belonging, and humanitarianism. Observing many things and presenting them in such a way that leave the audience thinking a little more closely than perhaps upon their arrival, this is a light-hearted show meant to make you laugh and wonder. The Clothesline chats with Nigel Ubrihien, the Musical Director who also stars with Gillian Cosgriff and Mitchell Butel, about the idea behind the scenes, the importance of creating a space for thought and about the hilarity and significance of their costumes.
We ask Nigel to explain why Mitchell Butel is wearing a bear head; inside joke or crucial to the plot of this Adelaide Cabaret Festival show?
"The bear head is symbolic in that it is simultaneously terrifying as well as absurd, which was our main aim really for this character," he begins. "Something that implied the feeling that something is uneasy with this world, and as soon as we saw it out one day we all understood that 'there is our head'; it didn't need further conversation really. Sometimes these things just present themselves.
"It was the best photo session really; we had a lot of fun with it and so many laughs. It's been a really great group effort, from the original conception of the idea to how we have brought it altogether and to the rehearsals that we have only recently started. It's exciting seeing something come together like this from beginning to end."
Although you are the Musical Director of My Vagabond Boat, do you have other roles that keep you busy?
"Yes actually, I am involved in many things all year round really," Nigel says. "I'm a composer, arranger, actor, musician, lecturer at NIDA, writer of musical plays, promotional work and have the opportunity to play in orchestras. I am really fortunate in that I get to enjoy the most diverse job. I almost forget sometimes when I may be asked to play the piano in a show. I occasionally have to remind myself, 'Oh, that's right, I can also perform. And play. Fancy that!'
"It's amusing to be able to surprise people with the information that I can cover more ground than perhaps they even knew they needed me to. During last year's Cabaret Festival we did a performance of Everybody Loves Lucy, and I was acting as well as playing the piano in that show."
Adelaide audiences will be the first to experience this world premiere of My Vagabond Boat before they take it on tour.
"We have been offered a season in NSW but we aim to ensure our first show is perfect for Adelaide. It's also the time we get to see the show in front of an audience and find anything that may need a little tweaking. We will then tour hopefully next year overseas which, depending on the touring schedule, would likely be about six months worth. We travel a lot with this style of job and it is all part of the beast really."
Are you showcasing a specific story or is this a collection of musical numbers?
"The show has three simultaneous storylines, really," Nigel says. "Essentially the piece is about displaced composers Kurt Weill and Friedrich Hollaender; we thought their lives were similar and we started talking about their stories and the time they spent fleeing persecution, and how they enriched the cultures and the families of where they fled to.
"We looked at our own political environment and our own refugee situation and decided to showcase a little of the Kurt Weill story, as well as the story of a contemporary refugee. We really wanted to present these three stories and not be political about it, but rather play them out and let the audience decide on how they felt about it all.
"Musically, the compositions in our show are Germanic stylistically and have the sound of something you may have heard back in the 1920s/1930s as well as some contemporary offerings," he adds. "It is hard to put all of this into a small blurb, but it is interesting to be able to put these tales out there and hope people come along and enjoy an educational, funny, enlightening evening."
My Vagabond Boat performs at Banquet Room, Adelaide Festival Centre, at various times from Fri 5 Jun until Sun 7 Jun.
Book at BASS on 131 246 and bass.net.au. Click HERE to purchase your tickets.
Tags: Adelaide Cabaret Festival 2015 Adelaide Festival Centre Banquet Room Everybody Loves Lucy Friedrich Hollaender Gillian Cosgriff Kurt Weill Mitchell Butel My Vagabond Boat Nigel Obrihien Sian Williams The Clothesline
Siân Williams


Schlumberger came to us with another phenomenon to simualtion: the injection of gas in order to optimize oil recovery.
Indeed, oil extraction can be devided into different recovery stage. During the primary recovery stage, which corresponds to the first years of production, reservoir drive comes from a number of natural mechanisms: underground pressure in the oil reservoir is sufficient to force oil to the surface. However, over the lifetime of the well, pressure fall and is insufficient to force oil to the surface.
Therefore, after natural reservoir drive diminishes, secondary recovery methods are applied in order to increase reservoir pressure and thereby stimulate production.
Water or gas injection is a secondary recovery method used by oil and gas companies to increase oil recovery from an existing reservoir. Water or gas is injected to support pressure of the reservoir (also known as voidage replacement), and to sweep or displace oil from the reservoir, and push it towards a well.
Normally only 30% of the oil in a reservoir can be extracted, but this method increases that percentage (known as the recovery factor) and maintains the production rate of a reservoir over a longer period.
In the Tarim Basin, due to the complex geometry of the karst reservoir, a large amount of oil is wedged into the cap of the cavities: 38,000 m3 of oil produced (32%) for 80,000 m3 remaining (68%).
The solution proposed by Schlumberger is to inject nitrogen, lighter than oil, in the reservoir to replace oil wedged in the cavities.
In this BEI, CFD simulations are therefore carried out in order to simulate this phenomenon. These CFD simulations will than help Sclumberger to understand flow behaviour in a case of gas injection and see how the technique can be optimized. Moreover, a comparison of CFD simulation and automata simulator results will permit to validate the reservoir simulator developped by Schlumberger for a three-phase flow.


2018-10-15 Addition of a Direct Oracle database connection. InSights no longer needs any Oracle client to connect directly to an Oracle database! As well, we have added a new SQL Scratch Pad to allow you to easily and quickly test SQL statements before you actually put them in a query. The SQL Scratch Pad is kept private by user - and keeps its history from session to session.
2018-06-04 We have added some new Dashboard capabilities - such as the ability to 'enlarge' the part of the dashboard you want to see clearer, added full support for SQLite and a variety of small bug fixes.
2018-03-02 Version 2.x has been released! This includes many new features such as the ability to create ad-hoc Dashboards, new Pivot Grid capabilities, new query building tools, etc.
2018-02-13 Version 2.x is nearing release - and it includes our new Dashboarding feature!
2017-09-13 Our new data analysis and ad-hoc reporting tool is nearing its initial release.


Our focus is and always will be our clients and their overall success through the products and services we provide them. We have worked extremely hard to better ourselves, our products and services, our standards, our procedures and our cost efficiency in order to stay ahead of the competition and to maximise the results we obtain for our clients. We love what we do and want you to love it too.
In our ten years in business, we have successfully established ourselves as a market leader offering high quality, affordable full service web marketing solutions. Our clients range from small business right through to large iconic national and international corporate companies. We have a strong and loyal list of over 300 clients throughout Australia, the UK and the USA.
Although our technical background is one of our greatest strengths, our expertise is combining website design, technology, innovation, creativity and business development techniques to obtain genuine results to ensure the success of each and every one of our clients. We are proud to add you to that list.


Some builders are more difficult than others to serve, and that affects your bottom line. Whether you do anything about it or not, it's important to know who your most and least profitable customers are. This Excel worksheet helps you do it consistently for all your builders. Requires Microsoft Excel 2007 or later.


Big Keanu Reeves fan? Bigger Payday fan? Well publisher Starbreeze behind the hit heist series Payday has some good news for you. Lionsgate—the studio behind the hit movie John Wick—recently announced a partnership with Starbreeze for a virtual reality game based on the movie.
Though this was only an announcement of the project with no screens or video, the game will be a first-person shooter that uses the world and characters from the movie. The game is slated for spring 2016 and will hit "most existing VR headsets". Also announced was a teaser version of the game that will come to the HTC Vive later this year. The game is set to be developed by WEVR and a mobile and VR studio called Grab. Stabreeze will act as publisher.
This partnership has already been witnessed in the Payday series with character John Wick being playable in the most updated versions of Payday 2. Starbreeze has commented that more integration will continue for "cross-promotion and integration of the two games". For more on any games featuring Keanu Reeves, keep checking back with Gamespresso.


HE'S JUST A LITTLE PLAYTHING.  WHY NOT. WAKE HIM UP ?
CUTE. CUTE.  LITTLE BABY.  LITTLE PEE PEE. LITTLE TOES.
NOW HE'S.  COMIN' TO ME.  CRAWL ACROSS. THE KITCHEN FLOOR.
BABY, BABY, PLEASE LET ME HOLD HIM.
I WANNA MAKE HIM STAY UP ALL NIGHT.
SISTER, SISTER,  HE'S JUST A PLAY THING.
WE WANNA MAKE HIM STAY UP ALL NIGHT.
SEE HIM DRINK.  FROM A BOTTLE.  SEE HIM EAT.  FROM A PLATE.
STAY UP LATE.  AND WE'RE HAVING FUN WITH NO MONEY.
LITTLE SMILE ON HIS FACE.  DON'T CHA' LOVE.  THE LITTLE BABY.
I KNOW YOU WANT TO LEAVE ME.
WHY DON'T WE PRETEND. THERE YOU GO LITTLE MAN. CUTE,CUTE WHY NOT?
LATE AT NIGHT. WAKE HIM UP.


In this article, Jesudas Chinnathampi (Das) reviews "Building a Web 2.0 Portal with ASP.NET 3.5" by Omar AL Zabir (O'REILLY Publishing). Das does a chapter-by-chapter analysis of the book and explains how this book will help you build an AJAX enabled Web 2.0 portal.
Web 2.0 seems to be the latest buzz. Omar AL Zabir, the author, is the CTO and co-founder of Pageflakes. Omar is also a Microsoft MVP. This book exposes the potential hidden in the Microsoft AJAX framework. Combined with ASP.NET Framework 3.5, building web 2.0 portals become easy enough. Widgets are the heart of any web 2.0 portal. Everything from building a small widget control to the difficulties associated in rendering a widget has been greatly analyzed in this book. For those who want to wet your hands, you are provided with a live working website named www.Dropthings.com. Throughout the book, you will find several examples which are based on real time web 2.0 portals, such as Pageflakes, Dropthings etc. Apart from explaining how to build a web 2.0 portal, Omar has explained many issues that he and his team faced when the Pageflakes was launched initially. He also provided in depth analysis in how they solved those issues. To visit the publisher's (O'REILLY) website, please visit the following link.
Oh thats review, hehehe i thought.... Now i get to know you wrote review about book, actually after reading your article allegedly review, i got confuse. ok if you say then i believe but i had some other definitions or experience of reviews.
it seemed me just chapter to chapter brief intro.
First of all, thanks for the comments.
Reviews differ a lot from person to person. Again, when reviews are published in various websites, the book gets more visibility. People who read articles at ASPAlliance may not read at O'Reilly or MPV blogs.
Here at our ASPAlliance, we get occasional requests from publishers whether we are interested in writing reviews for their books. If we say YES, they sent us a copy of the book. From that moment, our conversation with the publishers end. Period. Then we read the book and write our own review. Once the review is published at our website, the book gets more publicity.
You are right, it is kind of advertisement for the publishers. But, people who read ASPAlliance articles will also get benefitted from reading the review.
So, you can except an article from my side in the future about creating widgets.
Actually i don't understand purpose of this explanation about web 2.0 portal book, where as book and publishers do this in a better way means YES let me show you links.
Can you please show me a book which explains Web 2.0 portal better than this one?
And, I do not get paid from O'Reilly.
how much did you get pay to write this crap.


The initial design and planning of irrigation directly affects a container nursery's flexibility and adaptability in providing adequate water to crops during drought. Most container nursery growers who have experienced droughty conditions expanded their irrigation resources by drilling wells, constructing ponds, and recapturing and recycling irrigation runoff. To prepare for droughty conditions when designing a nursery, growers must determine how much water they will need when irrigating during the growing season. Once the water supply is in place, choosing a delivery system is most important, followed by making sure the water is delivered accurately, efficiently and in the correct amount for the crops being grown.
Strategically designed natural landform structures are the primary source of irrigation water at most container nurseries. Wells are often used to recharge (dilute and freshen) and re-supply water in these structures. Many nurseries have always captured and recycled irrigation runoff to have adequate irrigation supplies. This practice has been adopted widely as the benefits of recycling water and an increased environmental awareness have been embraced by nursery professionals.
The single best management practice for reducing run-off, decreasing nutrients in the water supply, capturing pesticide residues and disease organisms (all of which may be present in recycled water) is to filter the return water through grass strips and other vegetated areas such as constructed wetlands or secondary impoundments. Pond aerators may also help oxygenate surface waters and enhance breakdown of impurities by aquatic microflora. Many nurseries have also begun water treatment procedures such as chlorination and extensive filtration before reapplying water.
Most nursery crops grown in 1- to 5-gallon containers are irrigated by overhead-impact sprinkler irrigation. Each sprinkler nozzle may require up to 15 gallons per hour for proper performance. Professionals who design irrigation systems for container nurseries suggest that no less than 1-acre inch (approximately 27,000 gallons) of irrigation storage per acre of nursery stock per day be used in planning for water supplies. Another recommendation used for planning water supply is 5- to 10-acre feet of irrigation water per acre of nursery stock per year. If container stock were irrigated 163 days a year at the rate of 1-acre inch per day, approximately 4.5 million gallons per acre would be required. This is equivalent to 13-acre feet of water per acre of nursery stock.
In reality, most growers apply water to an area of containers for a specific time, such as 1 hour. The actual volume of water applied to an area is highly variable depending on design and compatibility of nozzles used, percent of overlap between nozzles, volume and pressure loss over the length of irrigation lines, nozzle orifice wear, plus evaporative and environmental conditions such as wind. It is often suggested that 1-gallon containers (7.5-inch top diameter) must receive 1 pint of water (0.125 gallon) with each irrigation. If 27,000 gallons of water (1-acre inch) are applied over an acre of 1-gallon container nursery stock, 0.19 gallon will enter the pot (plant-canopy interference not considered).
Two best management practices to irrigate efficiently are to make sure all irrigation is applied uniformly over the growing area and that the correct amount of water is applied for the desired crops. To measure uniformity, place plastic bags within empty pots throughout a block or zone before an irrigation cycle; collect the water applied and measure the amounts in each container. If the volume collected among containers is highly variable, risers and nozzle orifices should be inspected. Risers should be straightened so that they are perpendicular to the ground and nozzle orifices should be replaced if they appear irregular in shape or larger than new orifice openings. If wind frequently interferes with water distribution, producers should consider creating a windbreak.
Determine the correct amount of water to use while irrigating by measuring the leaching fraction from containers. A leaching fraction is the amount of water applied to a plant during irrigation divided by the amount that drains from the container after irrigation (volume of leachate/total volume irrigation entering the container*100=percent leachate or leaching fraction). To measure the amount of water applied during irrigation, simply put a plastic bag in an empty pot and leave it in the irrigation zone.
To collect the amount of water that drains from a plant's container after irrigation, place another plastic bag in an empty pot. This time, however, nestle a container plant inside the plastic-bag-lined- container. Do this for a number of crops in differently sized containers. After the last irrigation cycle of the day, compare the amount of water collected in the bag placed in the empty pots to the amount of water collected in the bags below various crops. The amount of water in bags under crops should be approximately 10 to 20% of the amount collected in the empty container. If it is considerably more under some crops, plants may be receiving more irrigation than necessary. This is a good way to determine if plants are over-irrigated and it provides a good method to conserve water by monitoring irrigation during the production period.
Leaching fractions can be affected by the architecture of the plant's canopy. For example, canopy architecture can gather, repel or have little effect on the amount of water entering containers. In recent research at NC State University, overhead-irrigated container-grown 1 gallon camellias gathered 240% more water than an empty 1 gallon container, while crops such as cotoneaster had little effect on the amount of water entering containers. The canopy of the camellia acted as a funnel by collecting water and directing it into the container, whereas, the canopy of the cotoneaster probably repelled as much water as it directed into the container. Knowing these characteristics about the crops you grow can assist in putting the right plants together in an irrigation zone and help conserve water by irrigating only as long as needed.
If water is applied uniformly, less irrigation will be required. Plants can be removed from containers and the degree of uniform wetness in the container can be observed. If the irrigation was adequate, there will be no dry spots in the container root zone and it will be obvious that water has moved through the entire depth of the container profile.
Increasing irrigation efficiency is the best water-conservation practice that growers who are facing a water shortage or want to reduce water runoff can adopt. Correcting water-distribution problems is an important step in water conservation. Uniformity of distribution and maintaining a 10-20% leaching fraction are very important, because some growers irrigate until the driest plants are watered adequately. This practice is very inefficient.
Low-Pressure/Low-Volume Irrigation System. In recent years, nurseries have adopted several water-conservation practices. Low-pressure/low-volume irrigation systems, which use drip emitters or spray-stakes, are being used for both field-production of nursery crops and large-container (5, 25, 50, 100, 200 gallons and larger) crop production. These emitters often require only 10 to 20 pounds per square inch (psi) pressure and 0.5 to 15 gallons per hour of water. Where there are long distribution lines or uneven terrain, pressure-compensated emitters are available to ensure even distribution of water.
Drip irrigation increases both the growth rate of field-grown trees and the number of roots harvested within the dug root ball. This is also true of trees grown with drip irrigation in areas where rainfall as considered adequate for production of field stock. Drip irrigation provides a consistent, direct application of water to the root zone during production. Another advantage of low-volume/low-pressure systems is direct injection of fertilizers within the irrigation water. Applying nutrients directly to the root zone increases nutrient use efficiency because nutrient application is more closely controlled by the grower. When nutrients are applied in granular form as a top-dress, there is always the possibility of losing nutrients in the run-off after periods of heavy rains.
Emitter and spray-stake orifices are much smaller than overhead-sprinkler, irrigation-nozzle orifices and can very easily become clogged unless the water is free from sediment. Good sources include clean well water, municipal water or water that is adequately filtered. Clean water may only need a small screen filter (200 mesh) to ensure that small particle impurities will not plug orifices. Most surface or pond water must be filtered by using a sand media filtration system to avoid clogging emitters. The initial cost of sand media filtration may be $3,000 or higher. However, advantages of water conservation, efficiency of water distribution, potential to apply nutrients directly to plants, and enhanced growth quickly provide a greater return than the cost. Overhead forms of water application to field production, for example, large center pivot guns, deliver enormous amounts of water inefficiently. Most of the water is delivered between rows. During periods of drought, the wasted water becomes more valuable because water tables, pond levels and stream flow may be reduced. By applying low pressure/low volume irrigation, growers conserve water by applying it more consistently and efficiently, which is reflected in the consistent growth of crops.
Pot-In-Pot Production. Pot-in-Pot production utilizes a socket pot that is left in the ground; a pot containing a plant is placed into the socket pot. This is a combination between traditional container production and field production. This system is almost exclusively irrigated by drip, trickle or spray- stake irrigation.
Cycled Irrigation. Cyclic irrigation is the best management practice that applies the necessary daily amount of irrigation in more than one application with timed intervals between applications. For example, if 0.6 inches of water are required per day within an irrigation zone, 0.2 inches will be applied three separate times with approximately 1 hour between irrigation cycles. Cyclic irrigation requires automated irrigation controllers, which schedule irrigation between nursery container blocks throughout the day. After all blocks are irrigated once, the rotation begins again. Growers using cyclic irrigation to water container-grown crops have reported that the quantity of total irrigation applied was reduced by approximately 25% through the growing season. This represents a savings in both water and energy consumption.
Many nurseries have adopted cyclic irrigation over a daily, single irrigation cycle because of water and nutrient conservation. A single irrigation cycle commonly distributes water over a growing block for an hour, and in most nurseries 0.5 to 1 inch of water is applied. Similar to a downpour, water applied continuously to a container can move through the substrate quickly collecting nutrients in the leachate.
As a result very little lateral wetting of the substrate occurs, while a large portion of the water as well as the nutrients are lost through the bottom of the container. If the nursery is near surface water such as streams or rivers, and runoff from production areas flow into these surface waters, there is potential to impact water quality. For other locations, particularly in areas with sandy soils and shallow aquifers, high volumes of irrigation can leach nutrients.
of water moving downward and laterally from the surface of the container) slowly down the container column. Ideally, the third irrigation cycle pushes the wetting front to the bottom of the container.
Much less leaching and irrigation runoff results from cycled irrigation. In drought situations, EC tends to increase, particularly with recycled irrigation supplies. Although the Virginia Tech PourThru extraction method has specific protocols, growers can simply pick up pots about 30 minutes after irrigation and collect the leachate that drips from pots to measure EC and pH. This is an important management practice during drought periods because EC can change from a desirable range of 0.5 to 1.5 mmhos/cm to 2.5 to 5.0 mmhos/cm in a matter of days. If this happens and you have the water, use it to leach elevated salts out of containers. Otherwise, you are close to losing crops. It would be wise to send an irrigation water sample to an analytical lab to find out if elevated levels of salts are also in the water supply. Unfortunately there may be chlorides and bicarbonates which can antagonize growth of some crops.
Pine bark is the predominant component in potting substrates used in southeastern U.S. nurseries. Because it is difficult to create saturated conditions in pine bark potting media, conditions such as poor drainage, inadequate air space and excessive diseases caused by waterlogging of root zones are usually avoided. As a result, pine bark substrates require frequent irrigation and have very high unavailable water content. Screened pine bark used alone as a potting substrate has a water-holding capacity of approximately 65% water (by volume), but only approximately 32% of the container capacity will be available for plant use. During drought, a 4-to-1 ratio blend of pine bark and sand would provide more favorable water relationships, since the water-holding capacities are equal and approximately 41% of the water held is available to plants. The mixture of pine bark and sand also wets faster and more uniformly during irrigation, since the infiltration rate (movement downward) of water is slowed and better lateral wetting occurs. The trade-off is that this substrate weighs over twice as much as pine bark alone, and some plants may not grow as rapidly if water is never limited because much of the air space in the pot is replaced by sand particles. A10% addition of peat moss increases water retention even more than sand, but does have the potential of becoming waterlogged under frequent rainfall or irrigation.
Horticultural wetting agents are effective in providing more water retention in potting substrates without creating waterlogged conditions. These characteristics can be very useful for enhancing root growth and establishment of newly potted liners. However, one application of a wetting agent may lose effectiveness before the end of the growing season. In most cases, newly potted plants are well established in containers by that time, and reapplication is not necessary.
Synthetic hydrogels have been shown to enhance growth of established plants in containers in very coarse substrates such as pine bark. They appear to have little effect on newly potted plants. The water absorption of hydrogels is affected by fertilizers and compounds in organic potting substrates, but they still retain significant quantities of moisture that are available as established plants extend roots into and adjacent to the cubes in the potting mix. In effect, they act as miniature oases for roots. However, since they must be incorporated to be effective, the need for these materials must be anticipated prior to drought for them to be of benefit.
Grouping plants to apply irrigation more uniformly can be based on container size, substrate, plant type, plant water requirements, plant leaf type, and plant canopy architecture. Because small containers will be saturated before large container plants receive enough water, most container growers group differently-sized containers into separate irrigation zones. Likewise, plants growing in very different potting media should not be grouped under the same irrigation regimes. Plants brought in from other nurseries also may be in different mixes and require separate watering. Nursery crops such as azaleas, rhododendrons and camellias are often grown in mixes containing peat moss and may require less frequent irrigation.
If a large number of cultivars of one type of plant, such as junipers or hollies, are grown, like-size containers of these should be grouped under the same irrigation zone. More difficulty is experienced in determining how to group different types of plants for most efficient irrigation. Various published lists for landscape plants do indicate which plants will tolerate similar conditions such as dry, moist or wet locations. These groupings can be used to segregate plants in nurseries for similar irrigation needs.
Some nursery studies have also compared plant water-usage needs. Generally plants with a thick waxy cuticle or thick fleshy leaves can be grouped together and watered less frequently than plants with thin leaves. Deciduous plants usually require more water than broadleaved evergreens during the growing season but less when they are dormant. In general, junipers and conifers require less frequent irrigation than do broadleaved evergreens. Depending on winter protection provided, most container plants require occasional irrigation during winter months.
The group of plants that may need irrigation most frequently during active growth is bedding plants because they grow rapidly and are usually grown in small containers. Perennials are often grouped with bedding plants, but are often overwatered because many have very different water requirements and grow at different rates.
Plant canopy architecture, as mentioned above, can act as a funnel and direct more irrigation water into the container compared to an architecture that acts as an umbrella and repels irrigation water. By grouping these plants separately and measuring leaching fractions bi-weekly or at least monthly, growers can supply irrigation volumes based on the demand of the plant and the actual amount of water being collected in containers.
If the point is reached that watering must be restricted or entirely eliminated on portions of the nursery, several alternative decision-making processes are available.
Selection of plants that can tolerate less frequent irrigation. Where daily irrigation is a standard practice, choosing plants that will receive irrigation every other day will cut water consumption in those areas in half. Junipers or crops grown under shade, such as rhododendrons, probably will grow well under every-other-day (or even less frequent) irrigation cycles.
Prioritizing nursery crops by their profitability potential. Every nursery has some crops that are profitable and others that are marginal or that lose money. Crops that make money should be irrigated to maximize profits, and marginal crops or loss leaders should not be irrigated.
Considering the restocking cost of crops. Propagation and stock material for some crops may be difficult to obtain. If cuttings and liners are expensive, such as patented, trademarked or otherwise specially designated cultivars, irrigation of these crops should be continued; but discontinued for plants that are readily available in the trade by obtaining new cuttings. This assumes, of course, that economic margins and production costs for patented plants are inherently higher than for industry standards. Eliminating containers using the above criteria may require moving blocks of plants in or out of irrigation zones according to their assigned fate.
Analyzing inventory related to crops and size availability. Several sizes of the same cultivar of plant may be included in the inventory. Eliminating one or two sizes of plants is a consideration. Liners, quarts, and 1-gallon plants are worth less than larger container sizes, and if blocks are spread out, they may be irrigated in a less efficient manner. Most nursery crops can be propagated in fall and winter months, so loss of liners may be only a six-month setback rather than a full growing season.
Planning before a drought is the best way to avoid losses as well as increase efficiency and profits. Discuss drought management plans with your staff and your local county extension agents. Deciding on action plans for use during a drought is sometimes best done when there is no drought or immediate stress on the one making the decisions. Best Management Practices regarding irrigation sources, filtration, container growing media, and irrigation distribution should become part of daily nursery crop production.


text:
Emirates Plane Makes Emergency Landing, Bursts Into Flames In Dubai
An Emirates plane made an emergency landing and caught fire at the Dubai International Airport on Wednesday. All 300 passengers and crew survived, according to the the airline said, but the government said a firefighter was killed during rescue operations.
Authorities did not immediately explain what caused the incident on the flight from Thiruvananthapuram, India, at approximately 12:45 p.m. local time. "We do not yet have all the information," Emirates Chairman and CEO Sheikh Ahmed Bin Saeed Al Maktoum said in a video statement. "Thankfully, there was not fatalities among our passengers and crew."
In a press conference, bin Saeed said "We pay tribute to the firefighter who lost his life fighting the blaze." He added that 13 people were treated for 'minor injuries' and all have since been discharged.
Video posted on social media and released by Reuters show the Boeing 777 on its belly on the runway with black smoke rising from its right side. Then a massive fireball erupts from the aircraft, sending debris flying.
Firefighters quickly gained control of the blaze, according to The Associated Press. The wire service reported that "the charred fuselage of the plane appeared to no longer be burning. The top of the aircraft was scorched brown from near the cockpit back to its tail. Several yellow fire trucks surrounded the plane."
All passengers and crew were safely evacuated from the aircraft by emergency response teams, according to the government. Reuters spoke to one unnamed man waiting for his relatives: "They said they're safe and alright, but that they felt a great panic as the plane was on fire. I'll be comfortable when I see they are safe."
The Dubai Media Office announced that all operations were suspended from Dubai International Airport, and later said that it was planning to resume departure operations at 6:30 p.m. local time.
According to the airline, 20 nationalities were represented among the flight's passengers and crew — 226 Indian nationals, 24 Brits, 11 Emiratis, six U.S. citizens and six Saudis.
A statement from Boeing said, "We are thankful all aboard were evacuated safely," and added that a technical team from the company is "standing by to launch."
Authorities have yet to determine what caused the plane to crash land and catch fire. But a report in The Aviation Herald, an industry publication, suggested there may have been issues with the plane's landing.
Citing air traffic control recordings, it says the tower operator "reminded the crew of lowering the gear and cleared the aircraft to land." The airplane crew then reported they were attempting a "go around," meaning they plan to make an additional attempt at landing.
"The aircraft however did not climb, but after retracting the gear touched down on the runway and burst into flames," the Herald reported.


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text:
Catherine Steinmann, Carthage Music Ltd
Dr Caspar Melville, SOAS
Valuing Tradition: Making ethical use of music publishing and copyright to sustain musical tradition and nurture music careers
Copyright is the single most important commodity in the music business – the key way in which value is measured and understood and the careers of artists sustained. With the steep decline in physical sales and a move to online across the music industry, rights management is becoming an even more important aspect of revenue generation. This research set out to understand how the global copyright system, as managed by publishers in London, deals with and rewards artists/composers working in traditional musical forms – using the example of the Mande Griots of Mali.
Much of the global repertoire administered by Carthage Music originates in worldwide folk traditions, including the West African griot culture. Together Carthage and SOAS examined ideas of authorship and song ownership in relation to the griot tradition, which has been handed down through the generations since the Mande Empire in the 13th Century. The research constructed case studies, and used the methodology of cultural sociology, based on open-ended qualitative interviews with a variety of stakeholders and experts in the field – World Music labels and publishers, legal experts, representatives of collection agencies, those involved in the rethinking of global intellectual Property structures (WIPO) and Malian artists. Alongside this there was a thorough review of the academic literature pertaining to world music and copyright.
Through this project Carthage Music consolidated its position as one of the foremost publishers of traditional West African music in London. An industry event held in November 2014, and featuring artist Kasse Mady Diabate, engendered public discussion of the project and the issues of copyright addressed through this process. The public event and the research process enabled Carthage Music to raise their profile and to promote themselves more effectively both within the industry and to potential artists. Dr Melville produced a project report that provided a vignette of the publishing process from the perspective of the artists who 'hold' this ancient musical tradition and are responsible for its preservation for future generations. The report was designed to serve the dual function of providing a snapshot of an industry in rapid change with a focus on how Carthage manage and maximise the rights revenues for their writers, and a guide for similar independent SMEs and those interested in the creative industries more generally, around some of the key mechanism of copyright and how best to structure publishing deals in the current climate. The report will function as a manifesto for Carthage Music, and, when translated into French, will be circulated and made accessible to potential artists/writers. The report will contribute transparent ethical practices across the industry, protecting and enhancing the value of these traditional repertoires. The manifesto will generate new business and promote Carthage Music as a publishing company within the industry.