I can't help but look forward to next week's trip to Oakland. It marks the end of induction, and more importantly the end to 28 days of twice daily Decadron (steroid).
Our day to day activity is focused on dealing with the side effects of this drug therapy. Maya's appetite is huge and, even at 230am, is insistent. Last night she ate two helpings of leftovers at 10pm, woke up at midnight for a snack, then woke at 530am for an hour-long meal that included trail mix, chips and salsa, pasta, rice, and pickles.
The effects of the steroid are cumulative, and in the past 10 to 14 days we've seen the visible ones increase quickly–moon face, distended belly, overall weight gain. This is all within the range of 'normal' for this drug over this length of time. Knowing that it's normal and that there's a good chance she'll be reversing these changes over the next few weeks keeps us calm, but weathering a steroid induced fit in the wee hours of the morning caused by the fact that we've run out of crackers is so much harder when you struggle to recognize your own daughter's face under swollen cheeks and eyes.
Sensitive emotions and mood swings are also well within the normal range. We still push Maya to be polite and ask properly for things she wants–but she get to have most anything she asks for. She's can be upset to the point of tears pretty easily–for example if Pelei (our dog) decides to slyly adopt one of Maya's new stuffed animals. What's interesting over the past bunch of days is that Maya appears to be understanding and working to control some of these over-sensitivities on her own. Through all these weeks of uncertainty and numerous toxins flooding her veins, she's finding her own way to adapt and embrace the life going on around her.
Today Pat (Sara's Dad (and cape-less superhero)) and I spent the day with Maya and Linco while Sara was at work. As we alternated between cleaning and food preparation through the day, we watched Maya push away from listlessly resting on the couch and begin engaging in play time, stories, conversation, and creativity. She looks pretty rough around the edges, puffy and bruised and slow moving, and I can't imagine she feels very energetic, but her desire to make the most of a day at home with her Grandpa and little brother couldn't be held back. She spent time in the toyroom playing with Lincoln and reading books with Grandpa; she reclined on the couch with Pat and me and made conversation and told silly stories; she even began wandering around and exploring for new things to do.
Consciously or not, Maya is determined to live and enjoy her life whenever she can. She's not waiting for her belly to shrink or her swelling to subside. She knows we're heading back to Oakland in a few days, and despite our hopes, none of us know exactly what course that visit will set us on. I know Sara and I both struggle with the desire to fast forward this difficult stretch of time, to get nearer to health and real life. But we also know that there is living to do right now. Lincoln and Maya are growing up–they're playing and laughing and bonding more each day. I realized today that for Maya, the path of least resistance is to embrace the love, to engage in the life around her despite all the rest. I've been wearing an orange wristband that says 'strength' as a reminder for myself–I'm so thankful that Maya doesn't seem to need one.
Motherly assessment (Feat. Father)… On Tuesday Maya's ANC had jumped up to 280. This was a nice surprise since the previous Friday it was 12. This needs to be north of 500 for her immune system to offer any real protection, but I think it gives some indication that she's responding. Her platelets had dropped from 149 (after the previous week's infusion) to 92. Platelets only last about a week, so this indicates that she must be making some of her own–also very good news. Her hemoglobin was 9.6 which was about the same as Friday. Overall, this seems very positive–more positive still is the fact that we didn't see any negatives. Sara and I are cautiously optimistic knowing that there is much uncertainty just ahead. We thank you all for your comments, thoughts, prayers, support, love… we're reminded often that we are not alone, and daily that reinforces our strength, hope, and faith.


The president of the Philippines, Rodrigo Duterte, has threatened to expel European ambassadors within 24 hours, accusing their governments without citing evidence of plotting to have Manila expelled from the United Nations. Duterte signaled in a fiery speech he would not tolerate European criticism of his drug war, which has seen police kill at least 3,850 people since he took office 15 months ago and led rights groups to warn of a potential crime against humanity. Duterte accused the European Union of interfering in the Philippines' domestic affairs and alleged it wanted to get the country removed from the UN. The EU has made no public comments about wanting to remove the Philippines from the United Nations, and Duterte did not explain his reasons for suspecting it was.
Unpatched SQL injection vulnerabilities found by Rapid7 researchers in the SmartVista e-payments suite from Switzerland-based BPC Banking Technologies can expose sensitive information. The SmartVista platform is used by major organizations around the world for online banking, e-commerce, ATM and card management, and fraud prevention. The core components of the SmartVista suite are the Front-End and Back-Office systems. Researchers at Rapid7 discovered that the SmartVista Front-End, specifically version 2.2.10 revision 287921, is affected by two SQL injection vulnerabilities. According to the security firm, an attacker who has access to the SmartVista Front-End interface can exploit the flaws to obtain data stored in the backend database. The "Transactions" page in the "Customer Service" section of SmartVista Front-End allows users to view transaction details associated with a specified card or account. However, the fields where the card and account number are entered fail to sanitize user-supplied input. This allows a malicious actor to use specially crafted queries to get the application to display data from the backend database, including usernames, passwords, card numbers, and other transaction details.
President Donald Trump is likely to take a major step against the international nuclear deal with Iran on Friday, laying out a more aggressive approach to Iranian activities in the Middle East that risks upsetting U.S. relations with European allies. "It is time for the entire world to join us in demanding that Iran's government end its pursuit of death and destruction," Trump said in a White House statement that flagged key elements of the strategy. He is to present his plan in a 12:45 p.m. EDT (1645 GMT) speech at the White House, the product of weeks of internal discussions between him and his national security team. U.S. officials said Trump was expected to announce that he will not certify the 2015 nuclear accord between Iran and six world powers, one he has called the "worst deal ever" as it was not, in his view, in the U.S. national interest.


A Japan diaper shortage sounds like the opening line to a bad joke, but it is actually a real problem and causing distress for Japanese parents.
The shortage is caused by Japan's attempt to avoid a high sales tax increase. When consumers learned of the approaching tax increase, they began buying up items like diapers, cigarettes and other consumer goods that are daily necessities for most people.
While Japan is known for its low birth rates, there are still parents in the country that need to diaper their children. The recent diaper shortage has made it hard to do so and has caused frustration among many Japanese parents.
The problem occurred when not only Japanese customers began buying the diapers in bulk, but also Chinese customers. Japan's diapers are high quality and many Chinese consumers prefer them to those made in China and other countries. Other high quality Japanese products were also purchased in large amounts, as were office supplies and toiletries.
Although the increase in sales is good for the economy currently, the higher sales tax may make it less likely for consumers to continue to buy Japanese products. This could cause a slump in the economy in the near future.
While most consumers will eventually have to pay the tax to get the items they want and need, it is likely that many of them will hold out as long as possible, budget differently and pursue other options in terms of stores and manufacturers.
How long do you think the diaper shortage will last and what types of problems could the tax increase cause for Japan's economy?


Oklahoma has always had a legendary music scene, everything from Woody Guthrie to the Flaming Lips and Leon Russell to Wanda Jackson. That legacy continues in renowned music festivals like the Norman Music Festival, the Center of the Universe Festival, OKC Fest and more. Apart from all the great benefits of joining a supportive, diverse, and growing local music scene, Oklahoma offers a prime place for musicians to learn the business of music while they hone their musical craft. Learn more at ACM@UCO's website and the Oklahoma Film and Music Office's Music Guide.
Site works best in Chrome.


text:
Asia Pacific / Crime & Legal
Environment reporter arrested in China over suspected extortion
BEIJING - Beijing police have arrested an environmental reporter and his associates in an apparent extortion scandal, as China works to crack down on corruption in the news media.
A string of corruption scandals in China's news media has shaken the faith of the public in the largely state-controlled industry and in response, the media regulator unveiled tougher rules last year.
The group's ringleader, surnamed Chen, is accused of blackmailing businesses into paying hundreds of thousands of yuan to delete embarrassing online reports about their activities on a website for environmental news, the official Xinhua news agency said.
Their tactics allegedly reaped more than 6 million yuan ($968,836) in profit, with victims ranging from the province of Shandong to far-flung Inner Mongolia, the agency said in an online report.
Chen, his wife and other relatives are suspected of laundering the money through a cultural broadcasting company they set up. He and four associates were arrested late last month, police said on Friday.
The government has vowed to crack down on extortion by journalists, but critics say it has also squeezed freedom of expression.
State media have been a key vehicle of party propaganda, but reforms over the past decade have allowed greater commercialisation and an increase in editorial independence.
LATEST ASIA PACIFIC STORIES
U.S. wants role in efforts to settle South Korea-Japan dispute
The United States will "do what it can" to help resolve festering trade and political disputes between South Korea and Japan, a senior U.S. official said Wednesday after a series of meetings with S...
U.S. needs new bases and new capabilities in Asia to counter China threat, defense chief nominee ...
U.S. President Donald Trump's pick to be the next defense chief has said that new military bases are needed "throughout the Indo-Pacific region" while also urging the fielding of "new capabilities"...
U.S. imposes sanctions on Myanmar commander in chief over Rohingya abuses
The United States on Tuesday announced sanctions on the Myanmar military's Commander-in-Chief Min Aung Hlaing and other military leaders it said were responsible for extrajudicial killings of Ro...
China, fraud, enironment

redpajama_set_name: RedPajamaCommonCrawl


BROOKINGS, S.D. – Feb. 28, 2018 – Daktronics (NASDAQ-DAKT) of Brookings, South Dakota, will join thousands of industry exhibitors and attendees at the ISA Sign Expo 2018 on March 22-24, 2018. Daktronics, celebrating 50 years in business, will exhibit and also contribute to the expo's educational sessions.
Daktronics invites visitors to booth #3300 to hear more about its current theme, "Every Moment Matters." In the effort to make each moment significant, the company helps sign companies become comfortable and profitable selling LED signs and digital networks. In turn, Daktronics appreciates that sign companies are central to the company's success because of their expertise and location in the local market.
The company welcomes all attendees to come to our booth from 10:00 a.m.—12:00 p.m., Thursday and Friday, to visit with Daktronics founder Al Kurtenbach. Al is excited to visit with attendees and share stories about Daktronics history, as well as share his ideas about how to grow a business and answer questions from attendees.
Use promo code 30107 to receive your free trade show passes to the ISA Sign Expo.
ISA hosted its first tradeshow in 1947, growing to be the sign industry's leading event. Last year, the expo opened with record-breaking attendance. Attendees will appreciate the product information and networking opportunities that stimulate success.


text:
Q: convert wchar_t into wstring Sorry to ask such a simple question but I am trying to put a wchar_T into a wstring but when I print it out to check it I get garbage from the wstring.  The code is below:
 wchar_t windowsDir[255];
 memset(windowsDir, NULL, sizeof(windowsDir));
 GetWindowsDirectory(windowsDir, 255);
 std::wstring winDir(windowsDir);

 if (debug){
   wprintf(L"Windows Dir is %s\r\n", windowsDir);
   wprintf(L"Windows Dir is %s\r\n", winDir);
 }

As far as I can tell from the examples I'm doing the right thing so I cannot work out shy I'm getting garbage on the screen.
Thanks, in advance, for your help,
Cheers,
Neil

A: You're using wprintf. This function cannot accept a std::wstring. The primary reason that you should never, ever, use printf and friends or any variable arguments function is that they are completely un-type-safe, and cannot cope with non-POD types in addition- including any C++ Standard library type.
A C++ IOstream would function perfectly correctly here.

redpajama_set_name: RedPajamaStackExchange


text:
require 'buildr'

module Buildr
  module AS3
    module Packaging

      class AiriTask < Rake::FileTask

        include Extension

        attr_writer :target_air, :src_swf, :flexsdk
        attr_reader :target_air, :src_swf, :storetype, :keystore, :storepass, :appdescriptor, :libs, :flexsdk

        def initialize(*args) #:nodoc:
          super
          enhance do
            fail "File not found: #{src_swf}" unless File.exists? src_swf
            cmd_args = []
            cmd_args << "-jar" << flexsdk.adt_jar
            cmd_args << "-prepare"
            cmd_args << target_air
            cmd_args << appdescriptor
            cmd_args << "-C" << File.dirname(src_swf) << File.basename(src_swf)
            libs.each do |key, value|
              puts "key,value", key, value
              cmd_args << "-C" << key << value
            end unless libs.nil?

            puts cmd_args.join " "

            unless Buildr.application.options.dryrun
              Java::Commands.java cmd_args
            end
          end
        end

        def needed?
          return true unless File.exists?(target_air)
          File.stat(src_swf).mtime > File.stat(target_air).mtime
        end

        first_time do
          desc 'create airi package task'
          Project.local_task('package_airi')
        end

        before_define do |project|
          AiriTask.define_task('package_airi').tap do |package_air|
            package_air
          end
        end

        def sign(*args)
          args.each do |arg|
            @appdescriptor = arg[:appdescriptor] if arg.has_key? :appdescriptor
          end
          self
        end

        def with(*args)
          @libs ||= Hash.new
          args.each do |arg|
            case arg
              when Hash
                arg.each do |key, value|
                  @libs[key] = value
                end
            end
          end
          self
        end

      end

      def package_airi(&block)
        task("package_airi").enhance &block
      end

      protected

      def package_as_airi(file_name)
        fail("Package types don't match! :swf vs. :#{compile.packaging.to_s}") unless compile.packaging == :swf
        AiriTask.define_task(file_name).tap do |swf|
          swf.src_swf = File.join(compile.target.to_s, compile.options[:output] || "#{project.name.split(":").last}.#{compile.packaging.to_s}")
          swf.target_air = file_name
          swf.flexsdk = compile.options[:flexsdk]
        end
      end

    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Hong Kong to offer free coronavirus testing for all residents
HONG KONG: Hong Kong will offer free voluntary coronavirus testing for residents, leader Carrie Lam said on Friday, as the global financial hub races to contain a resurgence of the virus over the past month.
The plan, which will enable citywide testing for the first time, is likely to be implemented in two weeks at the earliest, Chief Executive Lam said.
The announcement comes less than a week after China sent a team of health officials to Hong Kong to carry out widespread testing for Covid-19. It is the first time mainland health officials have assisted Hong Kong in its battle to control the coronavirus.
"The situation in Hong Kong is still critical, with the number of cases remaining high," Lam told reporters as she sat in front of a largescreen digital backdrop which read 'Fight the virus with the central government's full support'.
Lam said she had asked Beijing in late July to help increase Hong Kong's virus testing capabilities and facilities. She also sought to dispel fears among some people that China may use it as an opportunity to collect DNA samples for surveillance purposes.
"It is a false accusation and smear to say DNA samples of Hong Kong citizens would be sent to the mainland," Lam said, adding that all samples would be destroyed after testing.
The Chinese territory saw a surge in locally transmitted coronavirus cases at the start of July and introduced a raft of tightening measures including restricting gatherings to two people and making wearing masks mandatory in all outdoor public spaces.
Since January around 3,900 people have been infected in Hong Kong, 46 of whom have died. Hong Kong reported 89 new coronavirus cases on Friday, of which 81 were locally transmitted.


It makes a fine mist that evaporate quickly and leaves you with cool moist air. Keeping you safe from the summer sun and heat whilst still enjoying the outdoors.
This home misting system is the perfect addition to your home and patio for summer.
This system is flexible with high-pressure that is capable of producing the perfect strength mist.
It is perfect for hosting garden parties or just relaxing outside in the fresh air.
1 x standard tap adapter.


text:
American Academy of Neurology issues new guideline for treating infantile spasms
The American Academy of Neurology has issued an updated guideline outlining the best treatments for infantile spasms, a rare type of seizure that can occur in infants and young children. The guideline, which was co-developed with the Child Neurology Society, is published in the 12 June 2012, print issue of Neurology, the medical journal of the American Academy of Neurology.
Infantile spasms is a rare disorder that usually begins in infants aged four to six months. The spasms are a type of seizure that mainly consists of a sudden bending forward of the body with stiffening of the arms and legs or arching of the back while the arms and legs are extended. Infantile spasms rarely respond to the usual anti-seizure medications. Most children with infantile spasms have developmental disabilities later in life.
The guideline found that the adrenocorticotropic hormone (ACTH) therapy may be effective for treatment of infantile spasms. The seizure drug vigabatrin may also be considered for treatment, although evidence suggests ACTH may be more effective than vigabatrin. For children with seizures caused by the genetic disorder tuberous sclerosis complex, however, vigabatrin may be more effective.
The guideline, which is based on a review of all available evidence on treatment for infantile spasms and is an update of a guideline published in 2004, also found that low-dose ACTH is probably as effective as high-dose ACTH and it may lower the risk of side effects.
There is not enough evidence to know whether other treatments, alone or combined, are effective in treating infantile spasms, according to the guideline.
The guideline recommends that early diagnosis and early treatment may lead to better long-term outcomes for children's development and learning skills.
"It is important for parents to talk to their child's doctor if they suspect their child may be having seizures or spasms because early diagnosis and treatment may help in the long term with educational and learning skills," said guideline author Cristina Go, Hospital for Sick Children, Toronto, Canada.
Go noted that children with the syndrome also have a specific pattern that shows up in tests of brain waves, and an EEG (electroencephalogram) is required for confirmation of the diagnosis.
More information on the guidelines can be found here.


text:
Iraq: New contracts will undermine Iraqi independence
Nov 12, 2009 • 11:29 am • by mika
The mega-oil deals signed and pledged in Iraq in last week have been major news, marking another step by the oil majors back into a country that liberated itself from the "robbery and exhaustion practiced by the monopolistic oil companies" in 1972. But the full consequences of the agreements have been hard to untangle.
BP and Chinese CNPC last week signed the full contract to develop the Rumaila field, which was awarded to the consortium in July. Rumaila is a supergiant field, with 17-25 billion barrels of recoverable reserves – 3 times Azerbaijan's total. BP's contract pledges to increase Rumaila's oil production from under one million barrels per day to 2.85 million. On 4th November, Exxon and Shell were awarded the right to develop West Qurna-1, proposing to raise extraction from 270,000 barrels a day to 2.35 million. Eni will similarly increase Zubair's production from 200,000 barrels.
Iraqi Oil Minister Hussein Shahristani has been claiming victory in the negotiation battle, presenting an image of having withstood oil company demands (and US government pressure) for better terms. In July, Baghdad insisted that $2 was the maximum it would pay as a "remuneration fee" per barrel of crude extracted. Apart from BP/CNPC, all the oil companies walked away, grumbling that they deserve higher profits. Now they're back, signing what appear to be the same contracts. E.g. Exxon/Shell's fee for West Qurna-1 is for $1.90 per barrel.
However, there are various reports indicating that the terms were sweetened to tempt the oil companies back. Referring to Eni's deal for Zubair, Carola Hoyos writes on the FT blog :
"Privately, oil executives say Iraq sweetened other fiscal terms that brought the entire project's economics to about half way between the minimum Eni was willing to bid and the maximum $2 Baghdad was willing to pay during the June auction, in which every western oil company except BP walked away complaining about Iraq's unrealistic terms. In June Eni was willing to accept no less than $4.80 a barrel. The new terms make the deal equivalent to the Iraqis paying about $3.80, one executive said.
Others claim that the oil companies had misunderstood the 35% corporate tax rate – that it only applies to the fee paid per barrel, not to net profits, thus improving their rates of return.
Either way, a recent interview with BP Chief Executive Tony Hayward in Petroleum Intelligence Weekly indicates that the oil companies will still be taking major profits from Iraq's oil:
"Q. You've made a very bold move with the Rumaila contract in Iraq. Why did you go so low and isn't the margin so small that it's almost immaterial to you as a company?
A. It's a 65 billion barrel oil-in-place field, the third or fourth largest in the world, of which 12 billion bbl have been recovered and we estimate there's probably 20 billion bbl to be recovered — the range is probably 17 billion-25 billion bbl. Over the last five years we've worked with the South Oil Co. (SOC) exclusively, providing technical support to the field, so we know a lot about the reservoir. That's the first thing — we understand the rocks. We are confident that the returns from this investment will be compatible with other opportunities in our portfolio. That means a 15%-20% return. […]
Q. A return of 15%-20% even with this fee-based structure of $2 per barrel?
A. Yes. It's material because it's a small margin times very many barrels. We are going to take the field from around 1 million barrels per day to nearly 3 million b/d, so 2 million b/d will be incremental production and that adds up to a lot — it's material for BP."
The interviewer was surprised at Hayward's response, as a 10-12% rate of return provides comfortable profit levels. So 15-20% is not what you'd expect given the repeated complaints from Western oil companies and governments that Iraq wasn't giving them fair terms. Furthermore, it reveals the greed behind the previous demands for $4 fees per barrel or Production Sharing Agreements and the lies spun in arguing that these were the minimum terms possible.
Interestingly, Hayward also points to something else important – that BP have been "providing technical support to the field, so we know a lot about the reservoir". Greg Muttitt of PLATFORM warned about this in 2005, that Shell and BP were providing "technical assistance" for various fields to get access to all the geological data. By "understanding the rocks", the companies are able to make a well-targeted pitch for the development licence and beat off competition.
However, the real clincher on why BP will be able to make such high profits is in Haywards's next statement:
"The field is already in production. As you get cost recovery immediately you never have to make very large investments, so even to go from 1 million to nearly 3 million b/d the amount of capital we have to expose at any one moment is not very great as we're getting our money back as production grows."
Iraq's oil, especially in mega-fields like Rumaila, is cheap and easy to get out of the ground. You don't need to invest much to begin receiving large revenues in return. The current comparatively low level of output from these fields is due to the legacy of war and sanctions, which means that boosting production is simple. Former Oil Minister Esam Chalabibelieves that
"During the first months, BP and CNPC will not do much work, because they have to raise output in Rumaila by 10% in three years and that is an easy job for them. The first phase of the Rumaila contract does not need a lot of cash or much effort. South Oil Company did a good job recently, but BP and CNPC will collect the fruits."
BP and CNPC are only committed to spending $300mn in the first 33 months, a small amount for oil majors and a very comfortable length of time in which to guarantee the production increase.
Hayward also inadvertently refers to an issue that has caused much opposition in Iraq:
"Now, people don't really understand the contract and we haven't sought to explain it because we haven't signed it yet. When we have concluded it we will explain it to the investment community.
Hayward is focused on the investment community – BP's true stakeholders. But it doesn't seem to occur to him that the Iraqi people might want to understand a contract that governs 20% of Iraq's proven reserves. With oil making up 95% of Iraqi government revenues, Rumaila alone could be responsible for one fifth of government income.
The lack of full transparency around the terms of the contract, including revenues and who controls development, undermine accountability of the Iraqi government and the ability of civil society to challenge problems with the contracts. This has led to opposition within Parliament, with MPs insisting that oil contracts require Parliamentary oversight. Noor Adin al-Hadyi, an opposition member of the Parliament's oil and gas committee, said the committee could decide to take the issue to court to ask that the contracts be cancelled.
This licence round previously caame under major criticism from both the oil workers' union and the management of the South Oil Company. The Iraqi Oil Ministry went as far as firing Fayadh al-Naama, head of the South Oil Company, in late July for opposing the current contracts.
As neither BP nor the Iraqi government have sought to explain the terms of the deal, it has been particularly difficult to assess the impacts on management and control over Iraq's oil industry. Iraqi oil analyst Munir Chalabi has raised particular concerns over how the contract creates "field operating divisions" (FODs), which exist as legal entities and give BP/CNPC a major role in "their decision-making, control, management, development and operation of all the giant fields." Chalabi feels that these FODs would also would "mean the fragmentation" Iraq's North Oil Company and South Oil Company, which currently produce Iraq's total of 2.4 million barrels per day. Having operated Iraq's oil & gas fields through 30 years of sanctions and war and built up enormous experience, "their role will be reduced to no more than sub-holding companies for the giant oil fields, and limited in their management to distant and marginal fields." The contracts undermine the national oil companies, creating greater pressures towards privatization, threatening a situation where Iraq is no longer able to produce its oil autonomously.
These fears about the carving up of the Iraqi oil companies appear to be confirmed by a further comment by Hayward:
"The model we have agreed with the Iraqis is to carve out of SOC [South Oil Company], which currently operates the field, the operating part for Rumaila. We are going to create a Rumaila operating company which will be principally Iraqi staff into which we are going to put BP technical specialists, much as we did in TNK-BP. So, sprinkle BP and CNPC technical specialists and then have the leadership populated between BP, CNPC and Iraq. It means we get an enormous amount of leverage from not having many people there. So we don't have to deploy hundreds of people to Iraq. The model is exactly what we did with TNK-BP, particularly what we have done at Samotlor."
So BP will maintain "an enormous amount of leverage", while removing Rumaila from the existing Iraqi national oil companies. The state will only retain a minority 25% stake in the Rumaila operating company, down from an originally proposed 51%, leading to further marginalisation.
Hayward's unfortunate example of TNK-BP formally operates as a private company pursuing corporate interests (of BP and its Russian oligarch shareholders), without regard for Russian public interests or needs. The arguments between BP and its rivals over control of TNK-BP can in large part be traced to the Russian shareholder's unhappiness with the level of leverage available to London.
Hayward's comment indicates that BP sees this model as a recipe for success. Increased leverage for BP means reduced leverage for Iraqi national oil companies, the Iraqi state, Iraqi workers and the Iraqi public.
The fact that these contracts are not Production Sharing Agreements is a testament to the successful campaigning and resistance on the part of the Iraqi oil workers and the international solidarity behind them.
However, in their current form, BP and Shell's new deals signal a major threat to Iraq's future ability to control extraction of its natural resources.
Tags: bp, civil society project, contracts, eni, exxon, geology, iraq, labour, psa, rumaila, shahristani, shell, tony hayward, transparency, workers


2. If you had a chance to lead the development from the beginning, what would you have done differently? An inquiring mind wants to know.
In terms of designing the OC, I would have gone for something a lot more open-ended, more about exploration and optional content/companions than critical path game length. I also think I would have asked for engineering to focus on revising game logic roadblocks that prevent modders from extending the ruleset. For example, revising the custom spell list data. Revisions to the resource system and the addition of a manager also would have helped a lot.
And though I know it would have resulted in a lot of resistance and probably less attention from the media, I would have pushed back as much as possible against replacing the renderer. I just don't think we had the time to do it completely and well. It also really screwed up all of our GUI code and changed all of the art asset pipelines throughout production.
But again, this is all in retrospect.
Looking forward to Josh's next project.


The Original All Day Watersports Adventure "Do It All"
The Do IT all is the best watersports trip in Key West.
The only cost is $9.99 and you can take it as many times as you want and the license is good for 1 year.
Key West All Day Watersports Adventure " DO IT ALL"
enjoy a cold beer for the ride back in.
copyright 2013 Sunset Watersports, Inc.


However, not all Pink, Blue, and Green Series words can be represented in object form. So, I went through all the Pink/Blue/Green words and found just the words that can be objects. I've made a list of them (in alphabetical order) which you can find below.
Here we go; have fun!


This will be a part of Rs 5,000-crore initiative as the Ministry has already announced earmarking of 1 per cent of the about Rs 5 lakh crore projects for plantation and transplantation.
"It is our endeavour to save and plant trees to conserve the environment…we had to cut trees for building roads but it will be our effort that trees are not cut, we will encourage transplantion. We will also be planting trees on 1,500 km on July 1," Union Transport Minister Nitin Gadkari today said.
As part of the initiative, four trees in the campus of Road Transport and Highways Ministry, where an automated parking plaza is being built, will be shifted somewhere on the highway, he told reporters.
It will be the first government building to have an automated multi-level car parking facility in its premises at a cost of about Rs 9 crore.
The transplantation could soon be taken on a massive scale and crores of trees could be saved during highways building and other construction activities, the minister said.
He said wide-ranging consultations have already been done with 100 agencies including Malaysian and American consultants on the topic.
"We are encouraging people working in this direction so that no trees are cut in future… We have allocated 1 per cent cost of the road construction for plantation, transplantation, which comes to Rs 5,000 crore," he said.
"NGOs, schools, colleges, charitable trusts, cooperatives, corporates should come forward for this drive. We will plant trees based on the soil of the regions," he added.
The foundation stone for the plaza was laid on May 9. The automated parking lot project is being undertaken by NHIDCL. The facility will comprise ground plus seven floors.


text:
using System;
using System.Collections.Generic;
using System.Data;
using System.IO;
using System.Reflection;
using System.Windows.Forms;
using MySql.Data.MySqlClient;

namespace InterLinq.UnitTests.Server
{
    public class DatabaseCreator
    {

        public static void BuildEmptyDatabase(string connectionString, bool askUserBeforeDelDb, String databaseName, String createScript, String integrityScript, Assembly resourceContainingAssembly)
        {
            List<string> createScripts = new List<string> {createScript};
            List<string> integrityScripts = new List<string> {integrityScript};
            BuildEmptyDatabase(connectionString, askUserBeforeDelDb, databaseName, createScripts, integrityScripts, resourceContainingAssembly);
        }

        public static void BuildEmptyDatabase(string connectionString, bool askUserBeforeDelDb, String databaseName, IEnumerable<string> createScripts, IEnumerable<string> integrityScripts, Assembly resourceContainingAssembly)
        {
            IDbConnection dbConnection = Connect(connectionString);

            CreateDatabase(dbConnection, askUserBeforeDelDb, databaseName);
            UseTestDatabase(dbConnection, databaseName);
            foreach (string createScript in createScripts)
            {
                CreateTables(dbConnection, createScript, resourceContainingAssembly);
            }
            foreach (string integrityScript in integrityScripts)
            {
                CreateIntegrity(dbConnection, integrityScript, resourceContainingAssembly);
            }
        }

        public static void BuildEmptyDatabase(string connectionString, bool askUserBeforeDelDb, String databaseName)
        {
            IDbConnection dbConnection = Connect(connectionString);

            CreateDatabase(dbConnection, askUserBeforeDelDb, databaseName);
            UseTestDatabase(dbConnection, databaseName);
        }

        private static IDbConnection Connect(String connectionString)
        {
            Console.WriteLine("Create and open the connection to the database...");
            IDbConnection dbConnection = new MySqlConnection(connectionString);
            dbConnection.Open();
            Console.WriteLine("Connected to the database :)");
            return dbConnection;
        }

        private static void CreateDatabase(IDbConnection dbConnection, bool askUserBeforeDelDb, String databaseName)
        {
            Console.WriteLine("Create database \"" + databaseName + "\"...");

            IDbCommand existsCommand = dbConnection.CreateCommand();
            existsCommand.CommandText = "SHOW DATABASES LIKE \"" + databaseName + "\";";
            IDataReader existsResult = existsCommand.ExecuteReader();
            bool dbAlreadyExists = existsResult.Read();
            existsResult.Close();
            existsResult.Dispose();
            if (dbAlreadyExists)
            {
                if (askUserBeforeDelDb)
                {
                    if (DialogResult.Cancel == MessageBox.Show("The database  \"" + databaseName + "\" already exists. This database will be deleted. Otherwise the PmMda.Net test cannot proceed.", "Database already exists", MessageBoxButtons.OKCancel, MessageBoxIcon.Information))
                    {
                        throw new Exception("Test aborted because the user rejected to delete the existing \"" + databaseName + "\" database.");
                    }
                }
                IDbCommand deleteDbCommand = dbConnection.CreateCommand();
                deleteDbCommand.CommandText = "DROP DATABASE " + databaseName + ";";
                deleteDbCommand.ExecuteScalar();
            }

            IDbCommand createDbCommand = dbConnection.CreateCommand();
            createDbCommand.CommandText = "CREATE DATABASE " + databaseName + ";";
            createDbCommand.ExecuteScalar();
            Console.WriteLine("Database \"" + databaseName + "\" created successfully :)");
        }
        private static void UseTestDatabase(IDbConnection dbConnection, String databaseName)
        {
            IDbCommand useTestDbCommand = dbConnection.CreateCommand();
            useTestDbCommand.CommandText = "Use " + databaseName + ";";
            useTestDbCommand.ExecuteScalar();
        }

        private static void CreateTables(IDbConnection dbConnection, String resourceName, Assembly resourceContainingAssembly)
        {
            Console.WriteLine("Create the tables for the persistent data objects...");
            IDbTransaction t = dbConnection.BeginTransaction();
            IDbCommand createTablesScript = dbConnection.CreateCommand();
            Stream createTablesStream = resourceContainingAssembly.GetManifestResourceStream(resourceName);
            if (createTablesStream == null)
            {
                throw new Exception("Could not find the database script used to generate the database tables");
            }
            StreamReader createTablesReader = new StreamReader(createTablesStream);
            createTablesScript.CommandText = createTablesReader.ReadToEnd();
            createTablesReader.Close();
            createTablesScript.ExecuteScalar();
            t.Commit();
            Console.WriteLine("Successfully created all database tables :)");
        }

        private static void CreateIntegrity(IDbConnection dbConnection, String resourceName, Assembly resourceContainingAssembly)
        {
            Console.WriteLine("Creating database integrity...");
            IDbTransaction t = dbConnection.BeginTransaction();
            Stream createIntegrityStream = resourceContainingAssembly.GetManifestResourceStream(resourceName);
            if (createIntegrityStream == null)
            {
                throw new Exception("Could not find the database script used to generate the database integrity");
            }
            StreamReader createIntegrityReader = new StreamReader(createIntegrityStream);
            string integrityCommands = createIntegrityReader.ReadToEnd();
            createIntegrityReader.Close();
            // Somehow (don't know why) the commands doesn't succeed if they will be executed as one string :(
            // --> Split the commands into standalone commands and execute one after an other.
            foreach (string integrityCommand in SplitCommands(integrityCommands))
            {
                IDbCommand createIntegrityScript = dbConnection.CreateCommand();
                createIntegrityScript.CommandText = integrityCommand + ";";
                createIntegrityScript.ExecuteScalar();
            }

            t.Commit();
            Console.WriteLine("Succesfully created database integrity :)");
        }

        public static void DeleteDatabase(string connectionString, String databaseName)
        {
            IDbConnection dbConnection = new MySqlConnection(connectionString);
            dbConnection.Open();
            IDbTransaction t = dbConnection.BeginTransaction();
            try
            {
                IDbCommand delDbCommand = dbConnection.CreateCommand();
                delDbCommand.CommandText = "DROP DATABASE " + databaseName + ";";
                delDbCommand.ExecuteScalar();
                t.Commit();
                Console.WriteLine("Successfully deleted the " + databaseName + " database :)");
            }
            catch (Exception)
            {
                t.Rollback();
                throw;
            }
            finally
            {
                dbConnection.Close();
            }
        }

        private static string[] SplitCommands(string commands)
        {
            //string.Split does not work as I would like ;)
            List<String> commandsList = new List<string>();
            int semicolonPos = 0;
            int oldPos = 0;
            while (semicolonPos > -1)
            {
                semicolonPos = commands.IndexOf(';', oldPos);
                if (semicolonPos > -1)
                {
                    string command = commands.Substring(oldPos, semicolonPos - oldPos + 1);
                    commandsList.Add(command);
                    oldPos = semicolonPos + 1;
                    //ignore new line and spaces till the new command starts
                    while (commands.Length > oldPos)
                    {
                        char currentChar = commands[oldPos];
                        if (currentChar == '\r' || currentChar == '\n' || currentChar == ' ')
                        {
                            oldPos++;
                        }
                        else
                        {
                            break;
                        }
                    }
                }
            }
            return commandsList.ToArray();
        }
    }
}


text:
Producers / Production Managers
Smallfoot & Spiderwick Chronicles Director Karey Kirkpatrick boards Irish Film 'Faraway Home'
27 Jul 2021 : News Desk
Karey Kirkpatrick, director of Faraway Home
Hollywood director Karey Kirkpatrick (Smallfoot, Imagine That, The Spiderwick Chronicles) and producer David Barron (Harry Potter film series, Cinderella) have joined the team of Irish film Faraway Home, produced by Powerscourt Pictures.
Faraway Home is a beautiful story of two young Jewish children sent by their parents away from Nazi occupied Austria during World War II on the Kindertransport to London. The children finally end up at a Jewish Refugee farm in Millisle, Northern Ireland, escaping the war and certain death.
Faraway Home is written by Stephen Gibson & Clare Sera in a screenplay adapted from Marilyn Taylor's novel of the same name. Gibson also produces the film through his Irish company Powerscourt Pictures. The feature is developed and backed by Screen Ireland, Northern Ireland Screen, the Vienna Film Commission, and the Vienna Film Institute.
Speaking to IFTN, producer/writer Stephen Gibson said:
"When we shared the Faraway Home script with Karey to direct, it felt like a long shot, but you have to aim high. When he read the script, he was blown away, and came on board, we were over the moon. Karey is a wonderful director, with a track record working with young actors, like young Yara Shahidi in 'Imagine That', and with Sarah Bolger and Freddie Highmore in 'The Spiderwick Chronicles'. It's wonderful to be working with a Hollywood director of his calibre, and we welcome him to our team."
Faraway Home films in Ireland and Vienna early 2022, with an announcement on Cast news expected soon.


Rolex Daytona Replica-Symbol Of Level For women, diamonds are like their life. While for men, watches have the same position. So they all spend a lot of time researching. The Daytona series watches recommended will be never wrong. Without any other shining decoration, it still wins the hearts of customers. If you want to be such handsome men, cheap Rolex Daytona fake watches we are sold can bring you the same feeling.


text:
'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London
Dominic Watson, Progging in the Food Court, 2020 Paper Clay, Plasticine, 70cm x 220cm x 150cm
Patrick Cole, Kiosk, Wood, card, house paint 180 x 265 cm
Dominic Watson, A Decision You'll Soon Regret, 2021, Paper clay, cardboard, emulsion paint 16 x 9 x 18cm
Patrick Cole, Lock down Mask (Pink), Papier-mache, house paint 22 x 28 x 27cm
Patrick Cole, Lock down Mask (Brown), Papier-mache, house paint 16 x 23 x 27cm
Patrick Cole, Lock down Mask (Silver), Papier-mache, house paint 18 x 22 x 25cm
Dominic Watson, Push Gently, 2021, Paper clay, plasticine, glass eyes 38 x 26 x 28cm
Patrick Cole, Pink Barrel, Wood, card, house paint 38 x 32 x 125 cm
Patrick Cole, Motorbike, Wood, card and house paint 140 x 90cm
SoftClog® was a revolutionary commercial cushioned flooring system patented in 1972 in the town of Boston in Lincolnshire. It was rolled out nationwide as part of a retail regeneration scheme that coincided with the 'New Town' boom taking place in Britain at the time. It's USP, alongside its eclectic colour schemes and dynamic patterning, was its ability to cushion the heel (or instep depending on the shopper's gait) for 3/7's of a second longer than any competing rubber manufacturer out there. This was due to a micro layer of polyurethane foam sandwiched in the middle of its 3-tiered structure.
Research proved that this minute extension of podiatric ecstasy beneath the sole of the shopper would release endorphins and serotonin into the body inducing a state of comfort and pleasure. This slows the pace at which people walked, which in turn encouraged shoppers dwell time [1]. Thus, fulfilling their temporary destiny, to shop.
The Centre is an exhibition by artists Patrick Cole and Dominic Watson. The show is set inside the food court of a failing shopping centre. In the middle of the exhibition stands a dilapidated juice bar built by Cole. The circular structure will act as stage and set for a new twenty-minute performance exploring Cole's interest in the storytelling traditions of 'the Bard'. Cole's monologue will discuss the fictional history of the kiosk through personal vignettes and distorted memories. The performed soliloquies will deal with loneliness and anxiety, using humor and pathos to forge a connection with the audience.
Accompanying the kiosk are sculptures made by Watson, a stacked tower of Paper Mache Microwaves. Slowly rotating inside sits a self-portrait of the artist anxiously looking out through the microwave door. He is accompanied by sculptures of food, inflated burgers, plates of ham and eggs perpetually turning. The microwaves function as vitrines, tempting potential consumers to indulge in their visceral pleasure. Two pale white diners made from paper clay are sat sharing an obscenely long sandwich. Their bodies look set in stone, half people half furniture merging into one another. Watson's sculptures explore the human body through the visceral, grotesque and absurd.
1. Dwell Time – the length of time a person spends looking at a display or remaining in a specific area. An essential retail metric for analysing shopping behaviour and increasing customer spending.
2.10.21 — 23.10.21
2.10.21 — 23.10.21 [Kupfer](https://kupfer.co)
Dominic Watson Kupfer London Patrick Cole UK


text:
Success Story with Michelle Good
Michelle Good is of Cree ancestry, a descendent of the Battle River Cree and a member of the Red Pheasant Cree Nation. She has worked with indigenous organizations since she was a teenager and at forty decided to approach that work in a different way—by obtaining her law degree from UBC at 43. She has practiced law in the public and private sector since then, primarily advocating for residential school survivors.
She graduated from UBC with a Master of Fine Arts Degree in Creative Writing in 2014. Her poetry and short stories have appeared in a number of publications. Her first novel, Five Little Indians, won the HarperCollins/UBC Best New Fiction Prize and her poetry has been included in Best Canadian Poetry in Canada 2016 and Best of the Best Canadian Poetry in Canada 2017. Michelle is currently working on her second novel.
Early Stumbles
Not leaving enough to the reader's imagination. It is a challenge to find the balance of telling and showing and just hinting. I think the best writing is nuanced writing as it engages the reader as a participant in telling the story. For example, in Five Little Indians, it was a huge decision about how much detail of the abuse to include. In the end, it was about deciding whose story was being told. This was the survivors' story. In the end I decided that the abusers and abuses were like furniture in a story—it set a stage but didn't populate it.
The Breakthrough
For me, the biggest breakthrough in getting the manuscript to a place where it would be considered for publication was knowing where the story started. This is a structural issue and I think one of the major challenges in creating the book the way you want to it be is understanding where the story begins and ends. I think all writers are a bit haunted by structural issues and deciding which structure best frames the story. At one point I cut the first five chapters of the book and reintegrated them in different places. This edit took me almost a year!
Regardless of whether your novel is plot based or character based, everything must serve the story. The element of balance is critical in terms of what vehicles you use to tell the story, be they characters or plot intricacies. Sometimes I read things and wonder, why is that here? How does it serve the story? There might be a passage that is just so beautiful but it doesn't really serve the story. Cut it! Save it for the story that is dying for it.
And, it might seem contradictory, but, get your head out of the story! I think that you get to a place in the writing of a novel where the whole story is already written in your subconscious. Go there. Let it rise to the page.
The Synthesis
I am currently working on a novel set both in the late 1800s and in the post Second World War era. It follows a young Cree woman as she lives through that terrifying time of resistance as Sir John A. Macdonald made his best efforts to clear the plains and defeat the Metis. It chronicles this time in history, including the experience of having the Northwest Mounted Police chase her Cree band across the border into Montana and the epic journey of making it back home. It also follows this character's granddaughter as she reaches for her best life in spite of the intense limitations indigenous women were subjected to. The book explores the relationship between the grandmother and her granddaughter and how starvation, persecution and dispossession changed and didn't change them.
Check out Michelle's novel Five Little Indians here:
Book Broker – an interview with Patricia Nelson
If I get to page fifty and there still hasn't been an inciting incident, or the main character is being pushed along by
Story Skeleton: Little Women
It's interesting to consider how Alcott may have completed Jo's arc were she given artistic freedom to write as she plea
Book Broker – an interview with Rach Crawford
If you're writing a query letter and the description of your plot begins with something that happens in chapter three or


Cooking your meal with a Thermo Knob cookware helps you finding the perfect blend and taste. With easy read Thermo Knob , you can check the heat inside your fry pan and modify the cooking energy accordingly.
Fungerar för induktion, gas och glashäll.


Live in luxury in the heart of the city near the LSU campus at Baton Rouge's premier luxury condominium community. This upscale condominium is located in the Courtyard building and offers a beautiful view of the private lake and walking path from its private balcony with built-in gas grill. This unit boast a spacious master suite, guest bedroom, guest bath and an additional home office/study that could also be used as a third bedroom or home gym. Open floor plan with dining room, great room and spacious kitchen makes for great entertaining with slab granite countertops, large island, stainless steel appliances and ample counter and cabinet space. This unit has beautiful travertine floors throughout the public spaces and a gas fireplace in the living room. Enjoy living in this retreat complete with lovely community terraces, the private lake and jogging path for residents, resident clubhouse and fitness center, and beautiful resident pool area. Don't miss the opportunity to live in this exclusive and enjoyable community.


text:
Monthly Archives: Mar 2015
Kelis, Al Jarreau And 'Blurred Lines': Does Pharrell Have Form?
So it's official – Pharrell Williams and Robin Thicke ripped off Marvellous Marvin's 'Got To Give It Up' when they wrote 'Blurred Lines' in just one hour (though Thicke denies having any input into the writing of the song).
And The Guardian reports that Pharrell's 'Happy' may now be in the Gaye family's sights too due to its alleged similarity to 'Ain't That Peculiar'.
Trumpet player, composer and blogger Nicholas Payton has written eloquently and passionately about the whys and wherefores of the 'Blurred Lines' case. I won't go into whether I think that verdict is just; suffice it to say that I dig what Mr Payton says, right down the line.
But what's interesting is that Pharrell seems to have previous. Let's investigate the track 'Roller Rink' from Kelis's great 1999 album Kaleidoscope which, according to the credits, Pharrell co-wrote with Chad Hugo and Kelis.
Now compare that with 'No Ordinary Love', credited to Michael Gregory Jackson, which features on Gregory Jackson's 1983 album Situation X and also Al Jarreau's L Is For Lover from 1986, both produced by Nile Rodgers:
Weird. Kelis/Pharrell/Chad haven't even bothered to change key. They've just 'replayed' Gregory Jackson's original with a slightly different arrangement. Their version comes up with a better melody in the verses though the chorus melody just uses the catchy little synth motif from both Gregory Jackson and Jarreau versions.
Michael Gregory Jackson circa 1983
Michael Gregory Jackson started out as a first-call guitarist in the New York avant-garde jazz scene in the mid-'70s. Later in the decade, he reinvented himself as a singer-songwriter and did a pretty job of it, his 1987 solo album What To Where getting rave reviews in Q Magazine and a few other influential rags at the time. But major commercial success eluded him.
Regarding 'Roller Rink'/'No Ordinary Love', maybe Gregory Jackson was just easy to push over. After all, he's jazz. Maybe they did settle out of court. But you'd think at least a songwriting credit might be in order. I wonder how much income Gregory Jackson has lost out on, even though Kaleidoscope wasn't a huge hit album and 'Roller Rink' wasn't a single.
I haven't checked to see if subsequent versions of the CD have different credits but my 1999 Kaleidoscope CD credits state that the track was 'written by K Rogers/P Williams/C Hugo' with no mention of sample permissions etc. The album's Wikipedia page says the same thing.
Posted in Al Jarreau, Articles, Marvin Gaye, Michael Gregory Jackson, Pharrell	/ Tagged aljarreau, happy, kelis, michaelgregoryjackson, nicholaspayton, nilerodgers, pharrellwilliams	/ 2 Comments
Mike Stern: Upside Downside
Atlantic Records, released summer 1986
Bought: HMV Megastore, Oxford Street, 1988?
There's no telling how a jazz musician will react to a bad review, whether from a critic or fellow player. Some, like Miles Davis, take a – how shall we put it – stoic view, either refusing to read any press or choosing his writer friends very carefully (Leonard Feather, Quincy Troupe).
But for every naysayer, there's an aggressor; drum master Tony Williams laid into jazz scribe Stanley Crouch for his less-than-flattering comments on Miles' electric-era music, while Weather Report famously took Downbeat magazine to task for its one-star slagging of 1978 classic Mr Gone.
Though guitarist Mike Stern had studied at the famous Berklee music school in the mid-'70s and then landed a top gig with jazz/pop supergroup Blood Sweat & Tears, he wasn't prepared for bandmate Jaco Pastorius's succinct review of his guitar playing after a dodgy run through Chick Corea's 'Spain' on tour with BS&T one night – 'Stern, you know that sh*t wasn't happening at all! You've got to learn faster tempos!'
Jaco and Mike, 1980
To his great credit, Stern listened to his friend, learnt the tune note by note and in the process became one of the greatest players of his generation. His slick bebop lines played with a 'rock' sound were quite new when he came of age playing with Billy Cobham's band.
Miles was also listening closely while he was in the early stages of putting together his 'comeback' band in early 1981. The story goes that he appeared in the front row of The Bottom Line club in New York City and poached Stern during a break, apparently even calling Cobham off the bandstand in the middle of a tune to issue his intentions!
Stern was then summoned to the Columbia Records studio to record the electrifying half-time strut 'Fat Time' (Miles's nickname for Stern) in one take. The track appeared on the Man With The Horn album and Stern was then invited to go out on the road with Miles.
My dad took me to see Miles at the Hammersmith Odeon in 1982, my first proper gig. I'm sad to say that I don't recall much about it apart from Miles's white suit and someone shouting: 'Turn the trumpet up!'
Dave Liebman, Miles and Mike Stern, 1981. Photo by Julie Coryell
Critics were harsh on Stern, not believing that a chubby, jeans-wearing, long-haired guy playing a white Strat with a fuzzbox could play 'jazz', but with hindsight he did a brilliant job of holding down the harmony and delivering powerful, surprising solos in the keyboard-less quintet.
But the demons that haunted some of his early career wouldn't go away. Stern recently said, 'I played about two gigs in my life between the ages of 12 and 32 when I was sober'.
Miles even got John Scofield into the band as second guitarist to cover for his increasingly unreliable secret weapon. Stern eventually missed a flight and got the boot, but after a successful spell in rehab returned to play with old friend Michael Brecker and Mike Mainieri's fusion supergroup Steps Ahead.
Stern also put together a solo record deal with Atlantic Records and began working on Upside Downside in early 1986 with his late friend and fellow shit-hot guitarist Hiram Bullock in the producer's chair.
The album is a great excuse for Stern to play the hell out his guitar in a variety of idioms. The uptempo tracks are blessed with typically fiery solos while the ballads beautifully demonstrate Stern's lyrical side, his Telecaster screaming emotively above Dave Weckl's subtle drumming and Mark Egan's springy bass.
Jaco completists will enjoy one of his very last recorded contributions on the raucous 'Mood Swings' while saxophonist David Sanborn's playing on 'Goodbye Again' is spine-tingling. But mainly the album is a must for any lover of the guitar. His sound is a little more fluid and widescreen than on recent albums and there's no-one quite like Stern at the top of his game, a fusion of Charlie Parker and Roy Buchanan.
Mike made two excellent follow-up albums later in the '80s, Time In Place and Jigsaw, both produced by the fine guitarist Steve Khan. For me, this was Stern's best era, when his raunchy playing was closer to blues and rock than the lighter Methenyesque jazz and World music vibes of recent times. I also saw him live at the Town and Country Club in 1989, a memorable gig featuring the mind-blowing Dennis Chambers on drums.
Further reading: 'The Extraordinary And Tragic Life Of Jaco Pastorius' by Bill Milkowski
Posted in 1986, Album Reviews, Artist overviews, Fusion, Jazz, Mike Stern	/ Tagged billmilkowski, billycobham, daveweckl, davidsanborn, dennischambers, hirambullock, jacopastorius, johnscofield, markegan, mikestern, milesdavis, patmetheny, roybuchanan, stevekhan, upsidedownside	/ 9 Comments
Danny Wilson: Bebop Moptop
Virgin Records, released 17th July 1989
Bought: Our Price Richmond 1989
Summer 1989. Change was in the air. A new decade beckoned. De La Soul, acid house, Madchester, Kylie/Jason/Bros and New Kids On The Block were in. School was out…forever.
Sixth-form college beckoned – but not quite yet. There was tennis to be played, Thunderbird wine to be drunk and music to be bought/played.
I was listening to Stevie Wonder's Talking Book, Prince's Batman and Sly Stone's Fresh. And Bebop Moptop, Danny's underrated second album.
Apparently they turned down a few big-name US producers to helm the album themselves, and some might say they could have done with a slightly tighter quality control check. But for my money this more than justifies the potential of the debut.
'Imaginary Girl', 'Loneliness' and 'The Ballad of Shirley MacLaine' are dramatic torch songs taking Sinatra as their starting point, while 'Never Gonna Be The Same', 'If Everything You Said Was True' and 'Goodbye Shanty Town' are superb updates of the Steely style, the latter even throwing in some great 'New Frontier' sequenced synths.
'If You Really Love Me Let Me Go' beautifully captures the subtlety and craft in their method; check out the passing piano chords that enjoin the various sections, livening up what could easily be a humdrum progression in another band's hands.
The heavy lead guitar and synth bass of 'Charlie Biz' suggest the lads had been listening to Prince's Lovesexy. 'Second Summer Of Love' is a super-catchy, throwaway folk pastiche, and the only hit from the album, reaching UK number 23. Slightly less successful are 'I Can't Wait' and the shambolic 'NYC Shanty', but no matter; they can't stop this from being a first-class album with songs that are built to last.
Although Bebop Moptop reached number 24 in the UK album charts and sold more than the debut album, the lads went their separate ways after the promotion work was done and a few live dates undertaken.
I saw them at the London Town And Country Club in autumn 1989 where a lavish, no-expense-spared backing band superbly recreated almost every nuance of the two albums.
Gary Clark resurfaced four years later with a fine solo album Ten Short Songs About Love, which could almost be viewed as Danny album number three as it featured sizeable contributions from both Kit Clark and bassist Ged Grimes (currently the bassist for Simple Minds).
But Bebop Moptop rounded off my 1980s in a very classy way. Goodbye, Danny – for now…
Posted in 1989, Album Reviews, Danny Wilson, Pop	/ Tagged dannywilson, donaldfagen, franksinatra, garyclark, lovesexy, prince, steelydan, virginrecords	/ Leave a comment
Love And Money's James Grant on classic album 'Strange Kind Of Love'
In the miasma of soap-opera tie-ins, boy-band debuts, one-hit wonders and Stock, Aitken and Waterman productions that constituted late-'80s pop, Love and Money's second album Strange Kind Of Love was a breath of fresh air.
Released in December 1988 and produced by legendary Steely Dan helmer Gary Katz, the record was a triumph. James Grant's literate, dramatic songs of romantic anguish and corporate avarice were built to last.
Musicians had a field day with Grant's intricate guitar work and the rock-solid grooves courtesy of drum legend Jeff Porcaro and underrated bassist Bobby Paterson. Critics of the time were generally confused but I was sold from the first bar of 'Hallejulah Man'.
Funkier than the likes of Curiosity Killed The Cat or Hipsway but lyrically just as piquant as The Smiths or The The, Love And Money joined Prefab Sprout, Prince, The Blue Nile, Danny Wilson, David Sylvian, De La Soul, Scritti Politti and Cocteau Twins in my list of late-'80s pop saviours.
I caught up with singer/songwriter/guitarist James Grant to talk Strange Kind Of Love, Jeff Porcaro, Tom Waits, touring with Tina Turner, 'Top of the Pops' and '80s marketing meltdowns.
Love And Money 1988
MP: Could you just give us a quick bit of background to Strange Kind Of Love – what were the expectations for album number two and how did you come to work with Gary Katz?
JG: I always felt the first album was disparate and didn't marry the different influences well. We sounded too desperate to impress. I was also anxious to prove that I was more than just a haircut. For Strange Kind Of Love, I had written the album and we had lived with the songs for a while. The mantra was: the song is king. Meaning that the song would dictate how it was meant to be, what was appropriate and what was not. The desire was to create something timeless and the man to facilitate that was Gary Katz. He had a track record that spoke for itself. He just seemed perfect. We set up a meeting – I flew to New York – and we just hit it off right away. There was a symbiosis, a shared desire to make great records, and we liked each other. We're still pals to this day.
Lyrically, SKOL focuses mainly on the anguish, pain but also joy of romantic infatuation. Was there a particular relationship that precipitated this or had these songs built up over time?
Yes, there was someone in particular, but obviously there's poetic license. Songwriters deify those we love. I just happened to think – and still do – that besides knowing you are going to die, being in love is the utmost existential experience there is. I was young, heartbroken and hungry; the right ingredients to make great music! I also had the distinct feeling that great songs contain a truth, perhaps not the literal truth but a truth. I wrote about myself; this tended to get uncomfortably forensic at times for those close to me.
Jeff Porcaro 1988
How much of a contribution did the great Jeff Porcaro make to SKOL's arrangements and why is his surname misspelt in the credits? Was there enough budget to get him for rehearsals? His playing seems so integral to the material.
Jeff didn't make any contribution to the arrangements – that was all planned months before we even met. I have no idea why his name is misspelt. We did the drums over a month in LA. Sometimes we just jammed the thing till we got the right vibe. On other tracks, I had a more concrete idea of what I wanted. For example, on 'Razorsedge', I wanted a go-go beat. I just went in with my guitar and told him what I was hearing. He just started playing this incredible, jaw-dropping stuff. Yes, we had the budget. Jeff was a brilliant, phenomenal musician. I felt like I had f***ing boxing gloves on sometimes when we were jamming but he never ever made me feel like that. He was a beautiful guy, great fun to be with and genuinely humble about his achievements and ability.
The four sublime singles from the album just missed out on the UK Top 40 – was that a disappointment? Was there pressure from Phonogram to get that first UK or US hit?
Yes – it was always a disappointment. You try and be stoic and say, 'That's not what it was about', but we were gutted. We so nearly made it with Strange Kind Of Love. I always wanted to do 'Top of the Pops'. If that's shallow, then so be it. I grew up watching Slade and Bowie and prancing around in front of my bedroom mirror imitating them – it was my dream to be part of that, just like any kid. There wasn't pressure from Phonogram as such; they were trying their best with us. It just wasn't to be. I do believe that if we had had the success, Dogs In the Traffic may not have happened. That's the Love And Money record I'm most proud of and it's most representative of who I am. Perhaps that's why I find it so hard to listen to…
Why is Tom Waits thanked in the album credits? And presumably (Steely Dan singer/co-leader) Donald Fagen is thanked because of the Katz connection?
Because I'm a fan and he was and still is a massive inspiration. It wouldn't be easy to tell if you were judging this from the record. Donald Fagen played a little something. I've always kept that a secret. We didn't want to make an issue of it or make it something marketable.
Gary Katz
You play some fantastic lead guitar on the album and also some really inventive acoustic/electric textural stuff – did Gary Katz's experience with the likes of Larry Carlton and Jeff 'Skunk' Baxter have any bearing on your playing?
Not really – Gary would have me playing for weeks on end though. I reckon I came on a bit during my time with him. And thank you.
SKOL doesn't really sound like anyone else from the era and stands up exceptionally well today. At the time of release, some critics rather snootily compared it to Dire Straits and Deacon Blue but were there contemporary artists the band admired or were influenced by?
No, not especially – my tastes have always been very eclectic. In terms of marketing, this always led to problems; 'Are you guys rock, pop, funk or country?' 'Yes…' I did love Bowie, Talking Heads, Chic, Led Zeppelin and Prince – I can hear certain little things from all of them here and there.
Who is Beatrice Colin? Her voice compliments yours beautifully, especially on 'Walk The Last Mile'.
She was my girlfriend. She's an author now.
Who came up with the album cover concept? Studying it again, it's one of the weirder covers of the '80s…
Someone in the marketing department at Phonogram saw a photograph like the one on the cover and we decided to recreate it. Though I've always believed it to be extremely important, the amount of time and money invested in things like artwork was, by today's standards, science fiction. We would have months of meetings discussing details. People would have nervous breakdowns!
You toured with and supported various US acts such as BB King and Tina Turner in the late-'80s – any memories that stand out? I loved your playing with Tom Verlaine on The Tube.
The one anecdote that would perhaps stand out is that when we supported Tina Turner, when I introduced the band, I said, 'Hi, we're not Tina Turner, she'll be on a bit later.' I thought this was amusing. Tina's management did not. We were kicked off the tour. You'd think we would have been disappointed by such a thing, but – and I'm really proud of this – we did not give a f*ck.
I saw you revisiting SKOL on a memorable night at the Shepherds Bush Empire a few years ago – how do you feel about the album and its place in '80s music now?
I'm really proud of it. It's of its time, certainly, but a bit more than that. I think sonically it's absolutely spot-on – it still sounds fantastic. I always think of the band's place in the greater scheme of things as awkward. I think, as I said previously, we were difficult to categorise. This seemed to be a huge problem for some people. I never tried to make 'difficult' music. I still don't. I think my tastes are fairly mainstream. Perhaps lyrically things are a bit more challenging at times, but even so, I don't think they are wilfully arcane or esoteric.
Thanks James.
Posted in 1988, Album Reviews, Interviews, James Grant, Love and Money	/ Tagged donaldfagen, garykatz, jamesgrant, jeffporcaro, loveandmoney, steelydan, strangekindoflove, tinaturner, tomwaits	/ 7 Comments
Lyle Mays: Street Dreams
Geffen Records, released 1988
Bought: Virgin Records Oxford Street, 1988
I was a fan of most things jazz/rock as a 16-year-old, scuttling off to HMV or Virgin in central London to buy the latest stuff by John McLaughlin, Mike Stern, Steps Ahead, John Scofield, Bireli Lagrene and Miles.
Whilst Pat Metheny was never a favourite, I dug American Garage and 80/81, and always had a soft spot for Lyle Mays' keyboard playing. His 1987 debut album featured a fantastic band (Bill Frisell, Marc Johnson, Billy Drewes, Alex Acuna and Nana Vasconcelos) and promised a lot for the future.
1988's Street Dreams didn't disappoint. It is to some extent a big-budget 'vanity project', full of guest appearances and experiments, but it's all the better for that and virtually impossible to categorise.
Recorded exclusively at the Power Station in New York, Street Dreams has the range and ambition of some key pop albums of the era – yup, this is fusion's Welcome To The Pleasuredome… It also for the most part avoids the new-age sentimentality that Metheny is sometimes prone to.
I delved deeply into Street Dreams – it was a real Walkman album, creating a movie in one's mind. To this day, I seldom listen to a tune in separation; I have to check out the whole thing in one sitting.
'Feet First' sounds like an outtake from Donald Fagen's Nightfly with the vocals taken off (and features some classic Steve Gadd); 'August' and 'Hangtime' are superb tone poems featuring tasteful work from Frisell, Johnson and Peter Erskine.
'Before You Go' is space-age muzak with sprawling orchestrations out of the Claus Ogerman book, and 'Possible Straight' is cracking big-band jazz with some great drumming by Steve Jordan.
The title track is just bonkers and has to be heard to be believed. It takes in elements of prog rock, minimalism (with its Reich-influenced marimba), New Age textures and a playful, Hermeto Pascoal-style Latin workout with Mays' piano at its most Keith Jarrett-like.
Here's part 2:
Compared to the sterility of most major-label jazz releases these days, Street Dreams still sounds pretty fresh, even if it is a touch lighter than what passes for jazz/rock or fusion in 2015.
Posted in 1988, Album Reviews, Fusion, Jazz, Lyle Mays	/ Tagged billfrisell, clausogerman, lylemays, marcjohnson, patmetheny, petererskine, stevegadd, stevejordan	/ 2 Comments
Claudia Brucken: Bush Hall, London, 12th March 2015
Ex-Propaganda/Act vocalist (and, dare we say, '80s icon?) Claudia Brucken has enjoyed a real career renaissance in the last decade.
Her recent studio albums have featured collaborations with members of Heaven 17, Depeche Mode, Erasure and OMD, and new release Where Else is a very strong record of torch songs which foregrounds fine melodies and an unexpected '60s pop influence.
The Bush Hall was the perfect venue for this classy, deceptively low-key return to the London stage. With a minimalist red-curtain backdrop and versatile two-man backing band, Claudia began the gig seated but moved through the gears with consummate ease.
Her vocals sounded rich and rounded, a big improvement on the last London gigs in 2013, and it was also great that she kept audience banter to an absolute minimum, a lesson to some younger artists who seem desperate to pass the time of day with audiences given half a chance.
Where Else was played pretty much in sequence as is the current way, and what's clear is that the new songs are stark and slight but very catchy, with attractive, slow-burning melodies.
To go along with the string synths, piano and digital beats, there was generally an unmistakable Zombies/Colin Bluntstone influence on the new material too, with some distinctly Doors-style keyboards thrown in for good measure.
The resplendent, still striking 'Duel' (which my companion very adroitly pegged as the sound a-Ha had vainly aimed for throughout their career) and 'P-Machinery' were saved for the rapturously-received encores, and a rousing cover of Bowie's 'Everyone Says Hi' was perfectly judged.
The gig was crying out for a real drummer though (paging Neil Conti…) to add more of the human element, but budgets are budgets.
If all her stars are aligned, Brucken might yet enjoy an Everything-But-The-Girl-style sleeper hit. What seems unlikely is any kind of Secret Wish 30th anniversary tour; she seems very happy and musically fulfilled where she is right now.
Posted in Claudia Brucken, Live Reviews	/ Tagged claudiabrucken, davidbowie, depechemode, heaven17, omd, propaganda	/ Leave a comment
Simple Minds: Empires And Dance
Arista Records, released 12th September 1980
Before their mid-'80s commercial peak, Simple Minds were an art-rock band par excellence.
They fitted perfectly into the post-punk landscape and on Empires And Dance, their third album, they certainly wore their influences boldly on their sleeve – Kraftwerk, Can, Roxy, Joy Division, Eno, Magazine, Velvet Underground, 'Lodger'-era Bowie – but combined them exceptionally well.
Musically very strong, with Derek Forbes' memorable basslines very much to the fore, this uncompromising album combines motorik beats with doomy vocals, Eno-style ambience, jagged post-punk guitar and deliciously sludgy synths.
Jim Kerr's travelogue lyrics compliment the music perfectly, snapshots of bleak European passport controls, attempted assassinations and wintery landscapes. Producer John Leckie brings his usual spirit of experimentation and lays on the brittle, creeping sense of paranoia.
While the one-chord grooves tire a bit on 'Today I Died Again', 'Celebrate' and 'Capital City', the Euro-funk of 'I Travel' and 'This Fear of Gods' chills the blood. 'Twist/Run/Repulsion' is almost an early example of sampling with its random speech, out-of-phase horn blasts and queasy, looped drums. Kerr channels Bowie's 'African Night Flight' with his high-speed rap (though on the demo he took a different approach).
'Thirty Frames a Second' and 'Constantinople Line' almost approach the work of Throbbing Gristle and Gary Numan with their garish synth tones and forbidding atmospheres. 'Kant Kino', named after a Berlin art-house cinema, pits a slight but very catchy Charlie Burchill guitar melody against amplifier hiss, tape echo and synth drone; Eno would surely approve and the track was possibly an influence on U2's '4th Of July'.
The closer 'Room' could almost have come from the first Velvet Underground album (though they could have done with playing to a click track; the song almost doubles in speed by the end…).
Empires And Dance peaked at 41 in the UK album charts. It might have gone higher had Arista Records pressed more than just 7,500 copies at a time. The band couldn't get off that label fast enough (like Iggy Pop).
But Peter Gabriel became a major fan and took them on tour with him throughout October and November 1980, allegedly paying most of their expenses.
Empires And Dance is very interesting album indeed and a great companion piece to Bowie's Berlin trilogy, Peter Gabriel III and Talking Heads' Remain In Light.
Posted in 1980, Album Reviews, Post-Punk, Simple Minds, Synth Pop	/ Tagged davidbowie, johnleckie, joydivision, kraftwerk, petergabriel, Post-Punk, simpleminds, Synth Pop, virginrecords	/ 4 Comments


Mashup Exporters is a coalition of Leather Ware business belongs to the families of Mr. Abubakar Tariq & Mr. Hamza Hanif since 2014, having Business Concerns in various manufacturing sectors since 2014 from Leather field & Sports Goods manufacturing in past from Karachi city to getting status as a Largest Manufacturers of Home Textiles sector in the textile city of Sialkot.
MASHUP EXPORTERS were the trendsetter in Southern Italy Leather market, supplying millions of meter HIGH quality Pure Leather products along with the sports ware and Household items started to add into the list further by the time.Many items were introduced by Mashup Exporters in that period of time.
The targeted customers were the wholesalers but eventually the quality products become so trendy in the sector that customers started to supply big super market chains, like in FRANCE "Carrefour, Giga, Auchan, Babou, Cora, Gifi, Lidal, Monoprix, Aldi, Casino, Intermarche,", and various others. Later our network expands into more European Countries like The Netherlands (Action Stores, Makro, Metro, Hema, V&D, Aldi NL, Watson, Albert Hejin, C&A, Blokker, H&M, Leenbakker, Damai, & many other stores), Germany & Belgium, & most recently United Kingdom. Most of our customers are the suppliers of chain stores and we are considered some of the top suppliers because of timely deliveries and introducing new qualities in the market.