text:
Open Section Book 11
Open Section American Studies 1
Open Section Asian Studies 2
South East Asia 1
Open Section History 1
Sociology of Religion 1
Open Section Social Sciences 86
Critical Social Sciences 16
Asian Studies 1
Economics & Political Science 24
Global Studies 86
Open Section Human Rights and Humanitarian Law 24
Human Rights 23
Refugee Law 1
Minority & Group Rights 21
Open Section International Law 27
International Law: General Interest 24
EU Law 23
International Law: Regional Perspectives 2
Public International Law 1
Open Section International Relations 86
International Relations 86
Brill 38
Brill | Nijhoff 48
International Relations x
Global Studies x
Page:123456789
Ancestors and Title Deeds: Rural Transformation in 20th Century South Africa and the Consolidation of Ethnic-Based Identities
Author: Gitte Postel
In: Africa for Sale?
Anthropology from Dissonance to Ambiguity: Breaking the Deadlock
Authors: Lynda Dematteo and Mariella Pandolfi
The circumstances in which Shostakovich's 13th symphony was composed must be a wake-up call and a source of inspiration for anthropologists today, at a time when nationalism in various forms is reasserting itself: internationalism should remain our horizon. As neoliberalism is unfolding all its illiberal potential, the freedom to choose one's research subjects and to carry out field surveys must be actively defended. Authoritarian populism has exacerbated all identity claims and spread turmoil within the academy itself. Fear now fuels identity prejudices, censorship and self-censorship. We must confront this new fear collectively, prevent people from becoming trapped in a narrow vision and thus promote dialogue and the open exchange of ideas. The rise of the question of identity as a threat is a serious challenge for anthropologists and we must all focus on our various minoritized experiences to address this issue and to strengthen democratic pluralism, because becoming minor(itarian) is the best way to defeat populism. Anthropologists must all assume their subjectivities and release their creative potential to produce critical estrangement and confront all forms of conformism here and elsewhere.
In: Political Anthropological Research on International Social Sciences (PARISS)
Chapter 1 Are Barriers to Sustainable Development Endogenous to Drug Control Policies?
Authors: Khalid Tinasti, Julia Buxton, and Mary Chinery-Hesse
This introductory chapter explains the rationale behind the 12th thematic volume of International Development Policy, which explores the tension between development and drug control goals, both current and historic. The volume of fifteen chapters draws on a broad spectrum of thematic issues to address the following key questions: Are prohibition and development mutually exclusive or complementary international agendas? How do the harms associated with drug policy enforcement undermine development prospects? The diverse group of authors highlight the corrosive effects of criminalisation and prohibition-based approaches on the livelihoods and fundamental rights of those who are vulnerable, including women, children, people who count on drug cultivation and trafficking to make a living, and people who use drugs. They also address the limitations and feasibility of development-focused interventions in drug control strategies within the context of the prohibition paradigm.
In: Drug Policies and Development
The Art of Writing Social Sciences: Disrupting the Current Politics of Style
Through a critical engagement with substantive and stylistic guidelines dictated by dominant journals in the social sciences, this article enquires on what it means to write like a social scientist in the twenty-first century. Academic production and diffusion now regularly take place beyond and across national borders, with English often standing in as the lingua franca of these global exchanges. Though just one effect of this restructuration, academic journals have become more transnational in scope with regards to the authors whose work they publish and the audiences whose readership they seek to attract. However, while one could expect the "globalization" of the social sciences to lead to the transnational circulation of national disciplinary traditions and perhaps multiple manifestations of cultural hybridization, we are instead witnessing the imposition of a strangely singular and harmonized mode of doing the social sciences. Paradoxically, standards of how long a scientific article should be or how one should fashion an argument are so familiar and intimately known, yet curiously opaque and of unknown origins. In interrogating the historical-contextual origins of conventions that so strongly shape the world of academic publishing and, dare we say, reasoning, we raise questions about the conditions of the present and the naturalization of standards on how to write a scientific article. As a consequence of this exploration, we propose alternatives guidelines that a new journal such as ours has to present to its anticipated authors and readers.
Australia's Parliamentary Diplomacy: A Study of the Bilateral Relationship with South Korea
Author: Jeffrey Robertson
In: Parliamentary Diplomacy in European and Global Governance
Stelios Stavridis and Davor Jancic
Being a Foreigner in One's Country: Mobility, Land Acquisitions and Investments in Cameroon
Author: Evelyne N. Tegomoh
A Bridge with Russia? The Parliamentary Assemblies of the osce and of the Council of Europe in the Russia-Ukraine Crisis
Author: Andrea Gawrich
Chapter 6 Cannabis Regulation and Development: Fair(er) Trade Options for Emerging Legal Markets
Authors: David Bewley-Taylor, Martin Jelsma, and Sylvia Kay
Significant policy shifts have led to an unprecedented boom in medical cannabis markets, while a growing number of countries are moving towards the legal regulation of adult non-medical use. This trend is likely to bring a range of benefits. Yet there are growing concerns over the many for-profit cannabis companies from the global North that are aggressively competing to capture the licit spaces now opening in the multibillion-dollar global cannabis market. This threatens to push small-scale traditional farmers from the global South out of the emerging legal markets. Those trying to transition out of illegality face huge difficulties due to a combination of the legacy of criminalisation and administrative barriers to entry. Conquering and protecting spaces for small-scale farmers within the current overheated and corporate-driven market will require affirmative action, regulation of foreign investment, and well-designed legislative and market strategies. This policy comment explores the unfolding market dynamics from a development perspective and offers a set of guiding principles and policy proposals upon which a more equitable, fair(er) trade cannabis regulation model can be built.
Challenges and Risks for Bilateral Relations from Foreign Large-Scale Land Transactions
Author: Michael J. Strauss
Challenges for Parliamentary Diplomacy in South and South-East Asia and Europe: A Practitioner's Perspective
Author: Xavier Nuttin


URL-shorteners are old news, with services like Bit.ly and Twitter's own t.co allowing users to make long URLs less obtrusive. Also old news is the fact that Bit.ly and other services allow you to use a custom (branded) domain with their services – for free. The feature has been around since at least 2010. Then other services like Facebook and Twitter have launched their own URL-shortening services as well – fb.me and goo.gl respectively – but mostly as a means to protect their users from the potentially harmful / offensive linked content at the other end of the web.
Fast forward to today and the idea of branded short URLs is becoming increasingly popular among individuals. Not just companies or popular blogs: actual people, mostly public figures with a strong personal brand. I suspect this might be related to the recent expansion in the TLD offering, with common folk being able to register better (shorter?) domain names for their brands and personal names. But it definitely goes beyond that too, because some of the shortened URLs are actually not so short – so "branding" and analytics are probably still big factors.
As you can see its a common practice to register domains that are as short as possible, but not everyone is lucky enough to find a short domain name. And that's why I'm writing this post: time to think "out of the box"!
Let's begin that process with a basic assumption: most people never "manually transcribe" a link into their browser's address-bar. This assumption might be even more reasonable on mobile devices, where attempting something like that across apps would be borderline ridiculous unless you can split the screen. The reason I'm saying this is an "assumption" is that I don't have the tools to prove or disprove it, but I think its safe to assume it as true because shortened URLs are mostly gibberish from a user's point of view (after all that's why they can be so short!) and therefore transcribing them would be a tedious and error-prone endeavour.
The advantage of "branding" a shortened URL is that users will see/read something on the link that reminds them of your brand instead of someone else's. For example for a company that is constantly sharing links like TechCrunch it makes more sense to shorten links using the "tcrn.ch" domain than with "bit.ly" – this example alone should be enough to make the point. So the rule that we can abstract here is that the ONLY requirement to meet the branding need is that the brand can be visually identified in the domain name.
Since shortened URLs are hardly ever manually transcribed (our assumption), we shouldn't care about how easy it is to type the URL into an address-bar. Sure: bit.ly or t.co are super-easy to type and would cover the rare use-case of someone wanting to transcribe that gibberish. But good luck finding such a short domain: for the average individual, being able to do it would be equivalent to winning the lottery – and possibly even more unlikely than that!
By now lots of people use Unicode to post things on Facebook and Twitter. But few people know that a wide range of those Unicode characters is accepted in domain names (some examples) thanks to IDNA2008. Also: all major modern browsers support it!
There are still MANY short domain names that include Unicode characters that have not been claimed. People with evil intentions are using them for spoofing, but I haven't seen anyone using them for URL shortening.
Knowing this I was able to search for and find my own super-short domain name that follows my first name: gá.be – since ga.be (without the tilde) was already taken of course. I also registered štr.at, which is a nice short domain for Strategery.
As a bonus, the accented á is not that hard to type either: the character is present in the extended ASCII table (code 160) and is part of at least 16 languages. If you're one of the 490 million people that speak Spanish (which ranks second in native speakers after Mandarin) you might even be able to type it with just two keystrokes.
So the idea is that instead of "shortening" URLs to a long domain name, there's an opportunity to search for and register a VERY short domain name using special characters that still reflect your personal brand's identity. Since the only purpose for that domain would be URL-shortening, we can easily overcome most limitations if IDNs (see the next section).
List of special characters supported by domain names (link).
Keep in mind that different TLDs support different characters, usually related to the TLDs locale (for example .de will support characters common in the German language). It seems like the .ws TLD is one of the most permissive.
ferýn.eu / ferÿn.eu – 2 characters shorter than l.feryn.eu (feryn.eu is being used for the site/blog so it can't be used to shorten URLs).
léw.is – same length as lew.im but contains his entire first name.
mw♥.ws / with♥.ws – might be a good one for madewithlove.
Before you try this out please be aware of certain security considerations. There are both Visual and Non-Visual issues, but since we're the ones providing the URL through an authenticated channel, and people will not manually transcribe it, the only issues that are really relevant would be the Non-Visual issues. Based on that section of the article, its important to make sure that the characters used are unlikely to be resolved incorrectly by registrars. There seem to be only a few of "ambiguous" characters like that, so for most people it should be relatively easy to avoid this problem. An automated tool would be ideal to identify any potential ambiguity.
Another important consideration is browser and email client support (since sometimes these links may be emailed). Fortunately we live in a world where most major browsers and email clients can deal with special characters in domain names very well. So unless you care about the part of your audience that is using e.g. IE7 or earlier then you're safe.
Font support should also be considered: not all fonts support special characters. This is again a minor issue because fonts in popular sites like Twitter, Facebook, Pinterest (etc.) all support those characters very well. But if you're one of those guys who cares if their link is re-shared in a some niche social network with really bad font choices, then you might want to hold off from this approach for a while. As for blogs and websites that might want to re-share your content: most will either retweet (or re-share) the original post, or use the resolved URL to share or re-shorten. So that shouldn't be a problem.
Make sure you read and understand the rules for registering IAN domains under the TLD that you'll be using to make sure your domain application is not rejected.
There's an opportunity to register short domain names using special characters. It trades some important features for some very minor drawbacks – and if like me you're just the average bloke: chances are you won't care about those minor drawbacks.
If this was useful or you have any further insights I'd love to see your comment!


Long Beach is a city situated in Los Angeles County in Southern California, dominant maritime center of the United States, Pacific coast of the United States, SoCal, Los Angeles County, USA.
Alamitos Bay, CA, Marina, Yachts, Docked, Long Beach CA, Southern California, USA, Seal Beach, Los Angeles County, Pacific coast, dominant maritime center, Alamitos Bay, inlet between the cities of Long Beach and Seal Beach, on the Pacific Ocean coast of southern California, at the outlet of the San Gabriel River.
RMS Queen Mary, Cruise ship, historic, Long Beach, hotel, Art Deco, staterooms, legendary attractions, , Ghosts reported, on board, in California.


This Caramello wireless Bluetooth In-Ear Earphones is a must have if you want to listen to your own music while running, cycling, fitness, rowing or any other (outdoor) sport.
With these ultra light and comfortable sports ears (outdoor) activities are even more fun. The earplugs are water-repellent and can therefore also be used in the rain. These bluetooth in-ear headphones are also extremely flexible, but at the same time sturdy and therefore always fit well on your head, without being pinched. The headset offers you a hundred percent freedom of movement. Awkward cords, earplugs that fall out or headphones that drop off are a thing of the past!
No additional software is required to use the headset. You connect your iPhone 4/5/6/7/8/9 / X (s), Samsung, SmartPhone, iPod or other MP3 / MP4 player to the sport headset with Bluetooth 4.1 within seconds.
The earplugs contained built-in noise canceling, reducing traffic, city and environmental noises, so you can hear music and digital coaching excellently. This model produces a very good stereo sound with correct bass tones. Thanks to a wide frequency range, you can listen to HD-quality music even while running or cycling.
The Headset is very easy to use. The compact buttons on the earphones let you rewind / fast forward to a previous or next track, adjust the volume and answer incoming calls. The headset automatically switches from audio to phone mode when you receive a call. The headset includes an integrated high-quality microphone, allowing you to make all your calls without having to turn off or shout the headset. The ears offer up to 6 hours of talk time and up to 5 hours of non-stop listening. Is the battery of the headset empty? Then you can safely and quickly (1-2 hours) charge.
The Caramello Bluetooth earphones are compatible with many devices, including iPhone, iPod, iPad, Samsung Galaxy smartphones and tablets, HTC, Nokia, Sony and Huawei. The headset remembers the paired device, so the next time you start a workout, you'll be ready to listen to music and audio coaching within seconds.
- listen to music for about 7 hours!
Echt een goede koptelefoon! Voor de prijs een van de beste keuzes. Op Bol.com ook al jaren een beoordeling van 4,5.


text:
Alsuwaidi & Company
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Understanding our client needs
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Ranked Tier 3 for Dispute Resolution
Chambers & Partners
Mohammed Alsuwaidi recognised and ranked Tier 2
"A client found the team to be "a respectable name in the courts and in front of the judges"
What the team is known for Strong litigation practice group licensed to operate in all the UAE courts, including the federal and DIFC Courts, as well as the Dubai judicial system up to and including the Court of Cassation. The firm is particularly noted for its ability in cases involving the governments of the UAE and is equally well versed in financial, insurance and maritime disputes. Also possesses a noteworthy white-collar crime practice, with expertise in commercial fraud claims, and retains experts in employment and oil and gas matters.
Mohammed Alsuwaidi recognised and ranked in Tier 3
Mohammed Alsuwaidi and Ali Al Raessi, both of whom are locally qualified with rights of audience, are key contacts in the team.
"Enforcement of foreign judgments and arbitral awards, executive-level employment litigation and debt recovery are areas of activity for Alsuwaidi & Company. "
'Mohammed Alsuwaidi is committed and supportive.'
The team is very helpful and always ready to provide support.'
"Managing Partner Mohammed Alsuwaidi is an experienced litigator: creative, sharp and polished. He is recommended for his pragmatic approach"
Alsuwaidi & Company combines 'expert knowledge of international arbitration and strong local law knowledge' to deliver a rounded practice to both local and international clients, with construction continuing to be a key source of mandates. Head of arbitration Nigel Truscott has 'a supportive approach'. Head of litigation Fahmy Hallag is also recommended.
"Alsuwaidi & Company has a strong following in the oil and gas and defence sectors, and now has construction disputes expertise following Nigel Truscott's arrival from SNR Denton. Named partner Mohammed Alsuwaidi enjoys a good reputation".
Ranked Tier 4 Dispute resolution
Mohammed has been described as very responsive and never fails to make himself available for you
"Mohammed Alsuwaidi heads the litigation team at his eponymous firm Alsuwaidi & Company, which has a bright spot in banking litigation work for financial institutions, as well as handling some construction litigation as well as matters for insurers. "
'"A client said 'They provide personal service and are friendly and cooperative to work with.'"
"A client said 'They have always replied promptly and in detail regarding any queries, provided immediate automatic updates for ongoing legal work and have achieved perfect outcomes.'"
Recognises Mohammed Alsuwaidi, Reda Hegazy, Ali Alraeesi and Ayman Elnour as Key Lawyers.
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redpajama_set_name: RedPajamaCommonCrawl


This is a safe place to explore your faith. Everyone is welcome here, no matter your background or beliefs.
10:45AM I 13955 S.Sunland Gin Rd.
Do you know what a centennial vision church is? Click here to learn more!
RT @ChruchSecretary: I hope the pastor is better at submitting his tax return on time than he is at getting me the buletin info each week.


the sense of wellbeing that the French call "savoir vivre".
The tapas bar offers fresh salads and a selection of tapas while enjoying a quiet day at the pool area.
Also during the summer months in Sa Pedrera are organized barbecue nights. Twice a week we opened the restaurant in the evening.
In a relaxed atmosphere you can enjoy the best meat and fish al fresco and while listening to live music.


text:
Q: How do I change the css for a future element being made in a to do list? For my final project we're making a to do list with the phonegap plugins system. For extra credit, the user should be able to pick the colors that they want for the priority of the set task (low, medium, high) The defaults are set in the css (in classes named ".low" ".med" ".high") and I have it set up already to change the color of the task if it is already in the table.
Although this first part works, the second issue is that tasks added later are still given the default color rather than the user chosen one. I'm not sure how to change the background color for all present and future elements of the given priority.
Priority color to change:
<select id='colorChange`' onchange="colorSelected();">
    <option value='Low' selected>Pick Priority Colors</option>
    <option value='Low'>Low</option>
    <option value='Med'>Med</option>
    <option value='High'>High</option>
</select>

Color chooser:
    <input id="color" type="color">

Javascript when new task is added:
if (priority == "Low")
    var style = "low";
else if (priority == "Med")
    var style = "med";
else
    var style = "high";

table.insertAdjacentHTML('beforeend',`

<input type="radio" class="done">
    ${txt}
    ${date}
    ${priority}
    ${category}

`);

JS to change elements already in table:
function colorSelected () {
        var color = document.getElementById("color").value;
        var select = document.getElementById('colorChange').value;
        if (select == "Low")
            var style = document.getElementsByClassName('low');
        else if (select == "Med")
            var style = document.getElementsByClassName('med');
        else
            var style = document.getElementsByClassName('high');
        for(var i = 0; i < style.length; i++){
            style[i].style.backgroundColor = color;
        }
}

Images:

A: You can create a new stylesheet by adding a style tag to the document head. Then you can add new rules to that stylesheet, always adding at the end to make sure that the new rule gets priority over previous rules. For example,
// declare the styleSheet as a global so that a new one
// is not created every time addColor is called
let styleSheet;

function addColor(className, color) {
  // create stylesheet, if not already created
  if (!styleSheet) {
    const styleElement = document.createElement('style');
    document.head.appendChild(styleElement);
    styleSheet = styleElement.sheet;
  }

  // insert style rule at the end of the stylesheet,
  // overriding existing rules on same selector
  styleSheet.insertRule(
    `.${className} { color: ${color} }`,
    styleSheet.cssRules.length
  );
}

// callback for event listener, grabs the correct values
// and calls the `addColor` function with them
function colorSelected() {
  const color = document.getElementById('color').value;
  const selected = document.getElementById('colorChange').value;
  addColor(selected.toLowerCase(), color);
}

CSSStyleSheet.insertRule() takes two parameters: a string representing the rule you want to add, and an index at which to add it. Since you want it to be at the end of the stylesheet, you use the cssRules.length property to determine where the last index would be. See the MDN docs for more info.

A: Just I am taking a div and apply your code with a little bit change and it works fine

<select id='colorChange' onChange="return colorSelected();">
    <option value='Low' selected>Pick Priority Colors</option>
    <option value='Low'>Low</option>
    <option value='Med'>Med</option>
    <option value='High'>High</option>
</select>

 <input id="color" type="color" />

</hrml>

redpajama_set_name: RedPajamaStackExchange


text:
Jesse Malin EXCLUSIVE interview!
How do you get Bruce Springsteen to sing on your album?
Jesse Malin knows, and he's happy to share! The New York City singer-songwriter has been beating his own musical path now for decades, beginning in the 80s NYC Hardcore scene and moving through into the streetwise troubadour he is today.
Jesse also has a fantastic memory for dates and places. At the beginning of the Zoom call we shared in order to chat about his new album, Sad and Beautiful World, I mentioned having seen him waaaay back in high school supporting Green Day. He didn't miss a beat:
'Yeah, Green Day were the first to take me across the pond. I'd only toured in America, Mexico and Canada. Green Day took us all over the place: Albania, Scandinavia...and I definitely remember the two nights at the Barrowlands in Glasgow! It was great'.
We're talking about the late 90s here, when Jesse was with his Glam Punk band D-Generation. Since then, his solo career has brought him on countless word tours, a film role in a Martin Scorsese movie and a string of critically acclaimed albums that take in a kaleidoscopic view of life in all its rich splendour.
During lockdown, Malin spearheaded a successful line of livestreams ('The last year feels like it didn't happen, like it got erased, you know?') but with a new record imminent, it's time for Jesse to hit the road. We got the inside scoop on it all: the new songs, his impressive vintage guitar collection, his love of Joe Strummer and just how he managed to get The Boss to sing on one of his songs...
Guitarguitar: So, how've you been doing?
Jesse Malin: Yeah, things are alright! They're a little stressful and crazy, you never know: uncertain, but you roll with it. Things started up again a couple of months ago, and the record's three weeks away, touring...hopefully it'll all happen! I'm just trying to keep everybody healthy and sane in this insane time!
GG: Yes exactly! Well, you haven't been sitting back watching Netflix, you've been busy! There's been all of those livestreams, plus you've written a new record which is not only a new record, it's a double record! Did you know in advance that you wanted it to be a double album?
"In the Hardcore scene of the early 80s, you had one minute to express everything you felt, really fast!"
JM: Well, I've never done a double record before but it's not a reason to do it! Like, 'Oh, I've never played metal so let's play metal!' (laughs) It really was something that, when we did Sunset Kids (previous album) we had twenty five songs but the label was supportive and encouraging, saying, 'Why don't you make this a double record?' I thought it was a bit indulgent. So did Lucinda Williams and her husband, like, 'let's keep it tight'. It was hard to make it even fourteen songs, which is long, but on the album it's seven and seven. I think that's a good drink here in the States, 7 and 7!
Anyway, I was happy with that record: it seemed to move at forty seven minutes. I like it kinda short but during this year, I guess we were supposed to have it finished the year before and put it out a year after Sunset Kids, but we got locked down. I started to write more songs and we ended up with a lot more than we ever had before and they are like your children, you know? You kinda love them all, it's hard to kill your babies, and it's the producer's the one who usually says 'No!' at editing, but my producer was Derek Cruz, my guitar player and my engineer Geoff Sanoff. They're very involved in the project, and the label started saying, 'why not a double record?'
The only way I could make sense of it was, besides being a time when a lot of stuff came into my writing, there also seemed to be, like, this thread of this more mellow, rootsy, Americana country-flavoured stuff and then more of the kind of night-time, urban – urban being the city, not hip-hop – but city kinda stuff, like a Saturday night kinda feel. So, we kinda saw it like one side would be like roots rock and the other side radicals.
I had a few different titles for the record and Sad and Beautiful World seemed to make a lot of sense for this time. I'd written the title down after watching the Jim Jarmusch movie Down By Law. Roberto Benigni spouts that out at Tom Waits and he spits it back to him in his Tom Waits voice (laughs) It's also a lyric in a song called Oh Sheena on New York Before the War.
So, we put it all together and we opened with the song we usually close with, Greener Pastures, and we kinda went backwards and started there in the morning with the quieter record. The second disc is more like: Backstabbers, first song, into action, you're in the city, life's happening, you gotta watch out but it's gonna be fun! (laughs)
" I used to busk at subway stations when I was 16, and I used to play punk songs but disguise them as 50s tunes for the working stiffs"
GG: Down By Law, man! I love how they escape from jail in that movie.
JM: Yeah! 'I scream, you scream, we all scream for ice cream!' Haha! I get a lot of inspiration from movies, you know? Movies put you in a zone. I write down ideas and just kinda lift myself through.
GG: Totally! So, the album Sad and Beautiful World, as you've said, one side is the quieter songs with the country element, and then you've got your city tunes, as you say. One of the things that keeps coming back to me when I think about Jesse Malin is New York City. I always think of you as a guy cutting around the city, taking it in and being a part of it. New York seems to be a big part of your inspiration and subject matter. Am I reading into that, or is that how it is?
JM: Well, you write about what you know. I was born here, I grew up here, but we travel a lot. You get a lot of perspective going around the world. You learn that we're all connected, about how small the frickin' world is, how accountable we have to be, that what we do, we're responsible for it, that it affects people in other places and that we all bleed the same. You rip us open, it's all the same colour, heartbeat. I always feel that music is the thing that unites us globally: it's a heartbeat, it's not religion or politics. I mean, it is a religion in some ways, but everybody can join in, just shake your head and smile, even if you're into Trump and I'm into this and you're into that, y'know? Whatever, I think there's a place that's just the human feeling, it's liberating.
So, New York has always been a big influence on my stuff but I've lived in California and...I guess, never overseas, but just out of a suitcase. Premier inn, or the Travel lodge (laughs), you know? The Holiday Inn, but I think I prefer the Regency Kensington High Street Hotel, you know (laughs). It really is just a background of what I am: it's the language that I speak but I try to write, hopefully, on a level that people can relate to, human-wise, wherever they live. Whether that's Finland, or New Zealand, Auckland or something.
GG: Yeah, it's like the tradition of songwriters. I don't know if it's okay to say 'Classic American Songwriting' because, as you've said, you know, people in Brazil love Bob Dylan and people in Sweden love Kraftwerk, whatever, but there's something about American guys with acoustic guitars. There's something of a tradition of it: Simon & Garfunkel, Dylan, Springsteen – who we'll come back to – is that something that's always fitted into your world?
"I play a 2006 Gibson Sheryl Crow guitar, but I banged it up and put all these stickers on it. I call it my Sheryl Cro-Mag"
JM: I got a lot of my stuff from punk rock artists who were kinda folk singers, too, like Joe Strummer, Billy Bragg and Elvis Costello. They're English, you know? And Paul Westerberg in America. People who weren't afraid to be loud and crazy but then take it down to a whisper. That's when I realised there was a connection between folk music and protest music, and badass country music like Johnny Cash, even dare I say Jerry Lee Lewis, Patsy Cline, into punk rock. And troubadour stuff. It was very unfashionable to like that stuff when I was a kid into punk: it was mellow, it was hippy, it was whatever, folky.
But in time, I think, a lot of people that were into punk rock understood that connection and then you got all these great troubadour kinda artists like Frank Turner and Brian Fallon, Craig Finn, all disciples probably of Joe Strummer and Billy Bragg. Beyond that, I don't wanna say who their influences are, but there's a lot of that, I guess a lot in America but Frank overseas for sure. Artists like Tom Bright out of England, I like a lot too. They have that same thing, where it's just down to a core. What do they say: three chords and an attitude?
(Photo: Ilaria Conte)
Y'know, I used to busk in the subway stations and plays songs for money on a Friday when I was 16 so I could some beers and Indian food, and I used to play punk songs but disguise them as 50s tunes for the working stiffs! I'd mix it in with a little Dion, a little Buddy Holly, and there's the Ramones in there, it seemed to sit really nice. I think there's a connect, and I think you see it when you pull back. I learned a lot from writers like Joe Strummer and his lyrics – I know everybody likes Joe Strummer and they should – it's kinda common to say this but he really affected me as one of the teachers, and about the world and other kinds of music and other places. Those lyrics made me want to look things up, without the internet, but look them up in the world and learn and grow. Even musical styles! But, coming down to that simplicity of 'give somebody a guitar and a couple of chords, and have them express how they're feeling'.
I come from a punk rock background and in the early 80s I had a band called Heart Attack. The first record came out forty years ago, when I was an ittle bitty teenager and it's just being reissued in October. In the hardcore scene in the early 80s, you had one minute to express everything you felt, really fast, and all the things in the world. (laughs) It was really interesting, because people really did express themselves in one minute!
"There's something about travelling with a group and getting out there, going from town to town. It's like being on a pirate ship"
GG: Wow, haha! Yeah, the punk thing: you've now got these types of artists that are coming out of country who are into punk, and vice versa. I'm just thinking of Hank Williams III and people like that. He does a set of each at his gigs, I think? Back when I was younger, there were distinctions: if you were into punk, that's was it. Nothing else. It was the same for metal or indie or whatever.
JM: Yeah.
GG: It seems to be that now, people are more willing to be less genre-centric, at least for, say, music written on guitars rather than on a laptop, for example.
JM: Yeah, it used to be we were all separates, like when you see Quadrophenia, with the mods and the rockers, and people would fight for what they believe and what they really feel. I think there's something great about the passion, that you're really dedicated to reggae or rudeboy or you're into metal, and those people are so loyal they stick to the metal scene. That's great! The fighting part, (laughs) I don't know about that! I used to get beat up by kids that liked Led Zeppelin when I liked KISS as a ten year old. When I got into punk, everybody beat me up! It was like, 'You suck!', but that was a long time ago.
In a festival-type mentality for things in America like Lollapalooza or things overseas like Glastonbury, it's a mix of stuff, you know? So people can like hip-hop, and rap and they can like something more gothic and spooky or something noisy like Nine Inch Nails. Or whatever! Like, Björk or Neil Young. There is that, and I think it's a great thing because there's just two kinds of music in the world, like Louis Armstrong said: good and bad! Country and Western! No, I'm just joking. Good and bad, but, like, it's good to have an open taste where you like a lot of stuff. I don't really like the mentality of 'I like everything, whatever's on the radio'. Fuck that! There are people who are telling it right, and you know, it's like the first time I heard Lucinda Williams: it's roots music that I normally wouldn't be that excited about, but she popped out from that because she had an edge. She had a story to tell. She had a really cool voice and it was the swagger: there was something punk and rock 'n' roll about Lucinda Williams. It wasn't just syrupy country and western kinda stuff.
It's like, I don't really like metal. But Motorhead? Some might say they're metal but to me they're rock 'n' roll. But Kerrang would support them! To me, Motorhead is leaps above all those other bands who tried. Same thing with AC/DC: 'It's heavy, hard rock!' Well, it's just fucking good music!
GG: That's totally true! And also, when you mentioned Lollapalooza, that was Perry Farrell from Jane's Addiction who started that. They were one of those bands too, weren't they?
JM: Yeah, you couldn't peg them into a box, right!
GG: Yeah, it's just good music.
JM: Exactly, and that's why it's still good to put that record on. Some punk kid's gonna go 'that's cool!' I once made a film with Martin Scorsese and we were sitting around CBGB's doing the filming. I was trying to talk music with him, because he always has great music in his films, and Jane's Addiction came on. He turned to me and said, 'That's Jane's Addiction: they're one of the good ones, right?' (laughs) This sixty year old man! I was like, 'yep!'
GG: Haha! That's right! That was Bringing Out the Dead, wasn't it?
JM: Bringing Out the Dead. I had one little line, like, 'Right this way', I was the club doorman or something. You seem to know your stuff, man.
(Photo: Olivia Jaffe)
GG: That was a good movie! Now, what I'd like to talk about is songwriting. Are you always in the mode of songwriting, as it were? Do you get an idea, record it in an iPhone, that kinda thing? How does it work for you?
JM: I kinda like to have a few ways. I always carry a notebook, I always walk around writing down ideas and lyrics. I always get inspired by things I hear people saying or things that come into my head, something maybe I said or am thinking about. I write that down, I'll be collecting that in that book.
Man, you know, I just pick up guitars sometimes when I'm walking around the house, or walking to a soundcheck, and I just start to hear things in a different way. I let myself start to freeform, and I let melody really lead me, and the chords. I just let it go, and I'm singing different things. Sometimes those words are meaningful and I'll take from them, and sometimes they're kind of like placeholders, almost like a Rorschach test. So there's initial inspiration. And then I'll go back and I'll listen to it – it used to be on a cassette, now it's on a phone – and I'll distil and go, 'Wow, those are the good bits here, let's finish this! Alright, what am I trying to say? I like these parts a lot, let's cross the t's and dot the i's, let's make this happen'.
"I used to get beat up by kids that like Led Zeppelin when I liked KISS as a ten year old. When I got into punk, everybody beat me up!"
To be quite honest, you get really lucky sometimes where you get the whole thing right there and you just gotta colour in the bits in the middle, but other times, you get the initial idea and then the homework begins, to kinda tighten it up and that's when I'll look hard at the lyrics. That's when I'll look back in the book and I'll see, like, 'Oh yeah, this kinda fits with this', or something will fit in with the mindset I've been in for the last week or so. Or sometimes it's stuff from a long time ago, where it would go really good into an idea. But I have to feel the sentiment, so it's kinda being led in this trancelike state, and then you figure it out later and make sense of it.
GG: Okay, so there can be a song where you've written parts of it recently and parts of it ages ago, except there's still a kind of through-line to it.
JM: Yeah, I write alone I guess but on this record, I wrote a bunch with Derek Cruz, my guitar player and the guy who produced the record. We go into a state where I don't play an instrument in these moments, and he just plays stuff on, say, a bass or a weird keyboard sound. Or bring in a drum beat. I'll just freeform melodies, and because I don't know where he's gonna go, he's kinda guiding it and then I'm kinda guiding it with melody. We're doing this thing where, if you have an instrument in your hands, you kinda know where the next chord's gonna go, you know what's gonna happen because you have old tricks in old places and old habits. With someone else, you can get lost.
Like I was saying earlier, if I walk into a soundcheck in a room and I sing into a mic in a PA in a weird place, a different theatre or a different sound, hearing myself a different way, coming off the street in some strange town, it stimulates me. It's like putting a weird tuning on a guitar, or a capo. And it's also jamming with somebody else. I did some writing with Rob, which I've never done before. He's been the piano player in my band on-and-off for 20 years and, you know, we just sat in my kitchen. It was dark times, there wasn't a lot to do, so it was him playing a piano and I'd start coming up with lyrics and melody, so we'd kinda go into this telepathic thing. So, that's another approach.
I definitely like to tune my guitars and do different things when I'm alone to inspire a different tonality.
GG: Yeah, it helps keep things fresh. That's an interesting point you raised: when you are 'melodising' for want of a better term, with your vocals and someone else is in charge of the harmonic base, you really don't know where they're gonna go! Does that mean you just let melody be the ruler? Like, the melody's in charge of the song, is it that idea?
"We're kind of addicted to getting under the hot lights in those rooms, singing on the microphones and sweating out the poisons"
JM: Yeah, I think the melody is a big strong person: a king or queen of how this goes! I think that the melody is everything. I used to think that if you learned a lot of great chords, you were gonna write a song that's also great, and I think there is something to that for sure, to have more chords and even words in your vocabulary, or paintbox. But look at someone like Tom Petty or Buddy Holly, just a couple of chords and how much they get out of that! How melodic the songs are with such simplicity. So there's room for both. It's good to fuck with yourself and shake it up. Sometimes I like to play different rhythms and that does it. I like to walk around in a strange town where I'm not, like, knowing everybody and know where I'm going. I feel more like an observer, as a writer, watching things. Instead of being in the movie, you're watching this movie of life, observing people through that lens.
GG: Yeah, just being open, basically. So, because this is for guitarguitar, let's talk guitars! I've noticed you play a lot with a beautiful Gibson acoustic. Is that a Hummingbird?
JM: I have a Hummingbird, it's a 1962 that I've had for a long time. I play a 2006 Gibson Sheryl Crow guitar, but I banged it up and put all these stickers on it. I call it my Sheryl Cro-Mag. It has a Fishman pickup, which was done by Carmine Street guitars, Rick Kelly, who makes Kelly guitars that are great, too. He's down here in the Village, West side, and he makes them sound so warm and sweet. I've been using his pickup setups with the Fishman, the way he does them, for probably 18-19 years.
Then I also play a 1956 Les Paul Junior, one of the first years they made that, if not the first year. It's a vintage one, it's beat up but it's really warm. I have a Les Paul Deluxe that Gibson gave me in the 2000s that I like. It's the PMA guitar – Positive Mental Attitude – it's got those letters on it. Also, I've been playing a Martin around the house that I kind of dig, it's a D...I dunno what it is, D-something! I have a Tele, just to shake it up and get that Fender sound, a 70s Blonde Tele, that I like. And I like J-45s a lot, if you get a good one. The wood has to age, they gotta get some sweat on 'em.
GG: That's an amazing collection of guitars! I most often see you pictured live with an acoustic, but do you play electric guitar live too?
JM: Thirty percent, forty percent of the show, I'm on the electric. Some songs, I'm just singing and on the early records, it's more acoustic, but it's a combo.
GG: And your Junior, that sounds amazing! Would that be a single cutaway, then?
JM: It's a single cutaway, yeah. Tobacco Burst.
GG: Nice!
JM: There's a guy that deals gear out West named Ricky Mahler, he was in a band called Circus of Power. They call him 'The Chud King'. He calls all that gear Chud. He has used vintage stuff that he sells privately. He's a friend and we've done some music together on one of my records. Yeah, the Hummingbird and another one of those Sheryl Crow models – I bought a second one – but also the 1956 Les Paul Junior, that's all Chud King. And the Tele!
"Songwriting's like being led in a trancelike state, and then you figure it out later and make sense of it"
GG: Good guy! The Chud King! And, Jesse, what are your preferences for string gauge and picks?
JM: I like medium gauge picks, I used to like Fender medium plectrums, as you call them, I also like these Dunlop mediums, that's kinda my thing. For strings, I use martin medium gauge on the acoustic. I tune down half a step, I started doing that in D-Generation just for singing purposes and I kinda got stuck in it a little bit. Maybe I'll change it someday but most of my records are tuned to Eb. Cause it's heavier! And more rock! No, but yeah, we tune down.
And for the electric guitar, I use Not Even Slinky Ernie Ball, which is good for keeping the strings tight when you're tuning down a half step. It's great for me, it feels comfortable having a .056 down below on the low E string. I've been playing Ernie Ball strings on electric since Heart Attack, my Hardcore band. I used to play tens but now they've thicker.
GG: Cool man! Now, I'm sure you've been asked this about 8 million times, so sorry to ask again, but it's because we haven't spoken before, and our audience may not have come across this. Bruce Springsteen duetting with you on Broken Radio: that's quite good going! How did you manage to get The Boss involved?
JM: Um, well, he'd heard my first record, The Fine Art of Self Destruction, or read about it, and we met at the Stone Pony at a benefit for Light of Day, which was Parkinson's Relief. We started talking about, like, the Clash or Joe Strummer, some fun stuff, and my manager said, 'Bruce is gonna call you up', a month later. 'Really?' 'He wants to ask you something'. He got my number and I guess it turns out he wanted me to play some shows with him and his band for a Holiday Christmas thing. I thought we were gonna do Christmas songs and he was like, 'No, we're gonna do YOUR songs!' like, 'Wendy' and 'Queen of the Underworld'. I only had one album out.
I went down to Astbury Park, New Jersey, where he's from and we rehearsed. It was like a weird dream: he was playing guitar and singing, and there's clips out there of it. We did it for three nights, with Sam from Sam and Dave and Jon Bon Jovi. Danny DeVito was there, it was wild. And then it just became one of those things: I'd see him now and then, we stayed in touch, we had a nice time those three days.
I was going to make my third record in Los Angeles called Glitter in the Gutter and I went to see him play for the Seeger Sessions up in New England. He said, 'What are you up to, after this?' I said, 'I'm going to LA to make my new record'. 'Well, if something comes up and you want me on the record, or you do something and you need me, I'm down'. And I thought maybe he was just going to play some guitar, or sing a little thing. I mentioned to my producer Rob Caggiano, who's in a band called Volbeat now (click to read our exclusive interview with Rob Caggiano), he said, 'Why doesn't he sing on that song you wrote about your Mom? That song about her passing away at a young age, and being a frustrated dreamer, singer'. I said, 'that's a really personal song, I'm not sure'.
So, I thought about it, and my mom always wanted to be a singer and sing to the radio, that's what it's all about. Then it hit me: maybe it would be a good thing, to have one of the great voices of radio, sing on this song, it kinda made sense. I sent him the song with the lyrics and he called, saying 'I like the song, I'm down to do it.' So, we flew from LA to New Jersey to his property and he pulled up on his Harley, down a gravel road! There was peacocks and horses and he was so cool. We had a beer at noon and he went in a booth and just banged it out in his home studio.
Suddenly, this little song I wrote in my apartment about my mom who died when I was very young, there's this singer who I love – Nebraska, The River and Darkness On the Edge of Town, oh my God! – this is really happening!
It was an honour and just beyond a surreal beautiful dream. He's a very giving, humble, soulful, real person, like you'd expect from the image, but sometimes you meet your heroes and they can let you down. Bruce kind of goes the other way, he's even cooler than those things you read.
GG: Aw, that's amazing! So good to know, too. What a story! I was expecting the opposite, to be honest: that you'd have to chase him and hustle it!
JM: Haha, yeah, take him out for some sushi, yeah!
(Photo: Vivian Wang)
GG: So amazing. So, just to kind of round things off, Jesse, you've been doing your livestreams for a while and they've been going super-well, but now you are going back out touring in the world again. Have you played some shows recently?
JM: I played some shows in the New York area, we played Los Angeles recently, and we have shows coming up. We're doing 3 weeks in the UK, starting on the 27th in Glasgow.
GG: How's it feeling to be back out playing in front of sweaty rock audiences again?
JM: Really emotional, really great. The livestreams were so fantastic, that we had that outlet and you could close your eyes and somehow get to feel that people were there even though you couldn't hear them clapping or anything (laughs). But it was very emotional, I started crying when we began playing music again, like wow, this is what we do! There's a give and take between you and the audience when you put something out. They give you something back, hopefully and it goes back and forth and reaches a higher level. There's nothing like that, we're kind of addicted to getting under the hot lights in those rooms, singing on the microphones and sweating out the poisons! Just connecting with people, you get to see if the new songs hold true, you sing them in front of people in a microphone. If they reverberate and resonate, maybe they stay in the set for years. There's something about travelling with a group and getting out there, going from town to town, it's like being on a pirate ship with your mates.
It's an apt comparison, and we hope to see the Dread Pirate Jesse on these shores very soon! In the meantime, you can keep an eye on his tour and album details by heading across to the official Jesse Malin website. Sad and Beautiful World is out on Sept 24th and he'll be touring extensively, so head to his site for tickets!
We'd like to thank Jesse for giving up his time for us, and for such a great conversation. Thanks go out to Peter Hall for setting us up, and to you, of course, for reading this article! We hope you enjoyed it, and you can find more over at the guitarguitar interviews page.
There will be more interviews soon, but until then, thanks for stopping by.
Ray McClelland
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Q: Multiple Choice Questions I took an exam recently in which I have some query regarding some multiple choice questions.
$(i)~$Let $f :\mathbb R \rightarrow \mathbb R$ be a differentiable function with $f(0)=0$. If $~\forall~x\in \mathbb R, 1 < f~'(x)<2,$ then on $(0,\infty)$:
A. $f$ is unbounded
B. $f$ is increasing and bounded
C. $f$ has at least one zero.
D. $f$ is periodic

Attempt: I took the example of $f(x)=1.5x$ which is unbounded,so, the correct answer should be A?

$(ii)$ Let $S= \bigcap_{n=1}^{\infty} ([0,\dfrac {1}{2n+1}] \bigcup [\dfrac {1}{2n}, 1])$. Then, which one of the following statements is false
A. There exist sequences $\{a_n\},\{b_n\}$ in $[0,1]$, such that $S=[0,1] - \bigcup_{n=1}^\infty (a_n,b_n) $.
B. $[0,1] - S$ is an open set.
C. If $A$ is an infinite subset of $S$, then $A$ has a limit point.
D. There exists an infinite subset of $S$ having no limit points.

Attempt: I think that last statement D. There exists an infinite subset of $S$ having no limit points. should be false as it violates Bolzanno's Limit theorem.

Was I right in my attempts? Thank you very much for your help in this regard.


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?California Native Plants GovernorJerry Brown announced last month for Californians to reduce their water use by 20%. You can start by reducing some or all of your lawn by adding drought tolerant plants such as California Natives.Nativeslove to beplantedin the rainy season, cool nights and warm days. We've gotten some much needed rain recently use this time to rethink our landscape. For more information: check out my favorite; Tree of Life Nursery in Orange County.TOLN has weekend DIY classes showing you how to lose the lawn,design andimplementyour yard with CA Natives .If you have not visited a California native plant garden before, now through fall would be an excellent time to visit.
Take a stroll through the Los Rios Park in San Juan Capistrano , grab acoffeefrom Hidden House Coffee and meander the DG pathways for CA native color.Ceanothus and poppies are in bloom close to the Montanez Adobe.To observe the Monarch habitat within the park, get a table from Ramos House Cafe or Hummingbird Cafe to watch the butterflies dance between the flowers and Sycamore trees.
May 17 & May 18, 2014 for Eco/XPO inside the Los Rios Park in San Juan Capistrano,CA.
Listen to the experts in Horticulture, Environmental Resources, DIY: Landscape Design & Planning, Edible Landscape, Water Conservation, Bees and Owls.A variety of DemonstrationGardens to view highlighting CA Native, CA Friendly and Succulent/Cactus Landscapes for your yard. Grey Water demonstration taught by our very own Evan Marks of the Ecology Center.


The beach City District of Nea Plagia with a population of 1,171 is historically linked with Plagia in Eastern Thrace. The first settlement was built in 1924 by refugees from Eastern Thrace. The original site was near the monastery Karamani placed on a swamp, where with the help of the monks built the first houses and gradually the swamp became a fertile land. The village was named Nea Plagia (New Plagia) to keep alive the memories of the old homeland.
Today, the visitor meets the beach of Nea Plagia along the village where the clean beaches host thousands of bathers during the summer months. Another characteristic of the village are the numerous parks with all kinds of flowers and trees which bring out the local flora.
From Thessaloniki towards Nea Plagia.
We offer free of charge transfer from and to "Macedonia Thessaloniki" SKG airport.


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yourself with these beautiful Drop earrings from Christopher Designs. A part of their Earrings collection, they are sure to dazzle with their unforgettable design. Model number L216ER-200 brings luxury to any occasion, made from 14k white gold. These Halo, Diamond earrings are crafted with only the finest materials.


text:
http://tinyurl.com/y2t84yzb
This article was written on 25 Nov 2012, and is filled under Author: sickkgirl.
Laid to Rest, sickkgirl
Fancy Being "LAID TO REST" (2009)? [REVIEW]
LAID TO REST is a low budget horror/thriller film, from the mind of one of America's top special effects artists; Robert Hall. The film opens with a girl (Bobbi Sue Luther) trapped inside of a coffin, she forces her way out, and due to a traumatic head injury she doesn't remember anything – not even her name. Her abductor 'Chromeskull' (Nick Principe) appears, and tries to capture her again to finish what he started. She soon realises that he is hunting her down, and tries to survive the night in a very isolated town. The rest of the film is basically an 80 minute chase scene, in which she comes across a fair few other characters that try and protect her.
I was disappointed at the amount of stupid decisions that characters made, instead of running away from Chromeskull and into a populated town, they kept going back to the same buildings they encountered him in. The main three characters were definitely some of the most dim-witted I've seen in a film. Even for a low budget horror film, it was bad. In the first few minutes 'The Girl' keeps calling the coffin a 'dead box' and only knew the number to call 911 thanks to a handy post-it note on the wall. I mean, she couldn't remember these small things, yet she remembers how to drive a car. A reason that she came across so unintelligent was because the actress who played her was incredibly bad. Her performance wasn't very believable and she spent the majority of the film crying, or screaming out for help. Needless to say, it was still interesting to watch.
Although there is no back-story given for Chromeskull, he is hinted at being a surgeon a few times throughout the film. Even though a back-story would have been nice, (because I would have liked to have found why he's going around killing everyone in sight); I feel that the mystery works better in this case, even better than the mystery of Michael Myers in HALLOWEEN. Knowing that Chromeskull is some kind of professional and that he may well have been saving lives every day makes his past so much more intriguing. I also love the fact that his face is never shown in full, we just see parts of it and of course, his infamous mask.
The greatest and best part of the film was BY FAR the visual effects and how amazingly thought out the kills were. Although the majority of killings were done using the same knives, each of them was unique and entertaining. The best ones included a face being split in half from the mouth, a face being filled up with liquid then exploding from the pressure and a man's skin literally being peeled off. Thankfully, Robert Hall has spent the last 16 years doing special effects exclusively, so the effects in LAID TO REST are almost faultless, and extremely stunning. The scene that involved the demise of Chromeskull reminded me of old Troma films and b-movies, except it was of a much higher quality, which was definitely fun to watch.
Even though this film has a lot of bad acting, a lot of bad decisions and not much explanation for Chromeskull's actions, I sill thoroughly enjoyed the film as a whole. It was mainly down the brilliant screenplay and Chromeskull's mysterious character. This film wouldn't be for every horror fan out there, but definitely the hardcore slasher fans that enjoy a lot of gore.
"Laid to Rest" (2009)
Starring: Bobbi Sue Luther, Kevin Gage, Nick Principe, Sean Whalen, Thomas Dekker
Director: Robert Hall
Writer: Robert Hall
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Have you heard Retro Hymns 2
Home/Blog, Horn Section Music, Horns & Rhythm/Have you heard Retro Hymns 2
After <many> months of planning, writing, recording, mixing, editing and uploading, I am thrilled to announce that Retro Hymns 2 is now HERE!
The last 6 months have been a fun journey of me playing my horn (trumpet) a whole lot. What began as me doing an arrangement of God Bless the USA for Lee Greenwood to sing with RamCorps morphed into me going on the K-Love Cruise in January and playing in a horn section with a great group of incredibly talented guys. On the cruise, we had the opportunity to play with some dear friends, the band 'Unspoken' and also Danny Gokey. In preparing for playing in a 'horn band' for the cruise, I listened to over 200 songs with horns and played through 40 of the most popular songs that every horn band knows and plays a whole bunch. I don't know how to explain this besides saying that in the midst of playing a ton of horn band charts, something seemed to click for me. Listening and playing to so many great classic horn charts really got me inspired to try and create a record for horn and rhythm players in the styles of the horn bands but that could ABSOLUTELY be used in so many different style churches around the world.
One of the great things about Nashville is that there are SO many amazingly talented musicians here in this town. So, like any moderately intelligent person does, I surrounded myself with guys that are WAY more talented than I am. I gave them sketches, ideas, and some musical notes. And then…I got out of the way and let them create some music.
And BOY did they!
When I describe the record, I say it's an 'instrumental horn band record of classic hymns in a retro/throwback style'.
My goal was to create music that I would like to listen to and that I would LOVE to play. And now, I put the record out there in hopes that you would enjoy listening to it AND playing it.
You can purchase the record on iTunes by clicking here
You can purchase the sheet music for this series by clicking here
Here are a couple of audio samples if you want to check them out:
Nothing but the Blood Nothing but the Blood
Power in the Blood Power in the Blood
I Surrender All I Surrender All
Jeff Anderson	2017-08-14T16:28:33+00:00
FREE Brass Quintet Music
SERIOUSLY – JOIN THE BAND! Another FREE arrangement!
Join the Band – NOW for FREE – Virtual Jam Session
Christ the Lord Is Risen Today – 8 Core Orchestra – EASTER!
8 Core Orchestra Volume 2 Pre-Release Special Offer
steve mcclean June 13, 2016 at 8:08 pm
The music is awesome!! Our core group does not include alto/bari sax & trombone. Some arrangements I've seen have their parts substituted by other instruments like tenor sax. Is this the case in your arrangements? looking forward to your reply, steve mcclean
About AnderKamp Music
AnderKamp Music provides world-class, yet accessible music for churches, giving instrumentalists the opportunity to use their gifts to glorify God.
Download music today!
ALL of our products (sheet music AND mp3s) are available as immediate downloads. You don't have to wait for us to ship you anything! As soon as your order goes through, you'll be able to download your music.


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The End of Women's Ordination in the SBC
April 4, 2019 July 18, 2019
I've been on the email list for Midwestern Baptist Theological Seminary for quite a while now. I suspect someone added me to their mailing list as a joke. I don't really know. But I love getting the updates and information on the happenings there, so if it was you, thanks.
The absurd restrictions on women at the Baptist Theological Seminaries have got me thinking.
At the Southern Baptist Theological Seminary, Christian Preaching, Preaching Practicum, and Pastoral Ministry courses are reserved only for men. At Southwestern Baptist Theological Seminary women are not allowed to take Introduction to Expository Preaching, but take Expository Communication of Biblical Truth instead. (Communication of Biblical Truth kind of sounds like preaching to me… splitting hairs maybe?) Women are also not allowed to take Advanced Expository Preaching, and get a free elective in its place. Women are also restricted from Foundations of Christian Ministry, and take Women's ministry in the Local Church instead. SWBTS does have programs specifically for women including, The Wife of the Equipping Minister, Seminary Studies for Student Wives, and certificates and degrees in women's ministry. All of this makes sense in a denomination that is specifically not training women to lead churches.
Many Southern Baptists like to say that women have never been pastors in the history of the church, and therefore it's obvious that they shouldn't be pastors. But the fact is that thousands of women were ordained in the Southern Baptist Church up until the SBC updated The Baptist Faith and Message in 2000 forbidding the ordination of women. In 1984 a resolution was passed by the SBC against women in pastoral roles, but the decision was ultimately left up to the local churches to decide who they would ordain, and women who were already ordained were allowed to remain in their positions. As of the late 1990s there were over 1,200 ordained women pastoring in the SBC. Then in 2000 they clarified their statement, limiting ordination and ordained roles to only men in all SBC churches.
The move to limit the roles of women was largely the work of Al Mohler, president of Southern Baptist Theological Seminary, and Paige Patterson, the former president of Southwestern Baptist Theological Seminary who was fired in 2018 for his mishandling of sexual abuse allegations and his litany of comments supporting the abuse of women.
Al Mohler was vocally in support of women in ministry until he was "groomed" by the men with power in the SBC to take over as president of Southern Baptist Theological Seminary, at which point he suddenly and conveniently changed his mind in order to woo the convention. (There is a documentary on the passing of the 1984 resolution on YouTube called Battle for the Minds.)
Patterson's despicable behavior toward women caused the SBC to adopt a resolution in 2018 on the "dignity and worth of women," which may not have been necessary if they hadn't let a man like Patterson push women out of equality with men in the first place. But Patterson's influence on the place of women in the SBC remains, and the resolution on the "dignity and worth of women" still limits a woman's place in the church and home.
The restriction of women in the SBC was a systematic effort started in the 1980s by a small group of powerful men, with the intention of keeping women down. They've sold their agenda to Christians as gospel and the word of God.
I see this as a pattern in the greater Church. We are always moving toward redemption, and as we do, the Spirit moves us toward greater equality in the body of Christ, empowering our members, both men and women, to preach and teach the gospel. But the devil, perpetuating the ancient lie, always pushes back into brokenness. And there's always a little bit of God's word mixed in with the lie, isn't there? That's why the lie is so effective.
The SBC is certainly not the only denomination that has moved backwards with respect to women, but they represent tens of thousands of churches in the U.S. I would love to see the women and men of the SBC lean into the Spirit of God, and move away from the destructive influence of men like Patterson. I would love for my brothers and sisters in the SBC to lean into the freedom of Christ for all God's children to preach his Word. May God bless the SBC, and may God's Spirit move in that church like a mighty wind, leveling the hills and tearing down the walls.
"'And in the last days it shall be, God declares,
that I will pour out my Spirit on all flesh,
and your sons and your daughters shall prophesy,
and your young men shall see visions,
and your old men shall dream dreams;
even on my male servants and female servants
in those days I will pour out my Spirit, and they shall prophesy.
BaptistordinationpastorsSBCwomen in ministry
A Guide to Cross-Centered Submission
Dress Like a Man (So the Men Don't Feel Left out)
One thought on "The End of Women's Ordination in the SBC"
Tomara Brown says:
Thank you for this reflection.
I pray for more SBC churches to affirm the preaching gifts in both men and women.
My MDiv courses were taken at Southern and Southwestern. I was not at Southwestern the same time as Patterson. I did take preaching at Southern. I was supported by most classmates. Soon after I took preaching, women were not allowed to take that class.
I'm so grateful for the men and pastors who have supported me in my preaching.