Home // Development Blog // What can companies do to tackle violence and harassment at work?
CARE and Diageo have been working together in a global partnership since 2016 and our work has a strong focus on empowering women across their business, from assessing the role of women in their barley value chain in Ethiopia to supporting women beer promoters and outlets in Asia to prevent and respond to sexual harassment. When we approached Diageo about assessing the extent to which they were tackling violence and harassment across their whole business, they agreed. How, they wanted to know, can business move from risk mitigation to creating a safe and dignified environment where employees are proud to come to work?
We wanted to test whether we could develop a diagnostic to help business know where to look for the problems and how to tackle, report, and address them.
We identified key points of pertinence within the draft convention and over-laid these with CARE's best practice recommendations through an in-depth desk analysis. We then took this framework of recommendations and benchmarked every relevant Diageo policy against them, noting the applicable points in the value chain. This bench-marking exercise allowed us to identify the bright-spots and the gaps in Diageo's protection and response policies. Best-practice such as broad definitions of harassment within supplier standards and community programming initiatives focused on the sales environment were highlighted and recommendations created for Diageo to replicate and scale-up these initiatives at a global-scale.
We all know however, that strong policies are just part of the solution. We took the time therefore to validate our assumptions and recommendations with a wealth of the Diageo global team, across multiple low and high-risk countries and in business functions ranging from sales to HR and sustainability. The result was a strengthening of our recommendations, an acknowledgement of the need to respond to diverse cultural contexts and social norms and a series of actions for the Diageo Executive Committee to roll-out the emerging elements of best practice at a global scale.
Having completed the research and recommendations through our partnership, Diageo is now rolling-out a strengthened global standard for the protection of brand promoters and scaling-up specific dignity at work policies across its markets.
Diageo have taken a bold step in deciding to dig deep and assess what the ILO standards mean and this has been a positive experience for them. We now need more to do this. Currently we are only aware of a handful of companies that have publicly supported the ILO convention and a third of countries have no laws covering violence and harassment.
Here in the UK the legislative framework is pretty strong and the Equalities and Human Rights Commission offers some helpful guidance for companies and other organisations. MPs are also pushing for gaps to be addressed, for example, ensuring companies are legally liable to prevent violence and harassment, that third party workers are also protected and ending the use of non-disclosure agreements for violence and harassment. If the UK government agree to these changes they will be very strongly placed to continue to push for a robust global convention when it is negotiated in June 2019.
Whatever happens, it's clear that the pressure to tackle workplace violence and harassment is not going away.
This blog was originally published by Business Fights Poverty.


Kadhal Mannan is one film which gave Ajith a romantic makeover. The film is about how a guy who falls in love with a girl who is engaged. He loves taking risks and the whole film is about how he wins the girl over despite the obstacles.
Here are some facts about the movie.
1.	Kaadhal Mannan was the debut directorial venture of Saran. It was Thala Ajith's first collaboration with Saran. They were a superhit combo together and would go on to work in three more films. They were Amarkalam, Attagasam and Asal. Out of the four films they worked together only Asal was a flop. All the other films were superhits.
2.	It was music director Bharadwaj's Tamil debut. Bharadwaj gave some lovely songs in the film especially the Kadhal Mannan title track and Unnai Partha Pinbu Naan song sung by SPB. Bharadwaj was Saran's go to music director.
4.	Some episodes in the movie were shot in Murugesan Mansion, Triplicane. It is known as bachelor's paradise.
5.	After the movie, the combo of Saran – Ajith – Bharadwaj did Amarkkalam again for the same production banner Venkateswaralayam.
6.	The film was the acting debuting of actress Maanu. She has acted in only two films. One was Kadhal Mannan with Thala Ajith as the hero and the other was Enna satham indha neram with director mohan raja as the hero.
7.	Maanu was identified by actor vivek who had attended her dance program. She had refused at first but after 6 months of persuasion she finally came onboard as the lead actress for kadhal mannan. She is still fondly remembered as Thilothama.
8.	The film released in 1998.
9.	Maanu is primarily a dancer and runs Maanu arts school in the US.
10.	The film gave Ajith a romantic makeover after a string of failures.


Order traditional sushi made freshly for you.
Learn about Tokyo Sushi's history.
Traditional Japanese restaurant since 1978 in Barcelona. The best sushi and the best traditional japanese cuisine in Barcelona.


From the north, tale Midlothian Turnpike and go south on Woolridge Road until you reach it on your left. From the south, take Charter Colony Road north until you reach Woolridge Road and take a right. Then turn right onto Coalfield Road to get to the entrance on your left.


Asthma statistics show that there are 5.4 million people in the UK that have been diagnosed with asthma.1 Some people need medication to control their asthma, whereas others only get symptoms when they are faced with a trigger such as a bad cold or allergies. Because of their varied levels of severity, asthma attacks can be misunderstood by those that have never suffered from it. Further asthma statistics show that in 2014, over a thousand people died from asthma in the UK which is why it should never be taken lightly.
Asthma is caused when a sufferers lung muscles get tighter so they struggle to breathe. The airway lining is irritated and can get inflamed as well as the usual body's mucus thickening.
Common asthma attack dangers are allergies. Allergies that set off asthmatics include hay fever, dust mites and the fur or feathers of animals. Not all asthmatics suffer from the same allergies so where one would be able to have pets and not suffer any symptoms as a result, another will get sick if they enter the home of someone that does.
The environment an asthmatic person is in can exacerbate their asthma and some of the triggers are difficult to avoid such as pollution. Certain fumes in the workplace can cause problems too causing asthmatics to change their job to something more suitable. Tobacco smoke whether the asthmatic is a smoker or in the same room as someone who is can also irritate the lining of the lungs.
The weather can play havoc on the lungs of someone suffering from asthma, especially when it changes suddenly. It might not be a specific temperature of weather condition it can be too humid, too cold, a thunderstorm or just poor quality of air in itself.
Certain medications commonly come with warning labels to be avoided by asthmatics as they are known as asthma attack dangers. Among them are NSAIDs like Ibuprofen, Naproxen and even beta blockers. Getting too stressed or even laughing can cause asthma to worsen in many people but is difficult to avoid.
Certain foods are known triggers for some asthmatics including concentrated juice, processed foods and even preservatives like jam and marmalade!
The symptoms of an asthma attack are wheezing, rattling on the chest when inhaling, exhaling or both and struggling to breath. Many asthmatics describe it as also feeling as though they have a band that is getting tighter too. One other characteristic is coughing as the sufferer tries to get rid of the excess mucus. As well as allergens, symptomatic sufferers tend to be worse late at night when oxygen levels drop and when they get up after mucus has been allowed to settle.
If you or someone you know is having an asthma attack then your first port of call should be to administer medication. The medication for fast relief is usually blue but it can be a different colour. While the medicine gets to work you should sit down and relax and concentrate on slowing your breathing. If the breathing does not improve then the inhaler should be repeated again but only one puff given after a two minute period. This can be repeated up to 10 times. If after trying the inhaler you still feel no relief you should call for an ambulance, while waiting for it to arrive you should again try the inhaler if 10 minutes have passed. If symptoms do not warrant an ambulance, but don't get much better by the next day you should see your doctor as you may need additional medication to keep your asthma under control.
The best way to prevent an asthma attack is to avoid the triggers. If you are newly diagnosed you may be unaware of what they are right away. There are a few common asthma attack prevention tips you should follow. All asthmatics should avoid such as smoking and being around others that are. Keep your environment as dust free as possible and avoid putting yourself in stressful situations. This is not always possible, but practicing breathing exercises can help to relieve stress so that your asthma doesn't worsen. Ensuring you always have preventer and reliever inhalers (e.g. Ventolin and Seretide) on hand can also lessen the risk of an asthma attack. Allergy tests are a great way of determining triggers, some of which you may not have even noticed.
People that suffer from shortness of breath and are regularly symptomatic are usually given a preventer inhaler for asthma attack prevention. This should be taken as prescribed and not stopped even if you feel well. Keep your reliever on you at all times as this will allow you to treat an asthma attack quickly and in many cases prevent it from worsening.
Asthma attack prevention is better than having to treat it once it has occurred; one of the best ways to avoid risk of further asthma attacks is to keep up with appointments with your asthma specialist. They will be able to determine whether your condition is getting any worse and where necessary change your medication. Preventative action on top of usual asthma treatment can include removing allergens from your home such as flowers and keeping on top of dust.
If you notice any changes in the way you react to certain situations such as not being able to get up the stairs without getting out of breath where you could beforehand then this could be a sign to see a doctor too.
If you know that pollen sets off your asthma during the summer months, you could take an antihistamine to relieve symptoms and avoid areas that you know are going to have known allergens. If someone in the house smokes then insist they do so outside so that you are not breathing it in.


Yoga, Ayurveda, Chinese Medicine, Visioning, Healthy Eating.
Dreaming of a getaway with plenty of time and space to feel connected, refreshed and inspired?
This Women's Wellness Retreat was designed for you!
Luxuriate in the warm Hawaiian sun, delight in the delicious tropical ocean breeze, and rejuvenate yourself in the clear, refreshing water of the Pacific.
One thing most women have in common regardless of where we are in our life journeys is the need for better self-care.
This retreat is your opportunity prioritize your own physical, mental, emotional and spiritual nourishment, by spending an entire week putting your needs first.
Our expert team is well-versed in offering insight, holding sacred space, and providing relevant instruction for assisting you into deeper connection with your Self.
Vladi Starkov is a Licensed Acupuncturist, Herbalist, and Doctor of Medical Qigong residing in Sonoma County. Her passion for health springs from her ancestry of Bulgarian women healers. While earning her BA at Boston University, Vladi had her first acupuncture treatment, and was intrigued by the holistic approach and miraculous results. Now Vladi has over 5,500 hours of academic/clinical training in Chinese Medicine theory, Western Medicine, Acupuncture, Herbology, Medical Qigong, and Nutrition, and is a graduate of Five Branches University and the International Institute of Medical Qigong. Vladi specializes in pain management, women's health, fertility, Ayurveda and psycho-spiritual emotional balance. She is also a Certified Massage Therapist, emphasizing Shiatsu, Lotus Hands, and Ayurvedic massage. Vladi embodies a loving, nurturing presence that provides the safety and trust necessary for deep healing.
Fiorella Butron is a Personal Chef and Sommelier trained at Cordon Bleu in Lima, Peru. She studied medicine for two years before realizing she had more of a passion for the healing qualities of food. Her Spanish, Italian and Middle Eastern heritage influences her creativity in the kitchen, and her studies of Ayurveda provide her dishes with the perfect balance of flavors to promote both wellness and sensory enjoyment. Fiorella has a wide range of experience cooking seasonally fresh foods from the garden and fusing exceptional flavors for five star resorts. We are in for a fantastic treat to be fed and educated by this incredible chef and healer as she teaches us to incorporate each of our senses when we relate to food. Fiorella will inspire us to come away from this retreat ready to make more nourishing, delicious meals for ourselves and our families!
Danielle Ryan empowers women to live healthier, happier, more fulfilled lives. She is highly skilled at illuminating where clients are stuck, and helping them find their missing keys to freedom and lasting peace. Her diverse education background (BAs in Psychology and Anthropology from the University of North Carolina at Chapel Hill, MS in Holistic Nutrition from Hawthorn University, two Teacher Trainings in Raja and Iyengar Yoga, Outdoor Education from the National Outdoor Leadership School (NOLS), and 8 years of Ayurveda studies from a variety of teachers) combined with 16 years facilitating transformational adventures with teenagers and adults provide her with a wide range of effective tools for improving physical, emotional, mental, and spiritual wellbeing and supporting lasting mindset, diet and lifestyle changes. A 15 year Maui resident, Danielle is happy to answer your questions about this enchanted island.
Complete your registration by July 21 and save $100 off the retreat price!
*Please note that all bathrooms with be shared by the group as needed during the day, but at night, you will have the bathroom all to yourself.
Space is very limited (to only 10 participants) so make sure you secure your spot right away by clicking on your choice of accommodation above and completing the registration form and deposit or full payment!
Remember if you register and pay in full by July 21, you'll save $100!
Transportation will be provided from OGG to the retreat site for participants arriving between noon and 4 pm on October 19, and for those departing via OGG on October 25 between noon and 4 pm.
Transportation will be provided to and from off-site retreat activities for guests staying on-site. If you arrive early, or stay later than the retreat dates, you are responsible for your additional accommodation and transportation.
Please review our cancellation policy and terms/conditions.
We are available to answer any and all questions and inquiries.


text:
Gold 1,849.80
Silver 25.51
Platinum 1,101.00
13.00 1.18%
Palladium 2,396.00
(800) 839 1586 (305) 466 9992
Search Coins by Date, Denomination, Grade, Grading Service, Secure, CAC, etc…
You can enter a combination of the above in any order. Just remember to put a space in between selections.
– $2.50 must be entered as: $2 ½
– + is entered as: plus
– Morgan's and Peace dollars are entered as: S$1
– Trade dollars are entered as: T$1
– Grades are entered just as the grade number. MS65 should be entered as: 65
– Please take note of how the descriptions under the coins are written to help you enter your selections correctly.
– If you want to find all Carson City coins simply type in: -CC – If you want to find all 1890 PCGS Secure coins, in any order simply type in: 1890 PCGS Secure
– If you want to see all NGC CAC coins, in any order simply type in: NGC CAC
– If you want to see all 1885-CC Morgan's in MS64, in any order simply type in: 1885-CC S$1 64
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Generic U.S. Gold
SS Brother Jonathan
SS Central America
SS New York
SS Republic
SS Yankee Blade
Charlotte, GA & Dahlonega, NC
Home/Mints/Denver, CO
The Denver Mint is a branch of the United States Mint that struck its first coins on February 1, 1906. The mint is still operating and producing coins for circulation, as well as mint sets and commemorative coins. Coins produced at the Denver Mint bear a D mint mark (not to be confused with the mark of the Dahlonega Mint). The Denver Mint is the single largest producer of coins in the world.
The predecessors of the Denver Mint were the men of Clark, Gruber and Company. During the Pikes Peak Gold Rush, they coined gold dust brought from the gold fields by the miners. For almost three years, they minted gold coins (1860–61) and ingots (1862). They were formally bought by the US Treasury in 1863.
Established by an Act of Congress on April 21, 1862, the United States Mint at Denver opened for business in late 1863 as a United States Assay Office. Operations began in the facilities of Clark, Gruber and Company, located at 16th and Market Streets and acquired by the government for $25,000.
Unlike Clark, Gruber and Company, though, the Denver plant performed no coinage of gold as first intended. One reason given by the Director of the Mint for the lack of coinage at Denver was, "… the hostility of the Indian tribes along the routes, doubtless instigated by rebel emissaries (there being a Civil War) and bad white men."
Gold and nuggets brought to there by miners from the surrounding area were accepted by the Assay Office for melting, assaying, and stamping of cast gold bars:
The bars were then returned to the depositors as imparted bars stamped with the weight and fineness of the gold. Most of the gold came from the rich beds of placer gold found in the streams and first discovered in 1858, the same year Denver was founded.
When the supply of gold was exhausted from the streams, the emphasis turned to lode mining, uncovering veins of ore with a high percentage of gold and silver. By 1859, the yearly value of the gold and silver deposited at the Assay Office was over $5.6 million. During its early years as an Assay Office, the Denver plant was the city's most substantial structure.
There was new hope for branch mint status when Congress provided for the establishment of a mint at Denver for gold and silver coin production. The site for the new mint at West Colfax and Delaware streets was purchased on April 22, 1896, for approximately $60,000. Construction began in 1897.
Appropriations to complete and equip the plant were insufficient, and the transfer of assay operations to the new building were delayed until September 1, 1904. Coinage operations finally began in February 1906, advancing the status of the Denver facility to Branch Mint. In addition, before the new machinery to be used at the Mint was installed for use, it was first sent to the St. Louis Exposition of 1904 for display. Silver coins were minted in Denver for the first time in 1906. During the first year, 167 million coins were produced, including $20 gold (double eagle) coins, $10 gold (eagle) coins, $5 gold (half eagle) coins, and assorted denominations of silver coins.
500 S. Federal Hwy. #1624 Hallandale Beach, FL 33009
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to get groups in regex in python I want to print first, second and third matched group in an expression. Here is the details.
Regex Pattern = "(\d+)"
Expression = "1123-xxx-abcd-45-tsvt-35-pwrst-99-xql"

I used Pythex, https://pythex.org/?regex=(%5Cd%2B)&test_string=1123-xxx-abcd-45-tsvt-35-pwrst-99-xql&ignorecase=0&multiline=0&dotall=0&verbose=0
It is working perfectly find and it displays all the captured groups.
But it is not working in python code. I provide below the python code, I am unable to find the problem.
import re

class Test3:

    def printAllGroups(self):
        regexPattern = r"(\d+)"
        text = "1123-xxx-abcd-45-tsvt-35-pwrst-99-xql"
        matcher = re.compile(regexPattern, flags=re.IGNORECASE)
        matchValue = matcher.match(text);
        if matchValue:
            print("First group : ", matchValue.group(1))
            print("Second group : ", matchValue.group(2))
            print("Third group : ", matchValue.group(2))

if __name__ == '__main__':
    test3 = Test3()
    test3.printAllGroups()

Please help me solve this problem, I am new to Python.

A: code:
import re

regexPattern = r"(\d+)"
expression = "1123-xxx-abcd-45-tsvt-35-pwrst-99-xql"
print(re.findall(regexPattern,expression))

Output:
['1123', '45', '35', '99']

In your current code you will have the error:
    print("Second group : ", matchValue.group(2))
IndexError: no such group

because there is only one group in the regex.
By changing your code in the following way, with the regex explained at
https://regex101.com/r/BjTrgU/2, you will have one single match (the whole line) and four groups, that you can access individually, to extract the numbers.
It is important to distinguish the difference between a match (when your regex matches/verifies an input string) and a the value stores in the groups of your regex each defined by parenthesis ()
1st occurrence of () in the regex will be accessible via backreference \1 in the regex (or the replacement string) or group(1) outside of the regex, 2nd occurrence of () in the regex will be accessible via backerefence \2 in the regex (or the replacement string) or group(2) outside of the regex,...
import re

class Test3:

    def printAllGroups(self):
        regexPattern = r"^(\d+)[^\d]+(\d+)[^\d]+(\d+)[^\d]+(\d+)[^\d]+$"
        text = "1123-xxx-abcd-45-tsvt-35-pwrst-99-xql"
        matcher = re.compile(regexPattern, flags=re.IGNORECASE)
        matchValue = matcher.match(text);
        if matchValue:
            print("First group : ", matchValue.group(1))
            print("Second group : ", matchValue.group(2))
            print("Third group : ", matchValue.group(3))
            print("Third group : ", matchValue.group(4))

if __name__ == '__main__':
    test3 = Test3()
    test3.printAllGroups()

Output:
python test3.py
('First group : ', '1123')
('Second group : ', '45')
('Third group : ', '35')
('Third group : ', '99')

redpajama_set_name: RedPajamaStackExchange


text:
Q: nodejs paypal pdt return 302 I'm using nodejs and express. This is my code that is run on the return from Paypal. I only get a 302 errors in response from Paypal. I saw a couple examples that use ssl:// instead of https:// but nodejs yells saying that its not a valid protocol for the https  module. Does anyone have a working nodejs script for PDT and IPN?
var purchaseID = req.query.tx;
var atoken = MYAuthToken;
var postDataArray = {'cmd':'_notify-synch','tx': purchaseID, 'at': atoken}
var postData = JSON.stringify(postDataArray);
console.log(postData);
var options = {
    hostname: 'www.sandbox.paypal.com',
    port: 443,
    path: '/cgi-bin/webscr',
method: 'POST',
        headers: {
            'Content-Type': 'application/x-www-form-urlencoded',
            'Content-Length': postData.length
        }
    };

    var req = https.request(options, function(res) {
        console.log('STATUS: '+ res.statusCode);
        console.log('HEADERS: '+ JSON.stringify(res.headers));
        res.setEncoding('utf8');
        res.on('data', function(chunk) {
            console.log('BODY: '+chunk);
        });
        res.on('end', function() {
            console.log('No more data in response.')
        });
    });
    req.on('error', function(e) {
        console.log('problem with request: '+e.message);
    });
    req.write(postData);
    req.end();
});

This

A: You're missing Accept: */* header. Also, JSON.stringify is not application/x-www-form-urlencoded. Here is some working code for you to build based on:
var request = require('request');
var endpoint = 'www.sandbox.paypal.com';
var options = {
  form: {
    cmd: '_notify-synch',
    tx: tx,
    at: auth
  },
  headers: {
    Accept: '*/*'
  }
};
request.post('https://' + endpoint + '/cgi-bin/webscr', options, function(e, r, body) {
  return console.log(body);
});

A: Try just posting without the JSON
var postData = "cmd=_notify-synch,at=" + at + ",tx=" + tx;
I've edited a couple of times as i ran into issues. I'm new to node so just hacking out a solution with trial and error. Your post moved me towards the solution. So here is postData that works with your code. It's nice to see the FAIL ans SUCCESS messages come through. Note .. need the &'s
var postData = "cmd=_notify-synch&at=" + at + "&tx=" + tx;


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Solution Focused Hypnotherapy is an evidence based and solution focused approach. It utilises your natural relaxed state of mind to help you reach your true potential or change a behavioural pattern or habit. Simple but sophisticated, and my choice of therapeutic approach after 15 years as an NHS healthcare professional.
During weekly sessions we will focus on what you aim to achieve rather than the problems that prompted you to seek change, and utilise the power of trance, a natural state of mind, to help effect deep and lasting change.
Hypnosis, or trance, is more like deep relaxation than deep sleep or the realms of mind control and stage hypnosis. You will not do anything you do not wish to do and it can change a person only as much as they want to be changed. Therefore hypnotherapy enables you to achieve the things you want. As you are in a more relaxed state, you are more able to focus and accept the suggestions put to you. It is the natural harnessing of focused thought and a powerful state of learning and transformation. It's how the brain works!
You are simply guided into that relaxed state by being asked to focus your mind and allow yourself to imagine the benefits of change. So just relax and switch the polarity around – and focus your thoughts on how you want things to be, rather than how you don't want them to be, and withdraw all your thoughts from the problems, so you attract the solutions!


Accompanied by a guide on the "Dreiherrenspitze", or on one of our three thousand meter high mountains in the Ahrntal.
From Mid-June to late September, a glacier Tour can be booked at any time. Missing equipment, such as climbing irons o crampons, ice axes, harnesses and helmets are available, toghether we will get to your dream.


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text:
Jesse Layt
Jesse is a Sydney based singer, actor and musician, who last year graduated from the National Institute of Dramatic Art (NIDA) with a Diploma of Musical Theatre. He has a diverse musical background, with immense choral experience and a passion for saxophone and piano. He is also undertaking private operatic training.
Whilst at NIDA, Jesse appeared as an ensemble member in Sydney Theatre Company's production of Chimerica, directed by Artistic Director Kip Williams. He also collaborated with NIDA's MFA Directors on a cabaret performance celebrating the work of Irving Berlin.
Following his graduation, Jesse appeared as Tyler in Little Triangle's production of Merrily We Roll Along (Depot Theatre, Alexander Andrews), and has recently performed as Alpha in Mars: An Interplanetary Cabaret (Andrew McInnes) at Bondi Feast. He is currently involved in Little Triangle's Fringe production, A Little Cabaret, and he is also working towards composing new Australian work.
On film, Jesse has appeared as Eric in On Silent (Romy Silver), and as Isaac in Cherry (Claudia Bailey), which made its debut at Revelation Perth International Film Festival earlier this year.


text:
The 30th Anniversary Concert Celebration – Deluxe Edition (2014)
1. Like a Rolling Stone	iTUNES
2. Leopard-Skin Pill-Box Hat	iTUNES
3. Introduction by Kris Kristofferson	iTUNES
4. Blowin' in the Wind	iTUNES
5. Foot of Pride	iTUNES
6. Masters of War	iTUNES
7. The Times They Are A-Changin'	iTUNES
8. Introduction by Kris Kristofferson (2)	iTUNES
9. It Ain't Me, Babe	iTUNES
10. What Was It You Wanted?	iTUNES
11. I'll Be Your Baby Tonight	iTUNES
12. Highway 61 Revisited	iTUNES
13. Seven Days	iTUNES
14. Just Like a Woman	iTUNES
15. When the Ship Comes in	iTUNES
16. Introduction by Johnny Cash	iTUNES
17. You Ain't Goin' Nowhere	iTUNES
18. Don't Think Twice, It's All Right	iTUNES
1. Just Like Tom Thumb's Blues	iTUNES
2. All Along the Watchtower	iTUNES
3. I Shall Be Released	iTUNES
4. Don't Think Twice, It's All Right	iTUNES
5. Emotionally Yours	iTUNES
6. When I Paint My Masterpiece	iTUNES
7. Absolutely Sweet Marie	iTUNES
8. License to Kill	iTUNES
9. Rainy Day Women #12 & 35	iTUNES
10. Mr. Tambourine Man	iTUNES
11. It's Alright, Ma (I'm Only Bleeding)	iTUNES
12. My Back Pages	iTUNES
13. Knockin' On Heaven's Door	iTUNES
14. Girl from the North Country	iTUNES
15. I Believe in You	iTUNES
Liner notes:
1. Like a Rolling Stone - John Mellencamp
2. Leopard-skin Pill-box Hat - John Mellencamp
3. Introduction by Kris Kristofferson
4. Blowin' in the Wind - Stevie Wonder
5. Foot of Pride - Lou Reed
6. Masters of War - Eddie Vedder & Mike McCready
7. The Times They Are a-Changin' - Tracy Chapman
9. It Ain't Me Babe - June Carter Cash & Johnny Cash
10. What Was It You Wanted - Willie Nelson
11. I'll Be Your Baby Tonight - Kris Kristofferson
12. Highway 61 Revisited - Johnny Winter
13. Seven Days - Ron Wood
14. Just Like a Woman - Richie Havens
15. When the Ship Comes In - The Clancy Brothers and Robbie O'Connell with special guest Tommy Makem
16. Introduction by Johnny Cash
17. You Ain't Goin' Nowhere – Mary-Chapin Carpenter, Rosanne Cash & Shawn Colvin
18.	Don't Think Twice, It's All Right (Rehearsal - October 15, 1992) - Eric Clapton
1. Just Like Tom Thumb's Blues - Neil Young
2. All Along the Watchtower - Neil Young
3. I Shall Be Released - Chrissie Hynde
4. Don't Think Twice, It's All Right - Eric Clapton
5. Emotionally Yours - The O'Jays
6. When I Paint My Masterpiece - The Band
7. Absolutely Sweet Marie - George Harrison
8. License to Kill - Tom Petty & the Heartbreakers
9. Rainy Day Women #12 & 35 - Tom Petty & the Heartbreakers
10. Mr. Tambourine Man - Roger McGuinn
11. It's Alright, Ma (I'm Only Bleeding) - Bob Dylan
12. My Back Pages - Bob Dylan, Roger McGuinn, Tom Petty, Neil Young, Eric Clapton & George Harrison
13. Knockin' on Heaven's Door - Everyone
14. Girl from the North Country - Bob Dylan
15.	I Believe in You (Afternoon Rehearsal - October 16, 1992) - Sinead O'Connor
The Bob Dylan 30th Anniversary Concert at Madison Square Garden on October 16, 1992 could have been a last waltz. Instead it turned out to be rock & roll's greatest half time show. Who could have imagined in 1992, three decades after Dylan's first album and during a period when he was not writing any new songs, that the bard of Hibbing still had ahead of him the triumphs of Time Out of Mind, Love and Theft and Tempest, an acclaimed and best-selling memoir, an Oscar for "Best Song," a radio show and a series of new number one albums? The great musicians who gathered in New York City to honor Dylan's thirty years of recording were celebrating what was already one of the greatest careers in the history of American popular music. Beyond that the intention of the evening was ambiguous. There was no promise that Dylan himself was going to show up. No one in the audience knew exactly who was performing or what to expect. In that way the evening was very much in the spirit of the man being honored.
1992 was a good moment for the greats of rock, folk, blues, soul and country to convene. The Dylan tribute was coming out of the long season of Band Aid, Live Aid, Farm Aid, and the Amnesty International Conspiracy of Hope tours. We were getting used to gatherings of the rock gods for good causes. The Dylan 30th was not a charity event – that had to be explained to people over and over. It was a traditional buy-your-ticket-and-enjoy-the-show rock concert with an extraordinary lineup. From the opening act – John Mellencamp tearing through "Like a Rolling Stone" with the "Follow that" confidence of Jerry Lee Lewis setting his piano on fire – it was clear that every performer was going to swing for the fences. Everyone was bringing his or her A game.
Chrissie Hynde sang "I Shall Be Released" with great beauty and control, selling every syllable. Among the background singers was an unknown Sheryl Crow. Johnny Winter took "Highway 61" to a Texas roadhouse (it wasn't a long trip). Eric Clapton found the blues in "Don't Think Twice" and the funk in "Love Minus Zero/No Limit." Dylan had once offered Clapton a song called "Seven Days" which Clapton did not take him up on. Ron Wood, who was in the room at the time, grabbed the song for himself and made a strong case at the Garden for the tune as a lost gem. In fact, some of the great surprises of the concert were how different performers illuminated lesser-known Dylan songs. The O'Jays opened up "Emotionally Yours" in a way Dylan's own version only hints at. Lou Reed made "Foot of Pride" sound like an outtake from his New York album. Willie Nelson drew out "What Was it You Wanted" until it felt like a dialog between a prophet and a disciple.
In 1992 the legends were not that old. Dylan was 51. George Harrison, Eric Clapton and most of the vets were not yet fifty. Johnny Cash and Willie Nelson were a little older, but still in full command of their gifts. New kids like Tracy Chapman and Pearl Jam's Eddie Vedder and Mike McCready were talented enough to command the spotlight even in such heavy company. Those young artists took on what might have seemed to be the most dated songs – "The Times They Are a-Changin'" and "Masters of War" – and proved that those fingers still needed pointing, those arguments were still unsettled. Stevie Wonder's majestic "Blowin' in the Wind" suggested how far America had come in its struggle for civil rights since both Dylan and Wonder began performing, while making clear that there were still many struggles ahead.
The roots of Dylan's topical songwriting were demonstrated by the Clancy Brothers with Robbie O'Connell and Tommy Makem. The young Dylan had been taken by the drama in Irish rebel songs and realized he could Americanize and contemporize them by using their musical architecture to write about the Civil Rights struggles in the USA. The Clancys reconnected the circle on "When the Ship Comes In."
Richie Havens, who had started out in the same Greenwich Village basket houses as Dylan, turned away from social commentary to hush the hall with an intimate "Just Like a Woman." The power trio of Rosanne Cash, Mary-Chapin Carpenter and Shawn Colvin used the Byrds/Basement Tapes classic "You Ain't Goin' Nowhere" to demonstrate how Dylan helped erase the lines between country, rock and folk, a case also made by Kris Kristofferson (himself a crucial figure in those walls coming down) on "I'll Be Your Baby Tonight."
Tom Petty and the Heartbreakers performed "License to Kill" like your best pal turning you on to an incredible song you might have overlooked and rollicked through "Rainy Day Women" like a gang of troublemakers being marched to the principal's office. The Heartbreakers spent a couple of years touring with Dylan in the 1980s; their DNA was entwined.
Roger McGuinn doing "Mr. Tambourine Man" was a beautiful moment of history revisited. Neil Young – maybe more than anyone – exuded pure joy in having a reason to stand in the spotlight and sing Bob Dylan songs. You knew that this was one musician who did not need a lyric sheet. Young inhabited "Just Like Tom Thumb's Blues" from the inside. He had clearly spent a lot of hours lying on the floor with his head between the speakers listening to Highway 61 Revisited. When he went into "All Along the Watchtower" time stopped. Nobody sings Dylan like Dylan but if Dylan ever stops, Neil Young is next in line.
The connections these artists had with Dylan were personal as well as musical. Dylan and Johnny Cash had been friends for most of the thirty years being celebrated. The Band were Dylan's most important touring group. Harrison and Dylan had bonded in 1964, written together in 1969, enjoyed an unlikely smash with the Traveling Wilburys in 1988 and had last stood together on the Madison Square Garden stage at 1971's Concert for Bangladesh – the mother of every subsequent all-star concert. No one knew this would be Harrison's last major public performance. There was pure pleasure on George's face as he played music he loved with his old friends. As Chrissie Hynde said on the night, "Hallelujah, Hare Krishna, Yeah Yeah Yeah!"
It's impossible to listen to this concert now without counting all the greats we've lost. Johnny Cash and June Carter. Lou Reed. Richie Havens. The Clancy Brothers and Tommy Makem. Howie Epstein of the Heartbreakers. Duck Dunn of the MG's. Rick Danko and Levon Helm. Every year that goes by the list will get a little longer. Fifty years from now watching this concert will be like looking at a painting of the founding fathers signing the Declaration of Independence: "You mean all those heavyweights were in the same room? They all knew each other?"
Or as Rick Danko said during rehearsals, "Time has a way of making everything look bigger than it really is. Thank God for time."
As wonderful as the show was, there are a few enticing might-have-beens. Elvis Costello was supposed to appear to sing "Positively 4th Street." Could there be a better match of singer and song? Due to a legal mix-up, Costello's work visa was not signed in time and he was not allowed into the country to perform. Sinead O'Connor made headlines when she reacted to booing from some of the audience with a furious, spontaneous incantation of Bob Marley's "War." Sinead had every right to her anger, but you can't help wishing she had taken Booker T's cue and gone into her rehearsed number – Dylan's "I Believe in You." That song is about hanging onto devotion in the face of the world's scorn. Check out the rehearsal take of Sinead doing "I Believe in You." If she had sung that to a jeering audience it would have been the greatest act of musical defiance since Dylan went electric and the pinheads shouted "Judas!"
The audience in the Garden that night was treated to one poignant performance that was lost to history because of a technical malfunction. When the hours of honors were over and Dylan took the stage alone, it was to sing "Song to Woody," his 1962 tribute to his mentor, Woody Guthrie. It was a moment of humility and debts repaid. It's a shame it was lost, but we have "It's Alright, Ma," "Girl from the North Country," and the supergroup of all supergroups playing "My Back Pages." Maybe there's something appropriate about "Song for Woody" having been only for the night, not for posterity. Sometimes you just had to be there.
Aside from this concert, 1992 was a rare quiet moment in Bob Dylan's career. He was in year three of a seven year sabbatical from releasing any new original material. He suggested in an interview that he might be done composing – the world had enough songs. No one knew what Dylan was thinking (no one has ever known that) but some of the musicians who assembled at the Garden must have figured the evening would be a valedictory. More than twenty years later we understand that on the memorable night when his friends and peers came together to pay tribute to him, Bob Dylan was not done at all. He was taking a breath and getting warmed up for Act Two. Circle the calendar for 2022. Bob Dylan's 60th Anniversary Concert is right around the corner.
- Bill Flanagan
In the end, it was about the songs.
On October 16, 1992, an impressive and eclectic group of artists gathered at Madison Square Garden in New York City for the purpose of celebrating the music of Bob Dylan on the occasion of his 30th anniversary of recording. Bringing together musical greats as far-flung as Johnny Cash and Eddie Vedder, The Clancy Brothers and Lou Reed, the four-hour show celebrated a truly remarkable lifetime of songs in front of a sold-out audience of over 18,000. Warmly dubbed the Bobfest by participant Neil Young, the show was broadcast around the world and featured a cast of musical notables performing carefully chosen and often surprising selections from the incomparable Dylan songbook. At evening's end, the man of honor himself appeared on stage and gracefully brought it all back home again. In a world where all-star celebrity gatherings have become commonplace, the Bob Dylan celebration stood out as, first and foremost, a legitimately memorable musical event.
John Mellencamp, who's been covering "Like a Rolling Stone" in concert for years, bravely took on the Dylan classic early in the show and delivered a fairly faithful and altogether convincing cover featuring strong vocal help from Pat Peterson and Sue Medley. Joining Mellencamp and his excellent band for the event on organ was Al Kooper, reprising his prominent part from Dylan's 1965 original, which was voted the best single of the last 25 years by Rolling Stone in 1988. Mellencamp – who's been instrumental in the activities of Farm Aid, which Dylan helped inspire with his onstage comments at Live Aid, and who directed Dylan's "Political World" video in 1989 – was also in fine form for rousing, bluesy "Leopard-skin Pill-box Hat" from 1966's Blonde on Blonde.
One of the obvious emotional highlights of the show was Stevie Wonder's endlessly soulful rendition of "Blowin' in the Wind," a song Wonder brought to the Top Ten of the Pop and R&B charts back in 1966, three years after Peter, Paul & Mary first introduced it to the masses. As Wonder pointed out in his moving introduction, the message of "Blowin' in the Wind" remains, sadly, one of enduring relevance. A contemporary folk standard originally recorded for 1962's The Freewheelin' Bob Dylan, the song found Wonder working his gospel-tinged magic alongside Booker T. Jones and The M.G.'s – the phenomenally adept house band for the show.
Booker T. & The M.G.'s now features Jones on organ, Steve Cropper on guitar, Donald "Duck" Dunn on bass and Anton Fig, filling in for the late Al Jackson, on drums. The group enjoyed a run of instrumental hits in the sixties, including "Green Onions" and "Time Is Tight," as well as serving as the legendary house band for countless Stax classics. The very able musical director of the show was G.E. Smith, longtime Saturday Night Live band leader and veteran Dylan guitarist. Also making a significant contribution to the proceedings was session drumming great Jim Keltner, who's worked with The Traveling Wilburys and just about everybody else over the years.
In a winning example of one ingenious lyricist honoring another, Lou Reed righteously rocked out on "Foot of Pride," an obscure outtake from the 1983 Infidels album that Reed, like so many other less famous Bob Dylan fans, discovered on 1991's The Bootleg Series (Vols. I-III) set. Hardly an obvious song choice, Reed's "Foot of Pride" was a gutsy as well as a hard-rocking remainder of just how much depth there is to Bob Dylan's body of work.
The riveting acoustic rendition of "Masters of War," by Pearl Jam's Eddie Vedder and Mike McCready, was arguably the evening's most pleasant surprise. These two young Dylan fans didn't need any loud Seattle sonics to get across Dylan's pointed protest classic from The Freewheelin' Bob Dylan. Vedder, who blissfully watched rehearsals for the concert from the front row of a nearly empty Madison Square Garden, proved with his wonderfully intense interpretation that when it comes to a great song, there's no such thing as a generation gap.
Tracy Chapman – who helped bring folk music back to the forefront with her acclaimed 1988 debut album, and who has toured with Dylan occasionally in recent years – offered an eloquent and moving solo acoustic version of the often-covered "The Times They Are a-Changin'," the title track of Dylan's 1964 effort. In Chapman's capable hands, the song's power remains undimmed by time.
Country and rockabilly legend Johnny Cash and Bob Dylan have a long history of mutual admiration for one another. They first met at the Newport Folk Festival in 1964, and went on to record a session together in Nashville in 1969. The normally T.V.-shy Dylan even appeared on a Cash television special taped at the Grand Ole Opry in 1969. Cash and Dylan's duet on "Girl from the North Country" was featured on Dylan's groundbreaking country-rock effort Nashville Skyline, for which Cash wrote the Grammy Award-winning liner notes. At the show, Cash and June Carter Cash, his wife and longtime musical partner, teamed up for a surprisingly celebratory, down-home version of "It Ain't Me Babe," a song from Another Side of Bob Dylan that Cash took up the charts in 1964, well before the Turtles turned it into a pop smash in 1965.
Willie Nelson and Bob Dylan are clearly two kindred spirits. Recently the pair collaborated on "Heartland" from Nelson's new Across the Borderline album, which also included a cover of Dylan's "What Was it You Wanted" – a standout track from 1989's Oh Mercy that Nelson performed for the first time at the event. Playing bass on this swampy and sly rendition was Don Was, who produced Across the Borderline as well as co-producing Dylan's 1990 effort Under the Red Sky.
Nelson and Was stuck around to back up Kris Kristofferson for his appropriately mellow version of "I'll Be Your Baby Tonight," the song from Dylan's 1968 album John Wesley Harding. Kristofferson – one of the many gifted and literate young singer-songwriters of the sixties and seventies who faced daunting critical comparisons to Dylan – became friendly with Dylan on the set of Sam Peckinpah's 1973 western film Pat Garrett and Billy the Kid, in which they both appeared. Even earlier, however, Kristofferson worked as the studio janitor during the famed Blonde on Blonde sessions.
A monumental display of blues power came from veteran Texas guitar hero Johnny Winter, who threw down a furious deep-blues take on "Highway 61 Revisited," which Winter first cut on his 1970 three-sided sophomore Columbia release, Second Winter. The guitar line-up of Winter, Steve Cropper and G.E. Smith was in fierce form for the song, living up to the spirit of the late Mike Bloomfield's riffing on Dylan's 1965 original.
Ron Wood's barn-burning version of "Seven Days" provided another of the evening's most happy surprises. An unreleased rocker performed live by Dylan on 1976's "Rolling Thunder Revue," the song was subsequently recorded by Wood for his 1979 album Gimme Some Neck. With Heartbreaker Howie Epstein joining the house band on bass, the Stone alone, who has often played and recorded with Dylan over the years, came through with a great throaty vocal that was more than a little reminiscent of the song's writer.
Richie Havens, who in his early days played many of the same Greenwich Village folk haunts as Dylan, first cut "Just Like a Woman" for his Mixed Bag album back in 1967. He's subsequently recorded and performed numerous Dylan songs, some of which can be heard on his 1987 collection Richie Havens Sings the Beatles and Dylan. His solo acoustic version of the song at the celebration was a powerful testament to his abilities as a distinctive interpretive singer.
Arguably the foremost Irish folk singers in the world, The Clancy Brothers from Carrick-on-Suir in the county Tipperary were already a famous group during Dylan's early folkie days. For the Dylan show, they were joined by their longtime musical associate and special guest Tommy Makem as well as their nephew Robbie O'Connell for a haunting traditional take on "When the Ship Comes In," a stirring ballad which first appeared on The Times They Are a-Changin' album. The Brothers flew in from Ireland specifically to play the show.
Rosanne Cash, Mary-Chapin Carpenter and Shawn Colvin – a trio of the most gifted women singer-songwriters around and major Bob Dylan fans all – teamed up to trade off verses for a gorgeous, harmony-drenched cover of "You Ain't Goin' Nowhere," a Basement Tapes gem that was re-recorded by Dylan with Happy Traum for 1972's Bob Dylan's Greatest Hits, Vol. II set, as well as being a standout cut on The Byrds' 1968 classic Sweetheart of the Rodeo album.
Another kindred spirit and inspired party guest who turned in a great performance at the celebration was Neil Young, who somehow transformed The M.G.'s and drumming ace Jim Keltner into a fantastically loose, Crazy Horse-styled outfit for a strong reading of "Just Like Tom Thumb's Blues" from Highway 61 Revisited, and an extended, fiery version of "All Along the Watchtower" that borrowed some of its kinetic power from Jimi Hendrix's famed reworking of the John Wesley Harding song.
Everyone from Sting to Bette Midler to the Heptones has covered "I Shall Be Released," but Chrissie Hynde, the gifted Pretenders auteur, managed to make the song her own with a radiant performance at the Dylan event, featuring some prominent keyboard assistance from Paul Shaffer. The song was part of the famed Basement Tapes, written and casually recorded with The Band at Big Pink in Woodstock in 1967, and subsequently covered by The Band for its extraordinary 1968 debut album.
The traditionally show-stopping Eric Clapton, who performed a duet with Dylan on "Sign Language" from his No Reason to Cry album in 1976, came through with a startling and moving performance at the celebration. The highlight of his set – which also included a luminous "Love Minus Zero/No Limit" – was a truly revelatory rendition of "Don't Think Twice, It's All Right," from The Freewheelin' Bob Dylan, that Clapton and Booker T. Jones radically rearranged into a seductive new bluesy masterpiece, complete with some incendiary soloing from the guitar master himself.
Famed for such seventies soul smashes as "Back Stabbers," "Love Train" and "For the Love of Money," The O'Jays had a Top Five R&B hit with "Emotionally Yours," a delicate love song from 1985's Empire Burlesque that the group recorded in two completely different arrangements on its 1990 Emotionally Yours album. Backed by a gospel choir featuring the great Cissy Houston, The O'Jays brought a churchly spirit to the festivities with their stately version of the song.
The history of The Band is, of course, inextricably tied to that of Bob Dylan. It was only fitting, then, that the current incarnation of The Band – featuring original members Levon Helm, Rick Danko and Garth Hudson – came together for a fine loose-grooving version of "When I Paint My Masterpiece." The song was originally recorded with Leon Russell on piano in 1971 for Bob Dylan's Greatest Hits, Vol. II, the same year that it became a highlight of The Band's album Cahoots.
A fellow Traveling Wilbury and longtime friend, George Harrison goes way back with Dylan. Before their prominent Wilbury collaboration, Dylan and the then newly former Beatle co-wrote "I'd Have You Anytime" for Harrison's All Things Must Pass, the 1970 album for which Harrison also recorded a version of Dylan's "If Not For You." For the celebration, Harrison returned to Madison Square Garden, site of the 1971 Concert for Bangladesh, and utterly charmed the crowd by delivering an exquisite, clearly loving rendition of "Absolutely Sweet Marie" from Blonde on Blonde.
Tom Petty (another wildly talented Wilbury brother in good standing) and the eternally impressive Heartbreakers recorded and toured the world extensively with Dylan for a period during the mid-eighties. At the Dylan event, Petty & The Heartbreakers – guitarist Mike Campbell, keyboardist Benmont Tench, bassist Howie Epstein and drummer Stan Lynch – were in peak form, offering a totally inspired and subtle reading of "License to Kill," an underappreciated number from Dylan's 1983 Infidels album. Switching gears brilliantly, they tore into a wild rollicking rave-up performance of "Rainy Day Women #12 & 35," from the Blonde on Blonde album, that brought the house down.
Roger McGuinn, founder of The Byrds, has been a major interpreter of Dylan's material over the years. In 1965, he and other Byrds transformed Dylan's "Mr. Tambourine Man" into a global smash, and went on to record many other Dylan compositions, including "All I Really Want To Do," "You Ain't Goin' Nowhere," "My Back Pages" and "Chimes of Freedom." Joined by Tom Petty & The Heartbreakers, McGuinn and his Rickenbacker let "Mr. Tambourine Man" ring out wonderfully one more time.
As for the man of honor himself, Dylan began his own set with "Song to Woody," a moving composition from his debut album that remains a gracious salute to Dylan's own early influence, Woody Guthrie. Unfortunately, technical problems prevent the song's inclusion here. Dylan followed with a wonderfully intense rendition of "It's Alright, Ma (I'm Only Bleeding)" from Bringing It All Back Home, that served as a vivid reminder of his incomparable acoustic power. "My Back Pages," originally from 1964's Another Side of Bob Dylan, became a history-making group effort, with McGuinn, Petty, Young, Clapton, Dylan and Harrison all trading off the classic verses. Then "Knockin' on Heaven's Door" – the elegiac standard from the Pat Garrett and Billy the Kid soundtrack recently covered by Guns N' Roses – brought all the evening's players out for a memorable ensemble encore.
Finally, after the television satellite feed was shut down, Bob Dylan generously returned to the stage for a lovely, understated version of "Girl from the North Country" that proved one more time what one man can do armed only with his voice, guitar and extraordinary songs.
- David Wild
Special Rider Music (ASCAP)
Dwarf Music (ASCAP)
John Mellencamp - Vocals
Al Kooper - Organ
Michael B. Wanchic - Guitar
Kenneth D. Aronoff - Drums
Jeffrey G. Meyers - Bass
John David Grissom - Guitar
Lisa Germano - Violin
Pat Peterson - Background Vocals, Percussion
Sue Medley - Background Vocals
Stevie Wonder - Piano, Harmonica, Vocals
G.E. Smith - Guitar
Steve Cropper - Guitar
Booker T. Jones - Organ
Donald "Duck" Dunn - Bass
Anton Fig - Drums
Jim Keltner - Drums
D. Keith John - Background Vocals
Lou Reed - Guitar, Vocals
Eddie Vedder - Vocals
Mike McCready - Guitar
G.E. Smith - Mandolin
Tracy Chapman - Guitar, Vocals
June Carter Cash - Vocals
Johnny Cash - Vocals
Mickey Raphael - Harmonica
Kerry Marx - Guitar
Willie Nelson - Guitar, Vocals
Reggie Young - Guitar
Benmont Tench - Organ
Don Was - Bass
Anton Fig - Percussion
Kris Kristofferson - Guitar, Vocals
Willie Nelson - Guitar Vocals
Benmont Tench - Keyboards
Don Was - Bass, Vocals
Johnny Winter - Guitar, Vocals
Ram's Horn Music (ASCAP)
Ron Wood - Guitar, Vocals
Booker T. Jones - Guitar
Howie Epstein - Bass
Richie Havens - Guitar, Vocals
Paddy Clancy - Harmonica, Vocals
Bobby Clancy - Percussion, Vocals
Liam Clancy - Guitar, Vocals
Tommy Makem - Banjo, Vocals
Robbie O'Connell - Guitar, Vocals
G.E. Smith - Bass
17. You Ain't Goin' Nowhere - Mary-Chapin Carpenter, Rosanne Cash & Shawn Colvin
Rosanne Cash - Guitar, Vocals
Mary-Chapin Carpenter - Guitar, Vocals
Shawn Colvin - Guitar, Vocals
Eric Clapton - Guitar, Vocals
Mixed by Dave Hewett
Neil Young - Guitar, Vocals
Anton Fig - Drums (on "All Along the Watchtower")
Chrissie Hynde - Guitar, Vocals
Paul Shaffer - Piano
Background vocalists: Curtis King, Brenda White King, Dennis Collins, Christine Ohlman, Sheryl Crow
Eddie Levert, Sr. - Vocals
Walter Williams - Vocals
Sammy Strain - Vocals
Ron Fair - Piano
Chorus: Cissy Houston, Katrice Barnes, Gary Houston, Jerry Barnes, Rosse Mitcham, Gynnice Coleman, Leotis Clyburn, Curtis King, Brenda White King, Dennis Collins, Christine Ohlman, Sheryl Crow
Big Sky Music (ASCAP)
Levon Helm - Mandolin, Vocals
Rick Danko - Guitar, Vocals
Garth Hudson - Accordion
Richard Bell - Accordion
Jim Weider - Guitar, Vocals
Randy Ciarlante - Drums, Vocals
George Harrison - Guitar, Vocals
Tom Petty - Guitar, Vocals
Mike Campbell - Guitar
Benmont Tench - Organ, Piano
Howie Epstein - Guitar, Vocals, Lap Steel Guitar (on "Rainy Day Women #12 & 35")
Stan Lynch - Drums
Roger McGuinn - Guitar, Vocals
Howie Epstein - Bass, Vocals
Bob Dylan - Guitar, Vocals
Stan Lynch - Percussion
Ram's Head Music (ASCAP)
Sinead O'Connor - Vocals
Lenny Pickett - Clarinet
Produced for release by Vic Anesini and Steve Berkowitz
All songs written by Bob Dylan
Executive Producers: Jeff Rosen and Jeff Kramer
House Band: Booker T. & the M.G.'s
Musical Director: G.E. Smith
All tracks mixed by David Thoener at The Hit Factory, New York City, assisted by Thom Cadley, except: "Just Like Tom Thumb's Blues" and "All Along the Watchtower" mixed by David Briggs at Redwood Digital, Woodside, California, assisted by John Nowland and John Hausmann; "Absolutely Sweet Marie" mixed by Ed Cherney at Record One Studio, Los Angeles, California
Concert audio produced by Don DeVito
Recorded by Dave Hewett
Recording engineers: Vic Anesini, Phil Gitomer, Peter Hefter, Sean McClintock
Concert Consultants: Ron Delsener, Mitch Slater
S.R.M. Productions: Diane Lapson, Margarita Miller, Vickie Mathis, Debbie Sweeney, Julie Kim, Lynne Okin
Event Production Manager: Al Santos
Legal Representation: David Braun, Sandy Fox, Alan Grodin
Accounting: Marty Feldman
Talent Liaison: Richard Fernandez
Concert sound: Claire Brothers Audio
Steve Helm - technical coordinator
Chris Taylor - front of house engineer
Jules Aerts - monitor engineer
Stage Managers: Ken Graham, Matt Haasch
Crew for House Band: Anthony Aquilato, Jeff Shaw, Lisa Sharken, Cesar Diaz, Artie Smith, Richard Brister
Art Direction: Josh Cheuse
Photography: Ken Regan
Special Thanks: Don Ienner, Michele Anthony, Ron Delsener, Jay Krugman, Paul Rappaport, Mason Munoz, Ron Wilcox, John Ingrassia, Mark Schwartz, J. David Waldman, Mo Ostin, Elliot Groffman, Ruth Richards, Joanna Ifrah, Scott Muni, Michael Borofsky, Madison Square Garden Corporation, David Horn, Maureen Guthman, Andy Kadison, Wyatt Smith, Richard Alcock, Estefan Enterprises, William and Yetta Kramer, Kathi & Shelly, Sam, Charley, Mathew & Katherine, Bobby Brooks
Thanks to Management: Stephanie Andrews, Will Botwin, Billie Bullock, Gail Colson, Nick Cowan, Kelly Curtis, Tony Dimitriades, Ron Fierstein, Joe Forno, Roger Forrester, Bonnie Garner, Frank Gironda, Ken Levitan, Camilla McGuinn, Jim McKague, Dennis O'Brian, Sylvia Reed, Lou Robin, Elliot Roberts, Mark Rothbaum, Elizabeth Rush, Harry Sandler, John Simson, Teddy Slatus, Marsha Wolfson, Michael Eaton and Scooter Weintraub
John Mellencamp appears courtesy of Polygram Records
Stevie Wonder appears courtesy of Motown Records
Lou Reed appears courtesy of Sire Records
Eddie Vedder and Mike McCready appear courtesy of Epic Records
Tracy Chapman appears courtesy of Elektra Records
Johnny Cash appears courtesy of Polygram Records
Johnny Winter appears courtesy of Point Blank/Virgin Records
Ron Wood appears courtesy of Continuum Records
Neil Young appears courtesy of Reprise Records
Chrissie Hynde appears courtesy of Sire Records
Eric Clapton appears courtesy of Warner Bros. Records
The O'Jays appear courtesy of EMI Records
The Band appears courtesy of The Pyramid Record Group, Inc.
George Harrison appears courtesy of Warner Bros. Records
Tom Petty & The Heartbreakers appear courtesy of MCA Records
G.E. Smith appears courtesy of Liberty Records
Sue Medley appears courtesy of Polygram Records, Canada
Paul Shaffer appears courtesy of SBK Records
Sheryl Crow appears courtesy of A&M Records, Inc.
Sinead O'Connor appears courtesy of Chrysalis Records
Reissue Credits:
Product Manager: Mark Neuman
Mastered by Vic Anesini at Battery Studios, NYC
This project would not be possible without the expert legal assistance of Jeffrey Schulberg
Lyrics 1961-2012
A beautiful, comprehensive volume of Dylan's lyrics, from the beginning of his career through the present day-with the songwriter's edits to dozens of songs, appearing here for the first time.
Download sheet music from this and other Bob Dylan albums


Jean Gerbino was born in 1876 in Sicily.
He started turning pots in 1902 at Les Massier in Vallauris.
In 1919 he began to learn the ancient Japanese technique of 'Nerikomi' or 'Neriage'. By 1930 he had perfected it and began to produce a totally unique style of pottery, and he went on to become one of France's most celebrated potters of the mid 20th century.
Whilst a number of other potters in Vallauris emulated certain aspects of Picasso's ceramic works, Gerbino determined to create his own inimitable pieces which eventually turned out to be most popular in the 70's, inspiring exiting new pottery from a growing number of potters such as Dorothy Feibleman and Chris Campbell.
This dish shows the incredible patience required to produce such a detailed work, in which different coloured clays were stacked together and cut to create a specific pattern. The finished ceramic had to dry thoroughly - over a long period of time. Then it was covered in a clear glaze - fired ... then fired again!
The stamps underneath are 'Gerbino' and 'VALLAURIS (A.M.)'. The AM, having appeared on many Vallauris pots, has been an enigma for a number of collectors, thinking that it might have stood for the initials of a potter ... such as A. Massier ... but the reality is a little more mundane - for AM stood for 'Alpes-Maritime' ... which was the old designation of the Department where Vallauris was situated.
This dish was most likely made in the 50's, and is still in excellent condition with no chips, scratches, or cracks.
I am happy to discuss any serious offers.


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redpajama_set_name: RedPajamaGithub


The 2016 winner of the Christian High School Book Club award for best novel is The Gospel Truth by Caroline Pignat. This novel was selected from the 10 novels read this year in book clubs from Hamilton District Christian High, London District Christian Secondary School, Woodland Christian High School and Durham Christian High School.
The Christian High School Book club collectively votes on our books in our book clubs to decide on the winner at The Final Word event.


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Home news Israeli archaeologists uncover 'world's largest' Byzantine-era winery
Israeli archaeologists have uncovered a Byzantine-era, industrial-scale wine complex which produced some two million litres of the drink annually and was the world's "largest" such centre at the time.
The facility in Yavne, south of Tel Aviv that was a Jewish settlement during biblical times and a key city after the destruction of Jerusalem in 70 AD, is comprised of five wine presses sprawling over a square kilometre.
The 1,500-year-old site covers warehouses for ageing and marketing the wine, kilns for preparing the clay amphorae used to store the wine and "tens of thousands of fragments and intact earthen jars", the Israel Antiquities Authority (IAA) said of the "sophisticated" site.
The produce was known as "Gaza and Ashkelon wine" due to the nearby ports from which it was exported, according to IAA excavators Elie Hadad, Liat Nadav-Ziv and Jon Seligman, who said the Holy Land wine was a prized product.
Fermenting grape juice into wine was a proven way in antiquity to avoid illness from contaminated drinking water.
The dig, which lasted two years, revealed Persian-era wine presses aged 2,300 years old at the same site.
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The Colombo Port City fantasy
This idea of a Port City was originated by China after the completion of the South Colombo Port Expansion scheme. The government was carried away when China Engineering produced an attractive beautiful computer designed city with high-rise buildings, tree-lined avenues, walkways, canals, marinas and parks and they said they could reclaim 270 hectares worth 1.8 billion US dollars from the sea for this plan of Colombo Port City. The terms were that they be given forty percent of this artificial island. Perhaps, the commissions were attractive and the government agreed.The reclaimed area looks like a miniature Sahara now without topsoil for vegetation, no fresh water, no electricity, no sanitary and waste disposal. Will these amenities be brought from abroad as Sri Lanka has no means of providing them? What country, except China, would be interested in this artificial island? The chances are that China will develop their 40% of the artificial island and buy the remaining 60% so that it can have a ninety nine year lease for the whole area as a Chinese colony. Our stupid kings didn't mind being colonised and our country is in such a bankrupt state, our present government shouldn't allow such a thing to happen.
D. L. Sirimanne Kohuwela
Does Minister Gammanpila contradict President on energy targets?
That elusive scientific lockdown
Mrs Paripooranam Rajasundaram- A Gracious Lady
I first came to know Mrs Pariapooranam Rajasundaram, who was born in Singapore on October 25, 1935 while serving a short stint in Jaffna with police intelligence. Her late husband who called her "Pari" was my very close friend, Mr. Vaithilingam Rajasunderam, the former principal of Victoria College, Chullipuram who was introduced to me by my friend and police batch mate, late Tissa Satharasinghe, who was the Personal Security Officer, to the late Mr T.B. Ilangaratne in 1971.
Mrs Rajasundaram was blessed with three sons and a daughter and several grandchildren and can be truly described as a very faithful spouse and dedicated mother, mother-in-law, grandmother and a great grandmother to the family of which she was matriarch.
My short spell in Jaffna in 1973 brought me closer to the Rajasunderams who celebration their 25th wedding anniversary in 1974. Theirs was an open house and my wife and sisters too came to know them well.
Mrs Rajasundram and her husband were good hosts and his assassination was a shock to all of us. It was then she became part of our family as she lived with us briefly till she obtained a UK visa to join her daughter and son-in-law there.
Many years later when she was living in England, I had joined KLM Royal Dutch Airlines and my family used to spend vacations with them in Cockfosters in North London. Mrs Rajasundaram treated us to sumptuous meals lavishing attention on us. She was very fond of my wife and two children and had a heart of gold. A devout Hindu she never failed in her religious obligations, lived within her means and was never greedy for what she could not afford. She firmly believed in being patient and willingly gave to those in need.
She was a lady who was selfless, full of compassion, kindness, humility, gentleness, patience, very virtuous, and full of love and character. I can say of her: "People may forget what you did, but people will never forget how you made them feel!"
My prayer as a Christian is that God grants you eternal rest.
NIHAL DE ALWIS
Independence celebrations for whose benefit?
Celebrating what? Bankruptcy, corruption and nepotism to name a few. Surely isn't there one MP among 225 who feel we have nothing to celebrate. We say we cannot pay govt. servants' salaries in time, the pensioners' their entitlements. A thousand more failures confront us.
In our whole post-independence history such a situation has never arisen. We should be mourning our lost prestige, our lost prosperity our depleting manpower. Our youth in vast numbers are leaving the country for greener pastures. We should be conserving every cent to live, not to celebrate a non-existent independence. We should be mourning, walking the streets in sack cloth and ashes in protest at this wanton waste of money by an irresponsible government.
I can't understand this mentality. The forces are also our young men who feel for their fellow men and women. Maybe their lot is a little better than the rest of us. But how can you order them to go parade? They cannot refuse. It is an unwritten or written code that they have to obey orders without question. I feel sorry for them. All that spit and polish – for whose benefit? Definitely not ours. We will be mourning in silence in our homes.
Padmini Nanayakkara.
Aftermath Of Mr. Ranjan Wijeratne's Assassination
It was on Saturday March 2, 1991 when that fateful LTTE bomb blast shattered the life out of Mr. Ranjan Wijeratne, Minister of Plantations and Deputy Minister of Defence, in front of the Havelock Road University Women's Hostel opposite Keppetipola Mawatha.
Mr. Wijeratne used to take the same route from home to office every day. The LTTE had monitored his movements and found that it would be easy to target him on his way to office from a strategic point after receiving the information of his departure from home.
The LTTE targeted his vehicle right in front of the University of Colombo Women's Hostel opposite Keppetipola Mawatha. The suicide bomber crashed into the Deputy Minister's vehicle and killed the Minister instantaneously.
I had dropped our elder son at Royal College for scouting and then went to the public library to return some books and borrow new ones. After having done that, I was returning home when I saw a large cloud of black smoke going up from somewhere on Havelock Road. As I neared Thummulla junction, a university vehicle (I was Registrar of the Colombo University) was going in the opposite direction.
I stopped it and asked the driver what had happened. He said the Shanthi Vihar restaurant at the Thummulla had been set on fire. The police did not allow vehicles into Havelock Road from Thummulla. I parked the car on Reid Avenue between Thummulla and Lauries Road and walked down the Havleock Road to see what exactly had happened.
As I got onto Havelock Road, a policeman accosted me and told me that I cannot be allowed to proceed. Fortunately, at that moment the OIC of the Bamabalapitiya Police station, Mr. Angunawela, came to that spot and recognizing me told the police constable to allow me to proceed.
As I walked down I saw the damage caused. But there were no signs of any vehicle or any dead bodies as the police had got everything removed. There was a large gaping hole on the road where the blast had occurred. But immediately this was filled up and that section of the road carpeted.
I do not know who had ordered it and why it was done in such a hurry. There were pieces of human flesh hanging from the overhead telephone wires. The blast had also affected the house in front where there was a P& S outlet and a lady who had come to buy something had got her eyes blinded by the shrapnel thrown by the blast.
The parapet wall and the Temple flower (araliya) trees that had been grown just behind the wall were all gone. As I went into the hostel, I saw that the front wall of the hostel building badly damaged. When I went in the girls in the hostel were looking terrified and shivering with fright.
Two of the undergraduates who had gone out of the hostel as they had to sit an examination in the university had got very badly injured and they been rushed to the national hospital. Later one girl who was from Kobeigane, a remote village in the Kurunegala area, succumbed to her injuries. The university paid for her funeral. The security guard who had been close to the gate was thrown up and landed back on the ground. Fortunately, he had no injuries other than feeling groggy.
The next job was to evacuate the hostelers from the building. I telephoned the university office and found the Senior Assistant Registrar in charge of examinations was in office. I told her what had happened and to come to the hostel in a van. Thereafter both she and I packed all the hostelers in the van and sent them to the Bullers Lane Women's hostel. This was done in three trips.
On inspecting the damage done to the hostel I thought the building would have to be demolished and a new building constructed to replace it. However, I contacted an Engineer, Mr. Upasena, at the Central Engineering Consultancy Bureau (CECB,) who came, inspected the damage to the building and stated that he will get it repaired to be stronger than what it was.
He stated that it might cost around Rs, 20,000/- to get the repair done. I contacted NORAD and they agreed to give the funds required for the repair and renovation. Mr. Manickam from NORAD came and inspected the building and agreed to get much more done than what we wanted repaired and renovated. The repair and renovation were done very quickly and the hostelers were able to move in again.
The reopening ceremony was attended by the then Ambassador to Norway, Mr. Manickam and the Vice-Chancellor. The Vice- Chancellor thanked the Ambassador, Mr. Manickam and the CECB for getting the hostel repaired and renovated to be used again. He never mentioned what I had done to get this hostel repaired and habitable again. That is gratitude!
HM NISSANKA WARAKAULLE


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Cercemaggiore est une commune italienne de la province de Campobasso dans la région Molise en Italie.

Administration

Hameaux

Communes limitrophes
Castelpagano, Cercepiccola, Gildone, Jelsi, Mirabello Sannitico, Morcone, Riccia, Santa Croce del Sannio, Sepino

Notes et références

Commune dans la province de Campobasso

redpajama_set_name: RedPajamaWikipedia


Granted, not much is known about Dark Energy. Indeed, it may not even exist.
Energy liberated from the collision, and subsequent annihilation of virtual particles.
Beyond this, we do not know much else. For the sake of simplifying scientific adherence, I have averaged these two explanations. For the sake of this questions we know that when space expands, dark energy is responsible.
Assume that technology exists which is capable of contracting space (a feat that is understood to be obtainable employing highly-dense matter rotating at incredible speeds).
If we can put strain on space symmetrically, creating a negative gradient of space, will space about which this gradient is centered expand? If so, is this expansion the result of dark energy or the generation of dark energy?
EDIT: Imagine you had a torus made of some degenerate matter, be it strange matter, neutronium, or even a black hole. All of this stuff is really, really dense. We know that things that are dense, or otherwise heavy generate appreciable gravitational fields via bending of space-time.
If anything with a positive mass travels at a velocity approaching the speed of light (technically any non-zero velocity), the object begins to experience time-dilation when space-time resists this velocity.
As such, the idea is, if we take something really dense and spin it around a torus at speeds approaching the speed of light, we should be able to generate some pretty significant gravitational waves. If you cleverly arrange several tori into a sphere, you could create a region of space in the center of the sphere that is forced to expand (as space is pulled onto the surface of the sphere). Sort-of like a fictional Dyson Planet, where gravity is only on the surface of the planet.
NOTE: This is my first post, I am writing a novella and doing some world-building first. I can migrate to physics if this board isn't appropriate. Thanks!
Browse other questions tagged science-based science-fiction energy faster-than-light or ask your own question.
What would happen if this FTL drive type concept were used in an atmosphere?
How high does a tower have to be, so that centrifugal force launches a payload into space?
How can the newly-discovered inter-galactic matter be harvested by inter-galactic mega-generational ships?
My ship is traveling at 0.05c, is the energy from debris impacts trackable?


For months, he wandered around the empty fields and roads, trying to find something to eat and drink while his body crumbled. With every passing day, Merlin´s condition worsened, most of his hair fell off, his skin thickened and oozed with infection. His eyes got infected, soon he started having problems seeing.
All of this happened on the plain sight of the hundreds of people that saw him wandering the village. People threw stones at him, noone wanted him close. He had to survive. No one had helped him before, he thought it would be better to stay away from people.


Nantucket, March 27, 2019 — Nantucket's Alliance for Substance Abuse Prevention (A.S.A.P.) is excited to announce our exciting Island Cabaret, an evening promising to entertain, showcase local and national talent, and show that a substance free Friday night on the town can be a good time. The master of ceremonies for the evening will David Hayes, best known as the host of the Open Mic Night held weekly at the Nantucket Culinary Center. His comedic stylings will be sprinkled in between performances of local singer Doug Cote, actress Sarah Fraunfelder and a set from everyone's favorite reggae band, Foggy Roots, to name just a few of the featured acts.
Tickets can be purchased directly through the Theatre Workshop website: https://theatrenantucket.org/events/a.s.a.p.-island-cabaret. Proceeds benefit A.S.A.P.'s programming. The generous sponsorship of several island businesses have allowed us beautiful Bennett Hall and to import some amazing comedic talent to round out the night.
A.S.A.P. is a tax-exempt non-profit 501(c)(3) corporation founded in 1995. The mission of A.S.A.P. is to foster a safe, healthy Nantucket community through education, awareness, advocacy and prevention strategies.


Recoveries of ringed birds tell us a great deal about the biology and ecology of particular species. When sufficiently large numbers of recoveries have accrued, they show that species' normal pattern of movement and longevity. The map showing the recovery localities of Great and Arctic Skuas is a good example of this, with Arctic Skuas moving down the west coast of Africa, occasionally as far as the Cape but with occasional birds crossing the Atlantic to winter off Brazil, and Great Skuas staying rather closer to home, mainly wintering south to Iberia.
From April to June and August to October, the wardening team aims to complete a full daily census of the migrants passing through Fair Isle. The island is divided into three (north, south west and south east), with wardens following a set route through each census area and recording all sightings. All areas are covered at the same time each day, normally over a four hour time period, to minimise the duplication of sightings and allow between-year comparisons of records, resulting in a data set stretching back over fifty years that provides valuable information for researchers.
In addition to the census data, visitors are encouraged to contribute to the record of migration through Fair Isle by submitting their own sightings at Log, held every evening in the Observatory lounge.
In order to find out more about birds (and a better understanding helps to conserve threatened populations), it is very useful to be able to recognise individuals. We can do this by fitting an alloy (non-corrosive) ring bearing a unique number and a return address. The rings are very small, roughly equivalent to a human wearing a watch. The details provided by the finders of a ringed bird are collated centrally so that the information can be shared.
Marking individual birds helps to tell us about the movements and migrations of birds – where they breed, where they spend the winter, and what routes they take (and thus what hazards they encounter) on migration. Ringing can also tell us much more about the daily lives of birds – about aspects of their behaviour, their breeding success, population trends and longevity.
The most common way of catching birds in Britain is by a mistnet - a very fine nylon mesh net slung between two poles - which is near-invisible to birds if sheltered from the wind. Unfortunately, because of the weather in Shetland and the lack of tree cover, mistnets are rarely practical (except in the relatively sheltered Observatory garden, if the weather permits), and most small birds on Fair Isle are caught in heligoland traps (developed on the German island of Helgoland, where there is another very famous bird observatory). These are large, permanent, funnel-shaped traps, which allow birds to be caught safely in most weather conditions. However, one of their drawbacks is the amount of maintenance needed after winter storms.
Between eight and ten heligolands have been operated by the bird observatory staff every migration season for over 60 years. Although every single trap has a long list of 'good' birds caught in it, the jewel in the crown is the amazing Gully trap, perhaps the most impressive trap anywhere in western Europe, and which spans one of the arms of the gully at Finniquoy. Five older traps no longer exist, or are no longer used (Auld Haa croft, Ward Hill, New Mill and old Observatory Trap). Visitors to the Observatory are encouraged to join a staff member on the first round of the traps each morning before breakfast.
In all forms of catching, the safety of the bird is the most important consideration, besides which there is simply no point in catching birds if they are harmed in anyway, since the results would be biased and invalid. Ringers go through an intensive training programme before they are licensed to operate nets or other traps and to handle birds. Licensing is carried out by the British Trust for Ornithology on behalf of the UK Government.
Typically, a high proportion of the birds ringed on Fair Isle each year are seabirds. Most of these are ringed as chicks, which do not require intricate or cunning means of capture since they cannot fly! Here, the difficulties involved relate much more to actually getting to the colonies, whether by small boat or down the cliffs. Once again, the birds' safety is paramount, and ringers are careful to minimise disturbance to the colony.
Ringing was developed early in the 20th century, and yet the rings that we fit to birds nowadays are actually very similar to those used in the early days. There has been some progress with the use of different metals, however, to make the rings more resistant to corrosion (particularly important for long-lived seabirds, especially the smaller ones such as storm petrels), but perhaps the main development with ringing in recent years is the use of computerisation to maximise (and speed up) the benefits of data collection as well as to improve catching technologies. Recently, the use of data loggers (using GPS) and satellite transmitters is revolutionising what we are able to learn from marked birds. As the process of 'miniaturisation' of the units continues to improve, increasing numbers of species are being fitted with these units - and as costs come down, it also becomes economically more feasible to carry out the work. So far, just a handful of seabirds from Fair Isle have been fitted with GPS loggers, but this technique is certain to expand.
While the scientific purpose of ringing is to inform us of what is the norm, all ringers hope that one of 'their' birds might make an unusual and exciting journey. Some of the most spectacular of those involving Fair Isle birds are shown on the accompanying map. The American Wigeon had been ringed as a duckling in New Brunswick, Canada, and was caught on Fair Isle only a month later (and shot in Ireland two months after that!). By contrast, the Long-tailed Duck was caught on the Isle in October 1967 and recovered in Finland 20 years later. The Rustic Bunting recovery in Greece shows that it may be possible for some vagrants to re-orientate and go some way to getting back on course. The Snow Bunting probably did not make the Atlantic crossing that the map indicates. It was trapped in April on Fair Isle, probably on its way back to Greenland to breed. In the following spring, it was found in Newfoundland presumably having wintered that year in North America rather than Europe.
The extent to which Fair Isle lies on a migration crossroads is highlighed by this map taken from the BTO website. It plots all recoveries of ringed birds that have moved to (orange) or from Fair Isle (purple). For clarity, recoveries in the UK & Ireland are not shown. Sourced in April 2015.
The island is divided into three census areas which are covered systematically each day during the migration season.
Looking down on the Plantation Trap, 2010. The first plantation on this site dates from c.1960 and was expanded in 1998. It has recently suffered badly from wind blow.
The Gully Trap lies at the head of Finniquoy, 2010.
A group of Kittiwakes breeding on Fair Isle in 2009 were fitted with tiny data-loggers. The results obtained showed that they spent the winter on the other side of the Atlantic, in the Labrabor Sea, from New York north to Baffin Island. A paper about this project can be found in the journal Diversity and Distributions.


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Featured · Forum · Sports
Is today's baseball player better than yesteryear's?
By Ken Reed on October 29, 2018 No Comments
They may well be, but the game certainly isn't as compelling or entertaining as it once was
It's a perennial baseball topic: Were the players from the past better or worse than today's?
It's a fun topic, often debated in offices, in sports bars and on radio talk shows – especially come World Series time.
There are points to be made on both sides of the question. We asked our followers for their thoughts on the topic and, as you might guess, we received passionate responses supporting both today's players and those from years gone by.
Arguments for today's players generally centered around the superior size, strength and speed of today's players, primarily the result of state-of-the-art in-season and off-season strength, conditioning and nutrition programs. One respondent simply listed the size of current New York Yankee bombers Giancarlo Stanton (six-foot-six, 245 pounds) and Aaron Judge (six-foot-seven, 282 pounds), in relation to the legendary Yankee power hitters from the 1950s and '60s, Mickey Mantle (five-feet-11, 195 pounds) and Roger Maris (six-feet, 197 pounds), as evidence of the superiority of today's players.
Several fans pointed out that today's players are competing against a stronger player pool – made up of athletes from a wide variety of cultures and countries (including, most notably, Latin American and Asian players) – as opposed to the lily-white player pool that existed the first half of the 1900s.
Another proponent of today's players pointed to the fact that the vast majority of players in decades past (at least until the 1970s) had to have full-time off-season jobs to support their families. That's clearly not the case today, allowing players to train year-round.
Not to be outdone, players from yesteryear also had plenty of support from baseball fans.
Most of the arguments supporting old-time greats were based on claims that players in the past had better fundamental skills. For example, bunting and hit-and-run skills were said to be better in the past. One respondent said players in the '50s were much better at putting the ball in play with two strikes. Another said that while pitchers in the past didn't throw as hard as today's hurlers, they had better control and could more effectively hit their spots.
One writer claimed that America's best athletes from the 1920s to the '60s chose baseball over other sports. He cited that as support for the superiority of players in those decades. He said today's best athletes gravitate more to football and basketball.
Then there's the equipment. Proponents of players from yesteryear argue that they accomplished great things with far inferior equipment.
It's all interesting stuff to think about.
However, I propose that the much more interesting question is: Which game is/was more enjoyable to watch, the game we've seen evolve the last five to 10 years or the game we saw for a good portion of the 1900s?
I believe today's game has become increasingly boring and less enjoyable to watch.
The primary reason is lack of action.
This is the first year in baseball history there were more strikeouts than hits. Here's another alarming tidbit: Go to a Major League Baseball game today and on average you'll see a hit once every 10 or 11 minutes. Moreover, on-base percentage remains a favourite stat of analytics-oriented baseball general managers, so batters are taking more pitches per plate appearance in an effort to draw more walks. The result? Today's game is one of strikeouts and walks with a few home runs intermingled.
What happened to the frequent stolen base attempts? Hit-and-run plays? Suicide and safety squeezes? Guys laying down a bunt and sprinting to beat it out for a hit?
It can be argued that the primary cause of the inaction in today's game is the proliferation of baseball analytics (also known as sabermetrics).
General managers and their analytics staffs are promoting a steeper "launch angle" (upper cut) for batters in an effort to get more home runs – the resultant increase in strikeouts be damned. Moreover, the stat-heads are also telling managers that stolen base attempts, hit and runs, and squeeze plays aren't worth the risk.
What's the fallout from this baseball analytics revolution?
This year's average attendance was down four per cent from last season and was the lowest in 15 years. Fans might dig the long ball but they aren't digging slow-paced games with very little action.
You can't blame the baseball operations folks. They're simply using every tool available in an effort to gain a competitive advantage.
But if you're on the business side of the game – or you're the commissioner of baseball and you're supposed to be concerned about the best interests of the game – you might want to commission the development of new stats that examine what fans like to watch at a baseball game.
Here's hoping these folks hurry, before we all fall asleep.
Ken Reed is sports policy director for League of Fans (leagueoffans.org), a sports reform project. He is the author of The Sports Reformers, Ego vs. Soul in Sports, and How We Can Save Sports.
The views, opinions and positions expressed by columnists and contributors are the author's alone. They do not inherently or expressly reflect the views, opinions and/or positions of our publication.
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