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Tag Archives: Lyricist
Setting to music
Whether they write choir music or a pop-song, composers are often inspired by an existing text which they want to use or excerpt in their new composition or song. What should you be mindful of in the use of third-party texts? How do you obtain permission to set a text to music, and what points should the permission cover? Text by Claudia Kempf and Michael Wohlgemuth
Composers who wish to set another author's text to their music must first clarify the relevant copyright issues. (Photo: Tabea Hüberli)
As previously underscored in the article "Arranging works protected by copyright", authors – whether they compose music or write texts – have the right to decide if their work can be arranged; in other words, whether a "derived work" or an "arrangement" can be created from their original work. Texts which are not protected by copyright can be freely used as a basis for a musical work and can also be arranged at will. However, the use or arrangement of texts protected by copyright – i.e. whose authors are still alive or have been dead for less than 70 years – is subject to the rightholders' consent. The end of the term of protection runs from 31 December of the year the last author alive dies.
Setting poems or parts of texts to music
To set a poem to music, you must first contact the author, their heirs or their publisher and obtain their direct consent to do so. As a rule, the arrangement rights in the case of literary works are held by the publisher; if not, the publisher can at least act as an intermediary. ProLitteris, the Swiss Copyright Society for Literature and the Visual Arts, cannot license these rights.
In the case of elements from a third-party text, the situation is a little trickier. In principle, copyright law does not only protect complete works, it also protects individual parts of a work, provided the term of protection has not expired and the individual parts satisfy the qualifying criteria of a work or impact the individuality of the complete work. Elements of a text (known as "external value") as well as the plot or characters of a novel (known as "inner value") can therefore be protected and may not be used at will if in themselves they constitute a work with an individual character or if they impact the individuality of the work as a whole. Copyright law does not only protect entire passages from "The Lord of the Rings", for example, it also protects Gandalf, the pipe-smoking wizard.
Unfortunately, there is no clear boundary delimiting what parts of a work have individual character or impact an entire work, and what parts do not. The following questions may help you decide: is the excerpt or the inner value in itself so unique that it hardly occurs elsewhere? The length of the excerpt and characteristic elements like names or special word creations can be decisive here. Further: does the excerpt occupy a formative place in the new work?
New settings to music or recording new lyrics
The same applies if you take the lyrics of an existing song and set them to a new melody. This is a new setting to music. In this case, however, you cannot obtain the rights just from the lyricist; you must obtain the rights to the whole musical work from all the original rightholders (i.e. the lyricists and the composers) or from the music publisher. In other words, in the case of jointly created works, consent must be obtained from all the rightholders and not just from the lyricist since you are changing a work that was created to be exploited jointly. Settings to music, on the other hand, are not as a rule regarded as jointly created works. Therefore, each rightholder is free to dispose of their own contribution.
When new lyrics are added to the melody of a song, the legal situation is the same – it is still an arrangement of a musical work. This also applies to the translation of lyrics into another language; even if the contents are identical, a translation is an arrangement requiring consent because it impacts the individuality of the original work.
NB: If you use a translation of a work whose term of protection has expired, you must establish whether the translation is still protected (translations are derived works and as such are also protected by copyright).
Obtaining permission for setting to music or for an arrangement can be an extremely tedious procedure which is not always crowned with success. In any event, you must be sure to allow enough time to clarify the legal status.
Warning: no silent consent!
If a number of requests have been submitted to the rightholder or the (music) publisher and no response has been received, it is wrong to presume that "silence means consent" and that the work can be arranged simply because "efforts were made" to obtain permission. As a rule, arranging a work without the rightholder's consent constitutes a copyright infringement and may result in civil and criminal prosecution.
Once you have obtained permission to set to music or undertake an arrangement, you still cannot dispose of the work at will. The permission to set to music, for example, often contains a proviso that the original text must be used faithfully, i.e. that no changes can be made to the original. The permission to arrange may be restricted to a single type of arrangement (e.g. only the translation of the lyrics into another language, or only the use of specific excerpts). Moreover, even after granting permission, authors are entitled by law to defend their work against "distortion". Such cases (which are hard to judge) constitute an infringement of the author's "moral rights".
A special case: the "sub-lyricist"
In sub-publishing agreements, the original publisher sometimes grants the sub-publisher the right to have new language versions of an existing song made. The sub-publisher is thus empowered to commission or authorise translations of the lyrics or new lyrics in another language. In such cases, the lyricist is registered as "sub-lyricist". SUISA's Distribution Rules provide that the sub-lyricists' share may not be higher than provided in the regulatory distribution key.
Freedom to quote
Is it possible in certain circumstances to "quote" texts without any permission to set to music when creating a musical work? In Switzerland, literary works may be quoted without permission if the quotation serves as an explanation, reference or illustration and provided the source, i.e. the original author, is indicated (see Article 25 FCA). However, case law stipulates that the quotation may not be "purely an end to itself", in other words the quotation must serve explanatory or information purposes and cannot principally serve to obtain an advantage from the recognition value of the quotation. Whether these conditions can be met in the case of setting to music and publishing is a matter of interpretation, as is often the case, and can only be answered affirmatively with great restraint. In doubt, it is always better to ask the rightholder.
Key points of a permission to set to music
If an author or a publisher grants permission to set a text to music, this permission or consent to set to music should be set forth in a short agreement. The agreement should cover the following points:
Name and address of the contracting parties (and aliases, if applicable)
Permission to set to music: the work to be set to music must be named. The agreement must also specify to what extent the text may be edited or arranged. It must define the scope of usage, indicate if printing rights are included and, in case the setting to music is published, whether the author of the text must be designated, and how. The agreement must also indicate whether and how the new work is to be registered with SUISA. Setting-to-music agreements are generally non-exclusive. The composers do not derive any rights to the text from such agreements. These rights remain entirely with the author of the text.
Share of the author of the text: SUISA's Distribution Rules grant equal shares to the composer of the music and the lyricist or author of the text. In the case of unpublished works, the share is 50% each; for published works, the share is 33.33%. As a rule, however, the shares may be set at the parties' discretion. Book publishers do not often participate in the exploitation rights of the sound recording unless they are members of a copyright collecting society for music and the permission for setting to music provides for such participation.
The original rightholders often demand a flat-rate fee for the setting to music, and in certain cases the publisher also demands a percentage share on the sale of sheet music if the graphic rights are transferred.
Publishing of the setting to music: the text share of the setting to music is not automatically transferred to the music publisher. The publisher must conclude a separate publishing agreement with the author of the text in respect of this share. The publishing rights of major authors are often already held by a book publisher and cannot be transferred to the music publisher.
Warranties: the rightholders must warrant that they dispose of the rights to grant the arrangement rights.
Place, date and signature of the rightholders
How to register a setting to music with SUISA
To register the setting to music of a protected text, you must provide the permission to set to music. If no specific percentage shares were agreed, SUISA's Distribution Rules will apply. If the author of the text is not member of a music collecting society and does not wish to join one, SUISA will accept transfers to the composers. In this case, the composer and the author of the text will both appear in the database as authors, but both shares will be paid to the composer. The corresponding consent from the author of the text is mandatory.
As a rule, to set a poem to music you always need permission from the rightholder(s) – depending on the circumstances, this permission can be obtained from the authors, their heirs or the relevant publisher. The permission for setting to music is a prerequisite for registering a protected text with SUISA and is the legal basis for participation in the revenues from the work.
As a rule, for a setting to music, you need to contact the book publisher. For texts which have not been published, ProLitteris can help you identify the relevant rightholders. SUISA can only help if the author is one of its members. In such cases, SUISA will pass on requests for setting to music to the authors or their heirs. Requests should be sent to: authors (at) suisa (dot) ch
Arrangement of works in the public domain – Before you start arranging musical works that are not protected by copyright, it is worth being aware of the legal pitfalls in order to avoid costly stumbles. Seeking inspiration from others, arranging existing works for different instrumentation, incorporating all or part of existing compositions into new works … these are age-old practices. Read more
Arranging works protected by copyright – Musical works in the public domain can be arranged at will. But works which are still protected by copyright, i.e. whose author has been dead for less than 70 years, cannot be arranged without permission from the rightholders. How does one go about obtaining such permission, and what points must be regulated in the permission in order to be able to register an arrangement with SUISA? Read more
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This article was posted in Good to know.
Tags: Arrangement, Legal successor, Composition, Song lyrics, Model contract, Term of protection, Lyricist, Publishing company, Work registration
E.Rick Sommer says:
Guten Tag Frau Leuenberger
ich habe vor einiger Zeit eine CD aufgenommen mit dem Name (Drei rote Rosen Nr. 577) worauf sich die Songs Immer nur du und Mondscheinnacht befinden. Jetzt habe ich festgestellt dass andere Musiker diese Stücke auf einer CD veröffentlicht haben. Wäre da nicht eine Gutschrift fällig.
Danke für eine Antwort.
mfg E. Rick Sommer
Manu Leuenberger says:
Sehr geehrter Herr Sommer
Vielen Dank für Ihren Kommentar. Zur Beantwortung Ihrer konkreten Anfrage besteht weiterer Abklärungsbedarf. Bei spezifischen Einzelfällen wie diesem empfehlen wir deshalb, direkt den Rechtsdienst der SUISA zu kontaktieren: legalservices (at) suisa (dot) ch
Manu Leuenberger / SUISA Kommunikation
As previously underscored in the article "Arranging works protected by copyright", authors – whether they compose music or write texts – have the right to decide if their work can be arranged; in other words, whether a "derived work" or an "arrangement" can be created from...read more
SUISA Songwriting Camp 2019 now open for applications by SUISA members | plus video
The third SUISA Songwriting Camp shall take place between 24 and 26 June 2019 in the Powerplay Studios in Maur near Zurich. SUISA members may exclusively apply for a participation. The event, jointly organised between SUISA and Pele Loriano Productions, has already spawned several internationally successful pop songs. "She Got Me", sung and co-written by Luca Hänni, was the second song in a row selected from the SUISA Songwriting Camp to represent Switzerland at the ESC. Text and video by Manu Leuenberger
https://blog.suisa.ch/wp-content/uploads/2019/03/Aliose_EN_final.mp4
With the SUISA Songwriting Camp, SUISA offers some of its members the opportunity to team up and compose pop songs with internationally renowned producers and songwriters. Swiss Duo Aliose participated in the most recent SUISA Songwriting Camp. The two SUISA members explain in the video how they perceived their participation.
Those who wish to participate in the Songwriting Camp need to have well-founded musical knowledge, be able to produce high-level creative output when pressed for time and be open for criticism and an exchange with their co-writers.
The challenging task is: To write a pop song in a team which consists of three to five persons within a day, according to certain specifications – you start with a blank sheet of paper in the morning and don't finish until you have completed a demo track by the evening.
Pop songs with hit potential
The musical style of the songs can comprise all facets of temporary pop music, which could also be successful in the charts, on streaming platforms or on radio/TV. The songs are intended to be offered to publishers and artists on the one hand, and also be suitable for the Eurovision Song Contest on the other hand.
36 music creators from Switzerland and other countries had taken part in the SUISA Songwriting Camp 2018. Of the 19 songs which were written during last year's instalment of the event, two compositions have meanwhile reached international fame: The works "She Got Me" and "Sister" will feature in the final round of the Eurovision Song Contest 2019 in Tel Aviv for Switzerland and Germany, respectively.
Applications for the SUISA Songwriting Camp 2019
The third SUISA Songwriting Camp shall take place between 24 and 26 June 2019 in the Powerplay Studios in Maur near Zurich. The event is jointly organised by SUISA and Pele Loriano Productions. Pele Loriano Productions is responsible for the artistic direction of the Songwriting Camp on behalf of SUISA.
SUISA members can now apply to take part in the SUISA Songwriter Camp 2019. Are you a producer, songwriter (topliner), or a lyricist and do you think you can fulfil the requirements regarding musical skills and abilities? In that case, please send us your application which should contain the following:
a short biography;
meaningful reference songs (mp3 files or internet links);
Please e-mail the applications to the following address: songwritingcamp (at) suisa (dot) ch
Closing date for applications: Monday, 22 April 2019
Important: Participants' spaces are only allocated to SUISA members by way of this application process. Those who apply should be able to guarantee that they are available to participate on one or all of the event days (24 to 26 June 2019).
Dates and selection of the participants
The selection of all artists who are invited to the camp shall be done via the artistic director. A suitable mix of participants is paramount for the creative success of the songwriting sessions.
The artistic programme director will directly communicate any acceptance messages and invitations as well as further details on the participation at the SUISA Songwriting Camp 2019 by 31 May 2019.
Rejection letters will not be sent. If you have not received an acceptance message by 31 May 2019 you were not taken into consideration for the Songwriting Camp 2019.
The number of applications is expected to exceed the number of available participants' spaces by far. Please note that, at no time whatsoever, any claims arise to a participation in the event by sending in an application. There will also not be any correspondence in relation to the actual allocation of spaces. It is not possible to comment on any further Songwriting Camps supported by SUISA at this stage.
Switzerland will be represented at the Eurovision Song Contest by Luca Hänni and a song from the SUISA Songwriting Camp | plus video – For the second time in succession, the Swiss entry for the Eurovision Song Contest has come from the SUISA Songwriting Camp. The song "She Got Me" was written last June at the Powerplay Studios by SUISA member Luca Hänni with Canadian songwriters Laurell Barker and Frazer Mac as well as Swedish producer Jon Hällgren. Read more
Eurovision Song Contest: SUISA Songwriting Camp song in the German qualifier | plus video – Success for the SUISA Songwriting Camp: The song "Sister" created during last year's camp is in the German ESC qualifier. The piece was composed and produced by an international songwriting team consisting of Marine Kaltenbacher, Laurell Barker, Tom Oehler and Thomas Stengaard. Read more
Dual memberships: SUISA, and what else? – SUISA manages the rights for its members globally. You should carefully review and consider the relevant effort and income if you wanted to become a member of several authors' societies. If you live outside of Switzerland or the Principality of Liechtenstein, you can also become a SUISA member. Last but not least, it is also possible to be a member of another collective management organisation in addition to your SUISA membership. The following FAQs are intended to summarise what you need to consider when contemplating a so-called dual membership. Read more
This article was posted in Miscellaneous.
Tags: Chanson, Composer, Co-author, Music producer, Songwriter, Songwriting camp, Sponsoring, Lyricist
Busseniers says:
Those...read more
Charles Aznavour's songs are part of our collective identity
Charles Aznavour joined SUISA in 1976 and was one of our best-known members. The countless tributes on TV, radio and in the press around the world since his death are a reminder, if one was necessary, of the scale of his legend. They can also teach us a few important lessons. Obituary by Xavier Dayer, President of SUISA
Charles Aznavour, pictured at the Teatro Regio di Parma on 30 October 2009, wrote lyrics and music for innumerable chansons over the course of his career. (Photo: Fabio Diena / Shutterstock)
As a singer and performer, Charles Aznavour was a genius, yet he was also an extraordinary composer and lyricist and he highlighted this essential aspect of his activities time and time again.
In the public archives of French authors' rights society SACEM, we can find the entrance examination he took to join the society as an author in 1947. Yes, it's true: at that time all new members had to pass an entrance exam! It is particularly moving to read the lyrics to a song called "Si je voulais", corrected by SACEM in red ink.
It's a powerful reminder of the steps taken by Charles Aznavour, son of Armenian immigrants, on his path from obscurity to global fame. One cannot help but see this journey as a hymn to the openness of our modern societies to the constant acceptance and awareness that cultures are enriched by these ties. At this very moment, a "Charles Aznavour" of tomorrow might be on a boat crossing the Mediterranean.
Today, Aznavour's gravelly voice and his songs, with their distinctive words and melodies, are a part of who we are, our collective identity. His work is part of our "today" and his career is a message of hope to all creators.
Words are always pale in comparison with the power of musical expression. They cannot convey how deeply grateful we are at SUISA to have handled rights management for Charles Aznavour. This is truly an immense honour and we would like to offer our sincere condolences to his loved ones.
www.aznavourfoundation.org
This article was posted in Members.
Tags: Chanson, Composer, Obituary, SUISA member, Lyricist
In the public archives of French authors' rights society SACEM, we can find...read more
"A Cello talks like a human"
Apart from his activities as a paediatrician, Dr. Beat Richner has been a musician all of his life. From 1972 onwards, he performed under the pseudonym "Beaotcello". For his poetic and cabaret music programmes, he wrote music and lyrics of several works himself. The long-term SUISA member passed away in the early hours of Sunday, 09 September 2018 at the age of 71. Text by Manu Leuenberger
The paediatrician who played music, Dr. Beat Richner – here a production image from the movie "L'Ombrello di Beatocello" by Georges Gachot – had been a SUISA member since 1978. (Photo: Gachot Films / www.lombrellodibeatocello.com)
Beat Richner was born on 13 March 1947 and grew up in Zurich. After taking his baccalaureat, he dedicated himself to music for a year. The 19-year-old publicly performed a programme called "Träumerei eines Nachtwächters" (Musings of a night watchman). During his subsequent studies of medicine, he developed the character of the music clown "Beatocello". Beat Richner became known in the Swiss cabaret scene under said pseudonym. In the context of his humanitarian engagement in Cambodia, the paediatrician-musician also attracted interest abroad.
In 1978, Beat Richner became a SUISA member. He was the composer and lyricist of songs which he wrote mainly for the Beatocello music programmes. His compositions carry titles such as "Chatz und Muus" (cat and mouse), "S'Tröpfli" (the droplet), "Zirkus" (circus), "Doctor PC" (doctor PC), or "Dong und Deng" (Dong and Deng) and have been recorded onto various CDs. Other recordings feature the cello player as a performer of works by Bach, Vivaldi and Bruch.
The cello was a loyal companion for Dr. Beat Richner. In an interview with the "Schweizer Illustrierten", he mentioned that he played the instrument for 30 to 40 minutes every day. That way, he would stay fit to play during concerts which he held each Saturday in Siam Rep for visitors from all over the world in order to inform about the hospitals he founded and to raise donations. "A cello does talk like a human then", Beat Richner said during the interview. "A simple, a warm and comforting voice."
www.beat-richner.ch
Tags: Artist, Composer, Dialect, Obituary, SUISA member, Lyricist
Dodo Leo says:
An Beatocello erinnere ich mich oft, immer wieder gerne und, als wenn es gestern gewesen wäre, dass ich seine Lieder gehört habe.
Das trifft es aber eigentlich nicht ganz, viel mehr war Hr. Richners Figur eine ständige und haltgebende Begleitung meiner Kindheit. Der Umstand, warum ich seiner Musik und Geschichten als Kind begegnete, kommt daher, dass ein erheblicher Teil dieser Kindheit – vor allem in der früheren Phase – im Kinderspital stattfand. Ich hatte ein kleines, silbergraues Kassettengerät, mit dem man nur vorwärt spulen konnte, und das ein bisschen schepperte. Das machte mir nichts aus, denn was ich hörte, war viel mehr als Musik. Es waren Gefühle des Trostes, Linderung der Angst.
Wenn Hr. Richner in dem Interview mit der »Schweizer Illustrierten« davon sprach, das Cello würde "sprechen wie ein Mensch", dann kann ich das nur bestätigen. Für mich war es ganz genau so, ich erinnere mich gut. Einmal, so meine ich mich jedenfalls ebenfalls erinnern zu können, war er sogar bei uns auf der Station. Aber, vielleicht ist das auch Wunschdenken eines Erwachsenen, der sich wünscht, es wäre damals so gewesen. Irgendwie war er sowieso immer da.
Ich halte inne und senke mein Haupt, verbeuge mich in tiefer Annerkennung und Dankbarkeit an einen selbstlosen Mann, der mir und vielen anderen im Leben so viel gegeben hat und sage; Danke Hr. Richner.
Dodo Leo
Beat Richner was born on 13 March 1947 and grew up in Zurich. After taking his baccalaureat, he dedicated himself to music for a year. The 19-year-old publicly performed a programme...read more
SUISA organises another Songwriting Camp together with Pele Loriano Productions. The second SUISA Songwriting Camp will be held between 18 and 20 June 2018. SUISA members can apply to participate. Text by Manu Leuenberger
The SUISA Songwriting Camp is taking place for a second time in June 2018. Above, a group shot of participants is shown, taken at the Powerplay Studios during the successful première of the Songwriting Camp in August 2017. (Photo: Manu Leuenberger)
The SUISA Songwriting Camp takes place for a second time after its successful première in the summer of 2017 (4 songs from the camp made it to the Swiss ESC final, among them the winning song "Stones"). This year, the Songwriting Camp will be held between Monday 18 and Wednesday 20 June 2018. Planned venue for the event are the Powerplay Studios in Maur near Zurich.
The goal of the Songwriting Camp is to compose pop songs, tailored for radio broadcasts and capable of storming the charts, with the potential to comprise all facets of temporary pop – in the range of "urban" to singer/songwriter. Resulting songs shall have the spectrum to be offered to publishers and artists from the pop scene and to be viable material for the Eurovision Song Contest.
Spaces for SUISA member participation
The exact number of participants' spaces at the Songwriting Camp will only be made known once the exact set up of the participating songwriters has been completed. At least half of the participants' spaces are available for SUISA members from all regions of Switzerland. SUISA members will benefit from the opportunity to compose pieces of music together with other professional songwriters from all over the world at the Songwriting Camp.
Participants are expected to exhibit well-versed musical competencies, team spirit, creativity and efficient working styles. Teams of 3-5 people are presented with the task to write a song from scratch within one day during the "songwriting sessions" – the result is a demo version of the completed piece in the evening.
In order to make this cooperation a success, participants must be able to retrieve their creative potential and be open for critique in the exchange with the co-composers. SUISA members Kate Northrop, Lars Christen, Chiara Dubey, Alejandro Reyes and the siblings Co & Stee Gfeller aka Zibbz report of their experience during last year's SUISA Songwriting Camp in video interviews.
SUISA members may apply for participation in the Songwriting Camp. We are looking for producers, lyricists, composers and songwriters who wish to participate for one or several days at the SUISA Songwriting Camp.
Applications should contain:
contact infos (including valid e-mail addresses and phone numbers).
The applications with the documentation should be sent via e-mail, including the subject line "Application – SUISA Songwriting Camp 2018" to:
The deadline for applications is 8 April 2018.
Selection process and dates
International artists as well as participating SUISA members are selected by the artistic programme director of the Songwriting Camp. A harmonious mix of participants is paramount for the creative success of the "Songwriting Sessions". Pele Loriano Productions are going to take on the artistic programme directorship on behalf of SUISA.
There will be no mail-out of letters of rejection. If you have not received an acceptance message by 31 May 2018 you were not taken into consideration for the Songwriting Camp 2018. Please note that, at no time whatsoever, any claims arise to a participation in the event by sending in an application. There will also not be any correspondence in relation to the actual allocation of spaces. It is currently unconfirmed whether or not SUISA will continue to co-organise Songwriting Camps after June 2018.
"You always want to write the best song you can" | plus video – Songwriter Kate Northrop is primarily a lyricist, a creative role that doesn't often land her in the spotlight. Together with three other authors, the SUISA member co-wrote Naeman's entry to the Eurovision Song Contest, "Kiss Me". In a video interview, Kate Northrop explains how she came up with the song lyrics and how she was inspired by the songwriting camp organised by SUISA and Pele Loriano Productions. Read more
"We wanted to write a song that suits us" | plus video – Siblings Co and Stee Gfeller, better known as ZiBBZ, are battling it out for entry to the Eurovision Song Contest with their song "Stones". They wrote the song together with Canadian songwriter Laurell Barker at the songwriting camp staged by Pele Loriano Productions and SUISA in August 2017. In the video, the two siblings tell us more about how the song came about and why this kind of songwriting camp is so important. Read more
Eurovision Song Contest: Swiss songwriting camp by Pele Loriano Productions and SUISA a huge success – The Swiss broadcaster SRF announced the six songs that will be in the running for the Swiss entry to the Eurovision Song Contest (ESC) 2018 today. Four of the six entries were created at the Swiss songwriting camp held by Pele Loriano Productions and SUISA at Powerplay Studios in Maur. Read more
Tags: Composer, Music producer, Songwriter, Songwriting camp, Lyricist
The SUISA Songwriting Camp takes place for a second time after its successful première in the summer of 2017 (4 songs from the camp made it to the Swiss ESC final, among them the winning song "Stones"). This year, the Songwriting Camp will be held between Monday 18 and Wednesday 20 June 2018. Planned venue for the event...read more
"You always want to write the best song you can" | plus video
Songwriter Kate Northrop is primarily a lyricist, a creative role that doesn't often land her in the spotlight. Together with three other authors, the SUISA member co-wrote Naeman's entry to the Eurovision Song Contest, "Kiss Me". In a video interview, Kate Northrop explains how she came up with the song lyrics and how she was inspired by the songwriting camp organised by SUISA and Pele Loriano Productions. Text by Giorgio Tebaldi, video by Manu Leuenberger
https://blog.suisa.ch/wp-content/uploads/2018/02/Kate-Northrop_720p_final.mp4
Behind every good song is a good songwriter – and in the case of "Kiss Me", there were four. The song is among the Swiss finalists for the Eurovision Song Contest 2018, and is performed by Naeman. It was written by Alejandro Reyes from Lausanne, Ken Berglund from Sweden, Eric Lumière from the USA and Kate Northrop.
Kate originally comes from the USA, now lives in Switzerland, and helped write the lyrics. The story the song tells is the result of a team effort: "First, we all told each other what we thought the song's story was", the songwriter explains. "Then we tried to capture that with music, words and – above all – emotions."
Kate had written songs with a number of different co-authors before, but the process at the songwriting camp was an entirely new experience for her: she had 12 hours to write a finished song with a group of artists she had never met before. Kate loved this method of songwriting: "Working with these artists was incredibly inspiring", she says. "In order to create something, you have to be open to creative ideas from the rest of the group."
The fact that the songs written at the songwriting camp were being written for the Eurovision Song Contest made no difference to Kate: "I don't think writing for the Eurovision Song Contest is different from writing any other kind of song. You always want to write the best song you can."
www.songwave.ch, Kate Northrop's website
"Taking part in the songwriting camp was a big win" | plus video – "Compass" is one of the final six Swiss songs competing for entry to the Eurovision Song Contest 2018. It is sung by Alejandro Reyes, who wrote it together with Canadian Laurell Barker and Swiss composer and producer Lars Christen. In an interview with SUISA, Lars Christen talks about the songwriting process. He also explains why he found the songwriting camp such a valuable experience. Read more
Lyrics for a song: "Anything goes – if it has success" – The FONDATION SUISA dedicates its CHF 25,000 recognition award to lyricists of musical works this year. But what makes a song text a success? Guest author Markus Ganz in an interview with journaliste Jean-Martin Büttner. Read more
Tags: Eurovision Song Contest, Composition competition, Song lyrics, Songwriter, Songwriting camp, SRG SSR, SUISA member, Lyricist
Kate...read more
Application process for the Schedler Music Songwriter Camp 2018 now open to SUISA members
For the sixth time now, Rudi Schedler Musikverlag GmbH is organising the international "Pop & Schlager Songwriter Camp" between 13 and 18 January 2018. SUISA members may submit their application for a place in the Schedler Music Songwriter Camp 2018 until 31 October 2017. Text by Fiona Schedler, Schedler Music
International teamwork during the Schedler Music Songwriter Camp 2016: Luca Hänni, from Berne (in the background, on the right) composed a song together with Dillon Dixon, from the USA (left) and Erik Wigelius, from Sweden. (Photo: Ratko Photography)
At the "Pop & Schlager Songwriter Camp" by Schedler Music, songwriters from more than seven countries, in teams of three, compose potential hits of tomorrow under the motto "It's all about the song" over a period of five days. A total of 35 national and international composers take part in the camp, whereby five places are specifically allocated to SUISA members. Composers, lyricists and producers may, with immediate effect and until 31 October 2017 at the latest, apply for participation in the Schedler Music Songwriter Camp which will be held between 13 and 18 January 2018 in Steeg, Austria.
Application, selection process, participation
The participation spaces shall be allocated by way of a selection process. If you are a composer, lyricist or producer and wish to participate in the "Pop & Schlager Songwriter Camp", please submit:
a short biography (keywords are sufficient)
and reference songs (mp3 files or links)
via e-mail, stating the reference "Application – Pop & Schlager Songwriter Camp" to the following address: summit (at) schedlermusic (dot) com. Please mention in your application that you are a SUISA member. Closing date will be 31/10/2017. Schedler Music will get in touch with the songwriters that have been selected by the end of November.
Enthusiastic participants at the Songwriter Camp 2016: Slovenian songwriter team Sasa Lendero (in the middle) and Mihael Hercog (on the left) with German lyricist Oliver Lukas. (Photo: Ratko Photography)
Immediately after the songwriter camp, the music industry meeting "Schedler Music Summit" takes place on 18 and 19 January 2018. Any newly created songs from the Camp will be showcased at this occasion in the course of a "song presentation" on Thursday, 18 January 2018 (from 8.00 pm) to the music industry audience.
Further information on the camp is available on the following website: www.schedlermusicsummit.com.
The Camp/Summit Aftermovie 2017, also provides a great insight.
First Swiss songwriting camp for the Eurovision Song Contest – The Powerplay Studios in Maur recently played host to renowned songwriters and producers from Switzerland and abroad as they attended a songwriting camp to write entries for arguably the most famous music competition in Europe – the Eurovision Song Contest. This is the first time that a songwriting camp like this for the ESC has taken place in Switzerland. The camp was supported by SUISA, the cooperative society for composers, lyricists and publishers of music in Switzerland and Liechtenstein. Read more
Publishers' participation at SUISA not at risk – A decision by the European Court of Justice dating back to 2015 and two German court decisions made last year have challenged the basic principle of a participation of publishers with respect to remuneration paid out by collective management organisations. Here are the reasons why what happened at Gema cannot repeat itself at SUISA. Read more
Tags: Music producer, Songwriter, Songwriting camp, Lyricist, Publishing company
Acquisition date: 08.09.2017 by Erika Weibel
At the "Pop & Schlager Songwriter Camp" by Schedler Music, songwriters from more than seven countries, in teams of three, compose potential hits of tomorrow under the motto "It's all about the song" over a period of five days. A total of 35 national and...read more
Toni Vescoli: A year full of vitality and anniversaries
Toni Vescoli was born on 18th July, 75 years ago. 55 years ago, on 19th September, the musician from Zurich founded the legendary beat music band Les Sauterelles. It is celebrating its anniversary with a tour that starts during the "Beatles week" in Liverpool. At the same time, Toni Vescoli continues to perform with his dialect projects "MacheWasiWill" (dowhatilike), "imDUO" and "Toni VESCOLI&Co". Text by guest author Markus Ganz
Toni Vescoli, SUISA member since 1967 has not only influenced Swiss beat music, but has also been pioneering dialect performances, playing Dylan songs and narrating Pingu radio plays (Photo: Kessler)
Five years ago, during the TV programme "Stars extra", Toni Vescoli said – with an embarrassed grin on his face – that he did not succumb to the DOG, the delusions of grandeur. The show's presenter Sandra Studer had asked him what it had been like to have led the Swiss charts in 1968 with Les Sauterelles ("Heavenly Club"), topping even the Beatles ("Hey Jude"). With his statement, the singer, guitarist and songwriter from Zurich has described his own character pretty well. While it is obvious that he is still enjoying to perform at concerts to this day, it is because of the music, and not the limelight.
Toni Vescoli was already "extremely" upset, back in 1964, that their impresario had invented an additional name for Les Sauterelles and even printed it bigger than the original band name on the placards: "The Swiss Beatles". He did not wish to compare himself to other stars but be a creator in his own right. No later than in during the 1970s did he choose to follow his own path, irrespective of trends and hip places.
The path to beat music
His passion for music had, however, not been triggered by the English beat music artists but by American stars such as Johnny Cash and especially Elvis Presley. Toni Vescoli told the author of this article in a former interview that he had already played such kind of music at the end of the fifties. He did so standing on a table in a hip café in Zurich's Niederdorf quarter, and on a larger scale, sometimes accompanied by a Dixie band. The changeover to beat music was initiated by the Shadows with their unique sound using electric guitars.
He needed a band to do this which is why he founded Les Sauterelles in 1962 whose entire history has been influenced by many changes in terms of the band members. The single "Heavenly Club" brought about the commercial peak in 1968. It was released in the majority of European countries as well as in the US and in Japan. Sometimes they played up to seven hours, performing in up to 350 concerts per year. Nevertheless the band was facing financial problems which is why Toni Vescoli placed an obituary in 1970 announcing: "Les Sauterelles are dead".
The legendary Swiss beat music band Les Sauterelles was founded 55 years ago. In 2017, the band is celebrating its anniversary with a tour that starts in Liverpool. (Photo: Gerhard Born)
American influences
It was folk music and especially Bob Dylan which lured Toni Vescoli back to American songwriting and music and influenced his solo career; his album "Bob Dylan Songs" (1993) is a tribute to this, featuring adaptations in the Zurich dialect of Swiss German. Folk music, together with the West Coast music of the 1970s was his entry point to his later mix of Americana music, Toni Vescoli explained in an interview. But his classic hits "Susanne" and "N1" had actually already been country music songs, bordering on bluegrass music.
In the early 1980s, Toni Vescoli returned to rock music, while influenced by Ry Cooder he became a fan of the accordionist Flaco Jimenez who then turned out to play on his album "Tegsass" (1999). Said Tex-Mex reminded him of his youth in Peru (between the age of four and nine), when they listened to Mexican folk songs on the radio. Together with Cajun music, this definitely rubbed off on the Americana album "66" (2008), in particular the lively single track "El Parasito".
Dialect pioneer
More important than the change in style was Toni Vescoli's pioneering change to dialect in 1970. He had been instructed by the magazine "Pop" to write a song for the unveiling ceremony of a Wilhelm Tell monument. Instead of writing the lyrics in High German, he felt that Swiss dialect was more apt – and the song hit the right note with the public. He wrote more songs in dialect but his producer felt in 1971 that the time wasn't right for that yet.
As a consequence, his first album in dialect was not released until 1974 – and Reinhard Mey's cover version of the song "Susanne" got released before Vescoli's original. His song "N1" with which he broached the issue of the ambivalent character of the N1 motorway (today's A1) connecting Switzerland, is also rather striking. "N1 Du bisch e Schtraass wo-n i hass, aber irgendwie han-i Di gern" (N1 you're a road that I hate but somehow I like you, too); he had already written a popular hit about traffic: "Scho Root" (Red lights again) (1975).
Modest and down-to-earth to this day: Toni Vescoli. (Photo: Plain)
What was unusual at the time was that Toni Vescoli combined his dialect lyrics with American music and thus broke open songwriter traditions. He did realise at the time that he was able to reach people much more directly by singing his songs in dialect. As a consequence, he developed his music into a style where the lyrics can be followed better. This led him to folk music which he could also perform on his own.
When he was consequently hired by a small theatre once, he realised that he no longer needed amplifiers and that an acoustic guitar was enough. He thus landed in a music environment which he had not been looking for but where he felt at ease: He continued to play without an amplifying system for nearly 18 years. At some point, however, he felt that this environment where people were "hanging on to his every word", became too imposing for his liking. He wanted to play electric guitar again, and that's what the song "Wäge Dir" (because of you) is about.
Words for a love song
The changeover to dialect had not been easy. If you sing in dialect, you have to be very careful about what you wish to sing, Toni Vescoli mentioned in an interview. It was not that easy to sing "ich liebe Dich" (I love you) – even if nowadays these words are not as embarrassing anymore, as the current world of dialect music shows.
Toni Vescoli broached the issue of the difficulty to find words for a love song with the title "Lady Lo" where he sings himself to the conclusion that: "öisi Schprach isch unbruchbar" (our language is useless). It was meant to be a love song for his wife, Toni Vescoli explained, but turned into a confession of failing with regards to finding the right lyrics. It all sounded kitschy and plump – and that is why he turned it into the theme of the song. Where words become useless for the purpose of expressing feelings, the question could be asked whether playing pure instrumental music might be the solution. Toni Vescoli replies to this and laughs that he simply wasn't good enough as a solo guitarist to do just that.
Indeed, Toni Vescoli has not succumbed to any delusion of grandeur to this day. And he has continued to show that he does not have any fear of being in touch with young musicians or other styles such as hip-hop. In 2012, for example, he presented his interpretation of Baba Uslender's "Baustellsong" (construction site song) in a show of the "Cover me" series on SRF television. Toni Vescoli has remained young in terms of his music – and may that be so in future!
Information and live dates: www.vescoli.ch (e.g. Performances with Les Sauterelles in Liverpool during the "Beatles week" from 25-28 August).
Marco Zappa: 50 anni di musica – A story of 50 years' success: The only sustained career in Switzerland in relation to the "canzone italiana" – in all its dimensions. An undisputed, and undoubtedly significant fact about the singer songwriter Marco Zappa from Bellinzona, who has become the focal point of music culture in the Ticino again at the beginning of the year. This comes with the release of his new album "PuntEBarrier" which contains 18 unpublished songs, and a tour across Switzerland starting on 14 March 2017 in the Teatro Sociale Bellinzona. Read more
"Nothing, nothing at all beats a well-written song" – The international success with Bonaparte is the current highlight of the long-term songwriter career of Tobias Jundt. He penned several hundred titles, spanning a wide stylistic variety, even for or together with other artists. Born in Berne, and now living in Berlin, the composer passes on his knowledge and experience as a guest lecturer at the Zürcher Hochschule der Künste (Zurich University of the Arts) in the subject "songwriting". Read more
Tags: Pop culture, Swiss music, SUISA member, Swiss pop, Lyricist
Wolfgang Oehry (= Long tall Wolfie / The four Windows aus Zürich) says:
Ich lernte Toni in den frühen 80er Jahren kennen, als ich der lead Gittarist der Windows war. Toni präsentierte eine TV Show, in der wir auftraten. Ich erinnere mich ganz besonders an ein Konzert im Kongresshaus für die Neubürger Feier, an der Toni präsentierte. Zuerst spielte das Hazi Osterwald Orchester, dann wir. Während wir spielten, standen plötzlich Reihen von Gästen auf und gingen zum Ausgang. Wir hatten keine Erklärung dafür. . . bis wir das Tränengas 'witterten', welches ein Idiot in der Mitte des Kongresshauses abgelassen hatte. Toni, mit Tränen in den Augen, steckte seinen Kopf aus dem Vorhang und rief uns zu, "Mached witer, mached witer". Der Anlass war dann leider zu Ende, da sich niemand dem Tränengas aussetzen wollten.
Ich war lange zuvor auch mal mit dem Sauterelles Bassisten Freddy Mangili befreundet. Auch ein sehr netter Typ.
Five years ago, during the TV programme "Stars extra", Toni Vescoli said – with an embarrassed grin on his face – that he did not succumb to the DOG, the delusions of grandeur. The...read more
New Jersey, just south of Berne
Polo Hofer receives the FONDATION SUISA Prize 2017 in the category "lyrics author". Christoph Trummer writes in his guest contribution about the factors distinguishing the works of the award winner from others.
Polo Hofer, winner of the FONDATION SUISA Prize 2017 has found his way into popular culture and has translated rock and roll as a way of life for the German-speaking part of Switzerland. (Photo: Patric Spahni)
If you wanted to be brief, you'd say: The FONDATION SUISA Prize is a recognition award for outstanding creations. In 2017, it will be awarded to a lyricist for the first time. Polo Hofer was nominated for the award. What else did you expect the jury should do?
Of course, we'll gladly dedicate more than just these few words to this worthy award winner and his works.
Those who were born after 1970 and grew up in the German-speaking part of Switzerland, are likely to find it hard to imagine their schooldays, youth and life in Switzerland as such without Polo Hofer and his songs and lyrics. Some of his works, ranging from "Bin i gopfriedstutz e Kiosk" ("Am I a blimmin' kiosk") to "Bim Sytesprung im Minimum e Gummi drum" ("For that bit on the side as a minimum a condom") have turned into one-liners; you cannot possibly imagine everyday language being without them. Even those whose parents don't even own a Polo Hofer CD can sing along to "Alperose".
Song lyrics turned into popular cultural assets
These lyrics are now part of popular culture, in the German-speaking part of Switzerland, for sure. Since his early days with the band Rumpelstilz, Polo's discography has been serving as a means to tell the story of a rather eventful Swiss history. The "Summer 68", when (apparently) it was the done thing to travel to Kabul to smoke weed. The wild 70ies, years of upraise, with Rosmarie to Spain, free love next to the "Teddybär" ("Teddy Bear"). The dark side of dreams in the form of a "Silbernaadle töif im Arm" ("A silver needle deeply plunged into the arm"). And already then, dulled by consumerism, in full swing with the "Waarehuus Blues" ("Warehouse Blues").
Polo's lyrics are, sometimes, explicitly political: "Da isch nüt vo Grächtigkeit / So wie's i dr Verfassig schteit" ("Um WAS geits?") ("There is no justice / as it's written in the constitution", song: "WHAT's this about?"). He does, however, also narrate world history as a personal story, when an old love affair finally gets a chance as the Berlin wall comes down ("Wenn in Berlin bisch") ("When you're in Berlin"). Plus, he criticises society with role prose, whose poetry stems from conversations at the regulars' table in the pub, for example when the farmer's son of the Lochmatt sums up the empty promises of a life in the bright city lights: «Lah mi vergässe bim rote Wy» ("Let me forget with a glass of red"). That's popular in its very essence, but it also has side effects.
Sometimes the loud role of Polo National smothers the fact that he also has other qualities as a lyricist. For example, when he ponders about his own mortality in "Im letschte Tram" ("In the last tram") or when he negotiates the literal sense of God, all the world and his brother in "I dr Gartebeiz vom Hotel Eden" ("In the garden pub of the Eden Hotel") without getting lost in intellectual deliberations.
Rock and roll – translated for Switzerland
Some of Polo Hofer's great songs are congenial translations: Tom Waits's "Jersey Girl" into "Meitschi vom Wyssebüehl" ("Girl from Weissenbühl" – a Berne suburb), Todd Snider's "Alright Guy" into "Liebe Siech" ("My dear chap"), and Dylan's "Leopard-Skin Pill- Box Hat" into "Schlangelädergurt" ("Snake leather belt"). With that, you find out about another one of Polo's various roles, which make him so significant (not only) for music performed in dialect in Switzerland: He is a translator. Not only a translator of song lyrics but one of the most important translators of rock and roll and popular culture into our culture, into our customs and habits.
Polo Hofer has managed to turn desires, but also the lustfulness of the young with its pubescent obscenities, the rebellion against a stale and settled system, in brief: the rock and roll way of life for the German-speaking part of Switzerland into sound. D'Stüehl ewäg, mir sy giggerig u wei schwoofe (Get the chairs out of the way, we're in the mood and want to dance). He was inspired by, and found some of his topics in the rock and roll catalogue of legends and brought it to Switzerland: We would probably not get into a ride with Bobby McGee on the highway, but hitchhike with Rosmarie from Paris to Gibraltar. Wyssebüehl is closer than New Jersey.
Polo Hofer as a central figure of our story has opened doors through which many others could pass, even if they didn't even know his music at all. And now he receives an award for this work. As such, the FONDATION SUISA Award 2017 is a kind of "Lifetime Achievement Award". We congratulate you from our hearts!
www.polohofer.ch
The FONDATION SUISA Prize is a recognition award for outstanding creations. FONDATION SUISA bestows this award to authors and publishers rendering outstanding contributions to the enrichment of the cultural heritage of our country with their creations. The award, valued at CHF 25,000.00 is granted in a different category each year.
Christoph Trummer won the FONDATION SUISA Prize 2011 in the category "Singer/Songwriter". Our guest author was born in 1978 and grew up in Frutigen (BE). Apart from his musical activities, he is President of the Association for Music Creators Switzerland.
Lyrics for a song: "Anything goes – if it has success" – The FONDATION SUISA dedicates its CHF 25,000 recognition award to lyricists of musical works this year. But what makes a song text a success? Guest author Markus Ganz in an interview with journalist Jean-Martin Büttner. Read more
"The FONDATION SUISA Award 2015 gives us a push for the future!" – The Duo Aliose receives this year's FONDATION SUISA Award for its outstanding performances in the musical genre 'variété'. Since the release of its debut album in 2009, Aliose have performed at more than 250 concerts, of which a third took place outside of Switzerland. Alizé Oswald and Xavier Michel met more than 10 years ago at a workshop for authors, composers and artists. The award winners provided us with a written statement on their music, composing, winning the award and their next album. Read more
Award for songwriters at the Swiss Music Awards | plus video – The newcomer Nickless and the renowned producer Thomas Fessler won the first award for songwriters at the Swiss Music Awards 2016. The winning song "Waiting", jointly composed by the two, didn't appear out of thin air but is the result of lots of teamwork. At the occasion of the Swiss Music Awards 2017, SUISA will honour the performance of composers and lyricists with an award again. Read more
This article was posted in FONDATION SUISA.
Tags: Recognition award, Award, Song lyrics, Music award, Pop culture, Songwriter, Lyricist
Marco Zappa: 50 anni di musica
A story of 50 years' success: The only sustained career in Switzerland in relation to the "canzone italiana" – in all its dimensions. An undisputed, and undoubtedly significant fact about the singer songwriter Marco Zappa from Bellinzona, who has become the focal point of music culture in the Ticino again at the beginning of the year. This comes with the release of his new album "PuntEBarrier" which contains 18 unpublished songs, and a tour across Switzerland starting on 14 March 2017 in the Teatro Sociale Bellinzona. Interview/Text by Zeno Gabaglio – La versione italiana del testo si trova sotto.
Interview with Marco Zappa in the studio MarcoZappaMusic in Sementina. (Photos: Manu Leuenberger)
50 years of music: This is a great opportunity to meet Marco and cast a look back into the past. We asked him to tell us how it all began and how his relationship with musical creativity developed; in the Ticino – an area which had never really stood out in terms of the "canzone italiana", i.e. songs in Italian.
Marco Zappa: At the beginning of it all, there was my mother who regarded me as a pianist in the classical music sector. We lived in Bellinzona at the time, and I was still barely a child. I played the piano for two years – more or less 'under duress' – and I do recall that I really didn't enjoy it: I had to practice every day, but had completely different things on my mind at that age. While I was a boy scout, I began playing the harmonica (mouth organ), an instrument which, unlike a piano, you can take with you and also share your music with others. My mother's sister played the guitar. She had taught me my first view chords, exactly at the time when Adriano Celentano and the first "shouting singers" were all the rage in Italy. I was hooked right from the start and could immediately relate to that type of music. I founded a small band with my colleagues from the Gymnasium (grammar school) with which we performed at school parties.
Marco Zappa (l.) and Zeno Gabaglio.
Zeno Gabaglio: What kind of opportunities did those have who wanted to make music and share it – as much as possible – with others?
The desire effectively existed to meet up to make music, but it was mainly folk and traditional music. I have also spent a few years to sing and play la Verzaschina, il Boccalino and various other songs that nowadays would be called 'folk'. When it comes to live music in the Ticino, there was quite a good supply of ensembles that performed light music, i.e. bands (even those with just 4-5 musicians) that performed a repertoire mix between jazz, swing and 'Schlager' [traditional German-language pop songs]. On my way home after school, I always stopped outside the bars of Locarno where they were playing in order to listen to their music. And I was totally enchanted and learned new chords.
But the music of such dance ensembles was "old" music, wasn't it? How come that Marco Zappa found a more modern path to rock music?
It was the electric guitar. One evening where I performed with my band in the Oratorium in Minusio, the priest who had organised the meeting, played the song Apache by The Shadows, with those wonderful tunes at the beginning, played by a distorted electric guitar. It was love at first "sound". And then there were, of course, the songs by the Beatles! …
New album "PuntEBarrier".
The rock career of Marco Zappa thus goes back to a modern priest?
Yes, in a way: to an enlightened priest! But as we were – so suddenly – infected with the electric guitar virus, young people like us had a problem: How could we change our instruments so that we would manage to hit exactly that tone? A friend who was an electrical engineer told me that you would get a microphone if you unscrewed the lower part of a telephone receiver (i.e. the part into which you speak). So I did exactly that and mounted that piece onto my guitar, connected both wires to an amplifier of an old radio owned by my parents and voilà, I had my first electric guitar. I do remember how I rode through the city with the old radio, tied to the moped on my way to the rehearsals …
Shortly after, you began – with the Teenager Band – to create music, even though you would not reach the gravitational centre of your musical universe until a few years later, by changing from English to Italian. Could you explain to us what led to this important development?
I had grown up listening to English rock pieces on my turntable. I played singles a thousand times in order to practice the guitar solos and to learn the lyrics by heart. Even though our English wasn't brilliant, we still wrote our songs and performed them in that language, as we mainly listened to English rock at the time. Strangely enough, I find myself criticising musicians of today a little when they – even though Italian is their mother tongue – sing in English only, and I do believe I have the right to do so, especially as that's exactly how I started myself! Our first two albums were recorded in English and we were proud that EMI (the record label of the Beatles!) produced it; they would have never produced the albums with us in any other language than English.
"The words you choose are just like fingers on a guitar: You need to feel that they are your own. If this is not the case, then the musical result is not really authentic." – Marco Zappa
So when did you change to Italian?
The transition to Italian took place in 1979. Musical tastes around us had changed, and so had certain connections to the concept of the "canzone italiana"; but it was mainly a case of a new awareness that had awakened in me. The language that you use is like the instrument which you need to own. The words you choose are just like fingers on a guitar: You need to feel that they are your own. If this is not the case, then the musical result is not really authentic. Since then, this is what has been happening: When I experience a story in my dialect, then I have to write it in my dialect, and if I experience it in Italian, I have to write it in Italian. The same applies to any other languages. That's not a decision I have to take up front, it is the story itself that I want to tell which leads me onto an unavoidably expressive path.
And now, finally, for the music. What happened is that you have come off rather quickly from the young convention of the English language, and it was the same with your musical vision which had only been influenced by rock music. You thus went to look for less predictable and undoubtedly more daring solutions. What made you choose this direction?
Due to the change to Italian lyrics, I chose an unusual musical setup: a trio with flute and cello. Maybe, at the time, my subconscious told me to do something that even my mother would like. The setup of the band seemed to be classical, but the spirit was definitely committed to rock, even if many people were of the opinion at the time that you could only create rock music with a stratocaster with a distortion switch. Since then, I have always tried to be open to new musicians, instruments and ideas when it comes to musical collaboration. The principle is the same, as it also applies to the lyrics: The story that you wish to tell suggests different technical and poetic solutions – and sometimes it also provides them. If you use the same stones every time and also stack them in the same way, you'll end up with the same wall, every time.
www.marcozappa.ch, official website
Cinquant'anni di carriera: l'unica duratura carriera della canzone svizzera che si sia svolta dentro (ma anche sopra, sotto e accanto) alla lingua italiana. Questo è il dato incontrovertibile – e incontrovertibilmente fondamentale – che riguarda Marco Zappa, e che ancora una volta in questo inizio di 2017 ripropone il cantautore bellinzonese al centro della cultura musicale della Terza Svizzera. Con un nuovo disco con 18 inediti – «PuntEBarrier» – e con un tour nazionale che inizierà il prossimo 14 marzo al Teatro Sociale di Bellinzona. Intervista/testo: Zeno Gabaglio
L'occasione è dunque imperdibile per incontrare Marco e fare qualche passo indietro, per farci raccontare com'è iniziato e come si è sviluppato il suo rapporto con la creatività musicale; in una regione – il Ticino – che dal punto di vista della canzone in lingua italiana non aveva mai offerto esempi illuminanti.
Marco Zappa: È iniziato tutto da mia madre, che mi vedeva come interprete-pianista in ambito classico. Abitavamo ancora a Bellinzona ed ero appena un bambino. Ho suonato due anni quasi per forza il pianoforte e mi ricordo che non mi piaceva: dovevo studiare ogni giorno ma avevo ben altre cose per la testa, a quell'età. Negli scout ho poi cominciato a suonare l'armonica a bocca, uno strumento che, a differenza del pianoforte, si poteva portare in giro e con cui si poteva condividere la musica. La sorella di mia madre suonava invece la chitarra, e fu lei a mostrarmi i primi accordi, proprio nel periodo in cui in Italia imperversavano Celentano e i primi "cantanti urlatori". Mi sono subito appassionato e immedesimato, raccogliendo i miei compagni di ginnasio in un piccolo gruppo con cui suonavamo alle feste degli studenti.
Zeno Gabaglio: Che possibilità c'erano per chi voleva fare musica, e magari anche condividerla con gli altri?
Il bisogno di trovarsi attorno al fare musica effettivamente c'era, ma in genere si rivolgeva alla musica popolare. Anch'io ho passato diversi anni a cantare e suonare la Verzaschina, il Boccalino e le varie canzoni che oggi diremmo folk. Per la musica dal vivo in Ticino c'era però ancora una buona offerta di orchestre di musica leggera, cioè gruppi (di anche solo 4-5 elementi) che si esibivano in repertori tra il jazz, lo swing e la canzone; tornando a casa da scuola mi fermavo sempre ad ascoltarli davanti ai bar di Locarno in cui si esibivano, restando sempre affascinato dalla musica che facevano ed imparando accordi nuovi.
Ma quella delle orchestrine era comunque una musica «vecchia»! Cosa portò invece Marco Zappa sulla strada ben più moderna del rock?
La chitarra elettrica. Durante una serata in cui – con il mio gruppo – suonammo all'Oratorio di Minusio, il prete che organizzava l'incontro diffuse dall'impianto il brano Apache degli Shadows, con quei meravigliosi suoni iniziali di chitarra elettrica riverberata. Fu un colpo di fulmine, e poi, naturalmente, le canzoni dei Beatles! …
Quindi all'origine del percorso rock di Marco Zappa ci fu la modernità di un prete?
In un certo senso sì: di un prete illuminato! Ma contagiato così – all'improvviso – dal germe della chitarra elettrica, per noi giovanissimi rimaneva un problema: come trasformare i nostri strumenti per cercare di ottenere esattamente quel suono lì? Un amico elettrotecnico mi disse che dalla cornetta del telefono, svitando la parte inferiore (cioè quella in cui si parlava), si poteva ricavare un microfono. Così feci, togliendolo e incollandolo alla chitarra, collegai poi i due fili risultanti all'amplificatore della radio dei miei genitori e ottenni la mia prima chitarra elettrica. Ancora mi ricordo quando attraversavo la città con la vecchia radio legata sul motorino per andare a fare le prove …
Di lì a poco – con la band Teenagers – avresti cominciato a fare le cose decisamente sul serio, anche se il centro gravitazionale del tuo universo musicale lo avresti raggiunto qualche anno più tardi, passando dalla lingua inglese a quella italiana. Ci puoi spiegare questa tua fondamentale evoluzione?
Ero cresciuto ascoltando pezzi rock inglesi sul mio giradischi, ascoltando mille volte i 45 giri per imparare gli assoli di chitarra e memorizzare i testi. E se anche la conoscenza della lingua era per tutti approssimativa, si scriveva e si cantava in inglese proprio perché i nostri ascolti di quel periodo erano focalizzati sul rock britannico. Oggi paradossalmente critico un po' quei musicisti che – pur essendo di lingua madre italiana – cantano solo in inglese, e credo di poterlo fare proprio perché anch'io, in fondo, ho cominciato così. I primi due LP li realizzammo in inglese, e l'orgoglio fu che a produrceli c'era la EMI (la casa discografica dei Beatles!) che senza l'inglese non ce li avrebbe mai prodotti.
«Le parole che scegli sono come le tue dita su una chitarra: devi sentirle tue, e se non è così il risultato musicale non sarà sincero.» – Marco Zappa
E l'italiano quando arrivò?
Il passaggio all'italiano è avvenuto nel 1979. Attorno a noi erano cambiati certi gusti musicali e certi rapporti con l'idea della canzone; ma soprattutto avevo maturato io una nuova consapevolezza: la lingua che usi è come uno strumento, che ti deve appartenere. Le parole che scegli sono come le tue dita su una chitarra: devi sentirle tue, e se non è così il risultato musicale non sarà sincero. Da allora se una storia la vivo in dialetto, non posso che scriverla in dialetto, e se la vivo in italiano, devo scriverla in italiano, e così per le altre lingue. Non si tratta di una scelta obbligatoria e a priori che mi impongo prima di scrivere qualcosa, ma è la stessa storia che voglio raccontare a portarmi sull'inevitabile strada linguistico-espressiva.
Infine la musica. Perché se è vero che ti sei presto allontanato dalla convenzione giovanilistica dell'inglese, altrettanto hai fatto da una visione musicale esclusivamente rock, andando a cercare soluzioni meno scontate e – indubbiamente – più ardite. Chi ti ha spinto in questa direzione?
Proprio per la svolta testuale in italiano scelsi una veste musicale inusitata: un trio con flauto e violoncello. Forse inconsciamente volevo fare qualcosa che piacesse anche a mia madre. La formazione sembrava classica, ma lo spirito era chiaramente rock, anche se per molti si poteva fare rock solo usando una Stratocaster con distorsione. Da allora ho sempre cercato di aprirmi a collaborazioni musicali con musicisti, strumenti e idee ogni volta diversi, e il principio è lo stesso che vale per il testo: è la storia da raccontare che suggerisce – a volte imponendole – soluzioni tecniche e poetiche differenti. Perché altrimenti se usi ogni volta gli stessi mattoni e ogni volta li sovrapponi allo stesso modo, il risultato sarà sempre lo stesso muro.
www.marcozappa.ch
"SUISA's office in Lugano is a reference point for the music scene in the Italian-speaking part of Switzerland" – SUISA has offices in Zurich, Lausanne and Lugano and is thus represented in three language regions of Switzerland. In Lugano, four members of staff look after the Italian-speaking members and customers in Ticino. The new manager of the regional office in Ticino, Stefano Keller, has been in office for 100 days now. In this interview, he elaborates on topics such as why the Lugano office requires allrounders, how SUISA contributes to the promotion of creative performances in Ticino and which goals he has as a manager of the Ticino office. Read more
Camilla Sparksss: "A lovely Christmas present" | plus video – A former monk's hermitage serves as the birthplace for new songs by Camilla Sparksss. To this day, the view over the lake landscape from there seems rather idyllic. Looking more closely, however, you realise that the landscape is cut in half by the motorway's north-south axis and the runway of the Lugano-Agno airport. The same applies to Camilla Sparksss: things are not all as they seem at first glance. Read more
"Without an organisation like SUISA many songs would never have been created" – The famous and popular musician Peter Reber has been a SUISA member since 1971. In a written interview, the composer, lyricist, artist and publisher explains, why his collective management organisation is important for him and why – from his point of view – it is not necessary that collective management organisations should be subject to a stricter supervision. Read more
Tags: Swiss music, Songwriter, SUISA member, Ticino, Lyricist
50 years of music: This is a great opportunity to meet Marco and cast a look back into the past. We asked...read more


text:
Surgeon swaps scalpel for pen
A SURGEON has swapped his scalpel for a pen in retirement.
Macclesfield Express
After working at Wythenshawe Hospital for 24 years, consultant, Robert Price-Davies, has now written about its history recording a transformation from a tuberculosis sanatorium 100 years ago to a major multi-million community hospital of today.
Robert, 72, of Carrwood Road, Wilmslow, penned the book to mark the centenary celebrations and put in painstaking research over the past nine years to trace its roots.
He collected archive material and carried out hundreds of interviews with former patients and staff before beginning the book 18 months ago.
Along with a record of its proud history Robert writes sensitively about the recollections of staff and patients whose experiences graphically reveal the harsh regime of the TB era and give an insight into a pioneering spirit which prevailed at Baguley Hospital.
It opened as a sanatorium at a time when thousands of lives were being lost every year because of killer infectious and respiratory disease.
The hospital became known as a haven of mercy for the 'tubercular poor' when, before the advent of modern drugs, the main treatment was bed rest, often for months or even years, in a spartan, regimented isolation ward.
Patients recall a strict routine with few concessions but give heartfelt accounts of the care and commitment from doctors and nurses relating some joyful moments they shared.
There are some fascinating anecdotes from the early years and later from the second world war period when the hospital became a plastic surgery unit to cater for the casualties of air raids.
It was during that time Robert had his first encounter with the hospital, not as a doctor but as a child, when a beloved cousin was treated after being blown up in a tank.
"He was my hero," he recalled.
The hospital gained a major reputation in respiratory research and the foundations were laid for it to become a pioneer in the treatment of chest and lung disease.
Following the birth of the National Health Service in 1948 there was major change and modernisation and the neighbouring Wythenshawe Hospital was built for emergency medical services and later the maternity unit was added.
Wythenshawe Hospital has become one of the busiest and most successful in the north west and in 1987 surgeons carried out the first heart transplant operation. By 1992 the new transplant centre was built and by the end of the year the 200th heart swap was carried out.
Change has continued apace including development of a new £113 million accident and emergency department, burns and coronary care unit, six operating theatres and five medical and surgical wards with X- ray facilities and renal department.
"I have written this book in tribute to the many thousands of patients who have attended Baguley Sanatorium and its successor Wythenshawe Hospital," said Robert.
"Since October 1902 these patients have been cared for by many dedicated medical, nursing and ancillary staff who have seen the hospital grow in stature to the national reputation that Wythenshawe Hospital has today.
"There are so many human stories, some happy, some sad, from the past century of medical care. I have not been able to record them all."
NewsHistoric pub could be demolished for housingPlans have been revealed for seven homes on land occupied by The Fools Nook in Sutton
HomeTribunal rules greenkeeper was unfairly dismissed at posh golf clubClive Poole lost his job at Prestbury Golf Club amid claims of 'bullying and intimidation'

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Using Permission Set in Validation Rule Currently I have this in a Validation Rule:
$Profile.Name <> "System Administrator"

I would like to add another condition that checks a Permission Set. I have found a solution that uses Custom Permissions and I followed the following steps:
1) Create the Custom Permission Set that needs to be referenced
2) Create a Custom Permission called the same name as the Custom Permission Set
3) Add the Custom Permission to the Custom Permission Set
4) Reference the Custom Permission as a Global Variable in the required Formula/Workflow Rules/Validation Rule ($Permission.Custom_Permission_Name).
So what does that look like in the Validation Rule? If I want to only allow System Administrators and members of my Permission Set to do change certain fields. . .
AND($Setup.Master_Automation__c.ValidationRulesEnabled__c == true,
Locked__c == false,
NOT( ISNEW() ),
OR(ISCHANGED(ADCVD_Order__c), ISCHANGED(Investigation__c),ISCHANGED(Petition__c),ISCHANGED(Segment__c),ISCHANGED(Suspension_Agreement__c)),
AND( $Profile.Name <> "System Administrator",
NOT($Permission.ADCVD_App_Modify_Parents))
)

Is that correct?

A: Technically, your new rule is just fine, but it could be optimized a bit to make it easier to read.

Strictly speaking, the $Profile.Name <> "System Administrator" is no longer necessary; you can add Custom Permissions to a Profile as well as a Permission Set.
You can reduce your code to just:
AND(
  $Setup.Master_Automation__c.ValidationRulesEnabled__c,
  NOT(OR(Locked__c,ISNEW()),
  OR(ISCHANGED(ADCVD_Order__c),
    ISCHANGED(Investigation__c),
    ISCHANGED(Petition__c),
    ISCHANGED(Segment__c),
    ISCHANGED(Suspension_Agreement__c)
  ),
  NOT($Permission.ADCVD_App_Modify_Parents)
)

Note that I applied de Morgan's laws to convert the Locked__c and ISNEW from a NOT A AND NOT B to a NOT (A OR B); feel free to leave it the way it was if you don't understand how this works (or just trust that it does).

redpajama_set_name: RedPajamaStackExchange


Many people experience vision problems at one time or another. Most of the time, custom-made glasses can provide a solution. But what do you do if glasses aren't enough? If this is the case, the Sensotec products are here to help. Because even severe vision problems can be fully or partially overcome using sometimes very simple visual impairment aids.
Do you walk over to the window if you're having trouble reading something? When vision is impaired good lighting is essential. Good lighting imitates daylight as much as possible and is very white. Due to the high level of brightness, contrast improves (e.g. grey newspapers turn white), which makes text more legible. Lighting is the first step, but there are numerous other aids available.
Sensotec develops and distributes aids for people with low vision, visual impairments and blindness. A little over 30 years ago, Sensotec was founded as an off-shoot of the Spermalie Institute for blind and visually impaired primary and high school children in Bruges. We have gained years of expertise that enables us to provide you with personal and correct advice.


LOVELAND – It was the 11th hour, the 11th day, of the 11th month of 1918 when guns fell silent with the signing of the armistice bringing an end to World War I. First celebrated as Armistice Day, that day is now known to us as Veterans Day to honor all military veterans.
At the 11th hour of the 9th day of the 11th month of 2018 – 100 years later – the seventh- and eighth-grade students of St. Columban School gathered at Veterans Memorial Park in Loveland to honor veterans of all branches of military service. The students started in front of the school waving flags as they paraded along the roadside into Loveland, across the bridge and into the park where a small crowd with a few local veterans waited.
Gray skies and early morning rain did not dampen the spirit of celebration as those gathered along with the students turned their attention to the American flag for the national anthem to begin the ceremony. Six members of the eighth-grade student council conducted the ceremony honoring the veterans.
Sam Hawkins led everyone in reciting the Pledge of Allegiance to the flag. Ella Skolnicki followed with a few words about the end of World War I and the tradition of honoring veterans from all branches of military service before introducing the featured speaker, Loveland Mayor Kathy Bailey.
Seeing the veterans who came out and the appreciation shown to them by the students impressed the mayor. With her own daughter currently on a two-year deployment with the National Guard, Bailey expressed how impressive it is that over two million young men and women serve in our armed forces at any given time throughout our history.
Teddy Andrews joined Ella Skolnicki in placing a wreath at the foot of the American flag during a moment of silence remembering all who have lost their lives in service to our country. Dominic Infantino led everyone in a prayer for all those serving in the military. The students presented each veteran with a red poppy. Sophie Seavey and Ella Skolnicki started the reading of the poem "In Flanders Fields" which tells of the poppies in the battlefields of World War I.
Veterans stepped forward to be recognized for their service as students named conflicts from World War II, Korea, Vietnam, Gulf War, Iraq and Afghanistan.
Nick Worpenberg closed out the ceremony with words of thanks to all the veterans. As the ceremony came to an official close, students spontaneously began filing past the veterans stopping to shake hands, offer personal thanks, and hug them as they departed.
About 10 veterans were represented nearly every branch of service including Army, Navy, Air Force, Marines, Coast Guard, Reserves and National Guard. They have fought to keep us safe and free at home and abroad from Kenny Ferris in World War II to Robert Bronner Jr. in Vietnam, Walter Golladay, and Scott Gordon in Iraq along with others who were honored on Friday, Nov. 09, 2018 at the Loveland Veteran's Memorial Park. It was special for World War II Navy veteran Ken Ferris and members of his family.


text:
Tales Behind the Tombstones
Many of Vermont's cemeteries date back multiple centuries. They're filled with worn-down stones that may only offer glimpses of the personal histories of the dead. But these cemeteries still hold lessons for the people who visit them today.
Download the Episode
This Episode's Featured Object:
Nathaniel Brown Dodge's Slate Headstone
Mary Labate Rogstad: The top center is an urn. A lot of the symbolism has worn off. The slate has flaked off, especially the lower left quadrant of the grave marker. I see August something, 1823 maybe? And he was 83 years and 5 months at his death.
Whitney Maxfield: Well, it sat in my mother's and father's cellar for a long time and we were going to sell the place and had to do something with it. So then I came to the Historical Society here and said, it's either you guys or it's going in the trash. Cause we've got no place to put it, you know?
Images: Stone carver Heather Milne Ritchie outside her studio in East Barre.
Stan Charkey, the composer of the Vermont Headstones song cycle, at the piano.
Whitney Maxfield beside the restored gravestone of his ancestor, Nathaniel Brown Dodge, in Barre's Maplewood Cemetery.
Green Mountain Graveyards website by Scott Baer and Dan Barlow
Green Mountain Graveyards Facebook page
A Stone Carver's Tools
"It's like it bombards your senses when you start doing this," Heather says. "It's very physical. It's very hard on your body. It's very loud."
Vermont Headstones Performance
Work by Stan Charkey, retired Marlboro College music professor, performed by Daren Jackson (baritone), Mark Hill (oboe), and Katherine Murdock (viola).
Episode Transcript
Heather: It's a lot of noise. It's a lot of…it's like it bombards your senses when you start doing this. It's very physical. It's very hard on your body. It's very loud.
Heather Milne Ritchie works in a long shed in East Barre. The floor is concrete. There's a wood furnace in the corner and an enormous steel track overhead. Massive blocks of granite balance on their supports.
Heather: I always start with my diamond saw, which is basically an angle grinder with a blade on it that's tipped in diamonds.
Heather: Like you can put all of these fancy cuts in with your saw, with a diamond tip. But then you still need a basic hammer and chisel to break the stone away.
Barre residents have quarried and worked granite since the mid-1800s. Heather continues this tradition as a sculptor and a stone carver.
Read the full transcript.
Episode Credits
Before Your Time is presented by the Vermont Historical Society, the Vermont Humanities Council, and VTDigger. This episode was produced by Ryan Newswanger and Mike Dougherty, with help from Mary Labate Rogstad. Thanks to our guests, Heather Milne Ritchie, Whit Maxfield, Stan Charkey, and Dan Barlow. Music from Stan Charkey's Vermont Headstones used by permission. Other music by Blue Dot Sessions.


text:
Ukraine Is Failing To Capitalize On Its Gas Potential
Ukraine's 2019 upstream licensing round…
The Pandemic Could Lead To A Major Oil Supply Crunch
A growing number of experts…
Tsvetana Paraskova
Tsvetana is a writer for Oilprice.com with over a decade of experience writing for news outlets such as iNVEZZ and SeeNews.
Syrian Army Set To Recapture Oil Field Near Palmyra From ISIS
By Tsvetana Paraskova - Jul 05, 2017, 3:44 PM CDT
Syria's army is advancing against ISIS militants in the central Homs province, and has encircled terrorists in the al-Hael oil field near the ancient city of Palmyra, Syrian state news agency SANA reported on Wednesday.
Army units are currently less than a mile away from the al-Hael oil field, and are closing in on ISIS militants in the field from the west, south, and southeast, SANA quoted a military source as saying.
Separately, Syrian Army forces have targeted ISIS hideouts west of the eastern city of Deir Ezzor, killing many terrorists.
Last month, the army recaptured the Ark oil field, some 25 miles northeast of Palmyra, from the Islamic State terrorists. The Ark region is of strategic importance to Syria's economy as it has many oil wells, according to a field commander who spoke to SANA then.
On the larger front, the Syrian Democratic Forces (SDF), backed by a US-led coalition, are about to make ISIS give up its de facto 'capital' of Raqqa, in northern Syria. The terrorists claimed Raqqa as their 'capital' three years ago, but now the US-backed alliance of Kurdish and Arab forces is close to driving ISIS out of Raqqa as the Islamist militants are in retreat in both Syria and Iraq.
Related: Saudi Reshuffle Could Completely Shake Up Oil Markets
Coalition forces supported the SDF advance into the most heavily fortified portion of Raqqa, by opening two small gaps in the Rafiqah Wall that surrounds the old city, the U.S. Department of Defense said on Tuesday, quoting Combined Joint Task Force Operation Inherent Resolve officials.
"Conducting targeted strikes on two small portions of the wall allowed coalition and partner forces to breach the old city at a location of their choosing, denied ISIS the ability to use pre-positioned mines, roadside and car bombs, protected SDF and civilian lives, and preserved the integrity of the greatest portion of the wall," the U.S. Department of Defense said.
By Tsvetana Paraskova for Oilprice.com
Saudis Refuse To Relinquish Grip On Key Asian Market
The Biggest Threat To Renewables Is Not What You Think
Big Oil Begs Congress Not To Sanction Russia
Volvo To Pull Plug On Gas-Only Cars In 2019
API Reports A Larger Than Expected Crude Draw


text:
399 F. 2d 155 - Structural Laminates Inc v. Douglas Fir Plywood Association
399 F2d 155 Structural Laminates Inc v. Douglas Fir Plywood Association
STRUCTURAL LAMINATES, INC., a corporation, Appellant,
DOUGLAS FIR PLYWOOD ASSOCIATION, a corporation, Appellee.
United States Court of Appeals Ninth Circuit.
July 23, 1968, Rehearing Denied Aug. 21, 1968, Certiorari
Denied Jan. 13,1969, See 89 S.Ct. 636.
Lee Johnson (argued), of Mautz, Souther, Spaulding, Kinsey & Williamson, Portland, Ore., for appellant.
Alfred J. Schweppe (argued), of Schweppe, Doolittle, Krug & Tausend, Arthur S. Langlie, Seattle, Wash., for appellee.
Before HAMLEY and CARTER, Circuit Judges, and BOLDT,1 District judge.
PER CURIAM:
As stated in the final pretrial order, appellant's claim is grounded solely on an alleged conspiracy to restrain trade in violation of Section 1 of the Sherman Act (15 U.S.C. 1) by appellee and some or all of the members comprising the appellee association. Appellant admits its allegations, if proved, would not constitute a per se violation of the Sherman Act. Maple Flooring Manufacturers Association v. United States, 268 U.S. 563, 45 S.Ct. 578, 69 L.Ed. 1093 (1925); Tag Manufacturers Institute v. FTC, 174 F.2d 452 (1st Cir., 1949). In argument and the briefs, appellant concedes that reasonableness of appellee's conduct and any restraint of trade resulting therefrom is the basis upon which determination of plaintiff's claim by the trial court, and review thereof on this appeal, must rest. Standard Oil Co. of New Jersey v. United States, 221 U.S. 1, 31 S.Ct. 502, 55 L.Ed. 619 (1910); Chicago Board of Trade v. United States, 246 U.S. 231, 38 S.Ct. 242, 62 L.Ed. 683 (1918); Roofire Alarm Co. v. Royal Indemnity Co., 202 F.Supp. 166 (E.D.Tenn., 1962), app. Dism. 313 F.2d 635 (6th Cir., 1963), cert. den. 373 U.S. 949, 83 S.Ct. 1678, 10 L.Ed.2d 704 (1963).
The trial court specifically found (1) conspiracy was not shown by the evidence and, (2) appellee's conduct, and any restraint of trade resulting therefrom, were reasonable under all of the circumstances existing at the time of the events in question. Our review of the entire record discloses ample evidence supporting both findings of the trial court and no fact finding by the trial court is held clearly erroneous. Rule 52(a), Fed.R. of Civ.Proc.; Cataphote Corp. v. DeSoto Chemical Coatings, Inc., 356 F.2d 24, 26 (9th Cir., 1966); Sherrill v. McShan, 356 F.2d 607 (9th Cir., 1966).
Absence of bad purpose in appellee's conduct was merely a circumstance considered by the trial court, together with a variety of other facts found from the evidence, negativing conspiracy. We are satisfied the reference in the trial court's decision to intent and purpose, when reviewed in context, does not support appellant's contention that the trial court considered specific intent or evil purpose to be a prerequisite for recovery by appellant.
Hon. George H. Boldt, United States District Judge, Tacoma, Washington, sitting by designation


text:
Blog Roll/Links
38th MILO Marathon: Puerto Princesa Eliminations Leg Result
Returning champs rule 38th National MILO Marathon Puerto Princesa race
21 runners qualify for the National Finals
Four-time winner Norlan Warizal and returning champ Jila Dela Rosa proved their authority in the 21K events at the Puerto Princesa of the 38th National MILO Marathon Qualifying Race on Sunday. From about 7,000 runners who joined the qualifying race, Warizal and Dela Rosa, together with 19 other runners, booked their slots for the National Finals in Manila on December 7 for a chance to claim the MILO Marathon King and Queen crowns. MILO will send this year's King and Queen to Japan on an all-expense paid trip to the 2015 Tokyo Marathon. Along with the slot in the finals, both Warizal and Dela Rosa received P10,000 in cash and a trophy as their prize.
Norlan Warizal and Jila Dela Rosa defeated top contenders in the 21K race of the Puerta Princesa Leg of the 38th National MILO Marathon.
Elite runners braved an exciting route filled with uphill challenges. Warizal, a 29-year-old native of Sta. Maria, Puerto Princesa, emerged victorious for the 21K men's category with a time of 01:19:13, beating rivals Ben Alejandrino (01:21:26) and Nicko Cortes (01:22:42). On the distaff side, 20-year-old Dela Rosa, also a local of Puerto Princesa, convincingly reclaimed her crown in the race, finishing at an impressive 01:39:24 Bernardita Mag-aso 01:47:56 Michelle Anne Tibagacay 01:51:37
Winning is not new for the seven-year veteran MILO marathoner but he always cherishes each hard-earned victory. As a logistics helper, he helps deliver MILO and other Nestle products to sari-sari stores. In the past few weeks, Warizal shared that he usually does overtime at work and had to adjust his training.
"I prepared for only two months, starting in July, but I couldn't really focus on training because my job comes first. I really love my job, and of course I love running, but work is my priority."
"When I have time, I try to run at least five times a week, every morning at 4:30. I couldn't run in the afternoons anymore because I'm too tired by then. I'm very happy that I still placed first despite feeling that my training isn't enough. I went all out in this race, even if I started to feel cramping in my legs, I willed myself to go on. ~Norlan Warizal~
21K male category winner Norlan Warizal dashes into action.
For youngster Dela Rosa, winning also comes almost naturally. She started running at five years old, joining her father, also a runner, in his training. Like Warizal, preparing for the race was also a challenge for her. As a varsity member of the University of Santo Tomas' track and field team, they focused on middle distance training for the University Athletics Association of the Philippines (UAAP) track meets.
"I didn't know I was training already then. I thought it was just fun and games. Eventually, my dad entered me in running events with him and we kept on winning, so I decided to pursue running."
"I took my chances in joining the MILO marathon this year even if I felt that I didn't prepare well for it. The uphill route proved to be very challenging because it consumes a lot more energy than running on flat surfaces. It was quite hard to maintain momentum. My strategy was to run at my own pace. It's okay for others to go ahead of me, as long as I did my best. I'm glad that my best was enough for me to win this race, but I need to prepare well for the National Finals." ~Jila Dela Rosa~
21K female winner Jila Dela Rosa crosses the finish line of the 38th National MILO Marathon in Puerta Princesa.
With the support of the Department of Education and the National MILO Marathon runners, MILO's Help Gives Shoes advocacy will provide 16,000 underprivileged youth with brand new running shoes and reach the 50,000 mark this year. As MILO celebrates its 50th year, Help Give Shoes aims to make the donation to students in Yolanda-hit cities, particularly Tacloban, Ormoc, and Eastern Samar.
Warizal and Dela Rosa both have high praises for MILO's Help Give Shoes Advocacy.
"This project is really admirable, because young runners who have great potential will be encouraged to pursue running. It's hard to run barefooted, or wearing slippers. It's such a great feeling to be able to help fellow runners." ~Jila Dela Rosa~
"I hope MILO continues to help the youth realize their dreams. A lot of children and even adults are being helped by the MILO Marathon and the MILO Little Olympics. It's also very good exposure especially for the kids. They are able to get into sports and avoid vices and bad influences. We are very grateful to MILO." ~Norlan Warizal~
Palawenyos conquered the test of endurance to reach the finish line in the Puerta Princesa leg of the 38th National MILO Marathon.
Aspiring runners enjoy an exciting race event at the 38th National MILO Marathon in Puerta Princesa.
The qualifying race will resume in Lipa on September 14 and will head to Iloilo (September 21), Bacolod (September 28), Tagbilaran (October 5), Cebu (October 12), Butuan (October 19), Cagayan De Oro (November 9), General Santos (November 16), and Davao (November 23). The National Finals will be held on December 7 at the SM Mall of Asia grounds in Pasay City.
Posted by BloggerRunner
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Last Friday saw Natty's first ever Sports Day! Woohoo!
Last year we had planned and practiced, mainly what was expected of her, what each activity entailed and how to wait her turn, cheer on her friends and so on.
Well, if you can cast your mind back to last summer, it rained. It rained a lot. It washed out 3 scheduled Sports Days and then we ran out of term time. The weather matched my mood, I was so very very disappointed that Natty and her classmates didn't get their first experience of this tradition.
However, straight after half term (nice and early in case the weather decided to change its mind) we received a slip giving us the date of this year's event. Straight in with no time to plan or dilly dally.
Sun cream and hats were the order of the day and we turned up proud and excited to watch Mia and Natty enjoy the fun together. They had been put in the same team which pleased them both greatly. In fact it was the first time Mia hasn't complained about not looking forward to Sports Day in her 5 year long school career.
Now for those who think Sports Day is about being competitive and sporty and excelling and winning, well there is that element, it is brought out in some more than in others. But there is so very much more to it. This Sports Day was very inclusive; every child competed in every event, including the ice lolly pit stop. Older children worked with younger children to encourage and support them. There were future athletes, children who shun excercise and wouldn't put team sports at the top of their list and children with LDs and physical disabilities.
The sense of achievement for all involved was all too plain to see. Look at Natty's face when she threw her last and 5th hoola hoop and it when over the pole. Priceless. A boost to any child's confidence.
Hoola hoop over pole result!
I was nervous about the 100m race. What would she think as her long-legged friends tore down the straight ahead of her? Would others look on and feel sorry for her 'bless her'.
Not a bit of it. As Natty tore down the straight as fast as she could, watching her friends disappear over the finish line ahead of her, she looked from side to side at the crowd, with a grin as wide as the Cheshire Cat, and she waved. The crowd roared with cheers as she finished and many other Mums had tears, making my wracking sobs slightly less conspicuous. Pride doesn't come close to describing what we felt. Sports Day being one of the events we wondered if we would ever watch when Natty was born.
The egg and spoon race was a similar story. Natty carefully and gently tiptoed down the track, only dropping her egg once. Slowly but surely went that tortoise.
So, new skills were learned, confidences were boosted and our little community was again brought together, brought closer by the variety of children we have in our midst sharing a common goal that afternoon. For, as Mia says, 'Everyone is different'.
I reflected on our Sports Days, when I was always the last to be picked, made to feel chubby and useless, with sadness. Thank goodness those days have gone for our girls, although some schools have yet to fully embrace a properly inclusive Sports Day so I understand.
It's amazing how events like this rake up the past isn't it.
Wonderful pics! Natty is gorgeous and shiny! I can understand why she had so much cheers from the pubblic!!!
I love the pic of the egg and spoon race, she looks so focused on the task!
This should be the spirit of a real sports day!
very much like my girl...happy,sweet & adorable.
Great photos of a sports day to delight and one happy little girl. We have a little girl just like Natty in the triplets class and she loved sports day too. The whole school cheered her across the line on every event, she absolutely loved it. Thank you so much for linking up on Country Kids.