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Nonadherence to antiretroviral therapy among people living with HIV/AIDS attending two tertiary care hospitals in district of northern India
Mukesh Shukla1, Monika Agarwal1, Jai Vir Singh1, Anil Kumar Tripathi2, Anand Kumar Srivastava1, Vijay Kumar Singh1
1 Department of Community Medicine and Public Health, King George's Medical University, Lucknow, Uttar Pradesh, India
2 Department of Clinical Hematology, King George's Medical University, Lucknow, Uttar Pradesh, India
Date of Submission 23-Dec-2014
Date of Acceptance 12-Feb-2015
Date of Web Publication 8-Dec-2015
Mukesh Shukla
96 HA Vihar, Panigaon, Indira Nagar, Lucknow, Uttar Pradesh - 226 016
DOI: 10.4103/0970-0218.170970
Introduction: Adherence to antiretroviral therapy is a principal predictor for the success of human immunodeficiency virus (HIV) treatment. It remains as a challenge to acquired immunodeficiency syndrome (AIDS) treatment and care with the widespread of the associated risks. Therefore, study aims to assess nonadherence level and factors associated with nonadherence to ART among people living with HIV/AIDS (PLHA). Materials and Methods: A hospital-based, cross-sectional study was conducted at two tertiary care hospital of Lucknow. A total of 322 adult HIV-positive patients registered in the ART center were included. Systematic random sampling was used to recruit patients. Nonadherence was assessed on the basis of pill count method. Results: A total of 10.9% of patients were found to be nonadherent to ART. Principal causes cited were being busy with other work (40.0%), felt sick or ill (28.5%), not having money (14.2%), and being away from home (11.4). Multivariate logistic regression analysis revealed that nonadherence was significantly associated with nonbeneficial perceptions towards ART (odds ratio (OR) 18.5; 95% confidence interval (CI) 3.2-106.6; P = 0.001), being counseled for adherence for more than 3 months (OR 13.9; 95% CI 1.6-118.9; P = 0.01), presence of depression (OR 2.6; 95% CI 1.0-6.7; P = 0.04), and those who were not satisfied with healthcare facilities (OR 5.63; 95% CI 1.88-16.84; P = 0.00). Conclusion: Although adherence to ART varies between individuals and over time, the factors that affect nonadherence can be addressed with proper periodic counseling and motivation of patients and their family members. Adherence to highly active antiretroviral therapy (HAART) could delay the progression of this lethal disease and minimize the risk of developing drug resistance.
Keywords: Antiretroviral therapy, nonadherence, pill count
Shukla M, Agarwal M, Singh JV, Tripathi AK, Srivastava AK, Singh VK. Nonadherence to antiretroviral therapy among people living with HIV/AIDS attending two tertiary care hospitals in district of northern India. Indian J Community Med 2016;41:55-61
Shukla M, Agarwal M, Singh JV, Tripathi AK, Srivastava AK, Singh VK. Nonadherence to antiretroviral therapy among people living with HIV/AIDS attending two tertiary care hospitals in district of northern India. Indian J Community Med [serial online] 2016 [cited 2019 Jul 17];41:55-61. Available from: http://www.ijcm.org.in/text.asp?2016/41/1/55/170970
Antiretroviral therapy (ART) has improved the quality of life of human immunodeficiency virus (HIV) patients worldwide. A reduction in HIV-related morbidity and mortality has been recognized in countries where ART has been made widely available. To achieve optimal results from ART, high levels of patient adherence to ART is essential. High levels of adherence to ART (at least 95%) are needed to ensure optimal benefits. [1]
Globally over the past 2 years, there has been a rapid scale-up of access to treatment with ART. This in turn has averted an estimated 4.2 million deaths in low- and middle-income countries between 2002 and 2012. The number of people receiving HIV treatment reached 9.7 million in low- and middle-income countries in 2012. As per the new World Health Organization (WHO) Report 2013 (Global update on HIV treatment), number of people eligible for ART in low- and middle-income countries globally is expected to rise from 16.7 to 25.9 million. [2]
Adherence is defined as a patient's ability to follow a treatment plan, take medications at prescribed times and frequencies, and follow restrictions regarding food and other medications. [3] The national guidelines in India stipulates > 95% adherence to ART.
In Uttar Pradesh there are 20 ART centers. By January 2013, there were 25,578 currently on ART treatment including 24,163 adults and 1,415 children. [4]
Adherence to the highly active antiretroviral therapy (HAART) regimen appears to be the single most important variable that predicts a patient's ability to achieve and maintain suppression of HIV viremia to below the level of detection, and is thus critical for success of HAART. The national guidelines in India stipulates > 95% adherence to first-line regimen.
As per research studies in developing countries, there are multiple factors that influence adherence to ART and categorized as: Patient and family/care giver-related factors, medication-related factors, healthcare delivery system-related factors, and social/environmental factors.
Optimizing adherence and minimizing loss to follow-up are two major challenges for the ART rollout program in India. Despite of understanding the importance of ART adherence, no reliable data is available on level of nonadherence and factors associated with it, specifically in Uttar Pradesh. Till 2005 there are about 2,425 lost to follow-up cases in the state itself. Therefore, the present study aims to assess nonadherence level and factors associated with nonadherence to ART among people living with HIV/acquired immunodeficiency syndrome (AIDS; PLHA) in Uttar Pradesh, India.
The present study is a hospital-based, cross-sectional, analytical study.
Study settings
The study was conducted at the ART center of King George's Medical University and Ram Manohar Lohia Institute of Medical Sciences, two tertiary care hospitals in Uttar Pradesh, India. Both these center provides ART free of charge and has the relevant resources for CD4 count estimation, counseling sessions, and regular check-ups.
All PLHA patients from this center aged ≥ 18 years, and who have been receiving ART for at least 6months were included in the study.
Assuming nonadherence level as 30% [5] and an absolute precision of 5%, the total sample size required was calculated to be 322 (formula used: n = z 2 pq/e2; where n = sample size, z = value of standard normal deviate = 1.96 at 95% confidence interval (CI), p = prevalence of non-adherence, q = 1-p, and e = absolute precision). [6]
Sample selection
During the study period, data was collected on three (alternate) days every week. Days of data collection were varied in consecutive weeks to reduce the bias for day-specific outpatient department attendance. Every sixth patient from the registration on that day was interviewed, if patient was not eligible for this study next consecutive patient was interviewed in private, until the target sample size was reached. A total of 322 patients were included in the study. Unwilling patients, patients who were unable to communicate, and seriously ill patients were excluded from the study.
Ethical clearance
This study was approved by Ethics Committee of King George's Medical University. Patients were first briefed about the purpose of the study and assured regarding the confidentiality of the data given. After written consent was obtained from the participants, they were interviewed.
Data collection tool
Patients were interviewed with the help of a predesigned and pretested schedule and data regarding sociodemographic characteristics and adherence to ART were collected. Becks Depression Inventory (Hindi) was used to assess depression in patients. The Beck Depression Inventory is a 21-item, self-report rating inventory that measures characteristic attitudes and symptoms of depression. [7] Higher scores on scale indicated a greater number of depressive symptoms or a greater probability of major depressive disorder. The score ranged from 0 to 63. For the purpose of analysis the score was dichotomized, with ≥17 being indicative of depression.
Pill count method for assessment of nonadherence
Adherence percentage (A) was assessed using pill count method. A = (number of tablets or doses actually taken by a patient for a particular time period) χ (number of tablets or doses the patient should have taken during this time period). All patients with poor adherence percentage < 95% of treatment adherence were denoted as 'nonadherent'. [8]
Data was compiled and analyzed using the statistical software. The association between different sociodemographic and clinical variables in relation to nonadherence to HAART was determined using Pearson's chi-square test; Yates corrected chi-square, and Fisher's exact test was applied in appropriate cases. Independent variables that were found to be statistically significant in bivariate analysis were considered for application in the logistic regression model to determine the important predictors of nonadherence, with nonadherence as the dependent variable. For multivariate analysis, inter method was used. A P-value ≤ 0.05 was considered statistically significant.
The mean age of the 322 patients enrolled in the present study was 38.3 ± 9.0 years. Most of the patients were male and Hindu (62.4 and 74.5%, respectively), 50% were each from rural and urban areas, and 28.6% were illiterate. The percentages of patients who were married, widowed, and separated were 63.4, 24.8, and 3.1%, respectively. In our study population, 34.8% of patients were unemployed. Majority (64.5%) of the patients belonged to middle socioeconomic class [Table 1]. In terms of treatment, majority (57.1%) of patients were on zidovudine (ZDV), lamivudine (3TC), and nevirapine (NVP) regimen. About one-fifth 20.2% had experienced side effects following ART in last 3 months.
Table 1: Distribution of patients attending ART center according to their pattern of nonadherence to ART during preceding last 3 months (N = 322)
[Table 2] shows that 35 of the 322 (10.9%) patients were nonadherent to ART during current visit. Based on pillcounts, we found that 10.9% patients had < 95% adherence to ART, while 1.6% were even found to have adherence percentage < 50. Same pattern of nonadherence was observed during their visit at ART center in last 2 months. [Table 4] shows the major reasons cited for nonadherence;
Busy with other things (40.0%);
Felt sick or ill (28.5%);
Don't have money to visit ART center (14.2%);
Forgot to bring medicines when away from home (11.4%);
Wanted to avoid side effects (2.8%); and
Felt like the drug was toxic/harmful (2.8%).
Multivariate logistic regression analysis [Table 3] revealed that nonadherence was significantly associated with nonbeneficial perceptions towards ART (odds ratio (OR) 18.5; 95% CI 3.2-106.6; P = 0.001), being counseled for adherence for more than 3 months (OR 13.9; 95% CI 1.6-118.9; P = 0.01), presence of depression (OR 2.6; 95% CI 1.0-6.7; P = 0.04), and those who were not satisfied with healthcare facilities (OR 5.63; 95% CI 1.88-16.84; P = 0.00). However, other factors like low socioeconomic status and who had any side effects which were significant during bivariate analysis were found to be insignificant during multivariate analysis.
Table 2: Distribution of patient attending ART center by their biosocial characteristics
Table 3: Factors associated with nonadherence to ART (N = 322)
Table 4: Reasons for nonadherence to antiretroviral therapy (N = 35)
This study was conducted among 322 PLHA (³ 18 years of age) to determine the pattern of nonadherence to ART and factors associated with nonadherence at two tertiary care hospitals of Uttar Pradesh. Our results revealed a nonadherence level of 10.9% amongst PLHA. Similar level of nonadherence was reported in other studies conducted at other centers; Wanchu et al. (10%) in northern India [9] and Saha et al., (11.6%) in West Bengal, [10] using same study design and criteria to assess nonadherence in PLHA. Contrary to this, study conducted in Pune an Delhi by Sarna et al., [11] used 4-day recall method to assess nonadherence reported a much higher (19%) nonadherence among patients receiving free ART. However, Gokarn et al., [12] reported a much lower (5%) nonadherence level using "self-report method" for calculating nonadherence to ART. This large variation in the level of nonadherence among different studies in the country could be explained due to variation in different methods that were used to assess the level of nonadherence.
Similar to other studies conducted at national and international level, [13],[14],[15],[16] socio-demographic characteristics like age, sex, religion, category, marital status, socioeconomic class, education level, and employment status of PLHA were not found to be affecting adherence to ART. However, in present study,3.4% of PLHA "perceived ART to be nonbeneficial" for their illness and also higher level of non adherence (63.6%) was observed among these patients, a finding that is concurrent with a study by Pinheiro et al., [16] who also observed nonadherence higher among patients with negative perception towards ART. "Being busy" in other things was another principle reason for nonadherence followed by "illness" in present study, a finding that is similar to Saha et al., [10] and Byakika-Tusiime et al., [17] who also observed high level of nonadherence among PLHA who were busy in other activities during the date given to them for follow-up.
Orrell et al., [18] and Sinha et al., [19] reported that people cope better with ART adherence, if they share their HIV status with others (family/relatives), a finding which was not found consistent with the present study. In the present study, 14.2% of the nonadherent patients reported "financial burden" as one of the reason for nonadherence, a finding consistent with the study by Achappa conducted in south India. [20]
Nonsatisfaction with the healthcare facilities among patients who perceived that visits were too frequent to take medications was also found to be an independent predictor for poor adherence, a finding consistent with study done by Orrell et al. [18] The study revealed the importance of counseling at each visit after every month, as those who were last counseled within3months were about 14times less prone to become nonadherent. This may be due to continued counseling by which patients were able to express concerns about their health and is concurrent with other study findings. [19],[21] Depression was found as independent predictor of nonadherence in our study indicating the severity of the disease, likely to cause nonadherence; which was found to be consistent with other studies. [11],[19]
However, the study was subject to several limitations. It is possible that selection bias occurred, as only those PLHA who were on ART at the time of data collection were included, whereas those who were lost to follow-up or could not attend the ART center to collect drugs could not be enrolled in the study. Secondly, the study was conducted in hospital settings, therefore its generalizability is limited.
Achieving 100% adherence for all the patients on ART is a great challenge. Long counseling gaps, wrong perception towards ART, presence of depression, and nonsatisfaction with health services were found to be barriers to adherence.
Timely detection of nonadherence behavior and appropriate monitoring of patients, difficulties with ART could potentially help patients to maintain adherence, and therefore improve the treatment outcomes. Adherence is a process, not a single event, and adherence support must, therefore, be integrated into regular clinical follow-up. Investigation of factors associated with long-term adherence would require longer follow-up than the present study. In order to maximize the benefits of ART, patients should be educated on the need of adhering to the right dose at the right time as an intervention against barriers to adherence. Utilization of multiple measures of adherence to be incorporated in the care plans and multiple target interventions focus to resolve the barriers to adherence should be implemented based on barriers present.
I am thankful to Dr Neetu Gupta, Dr. Suman Shukla, Medical Officer ART centre, Mrs Rajnigandha, Counsellor, ART Centre, King George's Medical University Lucknow, Dr. Abhishek Gupta, Dr. Pallavi Shukla, Dr. Ravikantand my dear juniors for their constant encouragement and motivation.
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Byakika-Tusiime J, Oyugi JH, Tumwikirize WA, Katabira ET, Mugyenyi PN, Bangsberg DR. Adherence to HIV antiretroviral therapy in HIV + Ugandan patients purchasing therapy. Int J STD AIDS 2005;16:38-41.
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Shukla M
Agarwal M
Singh JV
Tripathi AK
Srivastava AK
Singh VK
nonadherence
pill count
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The Isle of Sheppey is an island off the northern coast of Kent, England in the Thames Estuary, some 46 miles (74 km) to the east of London. It has an area of 36 square miles (93 km2). The island forms part of the local government district of Swale. Sheppey is derived from the ancient Saxon "Sceapige", meaning isle of sheep, and even today the extensive marshes which make up a considerable proportion of the island provide grazing for large flocks of sheep.
Today's island was historically known as the "Isles of Sheppey" which were Sheppey itself, the Isle of Harty and the Isle of Elmley. Over time the channels between the isles have silted up to make one continuous island. Sheppey, like much of north Kent, is largely formed from London Clay and is a plentiful source of fossils. The Mount near Minster rises to 250 feet (76 metres) above sea level and is the highest point on the island. The rest of Sheppey is low-lying and the southern part of the island is marshy land criss-crossed by inlets and drains.
Some Sheppey inhabitants like to call themselves Swampies, a term that began as, and for some people remains, an insult; for others it has become a term of endearment or a phrase for reinforcing identity.
Sheppey is separated from the mainland by a channel called the Swale. Like the Wantsum Channel separating the Isle of Thanet from the mainland to the east, and Yantlet Creek at the Isle of Grain, it was used in ancient times by shipping to and from ports such as Chatham and London to reduce exposure to bad weather in the Thames Estuary or North Sea.
Three ferries have operated between the mainland and the isle: one to the west, called the King's Ferry; one at Elmley; and another, giving access from Faversham, the Harty Ferry. All had long histories: particularly the last (see external link below). None operate today: the Harty Ferry ceased operation at the start of the First World War, but the slipways at Harty and Elmley can still be seen today. That at Harty is below the Ferry House Inn (the landlord owns the ferry rights), while seeing the one at Elmley requires a walk of about a mile and a half from the RSPB car park. Additionally the South Eastern Railway operated a connecting passenger ferry to Sheerness from Port Victoria railway terminus on the Grain Peninsula for some years. Several ferry services to Southend have also been tried but proved short-lived. An attempt to start a small hovercraft service between the Harty Ferry Inn and Oare Creek near Faversham in 1970 by the then landlord, Ben Fowler, failed after a few days.
A number of continental ferry services have operated from the Isle of Sheppey.
A large ferry terminal was built by the London, Chatham and Dover Railway at Queenborough Pier in 1876 and operated a nightly service to Flushing (Vlissingen) in the Netherlands, as well as a German mail service. These services ceased during the First World War but it was then used for military traffic. The port there was closed and dismantled in the 1930s. A passenger, car and lorry ferry (the Olau Line) operated to Vlissingen from Sheerness through the 1980s and 1990s, but there has been no ferry service of any kind in recent years.
19 July 1860: The London, Chatham and Dover Railway built the first bridge to an Admiralty design. It had a central span raised between two towers. Trains and road traffic were able to use it, as with the next two bridges.
6 November 1906: The South Eastern and Chatham Railway replaced the first bridge with one having a "rolling lift" design. It was originally worked by hand, but later by electricity.
October 1959: Kingsferry Bridge, a lifting bridge was installed, able to lift both the road and the railway line to allow ships to pass beneath.
May 2006: The Sheppey Crossing was completed and opened on 3 July. This four-lane road bridge rises to a height of 95 feet (29m) at mean high water springs above the Swale, and carries the A249 trunk road. Pedestrian, animal and bicycle traffic, as well as the railway, are still obliged to use the lifting bridge, which still provides the most direct link between the island and the Iwade/Lower Halstow area.
5 September 2013: Fog caused a 130 vehicle pile-up on the bridge and its northern approach. With eight people seriously hurt, another 30 hospitalised and a further 120 classified as "walking wounded", the incident was the county's worst road accident in twenty years.
The complex of causewayed enclosures at Kingsborough Manor attests to the importance of the island's high ground during the neolithic while later prehistoric, Roman and medieval occupation has been found by archaeologists in advance of development at Neat's Court and St Clements CofE Primary School in Leysdown.
In 855, Sheppey as part of the kingdom of Wessex, became the winter camp of an occupying Viking force.
Shurland Hall, near Eastchurch, is named after its first owners, the De Shurland family. In 1188 Adam de Shurland possessed a mill with more than 1,000 acres (405 ha) of mixed land, mostly marsh with a small meadow: he also let a number of cottages thereabouts.
A curious tale surrounds a 14th-century member of the family, Sir Robert de Shurland. According to legend, Sir Robert killed a monk and resolved to ask the king for a pardon. In 1327 he rode to where the king's ship was anchored, off the Isle of Sheppey, and gained forgiveness. Returning, he met a witch who said that de Shurland's horse, Grey Dolphin, which had borne him so bravely to the ship, would be the death of him. Sir Robert immediately killed the horse and cut off its head. A year later Sir Robert was walking along the shore when a shard of the horse's bone pierced his foot. Blood poisoning set in and Sir Robert died.
Sir Robert de Shurland also possessed the Manor of Ufton in the parish of Tunstall, Kent, in the reign of Edward I. After he attended the prince in Scotland, to the siege of Carlaverock, where he was knighted, and in 1300, he then obtained a charter of free warren for his manor of Ufton.
Shurland died in 1327 leaving as his heir a daughter Margery who married William the son of Alexander Cheyne of Patrixborne, Kent. To William passed the manor of Shurland. It remained in possession of the Cheyne family until the sixteenth century when it was sold by Sir Henry Cheyne. During the First World War troops were billeted at the Great Hall, and it suffered considerable damage as a result.
Shurland Hall is a Grade II listed building. In 2006 a grant of £300,000 was made by English Heritage to restore the hall's façade. The Spitafields Trust carried out the restoration work which was completed in 2011. The house was put on the open market for £1.8 million.
Sheppey enjoys the dubious distinction of being one of few parts of what is now the United Kingdom to be (temporarily) lost to a foreign power since William the Conqueror's invasion in 1066. This was in June 1667, when a Dutch fleet sailing up the Thames Estuary for the Medway captured the fort at Sheerness. The fort at the time was incomplete and the garrison underfed and unpaid, so resistance to the heavily armed Dutch Navy (which, according to Samuel Pepys' diary, was also to a large extent manned by deserters from the English Royal Navy) was hardly enthusiastic. Pepys, then secretary of the Navy Board, described Sheerness as lost "after two or three hours' dispute". The Dutch quickly overran and occupied the whole island for several days before withdrawing. Prior to leaving, the Dutch took supplies, ammunition and guns, then burned everything that was combustible.
Three miles (5 km) across the Swale lies Whitstable. The Swale channel was the point of departure selected by James II, when departing in some haste "from the Protestant deliverance of the nation" by William of Orange in December, 1688.
A hoy having been chartered, the fugitive king landed at Elmley, only to be mobbed by local fishermen. They thought such a noble on such a humble vessel was the locally hated Jesuit Edward Petre and so took his money, watch and coronation ring. At length he was recognised by one of the assailants and the group took him in custody to Faversham, where he was detained.
Bluetown hosts the history and Heritage Centre for the Isle of Sheppey. The Heritage Centre contains memorabilia and artefacts pertinent to the Sheppey's history, including displays on aviation, maritime, war time activities, and island history andoffers guided walks of Sheppey Isle and Bluetown.
The present Heritage Centre is on the site of two earlier establishments. Originally called the "New Inn", in 1868 the site became "The Royal Oxford Music Hall". The following year the building, which is situated a few doors down from the Bluetown court house, became the Criterion Public House, with a music hall called the "palace of varieties" situated immediately to its rear. In 1879 the building was replaced with a brick structure.
On the 5th of June 1917 the Criterion was badly damaged by a German air raid. Shrapnel marks from the attack can still be seen in the dockyard wall opposite the building. After the air raid, the building was re-built in its present form retaining some of its original features. After a variety of other uses, the site became the Heritage Centre in January 2009. A special exhibition in 2014 commemorated the centenary of WWI.
Sheerness is a commercial port and main town of the Isle of Sheppey and owes much to its origins, as a Royal Naval dockyard town. Samuel Pepys established the Royal Navy Dockyard in the 17th century. Henry VIII, requiring the River Medway as an anchorage for his navy, ordered that the mouth of the river should be protected by a small fort. Garrison Fort was built in 1545.
Sheerness was the focus of an attack by the Dutch Navy in June 1667, when 72 hostile ships compelled the little "sandspit fort" there to surrender and landed a force which for a short while occupied the town. Samuel Pepys at Gravesend remarked in his diary "we do plainly at this time hear the guns play" and in fear departed to Brampton in Huntingdonshire.
The dockyard served the Royal Navy until 1960 and has since developed into one of the largest and fastest expanding ports in the UK. The Port of Sheerness contains at least one Grade II listed building, the Old Boat House. Built in 1866, it is the first multi-storey iron framed industrial building recorded in the UK. Decorated with ornate ironwork, it features operating rails extending the length of the building, for the movement of stores, much like a modern crane.
The area immediately outside the dockyard was occupied by dockyard workers, who built wooden houses and decorated them with Admiralty blue paint illegally acquired from the dockyard. This area was, and still is, known as Blue Town, though it is now mostly occupied by the Sheerness Steel complex.
Beyond Blue Town, an outlying residential area overlooking the sea was chiefly designed for various government officials. This area became known as Mile Town because it is one mile (1.6 km) from Sheerness.
About 200 shipwrecks are recorded around the coast of Sheppey, the most famous being the SS Richard Montgomery, a liberty ship loaded with bombs and explosives that grounded on sandbanks during the Second World War. As of 2004 plans were discussed with a view to removing the threat from the Montgomery. These include encasing the ship in concrete or removing the bombs; no firm decision has been made.
New research commissioned by the Government in 2005–06 has suggested that the threat has passed and that constant surveillance should ensure the safety of the immediate community.
Edward Jacob (1710–1788) purchased the little Manor of Nutts, Isle of Sheppey, in 1752. There, he pursued his hobby as a naturalist. He discovered much of interest to the antiquarian, naturalist, geologist and zoologist, although there was little prior knowledge. In 1777, Jacob published a book about his various fossil finds, including what he called "the remains of an elephant".
The isle is noted as the northern-most place to have an established scorpion population. Euscorpius flavicaudis has been resident since the 1860s, believed to have been imported on a ship. They have been found to be highly adaptable and hence have survived the relative cold by conserving energy and only acting for nutrition and reproduction.
In 2008 palaeontologists published details of the fossil skull, found on the island, of a large flying bird from the Eocene period called Dasornis in the deposits of the London Clay.
From 1894 to 1968, Sheppey comprised the Municipal Borough of Queenborough, Sheerness Urban District and Sheppey Rural District (consisting of the civil parishes of Eastchurch, Elmley, Harty, Leysdown-on-Sea, Minster in Sheppey and Warden). 1968 saw all these merged to form a single Municipal Borough of Queenborough-in-Sheppey, covering the entire island. In 1974 the area was merged with districts on the mainland to form the Swale district.
The isle has a long history of aviation development in England. It was home to Lord Brabazon's Royal Aero Club which formed in Leysdown in the early 1900s to popularise ballooning. The club took to the aeroplane with relish, and in July 1909 the Short Brothers established Shellbeach Aerodrome on nearby marshland to accommodate six Wright Flyers, moving a few kilometres the next year to Eastchurch where a new more appropriate aerodrome had been built for the club.
The Eastchurch airfield played a significant role in the history of British aviation from 1909 when Frank McClean acquired Stonepits Farm, on the marshes across from Leysdown, converting the land into an airfield for members of the Aero Club of Great Britain.
The Short brothers, Horace, Eustace and Oswald, built aircraft at Battersea to be tested at the site; later Moore-Brabazon, Professor Huntington, Charles S. Rolls and Cecil Grace all visited and used the flying club's services. Wilbur Wright and his brother Orville came to the Isle of Sheppey to visit the new flying grounds of the Aero Club. In 1909, Moore-Brabazon made the first live cargo flight by fixed-wing aircraft, by tying a waste-paper basket to a wing strut of his Shorts-built Wright aircraft. Then, using it as a "cargo hold", he airlifted one small pig.
The Eastchurch airfield was also the site, in July 1911, of the competition for the Gordon Bennett Cup for powered air racing, attended by flyers from all over the world, and won that year by the American pilot C. T. Weymann.
A stained glass window in the south side of All Saints' Church, Eastchurch (built in 1432), was dedicated to Rolls and Grace, who were killed in July and December 1910 respectively.
In July 2009, Eastchurch celebrated 100 years of aviation history associated with the island. SkySheppey brought together a number of associations and joined with many visitors to recognise the importance of British aviation history that started at Eastchurch.
The beach between Leysdown and Shell Ness.
The largest town on the island is Sheerness. Other villages include Minster, which has a pebble beach, and Leysdown-on-Sea, which has a coarse sandy one. The whole north coast is dotted with caravan parks and holiday homes; there is also a naturist beach beyond Leysdown, towards Shellness. The Royal Society for the Protection of Birds manages a reserve at Elmley Marshes, a small part of the National Nature Reserve managed by Elmley Conservation Trust.
There are three prisons on the island, all located to the south of the village of Eastchurch: HMP Elmley, HMP Standford Hill and HMP Swaleside. The total inmate population is in the region of 2,800.
In the 2001 census, the island had a resident population of 37,852, many of whom commute to the mainland via the Sheerness-Sittingbourne rail link and the new Sheppey Crossing Bridge.
Secondary education on the island is provided by Oasis Academy Isle of Sheppey. The school moved into new buildings in February 2013 and is split between two sites: East and West. The academy is split horizontally into five mini-schools.
The island has a non-league football club, Sheppey & Sheerness United F.C., which plays at Holm Park.
The island's largest cricket club is Minster Cricket Club, who compete in the Kent Cricket League.
Three radio stations broadcast from the Isle of Sheppey. Bridge Radio (BRFM 95.6 FM) broadcasts 24 hours a day from studios on the Minster Cliffs. BRFM has been broadcasting since 2006 and is the UK's longest running community radio station. Sheppey FM, a community internet radio station, based in the Heritage Pavilion, Sheerness. Hospital Radio Swale which broadcasts from the Sheppey Community Hospital in Minster to six hospitals across Swale.
On 21 September 2008, Mayor of London, Boris Johnson said that an airport off the coast of the Isle of Sheppey would be a viable alternative to creating a new third runway at Heathrow.
Film trailer of A Dream of Flight a documentary that celebrates the centenary of the first powered flight by a Briton in Britain, JTC Moore Brabazon, in 1909 on The Isle of Sheppey.
This page was last modified on 9 January 2016, at 22:45.


text:
Last week I stated flatly that technology is the cornerstone of a meaningful education. And then, having dropped the grenade, I moved on to other things. If I'm serious, that's a pretty contentious statement. Part of a meaningful education, fine, but the cornerstone? Come on. Less hyperbole, right?
Except I mean it. So let's back up to around the steam engine. The killer app, the big thing in information dispersal, is the printed book. Suddenly we can produce unlimited quantities of identical books and give them to anyone who wants them. Suddenly we can create a link, at one remove, between a modern child and a thinker who's been dead for two thousand years. Suddenly, for the first time ever, an obscure person on some corner of the map can write a phrase that becomes part of the cultural zeitgeist, not in ten generations, but within his or her lifetime. All that's needed to achieve this dream is some existing hardware - brains and eyes - and some simple software - literacy.
There's one problem, though - not everyone can read. It varies by place and culture, but in most parts of the world literacy is a luxury. It's something you do if your parents are rich, or you have a career that requires it. Most people are still farmers - do we really want to spend tons of time and government money teaching farmers to read? Why not spend public money where it's needed? Better yet, why spend it at all? Cut taxes. If individual families value literacy, they can pay the expense and give it to their children.
Take a minute and realize how few words I need to substitute in the above paragraph to make it describe the present day.
Why do I think technology is the cornerstone of a meaningful education? Because it already is. It always has been. The only thing that changes is the specific technology we're talking about. And since the book, we haven't had much of a discussion about new technologies being integral to the teaching process. Computer labs are optional, limited, and generally not irreplaceable in the curriculum.
The difference between technology literacy today and print literacy 200 years ago is, essentially, nothing. In both cases we're talking about the new de facto medium of exchange, and whether we want our children to be part of the future or not. Scratch that - we're talking about whether we want them to have any say in how the present works or not.
Socrates was deliberately illiterate. He said that if we knew how to read, we could just look up what others had written and would lose the ability to think for ourselves. He thought that literacy was a terrible technology that would lead to moral and intellectual decay. A brilliant, respected man, saying maybe the most incorrect thing ever said. I think we should all reflect on that.
Tagged: technology, food for thought, education, thumbprint
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Q: Truncated SVD vs Partial SVD Can somebody tell me the difference between truncated SVD as implemented in sklearn and partial SVD as implemented in, say, fbpca?
I couldn't find a definitive answer as I haven't seen anybody use truncated SVD for principal component pursuit (PCP).

A: Truncated or partial means that you only calculate a certain number of components/singular vector-value pairs (the strongest ones).
In scikit-learn parlance, "partial" usually refers to the fact that a method is on line, meaning that it can be fed with partial data. The more data you give it the better it will converge to the expected optimum.
Both can be combined, and have been, also in sklearn: sklearn.decomposition.IncrementalPCA does this.

redpajama_set_name: RedPajamaStackExchange


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The Moody Blues are an English rock band.
Among their innovations was a fusion with classical music, as heard in their 1967 album Days of Future Passed.The Moody Blues have sold more than 70 million albums worldwide and have been awarded 14 platinum and gold discs.
As of 2014 they remain active with one member from the original band from 1964 and two more from the 1967 lineup.Early years, Decca Records 1964–1966The Moody Blues formed on 4 May 1964, in Erdington, Birmingham, Warwickshire.
Ray Thomas, John Lodge and Michael Pinder had been members of El Riot & the Rebels.
They disbanded when Lodge, the youngest member, went to technical college and Michael Pinder joined the army.
Michael Pinder then rejoined Thomas to form the Krew Cats.
The pair recruited guitarist/vocalist Denny Laine, band manager-turned-drummer Graeme Edge and bassist Clint Warwick.
The five appeared as the Moody Blues for the first time in Birmingham in 1964.
The name developed from a hoped-for sponsorship from the M&B Brewery which failed to materialise, the band calling themselves both "The M Bs" and "The M B Five" and was also a subtle reference to the Duke Ellington song, "Mood Indigo".
Around this time the band were the resident group at the Carlton Ballroom, later to become rock music venue Mothers on Erdington High Street.Soon, the band obtained a London-based management company, 'Ridgepride', formed by ex-Decca A&R man Alex Murray (Alex Wharton), who helped them land a recording contract with Decca Records in the spring of 1964.
Initially they were signed to a management company who then leased their recordings to Decca.
They released a single, "Steal Your Heart Away", that year which failed to chart.
The Moody Blues appeared on the cult TV programme Ready Steady Go! singing the uptempo 'B' side "Lose Your Money (But Don't Lose your Mind)".
But it was their second single, "Go Now" (released later that year), which really launched their career, being promoted on TV with one of the first purpose-made promotional films in the pop era, produced and directed by Alex Wharton.
The single became a hit in Britain (where it remains their only Number 1 single) and in the United States, where it reached No.10.
The band encountered management problems after the chart-topping hit and subsequently signed to Decca Records in the UK (London Records in the US) as actual recording artists.
A four track extended play release titled: "The Moody Blues" featuring both sides of their first two Decca singles was issued in a colour picture sleeve in early 1965.Their debut album The Magnificent Moodies, produced by Denny Cordell with a strong Merseybeat/R&B flavour, was released on Decca in mono only in 1965.
It contained the hit single together with one side of classic R&B covers, and a second including four Laine/Pinder originals.
"Bye Bye Bird" (Decca AT 15048) was lifted from the album in December 1965 as an overseas single charting in France (No.
3).Alex Wharton left the management firm and the group released a series of relatively unsuccessful singles.
They enjoyed a minor British hit with a cover of "I Don't Want To Go on Without You" (No.33) in February 1965, while the Pinder-Laine original "From the Bottom of My Heart (I Love You)" (No.22) produced by Denny Cordell (with a vocal choral sound towards the conclusion that anticipated their later more famous vocal sound on "Nights in White Satin") was issued as a UK single in May 1965.
Further British singles were: "Everyday" (No.44) in October 1965, another Pinder-Laine song, plus their later "This is My House (But Nobody Calls)" (Decca F 12498, 1966) and "Boulevard de la Madeleine" also issued in late-1966.
In June 1966 Warwick left the group.
He was briefly replaced by Rod Clark (born Rodney Clark, 23 November 1942, Surlingham, near Norwich, Norfolk), but in October, Clark departed the group, which split for a month.Denny Laine quit in late 1966, and a final 'Mark One' Moodies single, Pinder-Laine's "Life's Not Life", was scheduled for release in January 1967 (Decca F 12543) c/w "He Can Win".
(This single's release is often listed as being cancelled; however, both promo and regular stock copies have been seen over the years).Arrival of Hayward and LodgeThe group re-formed in November 1966, and new members were John Lodge, their bassist from El Riot and Justin Hayward, formerly of the Wilde Three.
Hayward was recommended to Pinder by Eric Burdon of the Animals and was endorsed by famed UK singer Marty Wilde, the leader of the Wilde Three.
Pinder phoned Hayward after reading his application, and was impressed when Hayward played him his 45 rpm single "London is Behind Me" during their car ride to meet the other members in Esher.After financial misfortune and a confrontation from an audience member, the band soon realised that their style of American blues covers and novelty tunes was not working for them and they decided that they would only perform their own material.
The band were introduced to Decca staff producer Tony Clarke who produced a recording session which saw Justin Hayward's "Fly Me High" and Mike Pinder's older-styled "Really Haven't Got the Time" (Decca F12607) as the 'Mark Two' Moodies first single released in May 1967.
This picked up both radio airplay and favourable reviews, but failed to chart in the UK.
However the sound gave clues to the direction their music would evolve.
Their new style, featuring the symphonic sounds of Pinder's Mellotron, was first introduced on Pinder's song "Love And Beauty" (Decca F 12670) which was issued as a single c/w with Hayward's rocker "Leave This Man Alone" in September 1967.
This too was not a UK hit, but further established their 'new' Moodies identity.
Ray Thomas's flute had been in evidence earlier ("I've Got a Dream") on their debut album, however it became a far more featured instrument from this point onwards as they started incorporating distinct psychedelic influences, which was later developed in a concept album revolving around an archetypal day in the life of everyman.Days of Future PassedThe Moody Blues' contract with Decca Records was set to expire and they owed the label several thousand pounds in advances.
They had the support, however, of Decca A&R manager Hugh Mendl, who had been instrumental in the recent establishment of London/Decca's new subsidiary imprint Deram Records.
With Mendl's backing, the Moody Blues were offered a deal to make a rock and roll version of Antonín Dvorák's New World Symphony that would promote the company's new Deramic Stereo Sound (DSS) audio format in return for which the group would be forgiven their debt.The Moody Blues agreed, but they insisted that they be given artistic control of the project, and Hugh Mendl (as executive producer) was able to provide this in the face of Decca's notoriously tight-fisted attitude to their artists.
The group were unable to complete the assigned project, which was abandoned.
However, they managed to convince Peter Knight, who had been assigned to arrange and conduct the orchestral interludes, to collaborate on a recording that used the band's original material instead.Although Deram executives were initially sceptical about the hybrid style of the resulting concept album, Days of Future Passed (released in November 1967) became one of the most successful pop/rock releases of the period, earning a gold record award and reaching No.
27 on the British LP chart.
Five years later it was to reach No.
3 in the U.S./Billboard charts.
The LP was a song cycle or concept album that takes place over the course of a single day.
In production and arrangement the album drew inspiration from the pioneering use of the classical instrumentation by the Beatles to whom Pinder had introduced the Mellotron that year.
It took the form to new heights using the London Festival Orchestra, a loose affiliation of Decca's classical musicians given a fictitious name adding the term "London" to sound impressive, to provide an orchestral linking framework to the Moodies' already written and performed songs, plus overture and conclusion sections on the album including backing up Graeme Edge's opening and closing poems recited by Pinder.
Strings were added to the latter portion of the album version of Hayward's "Nights in White Satin" (absent on the single hit version) as was Pinder's "The Sun Set".
The orchestra and group never actually perform together on the recording with the band's rock instrumentation centred on Pinder's Mellotron.
The LP, despite being a lush concept album, was in fact cut in a very workmanlike manner, with the band recording a particular song, then the track being presented to Peter Knight who quickly composed a suitable "linking" orchestral portion which the Decca musicians ("London Festival Orchestra") then recorded.
The album was as much an original work by Knight himself as the group.
The composing credits were listed on the sleeve as: "Redwave-Knight", when in fact Hayward wrote "Nights..." and "Tuesday Afternoon", Thomas provided "Another Morning" and "Twilight Time", Lodge penned "Peak Hour" and "Evening (Time To Get Away)", and Edge contributed the opening and closing poems (the first "Morning Glory" and the latter titled "Late Lament") read by Mike Pinder who composed both "The Sun Set" and "Dawn is a Feeling" (sung by Hayward, with Pinder himself singing the bridge section).Decca staff producer Tony Clarke produced the album, and afterwards continued working with the band.
Sometimes known to fans as "The Sixth Moodie" he went on to produce all of their albums and singles for the next eleven years.
Engineer Derek Varnals would also contribute heavily to the creation of the early Moody's studio sound, working with Pinder and Clarke to create a more symphonic overlapping sound on the Mellotron as opposed to the sharp 'cut off' the instrument would normally give, partly achieved by removing all the "sound effects" tapes (trains, whistles, cockerel crowing, etc.) and then 'doubling up' the tapes of orchestral instruments' sounds, which combined with Pinder's ability and sensitivity at playing (Pinder having earlier worked for the company that manufactured the Mellotron) and Varnals' recording skills at creating an orchestral 'wave' sound that characterised their non-orchestra accompanied sound thereafter.The album, plus two singles from it, "Nights in White Satin" and "Tuesday Afternoon" (as a medley with "Forever Afternoon," listed as "Forever Afternoon (Tuesday?)" on the album), took time to find an audience.
In the Moody Blues' native Britain, the two singles from the album didn't initially catch on; "Nights in White Satin" only made No.
19 on the British singles chart in early 1968, and "Tuesday Afternoon" didn't chart at all.
However, the British public did learn to appreciate "Nights in White Satin" subsequently; it made No.
9 on the UK singles chart on re-issue in December 1972, and No.
14 on the charts on a subsequent reissue at the end of 1979, and is now regarded as the Moody Blues signature song by British audiences.
In the US, "Nights in White Satin" did not make the Billboard Hot 100 in 1968 (although it would reach No.
2 on re-release in 1972); "Tuesday Afternoon" however was more successful on initial release Stateside, peaking at No.
24 on the Billboard Hot 100.In Search of the Lost ChordThe 1968 follow-up LP, In Search of the Lost Chord included "Legend of a Mind", a song written by Ray Thomas in tribute to LSD guru Timothy Leary which encompassed a flute solo performed by Thomas – four members of the group had taken LSD together at the start of 1967.
A promotional film for the song was filmed on location at Groot-Bijgaarden Castle near Brussels in Belgium.
Lodge provided a two-part song "House of Four Doors" set either side of this Thomas' epic piece.
Justin Hayward began playing sitar and incorporating it into Moody Blues music ("Voices...", "Visions of Paradise", "Om", etc.), having been inspired by George Harrison.
Hayward's "Voices in the Sky" charted as a single in the UK (No.
27), as did Lodge's "Ride My See-Saw" (No.
15 in France) – still their concert finale number today – which featured Pinder's non-album song "A Simple Game" as the 'B' side.
Pinder's "The Best Way to Travel" was another high point, as was his closing song "Om" (sung by Pinder and Thomas, again featuring Hayward on sitar).
Graeme Edge found a significant secondary role in the band as a writer of poetry, and some of their early albums from the late 1960s begin with various band members reciting poems by Edge that were conceptually related to the lyrics of the songs that would follow.
Edge himself narrated his brief "Departure" poem on "Lost Chord".On the Threshold of a DreamOn 1969's On the Threshold of a Dream Hayward, Edge and Pinder share the opening narration on Edge's "In The Beginning", leading into Hayward's "Lovely To See You".
His "Never Comes the Day" was issued as a UK single, while Thomas' wry observations of life in "Dear Diary" and "Lazy Day" were striking features.
Pinder contributed the closing track on side one, "So Deep Within You".
Side two closes with the "Dream Sequence", Edge's poem "The Dream" leading into Pinder's "Have You Heard?" parts I and II with the two parts separated by his classically themed instrumental piece "The Voyage".To Our Children's Children's ChildrenThe band's music continued to become more complex and symphonic, with heavy amounts of reverberation on the vocal tracks, resulting in 1969's To Our Children's Children's Children — a concept album inspired by the first moon landing.
The opening track "Higher and Higher" saw Pinder simulate a rocket blast-off on keyboards, then narrate Edge's lyrics.
Thomas' "Floating" and "Eternity Road" stood out, as did Hayward's "Gypsy" and a rare Pinder-Lodge collaboration "Out and In".
Lodge provided his two-part "Eyes of a Child" and "Candle of Life" while Pinder contributed "Sun is Still Shining".
The album closes with "Watching and Waiting", composed by Ray Thomas and Justin Hayward and sung by Hayward.
This song was issued as a single on the Threshold label but failed to chart.A Question of BalanceAlthough the Moodies had by now defined a somewhat psychedelic style and helped to define the progressive rock (then also known as 'art rock') sound, the group decided to record an album that could be played in concert, losing some of their full-blown sound for A Question of Balance (1970).
3 in the American charts and No.
1 in the British charts, was indicative of the band's growing success in America.
Hayward's "Question" (in a differing version) was issued as a single hitting No.
2 in the UK (only kept from the top spot by the England World Cup football team's novelty record "Back Home").
Justin Hayward began an artful exploration of guitar tone through the use of numerous effects pedals and fuzz-boxes, and developed for himself a very melodic buzzing guitar-solo sound.
The Moody Blues had by now become a bill-topping act in their own right, they appeared twice at the famous Isle of Wight Festival (A DVD of their 1970 performance has now been released).
Pinder's "Melancholy Man" (a No. 1 single in France) stood out beside Hayward's "Question" on the 1970 album.Every Good Boy Deserves Favour and Seventh SojournFor their next two albums, Every Good Boy Deserves Favour (1971) – from which Hayward's "The Story in Your Eyes" was taken as a US charting single (No.
23) - and Seventh Sojourn (1972) (which reached No.
1 in the U.S.), the band returned to their signature orchestral sound which, while difficult to reproduce in concert, had become their trademark.
The title "Every Good Boy Deserves Favour" was borrowed, tongue-in-cheek, from a mnemonic used to remember the musical notes that form the lines of the treble clef: EGBDF.
The opening track "Procession" was the only item composed by all five band members, a fascinating track depicting the "evolution" of music, leading into Hayward's "Story in Your Eyes".
Thomas's reflective "Our Guessing Game" and whimsical "Nice To Be Here" offset the deeper drama of Hayward's "You Can Never Go Home", Lodge's "One More Time To Live" and Pinder's "My Song".
Edge, the long standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken – his "After You Came" (1971) featured each of the four lead singers taking a vocal section.
Then in 1972 Lodge's songs "Isn't Life Strange?" (No.
13) and "I'm Just a Singer (in A Rock 'n' Roll Band)" (No.
36) were lifted from "Seventh Sojourn" as charting UK singles.
"Sojourn" also saw Pinder using the new Chamberlain instrument in place of the Mellotron and Edge using an electronic drum kit.
Pinder's stirring lament "Lost in a Lost World" opened this last "Core Seven" outing, while his sympathetic ode to Timothy Leary "When You're a Free Man", Thomas's romantic "For My Lady", and Hayward's serene "New Horizons" all stood out.
They each provided well-known songs during this period,in addition to the singles, Pinder's songs "A Simple Game" (1968) and "So Deep Within You" (1969) were successfully covered by the Four Tops, Pinder winning an Ivor Novello Award for "A Simple Game", Elkie Brooks later covered Hayward's "Nights in White Satin".
Pinder also appeared on John Lennon's "Imagine" album in 1971, providing additional percussion on "I Don't Wanna Be a Soldier (I Don't Want to Die)".
The 1968 to 1972 album sleeves, plus several solo sets up to Ray Thomas's "Hopes, Wishes & Dreams" in 1976, were characterised by striking surreal scenic sleeve artwork (mostly gatefold sleeves) by artist Phil Travers.In late 1972, a re-issue of the five-year-old Nights in White Satin became the Moody Blues' biggest US hit, soaring to number two on the Billboard Hot 100 and becoming a certified million-seller; the song had "bubbled under" the Hot 100 charts on its original release.
The song also returned to the UK charts, reaching No.
9, ten places higher than its original release in 1967.Threshold RecordsThe Moodies were also among the pioneers of the idea that a successful rock band could promote itself through their own label, following the Beatles' creation of Apple Records.
After their On the Threshold of a Dream album (1969), they created Threshold Records, prompted in part by disputes with London/Deram over album design costs (their gatefold record jackets and expensive cover art were not popular with company executives).
Threshold would produce new albums and deliver them to London/Decca who acted as distributor.
The group attempted to build Threshold into a major label by developing new talent — most notably the UK hard rock band Trapeze and the Portland, Oregon, classical-acoustic sextet Providence — but these efforts proved unsuccessful and the Moodies eventually returned to more traditional recording contracts.
They did lay the groundwork, however, for other major acts to set up similar personal labels and distribution deals including the Rolling Stones' own label and Led Zeppelin's Swan Song, and all of the Moodies' studio releases from 1969 to 1999 would bear the Threshold logo on at least one of their format versions.ReunionIn 1977, the group made a decision to record together again, with their record company Decca urging a reunion album.
London Records decided to release a somewhat poorly mixed then-eight-year-old recording of the band performing at London's Royal Albert Hall, against their artistic wishes.
London/Decca did this in an attempt to re-energise a somewhat waning public interest in the Moody Blues before their anticipated new album.
By this time Pinder had married and started a family in California, so for their reunion recording, the band decamped stateside with producer Clarke.
The sessions were marked with tension and division: first there was a fire at the studios they were using, then after quickly re-locating to Pinder's home studio a landslide following torrential rains effectively marooned them inevitably causing tensions to rise (with Pinder then dropping out before completion).Producer Tony Clarke was also forced to leave because of non-musical reasons before the album was completed, but by the spring of 1978 Octave was ready for release.
Pinder, citing his young family, and by then probably considering the band's touring days behind them, excused himself from the touring commitments that were to follow.
Pinder's decision caused some open acrimony within the band (notably from Edge), Ray Thomas had said Pinder was initially agreeable to touring, and his opting out later on (with a major comeback tour already planned) was a severe and embarrassing blow to them.
Attempts were made by their management to completely downplay Pinder's absence, notably at a major UK music press party Decca organised, when the top Decca dignitary guest, while making a "welcome back" speech, openly referred to "Mike Pinder being currently absent over in the States", much to their dismay.Octave, Pinder departs and the arrival of MorazDuring this period, the prog-rock band Yes had asked their keyboard player, Patrick Moraz, to leave.
Moraz's management had some contacts with the Moodies, and after a successful audition with the band in Britain in 1978, he was engaged as keyboard player for the Octave World Tour that began in Germany in October.
In spite of these difficulties, the album itself sold well and produced the hits "Steppin' in a Slide Zone", (no.
39 US) written by Lodge and "Driftwood", (no.
59 US) written by Hayward.
The music video produced for "Driftwood" features Moraz, although Mike Pinder was the one who played on the actual recording; the video for "Steppin' in a Slide Zone" simply shows the other four members without Pinder (which was rather awkward as Pinder's keyboards featured extensively on the song, notably on the distinctive intro and during a solo section of the piece).
A group performance of Hayward's "Had to Fall in Love" and Lodge's "Slide Zone" on the "Kenny Everett Show" also depicted them as a four piece.
On Octave Hayward had some four solo composed songs (more in fact than on "The Other Side of Life" later in 1986), Edge contributed "I'll Be Level With You" (aka "Little Man") one of only a number of songs showing a complete group unity.
In truth, a few songs sounded like solo efforts, while Lodge's "Survival", Hayward's appropriate closing "The Day We Meet Again" and Pinder's lone final contribution and lead vocal, "One Step into the Light" (curiously as the band is depicted as doing so on the cover photo – where Pinder is perhaps significantly barely glimpsed at all and almost out of focus) were all high points on the album.
Around this time Justin Hayward enjoyed a solo hit (No.5) in the UK (US No.
47) with the song "Forever Autumn" from Jeff Wayne's Musical Version of The War of the Worlds.
In recent times Hayward has sung both this and "The Eve of the War" live in the touring version of the album, as featured on Wayne's original big-selling double album.The Moodies toured the US and Europe during much of 1979.
By 1980 they were ready to record again, this time bringing in producer Pip Williams.
Moraz was retained as the band's permanent keyboardist, though Pinder had originally understood that he would continue to record even if not touring with the band.
Pinder attempted legal measures to prevent the new Moody Blues album from reaching the public without his contributions, but he was not successful, and ultimately, he never returned to the fold.
Nevertheless when released in 1981, Long Distance Voyager was a colossal success, reaching No.1 on Billboard and going Top 5 in the UK.
The album yielded two hits, "The Voice", (No.15 US) written by Hayward, and "Gemini Dream", (No.12 US) written by Hayward and Lodge.
John Lodge's "Talking out of Turn" also charted in the US reaching No.
Edge provided "22,000 Days" (featuring Thomas as lead voice with Hayward and Lodge) while Thomas' own contributions were the final portion of the set with his singing on the final two songs; "Painted Smile", "Reflective Smile" (a poem narrated by a DJ friend of the band) and "Veteran Cosmic Rocker".
By now, the mellotron had long been set aside as their primary keyboard instrument on their studio albums and the band embraced a more modern, less symphonic approach, though still retaining a lush keyboard-led sound as Moraz gave a more contemporary edge to their sound.
In live concerts the mellotron would still be used heavily by Patrick Moraz until the mid-1980s, strikingly also on songs which originally did not feature the mellotron.
The marketing formula for the band demanded from this time forward that a Justin Hayward song would be used to lead off their studio albums, as his material was the most popular.
Hayward had always written most of their hit singles, followed by Lodge, however from this point onwards Hayward had to carry far more of the composing burden, most notably in Pinder's absence.
Also Ray Thomas' song contributions began to diminish soon after, Hayward and Lodge also then teaming up to provide songs in addition to their own compositions.The Present (1983), again produced by Williams, proved less successful than its predecessor, though it did spawn a UK Top 40 hit (No.35) in "Blue World" (No.62 in the U.S.) and a US Top 40 hit in "Sitting at the Wheel" (which failed to chart in the UK).
Videos were also produced for both singles.
"The Present" was released in conjunction with Talencora Ltd shortly before Decca were bought out by Polydor Records.The Other Side of Life, Sur La MerIn 1986 they enjoyed renewed success with their album The Other Side of Life and in particular with the track "Your Wildest Dreams" – a US Top 10 hit (and No.1 on Billboard's Adult Contemporary singles chart for two weeks) which garnered a Billboard Video of the Year award after being frequently featured on MTV.
Newly employed producer Tony Visconti and Barry Radman, a synth programmer formerly engaged by Moraz, delivered a modern sound the Moodies had been after in order to remain competitive with their pop contemporaries.
The album's title song also charted in the US, at No.58.
The renewed interest in the band ensured a younger audience from this point on, with many of their longtime followers remaining loyal despite a fair number of older fans finding the current albums of this period far more lightweight in content.
For example, John Lodge had gone from writing powerfully reflective mystical or humanitarian themed pieces such as "House of Four Doors", "Candle of Life" and "One More Time to Live" to quirkier items such as "Here Comes the Weekend", "Rock and Roll Over You" and "Love is on the Run (From Me)", while Hayward's songs seemed less the deeper drama of numbers such as "The Actor", "Dawning is the Day", "You Can Never Go Home", "The Land of Make Believe", etc., to pleasant (and more radio-friendly) perennial far simpler songs about lost love and romance ("Your Wildest Dreams", "No More Lies", "I Know You're Out There Somewhere" etc.).
There were still some deeper songs being created by the band, however, ("The Voice", "22,000 Days", "The Other Side of Life", "The Spirit", "Deep", etc.) but the overall tone of the band had become noticeably a more lightweight commercialised one; presumably this was with record company agreement to keep in accordance with the then prevailing times.
Significantly their live shows from this period included a good number of their '80s album tracks, however over time more of the "Core Seven" album era favourites would gradually begin to reappear in their playlist.The Moody Blues performed live at the Birmingham Heart Beat Charity Concert 1986 which raised money for the Birmingham Children's Hospital.
The band played four songs, and later provided backup with the Electric Light Orchestra for George Harrison.The Moodies continued their early video-generation success with Sur La Mer (1988) and its video and single, "I Know You're Out There Somewhere" (No.30 US, No.52 UK, No.2 US Mainstream Rock), a sequel to "Your Wildest Dreams".
Their sound took on an ever-increasingly synthetic and technical quality as Moraz and Visconti began using modern sequencers, samplers and drum machines.
During this time, Justin Hayward and John Lodge wrote and sang on most of the songs as the band came under pressure from their new record company, PolyGram Records, to promote those it deemed to be the two more commercial-looking and -sounding members.
Ray Thomas was playing a diminished role in the studio.
The band was evolving into a synthpop act, with music not at all fit for a flute (although Thomas actually provided additional percussion, notably a brisk tambourine, on many more Moodies songs which continued to be featured, plus occasional harmonica), and at this point he was largely relegated to the status of a backup singer.
Thomas was also unwell during this period, further limiting his involvement with the band in the recording studio.
He provided some backing vocals for both The Other Side of Life and Sur La Mer; however, multiple production considerations led Visconti to leave Thomas' vocals off of the latter of these two albums, thereby further reducing the texture of their overall vocal sound, which had been rich four-part harmonies, then went down to three, now reduced still further to just the more similar-sounding voices of Hayward and Lodge (Lodge also providing falsetto vocals and high harmonies), with Pinder and Thomas each having provided both lower- and higher-pitched vocal harmonies in the group's earlier vocal sound.
The band's vocal "sound" had become the blend of just Hayward-Lodge, which was still recognisable, if less textured than the original four-part, more complex "choral" sound.Departure of MorazThomas' high value remained on stage primarily from his continued ability to sing out his 1960s and 1970s Moodies classics, and also in flute and keyboard duets he composed with Moraz which were only performed by the two during Moodies' concerts.
The band had begun to reinforce their concert sound in 1986 with the addition of a second keyboardist (Bias Boshell was the first, replaced in 1987 by Guy Allison before Boshell returned by 1990), as well as female backing singers (see personnel below).In 1991, halfway through the production of their new studio album, Patrick Moraz made some comments in an article in Keyboard Magazine that suggested dissatisfaction with his role in the Moodies.
His complaints ranged from the Moodies' music becoming too simple in structure, to the other members' reluctance to allow him to make significant contributions to the songwriting on their albums.
He also was spending long amounts of time planning a music concert to celebrate his native Switzerland's 700th anniversary, instead of rehearsing with the Moodies.
He was dismissed from further participation in the group before the project was completed.
Boshell, as well as new keyboardist Paul Bliss, were brought in to finish the new album's keyboard tracks.
Despite credits as an 'official band member' being included in any group photos on the four '80s studio albums from "Long Distance Voyager" to "Sur La Mer" in recent years Moodies compilations now refer to Moraz as merely being an 'additional keyboardist'.
Moraz later took legal action against the group in the United States, which he won, but was then awarded only $90,000 in back pay due to accounting slow-ups instead of the $4,000,000 he was asking.Keys of the KingdomKeys of the Kingdom (1991) had modest commercial success.
Once again, Hayward's songs led off the album, with the new singles "Say it With Love" and "Bless the Wings (That Bring You Back)." Also included was a new ambient flute piece by Ray Thomas entitled "Celtic Sonant." Hayward and Thomas also co-wrote "Never Blame the Rainbows for the Rain" to close the album.
John Lodge would make a defining shift in his songwriting on this album, leaving his trademark high-energy rock music, and instead gravitating towards slow love ballads such as "Lean on Me (Tonight)" (though he had earlier contributed some songs in this gentler vein such as "Emily's Song" for his daughter in 1971 and "Survival" in 1978, plus "Talking out of Turn" in 1981), while Lodge's more powerful songs continued with "Magic" and the Lennonesque "Shadows on the Wall".
This gentler trend would continue on the two successive Moodies albums.
Hayward wrote the driving two-part piece "Say What You Mean." Tony Visconti produced some of the tracks on "Keys", as did Christopher Neil and Alan Tarney.
The ensuing tour saw them invited to play at the Montreux Jazz Festival.
A non-album Hayward-Lodge song cut at these sessions, "Highway", was included on the "Say it With Love" twelve-inch single and on a later box set, while the vinyl album did not include their song "Once is Enough" as on the compact disc version.The group remained a steady concert draw, and a series of video and audio versions of their 1992 Night at Red Rocks concert enjoyed great success, particularly as a fund-raiser for American public television where it had been first broadcast.
The concert was conducted and arranged by Larry Baird, who has participated in many other bands' orchestral live concerts, such as Kansas, Michael Bolton, Three Dog Night, Al Jarreau and Alan Parsons.
The group also continued their use of additional musicians on stage and in the studio.
After the two legal suits from both Pinder in 1981 and Moraz in 1992, the band were careful not to recognize future keyboard players as official members.
Following on from his contributions as keyboardist on the 'Keys of the Kingdom' album, Paul Bliss has played keyboards for the band live since 1991, being promoted to first keyboardist in 2001 (but has since been replaced in March 2010 after 19 years continuous service with the band).
Thomas and Bliss continued the tradition of a flute/keyboard duet for many tours.
After Edge injured himself in 1991, second drummer Gordon Marshall was brought in to back him up; he stayed with the group after Edge recovered and has remained in the position since.Strange Times, 1990s toursFrom 1991 to 1998, the group took a hiatus from recording and spent time trying to perfect the art of performing live with an orchestra.
The recording hiatus ended in 1999, with the album Strange Times, which proved to be the group's first album in almost two decades to be more than moderately received by British critics, although Justin Hayward was quoted as saying he was disappointed at the album's chart performance – probably not helped by the long recording hiatus – which was notably less than 'Keys of the Kingdom' in 1991.
It was recorded in Recco, Italy, at Hayward's suggestion, and was the band's first self-produced effort.
The album also featured keyboards and arrangements from Italian musician Danilo Madonia, who has worked in-studio with the band since.
The album opened with English Sunset, a pop song featuring a modern, nearly techno arrangement.
The song This is the Moment (which is not on Strange Times), which was originally featured in the Broadway production of Jekyll and Hyde, was a minor hit in the US.
Strange Times was also the first album since 1970 to include a new poem by Graeme Edge, Nothing Changes, narrated by Edge himself, with Hayward then singing the concluding portion of the track, and notably concluded by quoting Mike Pinder's 1968 song title A Simple Game.
Also in 1999, the Moody Blues appeared in one episode of The Simpsons called Viva Ned Flanders.
On Strange Times Ray Thomas appeared vocally with Hayward and Lodge on Sooner or Later (Walkin' on Air) and his own brief song My Little Lovely, plus provided a vocal snippet and backing vocals on Hayward's English Sunset; these would prove to be his recorded vocal swan song with the band.In 2000, the band released Hall of Fame, a new live concert from the Royal Albert Hall, with a concurrent DVD release.
This was taken from the last tour on which Boshell played.
He left the live lineup in 2001; Bliss took over first keyboard duties, with his former second keyboard role filled by Bernie Barlow and Julie Ragins when Barlow took maternity leave from 2006 to 2009.In 2001, an IMAX film was released, entitled Journey into Amazing Caves, which featured two new songs written and performed by the Moody Blues.
The soundtrack also featured Justin Hayward performing vocals and playing guitar throughout.
One of these songs, entitled Water, is the Moody Blues' first instrumental studio recording since their 1983 piece Hole in the World from The Present LP.Thomas retires, DecemberThe new millennium saw the Moody Blues reducing their touring schedule.
At the end of 2002, founding member Ray Thomas retired from the group, reducing the Moody Blues to the trio of Hayward, Lodge and Edge, the last being the only original member remaining.
Flautist and rhythm guitarist Norda Mullen was recruited early the following year for their North American tour, and has worked with the band live and in the studio since.
Toward the end of 2003, they released an album entitled December.
The songs included originals and four covers: John Lennon's "Happy Xmas (War Is Over)", Mike Batt's "A Winter's Tale", "When A Child is Born" and Irving Berlin's "White Christmas".
December was the group's first album to include covers since their 1965 debut album The Magnificent Moodies.In March 2006, the first five of the band's 'Core Seven' albums (the seven albums from Days of Future Passed to Seventh Sojourn) were re-released in SACD format with Deluxe Editions, featuring bonus songs and some rare previously unreleased tracks by the group.
In April 2007, the last two of these classic albums were re-released by Universal/Threshold.
These deluxe editions were unique for an art rock group like the Moodies in that one of their members, Justin Hayward, was the one taken on to do the work, instead of a professional master technician.
Hayward stated that he listened to virgin vinyl copies of these albums and used them as reference points for the new compact discs.
In September 2008, Hayward announced the impending release of remastered versions of Octave, Long Distance Voyager and The Present which will be released on Universal Records in the months to come.
On 21 May 2007 the Moodies released a forty-one track, two-disc compilation of sessions recorded at BBC Studios, various television appearances and a previously 'lost' performance done on the Tom Jones Show titled Live at the BBC: 1967-1970.Latest workIn 2007, the now defunct Hard Rock Park theme park in Myrtle Beach, South Carolina, announced the building of a dark ride entitled "Nights in White Satin: The Trip".
The ride incorporated multi-sensory experiences as well as a re-orchestrated version of the song by Justin Hayward.
A re-recorded version of Graeme Edge's "Late Lament" again followed, which had each group member reading a verse of the poem.
In March 2009, the ride closed because of the conversion of the park to the Freestyle Music Park, with the new owners desiring to make the park more "family friendly."The group continue to tour; they toured the UK, Canada and the US in 2006, 2007, 2008, 2009 and 2010.
In addition, Hayward took part in the UK tour of Jeff Wayne's Musical Version of The War of the Worlds in April 2006, and a second tour in November 2007, also with dates in 2009.
The Moody Blues also toured Australia and New Zealand in 2006.
Their long-time producer, Tony Clarke, died in January 2010.The Moody Blues added keyboardist Alan Hewitt for their 2010 UK and North American tours.They released a new compilation album called Timeless Flight in 2013.On 19 July 2013, it was announced that the band will be appearing on the second annual Moody Blues Cruise, 2–7 April 2014 on the cruise ship MSC Ship Divina.
Other bands on the cruise include The Zombies and Lighthouse.Moody BluegrassThe Moody Bluegrass project is a group of Nashville artists who have recorded an album of 12 Moody Blues songs in the Bluegrass style, under the title Moody Bluegrass – A Nashville Tribute to the Moody Blues.
Those involved include Alison Krauss, Harley Allen, Tim O'Brien, John Cowan, Larry Cordle, Jan Harvey, Emma Harvey, Sam Bush and John Randall.A second Moody Bluegrass album entitled Two...Much Love with a further 16 Moody Blues songs includes guest performances from Hayward, Lodge and Edge, (each of whom is credited as the lead vocalist on one song) plus Thomas and Pinder, making this the first time since 1978 that these five musicians all appeared on one newly recorded album.


This wedding photograph was taken in the early 30's when the only choice of film was black and white 'Ortho' film. For those too young to remember Ortho film was the type used in Charlie Chaplin silent movies and the quality of the picture lacked the subtlety of shades common in black and white film after about 1950. Even so it is possible to get a reasonable picture by adjusting light and contrast until it looks somewhat realistic.
Because of the fold line the bride's nose was going to need some major repainting so I copied the nose from her mother ( standing behind the bride and groom ), adjusted size and shade while still in black and white, and pasted the result onto the bride.
The sky was not worth saving so I blanked it out with a light grey blue.
On the original it is hard to tell whether the groom is standing or sitting but on lightening the picture I found that he is sitting with a bowler hat on his knee.
To show this I masked out the groom's suit and lightened only that part of the picture.
After that it was just a matter of getting rid of scratches and coloring to my best guess of what people might wear in the thirties.
I'll be the first to admit that the results are far from perfect but at least I got an idea of what my parents' wedding looked like.