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I have lived all my life in the UK and have a certain idea about what history is. But history can mean different things to different people. How is my UK perspective on the subject different from a United Statesian's for example? What is the best way to study this difference? And why should we care?
In this post I will be exploring some of the – for me – surprising answers to these questions.
"England and America are two countries separated by the same language"
George Bernard Shaw, perhaps partly contemplating history books1
One way to compare attitudes to history in the UK and US is to look at the history bestseller lists here and there. If it is not just the same list twice (which it isn't) what are the similarities and what are the differences?
And the "why" is that the history books we choose to read tell us a lot about our preoccupations in the present. We will gain an insight into British and North American society now, by examining what interests us most from the past.
So what are the history bestsellers in the UK and the US?
The top 12 history books2 in the US right now:
Give Me Liberty!: Seagull Edition
Hero Of Two Worlds: The Marquis De Lafayette In The Age Of Revolution
Red, White, And Black: Rescuing American History From Revisionists And Race Hustlers
Smithsonian: History Of The World Map By Map:
Killers Of The Flower Moon: Book Group Discussion Kit
A People's History of the United States:
The Bomber Mafia: A Dream, A Temptation, And The Longest Night Of The Second World War
Empire Of Pain: The Secret History Of The Sackler Dynasty
How The Word Is Passed: A Reckoning With The History Of Slavery Across America
Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong
The top 12 bestselling history books3 in the UK:
Lily'S Promise: How I Survived Auschwitz And Found The Strength To Live
The Anglo-Saxons: The Roots Of England
Traitor King: The Duke And Duchess Of Windsor In Exile
The White Ship:
Josiah Wedgwood: The Man Who Designed Britain
Scoff: A History Of Food And Class In Britain
A 1950S Childhood: From Tin Baths To Bread And Dripping
52 Times Britain Was A Bellend: The History You Didn'T Get Taught At School
Agent Sonya: Moscow'S Most Daring Wartime Spy
River Kings: A New History Of Vikings From Scandinavia To The Silk Roads
History in the UK and history in the US is not the same…
The first and most obvious thing to say is that the lists are not the same. There is only one book that repeats across the two lists which is Sapians: A Brief History Of Humankind by Noah Harari. All of the books on this list are available for sale in both countries but clearly there is a different set of authors and a different set of history books in each market, with a focus on what happens close to home.
…but we share some common interests
The second is that there are some common themes: both lists feature stories about World War Two: Lily's Promise: How I Survived Auschwitz and Found the Strength to Live and Agent Sonya: Moscow's Most Daring Wartime Spy in the UK and The Bomber Mafia: A Dream, A Temptation, And The Longest Night of the Second World War in the US. This is an event that looms large in the consciousness of people from both countries. If I had included all military history books within my sample we would see an even clearer bias towards the second world war.
In the UK history ends with World War 2…
This similarity highlights an interesting difference in the two lists. In the British list there is only one history book set after world war two. Many national histories of the UK chose to end at this point. It is almost as if victory in this war marked the perfect culmination of the national british story and to say any more would just spoil the ending.
…In the US history is still happening
The US list however contains plenty of books on contemporary history, in fact 3 out of 12 of them are based after 1945 and others will have later sections too. Perhaps this reflects a sense in the United States that history is still being made, and momentous events are still in train? Whereas in the UK history is something we did a while ago but have since given up on.
History is authority in the US, in the UK it is for pleasure
What else can we determine?
It strikes me that the US list shows a more serious and authoritative set of books. We have two or perhaps three books giving us "a history of the United States" – here, they seem to declare, is what you need to know. Cosmetically too the US books as a group seem to have more sober less colourful covers. In the UK's list there is no "History of Britain" style book and one book is so keen to show it is not serious that it depicts a hand-drawn scrawl of a penis full-size on the front cover: 52 Times Britain Was a Bellend but James Felton. History in the UK as represented by these books seems a more fun – and also frivolous – activity.
The overriding thing that strikes me though as I compare these lists is that in the UK history is nostalgia, in the US it is trauma.
Nostalgia in the UK
In the UK the books are romantic tales from the past: Vikings, 1950s childhoods, food we ate, a man who made crockery. While I haven't read them I suspect they represent a nice little holiday from the present: there is little soul searching going on.
Trauma in the US
The US list deals with anguished national subjects such as slavery, racial segregation and drug abuse – all hugely traumatic areas that society has not come to terms with. The range of the books also hints at the current cultural division: Give Me Liberty! and A People's History of the United States contend with Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong and the troubling Red, White, And Black: Rescuing American History From Revisions and Race Hustlers.
Rather than a holiday from the present, the past in the US seems to be visited as a business trip where allies are sought for present day struggles.
Neither the choice of historical subjects nor the polarised views on the past that can be represented make for cheerful reading. It is going too far to say that society in the UK is unified and doesn't also struggle with racism, racial segregation and drug abuse. But the marked difference in these lists imply that these issues are much more acute in the US – I was surprised to see how stark these differences are.
The dangers of over-interpretation
I have to be a bit careful about over-interpreting my data set: it is based on 24 books and I might have drawn different conclusions if I had chosen 20 or 30 instead, or done it at a different point in time. I'm also contending with the Amazon algorithm to identify best-sellers (see notes below). The difference in book lists might also reveal differences in book buyers rather than populations – we will get a skewed picture if the history reading public in the UK comes from a small isolated section of society for example. On top of that each reader will have their own individual motivations and viewpoints.
Finally my own mental baggage will have a bearing. While I have tried to let the books speak for themselves I'm sure my perception of the UK and the US in general has coloured what I have chosen what to highlight. And also my existing ideas about what is and isn't important. For example: why haven't I focussed on the representation of women (or not) in history? (Two female leads in the UK, none in the US.) Is it because I am man? Possibly.
My view is that we have to be alive to problems of interpretation, and by considering them we can usefully challenge ourselves. But interpretation is still a productive activity – and can be improved with further investigation and feedback: comments below welcome!
I started this article with the aphorism "England and America are two countries separated by the same language". From this mini historiographical investigation we can see that the shared language does range over some major differences of perspective – is history about Liberty (a US perspective) or about bellends (a UK perspective)? Does it even make sense to think of one "US perspective"? Might we now say that "America is a country separated by the same language"?
But to end on an optimistic note: a shared language can help us understand each other better, both between societies and also within our societies, if we keep listening – and keep reading.
Do you agree with my observations? Let me know your own thoughts in the comments.
1. Attributed semi-reliably to George Bernard Shaw. See https://quoteinvestigator.com/2016/04/03/common/
2. 3. Bestseller lists derived by a Books / Advanced Search on amazon.com (US) and amazon.co.uk (UK) selecting the category "history" and sorting by "bestseller", done on 13 September 2021. I then ignored the books I felt were not history books (eg "Start With Why: How Great Leaders Inspire Everyone To Take Action"), ignored all sponsored results, ignored overtly military history (eg "The Afghanistan Papers: A Secret History of the War"), ignored books that looks suspiciously like promoted books (eg "Teachers' pick" books) , ignored books that looked like they were published too recently to be credible bestsellers (eg "Blood and Ruins: The Great Imperial War, 1931-1945" published in the UK on 26 August 2021) and returned what was left. Even with these common sense adjustments it is clear that the amazon bestseller algorithm is quite complex. For example it must be using multiple time periods to measure sales, including bestsellers in the last week, in the last month, in the last year perhaps and bringing back all results at once. It might also be using other metrics such as best-selling within historical sub-categories as a positive factor. It will favour books that have recently gone on sale and have temporarily (artificially?) boosted the sale numbers. All this boils down to two key issues: firstly the amazon bestseller lists are designed to highlight books that have not only done well in the past but also those that will do well in the future – and this is partly a self-fulfilling prophecy. Secondly publishers are free to categorise any book they want to as a history book, and they will choose to do so if they think this will increase sales, not necessarily because they genuinely believe it to be a history book. However… the good news is that you get the same results with and without cookies, ie amazon is not tailoring the search results to me personally. Also the same systematic biases and my adjustments are present in both lists so a comparison across the two is still valid. The caveat is that these are my personal observations only – I'm sure that there are lots of blog posts out there that cover amazon bestseller ranking factors in a lot more detail!
← Augustine → Past Mistakes


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Knowle relocation project: District Council vote to spend £1million on Skypark: press reports
The full Council met this Wednesday
Futures Forum: District Council meets to consider issue of relocating from Knowle to Skypark ... Weds 26th February
and has reached a decision.
Here are the immediate press reports:
Home - Sidmouth Herald
East Devon district councillors back office relocation to SkyPark near Exeter
By Exeter Express and Echo | Posted: March 01, 2014
Campaigners and councillors claim the "biggest decision ever facing East Devon District Council" has been "nodded" through.
Councillors at Wednesday's full council meeting backed the Cabinet's recommendation that the local authority press ahead with its plans to relocate its headquarters from Sidmouth to SkyPark near Exeter.
Earlier this month Cabinet members approved the recommendation for the move to a site, excluding a building, that would cost the council £986,000, to be covered by the sale of assets including its current "oversized and inefficient" offices at Knowle, Sidmouth.
Earlier in the meeting, councillors rejected a motion that was approved at January's Overview and Scrutiny Committee, that an independent survey on the condition of the council's existing office buildings be undertaken and the decision on the relocation to SkyPark be deferred until its completion.
Since the decision to relocate was first mooted by the council a couple of years ago, a budget of £410,000 has been made available for relocation assessments and feasibility reports – but no assessment on the state of the buildings has been commissioned.
Cllr Wright, who is the ward member for Ottery St Mary, said that although a debate on the relocation occurred at the point at which the survey motion arose, there was no further discussion when the decision to move to SkyPark was ratified. She said this meant the "specifics" that surrounded the move, such as the purchase of the land at almost £1m, and the immediate marketing of its Knowle offices, lacked discussion.
However deputy leader of the council, Councillor Andrew Moulding said there had been a "lengthy" debate surrounding the logistics of the move for over an hour at the point of Cllr Wright's motion of the independent survey arose. "Everyone was waiting for another discussion," Cllr Wright said. "But instead the decision was nodded through under the Cabinet's recommendation, without anyone even explaining it properly."
Tony Green, Save Our Sidmouth (SOS) and East Devon Alliance member also said there was a lack of debate about the move to SkyPark. "It was appalling that such a crucial decision on probably one of the most important issues in a generation should have been slipped through. Numerous members of the public in public question time had pointed out how reckless they thought the move was. It's such a gamble, and it goes against all the criteria East Devon set out for moving in the first place for example, to be more accessible. SOS has long called for the existing modern buildings at Knowle to be updated instead. The decision to move to SkyPark beggars belief."
Cllr Moulding, added: "There was a full discussion on various aspects of the move such as cost implications and the option of drop-in centres is the towns and whether the move should happen. When it then came to the Cabinet minutes, because of the previous lengthy debate, these were nodded through as no one raised any points."
In November cabinet shortlisted four out of 15 possible locations for new office accommodation: Cranbrook town centre, Skypark, two sites on Heathpark in Honiton and Clyst House, Winslade Park.
Council officers will now enter a further evaluation and negotiation phase with the preferred option of SkyPark.
A report outlining whether the council should commit funding to the new headquarters is expected to be presented to Cabinet and full council in July.
East Devon district councillors back office relocation to SkyPark near Exeter | Exeter Express and Echo
This follows on from press reports from earlier in the week:
SIDMOUTH: EDDC's move to Skypark 'belies common sense', say campaigners
26th February 2014 By Jack Dixon.
The proposal to move East Devon District Council's head office to Skypark, Exeter, "belies common sense" and is "financially flawed", according to campaign group Save Our Sidmouth.
District councillors will meet tomorrow (Wednesday) to decide on the controversial relocation, and Save Our Sidmouth Chairman Richard Thurlow has written to councillors ahead of the meeting to express the group's concerns.
In the letter, Mr Thurlow refers to the Knowle – EDDC's current premises – as the "family silver" and suggests the decision to sell it has been made on "emotional grounds".
He said: "EDDC made the decision to move away from the Knowle without a full investigation of all the options. It is clear that the choice to move was made on emotional grounds rather than on merit and without a full understanding of the fundamental considerations.
"We believe that the planned move from the Knowle should not go ahead as it is financially flawed, exceptionally risky in these difficult economic times and detrimental to employees and the town of Sidmouth,
Councillors made Skypark their preferred choice for its new headquarters earlier this month, disregarding alternative locations in Clyst St Mary and Cranbrook, as well as two sites in Honiton that were more central within the district.
Leader of the Council Paul Diviani described Skypark as a "key emerging employment and commercial development location" that offers a "secure future" for the council.
But Save Our Sidmouth has argued relocating to the new site would create further problems for district residents and has urged councillors to reconsider the proposal.
Mr Thurlow added: "We fail to understand any rationale for the choice of Skypark. It has no supporting infrastructure for the convenience of staff or the public. The location came last as a choice of location for staff polled recently by EDDC and it will create great difficulties for travelling for EDDC staff from their current residential locations. There is a great danger that, over a period of time the location will attract employees resident in Exeter and westwards, to the detriment of district residents currently employed. The decision belies common sense. There is absolutely no rationale for incurring costs of perhaps £15million at this time, even though the sale of 'family silver' might raise sufficient sums to fund the move."
View From Online - News from West Dorset, East Devon & South Somerset
Skypark site to cost EDDC £1million - News - Sidmouth Herald
Council bid for new £1million Skpark slot in office move plans | Western Morning News
Futures Forum: Knowle relocation project: moving to Skypark: £1 million
Labels: eddc, finance, infrastructure, knowle, process

redpajama_set_name: RedPajamaCommonCrawl


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Synth Review: Arturia Synclavier V, Part Two
I realize it's been a while since I updated this blog; apologies for that. Will try to get more on top of maintaining this website.
That being said, I may as well make an addendum of my review to Arturia's Synclavier V. Part one of the review can be found here.
As someone obsessed with the sound of old-school samplers, I struggled for the past few years to have the perfect sound for sample playback in software while conserving both disk space and CPU, which is practically impossible to do trivially. It even got to the point that, as some of you know, I even went as far as trying to code my own software synthesizer.
Well, the good news is that that may no longer be necessary: the new version 2 of the Synclavier V VST by Arturia incorporates both sample playback and sample resynthesis, both being reminiscent of later Synclavier systems.
Will try to update this post with my thoughts about the resynthesis function, which is revered among many other Synclavier fans, later on, but for now, I'm focused on the sampling support.
The Synclavier was known to be a rival to the Fairlight CMI due partially to the fact that later Synclaviers had support for sampling. In fact, in many ways, the Synclavier overpowered even the Series III in specs: up to 768 MB of RAM (even the Akai Z8, the last traditional hardware sampler from the early 2000s, could only support up to 512 MB), 9 GB of external hard disk space, and up to a 100 kHz sample rate. The only benefit the Fairlight had over the Synclavier, to me at least, was the Fairlight's inclusion of an antialiasing filter to muffle the ringing frequencies that come from transposing samples too low: the Synclavier simply did not have the capacity to do this, let alone per voice!
All this in mind, I was pretty wary to try out the updated V VST's sampling, especially given I already did try out the Fairlight CMI V VST from the same company. Thankfully, I was pleasantly surprised: whether Cameron Jones ended up using my infinite linear oversampling interpolation code or not, this VST actually sounds faithful to the variable clock samplers of the early to mid 80s. I tried transposing a sample (which, oddly enough, was from the Prosonus Library, which was originally intended for the Synclavier) chromatically, and long behold, the only artifical frequencies I clearly heard were the imaging frequencies when I transposed by more than an octave, which, for variable clock samplers, is supposed to be the case. Too often VST developers, including the CMI V team, take the easy way out and just use a mere piecewise interpolation for sample playback, without any oversampling.
This update even includes an antialiasing filter like the CMI had, though one minor gripe is that the cutoff value is not editable like for the CMI at this time. The only other disappointment I can think of is that we're only allowed a single sample per partial, meaning we can only have up to 12 samples in a program, a major contrast to the powerhouse that was the hardware (a convincing piano sound from the factory library had a whopping 84 samples, mapped by both key and velocity!). Hopefully both of these qualms of mine will be addressed later, especially since the multisampling was a big selling point for the original hardware (in the early 80s, the only other sampler capable of multisampling was later OS versions of the Emulator I).
UPDATE: tried out the resynthesis functions as well. Certainly impressive to my ears: while I have no experience with the analysis functions of the original hardware, it sounds fairly useable thanks to its timbre frames' support for cross fading, a contrast to the wavetable-based analysis of the CMI and the CMI V. It also is easier to analyse samples to a certain pitch than for the CMI V, which, in my experience, seems to hardwire the root pitch to a given sample rate.
This is definitely great progress to recreating the sampler-based sound of the 80s, and this update to the VST is most definitely recommended to people who want lo-fi sampling but can't afford a CMI or an actual Synclavier.
Well done, Cameron and Arturia! The VST can be bought directly from Arturia here: www.arturia.com/products/analog-classics/synclavier-v/overview
VST Review: RolandCloud JV-1080
One of my most successful YouTube videos is, instead of one of my songs, a demo video I made of the Roland JV-2080 (viewable at the bottom of this post), a synthesizer I since sold in favor of the XV-3080. While there are no plans to make VST's officially of either model to my knowledge, RolandCloud, a subscription based service by Roland for VST's and sound libraries, has recently released the next best thing: a VST of the JV-1080, which both the 2080 and 3080 are based on.
Anyone who's owned any JV synth knows how sophisticated the 1080 onward were: a minimum of four banks of 128 presets, not only with resonant filters (unusual for late 80s and early 90s ROMplers) but also many modulation options and a huge variety of effects, from the usual chorus and reverb, to pitch shifting with feedback. All of these options also control up to four sample-based waveforms at a time. Needless to say, these features, combined with its large library of expansion cards, made them very popular among electronic musicians, especially 90s game composers.
Upon installation, my first disappointment came in: only the factory 1080 presets are included. While the expansion cards would probably take a while to fully implement anyway, it still would've been nice to get some presets exclusive to the XV series, especially since the VST advertises additional included waveforms, though I haven't had the time to confirm differences in the waveform list between it and my XV3080.
Still, overall, it's both useful for music production and very faihthful to the original hardware. In all honesty, the interface makes it easier to navigate than even the screens on the JV-2080 and XV-5080. Because of this, admittedly, it took the easy-to-use interface to make me realize that the JV synthesizer line allowed modulation of one waveform, no matter how complex, with another (hard sync).
Most of the sounds are useful, especially when processed enough, and most of the essential 90s pop sounds are there. My only complaint about the sound, that said, is the pitch-shifting effect. Not only does it sound a bit glitchy to me, especially when shifting up, the original hardware used a better-sounding pitch-shifting implementation. Hopefully RolandCloud will address this issue, as even some of the presets are negatively affected by this.
Still, overall, it's a good job from Roland's software development team. Even better is that they recently announced SRX Orchestra, which is based on the SRX-06 expansion card, which, in turn, compiles sounds from the SR-JV80 02, 13, 16, and, to a lesser extent, 07 cards for the JV-1080. Most of these sounds were obviously dedicated to orchestral sounds. Expect me to review that VST shortly after it comes out as well.
The JV-1080 VST is exclusive to the RolandCloud subscription service. More info about RolandCloud and its catalog can be found here:
http://www.rolandcloud.com/
Admittedly a rather short blog entry title, but it's a complex word to make up for it.
Nitpickiness aside, Phenomena is the title of a new EP I'm going to try to get released soon. A contrast from what I admit has been a lot of soundtrack-style stuff I've made lately, this revisits the retro scene, exploring the world of spacesynth in particular. Six tracks and about a half hour's worth of material will hopefully make it a pleasant listen for most, especially relative to my darker music.
Unfortunately, Phenomena may also be the last album worth of retrowave music I release for a while, for reasons both creative and personal. This is not to say I won't make a few singles, however: I just can't picture myself throwing out new music that's entirely original as quickly as other musicians have without the chance of creative burnout. I hope readers and listeners alike will understand: I do pride myself on trying to be quality with my work.
Phenomena has a tentative release date of December 1st of this year, though that may still change depending on commitments in my personal life. What I can say, however, is that it will be released on my personal Bandcamp page, where people are still free to check out existing work, as well as iTunes and Spotify!
Hope you'll enjoy the album next month!
Multiple Projects Planned
First of all, I realize it's been a bit slow on my end, as I wrote on my Patreon page, and I apologize for that.
There are several bits of good news, however. The first is that there's been a major update for the better regarding Escola da Insanidade/School of Insanity and my involvement with it. Unfortunately, I cannot give specifics at this time, but know that things might finally start to pay off in that regard.
The second is that, in light of the prior news, I've finally gotten around to making a filler album consisting mostly of compilation submissions. It will be available for download a week from now, but the preorder is available here: https://python-blue.bandcamp.com/album/filled
Third news, and the most recent: this morning saw me go on a remastering spree of pieces both ancient and unreleased at this time, and in the process, I found my music files for an old game mod that, unfortunately, seems to have since been abandoned by the creator, who also seems to have disappeared from the net. That in mind, as well as it being about five years since I was brought onto the project, I guess I'll give the soundtrack fans of mine an extra treat and release those pieces to the public within the next month. While there will be a small price price tag attached, modders and game developers will also be free to use many of the pieces.
Unfortunately, that's most of the news I have at the moment. If anyone wants updates of my music as soon as possible, they're more than welcome to pledge to or follow my Patreon page, linked earlier, and I also hope to resume use of SoundCloud. In the meantime, all the best, everyone!
Software Review: RolandCloud D-50
Speaking as an owner of the Roland D-550 who otherwise prefers software for music production, I share the frustrations many people had with lack of a proper modern solution for the Roland D-50 and its unique Linear Arithmetic synthesis, especially what with what was essentially a cease-and-desist from Eric Persing, former sound designer for Roland, to Binary Music a few years ago.
In the meantime, Roland Cloud has been taking off in recent months. Those of you unfamiliar with the service, Roland has essentially begun to both pursue software development and take the East West approach of having people subscribe to the products available instead of a one-time purchase. While I'm not fond of the latter, their recent offering of recreations of their classic analog synths, such as the Jupiter 8 and the Juno 106, made it tempting for me.
Then yesterday happened: read from a tweet by unTIL BEN, another retro musician, that Roland finally buckled down and did it: Roland Cloud is now offering a near-perfect D-50 clone in their VST catalog!
Needless to say, I buckled down and took advantage of my free trial period of Roland Cloud in order to download this VST. Unlike every other attempt to recreate the D-50 (possibly including the Binary Music LA-50 equivalent), this VST comes across as Korg's M1 VST over a mere sample library: all of the circuitry seems to have been near perfectly recreated. Anyone who downloads this VST will get not only the classic 64 presets, but also all of the presets from Roland's four preset expansion cards (the PN-D50 series), plus, an extra bank of patches that, as far as I know, is exclusive to this software release. Again, much like the official Korg M1 VST.
Everything can also be edited, whether you wish to isolate certain waveforms in a preset, change the chorus or reverb effects applied, or even tweak the amount of keytracking applied to the timing of the envelopes! The interface for editing is a little confusing and subtle to find at first, in my opinion, but once you get the hang of it, you have access to all of the sound possibilities of the D-50 and its PG-1000 programmer! That being said, one plus I can find over the M1 VST is that the D-50 also remembers what user presets you've made between sessions, a pleasant contrast to needing to load any user sounds I made in the M1 every time it started up.
Since I am a D-550 user who now has the VST version, it was natural of me to compare the sound of the VST to that of the original hardware (the D-550 was exactly the same as the D-50 except it was a rackmount). Much to my pleasant surprise, the only difference I noticed was the amount of aliasing with the higher notes in the "Fantasia" preset, and even that may have just been the result of a possibly lower samplerate in the hardware than, say, 44.1 kHz. Beyond that, it sounds practically identical! Even the fractional keytracking for DigitalNativeDance (which alone makes the preset impossible to emulate with a single sample) is surprisingly faithful to the real deal.
My only real gripe with the D-50 is the subtle hiss that comes from the digital encoding of the sound. In Roland's defense, the original hardware was 8-bit (Roland even openly marketed this fact when it came to the included PCM waveforms), but still, it would've been cool to see how the darker sounds would sound in 16-bit without needing to use a third-party filter or equalizer. Still, even that is bearable, especially since some of the presets seem much brighter in timbre than even I feel I could need for my own music, not to mention that the 8-bit noise probably has a lot of appeal to the most die-hard of retro and chiptune musicians.
The Roland D-50 VST is available only from Roland Cloud, and consequently, it requires a subscription-based purchase. Fortunately, aside from being able to download all of their other offerings (including VST's based on their analog classics, but also their SoundCanvas ROMplers from the 90s), there is currently a promotional offer being free the first month and then only $20 a month afterwards, whereas apparently the price will increase for those late to the game, so if you wish to check it out without draining too much of your wallet, now is definitely the time!
The D-50 VST's product page is here: https://www.rolandcloud.com/catalog/legendary/d-50-linear-synthesizer
Sample CD Review: Noize Loops
Been a while since I updated this blog. While I have been productive, I felt there wasn't too much worth writing up here until recently.
That being said, yesterday a very rare sample CD arrived yesterday: Noize Loops 1, a 1999 sample CD created by Sonic Mayhem and distributed through Big Fish Audio.
This sample CD made a minor impact among industrial and darker soundtrack composers in the early 2000s, yet it's so hard to find now that there aren't even any pirate downloads of it available on the net. It's also not to be confused with the official Reason Refill under a very similar name, which has different content.
As the name suggests, it's dedicated to very noisy sounds, though the word "Loops" in the name also makes it a bit misleading as there are also a handful of dark ambiences (a la its still-available sequel library, Toxic Textures) and drum oneshots as well.
Looking at the CD before I inserted it, I noticed a warning about being so noisy it can cause speaker damage. Not sure if this was a sincere warning or a marketing gimick, but either way, upon listening to most of the loops, it makes sense why that text was printed onto the disc: the overwhelming majority of drumloops are distorted and, in some cases, bitcrushed to an extent that average listeners would question how these could be used for music production.
The booklet (its cover shown above) was helpful for providing name and tempo information for the individual sounds, but some of the tempos were also a bit misleading: not all of the loops are even your conventional 4/4 time signature! While this can be helpful for any projects that require, for instance, a 5/4 time signature, it would've been nice to correct the tempo information to represent the beats in the time signature they're actually in, and there are also no notices regarding different time signatures, even if because most of the loops are are indeed 4/4.
Looking at the waveforms in Audacity, many of the loops even have significant DC offset at points, even if generally nowhere near as bad as many sounds from the OMI CD's for the Emulator II. The sound itself, with the exception of the ambiences, most of the Calm Motion category, and a very few outliers elsewhere, is also generally extremely distorted, to the point that I question whether I can get myself to use even most of them during my lifetime not because there's a large variety, but because of whether they can be considered useful or not, even despite my mild interest in industrial instrumentals.
Again, it's not all loops, but generally speaking, the ambiences are too complex to be useable in most projects, even if it is nothing compared to Toxic Textures. For that matter, I recognized an unprocessed sample from Distorted Reality 2 in one of them, even if it was mixed in with other sounds, which could be one reason why the complete library is so hard to find now? The drumshots at the very end of the CD (sans a test sine wave) are more useable, though the snares all have questionable decays due to how much they were distorted.
Regardless of my personal qualms against the actual sound for many samples, I actually give this library more credit than I describe: a 3 out of 5. While I do prefer against all-out distortion at all times, this sample CD did make a impact among NIN wannabes and soundtrack composers who catered to the industrial genre. If anyone wants a teaser that both contains most of the useful sounds and is still legally available, Big Fish Audio released two Apple-Loop-format compilations of their late 90s and early 2000s products. The one that includes the categorization of the original Noize Loops CD is available for purchase here.
Sound Design Ramblings, Part II
I realize it's been quite a while since I've been particularly active musically. In my defense, it probably is for the better that I not be overly obsessed with getting compensated for my efforts, but the reasons for that decision of mine are best saved for elsewhere.
In the meantime, I think it's safe to assume I've nearly perfected a lo-fi sound without the excess aliasing or using too much CPU. Using a mock-oversampling formula and combining it with some light real oversampling, I managed to make a nearly perfect recreation of variable sample rate clocks heard in early samplers such as the Fairlights. As you'll see in the below pictures, which make use of a sine wave sampled at 880 Hz and pitched down, the aliasing harmonics are relatively in control within the second image: all obvious aliasing (which is still under -70dB) within that particular image is still above 11 KHz, meaning 2x oversampling would effectively resolve that much. Observe for yourself.
1. Two octaves down
2. An octave and three whole steps down, a note difference prone to aliasing in sample playback
I managed to pull off similar results using the generators for Plogue's chipsounds (which, unfortunately, require the source samples be a mere 8-bit) and, 8-bit noise aside, I achieved very similar results. Hopefully my process will be deemed more convenient for people who wish to play back their own samples, though, because aside from 8-bit quality, chipsounds also limits many of its sound editing features to text files over a fully editable GUI.
My only real problem with Reaktor now is its relative lack of support for saving presets that contain samples. As of Reaktor 6 (what I used to make my ensemble), it's possible to store single samples transposed across the keyboard within snapshots of a single ensemble, but the problem is that this obviously does not account for multisampling, which can easily render drum sample snapshots, for instance, extremely inconvenient if not impossible to make. Thankfully, that isn't the biggest deal for my particular ensemble, since it is intended to be reminiscent of samplers that tended to have only one sample across the keyboard range anyway.
For any Reaktor users, musicians, and sound designers who enjoyed this read, I should be able to share the rework of my ensemble to the general public soon enough. Stay tuned!
Sound design Ramblings
Well, may as well update this blog.
While it's a stretch to say that I'm dead, I regret to say that I haven't made too much original synthwave music as of late due to lack of ideas, though I have begun work on one new piece, which I might release as a single before the album it may end up in.
That's not why I write this journal, though. I've spent a good chunk of my recent time experimenting with sampling and sample playback, and I've come to the conclusion that a faithfull antialiasing lack of interpolation of samples (a la the Fairlight CMI) is impossible to do and sound faithful without at least 32x oversampling and a computer able to handle that much CPU. I feel my attempts got somewhat close with my Reaktor ensemble, available on The Patchbay, but even then, I'm probably too much of a perfectionist for my own good.
I did, however, find an interesting alternative to that form of interpolation when it comes to low notes, which I had first discovered in Apple's recent Logic plugin based on Camel Audio's Alchemy. If one augments the highest frequencies of low notes played via linear interpolation, whether by a peak EQ or an extremely resonant filter setting, you can generate a similar sound for an octave or two, a sligtly muffled kind of ringing that is very similar, if not identical, to what's heard in the Terminator 2 soundtrack.
I'll be testing my Akai S2000 next week to see if I can generate that effect with its own lowpass filter. If I can, then I might finally be convinced to do more hardware sampling, for a change.
Speaking of which, I also managed to pull off the task of getting my Akai S2000 to boot from a CompactFlash card connected an external SCSI card reader, instead of the internal (historically unreliable) floppy disk! If any Akai S2000 users who read this are interested in a mostly-blank "hard disk" image with the operating system stored on it, let me know, and I'll be more than willing to try to send it over, though you'll need to make sure your external storage, whatever medium it may be, is set to ID #5 in order to boot from it instead of floppy.
That's all for now. I'll update within the next few weeks with my report on the S2000's filter, and give a sneak peek of some of my oher projects.
Post-Meetup Changes
First of all, for those of you who aren't up to speed, I attended the Synthetix synthwave meetup in New York City last Saturday. It was definitely a blast reuniting with Marko Maric of Radio Pure Gently, though I also ended up meeting some new faces in person, such as Von Hertzog and Protector 101!
Now that that event is over, I've decided to attempt an overhaul of my activity. I've been far from dead despite the lack of uploads on SoundCloud and YouTube, and I'm hoping that it will show over the next few months, if not weeks.
1) I've come to the conclusion that I've spread myself across too many websites for a single person to handle. Unfortunately, this means that I'll be dropping a few of the sites I'm on. While thankfully, most of the sites of concern are relatively insignificant, SoundCloud is also pending a decision due to its upload limits and recent bad changes. In contrast, however, this will hopefully mean that the sites I remain on, such as YouTube, I'll be more active on.
2) I have been working on music during this seemingly silent period, though most of said music has been soundtracks for others over synthwave for myself. The good news is that an album worth of soundtrack music for one person in particular is nearly finished where the music itself is concerned, at least, so expect YouTube teaser tracks in the not-so-distant future.
That'll be all for now, and practically all I can do this week due to family commitments. Until next time, take care!
Synth Review: Arturia Synclavier V
Only a matter of time before I update this blog with another synth review, so expect technical jargon again.
Until this purchase, the only Arturia product I used was the Prophet V. As great as it sounded, I couldn't imagine using additional Arturia products at the time because it was their only vintage synth recreation that recreated more than just analog circuitry (which tends to sound the same to me), in the Prophet V's case, the wave tables of the Prophet VS.
And then just two days ago, I heard about it. Apparently Cameron Jones, creator of the New England Digital Synclaviers, followed through with his plans of having an official Synclavier VST, even if published by a third party (Arturia). From what I've read on the product page, it's faithful to what he had in mind because it incorporates the original C++ code that made the FM/additive synthesis that defined, among other classic 80s songs, Michael Jackson's "Beat It".
So, naturally, I bought it. $200 may seem high for budget musicians, but it's a HUGE deal when given the Synclaviers were once among the most expensive music equipment you could buy, rivaled only by the Fairlight CMI's.
All three major versions of the Synclavier (the I, II, and PSMT) focused first and foremost on additive synthesis further modulated by FM (though the PSMT also had sampling support) so naturally, this somewhat unique sound and programming process has been implemented in the VST, with up to 64x oversampling to avoid excess aliasing! Arturia took it even further, however: for instance, bitrate of the sound can be increased from the Synclavier II's mere 8-bit, and up to twelve partials can be played at a time instead of the Synclaviers' four.
Preset size is not overwhelming, but when going through the factory banks, it's easy to find gems from classic early 80s songs, from the gong in Michael Jackson's "Beat It" to the choir in the Princess Bride score, from the eerie vocal synth in Genesis' "Mama" to the bells used in some parts of the Halloween 4 soundtrack.
My only major disappointment, other than number of presets, is the lack of support for the 16-bit stereo sampling and samples that defined many Synclavier PSMT systems, including the one used by Mark Knopfler for The Princess Bride soundtrack. Not certain whether this was due to licensing with Arturia or the fact that the Prosonus Library, the most popular library for Synclaviers and Fairlight III's alike, is owned by an entity other than Cameron Jones (current owner is Big Fish Audio), but whatever the reason, I certainly hope that, at the very least, playback of pre made Synclavier sample libraries will be supported later. Which I'm guessing may be possible, given the VST DOES currently allow you to import sounds from the original hardware...
Still, all in all, this is a worthwhile purchase for fans of high-budget 80s music. Definitely check out the demos here, both trial software and mp3's:
https://www.arturia.com/store/analog-classics/synclavierv
UPDATE: Just ended an email conversation with Cameron Jones. Long story short, my dreams may very well have a chance of being fulfilled: in addition to the Arturia product, he started an Indiegogo campaign for an HTML5-based emulation of the Synclavier, and if both take off, he does indeed hope to incorporate the sampling engine! In other words, we may very well have a complete Synclavier PSMT workstation emulation in the near future!
His Indiegogo campaign for the HTML5 emulation (cleverly titled Webclavier) can be found here:
https://www.indiegogo.com/projects/the-webclavier-by-synclavier-digital--2
Official blog of Python Blue. Expect updates about music, synthesizer reviews, and more.
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Python Blue Music


Pitch with touch. Good news: You don't have to have great hands.
We all know players who seem to always get it done under pressure. More likely, they just look good by comparison with the golfers around them who are collapsing. Putting seems to exaggerate this phenomenon. When that putt on the last hole falls or doesn't, the player's reputation on the greens is set for life.
PGA Championship 2018: Do practice rounds actually matter?
Better putting can come from small adjustments. Just ask Gary Woodland.


College Station, Texas – Oldham Goodwin is pleased to announce that they have been selected to list ~3.79 Acres on FM 2818 in College Station. This property sits on a hard corner with outstanding visibility from FM 2818 and convenient access to Highway 6. The property is situated in a the growing South/Central College Station corridor and boasts strong traffic counts.
For more information about this property, contact Jesse Durden, Senior Broker Associate, at 979.268.2000 or jesse@oldhamgoodwin.com.


text:
Midi en France était une émission de télévision française diffusée sur France 3 du  au . Elle a pour but la mise en avant des richesses patrimoniales, touristiques, artisanales, animalières, naturelles et culinaires des régions et communes de France.

En , dans une interview à RTL, Laurent Boyer, qui présente l'émission depuis la saison 1 annonce son départ. C'est Vincent Ferniot qui reprend la présentation à partir de la saison 6 tout en conservant sa chronique culinaire.

De janvier à , l'émission devient hebdomadaire et s'intitule Dimanche en France. Elle est présentée par Jean-Baptiste Boursier le dimanche de  à . La première émission dans son nouveau format est diffusée le dimanche . L'émission s'arrête définitivement le .

Diffusion

Lors des 2 premières saisons, l'émission était en direct tous les jours. À partir de la saison 2, l'émission est diffusée tous les jours de la semaine, le lundi et le mardi en direct. Le mercredi, le jeudi et le vendredi les émissions sont enregistrées le lundi et mardi.

Lors de la saison 6, quand l'émission était 2 semaines dans une ville, les deux semaines étaient enregistrées le lundi, mardi, mercredi et jeudi de la première semaine avec des directs ces 4 jours.

Depuis la saison 8, les 5 émissions sont enregistrées en 1 journée.

À partir de  l'émission sera diffusée en hebdomadaire le dimanche en deux parties de 50 minutes.

Durant la première saison, du  au , elle était divisée en deux parties : la première partie, assez , de  à , et après le 12/13 suivait la deuxième partie de l'émission, plus , diffusée de  à .

À partir du , pour la seconde saison, seule la première partie est conservée, la seconde sera remplacée par un décrochage régional.

Après des débuts difficiles, Midi en France parvient à convaincre les téléspectateurs. Ainsi, le , en direct de la ville de Dax, les différentes chroniques et sujets attirent plus de , soit 10 % du public présent devant son poste de télévision de  à .

Du 27 juin au  ; du 20 février au  ; du 16 avril au  ; du 4 mars au  ; du 22 avril au ; du 24 juin au  ; du 10 février au  (sous réserve d'épreuves olympiques) ; du 3 mars au ; du 16 février au  ; du 2 mars au  ; du 27 avril au  ; du 22 juin au  ; du 26 octobre au  ; du 22 février au  ; du 25 avril au  ; du 17 octobre au  ; du 6 mars au  ; du 8 mai au  sont diffusés des best-of des meilleurs moments de l'émission.

À l'occasion de la , , , , ,  du Salon international de l'agriculture, des émissions spéciales sont tournées tous les jours de la semaine du 25 février au  ; du 24 au  ; du 23 au  ; du 29 février au  ; du 27 février au  et du 26 février au  du lundi au vendredi en direct au Parc des expositions de la porte de Versailles à Paris, émissions durant lesquelles Midi-en-France bat à nouveau des records d'audience pour la .

Le , l'émission réalise à nouveau un record d'audience en direct de la ville de Cahors, en attirant plus de . Ainsi, après de timides débuts, les audiences de l'émission continuent de grimper jusqu'à atteindre des scores étonnants pour cette tranche horaire. Ce succès fait l'objet d'une analyse par la sociologue Béatrice Mabilon-Bonfils.

Le  à Salon-de-Provence, la Patrouille de France réalise en direct une démonstration avec la présence des fumigènes aux couleurs du drapeau français.

Du 27 au , l'émission est délocalisée pour la première fois à l'étranger, plus précisément à la principauté d'Andorre.

Des célébrités participent aux émissions se déroulant dans leur ville notamment à l'occasion des 4 ans de Midi en France. Par la suite, des personnalités participent à l'émission lorsque leur ville accueille Midi en France. Ainsi, l'émission a accueilli Clémence de La Compagnie créole, Laurent Gerra, Chantal Ladesou, Michel Denisot, Hugues Aufray, Marie-Laure Augry, Elie Semoun, Pauline Ester, Jean-Pierre Mader, Alexandra Vandernoot, Michel Drucker, Patrick Sébastien, Jean-Luc Petitrenaud, Jean-François Stévenin, Jean-Pierre Descombes, Francis Letellier, Camille Cerf, Jean-François Kahn ou encore l'habitué de l'émission Gonzague Saint Bris...

L'émission, dès ses débuts, souhaitait faire comme l'émission Midi première, quelque trente années auparavant, en invitant un ou plusieurs chanteurs de variétés à interpréter en play-back un ou plusieurs morceaux. Mais ce concept, déjà connu, ne marchera pas : les artistes et autres chanteurs de variétés opteront plutôt pour les promotions de disques ou albums, car ce genre de concept, jadis proposé par Danielle Gilbert pour Midi-première était définitivement jugé désuet, n'emballant pas les producteurs et agents artistiques.

Un dimanche en France
Des émissions spéciales de 90 minutes, depuis :
 Les plages du Débarquement, à Arromanches-les-Bains dans le Calvados (14) aura lieu le dimanche  sur l'héritage du Jour J, le , 69 ans après.
 En bas du château, à Amboise dans l'Indre-et-Loire (37) aura lieu le dimanche  pour la  des Journées européennes du patrimoine consacré au Val de Loire un Patrimoine mondial.
La place de l'église, à Colombey-les-Deux-Églises dans la Haute-Marne (52) aura lieu le dimanche  commémorant l'héritage du général Charles de Gaulle celui qui a fut lancé L'appel du 18 Juin depuis Londres, 43 ans après sa mort.
 À Strasbourg dans le Bas-Rhin (67) aura lieu le dimanche  pour les fêtes de Noël à l'occasion du traditionnel et célèbre (Christkindelsmärik) marché de Noël Alsacien (avec tous les chroniqueurs à la présentation sans Laurent Boyer).
Du Salon international de l'agriculture au Parc des expositions de la porte de Versailles à Paris aura lieu le dimanche  et le dimanche  pour nous faire vivre depuis l'intérieur les coulisses et les installations des exposants du salon.
La place Saint-Nicolas, à Bastia dans la Haute-Corse (2B) aura lieu le dimanche  sur les attraits de l île de beauté (Laurent Boyer laissant place à Évelyne Thomas pour la présentation).
 La place de l'église, à Sainte-Mère-Église dans la Manche (50) aura lieu le dimanche  commémorant le  du débarquement de Normandie ( - ).

Un été en France
L'émission a été diffusée tous les jours de la semaine du lundi au vendredi à 10h50 en été pour la déclinaison estivale de Midi en France qui s'intitulera "Un été en France".
En Bretagne sur la presqu'île de Plougrescant dans les Côtes-d'Armor (22) du 30 juin au
En Languedoc-Roussillon au Cirque de Navacelles dans l'Hérault (34) du 14 au
En Poitou-Charentes sur Île d'Oléron en Charente-Maritime (17) du 21 au
En Centre depuis le Val de Loire dans le Loir-et-Cher (41) du 28 juin au
En Provence-Alpes-Côte d'Azur sur les Îles de Lérins dans les Alpes-Maritimes (06) du 4 au
En Auvergne a Pailherols dans le Cantal (15) du 11 au
En Basse-Normandie depuis la baie du mont Saint-Michel dans la Manche (50) du 18 au
En Aquitaine depuis le Cap Ferret en Gironde (33) du 25 au

Principe

Magazine de « proximité, d'échanges et de convivialité », Midi en France suivait l'actualité ou un événement local d'une région en s'accrochant chaque semaine de  à , puis deux semaines de  à , puis  à , la durée repasse à une semaine, depuis  l'émission passe en hebdo le dimanche en deux parties de 50 minutes

L'équipe était formée de plusieurs chroniqueurs, plus 1 chroniqueur région, et accompagnée par Laurent Boyer de la  a la  saison. C'est ensuite Vincent Ferniot, depuis la  saison, qui dirige la bande des chroniqueurs tout en présentant la culture des régions, qu'elle soit musicale ou littéraire, culinaire ou patrimoniale, historique ou géographique… ainsi que de nombreux sujets pour éclairer, d'une façon générale, le quotidien.

Cette émission a pour but de faire découvrir les régions françaises et leur patrimoine.

Au lancement de la  saison à la  partie de la saison 6, Midi en France met une ville à l'honneur, pendant une semaine, de  à . Puis de  à , elle met une région ou un bout de région en valeur depuis une ville en restant deux semaines, à partir de la  partie de la  saison à la . Depuis , Midi en France repasse à une seule semaine à la découverte d'une ville et de sa région, choisie en fonction d'un évènement local.

Au lancement de Midi en France, de janvier à , l'émission a un format en 2 parties de 85 minutes, dont la  de 45 minutes le matin de 11h00 a 11h45, et la  de 50 minutes en début d'après-midi de 13h10 a 14h00.
À la suite de la suppression de la  partie, l'émission a une durée de 55 minutes le matin de 10h50 a 11h45, à partir de la   saison à la  saison, de  a .
À partir du  (lancement de la saison 8), la durée de l'émission est réduite à 26 minutes. Ce format est maintenu jusqu'à la fin d'année civile 2018 (saison 9), et à partir du début , elle devient hebdomadaire avec une diffusion le dimanche en 2 fois 50 minutes entre 15h et 17h où Vincent Ferniot est remplacé par Jean-Baptiste Boursier.

Chroniqueurs

Durant la première saison (de janvier à ), quinze chroniqueurs réguliers sont présents, neuf durant la  partie de la  saison (de septembre à ), sept à partir de la  partie de la  saison à la  saison (de  à ), six à la  saison (de janvier à ), cinq à la  saison (de janvier à ) plus un chroniqueur région. Tous furent accompagnés par Laurent Boyer chaque semaine, de 2011 a 2015.

Chaque semaine Vincent Ferniot accompagne, depuis , quatre chroniqueurs réguliers dans la  partie de la  saison (de septembre à ), puis sept à partir de la  partie de la  saison (de  à ), plus que six dans la  saison (de  à ), avec deux chroniqueurs en alternance (tourisme et animaux), plus un chroniqueur région pendant deux semaines dans chaque ville visitée. Depuis , trois chroniqueurs hors plateau, plus un chroniqueur différent sur le plateau chaque semaine, sont présents. Ils présentent ainsi chacun un aspect de la ville : historique, culturel, gastronomique, géographique, etc.

Ainsi qu'un/e animateur/trice des antennes régionales de France 3, dont dépend la ville accueillie.

Chroniqueurs actuels

Villes hôtes

Saison 1

Saison 2

Saison 3

Saison 4

Saison 5

Saison 6

Saison 7

Saison 8

Saison 9

Nombre de visites dans les régions

Départements visités et non-visités

Villes visitées et non-visitées

Identité visuelle (logo)

Voir aussi

Notes et références

Liens externes
 Site officiel de Midi en France

Émission diffusée sur France 3
Émission de télévision produite en France
Émission de télévision créée en 2011
Émission de télévision disparue en 2019
Midi

redpajama_set_name: RedPajamaWikipedia


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Bambi is a stunning little girl, she is very loving and active. She is happily living with other small dogs in her foster, although she would also probably enjoy being an only dog and having all the attention to herself. She is still learning to walk on the lead, is clean in the house and enjoys her home comforts.
House trained and quiet in the house, Bambi is fine to be left for a few hours alone. Although she is fine with kids we would like to home her where there are no young children, but she would suit an older family environment or as a companion for a retired person or couple.
Bambi is 18 months old, she has been speyed, vaccinated, microchipped, flea and worm treated, and is being fostered in Dover, Kent.


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Strong leadership in the church is exactly what God had in mind. However, very few people, Gene Getz believes, understand the biblical pattern for church leadership. He has written Elders and Leaders to unravel the mystery and alleviate the confusion surrounding this critical topic. In the first part of the book, Getz lays the historical and biblical groundwork for the position of elder. In the second part, he shares how he has applied or has seen these principles applied over the years.


down to fill the hook gap or fall off in storage.
Taylor Man's custom builds each lure to match the hatch, with patterns that mimic predominant prey in your local waters. This jig is built to take the most punishing treatment big gamefish can dish out.
Gamakatsu 60° Super Sharp Heavy Wire, Round-bend Flipping Jig Hooks ensure fast and easy point penetration and a sure grip that gets the hawgs back to the boat time after time. This hook is ideal for Superlines, braids, and heavy-power big game rods.
Super-tough Powdercoat or Hi-tech Enamel finish resists chipping and scraping so the lure looks fresh out of the box after repeated battles.
Taylor Man's has the tools to get the job done, and this jig is a must for every serious angler's tool chest.
Each premium Made in USA Seeker Head Flippin' Jig ON 'EM is hand painted and finished with Hi-Tech, taxidermy grade custom designed colors that smokescreen into the natural environment. Next, we carefully select specific custom skirt patterns and colors to mimic natural prey. Then, the hardware is engineered with not only the durability and quality of Taylor Man's customers have grown to expect, but also the appearance and motion of baitfish in the water.
Taylor Man's Custom Lures realized a decade ago that cheap, mass-produced baits aren't what real fishermen want on their line. Why? Because fish are accustomed the same-old mass-produced lure that everyone else is throwing. According to Elite Series Angler Bradley Roy, "Each Taylor Man's [lure] is hand-crafted from the finest, most durable and most lifelike components available." What this means to you is that even when you're in over-fished waters, Taylor Man's Custom Lures will still get the job done. Make sure to check out our full line of Flipping Jigs hand-crafted in the USA!


Knitwear season is here! It is getting a little chilly in Melbourne and I'm not complaining. I love the change but not a fan of extreme cold weather though. Melbourne's weather is quite erratic so it might be extremely cold next week! Hopefully it stays this way for the next couple of weeks. I love this perfect cool temperature. My makeup stays intact and I get to sleep better at night!
I love some knitwear during this time of the year since it's not really too cold yet, so a knitwear and a pair of jeans is perfect for a casual day out. Regardless of what the season is, I lounge around at home in knitwear and sweatpants all the time. Knitwear/jumper is an essential in my everyday clothing. I've chosen myself two sweaters from Marks and Spencer, and if you know me well enough, I don't wear black! I've chosen some light coloured knit and a pink knitwear too! A touch of pink to an outfit is always a good idea! I paired it with a high waisted light blue denim jeans because this colour combination can't go wrong. I don't believe in wearing only autumny colours for the autumn season. Wear whatever you feel like wearing! As long as you like you're wearing and you are happy with how you look, it really doesn't matter at all!
Having said all of that, I love black denim jeans though. Especially these moto jeans. A little edgy, just how I like it! I paired it with a pair of white knitwear. If it gets any colder, I'll just throw on some faux leather jacket or denim jacket. Also, this pair of mule slippers is too cute! I've never owned any of these fancy slippers because I rarely wear flats in the past. These ones are really comfortable so i'll be bringing them with me to my upcoming trips!
That's all for today's blog post! Have a lovely weekend everybody!
This collaboration is supported by Marks and Spencer and Shopping Links.
Loving all of these cozy knit sweaters/jumpers so much <3 THey're perfectly casual yet chic, and are great looks for the early fall/winter!


Glad you asked. It's called Hyperion, which kinda sounds like a spaceship, and it's a whopping 115 metres tall. It'd dwarf the Statue of Liberty but you'll have to take my word for it, as I doubt the two will ever be side-by-side…! Hyperion is a coast redwood tree and is located in America's Redwood National Park in California, dude.
As for the oldest named tree, well that's also in Cali – Methuselah, a Great Basin Bristlecoat Pine, is ancient! Apparently it's 4,849 years old – but I don't think it looks a day older than 3,293. The actual oldest tree (sharing the same species and location) doesn't have a name, but is thought to be 5,067 years old. That's about twenty times the age of the USA!
I know we're quite a way in and we haven't got to the rarest tree in the world yet. Don't panic, I haven't forgotten. There's a lonely tree on an island off the coast of New Zealand that's thought to be the only one in the world. How very sad! The rest of the Pennantia Baylisiana species was apparently nibbled away by goats, but scientists are working to bring the tree back from the brink of extinction. Hooray!
There are also holy trees with religious importance. One, called Chapel Oak, is in France and is so called because not one but TWO chapels are built into the oak. If you fancy venturing further, Bahrain is home to the so-called Tree of Life, which survives despite being right in the middle of a seemingly inhospitable desert! The temperature in the area is often above 40 degrees and sandstorms happen frequently, but the tree has green leaves on it all year round. Some say it's the location of the Garden of Eden and it's kept alive by a mystical source of water.
Have you ever seen a tree grow in the middle of a lake?
And finally, my personal favourite cool tree, which I think deserves a mention. In Canada there's a tree that lives on the top of a log that sticks out of a lake. The tree is a Douglas fir tree, and gains all its nutrients from the log – also a Douglas fir. It's actually an award-winning tree (yep, that's right!) because a photographer that took a picture of it won the prestigious Wildlife Photographer of the Year award.
So there you have my top tree facts to get 2018 off to a good start – whilst these spectacular specimens won't feature in your new kitchen any time soon, we have more sustainably sourced timber than you can shake a stick at – so we're well supplied to create solid wood kitchens for you this year.


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HILL Poland
Legal provisionsPRIVACY STATEMENT
Basic information concerning data processing and legal principles
At HILL International, we take the protection of your privacy and personal data very seriously. We treat your personal data strictly confidentially and in accordance with the statutory data protection regulations and the provisions of this data protection declaration.
This data privacy statement informs you of the type, scope and purpose of the processing of personal data within our online content and the web pages, functions and content associated with it (hereinafter jointly referred to as referred to as an "online content" or "website"). The data privacy statement shall apply regardless of the domains, systems, platforms, and devices used (e.g. desktop or mobile), on which the online content is displayed.
For the terminology used, such as "personal data" or the " processing" thereof, please refer to the definitions in Art. 4 of the General Data Protection Regulation (GDPR).
The personal data of the user processed within the scope of this online content include inventory data, contractual data, and usage data.
The term "user" includes all categories of processing the data of data subjects. These include our business partners, customers, potential buyers and other visitors to our online content. The terms used, such as "user" are gender-neutral.
We only process personal data only in accordance with relevant data protection provisions. This means that the user's data are processed only if there is legal permit to do so. That means, in particular, if data processing is required to provide our contractual services (e.g. processing orders), as well as online services or if it is required by law, user consent exists, as well as due to our legitimate interests (i.e. interest in the analysis, optimisation and economic operation and safety of our online content in accordance with Art. 6 (1) letter f of the GDPR, in particular, in the case of reach measurement, the creation of profiles for advertising and marketing purposes, as well as collecting access data and the use of third-party services.
We would like to point out that the legal principle of consent is article is Art. 6 (1) letter a. and Art. 7 of the GDPR; the legal principle for processing to perform our services and carry out contractual measures is Art. 6 (1) letter b of the GDPR, the legal principle for the processing to fulfil our legal obligations is Art. 6 (1) letter c of the GDPR; and the legal principle for processing to protect our legitimate interests is Art. 6 (1) letter f of the GDPR.
We take state-of-the-art organisational, contractual and technical security measures in order to ensure compliance with the regulations of data protection laws and in order to protect the data processed by us against any incidental or intentional manipulation, loss, destruction or against the access of unauthorised persons.
These security measures include, in particular, the encrypted transmission of data between your browser and our server.
Disclosure of data to third parties and third-party providers
Disclosure of data to third parties only takes place within the scope of legal requirements. We only disclose user data to third parties if this, for example, based on Art. 6 (1) letter b) of the GDPR, is required for contractual purposes or based on legitimate interests in accordance with Art. 6 (1) letter f of the GDPR for the economic and effective operation of our business.
Provided that we use subcontractors to provide our services, we take appropriate legal precautions, as well as corresponding technical and organisational measures to provide for the protection of personal data in accordance with relevant legal requirements.
Provided that content, tools or other means of other providers (jointly referred to in the following as "third-party provider") are used within the scope of this data privacy statement and their registered office is located in a third country, it can be assumed that data transfer takes place in the third-party provider's country of domicile. As third countries, countries are understood, in which the GDPR is not a directly applicable law, i.e. in principle, countries outside the EU or the European Economic Area. The transfer of data to third countries is carried out either if there is an adequate level of data protection, user consent exists or otherwise, if a legal permit therefor has been obtained.
Provision of contractual services
We process inventory data and contractual data for the purpose of fulfilling our contractual obligations and services in accordance with Art. 6 (1) letter b of the GDPR.
Within the scope of using our online services, we save the IP address and the user agent string and the time of the respective user action. Saving takes place based on our legitimate interests as well as those of the user in protecting against abuse and other unauthorised use. A disclosure of these data to third parties principally does not occur unless these data are required to pursue our claims or a legal obligation in accordance with Art. 6 (1) letter c of the GDPR exists.
We process usage data (e.g., the visited web pages of our online content, interest in our products) and content data (e.g., entries in the contact form or user profile) for promotional purposes in a user profile in order to show users product information for example, based on the services that they have taken advantage of so far.
When you contact us (via the contact form or by e-mail), the information of the user to process the contact request and its execution are processed in accordance with Art. 6 (1) letter b) of the GDPR
The user data can be stored in our management system or in a similar request organisation system.
We use the online software "Starhunter" by the provider Starhunter GmbH, located in Erika-Mann-Strasse 23, 80636 Munich, Germany, the European Union.
Based on our legitimate interest in accordance with Art. 6 (1) letter f of the GDPR, we collect data on every access to the server, on which this service is located (so-called server log files). The access data include the name of the accessed website, file, date and time it was accessed, the amount transferred data, notification on a successful access, browser type in addition to the version, the user's operation system, referrer URL (the previously visited page), IP address and the requesting provider.
Log-file information is stored for security reasons (e.g. for the elucidation of abusive or fraudulent actions). Data, the further storage of which is required for evidentiary purposes, are exempt from deletion until the final clarification of the respective incident at hand.
Cookies & range measurement
Cookies include information that will be transmitted to the web browser of the users by our web server or the web servers of third parties, and saved there for later access. Cookies can be small files or any other kinds of information storage.
We use "session cookies" that are only stored for the duration of the current visit to our website. A randomly generated unique identification number is stored in a session cookie, a so-called session ID. A cookie also contains information about its origin and the retention period. These cookies cannot store any other data. Session cookies are deleted when you have stopped the use of our online content and, for example, you log off or close the browser.
The users are informed within the scope of this data privacy statement on the use of cookies as part of pseudonymous reach measurement.
If users do not want cookies to be stored on their computer, they are requested to deactivate the related option in the systems setting of their browser. Cookies that have already been saved can be deleted in the system settings of the browser at any time. The exclusion of cookies can lead to functional limitations of this online content.
You may object to the used of cookies, which are used for reach measurement and promotional purposes, via which the deactivation page of the network promotional initiative (http://optout.networkadvertising.org/) and additionally, the American website (http://www.aboutads.info/choices) or the European website (http://www.youronlinechoices.com/uk/your-ad-choices/).
Based on our legitimate interests (i.e. interest in the analysis, optimisation and economic operations our online content in accordance with Art. 6 (1) letter f of the GDPR), we use Google Analytics, a website analysis service belonging to Google Inc. ("Google"). Google uses cookies. The information generated by the cookie about use of the online content by the user are generally transmitted to a server of Google in the USA and stored there.
Google is certified under the privacy shield agreement and this provides a guarantee to comply with European data protection law.
Google will use this information on our behalf to evaluate the use of our online content by users in order to compile reports about the activities within this website and in order to render other services to us, which are associated with the use of this website and the use of the Internet. This pseudonymous user profiles of users can be created from the processed data.
We use Google Analytics to display the advertisements placed within the scope of promotional services provided by Google and its partners only to users, who have shown an interest in our online content or certain characteristics, (e.g. interests in certain topics or products, which are determined on the basis of the visited web pages) that we transfer to Google (so-called "remarketing", or "Google-Analytics-Audiences"). With the help of the remarketing audiences we would also like to make sure that our ads match the potential interest of the users and do not perceived as being irritating.
We use Google Analytics only with activated IP anonymisation. This means that the IP address of the users is abbreviated by Google within member states of the European Union or in other contracting states of the agreement regarding the European Economic Area. The full IP address is only transmitted to a server of Google in the USA and abbreviated there in exceptional cases.
The IP address provided by the user's browser is not merged with other Google data. The users can prevent the storage of cookies by appropriately configuring their browser software; the users can furthermore prevent the capture of the data generated by the cookie and referring to the use of the online content to Google, as well as prevent the processing of data by Google by downloading the browser plug-in available from the following link Download and installing it: tools.google.com/dlpage/gaoptout.
Learn more information about the use of data by Google, settings and objection options on the Google web pages: www.google.com/intl/de/policies/privacy/partners ("Data use by Google for your use of the sites or apps of our partners"), www.google.com/policies/technologies/ads ("Data usage for advertising purposes"), www.google.de/settings/ads ("Manage information that Google uses to show you advertising").
Google Re-/Marketing Services
Based on our legitimate interests (i.e. interest in the analysis, optimisation and economic operations our online content in accordance with Art. 6 (1) letter f of the GDPR), we use marketing and remarketing services (in short "Google Marketing Services") of Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, USA, ("Google").
The Google Marketing Services allow us to show targeted promotional advertisements for and on our website in a more targeted manner in order to only show users ads that potentially match their interests. If ads for products, for example, are shown to a user, for which he had been interested in on other websites, this is called "remarketing". For these purposes, a code is directly run by Google when accessing our and other websites, on which Google Marketing Services and so-called (re-)marketing tags (invisible graphics or code, also referred to as "Web Beacons") embedded into the website. With their help, an individual cookie is stored on the device of the user, i.e. a small file saved (instead of cookies, comparable technologies can also be used). The cookies can be used by different domains, from google.com, DoubleClick.NET, invitemedia.com, admeld.com, googlesyndication.com, or googleadservices.com, among others. In this file, it is noted which websites the user visits, what content he is interested and which offers he clicked on and furthermore, technical information on the browser and the operating system, linking websites, visiting time, as well as other information on the use of the online content. The IP address of the user is detected, wherein, within the scope of Google Analytics, we inform that the IP address within the member states of the European Union or in another contracting state of the agreement on the European Economic Area has been abbreviated and only sent in exceptional cases in their entirety to a server belonging to Google in the USA and abbreviated there. The IP address is not merged with user data within other offers from Google. The above-mentioned information can also be associated with such information from other sources by Google. If the user subsequently visits other websites, the advertisements that have been matched to him according to his interests can be shown.
The user data are processed pseudonymously within the scope of Google Marketing Services. That means that Google does not save a process the names or e-mail addresses of the users, but processes the relevant data in a cookie-related manner with the pseudonymous user profile. That means, from Google's perspective, the ads are not managed and shown for a specifically identified person, but for the cookie holder, regardless of who this cookie holder is. This does not apply if a user has explicitly allowed Google to process the data without the use of pseudonyms. The information collected by Google Marketing Services about users are transmitted to Google and stored on Google's servers in the USA.
The Google Marketing Services used by us include the online advertising programme "Google AdWords". In the case of Google AdWords, each AdWords customer receives a different "conversion cookie". Thus, cookies cannot be tracked using the website of an AdWords customer. The information obtained using the conversion cookie is used to create conversion statistics for the AdWords customers who have opted for conversion tracking. AdWords customers can find out the total number of users who have clicked on their ad and have been redirected to the page with a conversion tracking tag. However, advertisers do not obtain any information that can be used to personally identify users.
We can integrate third-party "DoubleClick" advertisements on the basis of the Google Marketing Services. DoubleClick uses cookies, by means of which it is made possible Google and its partner website to place advertisements based on the visits of users to this website and other websites.
We can integrate third-party "AdSense" advertisements on the basis of the Google Marketing Services. AdSense uses cookies, by means of which it is made possible Google and its partner website to place advertisements based on the visits of users to this website and other websites.
We can also use the service "Google Optimizer". Google Optimizer allows us, in the context of so-called "A/B testing" to understand how different changes of a site have an impact (e.g. changes in the fields of design, etc.). Cookies are stored on the devices of the users for the purposes of this test. Thereby, only pseudonymous user data are processed.
Furthermore, we can use the "Google Day Manager" to manage and integrate the Google analysis and marketing services into our website.
Further information on the use of data by Google for marketing purposes can be found on our overview page: www.google.com/policies/technologies/ads, the data privacy statement can be found at www.google.com/policies/privacy
If you would like to object to the interest-related advertisement by Google Marketing Services, you can use the settings and opt-out options provided by Google: www.google.com/ads/preferences.
With the following information, we would like to explain the content of our newsletter, as well as the registration, sending and statistical evaluation method to you, as well as your rights to object thereto. By subscribing to our newsletter, you agree to the receipt thereof and the method described.
Newsletter content: We only send newsletters, e-mails and other electronic notifications with promotional information (hereinafter to in the following as "newsletters") subject to the consent of the recipient or a legal permit to do so. Provided that the newsletter content has been specifically outlined within the scope of newsletter registration, this content is crucial to the consent of the user. Apart from that, our newsletters contain information on our products, offers, promotions and our company.
Double opt-in and record keeping: Registering for our newsletter occurs within the scope of a so-called double opt-in procedure. That means, following registration, you receive an e-mail requesting you to confirm your registration. The confirmation is required so that no one with third-party e-mail addresses can register. Records of newsletter registrations are kept in order to be able to provide proof of the registration process in accordance with legal requirements. This includes saving the time of registration and confirmation as well, as the IP address used during this process. Any changes of data registered with e-mail service provider will also be recorded.
E-mail service provider: Sending newsletters is carried out via "MailChimp", a newsletter sending platform of the U.S. provider, Rocket Science Group, LLC, 675 Ponce De Leon Ave NE #5000, Atlanta, GA 30308, USA. The data protection regulations of the e-mail service provider can be viewed here. The Rocket Science Group LLC d/b/a MailChimp is certified under the privacy shield agreement and this provides a guarantee to comply with European data protection level.
Furthermore, the e-mail service provider can use these data in a pseudonymous form, meaning without any assignment to a user, in order optimise its own services, for example, for the technical optimisation of sending and displaying the newsletter or for statistical purposes in order to determine what countries recipients are from. However, the service does not use the recipient data of our newsletter to approach recipients directly nor do they pass the information on to third parties.
Registration data: To sign up for the newsletter, it is sufficient, to provide your e-mail address. As an option, we request you to indicate your name in order to address you personally in the newsletter.
Statistical surveying and analysis - the newsletters contain a so-called "web beacon", i.e. a pixel-sized file, which is retrieved from the e-mail marketing server when opening the newsletter. During the download, technical information such as your browser and operating system, as well as your IP address and the time of the download are collected. This information is used for technical improvement of the service, as technical data or target group data can be analysed according to its reading behaviour, its download locations (identifiable through IP addresses) or download times. Statistical data collection also includes an analysis of when the newsletters are opened and which links are clicked upon. Although, this information technically allows the information to be assigned to individual newsletter recipients. However, it is not our aim, nor that of our e-mail service provider, to observe individual users. The analyses are used to recognise patterns in the reading behaviour of our users and adapt our content to them accordingly or send different content according to the interests of our users.
The use of the e-mail service provider, carrying out statistical surveys and analyses as well as keeping record of the registration process occurs based on our legitimate interests in accordance with Art. 6 (1) letter f of the GDPR. Our interest focuses on the use of a user-friendly and secure newsletter system, which serve both our business interests and also corresponds to the expectations of users.
Termination/cancellation - you can cancel the receipt of our newsletter at any time, i.e. withdrawing your consent. Thereby, simultaneously, your consent for the e-mail service provided to send you e-mails and statistical analyses are also terminated. Unfortunately, a separate cancellation of e-mail sending by the e-mail service provider or the statistical evaluation is not possible. A link to cancel the newsletter can be found at the end of every newsletter. If users have signed up only to the newsletter and cancelled this registration, their personal data shall be deleted.
Integration of services and content from third parties
On our website, based on our legitimate interests (i.e. interest in analysis, optimisation and economic operations our online content in accordance with Art. 6 (1) letter f of the GDPR), we use content or service offers of third-party providers in order to integrate their content and services, such as videos or fonts (hereinafter cumulatively referred to as "content"), This always presupposes that the third-party providers of this content can see the IP address of users, since without the IP address they would not be able to send the content to the users' browsers. The IP address is therefore necessary in order to display this content. We strive only to use content from providers who use the IP address to deliver content, and for nothing else. Third-party providers may also use "pixel tags" (invisible graphics, also referred to as "web beacons") for statistical or marketing purposes. The "pixel tags" enable the analysis of information such as the traffic of visitors on the pages of this website. The pseudonymous information may also be stored in cookies on the user's device and may include technical information about the browser and operating system, referring websites, visiting time and other information about the use of our online contenting. It may also be linked to such information from other sources.
The following presentation offers an overview of third-party providers and their content in addition to links to their data privacy statements which contain further references to the processing of data and, already mentioned here in part, possibilities to object (so-called opt-out):
External fonts from Google, LLC., www.google.com/fonts ("Google Fonts"). The integration of the Google Fonts takes place via a server access with Google (generally in the USA). Data privacy statement: www.google.com/policies/privacy/, opt-out: www.google.com/settings/ads/.
Maps provided by the service "Google Maps" of the third-party provider, Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, USA. Data privacy statement: www.google.com/policies/privacy/, opt-out: www.google.com/settings/ads/.
Videos on the platform "YouTube" of the third-party provider Google LLC, 1600 Amphitheatre Parkway, Mountain View, CA 94043, USA. Data privacy statement: www.google.com/policies/privacy/, opt-out: www.google.com/settings/ads/.
Our online content uses functions from the LinkedIn network. The service is provided by LinkedIn Corporation, 2029 Stierlin Court, Mountain View, CA 94043, USA. Each time one of our pages containing LinkedIn features is accessed, your browser establishes a direct connection to the LinkedIn servers. LinkedIn is informed that you have visited our web pages from your IP address. If you use the LinkedIn "Recommend" button and are logged into your LinkedIn account, it is possible for LinkedIn to associate your visit to our website to your user account. We would like to point out that, as the provider of these pages, we have no knowledge of the content of the data transmitted or how it will be used by LinkedIn. Data privacy statement: www.linkedin.com/legal/privacy-policy, opt-out: www.linkedin.com/psettings/guest-controls/retargeting-opt-out.
Functions of the service or the Twitter platform can be integrated within our online content. These functions are provided by Twitter Inc., 1355 Market Street, Suite 900, San Francisco, CA 94103, USA. Through the use of Twitter and the "retweet" function, the web pages you visit will be linked to your Twitter account and made known to other users. In the process, data will also be transferred to Twitter. We would like to point out that, as the provider of these web pages, we have no knowledge of the content of the data transmitted or how it will be used by Twitter. For Twitter's data privacy statement, please go to twitter.com/privacy. Your privacy preferences with Twitter can be modified in your account settings at twitter.com/account/settings.
We use functions provided by the XING network. The provider is XING AG, Dammtorstrasse 29-32, 20354 Hamburg, Germany. Each time one of our pages containing XING features is accessed, your browser establishes a direct connection to the XING servers. To the best of our knowledge, no personal data is stored in the process. In particular, no IP addresses are stored nor is usage behaviour evaluated. Data privacy statement: www.xing.com/app/share.
Plugins are integrated on this site for the social network, Facebook, Provider Facebook Inc., 1 Hacker Way, Menlo Park, California 94025, USA. Facebook plugins can be recognised by the Facebook logo or the "Like button" on our site. An overview of Facebook plugins can be found here: developers.facebook.com/docs/plugins/.
When you visit our site, a direct connection between your browser and the Facebook server is established via the plug-in. This enables Facebook to receive information that you have visited our site with your IP address. If you click on the Facebook "Like button" while you are logged into your Facebook account, you can link the content of our site to your Facebook profile. This allows Facebook to associate visits to our site with your user account. Please note that, as the provider of these web pages, we have no knowledge of the content of the data transmitted to Facebook or of how Facebook uses these data. For more information on this, please take a look at Facebook's data privacy statement at de-de.facebook.com/policy.php
If you do not want Facebook to associate your visit to our site with your Facebook account, please log out of your Facebook account.
External code of the "jQuery" JavaScript framework, provided by the third-party provider, the jQuery Foundation, jquery.org.
Users have the right to obtain information from us about the personal data stored about them, free of charge.
In addition, users have the right to the rectify incorrect data, to restrict processing and to delete their personal data, and, where applicable, to assert their data portability rights and, in the case of assuming improper data processing is being performed to submit a complaint to the competent supervisory authority.
As well, users can principally revoke consent with effect for the future.
The data stored we store are deleted as soon as they are no longer required for its intended purpose and no statutory retention obligations preclude deletion. If the user data is not deleted because it is necessary for other and legally permissible purposes, the processing of the data will be restricted. This means that the data is blocked and not processed for other purposes. This applies, for example, to user data that must be retained for commercial or tax reasons.
According to legal requirements, storage shall be for a period of six years in accordance with Section 257 (1) of the Commercial Code [HGB] (trading books, inventories, opening balance sheets, annual financial statements, commercial letters, accounting records etc.) as well as for ten years in accordance with Section 147 (1) of the Fiscal Code [AO] (books, records, reports, accounting records, commercial and business letters, tax-related documents, etc.).
Users may object to the future processing of their personal data at any time in accordance with the legal requirements. The objection may be lodged in particular against processing for direct marketing purposes.
Data privacy statement changes
We reserve the right to change the data privacy statement in order to adapt it to changes in the law or to changes in the service and data processing. However, this shall only apply with regard to explanations of the data processing. Unless user consent is required or component of the data privacy statement contain provisions regarding the of the contractual relationship with the users, the changes shall only be made subject to the user's consent.
Users are requested to regularly review the contents of the data privacy statement.
HILL specialises in executive search, the search and selection of middle managers and professionals, human resources management, and organisational and management consulting.
We have been successfully operating in Poland since 1992.
Hill International Poland
Mlynarska 7
urszula.walenciuk@hill-international.com
Copyright, 2021, HILL Sp. z o.o.


The Latest Book from Robert K. Brown, "Riders", Now Available!
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Mystery/suspense writer Robert K. Brown is a native of Mobile, Alabama, where he graduated from the University of South Alabama prior to earning a Masters of Science degree at UAB. He is the author of Sonnets, which won an Honorable Mention at the 2008 London Book Festival, The Neighborhood, Blind Luck, and newly released , Riders.
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© 2019 Books by Author Robert K. Brown.