text:
<?php
/**
 * (X)HTML Parser
 *
 * @author Frederic BAYLE <contact (at) made-in-softland (dot) com>
 * @version 2017-08-03
 */

namespace EDP\Web\Parser;

use EDP\EDPObject;
use EDP\Localization;
use EDP\Regex;
use EDP\Runtime\Exceptions\Exception;
use EDP\Str;

/**
 * (X)HTML Parser
 */
class HtmlParser extends EDPObject
{
    /**
     * Next automatic EDP control ID index
     *
     * @var int
     */
    public static $NextControlIndex = 0;

    /**
     * Gets the next automatic EDP control ID
     *
     * @return string Next automatic EDP control ID
     */
    public static function GetNextControlID()
    {
        return 'ctrl' . HtmlParser::$NextControlIndex++;
    }

    /**
     * Parses a HTML attribute to extract CSS styles
     *
     * @param  string $pAttrValue HTML attribute value
     * @return array              Array containing the CSS styles
     */
    public static function ParseCSSStyles($pAttrValue)
    {
        $ReturnValue = [];
        $RxCSSStyles = new Regex('\s*(?<stylename>.+?)\s*:\s*(?<stylevalue>.+?)\s*(;|$)', 'mi');
        $CSSStylesMatches = $RxCSSStyles->Matches($pAttrValue);
        if(count($CSSStylesMatches) > 0)
        {
            for ($i = 0; $i < count($CSSStylesMatches['stylename']); $i++)
            {
                $ReturnValue[$CSSStylesMatches['stylename'][$i]] = $CSSStylesMatches['stylevalue'][$i];
            }
        }

        return $ReturnValue;
    }

    /**
     * Parses an opening or self closing HTML tag to extract attributes
     *
     * @param  string $pHtmlTag Tag HTML code
     * @return array            Associative array containing the attributes
     */
    public static function ParseHtmlAttributes($pHtmlTag)
    {
        $ReturnValue = [];
        $RxHtmlAttributes = new Regex('\s+(?<attrname>[-a-z]+)\s*=\s*(?<attrvalue>\'[^\']*?\'|"[^"]*?")', 'mi');
        $RxHtmlAttributeValueCleanup = new Regex('^[\'"]|[\'"]$');

        $HtmlAttributeMatches = $RxHtmlAttributes->Matches($pHtmlTag);
        if(count($HtmlAttributeMatches) > 0)
        {
            for ($i = 0; $i < count($HtmlAttributeMatches['attrname']); $i++)
            {
                // Cleaning attribute leading and ending quotes
                $ReturnValue[$HtmlAttributeMatches['attrname'][$i]] = $RxHtmlAttributeValueCleanup->Replace($HtmlAttributeMatches['attrvalue'][$i], '');
            }
        }

        return $ReturnValue;
    }

    /**
     * Parses a HTML content to extract EDP controls
     *
     * @param  string      $pHtmlContent       HTML content
     * @param  ControlNode $pParentControlNode Parent node
     * @return array                           Array containing the EDP controls
     * @throws Exception
     */
    public static function ParseHtmlContent(&$pHtmlContent, $pParentControlNode = null)
    {
        // There's a parent node, checks if a closing tag exists
        if($pParentControlNode !== null)
        {
            if(!Str::Contains($pHtmlContent, '</edp:' . $pParentControlNode->TagName . '>'))
            {
                // No closing tag, error
                throw new Exception(Str::Format(Localization::GetEDPL10n('EDP\Web\Parser\HtmlParser::ParseHtmlContent_ErrNoClosingTag'), $pParentControlNode->TagName));
            }
        }

        $ReturnValue = [];
        $RxEDPControls = new Regex('<edp:(?<openingtagname>[a-z]+)(\s+[a-z]+\s*=\s*(\'[^\']*?\'|"[^"]*?"))*(?<tagending>\s*/>|\s*>)|</edp:(?<endingtagname>[a-z]+)>|<\?.+?\?>', 'msi');
        $RxPHPCommentCleaner = new Regex('/\*.*\*/|//[^\n]*|#[^\n]*', 'msi');
        $RxPHPEmptyStatementTester = new Regex('^<\?(php)?=?\s*\?>$', 'msi');

        // While there is an EDP control in HTML content
        while($RxEDPControls->IsMatch($pHtmlContent) == true)
        {
            // Extracts opening tag and its index
            $EDPControlMatch = $RxEDPControls->Match($pHtmlContent);
            $EDPControlIndex = Str::IndexOf($pHtmlContent, $EDPControlMatch[0]);

            // Processing capture
            if ($EDPControlIndex > 0)
            {
                // There'is some text before control, creates a text node
                $TextNodeItem = new TextNode();
                $TextNodeItem->Content = Str::Substring($pHtmlContent, 0, $EDPControlIndex);

                // Adds it to the result
                $ReturnValue[] = $TextNodeItem;

                // Deletes it from the HTML content
                $pHtmlContent = Str::Substring($pHtmlContent, $EDPControlIndex);
            }
            else if (Str::StartsWith($EDPControlMatch[0], '<?'))
            {
                // It's PHP code, check if it contains something else than comments
                $TmpPHPContent = $RxPHPCommentCleaner->Replace($EDPControlMatch[0], '');
                if(!$RxPHPEmptyStatementTester->IsMatch($TmpPHPContent))
                {
                    // It contains executable code, converts it to an EDP Literal control that will contain this code
                    $PHPLiteralControlNodeItem = new ControlNode();
                    $PHPLiteralControlNodeItem->TagName = 'PHPCode';
                    $PHPLiteralControlNodeItem->ClassName = 'EDP\Web\Controls\Literal';
                    $PHPLiteralControlNodeItem->Attributes = [
                        'Text' => $EDPControlMatch[0]
                    ];

                    // Adds it to the result
                    $ReturnValue[] = $PHPLiteralControlNodeItem;
                }

                // Deletes it from the HTML content
                $pHtmlContent = Str::Substring($pHtmlContent, $EDPControlIndex + Str::Length($EDPControlMatch[0]));
            }
            else if ($pParentControlNode !== null && isset($EDPControlMatch['endingtagname']) ? $pParentControlNode->TagName == $EDPControlMatch['endingtagname'] : false)
            {
                // It's the closing tag of the parent node, removes it from the HTML content
                $pHtmlContent = Str::Substring($pHtmlContent, $EDPControlIndex + Str::Length($EDPControlMatch[0]));

                // Returns the result
                return $ReturnValue;
            }
            else
            {
                // It's an EDP control, creates a control node
                $ControlNodeItem = new ControlNode();
                $ControlNodeItem->TagName = $EDPControlMatch['openingtagname'];
                $ControlNodeItem->Attributes = HtmlParser::ParseHtmlAttributes($EDPControlMatch[0]);

                if($ControlNodeItem->TagName == 'UserControl')
                {
                    // It's an UserControl, determines the class name to instanciate (ClassName attribute)
                    if(!isset($ControlNodeItem->Attributes['ClassName']))
                    {
                        // No ClassName attribute -> error
                        throw new Exception(Localization::GetEDPL10n('EDP\Web\Parser\HtmlParser::ParseHtmlContent_ErrUserControlClassName'));
                    }
                    $ControlNodeItem->ClassName = $ControlNodeItem->Attributes['ClassName'];
                    unset($ControlNodeItem->Attributes['ClassName']);
                }
                else
                {
                    // Other EDP control, determines the class name to instanciate
                    $ControlNodeItem->ClassName = 'EDP\Web\Controls\\' . $ControlNodeItem->TagName;
                }

                // Deletes tag from the HTML content
                $pHtmlContent = Str::Substring($pHtmlContent, $EDPControlIndex + Str::Length($EDPControlMatch[0]));

                if(!Str::EndsWith($EDPControlMatch[0], '/>'))
                {
                    // It's a container control, parses its children
                    $ControlNodeItem->Controls = HtmlParser::ParseHtmlContent($pHtmlContent, $ControlNodeItem);
                }

                // Adds the control to the result
                $ReturnValue[] = $ControlNodeItem;
            }
        }

        // There's no EDP control at all, checks for remaining plain text
        if(!Str::IsNullOrWhiteSpace($pHtmlContent))
        {
            // There('s some text, creates a last text node
            $TextNodeItem = new TextNode();
            $TextNodeItem->Content = $pHtmlContent;

            // Adds it to the result
            $ReturnValue[] = $TextNodeItem;
        }

        return $ReturnValue;
    }
}


Our aim at Vacation Care is to ensure that all children are safe, happy and enjoy themselves during school holidays.
Below is a calendar of activities available to your child at Our Place.
If your student is a Sheldon College student, please register via iLINQ.
For families not currently enrolled at Sheldon College, please complete the form below and Michelle Luhrmann will be in contact with you.


text:
Sam Silverman est un promoteur de boxe américain né le  et mort dans un accident de la route le .

Biographie
Considéré comme le promoteur le plus prolifique de la Nouvelle-Angleterre avec plus de 10000 combats organisés en plus de  de carrière, il a notamment été à l'origine de 32 des 49 combats de Rocky Marciano et au total de 25 championnats du monde parmi lesquels DeMarco-Basilio, DeMarco-Saxton, Pender-Robinson et Saddler-Collins.

Distinction
 Sam Silverman est membre de l'International Boxing Hall of Fame depuis 2002.

Référence

Liens externes

Promoteur de boxe anglaise
Naissance en décembre 1909
Décès en juillet 1977
Mort dans un accident de la route aux États-Unis
Décès à 67 ans

redpajama_set_name: RedPajamaWikipedia


The Horror Writers Association (HWA), the premier organization of writers and publishers of horror and dark fantasy, today announced the recipient for the association's 2014 Specialty Press Award. ChiZine Publications, founded and run by Brett Alexander Savory and Sandra Kasturi, will be presented with the award on May 9 during the Bram Stoker Awards® Banquet in Atlanta, Georgia, as part of the World Horror Convention.
"Among the many small presses publishing dark fiction, ChiZine Publications stood out this year with its list of impressive releases and continued dedication to the horror genre," said Marge Simon, HWA's Board of Trustees Chairperson.
ChiZine Publications (CZP) sprang out of the successful chizine.com, which began presenting fiction and review in 1997. Since its inception in 2008, CZP has published more than 90 books by authors including Christopher Golden, Stephen Graham Jones, Gemma Files, Tim Lebbon, Nancy Baker, Tom Piccirilli, Helen Marshall, Michael Rowe, Geoff Ryman, Robert Shearman, Melanie Tem and Steve Rasnic Tem. Their philosophy is "to startle, to astound, to share the bliss of good writing with our readership." For more information about ChiZine, please visit www.ChiZinePub.com.
For more information on the Horror Writers Association and the Specialty Press Award (including a complete list of previous winners), please visit www.horror.org. For more on the Bram Stoker Awards presentation and the World Horror Convention, go to www.whc2015.org.
The Horror Writers Association is a worldwide organization promoting dark literature and its creators. It has over 1,300 members who write, edit and publish professionally in fiction, nonfiction, poetry, games, films, comics, and other media. The HWA formed in 1985 with the help of many of the field's greats, including Dean Koontz, Robert McCammon, and Joe Lansdale.


Medical springs and motor springs are used in very different yet vital industries, and the particularities of each differ significantly. Medical springs need to be as small as possible, whereas with motor springs what matters is the strength of their performance – which can be intensified by using them in groups instead of on their own.
Medical springs use micro coil technology, which means that the wire size can be as small as 0.03mm with their components ranging from 0.10mm to 0.8mm. To achieve this we use the latest technology in laser sensors. Apart from details, we also care about the resistance of our springs: the reinforced polymer tubing assures strength and durability so our springs always perform as if they were used for the first time. Because of their specific purpose, medical springs need to be the most hygienic of all and that is why we build them with stainless steel. Also, the long coil lengths are coated with PTFE and undergo scrupulous cleaning techniques so there is zero risk when these springs are being used.
In motor springs, strength is the key feature. At European Springs we give them a special design that allows them to have an average 10-20 spring force turn. Also, this design provides rotational energy from the attached shaft, locked with a catch, pin or housing edge. Something you need to know when using motor springs is that if you require more torque than a standard one can provide, you can use them in groups. If that is the case, we can give you our motor springs covered in a protective nylon band to minimize the friction. If you have any doubt on how to lubricate them effectively you can contact us and we will be glad to help.
Springs are essential to everyday life. In the case of medical and motor springs, you want the highest quality possible to make sure that they are both hygienic and efficient in areas where mistakes can be fatal. Our laser technology allows our medical springs to be precise and reliable. In the case of motor springs, we offer them already prepared to work in groups so they can give you the exact torque that you need.


Golf de Rougemont le Château is located in Rougemont-le-Château. The property has garden views. The apartment comes with a cable flat-screen TV and 1 bedroom. A continental breakfast can be enjoyed at the property. The apartment offers a terrace. Guests can relax in the garden at the property. Mulhouse is 31 km from Golf de Rougemont le Château. Basel Airport is 60 km away.


An extreme nutrient, whole food beverage with wild foods from around the world including Australian Aboriginal foods. Includes the world's highest fruit source of vitamin C (Kakadu plum) and phytochemicals from over 24 different foods. Puts back what evolution has taken out and tops up your nutrition.


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Tag Archives: reggae
Some Of That Old Moonstomping (Reggae November 1969)
This year I have enjoyed looking back 50 years to both the Soul music from the US & the, as we called it at the time, "Progressive" sounds coming out of the UK in 1969. Of course there was still plenty of popular, more straightforward Pop around. In November, "Sugar Sugar", the made-to-measure bubblegum of cartoon group the Archies had been the UK #1 for like forever (it was actually 8 weeks but seemed longer) while "Call Me Number One" by the Tremeloes was close behind. More significantly lower down the UK Top 10 for 23rd of November were three records from Jamaica, the first time this had happened. In 1969 Reggae was a thing so Pop Pickers, at #8, down from #5, is one that when it hits you feel no pain .
There was this girl I saw around college (not a US college, a UK place for 16-18 year olds). Friends would notice the pretty blonde she was usually with but, purely on first impressions, I was attracted to the tall, skinny one with long straight hair. She had a Saturday job on the local town market & I would make a point of passing her stall. There was no more than an "Hi, how are you doing?" acknowledgement, hardly a "stop & chat". I was 16 & hadn't quite got this talking to women thing down yet. Then, during another such brief encounter it started to snow & as my army surplus olive green combat jacket (oh yes!) had no hood I was invited to take shelter under the stall's canopy. She was friendly, funny & I hope that I was too. She had a ready smile & I had a goofy fixed grin. The clincher was that she had spent a portion of that day's wages on "Return of Django" by the Upsetters, the infectious, cool sound of Kingston that was filling UK dance floors & had broken into the national chart. This girl had got good taste. When I left the market an hour later I was smitten & resolved to ask her out. Unbelievably I did just that, more improbably she said yes &, to cut a long story short, 5 years later we knew a lot more about Reggae & were about to be married.
The Western movies were always big in Jamaica & it showed in the titles of Ska tunes like "Tall in the Saddle" & "Vera Cruz". The new Spaghetti Westerns caused an even bigger fuss & groups like the Upsetters were inspired to check for cowboy heroes in the titles of their instrumentals. "Return of Django", coupled with "Dollar in the Teeth", Val Bennett's saxophone leading over an eager drum & bass rhythm was Rock Steady on the cusp of becoming Reggae & the first international hit for the now legendary producer Lee "Scratch" Perry. Perry's inventive, intuitive sonic experiments, influential far beyond Jamaica, were in the future. The two LP's he made at this time with the Upsetters (same name, different line ups) display his ability to craft a more simple song & give a hint of what was to come.
It was the Skinheads what done it. A retort to the changing styles of dedicated followers of Mod fashion the cropped hair, boots & braces look appealed to the predominantly working class hard Mods of London. Along with the new dress code Ska music from Jamaica, heard in local clubs & at parties, was embraced. In the late 60's British youth liked a fight at the football on a Saturday afternoon. The visibility of Skinheads in this violence encouraged the fashion & led to a new moral panic in the media. The same model citizens who had spent the past five years moaning about long-haired youths were now complaining that hair was too short. There's no pleasing some people! There were enough Skins to put their favourite records into the lower reaches of the chart & so catch the attention of the single national music radio station. Long hair, short hair, what the hell do we care? It's a credit to UK youth, dancing fools all, that this music, new to many of them, sold in such large quantities.
The Upsetters' Winston Wright's swirling then stabbing Hammond organ is the featured instrument on "The Liquidator" by the Harry J All Stars, fast rising from #17 to #9. Harry Johnson was a successful Jamaican producer, his All Stars, the new session band in town, the Hippy Boys, included the Barrett siblings Aston (bass) & Carlton (drums) later to become the rhythm section for the Wailers. The song was quickly adopted as an anthem by football fans, played as the teams ran out at Chelsea, Wolves, West Bromwich Albion & others. Harry hit big again the following year with "Young, Gifted & Black", a duet by Bob Andy & Marcia Griffith. With the proceeds from the two hits he built a state-of-the-art studio in Kingston where Bob Marley & his group recorded four LP's, a major contribution to Reggae going truly international.
The third hit of the times, at #7, was the upfull "Wonderful World Beautiful People" by Jimmy Cliff. Jimmy had returned to Jamaica after a debut LP recorded in the UK had not been successful. With his original mentor, Leslie Kong, at the controls a self-titled LP included "Many Rivers To Cross" & the anti-war "Vietnam". There should have been more hits for the singer but his time would come with a starring role as Ivan in the film "The Harder They Come" (1972). Meanwhile Leslie Kong, "The Chinaman", was enjoying his greatest success.
Desmond Dekker was pivotal in the advancement of Jamaican music to a wider audience in the UK. In 1967 "007 (Shanty Town)", with support from the pirate radio stations, reached the UK Top 20. It may have been something of a novelty hit but DD's name was in the frame & in April 1969 "Israelites" (you know it, everybody does) was at #1 & broke into the US Top 10. The record's massive sales & extensive international success opened up new possibilities for the vibrant Jamaican music scene. The equally lively follow up "It Miek", like the others produced by Leslie Kong, entered the Top 10 later that summer. It was 30 years later that I saw Desmond Dekker perform when he topped a bill of mostly tribute acts. His energetic, joyous performance of his greatest hits (there were more) was perfect for a sunny afternoon in the park.
All of this would not have been possible without the founding of Trojan Records in 1968 by Island label boss Chris Blackwell & his partner Lee Gopthal, both champions of Jamaican music, both expert in the release & distribution of records for the Afro-Caribbean community. Initially they had the shops where Reggae could be bought & when the explosion of interest came they had the infrastructure to ensure that these discs were available on the high streets of every town & city. In late 1969 the British group Symarip released the popular "Skinhead Moonstomp" & followed that with an album full of similar titles. At that time there were probably three Skins in my small town (when there were more I had no trouble, I went to school & yeah, fought on the terraces with the top boys). When I went out with my new friend the Soul was not yet "Northern" & the Reggae soon to be but not yet "Skinhead". It was all just the best music in the world to dance the weekend away.
A shout to the records not mentioned here that were DJ staples & crowd favourites back then. "Long Shot Kick the Bucket" (the Pioneers), the salacious & banned "Wet Dream" (Max Romeo) were hits & the 1967 almost hit "Train to Skaville (the Ethiopians) were all that & all there. We'll get on to Laurel Aitken & Derrick Morgan some other time.
tagged as desmond dekker, harry j & the all stars, it mek, lee perry, reggae, return of django, the liquidator, the upsetters
Out Here On The Perimeter (Prince Far I/Creation Rebel)
Well, look at this ! I have not seen this poster since…I have never seen this poster before… but I made the gig on the 23rd of April 1979. There were only the 3 of us going to see Prince Far I when we were usually team handed for any chance of a good night out. Not only was it a Monday, the night best spent relaxing on a saline drip after a bloody good weekend & an hallucinatory first day of the working week but also the gig was in Stockport . We were in Manchester, only 7 miles distant but a long way away.
I was good with the small turnout, just me & 2 young women, always a good balance. S was my girlfriend…ever fallen in love with someone you shouldn't have fallen in love with ? That's her. J was a new friend who, at a time I needed good friends, was as solid as a rock without me ever having to ask. We were in Janet's car for the first time. I wonder how good a driver she would be ? She, like myself, liked to get high. Hey, it probably improved her driving…probably. She had only just splashed her cash on the vehicle to make her commute to work easier. Fortuitously Janet worked in Stockport so she knew the way.
This journey into the unknown was being undertaken because a chance to see Prince Far I was too good to miss. Reggae, you know it…the music that goes chang-a, chang-a, was moving on up in the late 1970s. Bob Marley & the Wailers' popularity had opened ears to the Rastafarian inspired Roots music from Jamaica. At house/blues parties we heard Dennis Brown & Gregory Isaacs. Dillinger, Culture & Burning Spear featured in Punk DJ sets while John Peel, the national treasure of British music radio, always attracted to the outre & the surprising, played the latest Dub plates & plenty of Prince Far I. His first LP "Psalms For I" (1975) was simply that, a voice of thunder intoning sacred songs over simple, similar rhythms. "Under Heavy Manners" followed in 1977, less religion more politricks. Whether Far I's proselytising was sacred or secular he convinced you to sit up & listen.
So, put yourself in Ray's Place yeah. Trying too hard, unsubtle, and inauthentic, that's the definition of cheesy. I'm not the guy who'll make cracks about Stockport & sophistication but it was a faded aspirant nightclub & there was a good reason why I avoided joints like this. In Manchester we had the Apollo & the Free Trade Hall for the bigger gigs (no 20,000 seat arenas then). The Factory/Russell Club in Hulme was the perfect post-Punk hangout, rough & ready with the best music of the time right in front of you. If you just wanted a beer, a band & a night with your mates then you went to see Ed Banger & the Nosebleeds at the Band on the Wall in Swan St. OK, this was…er, different but the company was good, the bar was open until 2 a.m. & we had a "Reggae Spectacular" about to start. Happy Days !
The show, known as "Roots Encounter", was quite special. Creation Rebel took the stage & made themselves comfortable. they were staying for the whole night. The band already had their own LP "Dub From Creation" (1978), rhythm tracks recorded in Jamaica, polished in London. The addition of drummer Lincoln "Style" Scott, through the Far I hook up, added class, Dr Pablo's melodica made for a distinct sound. With subsequent releases Creation Rebel would find their deserved place in our collections, usually finding the turntable at around 1 a.m. after a night of smoking it up. Tonight they were the backing band, first for the toaster Prince Hammer then vocalist Bim Sherman.
Natty dread was taking over Ray's Place. The hard edges were softened by rhythms that demanded that you dance. The crowd were moving together at the front of the stage & everything felt a little warmer. Adrian Sherwood was a young fan with a talent for mixing tracks & for getting things done. He was already involved with all of the acts on tonight & after a couple of false starts he formed his own label, On-U Sound. Sherwood had intriguing & experimental thoughts on production & the label soon became a hallmark of quality, its varied output of Reggae & beyond always worth investigation. Tonight was his idea of how a Reggae show should go, Creation Rebel stretching out & taking up the slack between sets, the music never stopping. A good idea it was too.
When the star of the show arrived onstage there was definitely a surge of energy in the place. The man had presence, his individual growl serious & impressive. He described himself as a "chanter" rather than a toaster, whatever it was it worked. Creation Rebel were dubbing it up, heavy on the bass to match the lyrics. Prince Far I trod his own path & I was reminded of another unique talent, Captain Beefheart. There can be no higher praise. I have no idea what songs he played, refreshments had been taken & I was having a time. I've included "Message From the King" here because I love the combination of Prince & Culture's Joseph Hill. If you have the time & the inclination towards fine music then check the Peel Session from June 1978 which gives a better idea of what we heard on the night.
There's a lot of Prince Far I's music about. His alliance with Adrian Sherwood worked to their mutual benefits, Far I got his records released & Sherwood gained access to Jamaican artists recorded by the Prince. Between 1978 & 1981 4 chapters of "Cry Tuff Dub Encounter" were produced alongside a couple of other LPs in each year. In 1983 Prince Far I was shot & killed during a robbery at his home in Kingston Jamaica. He was a great loss to not just Reggae music & his lyrics continue to stir & inspire today. I was privileged to be able experience his live show. It was worth visiting Stockport after all.
filed under life, music
tagged as adrian sherwood, creation rebel, dub from creation, heavy manners, message from the king, prince far i, reggae
Dreadlocks In Derry (Lee Perry)
I didn't really need an excuse to return to Derry, on my two previous visits not only friends but everyone I met seemed happy to see me & to share stories. It had been 10 months since the last time so a concert by Lee "Scratch" Perry, a musical legend whose influence extends beyond his chosen field of Reggae, was a perfect focal point around which another long weekend could be planned. The gig was on March 18th & apparently, I don't keep up with these things, the day before is St Patrick's Day, a rather big deal to the Irish. Shoot, it was a dead stone bonker that this would be hectic…so let's go !
"Dub Revolution Part 1", the first track on the 3 CD "Arkology", the ultimate collection of Scratch's work at his Black Ark studio round the back of his house in Washington Gardens, Kingston, Jamaica. In this yard he practised nothing less than alchemy to pioneer techniques that anyone with a laptop now takes for granted & to produce music of unrivalled imagination & quality. If ever I was exiled to a desert island & could only take one piece of music then it would be "Arkology". Lee Perry's rhythms demand that your hips sway, the conscious lyrics are from & for the heart & his Dub explorations hit upside your head. It's a perfect package with sunshine in the grooves.If you could grow weed on that island then that would be nice but this music would still get you as high as that palm tree.
The gig in Derry was the day before Scratch's 81st birthday so he probably wouldn't be leaping around the stage (I know I won't be at that age). Much of his best work was done in his producer's booth. We were not sure what exactly we were going to get but we would be sharing oxygen with Lee Perry, a legend, a man who's bona fides justified the tag "genius" & that was enough. So, after Ireland's surprise victory over England at rugby (I was the only Englishman in the packed bar. That was interesting, I thought these people were my friends!) we made our way to the Nerve Centre buoyed by an anticipatory buzz.
We were not disappointed, The 4-piece band played us into the room. They were the Upsetters, not Scratch's original house group but as his backing band they have the right. Back in 1969 the woman lucky enough to become my wife had spent the money from her Saturday job on "The Return of Django" by the Upsetters, Perry's first UK hit, on the day I met her. It was Love at first sight…with the record, the rest came later. Reggae gigs smell a little differently nowadays with the ban on smoking, the star of the night entered to acclaim from the big crowd. He's a small man, big coat, big hat. He looked happy to be there & we were happy to see him.
One of the things about Lee Perry's music is that he does the simple things beautifully. Susan Cadogan's "Hurt So Good" (1975) is perfect Pop Reggae while Max Romeo's LP "War Ina Babylon" (1976) showed that rather than setting the controls to the heart of the Dub, powerful, passionate music just needs strong songs & a wonderful groove. Tonight we got "Chase the Devil" from that record, "Police & Thieves" came around too & man that hit the right spot. What we didn't get was an old man trying to recreate past glories note for note & word for word. He rode the rhythm smoothly, maybe chatting whatever came to him in the moment & he never missed a beat, a rhythm rapper, comfortable on stage, showing off his bright red hair. You could hear why Lee Perry is such a great producer, he knows what is in a song & he knows how that song goes.
Of course Scratch was instrumental in the early career of Bob Marley & the Wailers. His set included his versions of "Punky Reggae Party", "Crazy Baldhead" & "Sun is Shining" before closing with a driving encore of "Exodus". Again these were echoes of the tunes we know, with only a whisper of Dub. Lee Perry is the Dub Adventurer but that is for another time. We did see the natural mystic & we heard some great Roots Reggae. I don't get around much anymore but if there are places where there are as many smiling faces as tonight at the Nerve Centre then perhaps I should be there too.
OK…so much things to say. My hosts & fellow concert-goers, Joe & Gayle, don't need a shout out (oh, I just did !) I think they know just how much I value their company. On the bus from Belfast Laura & Shirley, two Glaswegians on a mission to drink Derry dry, insisted that I be included in their fun. The following day I was able to return the favour & they squeezed into a packed Sandinos bar to join my small circle of friends in celebrating St Patrick. They fitted right in.
Finally Derry has lost two of its favourite sons in the past 48 hours. Martin McGuinness was radicalised by the growing demand for civil rights in his community & the violent response by armed forces employed by the British government in the late 1960s. Until January of this year he served as Deputy First Minister of Northern Ireland. His struggle & his progress embodies that of the community into which he was born. Ryan McBride was born in Derry in 1989, different times. On Saturday he captained the city's football team, the Candystripes, to victory & was found dead at his home the next day. Out here on the perimeter of my country, Derry has an individual, often troubled history. It welcomes strangers with an open hand & with respect. It keeps a special place for those of their own who make a difference because it is a special place.
tagged as bob marley, derry, dub revolution, junior murvin, lee perry, reggae, roots train, sun is shining
Put On A Iron Shirt (Max Romeo)
In June 1969 there was something missing when the BBC announced the new UK chart on a Sunday evening. At #10 "a record by Max Romeo" was referred to then on to the next. "Wet Dream", a song about sleeping under a leaky roof (yeah right Max) was banned by the only British music station but Reggae was not only favoured by skinheads that summer. Desmond Dekker's "It Mek" & Max's early example of Jamaican slackness could be heard, mixed in with the Motown, wherever young people gathered to dance. "Wet Dream", a combination of novelty, suggestiveness & a damn good tune, sold 250,000 copies & Max Romeo became known as a very Rude Boy.
There was no successful follow-up to the hit. With producer Bunny Lee Max tried more slackness but that novelty had passed. There were ill-judged cover versions from the middle of the road ("Puppet on a String" !) while his own songs showed a growing concern with social issues & Rastafarian culture. "Let the Power Fall on I" was adopted by Michael Manley's People's National Party who campaigned & won an election in 1972 with policies including equal pay, a minimum wage & free education. Max liked the sound of that & wrote a number of songs promoting the PNP. They were an extension of previous conscious lyrics like "Rent Crisis" & "Black Equality", sweet vocals setting out simple, direct & sincere sentiments. It's difficult to resist a tune titled "Socialism Is Love".
In the early 1970s Max Romeo worked mainly with Bunny Lee, Niney the Observer & Lee Perry with one-off recordings for other Kingston producers. The songs, with versions by men like Dennis Alcapone, ("Jordan River"), I Roy & King Tubby, are clear, attractive polemics, provocative & anticipating the coming "Rasta Bandwagon". There are some gems to be found from this period. By 1975 the LP "Revelation Time", a consistent, original collection, was only available in Jamaica. There were at least 10 single releases in 1975 & one of them stood above the rest.
"One Step Forward" was produced by Lee "Scratch" Perry who had engineered much of "Revelation Time". Scratch's reputation is as a mad, stoned Dub alchemist but for this LP, "War Ina Babylon", Max has said there was "a one hundred percent scrupulous function" in the studio. There was a deal with Island Records, a guaranteed international release for "War…." & the Romeo/Perry partnership stepped up to the mark. This is a more refined Reggae, house band the Upsetters providing sympathetic, confident rhythms to Max's assertive lyrics. In 1976 the possibilities of Reggae LPs were being stretched by Bob Marley's "Rastaman Vibration" & the debut records of his brothers from the original Wailers. In his backyard Black Ark studio Lee Perry's work with the Heptones & Junior Murvin was a benchmark for a commercial, still conscious sound. "War Ina Babylon" sits just fine with both of these strands, An essential Reggae LP.
The alliance with Perry didn't last nor did the good relations with Island. Max took care with his publishing business, the much-sampled "Chase the Devil" from "War…" proved to be a consistent earner. However the money & promises made by producer & record label were not forthcoming. 1977's LP "Reconstruction" was self-produced but Island's promotional priorities were geared towards making Bob Marley an international superstar. The late UK release of "Revelation Time" also deflected attention from his new material. It's a pity that songs as good as "Melt Away" failed to consolidate the higher profile his great record had brought him.
Max Romeo left Jamaica for work in the US, continuing to record, perform & write those good songs. In 1981 the "Holding Out My Love To You" LP, an attempt to crossover into the American market, was co-produced by Keith Richards. After the notoriety of "Wet Dream" he established himself with a series of early Rasta, direct & melodic political songs which were often too candid for Jamaican radio stations. "War Ina Babylon" is his masterpiece, still sounding great 40 years on. It's an entry point for some seriously good Reggae music.
tagged as lee perry, let the power fall, max romeo, melt away, onestep forward, reggae, war ina babylon
Original Channel One Rocker (Ossie Hibbert)
In 1975 the Hoo Kim brothers upgraded their Channel One studios on Mayfield Avenue, Kingston Jamaica from a 4-track operation to a big 16 tracks. They had splashed the cash on the technology & needed the talent to make their money back. They sent for Ossie Hibbert, keyboard player with the Aggrovators, house band for producer Bunny "Striker" Lee. Channel One hit the ground running with "Right Time" by the Mighty Diamonds. Sly Dunbar, their young drummer, had notions to experiment with & enhance the prevailing "flying cymbal" sound that Carlton "Santa" Davis had pioneered with the Aggrovators. The new, propulsive "Rockers" rhythm, influenced by disco, an assertive match for the militancy of Rasta lyrics, would carry the swing in Jamaican music for some time. There was a new studio house band around. The Revolutionaries made Channel One the place to be.
Ossie Hibbert learned a lot from Lee & from King Tubby, an electrical repairman who became the sonic mastermind behind Dub versions which attracted more attention than the original tracks. Ossie, as a musician, arranger, talent scout & trainee engineer, became indispensable to the studio's operations. His first engineering job was on an instrumental version of Roy Richards' "Freedom Train". While he was at the controls Robbie Shakespeare, in the process of replacing Ranchie McLean as Sly Dunbar's bass playing rhythm partner, provided the piano part. "MPLA" by the Revolutionaries became a big tune in 1976.
Jo Jo Hoo Kim got the production credits on these records, ownership of the means of production & all that. Musicians like Hibbert, Dunbar & Bobby Ellis, arranger & leader of a mighty horn section, were, at first, happy to have the work & to be creative. Ossie did release songs on his own labels & was involved with other producers. He was prolific enough to swap a couple of LPs with The Mighty Two (Joe Gibbs & Errol Thompson) for a car he admired. In 1977 Jo Jo's brother Phil was shot & killed, understandably distressed he withdrew from the recording desk even leaving the island for a while. Ossie, with a seemingly limitless work ethic, stepped into the vacant producer's seat.
Dillinger & I Roy
In that first 12 months at the new studio Jo Jo had overseen the release of the first Jamaican 12″ single. "Truly" by the Jays & Ranking Trevor is a mix of a great tune, sweet vocal harmonies, DJ lyrics & a Revolutionaries Dub version all on the same track. He also gave free range to Lester Bullock, a young DJ recording as Dillinger, to make an LP. The resulting "CB200", smart contemporary wordplay matched to new rhythms, was the sound of the future for DJ toasters. The first wave of Roys & Youths, chatting over sound system favourites, became old school overnight. "Cocaine in my Brain" took the disco funk of "Do It Anyway You Wanna" by People's Choice as the template for a distinctive modern sound giving the world a new way of spelling New York & Dillinger an international hit. The following year Ossie produced "Take A Dip" for the studio's new star. It's based on "Slave Master" by Gregory Isaacs. By the time the Revolutionaries are bubbling on their version of a version there's a whole different thing going on & it's a very good thing too.
Gregory Isaacs was a star in Jamaica before he came to Channel One. He recorded in all the studios with all the faces. Always his songs, often self-produced. Whether Gregory was inventing Lovers Rock or chanting down Babylon over an insistent, languid groove he did it with convincing, appealing style."Mr Isaacs", engineered & co-produced by Ossie, found the ideal mix of romantic & conscious lyrics. When the singer cooled it down the Revolutionaries kept it sweet. The percussive urgency of the rhythm section accented the times when things were more serious. Gregory recorded other tracks with Ossie. "Mr Know It All" became a 10 minute epic over 2 sides of a 12″ single. As much a showcase for Sly Dunbar as the singer this is state-of-the-art business, Gregory & the Revolutionaries at the top of their game. "Gregory Isaacs Meets Ronnie Davis" (1979) is a collection of tunes Ossie produced with both singers & it's a winner. The brightness of each track is matched by rhythms that need no wheel & come again for the Dub diversion but seamlessly & logically flow into cool & deadly sonic subversion. Still one of the best Reggae LPs.
By the end of the 1970s the Revolutionaries were looking beyond the studio. Sly & Robbie toured with Peter Tosh then Black Uhuru while developing their own Taxi label & stable of artists. Gregory, always on top of new rhythms & with a growing eye on the international market, worked with the pair on the "Soon Forward" LP. For 1982's "Night Nurse" there was a new generation of musicians & producers around. The Roots Radics, their rhythms for & from the Dancehall, provided the soundtrack for this sparse, less roots-based Reggae…another time.
Ossie produced "OK Fred", a UK hit for Errol Dunkley. He continued his independent productions, working with too many artists to name. With the Aggrovators & the Revolutionaries his organ shuffles & stabs played a part in the development of Reggae music. His studio expertise & his damned good taste ensured that the advanced recording techniques of Channel One captured a new sound loud & clear, retaining Reggae's energy & innovation. That makes him a bit of a legend round our way.
tagged as channel one, dillinger, gregory isaacs, mpla, mr know it all, ossie hibbert, reggae, sly dunbar, take a dip, the revolutionaries
You Burn Right Here And You Bounce Over There. (Black Uhuru)
The first Reggae Sunsplash in London was a hot ticket on the hottest day of the year. Selhurst Park, home of Crystal Palace F.C., seemed an unlikely venue for an all-star all day concert but a massive crowd made their way across to suburban South London & the place was rammed. The weather made a grand day out better, those assembled behaved as if they had been there before & we certainly got some fine, fine music for our £10. Dennis Brown…Wham!, Leroy Sibbles off of the Heptones…Bam! & only Prince flipping Buster…Thank You Jah! Top of the bill was Black Uhuru who, in 1984, were the hottest reggae band in the world. They looked & sounded like this…
Black Uhuru were formed in the Waterhouse district of Kingston in the early 1970s. There were personnel changes & a slow start before a first LP in 1977 the year of Bob's "Exodus", Culture's "Two Sevens Clash" & Peter Tosh's "Equal Rights". Roots Reggae was bubbling up & breaking out. Virgin's "The Front Line" compilation (1976) mixed up a rhythmic brew of new & established artists who were soon to be in our record collection. Uhuru's "Love Crisis", an early production by Prince Jammy, is a fine debut but the 3 man harmony group was a crowded field. Culture, Burning Spear, Mighty Diamonds & others were ahead of them.
There were more changes before 1979's "Showcase". Errol Nelson left the group & was replaced by Puma Jones. Her high harmonies added a difference & distinction from the usual vocal group sound. Uhuru teamed with Sly Dunbar & Robbie Shakespeare, a nonpareil rhythm section who were developing their own Taxi label & production company. More significantly Michael Rose emerged as a singer/songwriter/performer of rare ability. "Showcase" is a terrific record, I could sing you 6 of the 7 tracks but not as well as Michael Rose. A (drum &) baseline for the development of the music on succeeding LPs, the songs, including "General Penitentiary" (above), are all over 7 minutes, sliding seamlessly into dub as part of the whole rather than an added version.
Sly & Robbie had been touring with former Wailer Peter Tosh, a world-class act. They & the Taxi Gang moved over to become Black Uhuru's band. With "Sinsemilla" (1980) & "Red" (1981) there was now major label support from Island & a song catalogue of high quality. Dunbar's syncopation & Shakespeare's thick bass rumble pushed reggae forward. Rub-a-dub, rockers, second generation reggae ? You takes your choice…it sounded pretty good to me. They looked good too. Michael was a natural frontman, a strong, assertive voice with a touch of a country preacher prowling the stage. Puma was the African Queen, like Lauryn with the Fugees. Mainstay Duckie Simpson, a rootsman skanking at the side, cool & deadly. The early passing of Bob Marley in 1981 left a gap that no Jamaican group could fill but for the next 4 years Black Uhuru were tearing it up internationally. I was present at the 2 concerts these clips are taken from. Man, you've gotta love the Y-tube.
The production on each LP became more electronic, Sly's syn-drum more prominent. The strength of Michael Rose's songs, an easy. loping rhythm, strictly Rasta roots, love & righteousness expressed directly & simply & as catchy as anything, was a constant. "Red" opened with the double whammy of "Youth of Eglington" & "Sponji Reggae", music for the head & the hips. "Anthem" (1984) won the first Reggae Grammy, for which edition, there were mixes for the Jamaican, European & American markets, I'm not sure. Paul "Groucho" Smykle's hi-tech remake re-models are impressively designed for the clubs but y'know, good reggae does not need whistles & bells to get people dancing. "Plastic Smile" is a song from "Showcase" & this 12″ version hits the Black Uhuru bullseye, state of the reggae art at the time, great stuff.
By 1985 Reggae was changing. Prince Jammy captured the hit of the year with Wayne Smith's "Under Me Sleng Teng". The new computerised rhythm was everywhere. The Sunsplash of that year starred Gregory Isaacs, enjoying big success with his sweet Lovers Rock. On the bill was Sugar Minott & Ini Kamoze, stars of the emerging Dancehall style. (Kamoze's debut LP being produced by the prolific Sly & Robbie). Michael Rose bought a coffee farm in the country & left Black Uhuru. He released no music outside Jamaica until 1989. The group continued with Junior Reid, a successful solo artist, as replacement. "Brutal" (1986) has its moments, particularly "Great Train Robbery" produced by mixmaster Arthur Baker. In the following year Puma was diagnosed with breast cancer & was too ill to perform. (Ms Jones unfortunately died in 1990 aged just 36). Founder member Duckie kept the band going but impetus & inspiration had been lost.
Black Uhuru are still around & Michael Rose continues to perform & record. His "Too Blessed To Be Stressed" is a winner. In 2004 there were some reunion gigs. The music they made with Sly & Robbie on record & in concert looked forward while retaining the conscious Rasta spirit of roots reggae. In the early 1980s the group shone brightest of a new generation of reggae artists, intelligent, positive, celebratory, sometimes angry & always memorable. Their music brings good memories of stalks of sinsemilla, house parties when I was a dancing fool & the 3 times that I was part of an audience that they absolutely rocked.
Puma Jones (1953 – 1990)
tagged as black uhuru, general penitentiary, plastic smile, reggae, sponji reggae, sunsplash
Reggae's Other Bob (Bob Andy)
On the UK music scene in the late 1960s & early 1970s there was always room for the reggae song of the day to crossover from the mod or skinhead dance scene on to the main charts. I can remember the pirate radio stations playing Desmond Dekker's rude boy anthem "007 (Shanty Town)" in 1967, the first Jamaican produced record to hit the UK Top 20. I could slice it & dice it, tell you about where this music came from, how it influenced the songs that came later but it will sound no better. The ka-chink, reverse R&B, of the ska guitar, the sweet vocals about street life JA style had a irresistible otherness back then & still has it now. "Dem a loot, dem a shoot, dem a wail"
"007 (Shanty Town)" was recorded at Leslie Kong's ice cream parlour/record store/studio. The combo chased a follow up & in April 1969 "The Israelites" was #1 in Britain, sandwiched by Marvin's "I Heard It Through The Grapevine" & the Fabs' "Get Back"…heavy hitters. There was just the single UK pop music station now. If a record got on to the daytime playlist it inevitably shifted units. In 1970 this lovely record was "wonderful" (Ha !) Radio 1's reggae song of choice.
The great Nina Simone & her bandleader Weldon Irvine wrote "Young, Gifted & Black" as a beautiful tribute to her playwright/activist friend Lorraine Hansbury who had died from cancer in 1965 at just 34 years of age. Her own haunting version, recorded in 1970, more than hit the spot. In 1968/69 Ms Simone scored 3 Top 10 hits in the UK but this song, so appropriate an articulation of African-American pride & hope, made no impression over here. In Jamaica pop hits were often reggaefied for the local market. Producer Harry J, known in the UK for his hit "The Liquidator" paired 2 young successful solo singers, Bob Andy & Marcia Griffiths, for a duet of the song which became an instant pop reggae classic.
Well, look at Marcia here, Miss Jamaica ? Miss World I think. Just 20 years old & on her way to becoming "The Queen of Reggae" after her 1968 triumph "Feel Like Jumping". "Young, Gifted & Black", an upful slice of affirmative action, went international before Marcia joined the majestic I-Threes, backing singers for Bob Marley & the Wailers. There's a black & white Y-tube clip of Bob & Marcia in afro-chic dashiki finery where they look so great while the audio is a cut-price cover recorded by Elton John when he was still Reg Dwight…what the…!!
Bob Andy was an established star in Jamaica too. After "I've Got To Go Back Home" in 1966 there was a string of songs for Coxsone Dodd at Studio One. In 1970 the collection "The Bob Andy Songbook" was released. If Bob & Marcia were Jamaica's Marvin Gaye & Diana Ross then this record is reggae's "What's Goin' On". Of the 12 songs 11 are written by Bob. This was his thing. He was writing cool tunes with simple, heartfelt, direct lyrics long before "conscious" reggae was a thing. I listen to Bob Andy's songs & I am impressed by what he knows.
"My Time", oh boy…world class. I was given the opportunity to add something to my by-line for all of my posts. It could have been a smart-arse non-sequiter or a Vonnegution "everything means nothing" epigram. I must have been in a considerate mood that day. "I need nothing to be a man because I was born a man and I deserve the right to live like any other man"…Serious, I have no more to say about this emotional declaration of rights
In 1978 Bob stepped away from music to develop his acting career. This seems like bad timing as a confederacy of roots reggae musicians swarmed through the door opened by Bob Marley on to an international market. We loved this dreadlocked diapason, it seemed so shiny & new. Ska & Rock Steady would always have a place in our hearts but around this time we were dancing to the rhythm of the drum & the bassline. Bob Andy was from those old times…I know crazy. The 1978 LP "Love & I" passed me by just as this candid classic from 1973 , "You Don't Know" had.. In the UK at that time the sweetness of Ken Boothe & John Holt was breaking through. Maybe Bob Andy was before the times, a little too roots for daytime radio.
When he returned to music Bob worked for Tuff Gong, the company founded by Marley while starting his own label I-Anka. His own experience of sharp practice spurred him to champion higher standards in Jamaican music & business. Through Andisongs, his publishing company, he put things right when others claimed to have written his tunes. Over at www.bobandy.com a list of his songs show how significant his contribution to reggae has been. with master organist Jackie Mittoo he wrote "Feel Like Jumping" for Marcia. Their sweet duet "Really Together" is one of his. I did not know that he was the originator of one of my all-time reggae favourites. Bob Andy is still around, still an ambassador of Jamaican music, a silver haired Dreadlock. "Truly", a 1977 Channel One triumph by the Jays & Ranking Trevor is a joyful mix of vocal harmony, confident toasting & a cool song. Perfect for a Summer's day.
tagged as 007 (shanty town), bob andy, desmond dekker, marcia griffith, my time, ranking trevor, reggae, the jays, truly, you don't know, young gifted and black
Hold Them Marcus Hold Them (Burning Spear)
Who feels it, knows it…Indeed.
Burning Spear came to us as part of the roots reggae abundance after Bob Marley & the Wailers had trailblazed for the Rasta rhythms. Marley's "Live !" was the gift to give or to get for Xmas 1975. Before Bob the only reggae LPs you were likely to find in your friends' collections were some of the 8 "Tighten Up" compilations from Trojan or "1000 volts of (John) Holt" a sweet & dandy reggaefiction of the middle of the road. Island Records, with a Jamaican owner, had a head start & some fine artists. Virgin went over there &, seemingly, signed up everyone else. . Their "Front Line" sampler, just 69p ($1.15), included classics by the likes of U Roy & Johnny Clarke. New LPs by Max Romeo ("War In A Babylon") & Burning Spear had such a unity (inity…anyone ?) of musical confidence & lyrical commitment that you could not help but know that something interesting was happening in Jamaica.
Reggae had never been reticent about idiosyncratic expedition but Spear's album "Marcus Garvey" had a distinctive, special otherness. The cream of the island's players made their way to Jack Ruby's place at Ocho Rios, the only studio outside of Kingston. Not a journey or a note was wasted. The music had an earthiness but it was not simple or unsophisticated it was passionate. It was double pastoral, of the pasture & the pastor. A relentless logic in the rhythms, an assertive spiritual urgency in the lyrics. The closest to Africa of these new sounds. Boy, "Marcus Garvey" was irresistible. When Winston Rodney sang "Give me what is mine" it was time to hand it over.
The LP captured our heads, hearts & hips & then, just 4 months later, "Garvey's Ghost" was released. Dub Reggae was no "what's it doing & what does it want ?" alien strain of music. We knew about this stuff, knew that when reggae stretched out it was about the drum & the bass. There had been dub records in the Top 10…Skanga ! In 1976 "Garvey's Ghost" & "King Tubby Meets Rockers Uptown" brought the dub from the blues party down the road into your living room where it has remained a welcome guest. I know the record was mixed in the concrete jungle of Hammersmith, a suburb of Babylon. I know that there is dispute & divergence about who did what to the final release mixes of both "Marcus Garvey" and its dub "Ghost". All we had was what was on the vinyl. The shadow versions sounded more than fine as a stand alone record but the reference points of the original record made this rhythmic recycling a delight. I spent too much time in need of a third hand trying to drop the needle on the record & press "play" on the cassette machine aiming for the perfect tape mix of these tunes.
This burst of Rasta reggae did get heard. The next 2 summers were soundtracked by Bob Marley's "Rastaman Vibration" & "Exodus". Don Letts, DJ at the Roxy club started a punky reggae party, a braid of anti-establishment, militant musics which spread around UK punk hangouts. Black American music had almost given up on the Funk, hitching its wagon to the shiny, smooth dance-yourself-dizzy Disco Train. The lovely, liquid, stoned chug of Dreadlock Reggae convergent with militant, conscious, sectarian lyrics triumphed on twin fronts, sustaining a tradition of great floor-filling tunes which were talking loud & saying something.
Burning Spear seemed to be part of the tradition of Jamaican vocal trios. The music made by Curtis Mayfield with the Impressions, soulful, spiritual harmonies were very influential on the islands singers. Spear, Culture, the Mighty Diamonds & others were coming up to join a long distinguished list topped by the Heptones, the Wailers & the Maytals. "Marcus Garvey" & the next release "Man In The Hills" credited the harmony vocals of Delroy Hinds & Rupert Willington though it was the rich, fervent lead of Winston Rodney which made the songs distinct & impressive. Winston Rodney became Burning Spear and he still is. His next LPs featured his righteous hymns to Rastafari, direct truths concerning both joy & oppression which I would love to squeeze in here but hey, we have not got all day…soon come.
Just as listening to & appreciating the militant funk from black American musicians did not make you a Black Panther a fathoming of this music needed no homage to His Imperial Majesty Haile Selassie I, King of Kings, Lord of Lords, conquring Lion of the tribe of Judah. This was never a matter of cultural tourism. If you lived in a British city at this time then you heard this music in clubs, at friends' houses, from the open windows of passing cars. Among your friends, those children of immigrants, the first generation of Black Britons, all considered the relevance of Rasta to their experience of growing up in a racist society. My workmate Horace, who previously sported a Jackson 5 'fro, showed up with baby dreads one Monday…yeah man ! White guys with locks ? I spit in their general direction, follow fashion monkey losers ! Burning Spear was in the vanguard of conscious, eloquent, purposeful music which was given a fair hearing becuse those qualities, combined with cool, deadly dance rhythms are just what you need. Good (& high) times.
tagged as burning spear, garvey's ghost, give me, marcus garvey, reggae, slavery days
One Good Thing About Music…(Prince Fatty)
Hollie Cook is British rock & roll royalty, a punk princess who's Dad Paul is the drummer of the Sex Pistols. Her godfather is Boy George, Mum Jeni was a backing vocalist for the Cultured Clubber. Hollie tells stories of being baby-sat by David Bowie which are true & are better stories than mine…& yours. Blimey…she was in the Slits when they reformed in 2006 for an EP (ask your folks). In 2011 she released an eponymous LP which sounded absolutely fantastic.
The record was made with Mike Pelanconi who, as Prince Fatty, is at the controls of a reggae revival here in the UK. When it comes to reggae, me, Althea & Donna a strictly roots. I think that Prince Fatty is too. Jamaican music of the 1970s has never gotten old for me. The logic & beauty of the rhythms continue to delight & enchant. from the reggaefication of pop hits to the brain-melting stoned dub of King Tubby (no relation to the Prince). "Gimme likkle bass, make me wine up me waist", indeed.
"Hollie Cook" & the subsequent "Prince Fatty Presents Hollie Cook In Dub" recalls some tasty Studio One distillation. Her sweet voice evokes the classic female vocalists of Lovers Rock but the tunes are no slavish facsimile of back in the day. The deal is that freshness & imagination is obligatory. There is big respect for the tradition so a cover of the Shangri-Las "Walking In The Sand" is not forced & fits right in. Studio toaster-in-residence Horseman does chat in the style of the Old Masters, Big Youth, Dillinger, the Princes, Allah & Mohammed because y'know, that is the way it's done. I hope that there is more to come from the Hollie/Fatty partnership because this stuff is easy on the ear &, as you can see, Hollie is easy on the eye too.
F atty got some of the old Reggae gang back together. I'm sure that there are plenty of Jamaican veterans eager to step into a 21st century studio with a young producer who gets it & wants to do the right thing. Prince Fatty chose his team well for "Survival of the Fattest" (2007) & "Supersize" (2010). Little Roy, Winston Francis & Dennis Alcapone were all prolific in the early 70s. Roy's "Bongo Nyah" was in the front line of Rasta lyrics while Alcapone is a big influence on those great DJs named above. Once again there is a fresh, jump-up feel to the whole thing whether standards are being revived & invigorated or hip-hop tunes are getting the fatty treatment. This new version of Little Roy's "Christopher Columbus", a single in 2010, just sparkles. Seriously a Top 10 tune of this century for me.
There are more LPs from the posse Prince Fatty has assembled & here is a 10 minute clip of a radio session which will raise the lowest of spirits…guaranteed. Reggae has been part of British music for over 40 years now. My favourite music from the trip-hoppers, the electro boppers, the trance dancers all had reggae elements. It is such a good thing to hear how Fatty ignoring the jiggery-pokery, the production tricks & playing this music straight.
So…purely in the interests of research you understand…I checked for Hollie Cook's rather attractive keyboard player. Marcia Richards is part of the Skints, school friends from up Woodford Green way & a new favourite band. Their 2012 LP "Part & Parcel" was funded through Pledgemusic & produced by our soundboy Prince Fatty. It is a pretty irresistible collection which does throw a lot of their influences at you but, with the Prince's trademark, it is all done properly. They just need to avoid that cheeky, cheery, modern Cockney, knees-up Lily Allen thing. The LP & the videos for the singles are worth checking. The band are gigging a lot in the near future &, I'm sure, will be tearing it up at a summer festival near you. This home made video of a 5 star version of Dennis Brown's first hit "Lips of Wine" proves that they know what they are about. More of this please & big luck to the Skints.
tagged as british reggae, christopher columbus, hollie cook, lips of wine, little roy, milk and honey, prince fatty, reggae, rise up, the skints
I Am The Son Of The Lightning, You Cannot Move I At All. (Peter Tosh)
At around 9 p.m. on December 3rd 1978 an already groovy day was about to get go-go . A lazy Sunday afternoon with good food, good friends & similar dope (lots of Lebanese hash around in 78/79, they had a war to finance) had been a more than pleasant overture to the evening's main event. I was dancing in the stalls of the Manchester Apollo, with my best gal by my side, grinning like a shot fox (ee-yew !). Peter Tosh, the star of the night's show, had opened his set with the double whammy of "400 Years" & "Stepping Razor". A thought occurred that if the day was to end right here, right now then it had been a fine time. 30 minutes later Tosh graced us with a run of "African", "Burial" & "Equal Rights". The night had gone into orbit…sent to outer space to find another race. "Them want I, them want I, Com'a them funeral"…Oh yeah !
Peter Tosh, the tall one in the Wailers was also the natural musician of the trio. He taught & inspired the others to play, The man who tutored Bob Marley in the guitar. The young band of brothers' progress from wailin' rude boys to Rasta natural mystics was not always easy. Bob left for the USA, Bunny did a stretch at the Richmond Farm Prison but these guys were on a mission from Jah, driven to improve & succeed, the sum of their three characters being greater than the parts. Their ambition for recognition outside of Jamaica meant that deals had to be made with Babylon, the music was changed by commercial pressure not artistic progress. Bunny was the first to go, reluctant to leave Jamaica &, like Peter, who did not hang around much longer, confused just how his group had become Bob's backing band. Man, I am lucky to have seen that "Catch A Fire" tour. That is a lot of talent on one stage.
In 1976 we were blessed with "Blackheart Man" by Bunny, Bob's "Rastaman Vibration" & Peter's debut LP "Legalize It". Pick one, go on, just one. Can't be done, no point anyway, those are 3 terrific records. Tosh's title track is an international anthem for the international herb.While he is regarded as the most directly militant of the Trenchtown trinity this record is no polemic. Tosh often expressed his anger & dread about colonialism & injustice but the last track he recorded with his group, "One Foundation", is a melodic call for birds of a feather to come together. "Legalize It" collects similarly straightforward, steadfast songs. "Igziabeher" & "Ketchy Shuby" capture the sacred & profane of Jamaican life, "Brand New Second Hand" sounds like a hit record & "Why Must I Cry" is as good as this…
"Legalize It" is a conscious, infectious work of art, guaranteed to cheer. Next year's "Equal Rights" is 8 tracks of serious, glorious business, guaranteed to stir. Peter saved his version of "Get Up Stand Up", recorded by all three Wailers, for this set. When he picked which side he was on the man assertively & eloquently let you know the score. The band played 4 of these tracks that night, any 4 from 8 would have been the thing. This is "African".
Peter had an international reputation, ambitions for this muscular, tough music. His band, Word,Sound & Power, picked from the studios of Jamaica, were absolutely up to the job. Drummer Sly Dunbar & bassist Robbie Shakespeare had played with the Upsetters round at Lee Perry's yard, Black Ark. They were with the Revolutionaries over at Channel One while round at Bunny Lee's studio they were with the Aggrovaters. (I'm not sure how the Roots Radics coped without them). They were reggae legends before they toured with Tosh, ready to be heard, ready for the love they deserved. Mikey "Mao" Chung knew what a reggae rhythm guitarist did & knew how important it was to the sound…a master. Skully Simms & Sticky Thompson would have got the job because of their appreciable nicknames though they were crackerjack percussionists. I'm not the biggest fan of extended guitar solos in what is primarily a rhythmic music (I strictly Roots) but this was Reggae Rock, looking for an audience big enough to fill a stadium. Al Anderson was the lead guitarist of choice for both Peter Tosh & Bob Marley at this time.
We got to see a world class band give a world class show that night. It's ridiculous how many accomplished musicians emerged in Jamaica at this time. Peter Tosh had 2 classic LPs, his new release, "Bush Doctor", was on Rolling Stones Records. He strutted around the front of the stage like it was his time, like the star he was. Man, he was nobody's sideman but we knew this anyway. I've been to some memorable reggae concerts which turned into outstanding parties but seeing these artists at the top of their game could not be better. We stepped out into the night & the world seemed a better place.
You saw the same people at these Manchester reggae gigs. That very young kid with the stoned, supercilious smile & the ginger dreadlocks always seemed to be a bit of a prick. I guess we owe the world an apology because he grew up to be the lead singer of Simply Red & we did nothing to stop that terrible Hucknall happening…sorry.
tagged as african, burial, equal rights, legalize it, peter tosh, reggae, robbie shakespeare, sly dunbar, the wailers, why must i cry, word sound and power

redpajama_set_name: RedPajamaCommonCrawl


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Jordan "Jurd" Crowley is a Player for Splyce.
Jurd is known as one of the most talented players in Europe. He has played Call Of Duty at a top level for a number of years having successful periods under organisations such as Epsilon Esports & TCM-Gaming. During Advanced Warfare Jurd moved to the States to compete with his fellow TCM members ShAnE, Moose & Gunshy. A main highlight when competing in the States was representing Team EnVy at MLG World Finals. At the release of Call Of Duty Black Ops 3 he returned to Europe to form a team with Swanny, Tommey & MadCat.
Jurd competed with Team EnVyUs on loan from TCM-Gaming at the MLG World Finals 2015 where he placed fourth.
Jurd is known for being extremely aggressive.
Jurd moved to the United States to play for TCM-Gaming in early 2015.
Jurd is in the Epsilon Esports Hall of Fame.
This page was last edited on 20 February 2019, at 21:42.


Kady Marcotte is hosting a board game social after the service on Sunday afternoon. Festivities should begin around 12:30PM and go for a couple of hours. All ages invited! This is a great time to socialize and get to know our children & our kid pastor!


Sean Bean has signed on to replace Brendan Fraser in the TNT drama series "Legends". Fraser reportedly exited the series due to "creative differences".
"Homeland" star David Harewood is in talks to play Paul Robeson in the indie biopic "Robeson" from Four Stars Intl. Shooting aims to begin next year.
Tom Sizemore will star in Jac Mulder's coming-of-age political comedy "Three Pegs" which just began shooting in Cape Town.
Tammin Sursok ("Home and Away," "Pretty Little Liars") is set to star in Joel Soisson's indie "C2C". Shooting kicks off in Thailand this week.


A major crime ring that stole more than $800,000 worth of heavy construction equipment over several years has been busted. An investigation confirmed the involvement of members and associates of the Aryan Brotherhood and Aryan Brotherhood of Texas. Crooks stole equipment from construction sites and burglarized buildings and vehicles across the state.
Other stolen items included electronics, jewelry, as well as firearms. The suspects worked with their criminal networks to resell the stolen goods for money or "significant quantities" of methamphetamine.


Hearty yet slimming… | Eating well, with creative recipes, to follow the Fasting Lifestyle according to Michael Mosley's "Fast Diet."
Ham Omelette 291 calories 8.8 g fat 15.9 g protein 25.1 g carbs 3 two-oz eggs of which you will use 1 ½ eggs per person** 1 oz. or ½ cup ground/ chopped ham 1.5 oz apple coffee or tea or lemon with hot water 5 or 6 oz natural apple cider **HINT: If you are serving one person, crack three 2-oz eggs into a small bowl or glass measuring cup. Whip up those eggs and pour half of their volume into a jar with a lid and put it in the 'fridge for next week. Whisk the eggs and pour them into a hot pan [spritz with cooking oil or non-stick spray] and tip the pan as the eggs cook. Before the top sets, strew the ham and your seasonings of choice on top. Fold the omelette and plate along with the apple. Enjoy this with your hot beverage of choice and apple cider.
Venison Chili 297 calories 5 g. fat 35.8 g. protein 55 g. carbs This recipe is wonderfully simple and good to eat. My mother made this with ground beef. I have swapped in venison which is much lower in fat and calories. HINT: this recipe makes enough for 2 meals, so invite a friend or divide it in two and freeze the rest for a quick Fast meal later.
Pour some of the reserved tomato liquid in a heavy pan. Add the onion, garlic, and green pepper. Cook until the onions and pepper are wilted, adding more liquid as needed. Remove the vegetables, add more liquid, and cook the venison until it is browned. Add the tomatoes, beans, cooked vegetables, and seasonings to taste. When it is hot and flavorful, put half of it in a container in the freezer for another meal. Serve with sliced melon and top with the cheese.
Next > Foods you thought you shouldn't eat.


and my step-father a painter, so I grew up with quite creative conversations and ideas around happening me. I was always making things in my bedroom and taking things apart.
and it was a really influential thing in my life. Just the simplicity of being in an old wooden sailboat, a modest thing, and the dynamic of the wind and the mast and the water… It's such an escape. It's a very spiritual thing to do.
My advice? Don't be a barman.
You're totally bombarded by people asking you things, and you get no headspace. If you're an artist and you have to work in your spare time, do something menial, like sweeping a floor, and then you can use the time to plan or dream. I used to work as an extra in films, so I could retreat into my own head when I was dressed as a Roman soldier or whatever, standing there for eight hours.
I wouldn't have been a very good scientist.
I'm trying to give my works an appearance of scientific rationality, but I tend to have quite an emotional or instinctive reaction to an idea, that's not necessarily a correct understanding of it. I like the idea that my works are sort of like failed models; they ask questions rather than answer them.
We visited the artist in his studio for a behind-the-scenes look at how he made The Interpretation of Movement (a 9:8 in blue).
The St. Pancras piece is my biggest mechanical work.
It's 16 metres in diameter and weighs three and a half tonnes. Three primary arms rotates clockwise, and they have secondary and tertiary arms which slowly rotate in and out from the centre. It's nice that it's in Kings Cross too; I grew up in Camden and my sculpture Paradigm is just next door, outside the Francis Crick Institute.
This work is a massive and vastly complicated machine that will be moving above people's heads – and a railway station is by far and away the most safety-conscious place I've worked in. It's another challenge to relish.
I can't control the meaning of a work once I've made it.
And if I could it wouldn't be an artwork. It has to live beyond what I intended it to mean, and the more it's interpreted in unpredictable ways, the more successful it is.
For over two years I researched this sort of psychedelic visual phenomenon called the Moiré effect. The Optic Cloak was a big cladding for a chimney I did in Greenwich, that allows the light to pass through it, so when the sun is behind it, it kind of awakens the optic sensors in your eyes and you see this sort of shimmer. It seemed to me that this phenomenon hadn't been exploited enough, and I wanted to find the sweet spot where it happens. I suppose the St Pancras project splices that research with interests from my older work – ratios and movement and time.
– as this abstract machine of mine hangs over the future border between the EU and the UK. There's a big glass wall underneath my sculpture in St. Pancras, which is going to become a much more significant division as Brexit progresses. I don't know how that will affect the meaning of the work.
Conrad Shawcross, The Optic Cloak, 2016.
Conrad Shawcross, The Dappled Light of the Sun, 2015.
In the RA courtyard at the 2015 Summer Exhibition.
Conrad Shawcross, Monolith (Optic), 2016.
Galvanised steel and stainless steel. 600 x 217.4 x 42.4 cm. Image Copyright: The Artist Image Courtesy: New Art Centre, Roche Court Sculpture Park, Wiltshire.
I've been talking about this at our studio lunches a lot recently. The amount of onerous forms that will be imposed on the individual through Brexit is going to be far greater than anyone imagines. It's not going to be the utopia the libertarian right dream of because, for all its faults, the EU emancipated the individual from the tyranny of bureaucracy. It's currently unbelievably simple for people to move here and there, to put their kids into school, to go to work and save a life in a hospital. My wife is Italian, our son European. My step-kids are Italian and go to a local school here. They may no longer be eligible for a place having been here for three years. Who knows how the new rules will be implemented, but it's going to be vastly complex and time-consuming. The freedom of movement is the most beautiful of ideas.
My generation needs to get involved.
When we left university, me and my friends didn't go into politics – it didn't feel as though there was any need to fight against the system. There is a need now. Democracy is weak and my parents' generation are at the point of retirement.
with population and climate change and war and famine – but we're not anywhere near the point where we need to start abandoning our principles. When Trump was questioned on the news about the use of torture in fighting terrorism, I was shocked that the entire debate was about whether it was effective or not. Not a single news presenter actually mentioned the fact that it was wrong – that this was a demeaning, degrading and immoral thing for a society to do. We need to stand together on that.
You don't have to be responsible for the world as an artist.
Being an artist can be whatever you want it to be. You can be a hermit and paint all your life and never go out and see the light of day if you want to. It's totally your own privilege how you decide to be an artist.
I used to work as an extra in films. I would retreat into my own head when I was dressed as a Roman soldier, standing there for eight hours.
I do a bit of trapeze from time to time.
I started in my early 20s, when I was looking for a sport. I thought maybe I could become a professional trapeze artist but I'm not quite good enough. It's very good for your back, stretches you out – especially when someone's hanging from your arms and you're dangling from your knees. I have a trapeze at home so I'm training my son.
My studio used to be a stable for horses.
They pulled the 38 bus. And then it was a taxidermist's. And then it was a sheet metal bending factory… Until 2007 when I bought it. I lived in it, this derelict Victorian shed, for about eight years before we developed it into a purpose-built studio. I was very lucky to find it back then, when people called it Murder Mile. Now London is very problematic for young artists. I've got lots of issues with my staff who are all artists – they're all moving to Margate where it's more affordable.
but you can become a bit detached from how hard it is as a young artist. You forget how ruinous it was to have to work five days a week to pay your exorbitant rent, and then be so exhausted you didn't go and use your studio. But ten years ago I was doing exactly that.
It's a bit embarrassing being the youngest Royal Academician.
I mean, it's been lovely, but I'm 40 now. I think it's really about time that we got some younger people in. I'm ready to hand over the baton.
The Interpretation of Movement (a 9:8 in blue) is at St. Pancras International. The new public installation marks the fifth year of the Terrace Wires commission at the station and the third in partnership with the Royal Academy.


It's time… don't you think?! A day for the Galgo!
This has been an idea we have had for some time but it's always been pushed to work on more pressing things, like saving these amazing dogs!
We are so proud that we have finally been able to launch Dia del Galgo | World Galgo Day. We are working on additional languages and hope to have those ready so you can share, but it's been a lot of work, so please bear with us.
This day has such a significance for two reasons. One, it marks the end of hunting season and we know what consequences confront us with this annual tradition. And two, we want all those in Galgo rescue to unite and be stronger together. Now with the power of social media we have the ability to harness our emotions and put them to work even if we are not standing on the ground in Spain.
We ask that everyone download one or all of our tools that have been provided on the website.
Now and on February 1, we want Facebook and Twitter etc., to be plastered with Dia del Galgo.
Be a voice for the Galgo.
They need us and together we can make a difference for them on February 1 and every day of the year.
Being in North America and rescuing dogs from Spain, we always get the question, "Why Spain? Aren't there dogs here that need to rescued?", and we always answer, "Yes! of course!, but Spain is different." And we go on to explain the situation.
It was late in the day, the sun had already set. A man showed up at the shelter with a male Galgo probably about 18 months old. The man didn't want him anymore and wanted to know if we could provide him with another. Of course we said no but he handed over the dog anyway. The Galgo had a piece of twine around his neck that doubled as a leash and a collar. He was terrified. I escorted him to a kennel where he could settle and I told him that he was safe and he never had to be fearful again.
A half hour later, the man returned with his paperwork to sign over the dog, but also returned with his young daughter who was crying for the dog, so the man said "give me my dog back". We had no choice but to give him the dog. He had not signed the dog over to us yet. I had to walk back to the kennel, literally pull this dog out and hand him over to this horrible man… after I promised him that he would never have to fear again. I broke my promise and it still haunts me to this day.
What happened next broke my heart and stayed with me forever.
The man took the Galgo and put him in the trunk of the car … it was a sedan… and dark trunk of a sedan…and left with his daughter.
I will never, ever in my entire life forget that experience. I have no idea what ever happened to that dog. Maybe, eventually he ended up at Scooby… this is all I can pray for. But the reality is, some of these people don't think like normal compassionate people. It can be as extreme as hanging them or simply just tossing them in the trunk of the car.
That's "Why" we rescue dogs from Spain. And they need us now just as much as they did 10 years ago. Things have changed a lot over the last 10 years in Spain. Scooby has many Spanish volunteers at the shelter now and way more local adoptions of dogs, but the reality is… Galgos are still used as tools and left for trash after hunting season. Please share the story of the Galgo and how Scooby is working hard to make a difference for them.


The prolific Dave Wallace sent this one in.
Whilst having a medical history taken to address my SOBOE (Shortness Of Breath On Exertion) issues, the following (slightly embellished) conversation occurred.
Doctor: What are your limits on exertion?
Me: I can climb half-way up the back stairs, then need a rest.
Me: No, it's CDO – the letters gotta be in alphabetical order.
Doctor: Isn't there a 12-step program for that?


text:
Q: Float application over full screen? I want to view Xcode (can go fullscreen) and the iOS simulator (can't go fullscreen) on one screen. I want Xcode to be fullscreen and the Simulator next to it.
Is there a way to either:

*

*Float the simulator over fullscreen Xcode? Or:

*Have the simulator be in split-screen with Xcode?

redpajama_set_name: RedPajamaStackExchange


IOA MEMBERS: Up to thirty (30) words free and 50 cents per word thereafter. Ad will be posted for up to three (3) consecutive months.
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DISCLAIMER: The Indiana Optometric Association does not guarantee the accuracy, reliability or completeness of any information on this webpage. The IOA will not be held responsible for the contents of the ads displayed on this site or for any transaction or attempted transaction which may occur.
STUDENT RESUMES: Resumes for recent and expected graduates are available to IOA members on the Member Resources section of the website. Members can sign in here.


Maarten Aalbers LLM obtained his degrees in law (bachelor) and in EU law (master) at Utrecht University. Prior to his academic career he worked as the principal legal advisor on state aid for Europa decentraal. Currently he is writing his PhD thesis on general interests in state aid at the Europa Institute of Leiden Law School.
Viasat: een duidelijke waterscheiding tussen Altmark en artikel 106 lid 2 VWEU?, Markt & Mededinging (4): 132-138. (2017) Aalbers, M.
Gibraltar: A rock solid interpretation of the selectivity criterion, European State Aid Law Quarterly 16(3): 496 - 499. (2017) Aalbers, M.
Kroniek van het Europees materieel recht, Nederlands Juristenblad 35: 2624 - 2638. (2017) Van den Bogaert S.C.G, Van Rompuy B., Borger V., Aalbers M. & Weber T.
Recovery of unlawful aid. In: Hancher L., Ottervanger T., Slot, P.J. (Eds.) EU State Aids.London: Sweet & Maxwell. 1091-1118. (2016) Aalbers M., & Adriaanse P.C.


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redpajama_set_name: RedPajamaGithub


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Der Tindefjellbreen ist ein Gletscher des Skandinavischen Gebirges in der norwegischen Kommune Stryn in der Provinz Vestland.

Er befindet sich nordwestlich des Gletschers Jostedalsbreen und bedeckt eine Gesamtfläche von etwa 20 km². Ausläufer des Tindefjellbreen reichen nach Nordwesten in Richtung Loen, nach Nordosten in Richtung Erdal und nach Süden in Richtung Bødalen. Nordwestlich befindet sich der Gletscher Skålabreen. Das Gebiet des Gletschers gehört zum Jostedalsbreen-Nationalpark.

Weblinks
 Tindefjellbreen im Store norske leksikon (norwegisch)
 Darstellung des Gletschers im Kartverket

Stryn
Gletscher in Norwegen
Skandinavisches Gebirge
GTindefjellbreen
Geographie (Vestland)


CPVC Pipe has a smooth, friction free inner bore which results in high flow rate, less opportunity for bacteria growth and almost completely eliminates the scale build-up in the piping system.
CPVC pipe is particularly suitable for the conveyance of desalinized / demineralized water in Saudi Arabia where serious corrosion problems resulting in narrowing of the bore are experienced in the galvanized steel pipe.
Unlike copper or other metal pipes, CPVC plumbing pipe will not rust, pit or scale.
CPVC pipe is jointed exactly the same way as rigid PVC pipe using CPVC solvent cement, which makes installation easy.
CPVC pipe is light weight, easy to handle, transport, install and repair as compared to metallic pipes.


text:
La Nuova Ferrara (est un quotidien italien, de Ferrare qui diffuse à plus de  en moyenne (septembre 2005). Il appartient au Gruppo Editoriale Espresso (qui publie aussi L'Espresso).

Lien externe

Presse quotidienne en Italie
Presse quotidienne en italien
Ferrare


On a diet now that the holiday season is over and you've found that the bodycon frock you wore to the season's first party is not a wee bit hard to zip up? Then dont' despair - you can still have delicious, mouthwatering desserts. Only now you'll have to portion size.
Get your fill of Boston Cream pie by making these Boston Cream pie cupcakes.
Little sponge cakes filled with vanilla cream and topped with chocolate ganache. It's just like a big Boston Cream Pie, just smaller!


The defending World Champ downhiller says his shoulder is healing and he'll be ready to race in Champery.
The World Championships just got more interesting. Defending champ Sam Hill, who has missed the past four World Cup races with a shoulder injury, says his doctor has given him the green light to race next weekend in Champery, Switzerland.
Hill has been off the bike since June, when he crashed in a training run between races and tore the ligaments from the bone in his shoulder. He had surgery to repair the damage and spent six weeks off the bike. Only this week did he return to riding, and it appears he could still be pretty weak headed into the World Championships next week. Hill's announcement is reminiscent of last year, when the Australian missed several races with a knee injury, before returning at the end of the season to claim his third world title at Monte-Sainte-Anne.
The location of this year's World Championships is also fortuitous for Hill. The race will be contested at Champery, Switzerland, on a steep, technical course that Hill has ridden extremely well in the past. In 2007, it was the site of perhaps his most memorable race. After qualifying first, Hill was the last rider to start in the finals. The skies had opened and the course had deteriorated so badly that the top riders had all finished 20 to 30 seconds slower than riders who started in the dry. But hill scorched the course, setting the fastest split time. A crash lower on the track relegated him to third, but many racers consider it one of the most impressive performances they've ever seen.
Will Hill be able to deliver another magical run this year? If he is to win a fourth world title, he'll have to beat a red hot Aaron Gwin, who has won five of seven World Cup races this season, and has performed well in all conditions. A new crop of young riders—including Danny Hart, Cameron Cole and Hill's teammate Troy Brosnan—has also been turning up the heat this year. Hill has proven he can step it up for the Worlds, however, so we'll have to wait until next week to see just how well that shoulder will hold up.


How I got this watch: Theo & Harris emailed me to ask if I'd like to review two watches. They sent me this watch and a Rolex Datejust Ref. 1601 which I wore for two weeks. This is not a paid review.
This is one of the most impressive vintage watches I've ever seen.
Whilst I can never be 100% certain that I've gotten the name of this watch in the right order (Prince Oysterdate? Date Oysterprince? Oyster Dateprince?), I am certain I love this watch. It exemplifies everything I love about vintage.
Some vintage watches are timeless but most are not. Nearly any sports watch created in the 1970s will be dated in some way; a unique case shape, a primary color splashed over the dial or some wonderfully dated name like the Oris Chronoris. The Oysterdate is not one of these watches, it is timeless in its design. You could put this watch inside a modern Tudor display, call it the 'Black Bay Gilt' and it would sell faster than you could say screw-down crown. Not only is the design a perfect example of how less is more, whoever had this watch last kept it in amazing condition.
The dial, with it's gilt text and minute track, is immaculate. No, I'm sorry, that's not a strong enough word. It's perfect. After two watches trying to properly photograph the illusive gold luster and fidelity of printing, I never quite managed it. From arms' length to right up under a loupe, the text on this watch is as crisp as a modern dial. Every serif on the Tudor name to the rounded block capitals of the descriptive text at 6 o'clock was beautiful.
The gilt used for the text and the minute track contrasts so beautifully against the glossy black dial.
I'm not usually a gold watch kind of guy and I continue that feeling to gold elements like hands or hour markers (Come Friday you'll realize how conflicted I was spending time with Theo & Harris' Rolex Datejust with pink gold bezel). Yet the color gold that Tudor used here, whether it was like this at production or have faded over time, is sublime. If the gold had been a bit brighter I fear it would have overpowered the dial, but luckily every hour marker, hand and gilt line has a warm glow to it. From the outline of the iconic Tudor shield to the angled hour markers, the details of this watch are above and beyond anything that Tudor makes today (In my opinion).
And then you get to the bezel.
As you'll find out on Friday, I was surprisingly enamored with the fluted bezel of the Datejust, but I'm still an engine-turned guy through and through. Not only do I find engine-turned bezels less flashy, but I would argue that they are more intricate. The fluted bezel will remain instantly recognizable and linked to the Rolex brand, but the engine-turned alternative is a little more subtle and low-key. It's like a little known acoustic cover by a favorite band, or a small role early in a now famous movie stars career; not everyone will know about it but those who know know. What it lacks in notoriety, the engine-turned bezel makes up for in charm. I can't tell you to like this style of bezel over another, but I'd implore you to search one out for yourself.
On the wrist this watch is a joy to wear.
This svelte 34mm watch wears a lot larger than you'd expect thanks to the long, slender lugs that frame the dial. Not a whole lot larger mind you, you're wearing a vintage watch and not a modern Panerai, but its still surprising given how tight a parcel this watch is.
Despite the timeless design and almost perfect condition, this is a vintage watch. This means there are quirks unique to this watch and this watch only. As I've mentioned before, the dial is immaculate and whilst they don't glow anymore, all the lume pips are still intact. The strip of lume on the hour hand is in good condition though the minute hand is a little more faded and discolored. Apart from that, all three hands without any noticeable damage to them. The crown was secure whilst setting and winding, with changing positions free of any noticeable wobble or unwanted play. The lugs and case sides are without dings or any major scratches, although there are a few minor marks on the caseback. It's almost not worth mentioning but I'm forced to be picky because the case is in such immaculate condition.
Whilst it may change when Theo & Harris puts the watch up for sale, I didn't care for the strap that came with the watch. It was a thick, brown calf-skin strap with a textured finish that, in my opinion, didn't work with the watch. I would have it on a tapered aligator or Horween. But that's the beauty of straps (and of drilled lugs), if you don't like it then all it takes is one minute, a pair of steady hands and you're sorted.
If the last 800 words of gushing praise haven't convinced you yet then I'll be blunt. You. Need. To. Buy. This. Watch. If I had the money available then believe me, I wouldn't be telling you this because I would have already bought it. Whilst the Rolex made me reconsider my own tastes and thoughts about Datejusts, this reaffirmed my love of effortless, timeless design.


• Ensuring the convergence of the vital elements of a festivals composition in order for it to shape it's own identity and stand unique among the rest.
• Making sure all the elements of the "experience" are present.
• Utilizing a macro-management perspective of large scale festivals from a complete overview perspective to make sure opportunities are not missed and liabilities are avoided.


The Lightning Network may well be Bitcoin's primary solution to the issue of scalability , but many skeptics believe there are unresolved issues with this layer-2 system for the blockchain. The possibility of too much centralization via so-called "supernodes" is one of the common criticisms of the Lightning Network, and attached to that is the fear of these new, mostly -centralized payment hubs having the capacity to censor transactions.
Although a loss of privacy is sometimes mentioned as a possible, negative aspect of the Lightning Network, the reality is that it may offer better privacy than the current base layer of the Bitcoin blockchain. This is mainly due to the fact that the blockchain is an open, mostly -transparent ledger that can be viewed by anyone via a block explorer .
Blockstream 's Rusty Russell and Lightning 's Olaoluwa Osuntokunhave been working on bringing onion routing to the Lightning Network, and it's clear that privacy is given the utmost respect by the developers working on this project.