Splendid Speciality | Splendid Fashion | Apparels Manufacturer and Buying Agent in Bangladesh.
Our key strength lies in the production of high quality knitted garments. Our garment quality begins with the yarn selection. The added value and comfort comes through the garment washing process. With our unique fabrics and techniques, you can rest assured that our pre-shrunk garments will provide exceptional softness and comfort.
All of our jersey fabrics are of the highest standard whether it be fine-gauge ring spun fabrics or part of the open end collection, the quality and durability of the fabric will be obvious for years to come. We are continually developing new ideas and styles. Latest offerings include Peachy, Slubby, Burn-Out, Space Dye, Crinkle Dye, and Pigment Dye. Enquire to find out more!
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soda tax
California organizations fight for soda tax
By Nathalie Granda
FRESNO, Calif. (KFSN) -- A proposed statewide tax increase on a can of soda fell flat, but both local and Bay Area organizations are fighting on, saying a soda tax could improve health, while raking in millions of dollars.
The Praxis Project out of Berkeley, along with other local organizations, came together on Wednesday to speak with advocates on the benefits of taxing sugary drinks.
Only a handful of Bay Area cities, including Berkeley, currently have a one cent per ounce tax on soda.
Javier Morales with the organization says the goal is to improve the health of the community.
"Latinos and African Americans born today, unless we change the environment, more than 50 percent of them will get diabetes at some point in their life," he says.
In Fresno, researchers say the rates of heart disease and diabetes are some of the worst in the state.
"Fresno had very high rates of heart disease. If we look at the congressional districts, we're 10 out of 80, and 13 our of 80 for heart disease," says Chris Madsen, a profssor at the Berkeley School of Health.
By implementing that tax in Fresno, organizers say it would raise about $7 million.
"We could use some of it to address water quality issues in our communities, we could say we want to invest it in community kitchens," says Veva Islas of Cultiva La Salud.
This comes months after a soda bill in the legislature didn't get enough support to pass.
A spokesperson for the American Beverage Association said, "California's voters oppose a beverage tax which would be an unfair burden on working families, neighborhood businesses and employees already struggling with the state's high cost of living."
Morales says it would be a while before any measure could be voted on.
Morales says there are coalitions trying to repeal that preemption.
In the meantime, he says they plan to do six briefings around the state to prove the tax works, and hopefully, improve the health of local communities.
health & fitnesshealthsoda taxsodadiabetes

redpajama_set_name: RedPajamaCommonCrawl


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Last edited by Duktilar
6 edition of The Garden of Best Intentions found in the catalog.
The Garden of Best Intentions
Planted & Picked
by Michael D.W. Newcombe
Published September 18, 2006 by PublishAmerica .
Fiction / Short Stories (single author),
Access to society journal content varies across our titles. If you have access to a journal via a society or association membership, please browse to your society journal, select an article to view, and follow the instructions in this box. Now in its second edition, The Best of Intentions is a big ol' whopping collection of material from the long-running Avow zine. Issues and selections from the first ten issues are presented here as a one-stop-shop of a book. Keith Rosson's stories and art show him neck-deep in a hard-living, knockaround life.
On the surface, Riverview High School looks like the post-racial ideal. Serving an enviably affluent, diverse, and liberal district, the school is well-funded, its teachers are well-trained, and many of its students are high achieving. Yet Riverview has not escaped the same unrelenting question that plagues schools throughout America: why is it that even when all of the circumstances seem. When you next put on a seat belt, visit a national seashore, or switch to NPR, think of the Great Society, says Pulitzer Prizewinning historian Unger (New York Univ.). Unger notes that although the latter-day New Deal begun under the Kennedy administration is best known for sweeping programs of benefit to the poor and disenfranchised, ``there was another Great Society aimed at the educated.
About Best Intentions. A complex, poignant exploration of racial attitudes in America, as illumined by the case of Edmund Perry. Perry, a seventeen-year-old black honors student from Harlem, was fatally shot by a young white plainclothes policeman in in an alleged mugging attempt. Society–including the War on Poverty. Unfortunately, The Best of. Intentions devotes little space to an articulation of the author's chief. and boldest argument: that the programs of the Great Society which "worked. best" were in fact the programs designed for the benefit of the educated middle. .
Paving paradise
Holy Bible conteyning the Old Testament and the New
Draw me a tree
Heads and tales
young brewers monitor
History, organization & policy.
The Baby Book
Momentos Cumbres De Las Literaturas Hispanicas
Spenser allusions in the sixteenth and seventeenth centuries.
[Lists of tax-payers in the town of Boston, 1674-1695]
Margaretta M. Waters. Letter from the Assistant Clerk of the Court of Claims, transmitting a copy of the finding of the court and of the order dismissing the case of Margaretta M. Waters against the United States.
corridor concept; implications for Illinois.
How to save dollars with generic drugs
The Garden of Best Intentions by Michael D.W. Newcombe Download PDF EPUB FB2
Best Intentions by Erica Raskin is the story of Marti Trailor. A woman. A stay at home mother of three. A wife. A best friend. And a woman accused of a horrific crime. Best Intentions is a character driven novel. A novel about Relationships. Marriage. Family. And friendships. Friendships so /5.
Amazon US * Amazon UK Best of Intentions was an adorable book. It was one of those stories where it's so easy to fall in love with the characters that you don't even realize it's happening. There was no really big drama or a ton of angst involved, so I got to just enjoy Jenny and Nate.
It was honestly the best book of my week and I couldn't /5. Tricks of the Trade: From Best Intentions to Best in Show, Revised Edition by Pat Hastings and Erin Rouse | out of 5 stars The Garden of Best Intentions book The Best of Intentions (Canadian Crossings Book #1) - Kindle edition by Mason, Susan Anne.
Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading The Best of Intentions (Canadian Crossings Book /5(97).
Best Intentions is a book that you can easily get lost in. I was captivated within the first chapter and began to wonder if Sam was truly having an affair. Without giving too much away, the novels twists and turns and I began to question each character's motive/5(49).
The Book of Intentions book. Read reviews from world's largest community for readers/5(1). The Best Intentions (Swedish: Den goda viljan) is a Swedish drama film directed by Bille August and written by Ingmar is semi-autobiographical, telling the story of the complex relationship between Bergman's parents, Erik Bergman and Karin Åkerblom, who are renamed Henrik and Anna in the film but retain their true surnames.
The film documents the courtship and the difficult. THE BEST INTENTIONS: Kofi Annan and the UN in the Era of American World Power User Review - Kirkus. A heartbreaking book about a hardworking idealist's frustrated attempts to restore the stature of the cumbersome United Nations in a world dominated by "the preemptively belligerent America."New York Read full review4/5(3).
Buy The Best of Intentions (Canadian Crossings) Unabridged by Mason, Susan Anne (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on Reviews: Despite the Best Intentions: Making School Integration Work in Integrated Schools1 John B. Diamond & Amanda E.
Lewis I n recent decades, the so-called ra-cial "achievement gap" has been a cen-tral focus in U.S. educational policy, practice and research.
2 While. Best Intentions is a spin-off off the Best series. I haven't read all of the Best books but did not find it difficult to follow. The characters are likable and their motivations are clear. It is a very enjoyable read that continues the clean romance series.
Note: I received a free copy but the opinions are mine/5(22). The book contains a wealth of expert advice, addressing everything from how to pick the best growing site to tips on maximizing the lifespan of your plants.
In addition to stunning images, you'll find actionable advice on how to improve soil, fight off pests, arrange your gardens and make types of flowers bloom with radiant color. Above: The Well-Tempered Garden by Christopher Lloyd is available in paperback on Amazon.
If you read one gardening book, then this should probably be it. Christopher Lloyd is best known as the creator of the mesmerizing gardens at Great Dixter,where he was born inbut he was a prolific writer too.
Praise for The Best Intentions "Lush and devastating at once."—New York Times Book Review "The closest thing imaginable to a Bergman film without pictures or sound."—New York Times "A saga of great warmth and emotional rage full of deep anguish, great passion, and stunning honesty."—Toledo BladeReviews: 1.
Terrifyingly Real. I read somewhere that "Best Intentions" is a horror story & it absolutely is. But the horror doesn't come from zombies or mad men; it comes in the form of a realization that this exact story is likely played out in our legal systems more times than we know/5(26).
Does it matter whether a pregnancy is unintended at the time of conception—mistimed or unwanted altogether. There is a presumption that it does—that unintended pregnancy has a major impact on numerous social, economic, and cultural aspects of modern life.
But it is important to define what these consequences might be. Accordingly, this chapter examines five sets of information that help to. BEST BOOKS.
AUTHORS. PUBLISHERS WEEKLY ADVERTISEMENT. The Best Intentions Ingmar Bergman, Author, Joan Tate, Translator Arcade Publishing $ (p) ISBN. Despite 17% of people planning to cut back on treats and holidays, a whopping 75% said they intended to spend just as much, or even more, than last year on their garden.
The main reasons for increased spend was an increased interest in gardening and the year old age group had the most enthusiastic of intentions. In The Best Intentions, Traub recounts the dramatically entwined history of Kofi Annan and the UN from to the present. In Annan he sees a conscientious idealist given too little credit for advancing causes like humanitarian intervention and an honest broker crushed between American conservatives and Third World opponents—but also a UN.
The information about The Best Intentions shown above was first featured in "The BookBrowse Review" - BookBrowse's online-magazine that keeps our members abreast of notable and high-profile books publishing in the coming weeks.
In most cases, the reviews are necessarily limited to those that were available to us ahead of publication. If you are the publisher or author of this book and feel. To the Editor: In his review of Robert Sam Anson's ''Best Intentions'' (May 17), Robert Coles's apparent message is: let's not use the Edmund Perry story to further fuel our racist bias against.The Book Of Intentions is a stunning book.
It is inspiring and beautifully written The book makes you want to make immediate changes in how you think and live. I found myself saying "I wish I had said that".I also wished I had followed through on my many good book has inspired me to try you Dianne s: 7.
Having an intention garden doesn't take a lot of work and the potential benefits it brings are well worth the effort of growing and maintaining one. There is an excellent book entitled Cunningham's Encyclopedia of Magical Herbs by Scott Cunningham that lists many plants, trees, flowers and herbs as well as the energetic properties they contain.
shareholderdemocracy.com - The Garden of Best Intentions book © 2020


With the ups and downs of temperatures and the barometric pressure that the Valley has had over the past couple of weeks, migraines seem to be the main topic of the community.
Each individual experience of living with chronic migraines are different in the Drumheller and the surrounding area.
Some experience the full works. Nausea, vomiting, aura, tight upper chest, impaired hearing, slurred speech, loss of balance, blackouts and sensitivity to light and sound.
Cara McInnis, the new owner of The Valley Health Hub has been researching migraines as of late to try and help the Drumheller Valley with some answers and remedies.
One of the supplements that a person can use to curb the brain pounding, eye closing headache is magnesium," she continued. "Magnesium is huge in a lot of things. I can't tell you how many times magnesium comes up as a treatment for so many different things."
"People who get migraines often have low brain magnesium during an attack. Taking magnesium as a daily supplement can minimize the frequency as well as the severity of a migraine attack. Between 400 and 500 mg a day."
McInnis is open to trying remedies for her own ailments, and when brewers yeast was suggested by a customer that swears by it, she gave it a try.
"Brewers yeast for migraines, I did try it, and for me, it got rid of the headache. If you don't have any sensitivities, it's another one that is definitely worth trying."
There is a cold snap that is about to hit the Valley and surrounding area this weekend and starting the right regiment of a helpful supplement could be the answer for you.


Being a father doesn't end on your daughter's wedding day, but your responsibility shifts. Linda's in charge of her own life now. It's not my job to look after her anymore. It's my job to nag her about boiler insurance and passive-aggressively criticise Paul's DIY.
What's it like to have the greatest kid ever? Well? What is it like? Mum! I'm talking to you! Answer the question or I'll have to talk about Linda for 10 minutes!


Mail Carrier, Word Processor and Meter Reader are among the jobs that are fading into obscurity, says CareerCast's 2016 Most Endangered Jobs Report. The endangered jobs tracked by the CareerCast.com Jobs Rated report, including Disc Jockey, Jeweler, Computer Programmer, Broadcaster and Newspaper Reporter, have felt the squeeze of labor market changes in recent years, and face unfavorable hiring forecasts for the years to come.
The U.S. Bureau of Labor Statistics projects a 28% decline in employment of Mail Carriers by 2024, or a total 136,000-employee loss in the field over the next eight years.
Computer Programmer lands on the list of 10 most endangered jobs, with a projected decline of 8% in the coming years.
Automation will be a recurring theme and its presence will be felt for jobs like Meter Reader, Disc Jockey and even Newspaper Reporter. The role of automation in the Meter Reader profession is evident, as utility companies can gauge use remotely. Less obvious is how pre-programmed playlists can eliminate Disc Jockey positions at radio stations.
Meanwhile, for Newspaper Reporters – already in a dwindling market due to the shift from print to online medium over the last two decades, and the loss of associated revenue – automated publishing looms as a potential threat. For example, Associated Press uses an automated system that can publish stories without human intervention.
Job markets constantly evolve for a variety of reasons, but consumer habits and technology are two of the primary reasons why some jobs have a poor outlook.
Careers like Jeweler and Seamstress/Tailor reside in changing marketplaces. Online shopping and department store shopping have contributed to declining outlook for both professions.
To wit, Computer Programmer lands on the list of 10 most endangered jobs, with a projected decline of 8% in the coming years. Fundamental-level programming ranks as one of the few IT sector jobs with negative employment prospects, as the tech industry as a whole has been one of the healthiest in the United States for the last decade-plus. According to the BLS, computer programming can be done from anywhere in the world, so companies sometimes hire programmers in countries where wages are lower. Specialized careers in IT remain strong, but basic programming and code-writing can often be outsourced.


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Reapportionment Act of 1929
The Reapportionment Act of 1929 (ch. 28, 46 Stat. 21, 2 U.S.C. § 2a), also known as the Permanent Apportionment Act of 1929, is a combined census and apportionment bill enacted on June 18, 1929, that establishes a permanent method for apportioning a constant 435 seats in the U.S. House of Representatives according to each census.
United States Law providing for 435 Representatives in the House
An Act To provide for the fifteenth and subsequent decennial censuses and to provide for apportionment of Representatives in Congress.
Enacted by
the 71st United States Congress
Pub.L. 71–13
Statutes at Large
46 Stat. 21 through 46 Stat. 27 (7 pages)
Signed into law by President Herbert Hoover on June 18, 1929
This reapportionment was preceded by the Apportionment Act of 1911 and took effect after the 1932 election meaning that the House was never reapportioned as a result of the 1920 United States Census. Representation in the lower chamber remained frozen for twenty years.[1]
However, unlike earlier Apportionment Acts, the 1929 Act neither repealed nor restated the requirements of the previous apportionment acts that congressional districts be contiguous, compact, and equally populated. It was not clear whether these requirements were still in effect until in 1932 the Supreme Court of the United States ruled in Wood v. Broom (1932)[2] that the provisions of each apportionment act affected only the apportionment for which they were written. Thus the size and population requirements, last stated in the Apportionment Act of 1911, expired with the enactment of the 1929 Act. The 1929 Act gave little direction concerning congressional redistricting. It merely established a system in which House seats would be reallocated to states which have shifts in population. The lack of recommendations concerning districts had several significant effects. The Reapportionment Act of 1929 allowed states to draw districts of varying size and shape. It also allowed states to abandon districts altogether and elect at least some representatives at large, which several states chose to do, including New York, Illinois, Washington, Hawaii, and New Mexico. For example, in the 88th Congress (in the early 1960s) 22 of the 435 representatives were elected at-large. This would continue until Congress passed the Uniform Congressional District Act which reinforced the single-member district requirement.
This article uses material from the Wikipedia article Reapportionment Act of 1929, and is written by contributors. Text is available under a CC BY-SA 4.0 International License; additional terms may apply. Images, videos and audio are available under their respective licenses.


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Current (https://current.org/2010/09/imagine-all-the-people/)
Imagine all the people!
By | September 27, 2010
The American Masters presentation of "LENNONYC" will have a free screening on Oct. 9, which would have been Lennon's 70th birthday, in New York City's Central Park. Onstage Sept. 24 to announce the event were New York City Mayor Michael Bloomberg, Lennon's widow Yoko Ono and Neal Shapiro, c.e.o. of WNET/Thirteen. The screening will be at 7 p.m. (grounds open at 6) at Rumsey Playfield near the 69th Street and Fifth Avenue entrance, rain or shine."LENNONYC," written and directed by Michael Epstein and executive produced by Susan Lacy, premiered at the New York Film Festival on Sept. 25 and airs nationally Nov. 22 on PBS. Visit Thirteen.org for more on the Central Park screening.


This blog will introduce you to the magic of 3D stereoscopic imagery. We will present some of the core topics of 3D and show some very interesting work. Hopefully, we will spark your interest in trying it yourself or finding ways to integrate 3D into your work.
Start by enjoying the slide show below, it's in video format to be compatible with mobile devices. If you are on a computer you can view it in higher resolution Flash format here.
You will need red/cyan 3d glasses for this site which you can get for free from here. Please remember to request the red/cyan format 3D glasses as shown above.
Feel free to visit my german 3D-Blog at dreidwelt.wordpress.com! Get news about 3D and watch 3D-Videos and Pics.
Hi folks 🙂 just found this site , for the one interested in making yur own picz like me.


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Although great care has been taken in the compilation of the information contained on this website, esooka accepts no liability for the accuracy in terms of error or omission. The information on this website is subject to change without notice and without obligation on the part of esooka. esooka shall not be liable for technical failures or for failures beyond the control of esooka.
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Soon after independence, the Christian community of Changanacherry, realizing the need for an educational institution for women in Central Travencore, conveyed their wish to their leaders. Rt.Rev.Dr.James Kalacherry the then Bishop of Changanacherry, welcomed the idea whole-heartedly and His Excellency laid the foundation stone for a Women's College on 12th August 1949. Initially, the college functioned as an annexe of S.B. College. In 1950, when the Catholic Church solemnly proclaimed the bodily assumption of the Blessed Virgin as a dogma of faith, the name 'Assumption' was found to be appropriate for this new women's college, In 1955, Rev. Sr. Xavier S.A.B.S took over as the first woman Principal of the college and with her the college started functioning as an independent institution. Most of Assumption's academic excellence and disciplinary tradition can be traced back to her period of efficient administration. The Principals who succeeded her shared her vision and steadfastly adhered to Assumption's ideal of excellence.
It is a matter of great pride for us that the college that started functioning almost as an annexe to St. Berchman's College in the academic year 1950-51, with a strength of 358 women students has now grown into a full-fledged first grade college with more than 2000 students in the 19 degree courses, 8 Post graduate courses and other courses in the diverse streams.


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In January I travelled to Sri Lanka on assignment for Food & Travel magazine, accompanied by well-known food writer Michael Raffael. We were met at the airport by our guide and a driver, and spent the next 7 days in a frantic whistle stop tour of the island.
In between exhausting 10 hour drives on twisty roads and dropping my camera in the sea, we managed to squeeze in a tour of a tea factory and a ride hot air balloon, all the while enjoying the exceptional hospitality of the Sri Lankan people. You can see a selection of pictures from the assignment on my main website or, better yet, pick up a copy of the April issue of Food & Travel at your local newsagent.
While assignments like this sound wonderful, and believe me they are great fun, don't underestimate how difficult they can be. We were on the road for 7 days with no time to recover from jet lag, spending each night in a different town with some of them separated by as much as 10 hours driving.
If you do the maths you will see that doesn't leave much time for shooting. And even at the end of the day my work was not over, as I would then have to photograph my dinner before I could eat it!
In future posts I'll talk in more detail about how some of the pictures were made.


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Gary Russell Jr. To defend WBC Title Against Kiko Martinez
Main NewsApr 20, 2019by Clive Bernath
WBC Featherweight World Champion Gary Russell Jr. will defend his title against former world champion Kiko Martinez in the co-feature to Deontay Wilder vs. Dominic Breazeale on Saturday, May 18 at the Barclays Center in Brooklyn,New York.
Arena.jpg
The card will also feature unbeaten super lightweight contender Juan Heraldez squaring-off against former world champion Argenis Mendez in a 10-round attraction. The event is headlined by WBC Heavyweight Champion Wilder as he makes the ninth defense of his title against mandatory challenger Dominic "Trouble" Breazeale.
"I expect to send a message to everyone in or near my division that I'm a force to be reckoned with," said Russell. "I want to unify against Leo Santa Cruz and I'm going to do what I have to do to get there. I'm never going to take any opponent lightly and right now, it's my job to take care of Kiko Martinez before I worry about anything else. On May 18 you should expect to see excitement, punching power, hand speed, fast combinations and a great level of boxing IQ. I'm the best in boxing today and I prove that every time I get in the ring.''
"I'm one of the best super lightweights in the world and I'm going to show it again on May 18," said Heraldez. "They keep lining them up and I'll keep knocking them down. Mendez is good, veteran opposition, but I'm going to show I'm on a different level. This is a great opportunity to once again perform on a big stage and I'm going to take full advantage and steal the show."
"This fight is do or die for me to become champion again," said Mendez. "Anthony Peterson ran from me in our fight in March, so if Heraldez does that on May 18, I will be better prepared. If he stands and fights with me, I feel strongly that I will dominate him and make a statement to everyone that I'm an elite 140-pound fighter."
boxingDivisionEventfeatherweightfightfighterHeavyweightLightweightNew YorkringshowtitleWBCworld
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Thomas The Train! Excavator vs trains! Choo Choo Choo!
★ Toy Train Factory is the best channel with interesting and famous characters. On this channel you will find many humorous and exciting videos with funny characters!
12:59Wooden Desc w Thomas Train - Educational Video | Cars Toys for Kids w Nursery Rhymes Songs 16:16DAD SOLO TRACK! Thomas and Friends PURE BRIO CITY! Fun Toy Trains for Kids! 16:39Thomas & Friends My new plarail ×20 きかんしゃトーマス プラレール 1:14:22Fire Truck, Tractor, Excavator, Police Cars & Train Ride On | Toy Vehicles Surprise for Kids 12:30Thomas - Trains for Kids - Thomas The Train - Cartoon Cartoon - Toy - Toy Trains - कार्टून - Cars 5:30Большой поезд и железная дорога. ИгроБой Даня 22:08Thomas & Brio made a course and played happily outside! 9:03LEGO Train Track Setup! Passenger, Cargo and Steam Trains, with Slopes and Bridges! Fills Two Rooms! 6:10Wooden trains for kids like brio, Thomas, toy fire truck 10:06Thomas Train Crash: Toy Vehicles, Tractor, Trucks & Cars | Train Toys for Kids 15:2358 Pieces Colorful Construction City train set & Thomas, Percy 20:56Paw Patrol's Skye and Chase's fun day at the Playground & No Bullying at School Baby Pups Videos! 17:22Wild Animals On Wooden Train Pool Water Colors For Kids | Apple Kids 10:08Train Unboxing: Brio, Lego Duplo, Chuggington, Thomas and Friends Trains & Toy Vehicles for Kids 15:57Big Thomas & Friends Pocket Fantasy Station toy Let's put small Percy and Gordon inside. 2:28Train and Cars! Thomas The Train! Choo Choo Choo! 15:18Trains for kids with Thomas the Train - Toy Train set Review - Kids Video - train set by imaginarium 21:16Thomas Railway Toy. Plarail Mountain Rail Set & Sodo Island Set 10:37Cartoon Train - Toy Train for children - Kids Videos for Kids - Chu Chu Cartoon - Toy Factory Trains 17:52Plarail Super Big Class 923Dr Yellow Set. Japanese trains Gordon trains tunnel mountain course.


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John Porter: From The Smiths To The Blues
Mixing / Production
By Matt Frost
John Porter made his name with British indie and rock music — but is now arguably the world's leading producer of blues records.
Two years ago, John Porter embarked on yet another chapter in his four-decade journey as a producer, waving goodbye to the LA recording industry that had served him so well for the previous 20 years and moving across country to New Orleans, a city that has always been very close to his heart. Porter does still occasionally trek outside the borders of Louisiana to track at different studios, but records in the city where possible, and almost always mixes at his own Independence Street mix room.
"I love New Orleans and I've always loved New Orleans music," John tells us. "There is nowhere — certainly in America — where there is more music going on 24 hours a day than New Orleans. There's so many great players, I have good friends here, and I thought it would just be a good place to get involved in the local music scene. The record industry is completely different from the way it was 10 years ago, so there was no reason that we had to remain in LA."
While in Los Angeles, John produced an almost constant stream of top artists including Ryan Adams, Joe Walsh, Maria Muldaur, Stephen Stills, Los Lonely Boys and Carlos Santana, but it's his life-long love of blues and blues-related music that has brought Porter a staggering 10 Grammy awards. Buddy Guy, BB King, Taj Mahal, Otis Rush, RL Burnside, John Lee Hooker, Lucky Peterson, John Mayall, Jimmy Smith and Keb' Mo' are just a few of those to benefit from John's assured production techniques and studio acumen. Porter also helped set up Cello Studios in Hollywood in 1999, running the successful multi-room complex for several years before opting out in order to concentrate on his own independent productions. Cello was located at the legendary United Western Recorders building on Sunset Boulevard, and is now operating as the equally prestigious EastWest Studios.
To British music fans, though, John Porter's name probably has very different associations. Prior to his move to LA in 1990, his credits during the 1970s and '80s include Bryan Ferry, Andy MacKay, Billy Bragg, the Alarm and the Smiths. "In England, I think if I had any reputation at all it was probably as a producer of those English 'alternative' guitar bands and of very English-sounding records," explains John. "Then I came to America and I started producing these blues artists and I suddenly seemed to have a reputation for being the guy that only made blues records, which is almost diametrically opposite to what I was doing before. So in England, I've been perceived as a guy that only did jangly guitar bands and in America I've been perceived as the guy who works primarily with black men over the age of 60!"
Blues Beginnings
John Porter now mixes most of his own projects at home, in his Independence Street mix room.
John Porter was born and brought up in Leeds. As a kid, his family home was always buzzing with music, albeit of a classical bent. John's own musical turning point came at the age of 10, when his mind was blown by a rock & roll track played on Uncle Mac's Saturday morning Children's Favourites radio show on the BBC. "I heard Little Richard singing 'Lucille', which must've been in 1957," Porter recalls. "It was like an epiphany and I very quickly started to find out as much as I could about that kind of music, although information was quite hard to get hold of in those days."
By the age of 13, Porter was already gigging as a guitarist with local bands, playing a mix of rock & roll and instrumental tunes, as popularised by acts like the Shadows, the Ventures and Duane Eddy. In the very early '60s, John discovered the joys of American Forces Network radio, which was broadcast to the UK from a base in Germany. "I got hugely obsessed with the blues and black music and R&B," says John. "And I guess there were lots of other younger guys like the Stones and the Beatles and everybody else, basically listening to the same stuff, unbeknownst to each other."
In the mid-'60s, Porter was studying Fine Art at Newcastle University, where he met Bryan Ferry. John joined Ferry's R&B/soul outfit the Gas Board, who were attracting a sizeable local following. In 1967, the band were invited to lay down some tracks at Pye Studios in London for an American producer. This was Porter's first time inside a professional recording facility and he believes the "awful experience" helped shape the way he personally approached record production further down the line.
"We were playing this song we'd written, and we just kept hearing this disembodied voice in the headphones saying, 'Play it again! Play it again! Play it again!'," explains Porter. "We weren't allowed to hear it in the control room, and there was never any kind of constructive criticism or anything like, 'Let's find out what's working and what's not working,' just a bored voice saying, 'Ah, take 24!' Would you believe? That left an awful taste in my mouth, but it was quite a formative experience, because later on, especially if I was in the studio with young guys, I was always very aware that it was really important that musicians felt comfortable in the studio and that they knew what was going on and that they were made to feel they belonged there. If you've never been in a recording studio before, it's such a weird environment… especially if you're used to playing in front of hundreds of people in clubs and there's terrific feedback between you and the audience. Suddenly, you're in this room with headphones on, hearing something that probably doesn't sound at all like what you're used to hearing. It can be very disconcerting."
Bob's Island
The list of blues greats John Porter has worked with is almost endless. This photo shows him at London's Westside Studio with guitar legend BB King.
It was after graduating from university that John Porter realised he wanted to forge some kind of a career in recording. Initially, John saw his future as a session guitarist and, after moving into a flat in Notting Hill, he began spending every possible waking hour at Island's Basing Street Studios. Not only were the studios almost opposite John's flat, but he also had friends who were engineers there, and whenever there was any down time in Studio One or Studio Two, Porter's phone would ring and he'd shoot over the road to cut tracks with other like-minded musicians, taking advantage of what was generally regarded as staff "learning time". In addition, legendary American producer Bob Johnston — of Bob Dylan, Leonard Cohen, Johnny Cash and Simon & Garfunkel fame — gave John an unofficial semi-apprenticeship in record production while he was visiting London.
"Bob came over to do a bunch of records in England, and I think he had six or seven albums to do," recalls John. "He took a liking to Island Studio Two, which was the studio downstairs, and he liked to work with Bob Potter, who was my best pal and a young engineer there. First of all, I just used to go in there and sit down with Bob Potter, and if they were having a session, I'd be rolling a few joints and making cups of tea, but then it got to the point that if I wasn't there, Bob Johnston would call up and say, 'Why don't you come down the studio?' He'd say, 'What do you think of that?' And I'd say, 'Well, I think the kick drum's a bit sloppy,' or 'Maybe that chorus could stand out a bit more.' He would quite openly ask me what I thought, and I felt very easy about voicing my thoughts about how it was being recorded or whether that solo was good enough or whether the take before was a better take. He basically took me under his wing in a way, and it was very, very kind of him, because I was just a young kid. At the same time, there was a lot of great music going on at Island and I got to sit in on all kinds of peoples' sessions, like Stevie Winwood and the Wailers, watching records being made. I was taking it all in and I do remember at the time thinking, 'Well, why don't I just ask if I can become a tape-op and start engineering?' But I didn't really want to become an engineer, because I was more interested in the creative end of it."
Ferry's Foolish Things
Part of John Porter's success is down to his ability to find the right musicians — like top-flight keyboard player Benmont Tench, shown here in House Of Blues Studio, Encino with Porter on a Shelby Lynne session.
After spending a year in California, struggling as a session guitarist without a green card, John Porter returned to the UK in 1972 to find that his old pal Bryan Ferry's new band, Roxy Music, were flying high following the release of their debut album. Ferry immediately got in touch when he heard about John's return, and asked him if he fancied becoming the group's new bass player. Although he didn't want the role full-time, Porter agreed on a temporary arrangement, whereby he would play on Roxy's second album, For Your Pleasure (recorded at AIR Studios in early 1973), and would gig with them until they found a permanent member.
Almost as soon as For Your Pleasure was in the bag, Bryan Ferry wanted to get back in the studio to cut a new record. "Bryan said, 'Look, I'd like to make a solo album, but we'll do cover songs and we'll keep it separate from all the Roxy things. Would you like to produce it with me?'" explains Porter. "And I said, 'Oh yeah, I'd love to!' because I think Bryan knew that I was very happy in the studio and I guess, doing that Roxy record, he could see that I knew what was going on, as I was sitting at the desk a lot of the time making suggestions. I also knew quite a lot of musicians in London, probably more than Bryan did at that point — so that was These Foolish Things, which was basically my baptism in the world of record production. It was done pretty quickly and it was fun. It did quite well, and I'd got the bit between my teeth, and that's when I really decided that production was where it was at."
Porter produced a solo record for Roxy Music's Andy Mackay soon afterwards, and the work started steadily trickling in. Within just a few years of becoming an independent producer in the UK, John Porter was not only incredibly busy on a mixture of smaller and larger scale projects, but he had also settled on a production approach that would ensure he got the best out of each and every musician he encountered.
An all-star line-up assembles at Sound City Studios, Van Nuys in 1996 for Taj Mahal's Phantom Blues album. From left (standing): Mick Weaver (Hammond), Johnny Lee Schell and Eric Clapton (guitar), Joe Sublet (tenor sax), Jon Cleary (piano), Larry Fulcher (bass) and Tony Braunagel (drums); at front, Joe McGrath (engineer), Taj Mahal, Darrell Leonard (trumpet) and John Porter."I would still say that the most important thing is to try to make everybody comfortable," says John. "If you feel good, you play good — and if you play good, the music sounds good. It really is that simple! The psychological state needed to play well in a studio is completely different from that needed to play live in front of an audience, although the technique required is really the same. It's all about making people comfortable, with whatever that entails. That's the kind of Pandora's Box of record production. Sometimes all that's required is to make a cup of tea or a cup of coffee at the right moment; or, conversely, you might be in the studio with some young guys and to make them comfortable might involve doing almost everything — helping them to write the song, arrange the song and possibly play it. This especially happened with the punk thing in the early '80s. I think a lot of the art is in actually being able to quickly size up the situation and see what's required and who requires what. Different people require different things, so it's a matter of coaxing and encouraging, and it can be a bit like filling in a jigsaw. It's like there's a picture there somewhere and there's 500 pieces to this jigsaw but they've only got 210. So you have to come up with the other 290 pieces, or at least show them what those other 290 pieces should look like."
Top Guy
In the mid-'80s, John Porter began getting calls to produce albums in America, and by the end of the decade, he was spending so much time away from both his home and his young family that his wife Linda decided that it was time to relocate. One of the first albums John produced after moving to the States was Buddy Guy's critically acclaimed 1991 long player, Damn Right, I've Got The Blues, although, perversely enough, the record ended up being cut in London. This stands out as possibly one of the most important projects of Porter's career. Not only did it secure John his first Grammy, but it also completely revitalised Buddy's career, while also helping ensure the Leeds-born producer would get to work with some of his other all-time blues heroes. Porter had initiated the project from the very beginning.
"My friend Andrew Lauder was running Silvertone [Records] at the time, and I'd said to Andrew some time before, 'Look, if I can get hold of Buddy Guy and if I can get him to do it, would you put a Buddy Guy record out?' and he'd said 'Yeah, yeah, sure…'," says John. "Buddy hadn't done a good record in 10 years or something. I actually then did a couple of gigs with Buddy in London with Eric Clapton, and it went really well, and Buddy's then manager was fired up for it so we talked to him, and later Andrew made the deal. At the same time, I think Silvertone made the deal with Zomba [Records] and Zomba owned that studio in Willesden [London] called Battery, so Andrew said, 'Can we do it at Battery?' So, having just moved to America, I said, 'Well, yeah, sure!'"
One of John's initial priorities was selecting a stellar line-up of musicians to accompany Buddy Guy across the Damn Right… sessions. Choosing the perfect players for the job is one of Porter's many strengths as a producer, and his weighty contacts book gives him considerable advantage. Guy flew out to London from Chicago with his own bass player Greg Rzab in tow, while John arrived from LA with his old drumming friend, Richie Hayward of Little Feat. Keys players Mick Weaver and Pete Wingfield were also recruited, while Neil Hubbard and Porter himself contributed additional guitar. Backing vocals came courtesy of Tessa Niles, Katie Kissoon and Carol Kenyon, sax duties sat with another old pal Malcolm 'Molly' Duncan, and when John noticed that the legendary Memphis Horns were gigging in town, he duly booked them into Battery to lay down some additional brass. It was then that Porter decided Buddy Guy's comeback record might attract a little more attention if a few British guitar legends could be coaxed into playing on a track or two.
"I spoke to Eric Clapton and I think Eric was on the road in Dublin, so I flew over to Dublin, booked a studio and got Eric to play on a track," explains Porter. "And I called Jeff Beck and Jeff turned up and played on a couple of tracks, and then I called Mark Knopfler and he played on it. Buddy was going out for, like, 500 bucks a night or something, and was very low-profile. He was always one of my absolute heroes as a guitar player and as a singer, so I thought, 'Well, let's load this record up a bit with a couple of 'names' on it and maybe we can sell a few copies'. At that time, that wasn't being done that much, but it was done to death subsequently, to the point where I was sick of looking at somebody's record and seeing 'names' on it! But it was released and it did very well. I believe it sold a million copies, and I think it is one of only four or five blues records that have ever sold a million copies. It did wonders for Buddy's career. And, funnily enough, after all those years of recording I was actually able to make a blues record, something that had been an initial motivation years before."
Making The Blues Work
John Porter (left) and Johnny Lee Schnell track guitar overdubs at Hollywood's Capitol Studios.
With 10 Grammys in the bag, it can certainly be said that John Porter knows a thing or two about how to make a successful blues record. Lesson number one, particularly when working with some of the genre's older players and singers, is to gain the confidence of the artist to guarantee a great performance. "Some of the real blues guys, like the guys who started off on the plantation or whatever, can have quite a lot of baggage," says John. "And I have to be careful here, but some of those older generation guys have had really, really hard lives and have been dreadfully exploited by the music business. Many of these people made records that, over the years, have been hugely successful, but they haven't made a penny out of them, so they can be very guarded. To make a successful record with them, you've got to gain their confidence. If they see that you understand the music and you understand where they're coming from and you have a real love of the music, then they can open up. I'm not trying to denigrate anybody by saying this, but some guys have been so ripped off that they don't basically expect much out of it. And if they don't expect much out, they won't put much into it. They'll go through the motions. They'll be friendly and everything, but they won't necessarily open up."
Selecting a high-quality, fitting and musically sensitive backing band is another important production decision. Across that vast batch of Grammy-winning and Grammy-nominated blues records Porter cut between about 1991 and 2006, the musicians were tried and tested. "I pretty much had a nucleus of musicians," explains Porter. "The band I used on a lot of the blues records was mostly the same — there'd be three or four guys that were appearing on most of them, and there was a pool of about 10 musicians that I regularly worked with."
As far as song choices go, John would always research, prepare and suggest a selection of possible songs that each of the artists might end up recording. However, when it came to choosing new material written by the artist, it would sometimes have to be a case of waiting until the band were in the studio. "I particularly remember this with Otis [Rush] and to a certain extent with Buddy [Guy] too. We'd be talking a few weeks or sometimes months before the sessions, and I'd say, 'We need some new songs!'" recalls John. "And they'd say, 'Oh yeah, I've got songs'. But quite often I would never hear these songs until we actually did them in the studio, the reason being that I think they didn't want to have them stolen. I think that used to happen quite often in the old days. So it wasn't a case of my saying 'This is a good song,' 'This is not a good song,' or 'Let's do it this way,' because I didn't hear them almost until we were recording."
Another lesson learned for John Porter on those blues-based recordings was to ensure his engineer always had the tape rolling. "The moment that anybody was playing, I tried to make sure I had the tape rolling, because a lot of the blues stuff was often first takes and quite often not even first takes," says Porter. "Sometimes, somebody would just play an intro or start something up, the band would fall in and three minutes later it'd be done. There was a couple of instances with Buddy Guy where we'd all be sitting around in the studio with everybody holding their guitars and telling stories, and then suddenly somebody would play a lick and bang, it would just go! If we didn't have the tape running, there was no question of ever saying, 'Oh well, let's do another take of that!' because it wasn't like doing a commercial single, or something where you've worked out an arrangement of a song and you've got to present that song in a certain manner. It's live, and the only time it happens is when it happens."
The ultimate blues rhythm section? Porter with drummer Kenny Aronoff and bassist James 'Hutch' Hutchinson at House Of Blues Studio.
Since his move to New Orleans, back in 2010, John Porter has been as busy as ever, both mixing records at his own home-based facility and recording artists in various studios in the city and its surrounding States. These days, John engineers 80 percent of his production projects himself, although it's not a state of affairs he particularly favours. "There is nothing I like better than being part of a team," he sighs. "I love working with great engineers, and it's great having a second engineer and support staff, but the cost to maintain all that has to be passed onto the artist. Budgets quite often can't support that. With initial tracking, I like to be more involved in the arrangement and the creative end of it, rather than the technical end of it. For example, if I'm fiddling with vocal compressors and getting vocal levels, I might not notice something the guitarist has played that might've been a signature riff. Two heads are better than one."
Recent projects for John Porter have included mixing a new Curtis Salgado album, producing records by both Jon Cleary and the Honey Island Swamp Band, and working on the audio for a video-game commercial. One group, however, have pitched Porter's career around full circle. The Dunwells, whose debut album John produced at Willie Nelson's Pedernales Studio in Texas, are an English guitar band. From Leeds. "I think it's really kind of ironic that I end up working in Texas with a band from Leeds, because I'm from Leeds!" laughs John. "I think they're a great band and I think it's a good record. They're a band that I have high hopes for."
John Porter can be contacted at jpnola2012@gmail.com.
'How Soon Is Now?'
More blues legends: Porter (right) with, from left, Etta James, Bob Glaub, Taj Mahal, Joe Sublet and Richie Hayward.
Of all the records that John Porter produced in England, before moving to Los Angeles in 1990, it's arguably his work with the Smiths for which he is most well known. John produced their debut self-titled album, which was released in 1984, followed by singles including 'Heaven Knows I'm Miserable Now' and 'William, It Was Really Nothing'. The tremolo-drenched 'How Soon Is Now?' was originally released as the 'B' side of the 'William…' single, before Rough Trade put it out as a single in its own right in 1985. Sadly, its recording marked the end of Porter's main period working with the Manchester group: "I was very, very excited about 'How Soon Is Now?'. I thought it was a breakthrough for me and for them, although at the time, it wasn't seen as such. In fact, I got fired after that because [Rough Trade] said that I was changing the sound of the Smiths too much. I was trying to do something that would break them out of the cliquey kind of sameness that their records tended to have. I felt that they were never going to do it in America unless they started to expand a bit, so I was very consciously trying to make something that might help break them over there, which I think it did subsequently.
"We went into Jam Studios in North London and we had one main song to record, which was 'William…' which they'd already written and we got it down very quickly. Then there was another song that was in its embryo state, which was 'Please, Please, Please' [Let Me Get What I Want], which I really love to this day, and we put that down very quickly. I think we'd booked Friday, Saturday and Sunday in the studio, and it was Saturday morning and we'd done the two things that we'd set out to do, so I said to Johnny [Marr], 'Have you got anything else? What have you got?' and he played me this little lick, very similar to 'William' actually — this high-picking lick thing.
"So I said, 'Hold on, let's do something where we don't have all these chord changes! Let's do something like, say, James Brown where it's all about the groove, sticking around on one chord forever and then maybe go to a bridge.' I remember I was sitting down with a guitar playing 'That's All Right, Mama', the old Arthur Crudup tune which Elvis did, and I said, 'Let's do something like this.' I think Johnny was tuned to F#, and he started doing this groove thing and we started digging it. I said 'Just play the groove thing for fucking ages and then go into that other 'William bit' [the B section] but do it two octaves down, at the same tempo as the groove.'
"Then I programmed a Linn Drum percussion loop and we brought in Andy [Rourke, bassist] and Mike [Joyce, drummer] and played it to them. I remember saying to Mike, 'Just try and hold the groove down, don't worry about fills or anything!' We rehearsed it for a few minutes and then recorded two takes, and I edited the best bits of each take together. They came back and listened and everybody [apart from Morrissey, who wasn't at the studio] said, 'Oh yeah, this is great!'
"I think that it was possibly at that point where I thought it'd be good to have a tremolo effect, because initially the guitar we put down wasn't tremoloed. We tremoloed the guitar in a number of different ways, using a noise gate triggered from a cowbell programmed in the Linn Drum and using three Fender Twins. I was standing in front of the Twins adjusting the tremolo speeds, and we would punch in then punch out whenever the Twins got out of time with each other. Then we did the B section again, but Johnny did it through a Leslie cabinet, I put on some slide guitar licks and we put some harmonics on it. Then I suggested to Johnny to play some licks all the way through it, which he did, and I picked out just a couple of them, put them into an AMS sampler and spread them out into places where I thought they might fit the track.
"I then made a copy and drove up by Morrissey's place on the way home and posted it through his letter box, and I think he came in the next day with his lyric book. Pretty much what is there is almost all his first or second run-through. At that point, I was starting to think, 'Right, this is sounding really fucking good,' and Johnny was getting really excited. I did have to mix it one more time, though, because at the end of the vocal, Morrissey had said, 'OK?' and I left that in because I thought it sounded great but Morrissey really didn't like it. Because it wasn't an automated mix, I had to mix it again to take the 'OK' out, and I think that mix was actually better than the one we did originally."
Digital Pioneer
It could, perhaps, be assumed that someone so passionate about old blues records might be old-school analogue through and through, but this is far from the case. Digital audio has long been an area of fascination for John Porter.
"I was always really interested in digital recording and the possibilities of multitrack hard disk recording, and I always thought that it was going to be the way to go, probably as long as 25 or 30 years ago," John explains. "It was possibly a little bit premature at that time, because it was extremely expensive to store relatively small amounts of information. I was using the first Yamaha CX5 computer with MIDI ports when it came out. I was very into the old Atari computers running Cubase and samplers like the Synclavier and the Fairlight, and then the AMS and the Publison, and all those other subsequent digital recorders. So when Pro Tools [Sound Tools] came out, I got into it. It was still primitive but it was still fascinating. I was recording to tape all the time, but if I needed to, I would edit in Pro Tools. Sometimes, if we didn't have long to make a record, using Pro Tools enabled me to have much more control after the fact. It was much easier than editing on tape. I would dump everything into Pro Tools, edit, and then dump the edited parts back to tape. I think there's an awful lot of hot air about digital versus analogue, given that the really important thing is a really good performance. How the music's captured is always going to be less important than a bad performance or a bad song. The medium is not the most important thing. The song and the performance are the most important things. I think tape is great but I've also found the quality of new tape, the last two times I've used it, to be very inconsistent… and, of course, using Pro Tools means you don't have all the problems we used to have in the old days with additional tape hiss during the mixing process."
Recording Guitars
John Porter favours miking guitar cabs as close as possible. Here, his trusty SM57 (centre left) is joined by a Sennheiser MD421 (bottom left) and MD409 (centre-left), and a Neumann U67 and RCA 77 (right).
If there's one instrument that a blues producer has to know how to capture properly, it's the guitar, and John Porter has had a lot of experience in doing so. "The actual process of recording and the tools that one uses for recording are probably, in my case, pretty much the same whatever the music is. A guitar's a guitar, basically. It's either an acoustic or an electric and the way that you record them is pretty much the same whether they're playing Chinese music or whatever."
John Porter's favourite mic for guitar cabs is a Shure SM57, positioned right up to the grille at the edge of the voice coil. "That's as good as it gets, for me. If you'd like a little more room, a Neumann U67 is a great mic to put a few feet away, but there's all kinds of mics you can use. The thing generally with a mic is when I put the fader up, I want it to be punchy and as close as possible, right there at the front of my nose. In terms of rock guitar and overdriven guitars, the closer you can get them, the punchier it'll sound. A sort of cardinal rule of recording is that it's easy to make something more live-sounding or more roomy-sounding after the fact, but it's impossible to make something less roomy-sounding after the fact — so suddenly you can't get 'close' enough to a guitar part and you're fucked! If the mic is at a certain distance, or the room has gone down the mic, once it's in that position in the room, you can't bring it any closer — whereas you can take it further away by re-amping or re-miking or using effects."
As far as amps go, Porter leans towards the classic Fender models. "If you're working with somebody who basically spends every night on stage standing in front of a couple of 100 Watt stacks, he's probably not going to be very happy if you tell him, 'Well, here's a Fender Champ!' But, having said that, I do like small amps. I've used my old '59 or '60 Tweed Deluxe and my '59 or '60 Tweed Bassman more than anything else in all kinds of situations. AC30s and Marshalls and other things have been really useful, but the workhorse amps on probably as much as 50 or 60 percent of the guitar sessions I've ever done have been one or two of those amps."
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Trekking the Omani Hajar
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By Guest Blogger in Africa & the Middle East, Africa and the Middle East - 13th August 2015
Many people think that the Arabian Peninsula is just desert and more desert but, while there is admittedly a lot of desert, there are also dramatic mountains, wadis and coastlines. Oman, despite being 75% desert, also has
Trekking in the Hajar Mountains. Image by S Piper
Many people think that the Arabian Peninsula is just desert and more desert but, while there is admittedly a lot of desert, there are also dramatic mountains, wadis and coastlines.
Oman, despite being 75% desert, also has 1,700 km of striking coastline and mountains that reach just shy of 3,000m. Jebel Shams, at a peak of 2,996m, is the highest point. Here temperatures are appreciably cooler than the coastal plains and, fleetingly, they get snow every year. Jebel Shams (Sun Mountain) together with the nearby Jebel Akhdar (Green Mountain) make up the Western Hajar range.
The trekking in Oman is not for the faint-hearted; the terrain is rocky and in places unforgiving. It lacks the smooth surfaces of nicely weathered rock that you might find elsewhere and the ascents and descents are steep. This makes it all the more remarkable that the Western Hajar is well populated with villages and towns that were established centuries and sometimes longer ago. The main motivation for living in such rough and steep terrain is the temperatures. Not only is it more tolerable than the 45 degree centigrade summer temperatures of Muscat but it also means that the season for growing crops is longer.
Amongst the villages clinging to the precipitous cliffs (where legend has it that children are traditionally tied to their beds at night to make sure they don't fall), are serene plantations of date trees interspersed with mango, banana and papaya. Grapes are grown and were traditionally used to produce a local wine although I am told this no longer happens, apparently. The wild honey from amongst the wadis is some of the most expensive in the world. Roses are harvested from the tiered fields around May and distilled into rose water.
Further to the East is the aptly name Eastern Hajar mountain range. This extends to the East of Muscat towards Sur and the edge of Arabia. While the mountains here are not so high (around 2,200m) they are more remote and considerably less populated. From the coastal villages of Fins and Tiwi, one can quickly ascend on a very steep gravel track 1,200m to a view point looking back down to the sea with only a kettle of Egyptian vultures for company. The ascent from here is more gradual but no less dramatic as you cross the Selmah Plateau, gradually climbing to around 2,000m. You will start to notice odd shaped domes that initially appear to be out-of-place rocks but, as you get closer, are clearly man-made structures. These are known as the Beehive Tombs for their looks of the Bat Tombs after one of the locations in the West of Oman that is recognised by UNESCO. There are plenty of theories and too little research into their history however, my two favourite and contrasting theories are: according to one of our guides, there was an evil gin (spirit) called Selmah who terrorised the locals to such an extent that, when they finally captured her, they cut her in to 90 pieces and built a tomb for each piece to be buried under to ensure that she could never come back to life. A more western theory is that they are burial tombs for prominent elders of the Azd tribe and date from perhaps 3,000 years ago. The challenge here is that no evidence has been found to suggest that there were people living on the plateau at that time and so the conclusion is that they are the elders from the villages on the coast that were carried all the way up to the plateau. I know which of these theories I prefer…
The Mountains & Deserts of Oman trekking holiday with Mountain Kingdoms visits the Al Hajar and Jebel Shams ranges. The trek takes you through spectacular scenery of mountains, gorges and canyons whilst staying in remote camps that give you a real taste of the wild.


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Tom Clancy's Splinter Cell es una serie de condecorados videojuegos de sigilo. La primera entrega de la saga salió a la venta en 2002, junto a sus novelas.
El protagonista, Sam Fisher, es un agente altamente entrenado de una subdivisión ficticia de operaciones encubiertas dentro de la NSA, apodada "Third Echelon". El jugador controla a Fisher para superar a sus adversarios en niveles (creados usando Unreal Engine y enfatizando la luz y la oscuridad como elementos del juego). Todas las consolas y juegos de PC de la serie fueron aclamados por la crítica, y la serie es un éxito comercial. La saga, junto con Assassin's Creed, está considerada como una de las franquicias insignia de Ubisoft, con más de 31 millones de ejemplares vendidos a partir de 2011.

Desarrollo e historia

Origen
Aunque el juego presenta su nombre, Tom Clancy tuvo poca o ninguna participación en el desarrollo de cualquiera de los juegos de Splinter Cell. Según el productor de la serie Splinter Cell, Mathieu Ferland, el juego original se desarrolló para que el estudio de Ubisoft en Montreal pudiera demostrar todo su potencial. Esto, después de otras franquicias lanzadas como Rainbow Six, y Ghost Recon años anteriores.

Gráficas y tecnología

El primer juego de la serie modificó el motor Unreal para permitir el estilo de juego basado en la luz y la oscuridad. Los otros juegos continuaron esto, usando versiones actualizadas del motor.

Para el lanzamiento del último juego (Tom Clancy's Splinter Cell: Blacklist) el motor había sido actualizado a LEAD, una versión muy modificada de Unreal Engine 2.5. El juego tenía sombras activas en todas las consolas no sólo como una función gráfica - como en la mayoría de los juegos - sino como un potenciador de la jugabilidad por el bien de las características de sigilo del juego. Esto significaba que se necesitaba más codificación para el juego y, en general, se necesitaba un potente ordenador de sobremesa para conseguir la mejor claridad y rendimiento.

Novelas
Las novelas de Splinter Cell están todas escritas bajo el seudónimo de David Michaels. Las primeras dos novelas fueron escritas por el estadounidense Raymond Benson, también conocido por algunas novelas oficiales de James Bond y otras cortas historias. En 2006, Benson decidió retirarse y dejar a otro autor utilizar el mismo seudónimo para seguir publicando novelas de Splinter Cell. Los dos siguientes libros publicados no tienen autor conocido, aunque siguen utilizando el mismo nombre, David Michaels.

 Tom Clancy's Splinter Cell (2004) por Raymond Benson como David Michaels.
 Tom Clancy's Splinter Cell: Operation Barracuda (2005) por Raymond Benson como David Michaels.
 Tom Clancy's Splinter Cell: Checkmate (2006) por Grant Blackwood como David Michaels.
 Tom Clancy's Splinter Cell: Fallout (2007) por Grant Blackwood como David Michaels.
 Tom Clancy's Splinter Cell: Conviction
 Tom Clancy's Splinter Cell: Endgame
 Tom Clancy's Splinter Cell: Blacklist

Juegos de Splinter Cell

Nota
* – Versión desarrollada por Gameloft.

Edición Especial
El 27 de marzo de 2013 salió publicado una edición especial de la saga Splinter Cell para PC, que contiene los cinco primeros juegos, para la mencionada plataforma. El recopilatorio fue bautizado con el nombre Splinter Cell: Ultimate Edition.
Esta edición especial, tiene la particularidad de tener consigo las últimas actualizaciones oficiales de los juegos, que permite usar los juegos en el Sistema Operativo Windows 7.

Cronología
El orden cronológico oficial del universo de Splinter Cell es el siguiente:
 Tom Clancy's Splinter Cell (lanzado en 2002) (para Xbox, PC, PlayStation 2 y GameCube. La versión de Game Boy Advance, aunque lógicamente cambia el estilo gráfico, mantiene exactamente la misma historia que sus versiones para consola doméstica. Lo mismo pasa con las demás versiones portátiles) Este juego narra la primera misión de Sam Fisher como Splinter Cell. La trama transcurre hacia finales de 2004.
 Tom Clancy's Splinter Cell: Pandora Tomorrow (2004) (Xbox, PC, PlayStation 2, GameCube y Game Boy Advance) La trama tiene lugar en Indonesia durante la primavera de 2006.
 Tom Clancy's Splinter Cell: Chaos Theory (2005) (Xbox, PC, PlayStation 2, GameCube y Game Boy Advance y Nintendo DS) La trama tiene lugar en Centroamérica y el Este Asiático en el Verano-Otoño del 2007.
 Tom Clancy's Splinter Cell: Double Agent (2006) (PC, PlayStation 2, GameCube, Xbox, Wii, Xbox 360 y PlayStation 3)La trama tiene lugar en algún momento del 2008.
 Tom Clancy's Splinter Cell: Essentials (2006) (PSP) Son los Recuerdos de Sam Fischer luego de los sucesos de Tom Clancy's Splinter Cell: Double Agent
 Tom Clancy's Splinter Cell: Conviction (2010) (Xbox 360, Xbox One [Retrocompatibilidad] y PC) La campaña cooperativa de Tom Clancy's Splinter Cell: Conviction se ambienta unos meses antes del inicio de la trama principal de la campaña para un jugador.
 Tom Clancy's Splinter Cell: Echoes (2013) Cómic que sirve como precuela del videojuego Tom Clancy's Splinter Cell: Blacklist
 Tom Clancy's Splinter Cell: Blacklist (2013) (PlayStation 3, Xbox 360, Wii U y PC)

Referencias

Enlaces externos
 Sitio web oficial

Splinter Cell
Franquicias de videojuegos

redpajama_set_name: RedPajamaWikipedia


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Home News Heartless Bastards Release Music Video For "Only For You"
Heartless Bastards Release Music Video For "Only For You"
The video was shot in Dripping Springs, TX and was produced & Directed by Brad Beesley and Louisiana Kreutz. Brad Beesley is known for his longtime work with The Flaming Lips, having directed most of their music videos and their documentary, "Fearless Freaks."
Quote from Erika Wennerstrom, lead singer of Heartless Bastards: "Since moving to Austin, Brad Beesley and I have become good friends. I'm a big fan of his work and asked if he would be able to work with the band on a video. I had seen a short skit Brad had filmed with kids that was hilarious, and I was sure Brad could come up with something great for the video along those lines. Louisiana Kreutz co-directed to video. I think she did an amazing job. She and Brad make a great team. The whole band is really grateful to them and the whole crew for putting this video together. We couldn't be any happier with it. It really fits the song perfectly."
Quote from directors Bradley Beesley and Louisiana Kreutz: "We wanted to honor the theme of the song with a good old fashioned office romance. Lucky for us we found two young-looking executives who had time to act in our music video. We also managed to trick the band into standing in a pool for three hours while they pretended to play toy instruments. The Heartless Bastards are a cooperative group!"
http://www.theheartlessbastards.com/
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Kylie Jenner Has Launched Her Rap Career With a Remix of the 'Mister Rogers' Theme Song
ByTom Barnes
Since the dawn of Frooty Loops, Garage Band and SoundCloud, music has turned into a cute, chubby-cheeked democracy. It's easier than ever for everybody to make and share — from the broke kid messing around in an Apple story to the 1% of the celebrity world.
That doesn't mean everybody should.
Read more: One of Rap's Rising Stars Just Released an Amazing Cover of the 'Arthur' Theme Song
Case in point: Kylie Jenner's first foray into rap on the Burberry Perry and Lil Yachty track "Beautiful Day." The song samples the beloved theme to Mister Rogers' Neighborhood. The way Burberry and Jenner mangle it for the song's chorus will destroy any fond memories you have of the show.
There doesn't seem to be any reason why Burberry Perry and Lil Yachty chose to feature three other singers, other than the fact that they could. Jenner pops up around 2:40 to awkwardly stumble through the warped chorus alongside models Justine Skye and Jordyn Woods. Jenner is out of time and off-key, and even a generous amount of autotune can't save it.
Funnily enough, Jenner is not the first in her family to try her manicured hand at music. Remember Kim Kardashian's 2011 "Jam (Turn It Up)"? She's also trying to forget.
"I don't like it when people kind of dabble into things they shouldn't be," Kardashian said, according to US Weekly. "Like, what gave me the right to think I could be a singer? Like, I don't have a good voice." It seems Jenner could learn a thing or two from her big sis.
As loudly as Woods tried to convince Twitter to "stop being mad at the world and take a joke," lots of users were not about to let the quintet to get away with trying to pass this track off as music.


This article explores the future prospects for organizing Football Bowl Series football and Division I men's basketball players after the National Labor Relations Board's decision in Northwestern University. Part I of this article provides a brief overview of U.S. labor law and introduces the unique labor dynamics of big-time college sports. Part II explores labor organizers' recent attempts to unionize the grant-in-aid football players on the Northwestern University college football team. Part III describes potential strategies for unionizing alternative bargaining units of elite college athletes. Finally, Part IV analyzes the interplay between unionizing college athletes and challenging the NCAA's restraints on college athlete pay under Section 1 of the Sherman Act.


ARLINGTON, Texas - Back-to-back AL championships got the Texas Rangers another prize in veteran Joe Nathan.
The Rangers' new closer was formally introduced by the team on Tuesday, his 37th birthday, with a $14.5 million deal, two-year deal that includes an option for a third year.
Nathan said knowing what kind of team the Rangers have and their recent success were significant factors in his decision. A meeting with team officials, including team president and Hall of Fame pitcher Nolan Ryan, also helped.
"I've been able to admire this squad from the other side of the diamond and I just really feel this club is such a perfect fit for myself, for my family," Nathan said. "Obviously them getting to the postseason, getting into the World Series is definitely huge."
With the acquisition of the four-time All-Star closer who spent the last eight years in Minnesota, the Rangers will move hard-throwing right-hander Neftali Feliz to the rotation. Feliz has starting experience, primarily in the minor leagues.
"Not always do we get to announce one move that impacts the bullpen, the rotation and also the clubhouse, and strengthens all three," general manager Jon Daniels said. "What we talked about if we were going to move Neftali to the rotation, we wanted a big-time guy at the back end, and we feel really good that we've accomplished that."
Moving Feliz to the rotation would help offset the loss of free agent C.J. Wilson if the left-handed starter signs elsewhere.
Nathan has worn No. 36 throughout his 11 seasons in the major leagues, the same number Wilson has worn with the Rangers. The Rangers presented Nathan with a No. 63 jersey Tuesday.
Daniels said he contacted Wilson's agent before Nathan's deal was announced and the Rangers have not closed the door on getting their 16-game winner back for next season. Daniels said there were conversations with Wilson's agent, but no meeting was set.
Nathan will get $7 million for each of the next two seasons. There is a $9 million option for 2014 that includes a $500,000 buyout.
Nathan missed the 2010 season following Tommy John surgery on his pitching elbow and struggled to find his form with Minnesota this year. He went 2-1 with a 4.84 ERA and 14 saves in 48 appearances, losing his job as closer early in the season before reclaiming it later.
After missing nearly a month on the disabled list last season, he pitched well in the second half, saving 11 games and holding opposing batters to a .207 average while increasing his strikeout-to-walk ratio.
"I really feel like when I came back off the disabled list last year, when I came back in June, that was a huge turning point," Nathan said. "It seemed like each month, July, August, September, continuously it got better and better for me. The way I felt, the way I was finishing pitches, my breaking stuff got a lot sharper and it started coming back, and the feel started coming back for me with each month."
In 581 major league games for San Francisco (1999-2000, 2002-03) and Minnesota (2004-11), Nathan has a 48-23 record with a 2.87 ERA and 261 saves. He is fifth among active pitchers in saves, trailing only Mariano Rivera (603), Francisco Cordero (327), Jason Isringhausen (300) and Francisco Rodriguez (291).
Nathan has had success at Rangers Ballpark and against AL West opponents. In 13 appearances at Texas, he was eight of nine in save chances with a 1.98 ERA. He has a 1.75 career ERA against AL West teams with 11 strikeouts per nine innings.
Feliz, who is home in the Dominican Republic, issued a statement through the team saying he was happy the decision was made early, giving him plenty of time to prepare as a starter. He joins a rotation that still has returning starters Colby Lewis, Derek Holland, Matt Harrison and Alexi Ogando. Scott Feldman, a 17-game winner in 2009 before right knee surgery, is also an option.
Feliz set a then-major league rookie record with 40 saves in 2010. He had 32 saves this season, but also gave up a two-out, two-run triple to David Freese in the bottom of the ninth inning of Game 6 of the World Series. The St. Louis Cardinals went on to win that game in 11 innings, then won Game 7 to deny the Rangers their first World Series title.
Daniels said the blown save in Game 6 had nothing to do with the decision to move Feliz to the rotation.
Nathan was watching that game and was about the turn his TV off, anticipating a game-ending third out.
"I was kind of floored. ... It's part of baseball it happens in the game," Nathan said.
Asked if would have been able to finish that game, Nathan responded, "I'd like to be in that situation to find out."


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Reece's story
'Unfortunately because of what happened in my life as a child, I never really stayed in the workforce.'
Reece's mother's strict Catholicism discouraged him from disclosing that he was being sexually abused by Brother Morton at school.
'My mother had funny ways with authority', Reece said. 'Someone in authority was in authority and she would never go outside that. I mean, if I had told her this back then, she would have said I was mad. She wouldn't have believed it.'
In the 1970s, Reece was 14 and having trouble at home. His father was an alcoholic and Reece 'was running scared every day' from him, often sleeping badly. His mother confided to the Brothers about the difficulties he had getting his homework done, and Morton used this as an opportunity to single out Reece.
As class started, Morton would say, 'I bet you haven't done your homework. Come with me', and Reece would be taken into the storeroom and sexually abused. Other boys teased Reece, calling him 'teacher's friend' and other names. Some boys lived in the orphanage across the road and talked about the Christian Brothers often coming into the home to abuse them.
The abuse continued throughout the year and Reece did everything he could to avoid Morton – arriving late to morning assembly and hiding while classes were in progress. 'I left school when it was time to leave the school', he said. 'It even got to the point I wouldn't do my exams, because I was terrified of him.'
After leaving school, Reece worked in trade and manufacturing industries but had trouble staying in a job. 'I'm a recovering alcoholic', he said. 'I've never been able to hold a job. I've never been one for authority.
'I've been off the drink 30 years, touch wood, but it got me into a lot of trouble as far as, you know, nothing serious, but .05s. I've been with my wife 40 years and I don't know how she's put up with it.'
Reece said he'd always felt uncomfortable showing affection to his children and grandchildren because he was worried about what other people might think. If a man came to the house, and the children ran up to him and sat on his knee, Reece would become anxious.
'I'd try to get that kid off that knee without offending him, you know. But doesn't matter where I am, when I see that happen, my thoughts are straightway, "What's this bloke?" I can't help it.'
Reece hadn't disclosed the abuse by Morton to anyone. He'd received counselling for other issues, including a sexual assault by a family friend that also occurred at 14 and which had resulted in criminal charges being brought against the perpetrator. Reece's wife knew of those circumstances but hadn't heard of the abuse by Morton until Reece told her he was going to speak to the Royal Commission.
Reece said he was seeking legal advice about accessing compensation through the Catholic Church, and he'd encouraged several friends who'd attended the orphanage to tell their stories to the Commission.
'It's a daily thing with me. You hear it on the radio, I see it in the papers – child abuse this, child abuse that. It's a video just plays in my mind every day of what happened on the two occasions – the Brotherhood and the family. I live that every day of my life.
'And I think, "Well, I want to have my say about the Christian Brothers", because I haven't been able to do it in years. And I want to have my say.'
SchoolMale1970sPre-1990


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Home International HK Democracy Activists Get Bail, Protest March Banned
HK Democracy Activists Get Bail, Protest March Banned
Pro-democracy activists Joshua Wong, left, and Agnes Chow, are escorted in a police van at a district court in Hong Kong, Friday, Aug. 30, 2019. (AP Photo/Kin Cheung)
HONG KONG (AP) — Hong Kong activist Joshua Wong and another core member of a pro-democracy group were granted bail Friday after being charged with inciting people to join a protest in June, while authorities denied permission for a major march in what appears to be a harder line on this summer's protests.
The organizers of Saturday's march, the fifth anniversary of a decision by China against allowing fully democratic elections for the leader of Hong Kong, said they were calling it off after an appeals board denied permission. It was unclear whether some protesters would still demonstrate on their own.
Police have been rejecting more applications for rallies and marches, citing violence at or after earlier ones. They also are arresting people for protests earlier this summer.
Andy Chan, the leader of a pro-independence movement, was arrested at the airport Thursday night. Three others were taken in earlier this week for the vandalizing of the legislature offices on July 1.
"The first priority of the Civil Human Rights Front is to make sure that all of the participants who participate in our marches will be physically and legally safe. That's our first priority," said Bonnie Leung, a leader of the group. "And because of the decision made by the appeal board, we feel very sorry but we have no choice but to cancel the march."
Police said Wong and Agnes Chow are being investigated for their role in a June 21 unauthorized protest outside a police station. Both are charged with participating in the demonstration and inciting others to join it. Wong is also charged with organizing it.
Wong is secretary-general of Demosisto and Chow is a prominent member. He was one of the student leaders of the Umbrella Movement, the major pro-democracy demonstrations in 2014.
Both were granted bail hours after their arrests.
Isaac Cheng, the vice chair of the group, said the arrests are an attempt to spread fear and "white terror" among Hong Kong residents.
He accused authorities of trying to identify leaders in a "leaderless" movement that has rocked Hong Kong for nearly three months. The Communist Party-ruled government in Beijing is pulling the strings and has misjudged the situation, he said, urging residents to continue protesting despite the risk of arrest.
Demosisto first reported the arrests on its social media accounts, saying Wong was pushed into a private car as he was heading to a subway station around 7:30 a.m. and was taken to police headquarters. It later said Chow had also been arrested, at her home.
Wong was released from prison in June after serving a two-month sentence related to that protest. He has been speaking out regularly in support of the pro-democracy protests that have racked Hong Kong this summer.
The protests were set off by extradition legislation that would have allowed suspects to be sent to mainland China to face trial and expanded to the general concern that China is chipping away at the rights of Hong Kong residents.
The extradition bill was suspended but the protesters want it withdrawn and are also demanding democracy and an independent inquiry into police actions against protesters.
Police said Chan was arrested under suspicion of rioting and attacking police.
Associated Press writer Yanan Wang in Beijing contributed to this story.
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