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Post Death Soundtrack
Post Death Soundtrack is the atmospheric alternative rock/electronic/industrial project of a trio of long-standing Canadian musicians who have collaborated and released two full-lengths, most recently the genre-blending concept album The Unlearning Curve this past May. Kenneth Buck, Steve Moore, and Jon Ireson form the core of this collective, with Colin Everall joining in for the creation of The Unlearning Curve and on some live performances. Jon and Steve take some time out to explore the band's history, other music-related activities, the crafting of their latest album, and what the future holds in store.
Heya guys! You released your spectacular, genre-blending sophomore concept album, The Unlearning Curve, this past May where you move through the electronic, alt-rock, industrial, and psychedelic fields with ease. Before we delve further into The Unlearning Curve, can you go into who is in the band and what instruments you play?
JON: Ken and I handle the majority of the production, so that's guitars, synths, programming, and drum programming. Steve will sometimes add guitar or write drum beats. My main instrument is bass, so I take care of that live and Ken bounces back and forth between guitar and synths. Steve and Ken share the vocal duties. Colin was around a lot during the creation of the album. He contributed some piano and played drums for us live. He may not be a member, but we definitely consider him part of the collective.
Steve, you founded Post Death Soundtrack with Ken at some point in the mid-2000s. When exactly did the band form and Jon, when did you end up part of it too?
STEVE: The band formed in 2006 as far as I recall, but the seeds and initial demos were likely a little earlier. It started off as a way for me and Ken to explore some musical freedom and do something different. We ended up really forming a strong musical connection as a duo, and it seemed like our personalities and song instincts complimented each other very well. We wrote and recorded Music As Weaponry within about a year's period and released it in 2008. I still have a fondness for that album.
After the first album, we found Jon and he was an instant perfect match. And within a very short time we were all connected… as brothers, both friend-wise and music-wise.
JON: I've known Ken for almost 20 years now. Jesus…. Back in what must be 2006, my band was playing a show with one of Steve's former projects, Inner Surge. We'd always dug sharing a bill with those guys. Ken showed up and told me about this weird industrial crossover project he had in the works with Steve. I was about to move to Vancouver, but I told them if they ever needed someone to throw down some bass, I was in like sin. I ended up joining in 2008, shortly after they released their first album.
From what I understand, you are all involved in other musical endeavors besides Post Death Soundtrack. Steve, I know of you from your work with Gus De Beauville as The Unraveling. Are you all active with other musical projects at the moment?
JON: Right now, Post Death Soundtrack is my main focus. The Unlearning Curve took a long time to release; we want to churn out the follow-up a lot quicker. I've also been doing some engineering for Steve's new project, He Is Me, and have a psych-rock/trip-hop project in the works here in Vancouver which will be more of a live venture than these other projects.
STEVE: I'm focused right now on writing and recording as much Post Death Soundtrack material as possible. We're feeling on a roll so we could have over an album's worth of tracks in a very short span of time. The new stuff is heavy in mood, very heavy. The Unlearning Curve is going to seem like a walk in the park, and that's exciting to me. It really feels great sharing Post Death Soundtrack with people and, while we have a lot of fun creating, we take it very seriously. So we're motivated.
Other than Post Death Soundtrack, I'm currently involved in a duo with myself and Casey Graunger from Portland called He Is Me that I'm pretty excited about. We're both aiming to do something very emotionally visceral and musically hypnotic; state-changing music. Not too heavy on the guitars, but very focused on mood and feel. We just released our first single and are working on an album. I'm also working on solo material, building a live band, and for any musically-inclined readers, looking for collaborations. I'm doing as much as I can – I think I've come down with some sort of 'carpe diem' syndrome.
What are the main themes behind The Unlearning Curve and how did they take shape? Would you say that what you write is about a journey through the inner psyche?
STEVE: I'd say it could definitely be a journey through our inner psyches, but our core concerns may or may not be something other people relate to. There are a few core themes, and while the album seems like a concept album, it's not a true concept album because none of it was planned. Certain things just happened to repeat naturally. Some lyrics on The Unlearning Curve are partially inspired by the views of Alan Watts and J. Krishnamurti, who pose an alternate view to consider about the value of thought, memory, and knowledge. The Unlearning Curve, needing nothing, judging nothing, dropping identity, going beyond thought. So, some of it is about letting go.
"That Which Is", the lyrics were written when I was recovering from cancer and going through some physical and emotional pain. The words were written to myself for the most part. "You Can't Go Back" pretty much says "Why would you want to join the crowd?" and "What could you possibly need?"
Other songs like "Arrythmia Dreaming" and "Our Time Is Now" are visceral with digging into the moment, getting mad, getting outside yourself. "Through the Gates" is about being nobody, nothing. I don't mean that in a negative way at all. There are a lot of themes, but they go together in a strange way.
Your sound melds a combination of musical genres, most (all?) of them dark and intense. Are your songs sonically constructed out of these different styles because each of you has a specific background, interest, and/or strength in a certain genre?
JON: It's not that we each have drastically different tastes from one another, but rather that we all enjoy a very wide variety of music. Ken tends to listen to a little more synth-pop and Steve listens to a little more metal. I listen to a little more psych and ambient, but in general we all appreciate a wide array of styles. If you look through my vinyl collection, you're not going to find a lot of industrial considering the tone of our work. I like dark, intense, and weird, but it's got to have a song at its core. The Beatles are still my favourite band. When it comes to translating influence into writing music, I think to us the safe musical choices are boring. If it's weird or unsettling we go, "Oh, we like that!"
STEVE: I think that I must have connected with intense music at an early age, because, well, I'll hear something like Swans and I'll tell myself, "If I don't feel something this much, if I can't strive to bring that kind of intensity to my art, I really shouldn't do it at all. There would be no point." I really feel that way. It's just personal preference, but that's the way I naturally write and it's what I enjoy. That being said, my favorite band is also The Beatles! Play the Beatles and your worries leave you.
"You Can't Go Back" is mesmerizing – dreamy and foreboding at the same time. What is the meaning behind the lyrics and what was the creative process like for this song?
JON: The essence of the song came from a recording of a 5 in the morning jam with a drum machine, synth, bass, and vocals. A few months later we came across the tape and liked it, so Steve and Ken wrote guitar and vocals and put it into a basic structure. From there I took it and layered on the production and orchestration and added the reprise at the end. In one section I layered 6 or 7 brass lines that I laid down on an old baritone horn that I have. I pitch shifted them up and down to turn it in to a brass ensemble. I used an EBow to make a sound like a siren. There are a lot of weird studio experiments on that one. I consider the music a bit of a nod to "Strawberry Fields Forever".
STEVE: The lyrics, to me, say that there is no going back after the action is complete. There are consequences to everything and there is no fixing anything. You are free as you are now and you need nothing, no one to support you, none of it. Don't be afraid, as you may be surprised what comes through the fog.
You walk a fine line at times between noise and melody. Why the desire for dissonance and aggression? Why not spin everything into a psychedelic dream?
JON: The balance is just what comes naturally to us. I think we'd get bored of just writing dreamy stuff. When I listen to that kind of music, like shoegaze or ambient, I can only last so long. In a way, it mimics the way that we shift from moments of preoccupation and frustration to contemplation and peace throughout the day, often very abruptly.
STEVE: I find that having dissonance, because you even hear it used in great classical or jazz pieces, really adds to the depth of the experience. When used correctly, of course. Silence makes the scream more potent, and vice versa. In The Dark Knight, everyone pays attention when the Joker is near, and the dueling violins ring the alarm with dissonance. We want aspects of the music to get people's attention, to wake them up. It's tough to do that without hitting the odd devil's note. Also, I just love it, myself.
Your debut album, Music As Weaponry, came out in 2008. What has your journey been like, musically and/or otherwise, between that album and this one?
STEVE: Well, I think that our stuff became more psychedelic '60s and David Bowie*/*Velvet Underground -inspired after Music as Weaponry, whereas on the debut album there was a lot of NIN, Skinny Puppy, Portishead, and Tool influence. Now we're starting to put everything together into a cohesive whole.
From what I gather, you're each located in a different region of Canada (Vancouver, Calgary, and Toronto). Did the distance make the material grow deeper and more complex? Were there times when there were missing connections when creating the music?
JON: Although a lot of the production would happen while we were in different cities, many of the basic ideas and live tracks were recorded when we all assembled in the same city. When the members are only in town for a week or two at a time, you put your head down and you really get things done. Conversely, when you're spread out across the country, everything takes longer to assemble because it's harder to have instant feedback. Year after year the technology makes that less and less of an issue.
How did you hit upon your starkly bleak band name?
STEVE: Ken came up with it. It could mean many things – We actually see it as a beautiful name. We're not really morbid people at all, so in one sense it means that Post Death Soundtrack is everything you leave unfinished, unexamined. It's the attachments at the end of your life that keep reverberating. Alternatively, great people throughout history have a post death soundtrack, so it's also an idea that can't be killed. A powerful intent that breaks through the limitations of time. Sorry to get heavy, haha!
Where does the album's artwork come from? Is it an image of a painting?
Jon: We commissioned Toronto artist Kayla Aileen Brown to do the painting. We gave her very little direction other than to listen to the album and paint what you feel and we were all extremely pleased with how it turned out.
There's a resurgence of interest in vinyl of late and you offer a limited edition vinyl format. Is that still available? Can you please list your official sites where we can find out more about you and your music?
STEVE: It is not currently available, but we will be releasing a lot of new merch as soon as we can, including vinyl. You can find us at our official site. All the social media links are right there and we communicate on Facebook and Instagram quite frequently.
The Unlearning Curve by Post Death Soundtrack


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National demonstration against Israel's attrocities, Saturday 5 March in London
tags: action, demonstration, london
Protestors voice their anger over Israel's attack on an unarmed aid flotilla. London, 31 May 2010.
The rising tide of anger and the demand for international action by the British people against the Israeli government's assassination of peace activists onboard the Marvi Marmara and their continued illegal blockade of Gaza will result in a MAJOR NATIONAL DEMONSTRATION THROUGH CENTRAL LONDON on SATURDAY 5 JUNE 2010.
Assemble at Downing Street, 1.30pm and march to the Israeli Embassy in Kensington, where there will be a rally.
The demonstration has been called by six of the largest organisations in the UK who campaign for peace and justice for the Palestinian people: Palestine Solidarity Campaign, CND, Stop the War Coalition, Viva Palesina, British Muslim Initiative and Friends of Al-Aqsa.
Speaking ahead of the demonstration, Betty Hunter General Secretary of PSC said:
"The barbaric acts carried out by the Israeli army on the peace flotilla have galvanised ordinary British people into showing their opposition to the actions of the Israeli government. This national emergency demonstration is an opportunity for everyone to show that people across this country oppose the illegal blockade of Gaza and the murder of innocent people."
Long standing partner of PSC and the country's leading anti-war organisation Stop the War will be supporting the demonstration. Lindsey German, National Convenor of STW said:
"If there is one lesson that all governments should have learnt by now it is that the use of illegal military force does not and can not deliver peace or justice. The actions of the Israeli government including the murder of innocent peace activists and the inhumane blockade of Gaza only create the conditions for violence. There is only one solution to the conflict – a free Palestine."
CND has been a vocal critic of the Israeli government's nuclear weapons and their indiscriminate use of force against the Palestinian people. Chair of CND Kate Hudson said:
"A major obstacle to peace and stability in the Middle East is Israeli refusal to disarm their nuclear weapons, which increases the danger of nuclear proliferation across the region, and those dangers are massively increased by the Israeli government's failure to deliver a peaceful and just settlement for the Palestinian people."
The British Muslim Initiative, the UKs independent political voice of Muslim community said:
"The massacre that happened in international waters against civilian activists who where on a humanitarian mission is a war crime. This Israeli criminal regime should be isolated in the same way the former apartheid government was. We demand that those responsible for these war crimes are brought to justice immediately."
Viva Palesina, who have taken tens of tonnes of aid by land to Gaza, said:
"Israel's attack on the flotilla was a bloody massacre. This is a watershed, like Sharpville and Soweto. The siege on Gaza must end."
Friends of Al-Aqsa, whose Chairman Ismail Patel was on the Mavi Marmara, issued the following statement in support of the demonstration:
"The attack on the Gaza flotilla was horrific. There has to be international accountability for those who have been killed and injured and we call upon the British government to lead the way."
← In Gaza: Continuing through tragedies
First British eye-witness account of Israeli massacre on board the Gaza Freedom Flotilla →
John Mc Donald permalink
12 July 2010 7:54pm
I am a musician/songwriter. I am a peaceful person. However, since Nitandyahoo gave the order to murder the humanitarians aboard The Marvi Marmara, a rage inside me continues unabated towards the New World Order of Hitlers ideology, which, has reincarnated and manifested itself in the gang of thugs known as the Israeli government. How ironic? That which they hated, they have become. The Merchants of Venice are alive and well. Nitanyahoo and his band of Nazi thugs who wallow in the gluttoinies of their murders and the suffocation of the Palestinian people must be brought to proper and deserving justice but while the corrupt individuals of the Whitewash House, not only turn a blind eye to the ongoing of the rape and plunder of the Palestinian people and their land, but actually encourage and support it, I wont hold my breath for such a wanting outcome.
Please, if anyone knows the names of the murdered humanitarians aboard the Marvi Marmara, please, I beg of you to send to me so I may put their wonderful names to song and music, while I shame the bastards who murdered them. Unfortunately, those who know only greed and have no conscience cannot be shamed- individuals like Bush, Cheny, Rhumsfield, Rove and their Boss, Nitandyahoo of Israel, the butcher of Palestine. Obama, also, it seems has sold his soul to the Judas kiss and thirty pieces of silver. He tells jokes about droning people. Some President! I have no time for soft spoken rhetoric in this case. The world is dealing with sociopaths– power hungry monsters who must be stopped and held accountable. God bless all decent people in every walk of life, including the good Jewish people who share our pain at what the leader of their nation has done. In time, the bastard will pay. His name will be synonymous with butchery.
The lamb was nethanyahoed today.
I ask again that the names of the martyrs aboard the Marvi Mara be sent to me. In time I will send to you the words, music and song of these great persons. May their names be forever remember for their ultimate sacrifice, while those who butchered them will also be remember for their cowardice and evil . .
Bless every good heart. It will not deny the truth . . .
John G Mc Donald
Hi John, the names of the martyrs are: Ibrahim Bilgen, Ali HaydarBengi, Cevdet Kiliçlar, Çetin Topçuoglu, Necdet Yildirim, Fahri Yaldiz, Cengiz Songür, Cengiz Akyüz and Furkan Dogan. You can read a report about the flotilla from the lead Turkish charity that organised it here: http://www.ihh.org.tr/insani-yardim-filosu-ozet-raporu/en/.

redpajama_set_name: RedPajamaCommonCrawl


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Move over Gucci; researchers create designer stem cells
UW Medicine researchers recently lead a successful effort to create "designer" stem cells that might lead to advances in cancer and aging, they say.
In a paper published this week in the journal PNAS, the scientists showed for the first time that a computer-generated protein can be inserted into stem cells to change their epigenetic memory, whose role is to ensure that a cell's DNA sequence remains intact as it divides.
A colony of human embryonic stem cells, dressed up with computer-designed proteins to alter a stem cell's fate. Image credit: Shiri Levy
The novel protein alters this memory, said senior author Hannele Ruohola-Baker, associate director of the Institute for Stem Cell and Regenerative Medicine (ISCRM) at the University of Washington in Seattle.
Embryonic stems cells are the starter cells to all tissue types in the body. Their capacity to develop to any cell type is controlled by their epigenetic memory. Proteins do most of the work inside cells and are required for the structure, function and regulation of the body's tissues and organs.
As cells divide to replace worn out cells, changes in the number or structure of chromosomes can lead to serious health conditions such as cancer. Researchers showed how a computer-generated protein that inhibits chromosomal memory can be put into an embryonic stem cell and be turned on when needed.
"This process will help us understand what is going on in cancer and aging," said co-author David Baker. He is a biochemist who leads the UW Institute for Protein Design, where the novel proteins were designed by graduate student James Moody.
Shiri Levy, a post-doctoral fellow at ISCRM, said the study gives researchers a great launching point for therapeutics."This could change the fate of stem cells that we would like to use in regenerative medicine," she said.
Collaborators also represented the UW School of Medicine departments of molecular and cellular biology and biochemistry, the Dana Farber Cancer Institute, Boston Children's Hospital, Harvard Stem Cell Institute, the Structural Genomics Consortium at the University of Toronto, and the Howard Hughes Medical Institute in Seattle and Boston.
Source: University of Washington


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'The Secret Life of Pets' (2016): A toy story with animals
Scroll through your social media feed and you'll undoubtedly see more than one post showing a pet doing what pets do. But what do they do when you're not around?
By Jason Hink
The 2016 animated feature, The Secret Life of Pets, from Illumination Entertainment and Universal Studios, seeks to answer that question in humorous fashion.
Click to order The Secret Life of Pets at Amazon.
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Max (voice talent of Louis C.K.), a Jack Russell Terrier, is bummed when his human owner Katie (voice of Ellie Kemper) leaves for the day. While she's at work, he hangs out with other pets in their Manhattan building, which includes cat Chloe (Lake Bell), pug Mel (Bobby Moynihan), dachshund Buddy (Hannibal Buress), and budgerigar (that's a bird) Sweetpea.
When Katie adopts Duke (Eric Stonestreet), a large shaggy dog, Max becomes jealous of the attention he receives. The dogs eventually tire of each other and have a big blowout in the park leading to their capture by Animal Control.
They're eventually rescued by a white rabbit named Snowball (Kevin Hart), the leader of "The Flushed Pets" – a gang of sewer-dwelling, human-hating animals. When Gidget (Jenny Slate), a Spanish, soap opera-loving white Pomeranian who also lives in the apartment, realizes Max has disappeared, she spurs the rest of the gang into action to rescue him. Max, after all, is Gidget's crush.
Like many modern, animated films, the fun with The Secret Life of Pets is in how director Chris Renaud crafts an adventure that adults can enjoy alongside their children. The kids in the audience are pulled in by the bright colors and adventure while mom and dad can chuckle at the sly humor thrown in by writers Brian Lynch, Cinco Paul and Ken Daurio.
And it's this humor that makes the film zip by. At 87 minutes, it's not long to begin with (thankfully). But by the time the credits rolled, I was surprised that nearly 90 minutes had passed.
Case in point: After Max's human owner leaves for the day, we're treated to a string of jokes poking fun at the idiosyncrasies of our favorite pets. In an adjacent apartment, all the pets gather to "party" while the humans are gone, and just as they're being depicted as smart, well-adjusted animals, the film shifts into a quick-moving parody sequence that proves even the smartest pets still fall prey to their stereotypes. For instance, before hitting up the party, Max tells his animal pals he's going to sit in front of the door and wait for Katie to return, as dogs often do. And there he sits. And sits. Meanwhile, Chloe, an obese, lazy tabby cat who doesn't care to move, suddenly bursts into action when Sweetpea (the bird) starts waving a laser pointer around the room.
Who hasn't experienced seeing actions such as these from their real pets? I won't spoil all the gags, but they're fun to watch. Like teenagers who throw a parties when their parents are away, these animals just wanna have fun, too. It's cute seeing smart, humanized, English-speaking animals oblivious to their tendencies, and the filmmakers do a good job of poking fun at it.
Comedian Louis C.K. does a good job portraying Max as an affable, laid back pooch, voicing the character with just the right amount of pretentiousness. Anyone who's watched one of his comedy acts can see why he was chosen for the part—he generally comes off as a laid back everyman, an approachable dude who doesn't take himself too seriously. Max exhibits these traits as well.
But stealing the show is the tough-as-nails gang leader Snowball, a white rabbit voiced by Kevin Hart. Snowball's quest to rid the world of humans is hilarious thanks to Hart's gangster-wannabe delivery. Snowball wants so hard to be seen as a badass, but you can't help but laugh at his antics and see that, deep down, he has a heart of gold. Hart is perfect at playing this kind of comedy and it translates well to the animated world as well.
Some critics saw The Secret Life of Pets as a rehash of the original Toy Story, and I get the comparison: Two dogs vying for the attention of their owner go off the tracks into a life-or-death adventure in The Secret Life of Pets, whereas two toys (the old model and the new) vying for the affection of their owner go off the tracks into a life-or-death adventure in Toy Story. But what of it? There's enough variety and character variation to make the movie enjoyable as a formula exercise.
And coming off producing 2015's Minions, director Renaud by this time was no stranger to delivering quick hits of animated dopamine. He'd already directed other successful animated features, including the Despicable Me films, and followed up Pets with a voice-acting credit the same year in Universal's Sing.
The Secret Life of Pets was an important film for Universal's Illumination Entertainment; it was the highest-grossing original animated film not produced by Disney or Pixar. It finished 2016 ranked fourth at the US domestic box office with a $384 million haul, coming in behind that year's box office champ, Rogue One: A Star Wars Story ($532M), 2nd-place finisher Finding Dory ($486M) and Captain America: Civil War ($408M).
While I caught the movie at an outdoor "movie in the park" screening projected on a giant bounce house-looking blow-up screen, collectors can find The Secret Life of Pets on Blu-ray. A sequel, The Secret Life of Pets 2, was released in June of 2019.
June 7, 2017 July 8, 2020 Movies & DrinksFilm Review2010s, animation, Bobby Moynihan, Brian Lynch, Chris Renaud, Cinco Paul, Ellie Kemper, Eric Stonestreet, Hannibal Buress, Illumination Entertainment, Jenny Slate, Ken Daurio, Kevin Hart, Lake Bell, Louis C.K., Secret Life of Pets, Universal
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'Two-Minute Warning' (1976): How a disaster film fumbled on the big (& small) screen
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The plans for the Powerhouse are not yet completely finalized, and the Powerhouse Program Verification Team is seeking community input.
What questions do you have about the Powerhouse?
What concerns or ideas would you like to share about the Powerhouse?
What do you think we must consider for this building to be a success?
How would you use the building? If you don't see yourself using it, what could be done to make it work for you?
What could be part of this building that is currently missing on campus?


Home Jewelry Bracelets Roberto Coin .16 Carat Total Weight Bezel-Set Diamond Bracelet in 18-Karat Two-Tone Gold. 7"
A charming combination of diamonds and 18-karat gold, this Roberto Coin bracelet is perfect for everyday wear. The delicate design features 18-karat yellow gold links, accented by 18-karat white gold and bezel-set diamonds.


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Banana Cafe
Beer Page
Dominoes in Key West
Food Pics
Key West Food and Drink
Cork & Stogie
Drink Gallery
Krawl Off Duval
Wine Page
Bien Caribbean Food
Chico's Cantina
Key West Cakes
Kojin
Old Town Bakery
Old Town Mexican Cafe
Roostica
Thai Island
The Best Places to Eat and Drink in Key West
Home Dominoes in Key West
The Origin of Dominoes and its Introduction in Cuba
This is a very old game, known by Chinese, Arabs and Egyptians long time ago. At mid 18th century, Italians introduced the game in Spain and France, that is why it is deduced that the Spaniards were the ones that introduced it in its colonies. This old universal game has thousand fans, irrespective of age, race or sex.
When one hears that someone got two `pollonas,` it means that this player was beaten two consecutive times during a round of dominoes. Though the traditional rules establish that talking is not permitted while playing, this is not the case of Cuba where the activity turns noisy, boisterous and exciting in tune with the natural joy of Cubans. Every piece placed on the table stirs a comment among players or the people that approach the table, the `sapos` (slang used for people who are not directly involved and become watchers Trans).
In most quarters, players sit around the same table, usually located outdoors, thus becoming a fixed spot for the enjoyment of this game; the schedule depends on the players` free time.
The game is played with a set of usually 28 or 55 dominoes and different combinations from 1 to 6 or from 6 to 9 can be made. Rounds can be played with 2, 3 and 4 players, the latter is the most common practice in Cuba. The game requires intelligence, concentration and fast thinking, though luck and chance may interfere.
Dominoes, a game regarded by some as `the second national sport,` is a wholesome entertainment and demands few resources. Pieces can be hand-made. In times of economic hardships, this game was a resort used for entertainment to compensate for hard work and a way to forget economical problems. The preference for dominoes could have been influenced by the mild climate of the island and the open personality of Cubans.
If you have time, try to play one round and make all the possible combinations with the pieces. Combinations in this game are endless.
by Rita de Zayas, from Excellences Magazine
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あ~ぁ ムダ<ruby>足<rt>あし</rt></ruby>だった
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Ah~ I guess I came here for nothing.   Well, well, before saying that take a look at this, please.

redpajama_set_name: RedPajamaGithub


It is a 59 bedded mansion house, set in beautiful grounds on Sydenham Hill in South East London. The home enjoys a magnificent setting with panoramic views over the Capital.
At Castlebar, each unit has its own lounge and dining areas, as well as useful kitchenettes for relatives and residents use.
Castlebar provides permanent care for 59 people in a residential setting, this includes 38 people living with dementia and 20 people requiring nursing care.
Other facilities include: Large walled Garden to the rear; Patio, Conservatory, Several Parking spaces at the front of the building, Sensory Room and Hairdressing Salon.
Sue came to work at Castlebar in 2008, her past experiences including working as an office manager for a Quantity Surveyors firm, then a Personnel Assistant for the Director of a successful window company, before coming to work for Excelcare as an Administrator.
The Activity Organiser supports and inspires the residents with daily activities, entertainment and lively social engagement programmes. We encourage each resident to maintain an active lifestyle with a broad selection of indoor and outdoor events.
Seasonal themed parties for the residents, to which their families are invited to attend; food, drink and entertainment are provided free of charge.
My Life interactive computer programme for people living with dementia.
We have recently completed the Gold Standard Framework programme for End of Life Care.
We are also a designated provider of care for people, requiring continuing care; this includes Palliative Care and we have a good working relationship with the local hospice.
We are using the New Electronic Resident Information System – ABLYSS. Very helpful in recording, storing, monitoring and auditing care for our residents.
"I would just like to say a very big thank you to all the staff at Castlebar for the care and thought that you gave to Mum (& all the residents) at her stay with you.
"Just wanted to let you know how much I appreciated the kindness shown to my father and the care that was given to him by the staff at such a time. The considerate and respectful way my father was treated was highly commendable.
The home is within easy access to London via Forest Hill and Sydenham train stations. Also the local bus service: 363 stops outside the Home; other bus stops: P4, 176, 185, 197 and 365 are within a 10-minute walk of the Home. Areas serviced by these buses include: Peckham, Elephant & Castle, Brixton, Lewisham, Penge, Crystal Palace, Croydon and Central London.


During the closing ceremony of CineDays European Film Festival, Alone at my wedding by Marta Bergman has been awarded the Best feature film.
Presented in the official selection, Alone at my wedding, feature film directed by Marta Bergman, has been awarded the Best feature film.
The film tells the story of Pamela, a teen mom, is suffocating in the Roma community of her village in Romania. She had to leave school to take care of her baby. His grandmother is watching her. They live at three in a hut and share the same bed. Pamela dreams of another life… Via a matrimonial agency, Pamela meets a Belgian to whom she hides the existence of her daughter. To join him, she abandons her child.
Produced by FraKas Productions, Alone at my wedding was supported by the Centre du Cinéma et de l'Audiovisuel of the Wallonia-Brussels Federation.
CineDays European Film Festival is the largest film festival in Macedonia. The Festival is dedicated to promoting young and talented European directors in two large competitive selections, as well as screening the latest achievements by the most awarded and acclaimed European directors.


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Health Fraud Costs NI £250m
Fraud within the health service could be costing Northern Ireland over a quarter of a billion pounds, according to Health Minister Edwin Poots.
Mr Poots was speaking ahead of Fraud Awareness Month, launched today at the Grove Wellbeing Centre in Belfast.
"Fraud is not a faceless crime, especially in the health service, it affects every one of us," he said.
"It is a criminal offence and every penny lost to fraud means less to spend on front line services. Whether it's £1 or £1m, fraud robs the health service of vital resources."
Fraud can include activity such as mis-claiming travel expenses, falsifying hours on a timesheet or qualifications for a job, to more serious crimes such as bribery, corruption and money laundering.
Independent research across the health sector in a number of countries suggests a potential level of fraud may be between 3% and 7%.
"Taking the highest possible figure, that equates to almost a quarter of a billion out of a total health and social care budget of around £4bn, which is not available to invest in front line services."
According to the Department of Health, the money lost through fraud could be used to fund 26,453 Coronary Heart By-Pass Procedures, 388,350 Cataract Surgical Procedures or 38,525 hip replacements.
£280mn could build a fully equipped hospital such as the new South West Area Hospital.
"I acknowledge that there is already a significant amount of counter fraud work being undertaken across the health service and that a caseload of some 100 cases was under investigation in 2012/13, which has resulted in a number of criminal prosecutions and financial recoveries," Mr Poots said.
"It is therefore everyone's duty to report fraud or suspected fraud – whether that's through the Fraud Hotline, through the online reporting tool or indeed through your organisation's whistleblowing procedures. I also believe it's important for the general public to play their part – after all, it is their money that is being wasted to fraudulent activity."
(IT/JP)
Health Minister Urged To Launch Next Health Workers Payment Scheme
The Health Minister has been urged to launch Phase 2 of the Special Recognition Payment for health workers who have previously left employment in the independent sector or agencies as soon as possible.
Minister drills home tooth decay problem
Health Minister Angela Smith has launched a consultation document aimed at improving the state of people's teeth in Northern Ireland. The Oral Health Strategy is a 10-year plan which aims to improve the oral health of the entire population and reduce inequalities.
Health Service needs to tackle smoking health problems
More must be done by the Health Service to tackle the problem of smoking among people with mental health problems, a University of Ulster researcher said today.
Public Urged To Talk To Older Family Members About Scams
The PSNI has appealed to the public to talk to their older family members about the dangers of scams, following a rise in phishing text, phone call and Whatsapp messages.
Minister Calls On Public To Help Tackle Health Fraud
Health Minister Edwin Poots has said every citizen in Northern Ireland can help to tackle fraud within the health service. Speaking in the Assembly, Mr Poots said: "We all have a duty to counter and report fraud and corruption, wherever we work and by whomever it is perpetrated.


text:
In the land of Bass and Pedi – Part 2
We pick up our story in the back room of the Vaults in Uttoxeter. The next pub on the itinerary was the Plough on Stafford Road, but this was the best part of a mile out of the town centre, and generally in an uphill direction, which didn't look a particularly appealing prospect on a showery afternoon. However, our luck was in as Paul Mudge had managed to persuade his wife Jackie to drive out from Stafford to give us a lift, which was extremely generous of her. He said that he was fortunate to be married to someone who literally drove him to drink!
The Plough is a white-painted roadside pub that presumably was there long before the suburban housing that now surrounds it. Inside there's a narrow area with a few posing tables in the centre by the bar, a dining area at a lower level to the left and a plainer public bar-type area to the right, where we managed to find a table. It's a pleasant, although not strikingly plush, pub, and taking a look at the menu some of the prices seemed rather steep, especially compared with those in the Bank House. "Carry on Wayward Son" by Kansas was playing as we walked in.
There was a little more choice of cask beers here, with Pedigree being joined by Hop Back Crop Circle, Wainwright and the local Uttoxeter American IPA. The American IPA and Pedigree were both pretty good, although the latter fell a little short of that in the Bank House. While it's a decent pub, we weren't convinced it would have really justified the walk out of town. Reading the description on WhatPub, it was rescued from a period of closure by new owners at the end of last year.
We were duly decanted back in the town centre and made our way to the Old Star on Queen Street, a narrow street that is separated from the main part of the market place by a block of buildings. This has been altered rather more than some of the previous pubs, but retains a rambling interior with various different areas including a pool room with a tiled floor and bench seating at the rear. The atmosphere seemed a little more lively, and we were greeted by loud music which seemed to be majoring on the Cure's Greatest Hits. One of us changed the mood by putting "Back in Black" by AC/DC on the jukebox.
On the bar were Doom Bar and Jennings' Cumberland Ale alongside Bass. The Bass was pretty good, but the person who chose the Cumberland found out that in Uttoxeter it's best to stick to Bass or Pedi as they're likely to turn over much quicker. It wasn't returnable, but rather lacklustre.
Our next call was the Horse & Dove which is just around the corner on the aforementioned island block of buildings. While it claims to be Uttoxeter's first micropub, it doesn't conform to the purist Herne model, being a fairly spacious single room that in fact is larger than the front two rooms of the Vaults, with all the seating at a normal height. It has lager, spirits, piped music and separate gents' and ladies' WCs, so realistically is just a smallish modern bar. It was fairly busy, as you might expect at teatime on a Friday. There were six cask beers in total on the bar, from which we selected Wantsum Yellowtail, Uttoxeter Groundbreaker and S43 Raven from Country Durham, all of which were rated good.
There now followed the longest inter-pub walk of the day, taking a full four or five minutes up the pedestrianised High Street to the Smithfield. This is a substantial redbrick street-corner pub with a public bar at the front and a larger lounge stretching a fair way back along the side of the building. This was still pretty basic, with a bare wooden floor throughout, and had a distinctly lively atmosphere. This was the busiest pub of all those visited on the day.
The soundtrack seemed to be "Hits of the 70s", including "Sweet Caroline" by Neil Diamond and "Wig Wam Bam" by The Sweet. It could be said that Uttoxeter's musical tastes are another aspect of the town that are stuck in something of a time warp. We encountered a very large, friendly retired greyhound, which must count as best pub animal of the day. The sole cask beer was Pedigree, which again was pretty decent.
We then returned to the market place to the Black Swan, which is on a side street very close to the Old Star. The pub names in this part of town must be a source of confusion. This has a side passageway running the length of the pub, with a single door giving access to two rooms, both of which are labelled "Bar" and contain a dartboard. We chose the small and cosy front one; the one at the rear is much more spacious, with extensive bench seating around the walls.
"Fire and Ice" by Pat Benatar was playing as we walking in; Peter Allen later put "Stay With Me Till Dawn" by Judie Tzuke on the jukebox, as he was going to see her in concert in Birmingham the following night. There followed a predictable discussion about various singers' ages – Judie Tzuke is, I was pleased to learn, three years older than me. More very palatable Bass, although Peter had by this time had his fill of BBB and plumped for that other classic product of Burton, Carling.
We thought we would finish off the day by calling in the only pub in the town centre we hadn't yet done, the Steeplechase. Previously called the White Horse, this is a modern pub closing off the eastern end of the market place, which internally has been knocked through into a single cavernous room. However, the two pumpclips on the bar had been turned room, and the barman seemed to sense what we were looking for and told us without prompting that there was no real ale. So we returned to the Vaults for a final drop of Bass before the short walk back to the station. Unlike our last trip to Rugby, all the homeward trains were on time.
So another very enjoyable day out, with good beer, good pubs and good company. Some may balk at the limited choice of beer available, but it's rare that you get to sample two of Britain's classic ales on their home territory, and get to compare them between different pubs. It's also unusual to get the opportunity to visit every pub in a town centre which gives much more of a feel for the place than just dipping in to a select handful of highlights. Obviously they were all different, and catered to some extent to a distinct clientele, but every one had something to be said for it, and, as long as you stuck to Bass and Pedi in the pubs that served them, we didn't encounter any sub-standard beer. Uttoxeter seems a fairly prosperous place and there was little evidence of vacant shop premises on the main streets.
Thanks to Peter Allen of Pubs Then And Now for all the photos used in this post.
Posted by Curmudgeon on June 19, 2019 5 comments:
In the land of Bass and Pedi - Part 1
The Staffordshire market town of Uttoxeter is best known for its racecourse and being the home of JCB and Elkes Biscuits. The name will also be familiar to travellers from the roundabout creating a bottleneck on the A50 between Stoke and Derby. It has a reputation for being somewhat insular and behind the times, which is reflected in its pub stock still being mainly composed of traditional boozers, and dominated by the Burton classics of Draught Bass and Marston's Pedigree. This made it a contrast with some of our earlier Beer & Fubs Forum Proper Days Out, which have aimed to cover a wide variety of beers and types of pub.
Our numbers were somewhat depleted, but four of us managed to meet up on Stoke Station, where Paul Mudge had time for a swift drop of Titanic Cherry Mild in their Bod bar on the southbound plaftform. We then had a 25-minute train ride through the lush but rather waterlogged East Staffordshire countryside to Uttoxeter, where the station lies between the racecourse and the town instelf. A short walk past Waitrose and the long-closed Wheatsheaf pub brought us to our first port of call, Wetherspoon's Old Swan just off the market place.
The name suggests it may have been an old coaching inn, but in fact a little research reveals that it was previously a furniture store. It has a fairly typical Wetherspoon interior, with the bar along the left-hand wall, and a variety of comfortable seating areas at a slightly higher level spreading out to the right. It had a rather elegant carpet in a wavy pattern, and pictures and photos by local artists on the wall. Even just after 11 am, it was reasonably busy, although the clientele seemed to be more gentlefolk enjoying a morning coffee than the hardcore morning Spoons boozers on the John Smith's Smooth.
It avoided the frequent Wetherspoon's problem of having too many beers on the bar by sensibly limiting the number of cask lines to six – the usual suspects of Doom Bar, Ruddles and Abbot, together with the local Lymestone Foundation Stone, Rudgate Ruby Mild and Pheasantry Mikado Mild. Despite reports of declining beer quality in some Wetherspoon's branches, both the Foundation Stone and Ruby Mild were in very good nick.
We then moved on to the Olde Talbot, which dominates the market place from the western end. It's an old gabled inn claiming to date from the 16th century, with a projecting ground floor. The interior is L-shaped, with three comfortable seating areas along the front and a more Spartan public bar area to the right which seemed to be set up for live music. The wood-panelled section to the left by the bar counter was particularly congenial. There was a sign saying "Cash Only", which the friendly barmaid told us could cause problems on race days, although there are a couple of banks with cashpoints within fifty yards.
The beer range was Doom Bar and Bass, so not surprisingly it was a round of four pints of Bass, which came to £14.20, £3.55 a pint seeming to be the going rate for that beer in the town. Perhaps surprisingly, Peter Allen, who had spent most of his life as a confirmed lager drinker, revealed that it was his first ever taste of Bass. It proved to be in excellent condition and indeed turned out to be the best Bass of the day. The soundtrack included Marianne Fathfull's version of "The Ballad of Lucy Jordan".
Apart from Wetherspoon's, there seems to be very little pub food on offer in Uttoxeter town centre, although there are a couple of modern dining pubs on the outskirts near the bypass. We had therefore arranged our lunch stop at the Bank House, a seventeen-bedroom residential hotel just to the east of the market place opposite the parish church. It's an impressive redbrick thre-storey Georgian building dating from 1777, which in fact was the town's first bank. Through the front door, there is a dining room on the left and a long, congenial bar area on the right with bench seating along the front windows. There was a golden retriever belonging to one of the customers asleep in the middle of the floor.
There were two cask beers on the bar, Pedigree and Bates Pale Ale from Little Eaton Brewery just north of Derby. A couple of us went for the Bates Pale Ale, but unfortunately it was well past its best. However, it was changed without demur for the Pedigree, which really was in very good form, and proved to be not only the best Pedigree of the day, but the best beer of all. This proved that this beer, although sometimes dismissed as not being what it was, can still shine when properly looked after. This was also Peter's first ever tasting of Pedigree.
The menu featured a range of traditional British dishes, from which we selected fish, scampi and rump steak, all coming with chips, and all priced at £10 or below. We also managed to squeeze in a couple of starters and one dessert. The food was also very good, and was possibly the best we've had on these trips, where finding pub lunches that rise above the adequate can be difficult. We had a chat with the chef who was very keen to make us welcome.
We then returned to the market place to the Vaults, which is perhaps Uttoxeter's classic pub. A narrow, shop-like frontage conceals a pub of great character running a long way back from the street. There's a front bar area where most of the drinkers seem to gather, a middle room with a devil amongst the tailors game, and a larger lounge at the rear with bench seating and a dartboard. The outside toilets are yet further back on a passageway running along the side of the pub. It was fairly busy for early afternoon, with an all-too-familiar discussion about ailments taking place amongst some of the customers. "There's no point in having Challenge 25 in here," said the barmaid, "you wouldn't even need Challenge 50!"
It's renowned as a stronghold of Bass, and in the past proudly displayed a row of five Bass handpumps along the bar, as shown in the photo (not mine) above. Guest beers have been introduced in recent years, and my Twitter header photo shows one pump for Robinson's Wizard flanked by four for Bass. Today's guest beer was Marston's EPA, but all of use plumped for the Bass, which didn't disappoint, although it was slightly shaded in quality by the Olde Talbot. The jamjars to show the colour of the beer, including one for each Bass pump, seemed rather superfluous.
Posted by Curmudgeon on June 17, 2019 30 comments:
Watering down the proftis
A Bristol licensee has recently complained that her profits were being adversely affected by customers choosing just to drink tap water with their meals. At first sight, this just comes across as sour grapes. Free tap water is a legal right, and indeed on several occasions recently I have been given a carafe of water in restaurants without even asking. A business needs to adjust its pricing to ensure it makes a profit on what customers actually order, not what they think they should order.
However, on reading between the lines, it seems that the food in question is being provided by pop-up vendors, so the bar is probably making little or nothing from it. Maybe in this case the answer is to charge the pop-up businesses more commission for the right to sell their food on your premises. Or you could adopt the Wetherspoon's approach of meal deals combined with drinks. You would have no problem getting a free glass of tap water in Spoons, but you wouldn't get a discount off the "with soft drink" price because the two come together as a single offer.
My recollection is that the right to free tap water was introduced to give drinkers, especially in nightclubs, the opportunity to rehydrate without being charged for the privilege. Some publicans complained about it at the time, but I don't really see that it represents a threat to anyone's business, and indeed have occasionally taken advantage of it myself to wash down tablets. There is perhaps scope to abuse it, for example by groups of thirsty cyclists or hikers demanding rounds of water, but I doubt whether that's at all common, and a decent licensee should be able to make it clear that is basically taking the piss if they're not going to spend anything.
If you're running a restaurant, you are able to insist that your customers do actually buy something, and once their meal has finished its course you can encourage them to leave. However, it's not quite as simple in a pub, and I've written before about the potential for the abuse of hospitality by customers who put little or no money across the bar. One example given in the comments was people coming in the watch TV sports but not buying anything.
However, unless your pub is full, you're not really losing any money from non-drinking customers, and if one member of a group spends all evening on tap water you will still be making money from their companions. If you really do feel that people are taking advantage, there are various tactics available to a competent licensee to make them unwelcome, and of course at the end of the day you are legally entitled to refuse to serve anyone, and ask them to leave, without giving a reason.
Sheep in wolf's clothing
In the early days of CAMRA, a substantial proportion of cask beer, especially in the Midlands and North of England, was served via electric pumps of various kinds. However, there was a problem with this that it could be well-nigh impossible to identify what was real and what was not. So, progressively, with a certain amount of encouragement from CAMRA, breweries replaced them with handpumps, which gave an unmistakeable sign that the beer was real. I wouldn't want to suggest that increasing profits by, in many cases, exchanging metered dispense and oversize glasses with brim-measures ever entered into their heads. There were a scattering of cases of keg beer being dispensed via handpumps, but those now seem to have pretty much entirely disappeared. If you see a handpump, you know that the beer will be real.
However, this can cut both ways. It can also be a clear sign of something you wish to avoid, and for many drinkers it may be once bitten, twice shy with anything coming out of a handpump. Anoher problem is that handpumps may be perceived as dull and old-fashioned in comparison to the brightly-illuminated keg taps that adorn many bar tops, not to mention harder to see. As I wrote last year:
Maybe it is also time to question whether handpumps can be more of a hindrance than a help...
...However, what allows you to clearly identify something also allows people to instantly reject it as something not for them. In many pubs, there's a binary division between stuff on T-bar taps (including craft kegs) and stuff on handpumps, and many drinkers just won't consider the beers on handpumps. So, just a thought, but might it be an idea to try dispensing cask beer though the T-bar taps (obviously with the word "cask" on the label) so it is not immediately marked out as something "other". There's no technical reason why it can't be done as, in the past, many cask beers were sold using freeflow electric dispense.
This was really only a speculative thought experiment, but Nathaniel Southwood reports that Sharp's brewery have tried just such a thing in an experiment at the Royal Cornwall show, as pictured above. It's in conjunction with an attempt to introduce a chilled version of Doom Bar, but it also offers the normal-temperature version alongside it. It does state clearly on the font that it is cask beer.
Sorry we're late to the party! Thanks @NateDawg27 this is indeed cask beer (the photo is from the Royal Cornwall Show where we're asking people at the bar what they think). As well as at a few events, we're trialling both the keg-style fonts and the extra chilled variant in.. 1/3
— Sharp's Brewery (@SharpsBrewery) June 9, 2019
I'm not saying that it will work, and there's always the possibility that drinkers are so wedded to the concept of handpumps that it will deter more than it attracts. But it must be worth a try, to see whether it helps to make cask look more like everything else on the bar rather than something "other" that is to be avoided at all costs. It might eliminate some of the variability caused by incompetent bar staff having little idea how to use handpumps. Plus I would certainly be interested to see how the head and condition turn out in the absence of a swan neck and tight sparkler. However, it's definitely not going to cover up faults in beer that has been allowed to become flat and stale. And it would probably be too much to ask for them to get some oversize glasses and attach meters to these new pumps.
Zero preparation
The other day, I was in a pub where a guy went up to the bar and very decisively ordered a Heineken Zero. Nothing unusual about that, maybe, but in general people would either ask generically for a non-alcoholic beer, or ask slightly sheepishly what non-alcoholic beers they have. That he was able to order it by name suggests it has established a strong brand identity.
Obviously a major driver behind the recent surge in interest in alcohol-free beers is a growing concern about health and wishing to cut down in general on alcohol consumption. However, this sparked the thought that there may well be another motivation on the part of brewers.
In the future, there is likely to be a growing trend to restrict or prohibit entirely the advertising of alcoholic drinks. So far, there hasn't been much movement on this issue in the UK, and the public health lobby currently seems distracted by sugary and fatty foods. However, it is eventually going to happen. So creating alcohol-free range extensions could be a good way of keeping your brand name in the public view even if advertising of the main product has been banned.
Alcohol represents a much more diffuse target than tobacco, as it comes in a wide range of varieties and strengths, and it also attracts a huge amount of commentary both from journalists and non-professional writers. Thus it would be a lot more complex to impose advertising restrictions. However, the tide is clearly flowing in that direction. Maybe eventually they would prevent alcohol-free drinks sharing brand names with alcoholic ones, but it wouldn't be a straightforward process. And alcohol-free variants may at least buy the brewers some time.
Sugary slope
Earlier this week, the Institute for Public Policy Research published a report proposing that, to combat obesity, the plain packaging currently required for tobacco should be extended to crisps, sweets and fizzy drinks. There's little comment I can make that hasn't already been said: it is filleted here with his usual aplomb by Christopher Snowdon. Realistically, it isn't going to happen this year or next, but the idea is now well and truly within the "Overton window" of the acceptable range of public debate.
It underlines all too clearly that the claims that the draconian regulation of tobacco was a special case that would never be extended to other areas were patently false. It is perhaps a little surprising that snacks and soft drinks are ahead of alcohol in the queue, but that will come in time as surely as night follows day.
Presumably this would have to be accompanied by a comprehensive ban on advertising and promotion. This would have the effect of ossifying the market and preventing any innovation or new product introductions. People's choice of product would depend on word of mouth and folk memory, as it does now with tobacco products. It would be completely impossible now to introduce a new legal cigarette brand. This would effectively leave the market in the hands of large, established players.
The point of plain packaging for tobacco was supposedly to "denormalise" its consumption. But if a whole raft of other food and drink products are also put in plain packaging, that effect largly disappears, as plain packaging becomes the norm for anything remotely enjoyable. They don't seem to have thought that one through.
Something just gave
Last Autumn, I argued in a post entitled Something's Got to Give that the steady decline in cask beer volumes would inevitably lead to reductions in availability, which might manifest themselves in sudden and unexpected ways. And it now seems that something has given, with the news that Marston's are going to withdraw cask from 21 of their 22 managed pubs in Scotland.
The initial reaction to this is some quarters was one of dismay at the reduction in cask availability. Surely Marston's could have done more to promote it? However, as Britain's leading cask ale brewer, they're hardly going to abandon it lightly: it's not like they're some trendy craft brewer trying to make a point. It seems clear that, despite their best efforts, they simply can't achieve the throughput necessary to keep it in good condition and, given this, it has to be regarded as a sensible and pragmatic, if disappointing decision.
These pubs are mostly family dining venues, not urban boozers, and so are probably never going to achieve big beer volumes, especially in view of the cut in the Scottish drink-driving limit. The photo shows the Highland Gate on the outskirts of Stirling, still shown on WhatPub with real ale, which is probably typical.
When CAMRA was formed in the 1970s, real ale had pretty much entirely disappeared from the country, so there was no established tradition of cask drinking. Since then, there has been a substantial increase in availability, and some city-centre pubs do shift a lot of it, but outside the major population centres it has always struggled, and often gives the impression of having been just put on for the tourists.
Good Beer Guide tickers such as Martin Taylor and Simon Everitt have often reported poor cask beer in Scottish entries, which probably wouldn't get anywhere near inclusion south of the Border. This even extends to Wetherspoon's branches, and realistically it might make sense for Spoons to do the same in the some of the smaller towns, even though it would undermine their reputation for serving cask in every pub.
I have earlier written about the Cask Crisis, where I made the point that cask needs a certain amount of commitment from a pub's management to thrive. It can't just be another tick-box option on the bar at the end of a row of keg taps, only there because you suppose you ought to stock it. Poor, ill-kept, stale beer is cask's worst enemy. While this decision may seem like a retrograde step, in the longer term it would probably benefit cask if it was removed from marginal outlets which lack either the demand or the enthusiasm to present it at its best.


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Then the orchard of existence will reveal its fruit….
The next still we plough the field.
The mirror reflects still one man.
A story unlike we have ever heard before.
The sounds of earth dominate the ear.
The field ice cold, where can he go?
Subtle sounds of life more free.
To rest upon the dew soaked ground.
For unseen eyes see not through the frosted glass.
They stand face to face with eyes of fire.
Eons spent through toil and strife.
Upon the dew soaked ground.
A moment as the second man shines his light.
Is one man that is two.
To abide within this solar sphere.
The second knows the third as it is its son.
Where err can the third man be?
And then your life will change.
Eternity in a grain of sand and life abundant within a blade of grass.
I read this article and found it very interesting, thought it might be something for you. The article is called The Third Manand is located athttps://www.moretolifemag.co.uk/2014/05/the-third-man/.


text:
Q: What is social networks authorization workflow? In our application we provide user authentication possibility which gives him additional rights and functions. Now we need to add an ability to login into our application using social networks (Facebook, Twitter, Google+, LinkedIn). We don't need any functions of these networks.
I've read these articles about social networks authentication on Android:

*

*LinkedId

*Facebook

*Google+

*Twitter
All of these networks provide their own Android libraries which handle authentication process. I don't know if I need to use them (they have different APIs and seems to be quite "heavy"). I also found 3d party library which handles all of the needed networks.
Now what I don't know:

*

*After user logs in into any of these networks using appropriate library mentioned above what do I have to send to OUR server to login him into our application? Is it OAuth token (but it seems to be valid only for mobile application which aquires it), SN user id, email or anything else (let's call it access token)?

*After access token is sent to the server what server has to do with it? For example aftet successful login through any of SN user tries to use one of the features our application login provides. Each of these features needs server request. So when one of these requests comes to our server does it need to check if access token is still valid or it must just create our user instance once token comes for the first time and later it doesn't need it anymore?

*Do I need to store access token locally on device or after it is sent to the server I can forget about it?

*How to provide logout function?

Ok, I understand that this question may be not correctly formulated so please, feel free to ask for more info if you need it.

redpajama_set_name: RedPajamaStackExchange


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text:
Radio for the Deaf
On Course
Democratic Connecticut House Leaders Have A Budget; Governor Is Unimpressed
By Jeff Cohen & David DesRoches • Jun 29, 2017
Photo Phiend flickr.com/photos/photophiend/6045345789 / Creative Commons
Connecticut House Democrats said they've come up with a two-year budget proposal that could be ready for a vote on July 18.
But Governor Dannel Malloy said he hasn't seen any budget proposals, and criticized the legislature for not passing a spending plan before the end of June.
The eleventh-hour, $40 billion, two-year plan would increase the state's 6.35 percent sales tax to 6.99 percent to help maintain funding to cities and towns. It would also provide municipalities with additional ways to generate local revenue and restore the local property tax credit against the personal income tax.
Democratic House Speaker Joe Aresimowicz spoke on Thursday.
"Really happy to announce that we are putting forward a two-year budget to address the many fiscal situations we're fighting in our state, but also investing in our municipalities, our hospitals, workforce development," he said.
Aresimowicz seemed OK with Malloy in charge for the next few weeks until he can get his budget voted on.
"The governor will run the show," he said. "We're fairly comfortable in his ability. He's the duly-elected governor of the state of Connecticut. He will not do anything to permanently damage the state. And we'll be in in less than three weeks to vote on a budget."
But shortly after, Malloy said the budget put forth by House Democrats focuses on raising revenue, when it should instead cut spending.
"I've had enough," Malloy said. "We have a choice before us. We can either confront our challenges with urgency, or we can go home without trying."
Watch Malloy's statement below, via CT-N.
The proposal was being offered up Thursday as lawmakers grappled over whether to pass Malloy's three-month, stop-gap budget before the fiscal year ends on Friday.
Malloy expressed doubt that a budget could be passed by mid-July, and urged Connecticut residents to call their legislators and ask them why they haven't acted.
This report includes information from The Associated Press.
Connecticut legislature
Dannel Malloy
Connecticut Lawmakers Won't Deliver Budget By Year's End
By Patrick Skahill • Jun 27, 2017
Ryan Caron King / WNPR
Legislative Democrats say they won't have a budget ready for a vote this week, making it more likely Democratic Governor Dannel Malloy will have to temporarily run state government using his executive authority.
From Finances To Health Care: A Week Of Gridlock In Hartford And Washington
By Jeff Tyson • Jun 28, 2017
Mamata.mulay / Creative Commons
We're inching closer to the end of the fiscal year and Connecticut lawmakers at the state capitol still haven't been able to reach a budget agreement. Meanwhile at the nation's capitol, Senate Republicans are postponing a vote on their controversial health care bill.
This hour: a tale of gridlock in Hartford and Washington.
Gov. Malloy Outlines Principles To Manage State If Budget Doesn't Pass In Time
By Diane Orson • Jun 21, 2017
Governor Dannel Malloy has outlined principles to manage the state government if a budget fails to pass before the end of the fiscal year.


I worked one-on-one with Tony over several months as I sorted through opportunities and obstacles to growth of my law firm. I came to realize that there were very substantial and irreconcilable differences in approach to growth between me and some of my partners. The end result was an amicable firm split and my formation of a new firm with partners who share similar views on how best to grow the business.
Tony is outstanding at probing to find the "heart" of an issue, and he constantly presents his clients with alternative ways of achieving their goals.


The website www.mayspawnbrokers.co.uk (the "Website") is operated by Mays Pawnbrokers.
Please read the details set out below carefully before using this Website. By accessing this Website, you agree to be bound by the following terms and conditions and disclaimers (the "Terms").
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It is your responsibility to obtain and retain a receipt for shipping from the shipping agent. This receipt should include a unique tracking code. This receipt is required for any insurance claim. You must also ensure that you can produce photograph(s) of Your Property as well as at least one document per item which will prove ownership and the current replacement value of Your Property. Please note that it is your responsibility to keep safe all documentation relating to Your Property that would be useful in support of an insurance claim, including, but not limited to any purchase receipts, shipping receipts, certificates, valuations, insurance documents or photos. Please note the following clause [from the Royal Mail's insurance claim processes] : "Royal Mail needs to ensure that unwarranted claims are not made and as such it retains the right to request further information from the claimant and to refuse claims that it suspects are unwarranted".
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Should any insurance claim arise out of any loss or damage suffered in shipping Your Property back to you, the replacement value(s) claimed will be according to our valuation of Your Property as described in Clause 9 below, whether you accept any loan offer or not.
On receiving Your Property from you, we inspect the item(s), and compare Your Property to the original description supplied by you, in order to confirm that they match. We value Your Property in good faith, according to accepted industry standards and prevailing market rates, and on the assumption that the description provided by you is completely accurate. Should Your Property vary from the original description in a manner which affects the valuation, we may, in our absolute discretion, decline to make an offer or make an offer to you that is higher or lower than the initial indication given to you for any reason, including but not limited to any difference in the actual quality of Your Property compared with our understanding of your original description or changes in the market for such item(s). Any offer that we make to you is subject to us being able to formally identify you, and you signing a formal credit agreement online.
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In We're No. 1, The A.V. Club examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the years. In this installment, we cover USA For Africa's We Are The World, which went to No. 1 on April 27, 1985, where it stayed for three weeks.
Released April 23, 1985, the We Are The World album spent three weeks at the top spot of the Billboard 200, sandwiched between runs for Phil Collins' No Jacket Required. It reached that position on the back of the titular single, which moved over 20 million copies and raised millions of dollars, while looping in a veritable murderers' row of the biggest names in pop music at the time: Diana Ross, Billy Joel, Huey Lewis, and Paul Simon, to name just a few. It won four Grammys the next year: Record Of The Year, Song Of The Year, Best Duo Or Group Vocal Pop Performance, and Best Short Form Music Video, sort of like a less obnoxious '80s version of "Same Love." We Are The World is an album, but only in the technical sense of the word—it's a collection of songs released and packaged together under one umbrella as a long-playing delivery system for the story of its lead single, opening song, and title track—the first ever single to go multi-platinum.
And yet it's not like "We Are The World" is even a particularly good song—it swings far too hard for the fences for that. It's difficult to imagine anyone choosing to listen to it of their own accord as a pop song, even in 1985. Its unwieldy length (over seven minutes) is necessary to accommodate all of the stars with vocal solos. Given the number of cooks in the kitchen (and consequent egos to placate), its over-reliance on collective star power and subsequent generic quality is understandable. Some of the soloists do manage to imbue the repetition of the chorus with feeling, particularly Stevie Wonder and Bruce Springsteen, but they are the exception rather than the rule. Besides, the musical content of "We Are The World" (and We Are The World) is irrelevant to its success. Writing for the Los Angeles Times between the release of the single and the album, Robert Hilburn describes the session that produced the track as "nothing short of a pop miracle." Befitting an impossible, nigh-religious event, the most important thing about "We Are The World" is its creation myth.
The germ for the session single originated in, essentially, a very '80s-appropriate competition to see which country could raise the most money for charity. Singer and activist Harry Belafonte conceived of the track as a response to the charity single "Do They Know It's Christmas?" by Band Aid—a supergroup of British artists that included Sting, Paul McCartney, and David Bowie—to support the victims of a famine in Ethiopia. "Do They Know It's Christmas?" set the template for "We Are The World" in more ways than one: Not only was the single recorded by a collection of a country's biggest pop stars, trading on their fame to sell the music—it's also horribly condescending and self-aggrandizing.
After Belafonte got the idea to do an American version of Band Aid, he roped in Lionel Richie and Kenny Rogers to put the band together, something that got markedly easier once Michael Jackson expressed interest. Writing for The Awl, Mike Barthel describes the successful grouping of the artists who would take the moniker USA For Africa as the expenditure of Jackson's artistic capital from Thriller, its attending video, and the striking performance of the moonwalk. Jackson co-wrote "We Are The World" with Richie and, from his spotlights in the "We Are The World" video, it's easy to see how much he cared about its success. The USA For Africa architects used the American Music Awards as an excuse to get everyone together and carefully planned the recording in a marathon, all-night session that also produced the iconic music video. The session has been mined for anecdotes and interpretations like a holy text, including a 50-minute documentary narrated by Jane Fonda.
In the documentary and elsewhere, most of the backstage accounts of the making of "We Are The World" focus on either the many obstacles to recording (the session almost collapsed over a line written in Swahili, a conflict that was only resolved by literally bringing in Ethiopian women to thank the stars) or humanizing instances of levity related to these same problems—say, Willie Nelson and Waylon Jennings laughing over their shared protest of the song's original key, which was too high for many of the male singers. The duo emphasis on the difficulty of the recording and insistence that USA For Africa had fun doing it in the retellings of the myth tries to simultaneously undermine and legitimize the intense self-seriousness of the enterprise—Quincy Jones sent the vocal guide to everyone with a letter that, in part, read: "In the years to come, when your children ask, 'What did mommy and daddy do for the war against world famine?', you can say proudly, this was your contribution." The members of USA For Africa were doing something good in the world, something heroic, by showing up at a studio after an awards show and playing nice with other big personalities. Hilburn is right to describe this as a miracle, but its implausibility says something more depressing than inspiring.
After the single and its attendant pageantry came the somewhat less-glamorous business of putting out the full record—which helped contribute to the now over $60 million We Are The World has raised—a month after the single's release. Has anyone ever listened to any of the rest of the songs on We Are The World? Do most people even know there's a full album to go with the single? Does anyone who still owns the album even remember any of the other tracks? For a No. 1 album, it's awfully anonymous. The second most notable track on the album is "Tears Are Not Enough," a charity single by yet another supergroup, this time a collection of Canadian artists recording under the name Northern Lights. The band included Joni Mitchell, Bryan Adams, Neil Young, and Geddy Lee, but its star power wasn't nearly at the level of USA For Africa. (There's probably a joke to be made about the Canadian supergroup's song being released as part of the American artists' album.) Like the rest of the album, "Tears Are Not Enough" tries to soar more out of a sense of obligation than any real musical impulse.
Even Prince's "4 The Tears In Your Eyes" doesn't fully escape the easy allure of the moral high ground—for as inclusive as Prince's funk can be, it's still a little tough to swallow his cries that the meek will inherit the earth. Instead, the high points of We Are The World are decent, still mostly forgettable songs like The Pointer Sisters' "Just A Little Closer"—a fun, if not particularly interesting, R&B cut—and Tina Turner's slow-burning cover of The Motels' "Total Control." The album's best cut—Bruce Springsteen's live rendition of Jimmy Cliff's "Trapped"—works because, in contrast to the rest of We Are The World, it's deeply specific. The song's narrator is the one who's "wearing the same old chains," rather than a faceless mass—he's channeling one person instead of millions, which is what renders most of the album devoid of personality.
But how much did We Are The World actually do for those millions? In the same way the collective nature of "We Are The World" prevents it from being a real jam, the song (and the movement it tried to create) is hamstrung by the contradictions at its core. It couldn't really critique any of the institutions and deeply ingrained systems that contributed to the problem it was ostensibly trying to fix because all of the artists were and continue to be deeply embedded within them, so that even though it did some good, the funds raised function, at best, like a band aid (or Band Aid). There's no denying it had some positive effect on the people it was written to help ($60 million is a big number), just maybe not the effect everyone would have liked (or imagined).
The charitable effect of both "We Are The World" and We Are The World is, again, incidental to the album's importance. What makes the song so striking today is its creation of a now-impossible monocultural event that is not only musical, but moral. We Are The World makes a statement of identity—"We, the assembled pop stars and any listeners identifying with us, are the same as starving Ethiopians"—but that identity is defined by homogeneity in pursuit of feel-good, semi-ethical sameness. Musicians from Kenny Loggins to Cyndi Lauper, from Stevie Wonder to Bob Dylan, all came together to do something "good." Everyone listening in got to feel like they, too, were doing their part, even if that was just tuning in on the radio or buying the new Michael Jackson single. Our collective awe at the way everyone collaborated on the track signals that just being in the room was an important show of character for the USA For Africa musicians, just as listening to it is an important show of character for us.
Rather than selling music, or even the lifestyle that might be represented by music, the creation myth of We Are The World sells the idea of making listeners feel like they've overcome something by listening (any good they really do is incidental). We Are The World is important, then, primarily for what it represented, and the trends it presaged—though perhaps not quite at the same scale, the charity album as a concept is a miracle no longer, and one doesn't have to look far to find examples of this basic sort of cultural exchange. A re-recording of the single featuring, among others, Justin Bieber and Miley Cyrus hit No. 2 on the single charts in 2010. For better or worse, "We Are The World" succeeded, though perhaps not at what it was originally trying to do.


This or That: Blue skies or grey? | Embrace Life. Be Inspired.
I can quite happily live without a single grey sky in my life. So blue is most definitely a winner.
I agree. Blue sky. A grey sky makes everything gloomy, in my opinion.
BLUE!!!! this summer has been such a bust!
Pale grey skies all the way.


PANAM Post – Costa Rica is well marketed — and thus internationally well known — for its stunning natural beauty. What isn't so well marketed is the ugly undertone of xenophobia that exists in the small but opinionated Central American nation.
While discrimination is normally associated with two non-like parties, Nicaraguans in Costa Rica fall victim to the ever-expanding and concerning trend of intra-cultural intolerance.
Ticos still boast that they are ahead of other Central American countries in areas such as education, social security, and health care. However, the formidable issue the nation has had to address is the loss of their advantage, due to declining Costa Rican performance in those areas and other nations catching up.
With decline comes blame, and lots of it.


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