text:
17 September 2021: Property market on recovery path; Four Penang tourist spots tapped for test runs
Property market on recovery path amid govt initiatives
The property market is expected to be on the recovery path in line with the gradual economic recovery, supported by the implementation of various government initiatives and assistance, said the National Property Information Centre (Napic). It said the property market performance recorded a significant increase in the first half of 2021 (1H 2021) as compared to the same period last year. In the Malaysia Property Market Report for 1H 2021, it said a total of 139,754 transactions worth RM62.01 billion were recorded, showing an increase of 21.0% in volume and 32.1% in value compared to the same period last year. The volume and value of transactions across the sub-sectors showed upward movements. "All states recorded higher market volume except for Wilayah Persekutuan (WP) Putrajaya. The four major states namely Kuala Lumpur, Selangor, Johor and Pulau Pinang formed about 50% of the total national residential volume," it shared. Construction activity, Napic noted had recorded an increase in completion, starts and new planned supply. (The Sun Daily)
Gym reopening subject to NSC approval, says deputy minister
Deputy Youth and Sports Minister Datuk Seri Ti Lian Ker today said that the authority to reopen gyms lies with the National Security Council (NSC) and that his ministry has submitted its proposed standard operating procedures (SOPs) for the agency to consider. Ti clarified his remarks, which were earlier reported by The Star, that gyms in states currently under Phase 2 and 3 of the National Recovery Plan (NRP) can reopen tomorrow. "We have submitted the new SOPs to the NSC, and it is up to the NSC gazetting it first before gyms are allowed to open. So gyms will only be opened when the proposed SOPs are gazetted," he said. Earlier this week, the Youth and Sports Ministry proposed that sports premises, such as fields and gyms, be allowed to operate. Last week, Health Minister Khairy Jamaluddin announced the Health Ministry (MoH) was drawing up ventilation guidelines for gyms, together with the NSC. (Malay Mail)
Friday prayers allowed in KL, Putrajaya mosques with up to 500 congregants
Friday prayers at mosques in the Federal Territory of Kuala Lumpur and Putrajaya which are in Phase Two of the National Recovery Plan (NRP), are allowed to be held with up to 500 congregants, effective Friday (Sept 17). Federal Territories Islamic Religious Department (Jawi) director Datuk Mohd Ajib Ismail said 250 congregants were allowed for the same purpose in seven zonal mosques as well as kariah (vicinity) mosques, while for Friday prayers surau, it was 150 people, and surau with special permission to hold the Friday prayers (100 people). "Lectures and 'tazkirah' (talks) are allowed with attendance not exceeding the number of Friday prayer congregants for the tazkirah prior to Friday prayers, and not exceeding the number of congregants for obligatory prayers for other lectures, with physical distancing of 1.5m," he said. (The Star)
Green zone parking areas for delivery riders in KL
The Federal Territories Ministry will create special 'Green Zone' areas in 10 locations around Kuala Lumpur specifically as motorcycle parking lots for food and parcel delivery riders. Federal Territories deputy minister Datuk Seri Jalaluddin Alias said the initiative would help facilitate and speed up the delivery of food and parcels by the riders. "We already have a pioneer Green Zone area at Menara Dewan Bandaraya Kuala Lumpur that can be used by delivery riders. In addition, I have also discussed with the Kuala Lumpur mayor to implement this project immediately at 10 other areas," he said. Jalaluddin said the ministry would expand the pioneer project to Putrajaya and Labuan, adding that they would serve as examples to other states to implement such projects. (The Edge)
Four Penang tourist spots tapped for test runs
Despite its many tourist attractions, four potential key spots in Penang have been identified for the island's reopening. State tourism and creative economy committee chairman Yeoh Soon Hin said Penang is proposing a test run for the reopening of spacious outdoor tourist attractions in the state before embracing full resumption of travel activities. He said the test run is aimed at fine tuning and improving the health protocols at tourist attractions, and would be conducted in collaboration with the Association of Tourist Attractions Penang (ATAP) at outdoor attractions that have sizeable spaces. "They are The Habitat, Tropical Spice Garden, Penang Tropical Fruit Farm and Penang Bird Park," he said. "This test run will be conducted with strict adherence to health protocols, which will limit the test run to three days per week and will only be applicable to fully vaccinated visitors who have pre-booked their tickets online prior to the visit. Visitors for each attraction will also be capped at 30 persons at any one time," he said. Meanwhile, hotels in Penang are all set to welcome domestic tourists. (The Star)
KPMG to pay RM333mil to M'sian govt as 1MDB settlement, says Finance Ministry
KPMG has agreed to a settlement valued at RM333mil (US$80mil) to resolve all claims related to its fiduciary duties on auditing of 1Malaysia Development Bhd (1MDB) accounts for the period of 2010 to 2012, says the Finance Ministry. The settlement with KPMG, valued at more than 800 times the audit fees earned by KPMG, represents one of the largest 1MDB-related settlements by an audit firm in South-East Asia. Finance Minister Tengku Datuk Seri Zafrul Abdul Aziz said this demonstrates the government's resolve to diligently pursue recovery efforts against all parties involved in 1MDB and its related entities. The ministry said the settlement will conclude the civil suit filed on July 6, 2021, against KPMG, which will expedite the payment of monies to fulfil 1MDB's outstanding obligations, and save the court's time and public resources. It said this settlement will not affect or compromise Malaysia's claims against individuals like Jho Low and other parties related thereto, and who are still being actively pursued in relation to the 1MDB financial scandal. (The Star)
PreviousPasternack Expands Its Line of Low-PIM Coaxial Cable Assemblies that Deliver PIM levels of < -160 dBc
NextHysan Development Acquires Premium Commercial Project in Jing'an District for RMB3.5 billion
4 May 2021: AstraZeneca opt-in extended to whole Malaysia; Raya SOP expected to be out soon
Property News Summary – 11 November 2016
11 September 2019: Seberang Perai gains city status; Malaysia fully 5G by 2023
Five Newsbytes to Start The Day – 28 February 2019


text:
Ruda – wieś w Polsce położona w województwie łódzkim, w powiecie radomszczańskim, w gminie Dobryszyce.

W latach 1975–1998 miejscowość administracyjnie należała do województwa piotrkowskiego.

Inne miejscowości o nazwie Ruda: Ruda

Przypisy

Dobryszyce (gmina)

redpajama_set_name: RedPajamaWikipedia


Riverside Auto & Truck Salvage takes pride in offering quality used auto parts. Parts are considered to be in good working condition and will be replaced, repaired or purchase price refunded (if another part is not in stock) if parts are found to be defective within 90 days of invoice date.
If within 90 days of purchase a mechanical part proves to be defective, seller will, within a reasonable period of time replace the part.
Original invoice must accompany any warranted part, no refunds without the original invoice. KEEP YOUR RECEIPT!
25% restocking fee if seller allows a non warranty return. Buyer is responsible for determining suitability and condition for purchase intended.
Warranty on engines pertains to the block and head assembly. No warranty on seals, gaskets, pumps or timing components. Warranty covers knocks, smoke and excessive oil burn (more than 2 quarts per 3000 miles). Warranty is void if over heating or abuse has occurred. Sellers Descretion.
Riverside Auto & Truck Salvage or any representative will not be liable for any labor costs of a defective part. Parts are used and can have defects not for seen by this company. No Cash Refunds on parts in stock. A store credit is available to customers who prefer in store credit as opposed to another part.


text:
Oenino is een bestuurslaag in het regentschap Timor Tengah Selatan van de provincie Oost-Nusa Tenggara, Indonesië. Oenino telt 949 inwoners (volkstelling 2010).

Plaats in Oost-Nusa Tenggara


text:
Brexit stockpiling boosts UK economy in February
But a no-deal Brexit could tip the U.K. into a two-year recession.
Workers load and unload boxes of fresh fruit and vegetables from trucks at a warehouse in south London | Daniel Leal-Olivas/AFP via Getty Images
By Ian Geoghegan
April 10, 2019 1:11 pm CET
The U.K. economy grew in February, by 0.2 percent from January, as manufacturers churned out goods for clients stockpiling ahead of Brexit, data from the Office for National Statistics showed Wednesday.
The figures show Britain's economy grew by 0.3 percent in the three months to February, with GDP growth hitting 2 percent year-on-year.
But while February's growth beat economists' forecasts, growth looks set to be the weakest in a decade this year amid the uncertainty around Britain's departure from the European Union, according to forecasts from the IMF and the Bank of England.
Earlier this week, the International Monetary Fund forecast that a worst-case, no-deal Brexit scenario, with severe border disruption and the imposition of tariffs, could tip the U.K. into a two-year recession, with GDP growth sliding by 1.4 percent and 0.8 percent in the first years after leaving the EU.
Britain's economy would be expected to grow by 1.2 percent this year, if a Brexit deal is agreed, the IMF predicted in its World Economic Outlook, which was completed in March.
U.K. Prime Minister Theresa May has asked EU27 leaders for another Brexit delay, to June 30, to give parliament more time to try to agree a withdrawal deal. The EU will decide at a summit later Wednesday on whether to grant the request, how long it should be, and what conditions should be attached to it.
In case no deal can be reached, the legal default date for Britain to leave the EU remains this Friday.
UK government employs firm to track Brexit stockpiling
By Charlie Cooper
EU leaders mull risky second Brexit delay
By Jacopo Barigazzi, James Randerson and Rym Momtaz
More from ... Ian Geoghegan
EU sidelined in US-Dutch deal to block chips exports to China
Britain's semiconductor plan goes AWOL as US and EU splash billions
EU talks on fresh Russian oil price caps go to the wire
Ukraine to get cold shoulder on rapid EU entry
By Barbara Moens and Suzanne Lynch
EU faces up to US green subsidies with industrial overhaul
By Samuel Stolton
Brexit Economic performance Negotiations No-deal Brexit Trade
EU27 United Kingdom

redpajama_set_name: RedPajamaCommonCrawl


text:
Tennessee Titans game tickets are a great way to spice up your vacation to Nashville! The Houston Oilers, which became the Tennessee Titans in 1960, were the team's first name. AFL-NFL Merger in 1970 brought the club from American Football League to National Football League 1970, where they won two championships. A year later, the team relocated to Nashville, where they have been. Before agreeing on the Tennessee Titans moniker in 1999, the club was known as the Tennessee Oilers.
The squad has remained consistent throughout its existence, making the playoffs in each of its first six decades of competition. Warren Moon, Earl Campbell, Steve McNair, and Eddie George have all guided the team in the AFC playoffs. Since 2002, the Titans have played their home games at TIAA Bank Field, Lucas Oil Stadium, and NRG Stadium, all of which are in the AFC South. There has been a Titans home game at Nissan Stadium since its debut in 1999. With Tennessee Titans game tickets from our website, you may score a touchdown in Nashville!
Tennessee Titans game schedule begins in August with four exhibition games in the NFL, designed to trim the roster and provide seasoned players playing time. The season will begin in September. Over 17 weeks, the Titans will play a total of 16 games. As part of AFC South divisional play, the club will face the Jacksonville Jaguars, Indianapolis Colts, and Houston Texans twice. At Nissan Stadium, half of the Tennessee Titans games will be home games, while the other half will be road games.
Only one of two AFC wildcard spots is needed to ensure a Titans appearance in the NFL playoffs. NFC and AFC championships will be decided via single-elimination playoffs in January, culminating in February's Super Bowl.
There are still 23 games remaining on the Tennessee Titans game dates calendar. Do you want to see this game live? Tennessee Titans game tickets may be purchased via our website if you hurry.
Our website makes purchasing Tennessee Titans game tickets online simple and worry-free. As a result, you won't have to worry about whether or not your Tennessee Titans game tickets are genuine when you arrive at Nissan Stadium. There's no need to stand in line at the ticket booth on game day. Tickets for NFL games may be purchased in advance on our website so that fans don't have to worry about missing the start of the game.
You may like the Washington Commanders or the LA Galaxy.
TENNESSEE TITANS GAME TICKET PRICES
HOW MUCH ARE TENNESSEE TITANS GAME TICKETS?
Prices for this year's Tennessee Titans game tickets range from $94.00 to $677.00. The current season's average ticket cost per game is $254.25. Tickets for certain areas of the stadium will be more affordable than others, so fans will have a wide range of alternatives when it comes to purchasing tickets.
WHEN DO TENNESSEE TITANS GAME TICKETS GO ON SALE?
Tennessee Titans game tickets are now available on our website. Ticket sales for the next season for the Tennessee Titans typically begin in May. As soon as the NFL announces its complete season schedule, tickets will go on sale within a few days of that announcement.
Frequently Asked Questions About Tennessee Titans Tickets
How much are Tennessee Titans tickets?
The average price to watch a Tennessee Titans game is $228. But you can find them as low as $67.
How to get cheap Tennessee Titans tickets?
Get Tennessee Titans tickets on VIPTicketsAmerica.com that start at $67.
Tennessee Titans tickets can be as high as $637. These include club seats, suites, front row seats, and more. The average price is $228.
Where to buy Tennessee Titans tickets?
Buy the best Tennessee Titans tickets in a safe and convenient manner on VIPTicketsAmerica.com.
Can I buy parking for Tennessee Titans games?
VIP Ticket America has Tennessee Titans parking tickets for sale. Book the best tickets today.
Maxim Super Bowl Party
NFL Pro Bowl Games
NFL Pro Football Hall of Fame Game


text:
News 17th April 2015
Police investigating Czech ice-hockey coach
Andy Brown @journoAndy andy.brown@the-sii.com
Police in the Czech Republic are investigating media allegations that national team coach, Vladimír Růžička, accepted a bribe from a player's father in order to ensure that his stayed on Slavia Prague's 2012/13 team. According to local reports, entrepreneur Miroslav Palaščák secretly taped a meeting with Růžička, who formerly coached Slavia, where he offered to pay him two instalments of CZK250,000 (€9,000) in exchange for a promise that his son, David, would return from his loan to lower-league clubs.
Růžička has admitted taking the money, but said that he at first understood that it was a donation to the club programme, then considered it a loan, and finally returned the money in November 2014, adding that Slavia Prague knew about the situation. It is understood that David Palaščák did not play for Slavia Prague again.
Slavia Prague distanced itself from the allegations. 'HC Slavia Prague knows nothing about the sponsorship donation of CZK500,000', read a 13 April statement. 'The connecting link is indeed Vladimír Růžička, but he acted for himself, not for the club'. Slavia denied that it knew about the money, adding that it had not been recognised in the club's accounts, so could not have been connected to a club programme or sponsorship donation. 'How and for what purpose he received the money, Vladimír Růžička should promptly disclose and explain'.
In contrast, the Czech Republic Ice Hockey Association supported Růžička and suggested that the allegations were an attempt to discredit him ahead of the Ice Hockey World Championships, which the Czech Republic is hosting. 'The national team is preparing for the Ice Hockey World Championships in Prague and Ostrava, and strongly supports coach Vladimír Růžička', read a 14 April statement. 'Despite this negative campaign timed for the period before the World Championships, we want to wholly devote ourselves to preparations for the climatic event of the season taking place in our home environment'.
Czech Republicice hockeyPalaščákRůžičkaSlavia Prague
The trouble with Ostarine: Jimmy Wallhead's
Demonising Justin Gatlin
Sports Integrity Briefs – 14 August 2017
Frattini vigorously contested allegations of b...
CAS Decision outlines RUSADA's control b...
UK Athlete bans updated in line with Code chan...
Czech cyclocross champion considering appeal against four year ban
Emil Hekele is considering appealing a four year ban imposed by the Czech Cycling Federation...
SII Focus 19/09/2016
Fancy Bears hack now involves 66 athletes from 16 countries
A fourth release of confidential athlete data from the World Anti-Doping Agency's (WADA) Anti-Doping Administration...
A new leak of confidential medical data taken from the World Anti-Doping Agency's (WADA) Anti-Doping...
AAFs
https://www.facebook.com/sportsintegrityinitiative/
https://twitter.com/sport_integrity


other blogs | A Cat Called Freya, and Teego Too!
Today, I'd like to introduce you to some good friends of ours. They're called Bannana and Cheese. And they're cats, not food things.
I found them a few months ago, and was amazed by their illustrations – all us normal cat bloggers have to take photos, cos we can't draw, but at Bananna and Cheese, Gail and CD can DRAW!!! and We're so honoured that they drew a picture of us too!
I was thinking the other day, how many blogs I f0llow, and I was concerned that every morning, I wake up, and there's about 50-70 updates to go through.


text:
Wëlleschbaach – mały, naturalny ciek w południowo-zachodnim Luksemburgu, w dystrykcie Luksemburg, w kantonie Capellen, na obszarze gmin Mamer i Garnich, w zlewisku Morza Północnego, w dorzeczu Renu. Początek bierze na wschód od miejscowości Garnich. Uchodzi do rzeki Mamer, stanowiąc jej lewostronny dopływ, na wysokości 299,6 m n.p.m. Ujście znajduje się na zachodnich obrzeżach miejscowości Holzem, w pobliżu zabudowy przy ulicy Rue de Moulin.

Wëlleschbaach płynie w kierunku południowo-wschodnim. W górnym odcinku ciek biegnie równoleżnikowo na wschód. Zlewnia zajmuje powierzchnię ok. 1,4 km². Ma charakter typowo rolniczy.

Zobacz też
 Mamer (rzeka)
 Geografia Luksemburga

Przypisy

Dorzecze Alzette


A good business plan is the foundation for a sucessful business and there is plenty of help to get you started.
Regardless of your business model, you will have to work somewhere. This might be at home, in shared office space, in a rented office or in a building you purchase. Carefully consider the impacts of each of these decisions to find the one that is right for you.
Shared offices offer options for many types of business owners from traditional office settings to collaborative work space. Our interactive map will help you find potenial locations in the county.


Olivia Julietta, celebrated blogger, shows us how to wear the season's must-have Suede Skirt.
Fashion is close to my heart. My name is Olivia and in my blog I show my personal style along with my fashion, beauty, and lifestyle inspirations. As a self-claimed Munich native I search for inspiration at home and on the road to refresh and renew my personal style. To me, fashion means always reinventing oneself and trying new things.
"This is one of my favorite looks this autumn. The colors are perfectly coordinated - the alpha and omega for a successful outfit."
"The suede skirt and patterned top combined with biker boots is a flawless mixture of chic and casual. This look is great for a relaxing stroll through the park."
"This look truly reflects my personality. I have a real soft spot for beige tones, especially in the autumn. They're such versatile combination pieces."
"Fashion to me means always finding fresh new ways to express myself."


For fine surfaces. Ideal for no-scratch removal of particles after milling parts or before painting.
Want to try out a new wipes? Your satisfaction is always guaranteed with the PIG Promise... try a case risk-free!


Sport a brightly coloured Rainbow Trust t-shirt which come in seven different colours.
Are you ordering a t-shirt because you're fundraising for us? If so, we'd love to hear about what you're doing in the box below.


text:
import * as React from 'react';
import Typography from '@material-ui/core/Typography';
import Grid from '@material-ui/core/Grid';
import Card from '@material-ui/core/Card';
import CardActionArea from '@material-ui/core/CardActionArea';
import CardContent from '@material-ui/core/CardContent';
import CardMedia from '@material-ui/core/CardMedia';

interface FeaturedPostProps {
  post: {
    date: string;
    description: string;
    image: string;
    imageText: string;
    title: string;
  };
}

export default function FeaturedPost(props: FeaturedPostProps) {
  const { post } = props;

  return (
    <Grid item xs={12} md={6}>
      <CardActionArea component="a" href="#">
        <Card sx={{ display: 'flex' }}>
          <CardContent sx={{ flex: 1 }}>
            <Typography component="h2" variant="h5">
              {post.title}
            </Typography>
            <Typography variant="subtitle1" color="text.secondary">
              {post.date}
            </Typography>
            <Typography variant="subtitle1" paragraph>
              {post.description}
            </Typography>
            <Typography variant="subtitle1" color="primary">
              Continue reading...
            </Typography>
          </CardContent>
          <CardMedia
            sx={{ width: 160, display: { xs: 'none', sm: 'block' } }}
            image={post.image}
            title={post.imageText}
          />
        </Card>
      </CardActionArea>
    </Grid>
  );
}

redpajama_set_name: RedPajamaGithub


text:
Clinical and molecular effects of guanylate cyclase C-activation
Tronstad, Rune Rose
Main thesis and paper I (5.562Mb)
We studied a large Norwegian family who had been affected by chronic diarrhoea and other symptoms from the digestive tract throughout several generations. Our genetic studies showed that family members with diarrhoea shared markers on the short arm of chromosome 12. In this part of the genome we discovered a new genetic variant in GUCY2C. This variant was present in 32 family members with diarrhoea, but not in the healthy family members. We performed functional assays of the GUCY2C variant in a cell-model. These studies showed that the genetic variant encodes an increased activity of guanylate cyclase C (GC-C), a protein known to be involved in infectious diarrhoea. Apart from diarrhoea many family members had also experienced acute intestinal obstructions and/or inflammatory bowel disease (IBD) categorized as Crohn's disease (CD). To our knowledge the constellation of symptoms experienced by our patients had not been reported previously and we assumed that we were dealing with a new disorder. We called this disorder Familial GUCY2C diarrhoea syndrome (FGDS). The publication in 2012 of our research constituted the first report of a human disorder caused by a change in the GUCY2C gene. The further work on this thesis aimed at discovering factors involved in the pathogenesis of FGDS with a main focus on its link to IBD. In parallel with our project multinational case-control studies were charting the genetic basis for IBD, and by 2015 more than 200 genetic associations had been identified. While GUCY2C has not been flagged by these population-based studies we hypothesised that common genetic variants within the GC-C pathway may still contribute to the risk of developing IBD. Rather than assessing single genes, we tested whether an aggregation of genes within the GC-C pathway was associated with IBD. For this analysis we used genetic association statistics made publicly available from the largest IBD case-control studies. The GC-C gene list did indeed show significant enrichment of association in IBD. We then looked at common IBD genetic risk variants in FGDS patients and found that genetic variants in the NOD2 gene distinguished FGDS patients affected by IBD from those not developing IBD. NOD2 encodes a protein involved in sensing and removal of bacteria in the intestinal wall. We studied which genes were differentially expressed in the distal small bowel of FGDS compared to healthy controls as well as patients with CD. Down regulation of metallothionein genes was found in FGDS patients regardless of concomitant IBD when compared to healthy but not when compared to CD. Metallothioneins may serve as signal transducers in the interplay between the human host and its resident bacteria (microbiota). Paucity of these antioxidant proteins may perturb epithelial sensing and clearance of microbes and has been reported in IBD. We hypothesised that GUCY2C related changes of the gut hydration could also impact on its bacterial composition. Using sequencing of the 16S ribosomal RNA gene we analysed the microbial composition in stool from adult FGDS patients, related and unrelated healthy controls as well as patients with IBD. Overall microbiota composition of FGDS patients was different from the other groups, but similar between healthy relatives and unrelated healthy controls. The microbiota of the FGDS patients displayed increased abundance of Enterobacteriaceae and loss of Faecalibacterium, findings that may have a pro-inflammatory potential and are found in IBD. In conclusion we here identified activating mutations of the GUCY2C gene as the cause of familial diarrhoea and defined a new disorder, Familial GUCY2C diarrhoea syndrome. Our work indicates that genetic testing for mutations in GUCY2C should be considered in patients presenting with early onset secretory diarrhoea. Apart from diarrhoea we also highlighted clinical complications potentially linked to hyperactivation of GUCY2C, such as IBD, intestinal obstruction and dysfunctional gut peristalsis. Our subsequent studies suggested that GUCY2C is involved in the crosstalk between the gut mucosa and the adjacent microbiota, providing a potential clue to the link between GUCY2C and IBD.
Has parts
Paper 1: Fiskerstrand T, Arshad N, Haukanes BI, Tronstad RR, Pham KD, Johansson S, Håvik B, Tønder SL, Levy SE, Brackman D, Boman H, Biswas KH, Apold J, Hovdenak N, Visweswariah SS, Knappskog PM. Familial diarrhea syndrome caused by an activating GUCY2C mutation. N Engl J Med. 2012 Apr 26;366(17):1586-95. The article is available in the main thesis. The article is also available at: https://doi.org/10.1056/nejmoa1110132
Paper 2: Tronstad RR, Polushina T, Brattbakk HR, Stansberg C, von Volkmann HL, Hanevik K, Ellinghaus E, Jørgensen SF, Ersland KM, Pham KD, Gilja OH, Hovdenak N, Hausken T, Vatn MH, Franke A, Knappskog PM, Le Hellard S, Karlsen TH, Fiskerstrand T. Genetic and transcriptional analysis of inflammatory bowel diseaseassociated pathways in patients with GUCY2C-linked familial diarrhea. Scand J Gastroenterol. 2018 Oct 24: 53(10-11):1264-1273. The article is not available in BORA due to publisher restrictions. The published version is available at: https://doi.org/10.1080/00365521.2018.1521867
Paper 3: Tronstad RR, Kummen M, Holm K, von Volkmann HL, Anmarkrud JA, Høivik ML, Moum B, Gilja OH, Hausken T, Baines J, Karlsen TH, Fiskerstrand T, Hov JR. Guanylate Cyclase C Activation Shapes the Intestinal Microbiota in Patients with Familial Diarrhea and Increased Susceptibility for Crohn's Disease. Inflamm Bowel Dis. 2017 Oct;23(10):1752-1761. The article is not available in BORA due to publisher restrictions. The published version is available at: https://doi.org/10.1097/mib.0000000000001264


text:
Use of salivary cortisol and cortisone in the high and low dose synacthen test
Elder, C.J., Harrison, R.F., Cross, A.S. et al. (4 more authors) (2017) Use of salivary cortisol and cortisone in the high and low dose synacthen test. Clinical Endocrinology . ISSN 2045-2322
CONTEXT: Salivary cortisone reflects serum cortisol levels, is more sensitive than salivary cortisol at lower values of serum cortisol and is non-invasive. OBJECTIVE: To investigate the relationship between serum cortisol and salivary cortisol and cortisone following low and high-dose synacthen. DESIGN AND SETTING: Prospective pharmacodynamic studies in clinical research facilities. PARTICIPANTS AND INTERVENTION: 35 dexamethasone-suppressed, healthy adult males underwent an intravenous synacthen test: N=23 low-dose (1mcg), N=12 high-dose (250mcg). Paired serum and salivary samples were taken at 15 sampling points over 120 minutes. MAIN OUTCOME MEASURE: Serum cortisol and salivary cortisol and cortisone were analyzed for correlations and by a mixed effects model. RESULTS: At baseline the correlation between serum cortisol and salivary cortisol was weak with many samples undetectable (r=0.45, NS), but there was a strong correlation with salivary cortisone (r=0.94, p<0.001). Up to 50 minutes following synacthen the correlation coefficient between serum cortisol and salivary cortisol and cortisone was <0.8, but both had a stronger correlation at 60 minutes (salivary cortisol r=0.89, p<0.001, salivary cortisone r=0.85, p<0.001). The relationship was examined excluding samples in the dynamic phase (baseline to 60 minutes). Salivary cortisol and cortisone showed a close relationship to serum cortisol. Salivary cortisone showing the stronger correlation: Salivary cortisol r=0.82, p<0.001, salivary cortisone r=0.96, p<0.001. CONCLUSION: Following synacthen, both salivary cortisol and cortisone reflect serum cortisol levels but there is a lag in their rise up to 60mins. The results support further research for possible future use of a 60min salivary cortisone measurement during the synacthen test.
Elder, C.J.
Harrison, R.F.
Cross, A.S.
Vilela, R.
Keevil, B.G.
Wright, N.P.
Ross, R.J. https://orcid.org/0000-0001-9222-9678
This is the peer reviewed version of the following article: Elder, C. J., Harrison, R. F., Cross, A. S., Vilela, R., Keevil, B. G., Wright, N. P. and Ross, R. J. (2017), Use of salivary cortisol and cortisone in the high and low dose synacthen test. Clin Endocrinol., which has been published in final form at 10.1111/cen.13509. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving.
ACTH stimulation test; Synacthen; Cosyntropin; Saliva; Cortisol; cortisone; adrenal insufficiency; Addisons
Published (online): 6 November 2017
The University of Sheffield > Faculty of Medicine, Dentistry and Health (Sheffield) > School of Medicine (Sheffield) > Division of Genomic Medicine (Sheffield) > Department of Oncology (Sheffield)
The University of Sheffield > Sheffield Teaching Hospitals
Symplectic Sheffield
https://doi.org/10.1111/cen.13509
Filename: cen13509.pdf


text:
Q: EF6 Queries Using Wrong Database I am using Devart dotConnect for MySQL with Entity Framework 6 in a Windows Forms application (.Net Framework 4.8). I'm using the DB first approach with a dynamic connection string. My application can connect to any number of databases all with the same schema, so I am building the connection string based on input from the user. I have used this approach on several other projects and have never encountered this issue before. I have spent the last day searching for someone reporting a similar issue, with no luck.
I've created my EDMX model using an empty database (meaning no data, but full schema) called entity_model. I can create instances of the DBContext-derived entity class, and I can even use the attached database to perform general queries on the attached server (e.g. get a list of installed database). I can even perform SQL queries into the database identified in the connection string (using DbContext.Database.SQLQuery), and the results are what I expect. However, when I try to use the DbSet-derived members of the Entity class, my queries are always being directed at the database that I used to generate the model, regardless of the database identified in the connection string.
Stepping through the code, I can see that the settings in the entity object all look correct (entity.Database.Connection.ConnectionString looks exactly like I would expect, and entity.Database.Connection.Database has the correct database name). However, if I examine the internal query value (DbSet.SQL) for any of the DbSet objects, I get something similar to this:
SELECT
Extent1.ID,
Extent1.Field1,
Extent1.Field2,
Extent1.Field3,
FROM entity_model.table1 AS Extent1
where entity_model is the database that I used to create the model. I've done enough testing to know that the queries are actually being executed against this incorrect database, rather than the one passed in through the connection string.
As I've said, I've used this same technique on other projects and have not run into this issue. I've even stepped through some old code and I can see that the contents of the DbSet.SQL field contains no reference to any database (neither the one used to create the model, nor the one from the connection string). This is what I would expect to see in my new project as well.
Can someone explain to me how EF decides whether to include the schema name in the DbSet.SQL field? This is making me a little crazy.
I've tried this across a number of the 50 or so databases that I have installed on my machine, so I know the problem is not with any particular database.

A: I've found a solution (actually 2 solutions) to this problem. The basic problem is that EF is using the schema specified in the edmx EntitySet element by default:
<EntitySet Name="table1" EntityType="Self.table1" Schema="entity_model" store:Type="Tables" />

This behavior can be turned off in 2 ways. Either add the following lines to your applications startup code:
using Devart.Data.MySql.Entity.Configuration;
...
var config = MySqlEntityProviderConfig.Instance;
config.Workarounds.IgnoreSchemaName = true;

Or add the following sections to your config file:
inside the configSections element:
<section name="Devart.Data.MySql.Entity" type="Devart.Data.MySql.Entity.Configuration.MySqlEntityProviderConfigurationSection, Devart.Data.MySql.Entity.EF6, Version=8.21.2066.0, Culture=neutral, PublicKeyToken=09af7300eec23701"/>

And then after the configSections element:
<Devart.Data.MySql.Entity xmlns="http://devart.com/schemas/Devart.Data.MySql.Entity/1.0">
    <Workarounds IgnoreSchemaName="true"/>
</Devart.Data.MySql.Entity>

I found a third option online, and that was to simply delete the schema name from each of the EntitySet elements in the edmx file, but I think that could cause some issues if you ever try to update the model from a database.
I'm hopeful that this answer will prove useful to someone else down the road.

redpajama_set_name: RedPajamaStackExchange


Your PubMed Search History is available on the Advanced Search page.
This page shows your search strategies and number of items found for each search.
The search statement numbers can be combined with each other or with new search terms using Boolean logic (e.g., #1 AND #2).


text:
© Mikael Males/Dreamstime.com
An American Indian people, the Shawnee once roamed widely across what is now the eastern United States. They traveled through the territory of other tribes, building villages as far north as what are now New York and Illinois and as far south as Alabama and Georgia. Their original homeland, however, was the Ohio River valley. The Shawnee were Northeast Indians who spoke an Algonquian language.
In summer the Shawnee lived in large villages located near fields in which women grew corn and other vegetables. Shawnee men hunted deer, bears, turkeys, and other animals. Their houses consisted of a wooden pole frame covered with bark. Each village had a large council house that was also used for religious ceremonies. In winter the Shawnee moved to hunting camps. The tribe had civil chiefs, who generally inherited their position, and war chiefs, who were chosen for their bravery, skill, and experience.
In the 1600s the Shawnee were driven from their home by the Iroquois. They scattered widely, some settling in what is now Illinois and others in the Cumberland River valley of Kentucky and Tennessee; another group moved to the southeast. After 1725 the Shawnee reunited in Ohio, where they strongly resisted the westward expansion of colonial settlements. In 1794 the tribe was defeated by U.S. troops led by Gen. Anthony Wayne at the Battle of Fallen Timbers. The next year Shawnee chiefs signed a treaty in which they gave up the tribe's lands.
Some Shawnee refused to accept the treaty. The most notable among them was Tecumseh, who argued that the chiefs had signed away land they did not own. Land, he said, was like the air and water, the common possession of all Indians. Tecumseh organized a confederacy of tribes to fight the Americans. His death in battle in 1813 ended Shawnee resistance to westward expansion. By the late 1800s the Shawnee had broken into three independent branches that still exist today: the Absentee, the Eastern, and the Cherokee Shawnee. The three groups settled in different parts of Indian Territory (now Oklahoma). The U.S. census of 2010 counted more than 14,000 people of Shawnee descent.


What would St. Patrick's Day be without some authentic Irish grub? If you don't feel like cooking your own corn beef and hash, and Guiness from you fridge doesn't seem to have that foamy-dark appeal, make your way down to Sláinte Irish Pub and Restaurant for some delicious and traditional food and drink specials! They will open at 6:00 in the morning for this special occasion, so you can start celebrating bright and early! Baltimore Sun deemed it the "Best Irish Pub of 2013"; why be in any old Irish Pub on St. Patrick's Day when you can be at the best? Happy St. Patrick's Day! Find out more about Sláinte Irish Pub and Restaurant here!


text:
On the rheocasting of high integrity hollow shape components for automotive applications using 357 aluminum alloy
Resolve DOI: https://doi.org/10.4028/www.scientific.net/SSP.192-193.539
Search for: Samuel, Ehab1 ; Search for: Zheng, Chang Qing1 ; Search for: Côté, Pascal
National Research Council Canada. Automotive and Surface Transportation
Solid State Phenomena
12th International Conference on Semi-Solid Processing of Alloys and Composites, October 8-11 2012, Cape Town, South Africa
357 aluminum alloy; Hollow shape; Rheocasting; SEED; Semi-solid
Recent studies regarding semi-solid casting as a viable alternative to conventional liquid metal casting have been met with considerable interest. The dual nature of semi-solid materials results in a marked decrease in internal defects otherwise associated with conventional casting methods. In recent years, the National Research Council Canada - Aluminum Technology Centre (NRC-ATC) has dedicated itself to better understanding the behaviour of semi-solid aluminum alloys, notably 357, using the SEED (Swirled Enthalpy Equilibration Device) rheocasting method. SEED is a novel process which relies on the mechanical agitation and cooling of molten aluminum to produce a semi-solid billet. This billet is then injected into a die to yield the desired cast shape. The current work focuses on the rheocasting of a 357 aluminum alloy support bracket, consisting of four rings. Material flow around a ring is known to result in a welding of the two metal fronts. Traces of porosity and oxides can sometimes be found at the weld, unless preventative measures are taken. These include the use of overflows attached to the ring via a web as well as a careful control of the casting parameters. At NRC-ATC, several parts were rheocast and then subjected to both destructive and non-destructive testing, in an effort to better understand the material flow behaviour around these rings. The results obtained are presented herein.
Trans Tech Publications Ltd.
f3294238-cfa5-4de9-bfd1-55aa8fd972bb


The British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. Touring globally, the group performs an extensive repertory both in its a cappella concerts and in collaborations with leading orchestras, conductors and soloists. Versatility and a celebration of diverse musical expression are central to the ensemble's performance and education ethos.
VOCES8 has performed at many notable venues including Wigmore Hall, Bridgewater Hall, Elbphilharmonie, Cité de la Musique, Vienna Konzerthaus, Tokyo Opera City, NCPA Beijing, Mariinsky Theatre Concert Hall, Victoria Concert Hall Singapore and the Palacio de Bellas Artes Mexico City. This season they will add the Sydney Opera House, Muziekgebouw aan' t IJ and La Seine Musicale Paris to that list. Keen musical collaborators, this season will see concerts with the Academy of Ancient Music, Manchester Camerata, the Edvard Grieg Kor, Hugo Ticciati, the Orchestre Philharmonique de Monte-Carlo, and with baroque violinist Rachel Podger, with whom the critically acclaimed 'Guardian Angel' project will continue. Touring highlights of the season include concerts throughout the UK and Europe, across USA and Japan, and debut visits to Australia and Lithuania.
With an on-going programme of recordings, videos and live broadcasts, VOCES8 is heard regularly on international television and radio. The ensemble is a Decca Classics artist and has released acclaimed recordings that have all reached the top of the classical charts. A new album is planned for 2019. VOCES8 has premiered commissions from Roxanna Panufnik, Alexander Levine, Alec Roth, Ben Parry, Ola Gjeilo, Philip Stopford, Graham Lack, Thomas Hewitt Jones and Owain Park. 2019 will see the premiere of a commission by Jonathan Dove to mark the culmination of his period as the group's Composer in Residence.
VOCES8 is passionate about music education and is the flagship ensemble of the music charity VCM Foundation. Engaging in a broad range of outreach work that reaches up to 40,000 people a year, the group runs an annual programme of workshops and masterclasses at the Foundation's home in London, the Gresham Centre at St Anne & St Agnes Church. Dedicated to supporting promising young singers, the group awards eight annual choral scholarships through the VOCES8 Scholars initiative. These scholarships are linked to the annual Milton Abbey Summer School at which amateur singers of all ages are invited to work and perform with VOCES8. The ensemble is proud to be the Associate Ensemble for Cambridge University and delivers a Masters programme in choral studies.
As official Ambassadors for Edition Peters, the ensemble publishes educational material including the 'VOCES8 Method'. Developed by Paul Smith, co-founder of VOCES8, this renowned and unique teaching tool is available in four languages and adopts music to enhance development in numeracy, literacy and linguistics. Also available are two anthologies of its arrangements, and an ever-expanding 'VOCES8 Singles' range. This season the ensemble becomes Ambassador for the Tido App, an inspirational resource and learning tool created by Edition Peters. The VOCES8 Method and music arrangements will be made available via Tido during the 2018/19 season.
VOCES8 is very grateful for support from Arts Council England, the Merchant Taylors' Company, the Worshipful Company of Plaisterers, Holman Fenwick Willan and T.M.Lewin.


Gets or sets whether to enable the conditional formatting rules manager. This is a dependency property.
true, to enable the conditional formatting manager; otherwise, false.
The conditional formatting manager provides the capability to view and edit all formatting rules currently applied to the view, as well as to create new ones.


I remember when we were friends and stuff.
haha, I might. Can't remember where I saved the icon I made of it, or if it even still exists, since my hard drive crashed earlier this year. I might take a look later.
Life, pretty much. I hit some hard times but I'm better now. Hopefully will be sticking around this time too.
I foresaw your return. I had a dream (which the other contents of it are irrelevant) and my phone dinged and I had received a message telling me to Ignore you or something. It was a couple days ago,so I don't remember very well, But I called it.
Dunno yet, I had a really rough couple months and I'm still not completely through it. A friend linked me to something here today so I figured I'd at least pop in for today.
Additionally, I'm sure you know you can count on me for moral support. Do you have a Skype? I'm always available if you need someone to talk to.
Y U no staff? we all miss you, at least comeback every once in a while.
Please accept my apologies. I did not see your first warning.
I turned 21 on Thursday, November 8. My mom took me out to dinner, and I had my first beer -- a Bud Light. It wasn't good, but it wasn't bad, either, just bland. It made me feel a little spacey and off-balance, and I did not like that.
There's even a thread about you in the Premium Members forum.
I'm also glad you're safe.
Thanks, I've had a rough year with college so far. Still not back 100% but working there. Should be fully back by December.
I'd like to participate in the writing contest, but how do I submit my story?
PM when you get on. Despite being the only staff besides Chev that ever gets mad at me for stuff, I think you're probably the only staff that doesn't intensely hate me. Or Message me and I'll PM you when I'm ready, I dunno.It might have to wait until Tuesday if You don't get on later today and tomorrow goes like what I think it will go like.
Thanks, sorry I've not replied much, I've been busy since I got back.
Hey, Wolfie. I believe this would fit better in "The Spam Zone."


TV'S original foodie Keith Floyd will be dropping into Dorchester on Friday.
The popular chef, the first to take cooking out of the studio and into the real world, will be in town to present Floyd Uncorked: The Life of a Bon Viveur - his award-winning one-man show.
In a chequered career, Keith Floyd has been an army officer, a journalist, a dishwasher, a bartender, a cook, and restaurateur, with restaurants in France, Spain, Britain and currently Thailand.
But he is best known for his 25 books and 20 television series, which are still being shown in over 40 countries worldwide.
He will be taking to the stage of the Corn Exchange on Friday and promises to entertain the audience with some of his past exploits.
He said: "Needless to say, I shall not be cooking, but I shall be having a glass of wine while I attempt to regale you with my amusing little anecdotes."
His enthusiasm for the quality and provenance of food has been cited as a major influence on Dorset's own celebrity chef Hugh Fearnley-Whittingstall and his shows featured the first TV appearances of Rick Stein and Gary Rhodes, both then largely unknown.
A spokesman for Dorchester Arts Centre, which is organising the event, said: "If you've had a hard week at the office and feel fried, grilled and battered, or just steaming after a roasting from the boss, come and relax with Floyd in your best bib and tucker with a free glass of wine - rejoicing in the knowledge that you'll be guaranteed no good advice whatsoever, but many a chuckle at scandalous tales of fun."
Tickets are £15 with a free glass of wine.
To book call Dorchester Arts Centre box office on 01305 266926.


The PFF group is 'your platinum service provider for piping and valve projects' and that's the way we aim to keep it.
The PFF Group aims to consolidate and strengthen its solid position in the higher market segment of the oil, gas, chemical, petrochemical and power generation industries. Within these markets, we want to be a strategic business partner and a 'platinum service provider' by distinguishing ourselves through quality and with our capability and flexibility to meet the needs of our customers. The primary objective of our service is to meet the market demand for technical solutions and high-quality products in the area of piping & valves.
In order to maintain a key position in a dynamic field, we continuously invest in market and product knowledge, information technology, in the relationships with leading manufacturers of piping, fittings, flanges and valves and in the professional development of our employees. Furthermore, we continuously monitor the wide ranging and well-balanced stock assortment from leading brands and the design and supply of customized products.


text:
Career Research » Career Information » Music Producer Career
Music Producer Career
Music producers are responsible for the overall production of commercially recorded music. They work closely with recording artists and audio recording engineers to ensure everything runs smoothly and according to plan during a recording session. They monitor and control the technical aspects of a session, such as microphone placement, tracks used, sound and effects, musician needs, and anything else that influences the quality of the recorded music, as well as see to other needs of the musicians and recording engineers. They review prospective new artists, maintain ties with contracted artists, and may negotiate contract and recording arrangements. They also work on the final mixing and editing of the recording.
Music Producer Career History
The job of the contemporary music producer as we know it began in the late 1940s with the development of magnetic tape as a recording medium. Tape provided a new and flexible method for producers to enhance the outcome of the recording session. Before tape, records were cut on warm wax blanks that allowed only minimal manipulation of sound quality. Generally, whatever the musicians played in the recording studio is what came out on the record, and the degree of quality rested almost entirely in the hands of the studio engineer.
The innovation of tape and the introduction of long-playing (LP) records brought significant improvements to the recording industry, which had previously been restricted to the five-minute playback time of 78 rpm records. Tape could be edited, enhanced, played at different speeds, and most importantly, it allowed for multiple recording tracks to be adjusted individually.
By the 1950s, producers were the key people in the record industry. They sought the talent to make hit recordings and often picked the material to be recorded. Until the mid-1950s producers were generally producing seven-inch, single records, often hiring arrangers to write the musical arrangement. In the mid-1950s, with the beginning of rock and roll, emphasis switched to full-length 12-inch records with multiple songs from the same artist. In the late 1950s, a relatively new factor appeared in the music business: the independent music producer. Until this time producers worked mostly for the record companies. The independents, however, hired their talents out to the studios by claiming they had the connections and vision to produce the next hit. They took over all elements necessary to produce the recording. Soon producers began to make their own contracts with the artists, produce the records independently, and then sell them to the record companies for distribution.
The producer's job description remained pretty much the same until the early 1980s when the importance of music videos to the commercial success of a record became apparent. Music videos drastically changed the rules some producers lived by. Now they not only had to worry about hiring talent, audio recording engineers, and sound technicians, but also set and costume designers, video technicians, film directors, choreographers, and other skilled workers who worked for visual effects. They had to learn the basics of film production in order to help direct video production, just as they do for recording. Today there are some producers that work exclusively with video.
Music Producer Job Description
Artistry and experimentation aside, the goal of the successful music producer is to produce profit-making recordings that sound as good as they possibly can.
Fran Allen-Leake works as a music producer; she's also a promotion specialist and does A&R (artist and repertoire) work and some artist management. "I'm a jack of all trades in the music industry," she says. She is also on the board of governors for the Chicago chapter of the National Academy of Recording Arts and Sciences, the organization that presents the Grammy Awards. "The producer's job is to paint the musical picture," she says. This involves determining the tunes that will go on the artist's CD and putting together the music team.
Music producers have to be creative and innovative, with their own style and method for achieving set goals. The degree of involvement a producer has with a recording project varies from producer to producer: Some are involved in every phase of production, and some (those at major labels) handle only certain elements and assign the rest to specialists. Most producers, however, will at least put together the talent (if it is not already there in the form of an established band or orchestra) and the music that will make a recording. Some producers, particularly the independents, arrange for the recording studio, technicians, and background musicians, and they frequently become involved in the mixing and editing of a recording, album cover art, packaging, contracts, administrative paperwork, and marketing and promotion. In a major record company some of these elements are more likely to be handled by separate departments.
Music producers usually specialize in a certain musical genre, be it rock and roll, rap, country and western, jazz, or classical. A record company may specialize in all, several, or one of the musical genres. Unlike many producers who specialize, Allen-Leake has worked in a variety of musical genres. "I've worked on everything from rock to R&B and blues," she says. "As a producer, you have to have an appreciation of the musical format. You have to know all music genres and be able to anticipate what's going to happen in the industry."
Music producers never stop seeking new talent or projects to record. They keep close contact with the label A&R staff, whose job it is to scout up-and-coming talent, or they find talent on their own. Some producers build talent by assembling a group of musicians to release a recording or series of recordings that the producer feels will be successful based on the musicians' skill and reputation.
Producers discover new talent in a number of ways. Personal contacts today are one of the most important methods; managers, musicians, conductors, songwriters, and arrangers often introduce the producer to a band or solo artist. Musicians frequently send demo tapes to record labels and producers they feel might take an interest in their music. Many producers find talent on independent labels. Since the early 1990s' success of the one-time independent label rock band Nirvana, there has been an influx of so-called "indie" bands (indie is industry slang for "independent") signing on to the majors. Other leads may come through reading the show business trade papers, such as Variety and Billboard. Once the producer finds up-and-coming talent, he or she offers contractual negotiations to the musicians, which may involve the musicians' agents or managers and lawyers.
After the talent has been signed, the producer usually will have to prepare a budget covering all of the expenses of production. The next step might be setting up a rehearsal schedule and making arrangements for a rehearsal studio. Depending on the project, the producer either selects the songs the talent will record, or he or she lets the musicians decide and make suggestions on ways to make the songs fit better in the label's target market.
After consulting with the musicians, the producer selects the recording studio and the audio recording engineers who will control the quality of the recording. Producers make certain all necessary equipment and instruments are available at the studio during the scheduled sessions. Some record companies have their own recording studios, which are convenient and save costs. Independent producers can be more flexible in their choice of studios and often choose places other than studios to record. Because some major recordings may take months and hundreds of hours in the studio, producers make sure the atmosphere is comfortable for the musicians. Most producers work closely with the recording engineers to get the most desirable sound quality during the session. They frequently adjust levels, microphone placement, sound quality, and other factors to improve the recording.
After the recording session, time allowing, producers wait a short period of time—a few days or a week or more—before attempting the final editing of the multitrack recording into a two-track stereo master. This process is called the mix. Mixing involves determining in which part of the stereo sound spectrum each recorded track will be placed to produce the optimal effect. This can be an enormously complex process, especially when some recordings have more than 24 tracks. During the mixing process other musical elements can be added, such as instrumental or vocal background, echo, and other sound effects. Mixing can go on for days even though the process has been sped up through the use of computerized mixing boards.
After the producer is satisfied with the mix, a master is made from which CDs, tapes, and (occasionally) records can be manufactured. The producer also may oversee the mastering to be sure of the final quality of the recording before manufacturing begins. "I like to look at the mastering as the 'smoothing over,'" Allen-Leake says. "A bad mastering job can screw up all the work you've done on the mix. Ideally, I'm looking for enhancement." After the manufacturing process, the recording is ready for distribution and promotion. Radio stations and reviewers are given promotional copies of the recording. Personal appearances on television and radio talk shows are booked for the talent where possible, and a tour is scheduled to support the new release. From a rock, rap, or country recording session, producers and label executives decide which song will be the likely hit, and from this song, a video is made—which is just as important and complex as the recording itself.
Music Producer Career Requirements
Begin your musical training as early as possible. Take courses in music and band to learn something about instruments, voice, and music theory. Learn about as many music genres as you can, including classical and jazz. Because music is often affected by social issues, courses in journalism, government, and history provide useful background knowledge. Classes in media, broadcast journalism, and theater may involve you with sound engineering.
After high school, you should seek postsecondary training in audio engineering. To learn about educational opportunities in the United States and abroad, visit the Web sites of the Audio Engineering Society (http://www.aes.org/) or Mix Magazine Online (http://www.mixonline.com/).
The most basic level of education is attending seminars and workshops. This may be the best way to obtain an early, hands-on understanding of music recording. These programs are generally intended to introduce new technologies in the audio field. A seminar can last a few hours or several weeks. Many workshops are geared toward introducing a certain aspect of recording, such as mixing, editing, or music production. Workshops can prepare you for entry-level apprenticeships at a recording studio.
If you are looking for a more comprehensive course of study in specific areas of the recording industry, you can enroll in a trade school program. Depending on the curriculum, these programs can take from several weeks to up to a year to complete. The most complete level of postsecondary education is a two- or four-year degree from a university. At a university, you will find an ideal learning environment complete with state-of-the-art equipment and a teaching staff of professionals knowledgeable in the industry. Universities incorporate music, music technology, and music business in a comprehensive curriculum that prepares their graduates to be highly competitive in the industry. At a university students can enroll in other nonaudio courses necessary for the successful producer, such as courses in business, communications, public relations, and computers.
"Producing takes a lot of understanding of how people work," Fran Allen-Leake says. "You need an understanding of artists." To get this understanding, she spent a few years working as a vocalist, "so I could really understand what it's like to be on the other side of the microphone."
Music producers must also have the instincts of artists to help artists record the best work they can. You should have a good ear for the music as well as a great deal of insight into the history and current trends of the recording industry.
Exploring Music Producer Career
Join a music group to get a sense of the collaborative process of putting songs together. Your school may have equipment available for recording performances—your school's music teacher or media department director may be able to assist you in a recording project. Since a large part of being a producer involves good communication skills, any experience you can get dealing with a variety of people—as in a retail sales job, for example—will be helpful.
"Listen to everything," Fran Allen-Leake advises. "When listening, try to get a sense of the picture. What is the artist and producer trying to get across? What do they want you to feel? Read the back of every CD, and start getting familiar with the names of producers. You'll see some of the names over and over again."
Students can contact record companies or recording studios to get more information; local studios can usually be found in the classified telephone directory, and others can be located in the music trade papers. The National Academy of Recording Arts and Sciences can provide information on the industry, or it can suggest where such information is available. There are also numerous books and music trade magazines that cover music production.
Music producers work independently (freelance) or for a record company (usually referred to as a label). When working independently, they may be hired by a label for a project or they may bring their own artists to the attention of industry executives. Although many producers work in major cities such as New York, Chicago, and Los Angeles, many cities across the country have vibrant music scenes. Wherever there are recording studios and musicians, there will be a need for producers.
Postsecondary training in audio and recording technology will provide a strong basis for getting a job in music production, or at least in the music industry. Most training programs offer job placement assistance for their graduates, and record labels that are looking for producers frequently post job openings at these schools. Some of the larger record labels offer highly competitive and much sought after internships in music recording. Students who finish an internship for a major record label will have a high success rate in finding employment. A job in any capacity with a record label, an independent producer, or in a recording studio would be worthwhile just to get your foot in the door. Many major labels prefer to hire only producers who have first worked independently.
To find a job as a music producer you have to be aggressive in canvassing the record companies and related businesses by telephone and mail to seek out entry-level jobs. Leads to jobs in the industry can also come through studying trade publications. These include Billboard (http://www.billboard.com), Variety (http://variety.com/), Mix (http://www.mixonline.com), and Down Beat (http://www.downbeat.com/).
Music producers advance as they continually produce projects that are successful, if not commercially, then to the satisfaction of the musicians and record label. There is no limit to where a successful music producer may go. Music producers already have a high degree of responsibility with a record label, as their work is directly reflected in the sales and profits of a recording. Producers who consistently produce profit-making hits will constantly be in high demand and will have the luxury of choosing labels and artists. Independent producers are already their own bosses, but if they are exceptionally good, record companies may want to put them under contract. Similarly, producers with record companies may see a brighter future as independent producers.
Within a major record label, producers could become heads of any of several departments, but they are most directly in line for the directorship or vice presidency of the A&R department. Depending on their talents and career goals, producers might also move into sales, publicity and public relations, advertising, marketing, or promotion. Some producers, whose sound or style is particularly sought after, may go on to start their own recording studios.
A music producer can earn a considerable amount of money or go broke. It is difficult to indicate an average salary for producers because they generally make a lot of money or their tenure in the business is short. This is because the income of a record producer is directly tied to the sales of the records he or she produces. An independent producer works on a royalty basis, which usually is about 3 to 5 percent (also called points) of retail sales. They may also charge a fee or get an advance from the record company, which would be deducted from sales.
Starting out, producers often work as technicians for studios, making $19,090 or less a year in 2004, according to the U.S. Department of Labor (USDL). The USDL reports that the median salary for audio and video equipment technicians was $33,130 in 2004, and the median salary for sound engineering technicians was $39,380. The median salary for producers and directors (including those who work in film, theater, and broadcasting) was $52,440 in 2004, and salaries ranged from less than $26,940 to more than $145,600. Producers who work with leading performers in the industry can earn well over $200,000 a year.
Benefits packages vary from business to business. Music producers employed by a recording company can expect health insurance and paid vacation. Other benefits may include dental and eye care, life and disability insurance, and a pension plan. A producer's salary can increase by yearly bonuses or profit sharing if the company does well in the course of a year.
Music producers have the opportunity to work closely with creative people. They also have an actual CD as a finished product. "There's a great deal of pride in authorship," Fran Allen-Leake says. But to stay competitive and in demand, producers must work very hard, sometimes weeks on end without a break. "The hours are unbelievably crazy," she says. The traveling can also be demanding. "Generally, every month I'm gone for some period of time. Could be five days, or three days, or three weeks."
A music producer at a record company usually has a private office and all of the support staff he or she needs. Recording studio space is supplied by the company and is either under its own ownership or contracted as necessary. Staff producers have expense accounts that are fairly unlimited so that they can entertain and travel when necessary. Independent producers may have situations similar to that of staff producers, or they may work out of their homes or apartments and rent space as needed.
A producer working steadily is frequently under a lot of pressure, especially during rehearsals and recording sessions, when high-priced talent is tied up and the producer must produce dramatic results within a limited amount of time.
Music Producer Career Outlook
The recording industry is in a continual state of flux. New technology, new music, new markets, and new ways of doing business are constantly redefining the way the music producers perform their jobs. Computer technology is simplifying the recording and mixing process while opening new outlets for creativity. Employment for music producers is very competitive. Although some independent-label bands choose to produce themselves, the experience and know-how of a successful producer is a standard for major-label productions. Record labels will continue to seek the specialized skills of the music producer.
Thousands of recording companies exist in the United States, and their receipts measure in the billions of dollars. Every time a new technology is developed or any time a new musical trend develops, especially in the pop field, it gives the industry as well as the music producer a lift. Although the recording industry has undergone considerable consolidation in recent years (five mega-companies control 80 percent of the industry), talented music producers with an eye for talent and technical acumen will continue to enjoy good employment prospects in the industry. According to the USDL, employment opportunities for producers overall, including those working with musical groups and artists, are expected to grow about as fast as the average through 2014.
National Academy of Recording Arts and Sciences (NARAS)
Recording Industry Association of America
Society of Professional Audio Recording Services
← Music Teacher Career	Music Librarian Career →
Tour Guide Career
Tour guides plan and oversee travel arrangements and accommodations for groups of tourists. They assist travelers with questions or problems, and they may provide travelers with itineraries of their proposed travel route and plans. Tour guides research their destinations thoroughly so that they can handle any unforeseen situation that may occur. There are approximately 32,000 […]
Roustabout Career
Roustabouts do the routine physical labor and maintenance around oil wells, pipelines, and natural gas facilities. Sample tasks include clearing trees and brush, mixing concrete, manually loading and unloading pipe and other materials onto or from trucks or boats, and assembling pumps, boilers, valves, and steam engines and performing minor repairs on such equipment. Roustabouts […]
Police Officer Career
Police officers perform many duties relating to public safety. Their responsibilities include not only preserving the peace, preventing criminal acts, enforcing the law, investigating crimes, and arresting those who violate the law but also directing traffic, community relations work, and controlling crowds at public events. Police officers are employed at the federal, state, county, and […]
Umpire and Referee Career
Umpires and referees ensure that competitors in athletic events follow the rules. They make binding decisions and have the power to impose penalties upon individuals or teams that break the rules. Umpires, referees, and other sports officials hold about 12,800 jobs in the United States. History of Umpire and Referee Career The history of sport […]
Title Searcher and Examiner Career
Title searchers and examiners conduct searches of public records to determine the legal chain of ownership for a piece of real estate. Searchers compile lists of mortgages, deeds, contracts, judgments, and other items pertaining to a property title. Examiners determine a property title's legal status, abstract recorded documents (mortgages, deeds, contracts, and so forth), and […]


LiitoKala have emerged as a major producer of battery chargers. Their products are humble in appearance and humble in price, but there's nothing humble about their electronics or charging algorithms which ensure you get the best return on your investment in lithium ion batteries. They also offer amazing versatility, charging all standard sizes of Li-Ion and NiMh (e.g. rechargeable AA and AAA) batteries and working as a power-bank so you can draw energy from a Li-Ion to charge your cellphone or other device when you're in the bundu!


WANT TO HAVE A PERFORMANCE OF UNDERCOVER EPISODES IN YOUR HOUSE?
As a host of Undercover Episodes, your home will be transformed into an immersive theatre for a performance.
Hosting is an awesome way to get a behind the scenes look at how the show is created and performed as well as to get to know the artists involved. It's truly a one of a kind experience.
1. You have a house, loft, garden or other living space where we can do a private show that can comfortably and safely host 40 - 80 people. We've performed in a wide variety of spaces before, some expansive and open and others that are somewhat tight and narrow and, most of the time, we can make it work!
2. It's great when the performance feels like part of your house party. Food, drinks, and/or any extra party favors are all up to you and your discretion. Whatever feels right for you and your invited guests works for us.
3. You are not required to provide a sound system. Or seating for your guests. Undercover Episodes is built to allow audiences a choice of how they view it and also moves around the space throughout the performance so guests should feel free to sit, stand, and follow the action as they like.
4. It's up to you whether or not your guests will be ticketed or not. Hosts in the past have successfully worked both ways to help us recover production costs, artist fees, and any travel expenses we might incur for the private performances.
We want to make sure your hosting experience is as fun and easy as possible! If you have any questions at all, please feel free to contact Robyn at info@undercoverepisodes.com.
We are inspired by your interest in making these shows come to life and grateful for the support you provide our artists in doing so.


A Magistrate Court sitting in Owerri, has denied the jurisdiction to grant Bail to IPOB Women who were arrested by the Imo State Police Command on the 17th Of August 2018.
(ii)Terrorism and other baseless charges.
Recall that massive number of unarmed IPOB Women, who exercised their human right to Freedom of assembly on the 17th Of August 2018 as enshrined in the Nigeria Constitution, were molested, assaulted and arrested by the Nigeria combined Force Team.
The Women were not only detained for more than 24hours without trial, but denied proper medical attention.
This resulted to a Pregnant Woman, bleeding and a Woman slumped in the court premesis.
Aged Women within the age of 60 and above, were also detained, assaulted and denied proper medical attention, by their Family members.
There was peaceful demonstration in the court, as Women stripped naked and refused the security agents from transferring the Women to Prison custody.
Women were sighted crying and raining curses on the Nigeria Government, in reaction to the illegal detention of the Women.
IPOB Legal Team are processing the Bail Application, which will filed before a High Court.
Court adjourns the matter, to 3rd Of September 2018.


text:
Giving and taking – An article by Peter Stewart
Published by Aubyn Howard on 6th January 2019
The first Annual Psychosynthesis Leadership Coaching symposium was held at the National Council for Voluntary Organizations (NCVO) near King's Cross in London on 14thNovember 2018.
Tong-len means 'giving and taking' in Tibetan. Keith Hackwood led a Tonglen meditation as part of a plenary session on Selfcare for Coaches Using Mindfulness, immediately after lunch at the first Psychosynthesis Leadership Coaching symposium on 14thNovember. "A difficult slot to fill", he noted. There were around 60 people in the room, from the Institute of Psychosynthesis, Psychosynthesis Trust, various psyschotherapy and coaching associations, and from Psychosynthesis organisations from as far afield as Norway and Italy.
Lunch had been replete with conversation and ideas. I felt a buzz of excitement in the room as we settled down, shaking out the tension from arms and legs. For some reason, I could smell orange blossom.
Tong-len is a meditation practice from Tibetan Buddhism that uses breathing to explore feelings of altruism and compassion. The in-breath connects you with suffering – your own, others – and the outbreath with compassion for the world. Keith explained the concept, touched on the paradox of effortless effort in practicing meditation, and quoted a poem by Antonio Machado, translated from the Spanish by Robert Bly. The rest of the session was experiential, reconnecting with our feelings, letting them go, reconnecting with thoughts, letting the mind go still. I felt shocks of anxiety at the start, but after a while that gave way to a feeling of tidal movement, an ebb and flow, the traffic noise outside and the cry of seagulls.
The mix of experiential and conceptual was a strong point of the whole day, which was superbly organised by Rachel Houghton, Paul Elliot and Aubyn Howard of Psychosynthesis Coaching Limited (PCL).
Roger Evans, director of the Institute of Psychosynthesis, introduced the Symposium in the morning with a paradox:
Seeing with the heart = seeing and working with the will.
Roger explained something called the Six Session Model and the use of Trifocal Vision in coaching. Many of those attending, including myself, were familiar with these models from the Certificate course in Psychosynthesis Leadership Coaching organised by PCL and run at the Institute, and Roger brought them alive with what I felt was a unique and passionate engagement with each individual in the room.
Roger's talk on psycho-spiritual coaching gave a flavour of why psychosynthesis works at such a deep level, by focusing on meaning rather than just performance. I was moved by Roger's commitment and passion, and the tribute he paid to his family. Then there was a brief moment when I felt that the world stopped turning. Roger asked the question: "What do you feel when you open your heart to another?" Various words were shot out from the audience – I seem to remember joy, openness, waiting, loneliness, but when someone responded "pain" it felt like an arrow had hit its target.
After Roger's plenary session, we split into two workshops. In the morning, Keith Silvester and Heather Wignall from the Psychosynthesis Trust talked about coaching in a VUCA world, while Ruth Rochelle gave a workshop on systemic coaching and constellations. The same pattern was followed in the afternoon. After Keith Hackwood's plenary, Harriett Hanmer and Laira Gold gave a talk with the title The Body Speaks while Aubyn Howard explored the theme of Developmental Thinking for Coaching.
The workshops sharpened my awareness of the paradox at the heart of coaching. I felt this most explicitly during Ruth Rochelle's exploration of constellations, which used Post-it notes as the main prop. Ruth's workshop comprised two constellations: the first revolved around depicting 'where I live' on the Post-it, and exploring how place and movement can affect the felt experience of that; the second involved representing three phases of your life on Post-its, and then exploring the feelings associated with these with the help of a coach.
While the experiential nature of the workshop was very powerful, space felt rather tight in the room, with more than 30 people in a circle of chairs, so I did not slip easily into this, feeling bombarded by others. I noticed my body getting slightly hot and then my mind rushing to compensate. As I settled down I was able to get a sense of being back in the moment, but I kept on trying to make mental sense of what was going on around me as people milled around the room without any words. My mind grabbed at thought as a way of filling these gaps. But as the workshop evolved, I felt more tuned into myself and somehow that left me feeling more in sync with other people.
The paradox of meaning that struck me then, and throughout the day, was the notion that you can be most deeply in touch with your Self when the self dissolves; that you can experience the Self of others most profoundly when you are most in touch with your own Self.
Somatic coaching is increasingly being used as a pathway to deeper levels of self-awareness and of experiencing others. Later in the day, a workshop on equine-guided learning introduced the statistic that only 7% of personal communication is through spoken words, while 38% is dependent on voice and tone, and 55% on body language.
From the feedback after the constellations workshop, people had experienced a huge range of emotions through the constellation, but at a much deeper level than the cognitive-rational. And the workshop resonated with many in terms of how they could use their experience with their own coaching clients.
Moved to tears by horses
From Ruth's workshop I got a sense of the power of using the entirety of Self in coaching, and how constellations could be used to explore the Self at a deeper level. This theme was picked up in the afternoon in Harriet Hanmer and Laira Gold's workshop The Body Speaks (they will be holding a day for practitioners of Equine-Guided Learning on 16 March 2019).
Harriet and Laira work with horses to help senior executives explore systemic interactions in their organisations. Many managers are simply unaware of these. I found myself strangely amused by the idea of company directors milling around in the mud at Manor Farm House in Colston Basset in Welly Boots, where Harriet and Laira work, exploring the Mind-Body split. But I was moved when I saw a photo of the sympathetic body language between one horse and the MD of a company, and we learned that he had been moved to tears by the human-horse interaction.
Harriet introduced the theory of the 'triune' brain, with its human (neocortex), mammalian (limbic system) and reptilian layers, which although nowadays under scrutiny from neuroscientists, provides a framework for moving beyond the conscious 'thinking' part of our brains and into the less charted realms of the limbic system and more primitive sub-conscious layers.
After the talk I spoke with Laira about whether equine-guided learning could be used in schools. I had watched a documentary about a 'failing' school (Ofsted's word, not mine) and I was struck by how discipline in schools focusses primarily on verbal affirmations by young teenagers. I felt from the documentary that their body often contradicted their words and, although I don't know horses, I occasionally had felt a similar kind of resentment and dissonance when walking with donkeys.
I can imagine many other uses for equine work. "The world needs this," Harriet and Laira affirmed.
Are we in the soup?
One of the last slides in Harriet and Laira's deck asked the question: "Are we in the soup?" I use this question as a segway to mention the two workshops I was unable to attend.
Keith Silvester from the Psychosynthesis Trust talked in the morning on Coaching in a VUCA world, with Heather Wignall. I felt there was synchronicity in the fact that Keith's talk coincided with the day a Brexit agreement was finally thrashed out by the May government and the European Union.
VUCA stands for Volatility, Uncertainty, Complexity and Ambiguity. Keith and Heather suggested that the four aspects of VUCA map on to psychological themes that are taught in psychosynthesis and other therapeutic models. From the programme notes, these are: lack of object constancy, which maps from Volatility; existential survival anxiety (from Uncertainty); systems thinking and mind development (from Complexity); and relative meaning and interpretation (from Ambiguity).
In a session that provided impressive thought leadership, Heather and Keith also talked about VUCA in relation to 'adaptive leadership' (as developed by Ron Heifetz and Marty Linsky, through a book of that name). As one workshop participant observed: "The VUCA model …links to a really useful leadership model [adaptive leadership] and the workshop included a practical tool to use in coaching related to this" which a number of participants said would be useful in their current coaching work. As noted by Heather and Keith: "Adaptive leadership is specifically designed to support personal and organisational leadership" in a VUCA context.
The VUCA theme linked naturally to the evolutionary perspectives discussed in Aubyn Howard's session in the afternoon on the current crisis in leadership. Aubyn introduced Frederic Laloux's evolutionary paradigm, familiar from the book Reinventing Organizations: A Guide to Creating Organizations Inspired by the Next Stage in Human Consciousness. Laloux's book is premised on the idea that corporate culture has evolved from highly hierarchical top-down structures to more ethically-driven self-governing and self-regulating structures build around committed teams; in the book's colour scheme, from red to teal organisations.
Those attending the workshop split into groups and discussed how coaches could support leaders to make a developmental shift in their consciousness. This is what Aubyn calls 'The Big Question'. He challenged: "How can we as coaches nurture, activate and encourage the evolutionary paradigm in emergent leaders in organisations and society?"
But back to my earlier question: are we in the soup? My impression from those I spoke to after they attended both the VUCA and developmental sessions is that the answer is a resounding yes. The world is in a mess.
But at least psychosynthesis offers hope that we can find a way out of the crisis we are in. The day ended with a brief discussion on neuroscience, and we were lucky to have an expert in the field in the audience.
Aubyn talked about neuro-plasticity, the idea that the brain is an adaptive organ that can evolve and develop over the course of an individual lifetime.
Roberto Assagioli, the founder of psychosynthesis, set great store by the exercise of Will in the emergence of Self. I found it mind-blowing that neuroscience is discovering mechanisms by which consciousness can evolve over the space of a lifetime, as a result of individual purpose and the pursuit of meaning, rather than passively as a series of random mutations. It seemed like a powerful link to Assagioli's heritage and teaching.
As Aubyn said at the start of the Symposium: "The whole world of psychosynthesis is rejuvenating. It feels like it's flourishing and it's in touch with the zeitgeist".
I look forward to next year's Symposium and the opportunity to take these conversations into yet newer realms!
Peter Stewart
peter@carettacoaching.co.uk
www.carettacoaching.co.uk
Categories:	Evolutionary Coach
Tags: executive coachingInstitute of PsychosynthesisLeadership coaching
Aubyn has 30 years' experience as an organisational consultant, facilitator, educator and coach, supporting transformational change and leadership development with leaders.
Aubyn's Blog
Personality models and personal development
Part 3 of a series on personal development in coaching In the first part of this series of posts, I summarised the primary task of personal development as getting to know and mastering our personality, through Read more…
Seven perspectives on personal development for coaches
Topic Series: Personal development and the leadership coach Part 2: Seven perspectives on personal development for coaches In my last post on this topic I described personal development as "a vast and complex topic that Read more…
What does neuropsychology offer coaching? A psycho-spiritual perspective…
20 November 2018 [ I ran a session on this topic at our Psychosynthesis Coaching Symposium on Wednesday 14th November and this is the full article I referred to then.] Introduction Is neuroscience telling us Read more…


'ensemble 2.0' is . . .
. . . a journey into the heart of an American family. A heart that is often wild, broken many times over, and conflicted – but ultimately kind, caring, and compassionate.
Staged as a dramatic reading, 'ensemble 2.0' is a play based on Francesca Williams's collection of family letters. The simplicity of the communication is striking. Children speaking to parents. A mother's unflagging attention, compensating for an abusive father. A fragile daughter whose tragic illness is a living reminder of their own frailties. The fame of the tormented older son who is plagued by guilt. And the dutiful younger son forever on call to his demanding, melodramatic mother, whose mounting hysteria threatens the future of his own marriage and family.
It's a family struggling to stay together, needing each other, using each other, and in their own unique ways, taking care of each other. 'ensemble 2.0' is all about those details. First presented to a sold-out audience at the 59E59 Theatre in NYC, 'ensemble' was a rousing success at last year's Fest. 'ensemble 2.0' has been expanded to include music, home movies, family photos and interviews. Their final curtain is not to be missed.
Grammy nominated songwriter, Tor Hyams, and veteran Broadway performer, Lisa Rothauser (The Producers) teamed up after Hyams debuted his first original musical, Greenwood, at NYMF 2011. They immediately began collaborating on Stealing Time, which premiered at NYMF 2012 and was featured in the Finger Lakes Musical Theater Festival.
They are currently working under commission on an adaptation of the legendary television show, Green Acres. Additional projects include Auburn The Musical with book writer Ed Sayles and The Complete Manual of Things That Might Kill You, with book writer/actor John Cariani (Something Rotten). Hyams and Rothauser wrote Mommy Needs A Timeout for the Nickelodeon's Nickmom and most recently wrote and recorded an album with Howie D of the Backstreet Boys entitled How We Do, which is now being developed as a musical for young audiences.
Their one-woman event, LIFE. Who Knew? has played to sold-out audiences across the country, including New York's 54 Below, and Joe's Pub, Los Angeles' Rockwell, and the Gaslight Cabaret Festival in St. Louis.The duo participated in the BMI Lehman Engel Musical Theatre Workshop and were selected as residents for the Johnny Mercer Writer's Colony at Goodspeed Opera House.


The full release is here. First EP from Rio Major and its chock full of tasty beats.
The first release and single off the upcoming Rio Major EP/Mixtape.
A tribute to David Attenborough's 1979 'Life on Earth'. Created with samples from Episode 1 'The Infinite Variety' from the series.
Life on Earth 2979 takes places 1000 years in future from the original show. In a world where a mysterious cataclysmic event wiped out the majority of humanity. The survivors know nothing of the past. That is until the miraculously stumble upon some kind of tape with the title 'Life on Earth'. What they discover will change their understanding of the past, the present and the future.
Lord St Collective rocked the house with their live band and sweet MCees at Cosmo's on the 10/09/15.
Lord St Collective are a group of artists living in Sydney. Rappers, Singers, Producers, Painters and Musicians.
The Psychedelic, Soul Blues grooves of The Double Shadows will get your feet shuffling, your hips swaying, and your head rocking.
Forget the guitars; it's all about horns billowing out everything from smooth grooves to head banging blasts, unconventional, dirty organ lines and washy Psychedelia, all led by the huge, growling voice box of Ness Cassey, who's vocals are found somewhere between Tim Buckley, Janis Joplin and Amy Winehouse.
Recorded live at Cosmo's Rock Lounge by Mindful Vibrations.
This EP took roughly 280 days to complete. The recorded instrumentals and guitar solos at the Bank Bar in Newtown and overdubs & SFX at Cosmos Rock Lounge.
Cheaper and quicker than traditional studios. Perfect for your next demo or EP!
mindfulvibrations.audio is able to offer artists a range of services including, but not limited to, recording, editing, mixing, production and mastering.
Unlike traditional studios we are able to bring all the required gear to you. This enables us to record in whichever environment that you prefer. For example we can record live sessions in your practice space or any studio location that you choose and capture the sound that you want. Of course if you don't have a specific location in mind we can arrange a location for you.
We are able to help with any stage of the recording process, so if you already have recorded your tracks and just want help with mixing, or if you just need mastering, we can do that.
As mindfulvibrations.audio is small, local and independent we are able to offer highly affordable rates which larger studios could not match!
Rates vary depending on the complexity and duration of the project. Contact us about your project.
A collection of other weird and wonderful instruments and audio devices are available for use, such as Miniature guitars, mouth harps, fuzz box amps and bongos.
Contact us about your next project by filling in the form below.
Thank you for Contacting us! We will reply to you message as soon as possible.