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Bryce Canyon Utah
Bryce Canyon Utah, Popular Destinations
Bryce Canyon, Utah
Bryce Canyon is not a canyon. It is the spectacular edge of the Paunsaugunt Plateau, a place where intricately carved towers and arches of stone shimmer in a dazzling array of color under the bright sun. The state of Utah in the United States is home to many beautiful National Parks, and Bryce Canyon National Park ranks as one of the most magnificent and awe-inspiring. 15 million years ago the earth in this region began to shift, forming a series of plateaus. The Paunsaugunt is an extensive plateau, with the Paria River gradually eroding away the edge to form Bryce Canyon.
The rock in Bryce Canyon is composed of layer after layer of sediment deposits, deposited millions of years ago when the area was at the bottom of a lake. Now the Paria River has exposed the layers, allowing a detailed history of the lake to be determined. The Park itself was established in 1924 and was named after an early settler in the area, Ebenezer Bryce. He emigrated from Scotland, married a local girl then moved southwards in stages, building sawmills as he went.
In the mid-1870s, he reached the Paria River, where he and his family settled for a number of years. It was at this time that Bryce made his immortal comment about Bryce Canyon – he called it "one hell of a place to lose a cow".
The area remained basically undiscovered by European tourists, the first guest houses only being constructed around the time when the park was officially established. Luckily this has led to Bryce Canyon being an area of largely unspoiled beauty, as well as the enormous scientific value of the historic information trapped in its pinnacles and spires.
The canyon is by no means a stagnant place – the rim recedes by an average of about a foot every 50 years, and in this ever-changing scene, it is water that plays the most vital role in the shaping and eventual destruction of the magnificent scenery. Because the rock was laid down in layers, there is a variation in the hardness of the rock formed. When water runoff trickles across the rock, some areas erode rapidly whereas others hold firm.
This variation in erosion speed causes the formation of pinnacles, or "hoodoos" of stable rock. In some places, the water seeps down through cracks and eats out holes beneath the surface. When the side rock erodes away, an archway is left behind. Eventually, the arch collapses, leaving two more pillars to join the rest. The ever-changing vista of colors, spires, walls, and archways is spectacular at any season, and the park is open all year round.
In the warmer months, there are plenty of trails for the visitor to explore, ranging from easy strolls to hard hikes. Some of the best trails are located in the Bryce Amphitheatre, located near the entry to the park. Here you can wander through the Queen's Garden, or gaze up at Queen Victoria herself surveying the 'flowers' in her garden. Some of the most awe-inspiring lookouts are situated in this area, including Sunset Point and Inspiration Point – a must for any visitor.
Walkers can also follow the Fairyland, Riggs Spring and Under-the-Rim trails, which are longer but allow more opportunities to see the different elements of the park at close quarters. Summer months can cause temperatures in the base of the canyon to soar, so it is very important to be prepared for the heat and carry plenty of water.
In winter the roads are opened between snowfalls, allowing a totally different perspective of the park. Snow-capped pinnacles stand out sharply against the background of white snow and dark green trees. The air is also cleaner, allowing visitors to see great distances. For the energetic, it is possible to cross-country ski in a number of areas in the park, and on some trails, it is possible to go snowshoeing instead of hiking.
If you want a slightly different view of the park, it is possible to explore the park in a 1930 limousine. Alternatively, you can rent a horse on an hourly basis to trek some of the better trails. There is plenty of interest to explore in the park, apart from the marvelous scenery of the 'silent city', as the hoodoos are sometimes called. The park also contains a large variety of plants and wildlife, including meadows and forests.
Ground squirrels abound near the viewing areas, and their antics are almost enough to distract the visitor's eyes from the scenery. On quiet mornings and evenings, it is also possible to see deer, elk and antelope grazing on the meadows. Some bears and mountain lions also enter the park occasionally, but, are rarely seen by tourists.
Bryce Canyon is a hidden jewel, thoroughly deserving to be as well known as its southern neighbor, the Grand Canyon. Include it on your itinerary, and you definitely won't be disappointed. In fact, you may be completely overwhelmed by the fascinating and awe-inspiring beauty of Bryce Canyon, just like almost every other visitor.
Book These Great Hotel Deals in Bryce Canyon Utah
Bryce View Lodge
Free Wi-Fi, cable TV and free parking are top perks at Bryce View Lodge, a quick shuttle ride from Bryce Canyon National Park. The two-story lodge has 160 rooms, some designated non-smoking, which come with coffeemakers, cable TV and free Wi-Fi. Pets are welcome. Guests have several dining options across the street from the hotel including a steakhouse, a diner and a bar and grill with live Western entertainment. Guests may use the indoor and outdoor pools and hot tubs at the hotel's sister property across the street. Hotel amenities include fax/photocopy service, an ATM and free parking. Located on Highway 63, the hotel overlooks Bryce Canyon National Park from its setting on a plateau at the edge of a pine forest. Souvenir shopping at Ruby's General Store is within an easy five-minute walk. Ruby's Art Gallery, across the street, focuses on American West art and collectibles. The shuttle to Bryce Canyon National Park, free with purchase of a park entrance pass, picks up guests at the lodge entrance for the quick trip to the visitors center, where other shuttles go to the viewpoints. The lodge is two miles from Bryce Canyon Airport.
Free Wireless
Wireless in Room and Public
` WiFi available in all areas
` Bedding
Our guests give high ratings to the Best Western Plus Bryce Canyon Grand Hotel because of its comfortable rooms, a yummy free hot breakfast and a spectacular location. The non-smoking hotel has 164 rooms in two four-story buildings. Each room comes with a desk, microwave, refrigerator, coffeemaker, AM/FM clock radio and flat-panel TV. Wi-Fi and local calls are free. The hotel's enclosed outdoor courtyard offers privacy for hot tub and patio areas. Fuel up each morning with a free full hot breakfast, and work out in the 24-hour fitness room. The hotel provides a business center, a 24-hour front desk, concierge services, a guest laundromat and free parking. Within a five-minute walk of the hotel, guests can arrange horseback rides and ATV tours of Bryce Canyon National Park, approximately one mile away. Scenic flights by helicopter and plane depart five miles away. Restaurants and shops in Bryce Canyon City are a 10-minute walk. Bryce Canyon Airport is a five-mile drive. Cedar City Regional Airport is a 90-mile drive.
Free Internet in Room and Public Areas
interconnecting room(s) available
Accessible facilities
Complimentary full american breakfast
Complimentary in-room coffee or tea
Interior corridors
Late check-out available
Premium movie channels
Recreational vehicle parking
The Beauty of Australia


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But in safari browser linear gradiant property is not working at all.
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What is possible solution for this two properties in safari browser

redpajama_set_name: RedPajamaStackExchange


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The Slings and Arrows Graphic Novel Guide doesn't care where you've been, where you're going or where you're located. We will never knowingly harvest your data beyond the cookies needed for smooth running of the site, and wouldn't dream of passing it anywhere. We'd recommend you adjust your browser settings to delete all cookies whenever you close it. Please click OK and carry on into the site.
The Slings & Arrows
GRAPHIC NOVEL GUIDE
Justice League: Trinity War
North American Publisher / ISBN: DC - 978-1-4012-4944-1
Contains adult content?: no
Does this pass the Bechdel test?: no
Positive minority portrayal?: yes
Categories: Superhero
Review by Frank Plowright
In an age long before superheroes the Gods sentenced three beings to eternal punishment for transgressions committed. There's a nice origin in passing for a long lived DC character, but it's Pandora who's the motivating factor. Back in the day she unleashed the seven deadly sins on the world via opening a box, and people have suffered ever since. So has she, doomed to wander the Earth for centuries before training herself for further centuries and eventually learning that the box she foolishly opened in the first place might be the key to her salvation.
As Doug Mahnke's sample art shows, it then becomes complicated. The Justice League of America have been set up to counter the more globally minded Justice League, and there's also a group of mystical characters sarcastically labelled Justice League Dark. Beyond the combined membership of those groups there are two secret organisations to consider, and Shazam isn't allied to anyone. All become involved in a mystery concerning Pandora's Box. An immediate problem of such a large cast is that many of them just aren't needed. They're drawn in plenty of panels, but have little to add.
Assorted pencil artists contribute, some just a few pages (thank you very much, Jim Lee), but the bulk of the work is split between Mikel Janín, Mahnke, Ivan Reis and Daniel Sempere, all of them good and all of them solid. Given the massive cast there's no skimping even if they were so inclined, and their previous records suggest otherwise. Detail, action and character are in safe hands, and when the likes of Fernando Blanco steps in for a chapter, he's great as well.
Trinity was a crossover story encompassing several different titles, and as combined here the result is bloated. Every moment that moves the story forward is followed by a stopover elsewhere. The three chapters of background Ray Fawkes and Sempere provide for Pandora would stand alone as a reflective quest, yet among the bigger picture of what's going on, they're intrusive interruptions. That bigger picture is one of manipulating the distrust that already exists until certain factors align, at which point we discover we've waded through around 270 pages for a story without an ending. The entire purpose was to set up Forever Evil. Perhaps there some readers were thrilled by this, but that a collection retailing at $30 when new could be bought for $5 three years later indicates a different story.
Like this? Try these
Sacred Creatures Volume One: A Mixture of Madness
Pandora's Legacy
Pandora's Box Volume 3: Gluttony
Pandora's Box Volume 4: Greed
© 2020 Slings & Arrows

redpajama_set_name: RedPajamaCommonCrawl


Ari Visitor Chair is available with a 4 leg base or sled base with Chrome Finish.
Ari is a visitor seating range that can be used for many applications.
Ari is a poly prop construction with chrome frame available as a sled base or four legs.
Ari has a five (5) year warranty.


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Solar Energy Solutions Continue to Gain Momentum
From community solar installations to a push in some municipalities for all-electric building codes, interest in solar keeps growing
By Eugene L. Meyer April 1, 2021
Proudly solar: Florida's Babcock Ranch, "the most sustainable town in Florida." | Photo: courtesy Babcock Ranch
Babcock Ranch is a sprawling master planned community on 18,000 acres on Florida's West Coast, some 20 miles from Fort Myers, which prides itself on being "America's first all-solar town." Its marketing slogan is "We're powered by the sun and energized by you."
The power comes from 688,360 solar panels across 870 acres just north of town that provide electricity to the entire community. In development since 2006, Babcock Ranch was carved from 91,000 acres of wilderness of which 73,000 acres are now preserved under state control.
"The argument over what's causing climate change doesn't matter," says Syd Kitson, president and CEO of Kitson & Partners, developers of Babcock Ranch. "Regardless of political or personal thoughts on it, [solar power is] the right thing to do, and Babcock Ranch is proving that."
Notably, Babcock's solar power is a cooperative venture with Florida Power & Light (FPL), the statewide utility that has historically relied on natural gas, coal, oil, and nuclear power to generate electricity for roughly 4.9 million accounts and 10 million people, but is increasingly harnessing sunshine as a source. With 18 major solar plants operating already, FPL has begun building 10 solar energy centers with a goal of 30 million panels installed and operating by 2030. This year, solar is outpacing coal and oil combined, as a percentage of the utility's energy mix (FPL shut down its last coal-fired plant in January, and is currently dismantling its oil plants).
Community Solar a Growing Trend
Babcock Ranch, which takes its name from the family that owned the land for generations, represents a marked evolution from the world of individual rooftop solar panels. It also reflects growing national interest—if not quite yet a trend—toward all-electric homes and community-wide solar.
Solar trees at Florida's Babcock Ranch, where sustainability is built into the infrastructure. | Photo: courtesy Babcock Ranch
"Fossil fuel people are starting to diversify, getting on the bandwagon with other energy sources," says Jack Armstrong, a board member at Team Zero (formerly the Net Zero Energy Coalition), a group of industry stakeholders collaborating to bring broad industry-led national awareness of zero energy buildings.
The trend toward net-zero homes enabled by solar is accelerating in states that have adopted tax rebates and other incentives for community-wide solar installations. Among the leaders is Minnesota, which approved a solar garden initiative in 2013 and claims about one-third of the country's community solar generation. Working with Cooperative Energy Futures (CEF), an investor in and supplier of solar-generated electricity, members typically buy a share of a common solar plot and in return get credits to reduce their electricity bills.
Such solar "farms" (photo, left) can sprout in urban as well as rural settings. CEF generates 1.37 megawatts of power with a canopy of solar panels atop a parking garage in downtown Minneapolis. It serves 150 households, saving users about 10% on their utility bills, according to Timothy DenHerder-Thomas, Cooperative Energy Futures' general manager.
With Denver city and county seeking to reduce energy consumption 30% by 2030, the Denver Housing Authority (DHA) began installing rooftop solar panels on 665 properties in 2005; another 2,335 were eligible, but were ultimately deemed unsuited due to issues of excessive shading, rooftop conditions, or redevelopment plans.
North Lincoln Homes is a public housing project in Denver that offers affordable row homes with rooftop solar arrays to help reduce monthly energy bills and reliance on legacy energy resources. | Photo: courtesy Denver Housing Authority/Mike Laughlin Photographer
With approval from Xcel Energy, the local utility, the DHA took the next step, establishing the nation's first housing authority developed, owned, and operated solar garden, a 2 megawatt facility with an array of 5,958 panels. Located on 10 acres in a Denver suburb, it serves some 500 low-income homes.
The solar farm, launched in 2017, is "out of sight, out of mind," says Chris Jedd, the DHA's portfolio energy manager. "You don't have to worry about damage on the roof, or if you want to sell or demolish a building. There is no debt on it, no equipment on it, and it gives a lot more flexibility and optionality within the portfolio."
Mixed-Fuel Solutions and All-Electric Codes in Home Building
In some regions and climates, community solar is not in play and a combination of rooftop solar and natural gas continues to dominate home building and remodeling.
"There is no perfect panacea in one energy source," said Bill Owens, founder and president of Owens Construction, in Worthington, Ohio, in a recent webinar sponsored by the Propane Education & Research Council (PERC). "It doesn't make sense to do fully electric for whatever reason. That's a mandate I just can't see coming to fruition."
"A common misconception is that to get to zero energy or zero energy-ready, your homes have to be all-electric," says Bryan Cordill, director of residential and commercial business development at PERC. "The truth is that getting to zero doesn't mean giving up desirable, high-performing gas systems," such as those used for cooking and water heating.
Still, in California alone, 42 municipalities have adopted all-electric building codes. With that, the state's Title 24 energy code requires that all new homes must be zero net energy by 2022, essentially mandating the use of solar panels either on individual homes or from community-wide arrays.
In the city of Davis, Calif., "New construction has been getting solar even before the statewide mandate," says Aaron Nitzkin, who chairs the California city's solar task force and is founder and CEO of Solar Roof Dynamics.
Transition to Net-Zero: The Role of Trade Partnerships
The Ultimate Z.E.N. Home's Solution for Solar
Video: What's Propane Got to Do With It?
Denver's Thrive Home Builders sells homes with rooftop solar arrays as standard, and recently committed to an all-electric option, including cooking appliances, HVAC equipment, and fireplaces to replace those powered by natural gas.
Bill Rectanus, Thrive's VP of operations, notes "health risks" associated with natural gas, such as leaks that can lead to explosions and worse. Still, he adds, many homebuyers prefer their gas fireplaces and stoves. "You watch any cooking show, they're all cooking over gas," he says.
Storm-driven electrical power outages and grid reliability are other deterrents to going all-electric. "Propane generators and appliances that use minimal electricity make homes more resilient and dependable," Cordill says.
But as solar has grown in popularity, so have backup batteries to guard against power grid reliability problems and to provide power for a few critical systems, such as a refrigerator, heating or cooling equipment, or Wi-Fi and a computer. In fact, part of Thrive's optional all-electric home package includes backup batteries that collect and store energy from the home's rooftop solar array.
(Fossil) Fueling the Resistance Against Solar
PERC and other fossil fuel industry stakeholders, meanwhile, have been lobbying to curtail local authorities' efforts to reduce emissions and advance solar.
Industry supporters have introduced such measures in Indiana, Kansas, Mississippi, Missouri, Texas, and Utah. Last year four other states—Arizona, Louisiana, Oklahoma, and Tennessee—passed laws preventing localities from adopting zero-emission building codes that essentially ban new natural gas service hookups for new buildings, including homes.
Cordill also points to Colorado builder Andrew Michler's MARTaK project, the state's first certified International Passive House. Although electricity is provided solely from photovoltaics, the house relies on a traditional propane water heater to meet its minimal heating and domestic hot water requirements. It also uses propane-fueled kitchen appliances.
But even in progressive communities, expanding solar can be divisive. In Montgomery County, Md., adjoining the District of Columbia, a plan to allow additional solar farms on up to 1,800 acres inside a 93,000-acre agricultural preserve was reduced by more than 70%. Critics argued that more community solar would threaten the prized farmland economy. Advocates noted farmers are paid to lease the land, and animals can graze beneath the solar panels.
The original proposal would have powered 50,000 homes elsewhere in the county, but the measure ultimately adopted by the Montgomery County Council reduced that to 2,000, according to Hans Riemer, an at-large member of the council and a leading proponent of the solar farm initiative in its original form.
Another amendment added more procedural requirements that Riemer said would further hamper solar farms in the reserve. "This is a prohibition," he says. "Frankly, it's devastating. If combined with additional restrictions, there's nothing left."
Eugene L. Meyer
Eugene L. Meyer is an award-winning journalist and author and a former longtime reporter and editor at The Washington Post.
GAF Energy Introduces Easy-Install Solar Shingles
How Timberline Solar roofing could radically speed up the adoption of home solar
The Debate for Energy's Future: How Either Result Could Impact Homes
Energy's future lies in two camps: those who support more localized, smaller systems and those who want widespread power lines carrying energy…
The Winning Homes in the Solar Decathlon Are …
See the winners of this year's contest to build energy-efficient homes for extreme climates


A car has crashed into a house in Warsop.
PC Adam Pace of Nottinghamshire Police tweeted a picture of the incident but said no-one was injured.
We've contacted Nottinghamshire Police for more information and are awaiting a response.


There are 2 DSL Internet providers in Colfax, Indiana. To find providers for a precise location in Indiana, please enter your zip code above.
DSL internet is a popular option in Colfax if you want budget friendly broadband services that meet the needs of average internet users. DSL internethas existed for years and today there are lots of packages and service providers to decide from.
Read on find out more about how the service works, who the leading DSL internet providers are, how to find the best deals and much more.
Digital Subscriber Line or DSL internet uses the exact same copper phone lines as dial-up internet service, but it is a good deal faster. Additionally, unlike dial-up, it does not tie up the telephone line during internet usage. DSL internet needs a modem that connects to the computer and also the telephone wall jack which translates the computer's digital signals into voltage that goes over the telephone linesinto a central hub or Digital Subscriber Line Access Multiplier (DSLAM). DSLAM routes requests and responses between the client's computer as well as the internet.
DSL internet service doesn't disturb the use of the telephone because over the copper lines they each utilize a different frequency band. A filter will be set up on the phone lines in the house that will stop the higher frequency sounds of the computer.
With DSL internet, the download speed is a lot faster compared to upload speed that is why it is called Asynchronous DSL (ADSL). Synchronous DSL (SDSL) offers the same high speed for both uploading and downloading. This is helpful for companies that send large files and people who choose to transfer multimedia files.
Verizon is among the largest DSL internet providers in the nation and is also the most easily available DSL internet service. Shoppers can tailor-make bundles with DSL internet and fiber optic TV. A Verizon DSL package consists of the DSL modem, 4 GB of web space for a personal website, free wireless router, 24/7 support toll free with live technicians and a 30-day money back guarantee.
AT&T, a long distance service provider since the 1980's, is now one of the leading high speed internet, cable TV and phone service providers in the world. AT&T DSL internet makes linking to the internet simple and economical throughout the U.S. The provider offers DSL internet service with or without home phone service and free security features. It's got online video and photo storage and 24/7 customer service as well.
Savvy shoppers know you can't get the best DSL internet deals until you do some comparison shopping first. That's where we come in.
We help to make finding the best DSL internet offers in Colfax uncomplicated with our proprietary search-and-compare technology. In just a few minutes you'll be able to see all of the DSL internet providers, plans and rates in your town all in one place. This super fast comparison buying experience not only saves you time, it also saves you money.
Colfax consumers regularly find DSL internet deals that cut their monthly bills by about 40%.
If you're really serious about saving on your DSL high speed internet service in Colfax take a look at the offered bundle deals in your town. When you bundle home phone and digital TV services together with your internet you can get better deals on all three.
Begin saving more today – Call the toll free number above to speak with an experienced representative about the most recent local deals in your town or simply enter your address in the secure form to begin.


KITPLANES Magazine has joined the DeLand Sport Aviation Showcase as the primary media sponsor of the event.
We will help promote the Showcase to their 120,000+ monthly readers and will also cover the industry news at it happens at the Showcase in November.
The Editor in Chief of KITPLANES®, Paul Dye, will also be the keynote speaker to kick off the three-day event. Before signing on with KITPLANES. Paul was the longest-tenured flight director in NASA history. He is a commercially licensed pilot, he flies three planes that he personally built, and he has logged more than 5000 hours of flight in numerous different types of aircraft.
Going into the third year with the growing event, the DeLand Showcase Administrator, Jana Filip, reports, "As sponsors and exhibitors are reserving their spaces for November, we can already tell that the Showcase--and recreational aviation in general--is growing in popularity, and the KITPLANES® partnership is a perfect fit with the DeLand Showcase for builders, buyers, and flyers."


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Alexander Fleming Facts for Kids | Founder of Antibiotics
Alexander Fleming was a Scottish biologist and botanist. He is famous for his remarkable discoveries of lysozyme (which is an enzyme) and antibiotic (Penicillin G). In recognition of his services in the field of medicine, he was awarded Nobel Prize in Physiology along with Ernst Boris Chain and Howard Florey. He did a lot of work in bacteriology and immunology.
He was born on 6 August, 1881 in the southwest county of Scotland, Ayrshire.
His parents were farmers.
The nickname of Alexander was 'Alex'. He was only seven when his father passed away.
He gained a scholarship for two years to Kilmarnock Academy. After this, he went to Royal Polytechnic Institution in London.
Tom was his elder brother and he persuaded him to join the medical career. As per his brother's advice, Fleming went to Paddington and took admission in St Mary's Hospital Medical School. He achieved distinction in his MBBS degree.
In his medical school, he became assistant bacteriologist to a British bacteriologist known as Almroth Wright.
He earned a Gold Medal in B.Sc. in bacteriology in 1908. Thereafter, he started giving lectures in the same school for another 6 years.
During World War I, he served in the Royal Army Medical Corps at the rank of captain.
Sir Alexander Fleming
In WWI, Fleming saw many soldiers in the battlefield dying of sepsis. It's a fatal medical condition in which the immune system of a body starts destroying its own organs resulting in death. He found out that antiseptics were destroying the immune system of a body instead of killing the bacteria that attacked the body. As a result, more and more soldiers were being killed due to antiseptics rather than infectious wounds.
Fleming concluded from his findings that antiseptics did great damage in case of deep wounds. It is because deep wounds tend to give protection to the anaerobic bacteria and isolate the bacteria from the reach of antiseptics. This way, antiseptics kill bacteria that are on the surface as well as other useful substances that are protecting the body.
Despite his findings, the doctors at the time kept on using antiseptics on the wounded soldiers and did not pay attention to Fleming's advice.
It was Fleming who discovered lysozyme for the first time. It is basically an enzyme which is found in the human secretions of saliva, tears and mucus. While testing a mucus of a patient suffering from severe cold, he deduced that nasal mucus tend to block the growth of bacteria. Thus, he discovered it.
I certainly didn't plan to revolutionize all medicine by discovering the world's first antibiotic, or bacteria killer, but I suppose that was exactly what I did – Fleming
The laboratory in which Fleming used to do research was often very dirty.
In 1927, Fleming was doing research on gram-positive bacteria called staphylococci.
The discovery of Penicillin was accidental. In August 1928, Fleming had left his laboratory and joined his family for vacations. He had stacked cultures of staphylococci in his lab's corner before going out. But on his return, he found something weird which he called "That's funny". He noticed the fungus had contaminated one of the cultures of staphylococci. The colonies of staphylococci present close to the fungus were eradicated while colonies that were located far off, had remained safe and normal. He then allowed a pure culture of staphylococci to grow mould (grey substance that is grown on food lying in open air for a long time) and found that mould tend to produce a substance which kills the gram-positive bacteria.
Fleming found this mould to have come from genus Penicillium. Later on, he used to name it as 'mould juice'.
On 7 March, 1929, Fleming called this substance which the mould releases as penicillin.
The laboratory of St. Mary's Hospital in which Fleming discovered penicillin is now turned into a museum in London. It is named after him.
Fleming investigated that penicillin could destroy Gram-positive bacteria which cause diseases like scarlet fever, meningitis and pneumonia. However, it was not effective against Gram-negative bacteria which cause typhoid fever.
Through his findings, Fleming concluded that it was not easy to separate antibiotic agent from the mould. Eventually, he came to a conclusion that this substance could be produced in great quantity and its action against infections is also very slow. By then, he was certain that penicillin may not remain inside the body for a long time to destroy the invading bacteria because tests had proved unsuccessful. After sometime, he decided to discontinue doing research on penicillin. After Fleming had left, Florey and Chain took up the challenge to produce penicillin in mass quantities.
The discovery of penicillin by Fleming laid the foundation of modern antibiotics. It saved millions of lives all over the world.
Fleming at work in his Lab
Today, the Royal Polytechnic Institution has turned into University of Westminster. One of the halls of student residence in this university is named after Fleming.
In Madrid, a sculptor of Fleming is situated outside the bullring of Las Ventas.
One of the asteroids located within the Asteroid Belt is named after Alexander Fleming.
In 1944, Fleming was knighted. A year before, he became a Fellow of the Royal Society (FRS).
He was one of the Time magazine's 100 Most Important People of the 20th Century in 1999.
On March 11, 1955, Fleming suffered a fatal heart attack in London and passed away. His grave is in St Paul's Cathedral.
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Q: Problems implementing a multi-threaded UDP server (threadpool?) I am writing an audio streamer (client-server) as a project of mine (C/C++),
and I decided to make a multi threaded UDP server for this project.
The logic behind this is that each client will be handled in his own thread.
The problems I`m having are the interference of threads to one another.
The first thing my server does is create a sort of a thread-pool; it creates 5
threads that all are blocked automatically by a recvfrom() function,
though it seems that, on most of the times when I connect another device
to the server, more than one thread is responding and later on
that causes the server to be blocked entirely and not operate further.
It's pretty difficult to debug this as well so I write here in order
to get some advice on how usually multi-threaded UDP servers are implemented.
Should I use a mutex or semaphore in part of the code?  If so, where?
Any ideas would be extremely helpful.

A: Take a step back: you say

each client will be handled in his own thread

but UDP isn't connection-oriented. If all clients use the same multicast address, there is no natural way to decide which thread should handle a given packet.

If you're wedded to the idea that each client gets its own thread (which I would generally counsel against, but it may make sense here), you need some way to figure out which client each packet came from.
That means either

*

*using TCP (since you seem to be trying for connection-oriented behaviour anyway)

*reading each packet, figuring out which logical client connection it belongs to, and sending it to the right thread. Note that since the routing information is global/shared state, these two are equivalent:

*

*keep a source IP -> thread mapping, protected by a mutex, read & access from all threads

*do all the reads in a single thread, use a local source IP -> thread mapping

The first seems to be what you're angling for, but it's poor design. When a packet comes in you'll wake up one thread, then it locks the mutex and does the lookup, and potentially wakes another thread. The thread you want to handle this connection may also be blocked reading, so you need some mechanism to wake it.
The second at least gives a seperation of concerns (read/dispatch vs. processing).

Sensibly, your design should depend on

*

*number of clients

*I/O load

*amount of non-I/O processing (or IO:CPU ratio, or ...)

A: The first thing my server does is create a sort of a thread-pool; it creates 5 threads that all are blocked automatically by a recvfrom() function, though it seems that, on most of the times when I connect another device to the server, more than one thread is responding and later on that causes the server to be blocked entirely and not operate further
Rather than having all your threads sit on a recvfrom() on the same socket connection, you should protect the connection with a semaphore, and have your worker threads wait on the semaphore.  When a thread acquires the semaphore, it can call recvfrom(), and when that returns with a packet, the thread can release the semaphore (for another thread to acquire) and handle the packet itself.  When it's done servicing the packet, it can return to waiting on the semaphore.  This way you avoid having to transfer data between threads.

A: Your recvfrom should be in the master thread and when it gets data you should pass the address IP:Port and data of the UDP client to the helper threads.
Passing the IP:port and data can be done by spawning a new thread everytime the master thread receives a UDP packet or can be passed to the helper threads through a message queue

A: I think that your main problem is the non-persistent udp connection. Udp is not keeping your connections alive, it exchanges only two datagrams per session. Depending on your application, in the worst case, it will have concurrent threads reading from the first available information, ie, recvfrom() will unblock even if it is not it's turn to do it.
I think the way to go is using select in the main thread and, with a concurrent buffer, manage what wich thread will do.
In this solution, you can have one thread per client, or one thread per file, assuming that you keep the clients necessary information to make sure you're sending the right file part.
TCP is another way to do it, since it keeps the connection alive for every thread you run, but is not the best transmission way on data lost allowed applications.


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News, Views and Music Issue 134 (Top Five): AAA Musicians on Twitter
A slightly different list for you this week, dear readers. Following on from our 'shorty' nominations a while back (you can still vote for us at http://shortyawards.com/you by the way - thank you if you've taken the time to vote for us) here is a complete (we hope) list of each and every AAA musician that is currently using Twitter. Quite apart from getting the chance to plug my twitter feed again (I'm @alansarchives if you want to 'follow' me), this list was inspired by stumbling across Hollie Terry Sylvester's unadvertised feed and discovering he had even less followers than I have (that, surely, can't be right can it? The man's a living legend). The same goes for Wings drummer Denny Seiwell and Jefferson Starship bassist/keyboardist Pete Sears so the only explanation seemed to be that not enough people knew about these feeds. Hence this list – hopefully managing to navigate my way past the many unofficial feeds of people posing as AAA musicians for a giggle There are some weird ones too, including @philoakeyshair (tweets by the Human League vocalist's wig!) Remember, Twitter is the new socially acceptable method of stalking and your chance to get ever nearer to your favourite stars and there' something for everyone somewhere, even Spice Girls fans (@SpiceForce @EmmaBunton and @MelCMusic, not that I'm following or anything, honest, it's just that they keep turning up in my 'people you might like to follow' list - who says Twitter doesn't have a sense of humour?!) We've also chosen to draw your attention to those who have twitter feeds run through their official websites, like Paul McCartney or Brian Wilson, who might not get involved with Twitter directly all the time but do occasionally pop on for a tweet or three. What's interesting with this list, as with so many of these top fives/tens, is whose missing: Ringo for one (there isn't even a fake account – and there are dozens of people pretending to be John Lennon!), well known gadget lovers you'd think would be big on modern technology (Paul Kantner, Dave Davies, Neil Young) and those known for their love of fan interactions for another (erm Paul Kantner, Dave Davies, Neil Young!)Most surprisingly of all, there is no Pete Townshend, despite the fact that Pete pretty much predicted the whole internet/twitter thing with his unfinished 1971 masterpiece 'Lifehouse' (see news and views 81 for our modern spin on Pete's words). Some bands seem particularly well represented (did The Moody Blues get a special offer on twitter accounts?!), while others aren't here at all (no members of Crazy Horse, The Kinks, Lindisfarne, The Searchers or Simon and Garfunkel, for instance) – let's hope all that balances out soon! By the way, if you've come across someone we haven't spotted, why not drop us a line at our forum? In the meantime, happy tweeting!
@BrianWilsonLive
(Official Twitter Feed; note: there's also a basketball star called 'Brian Wilson' so don't follow him even if he turns up in the list of celebrities – unless you love basketball of course!)
@ALANJARDINE
@thebeatles
(official Twitter feed)
@PaulMcCartney
(not Paul directly, just his 'official feed')
@GeorgeHarrison
(again just his estate's official feed)
Amazingly there's no Ringo on Twitter yet! There are four Beatles children you might be interested in following though:
@JulianLennon
@SeanOnoLennon
@StellaMcCartney
@JamesMcCartney
Fans of Wings/Macca's bands might also be interested to know about the following three Twitter feeds:
@drumndenny (Denny Seiwell, with Macca/Wings 1971-74)
@OM28LJ (Laurence Juber, guitarist with Wings 1979)
@rustyandersen1 (guitarist 2002-date)
Finally, Lennon fans might be interested to find two of his greatest muses on Twitter:
@yokoono
@maypang
@bellesglasgow
(The band's official Twitter feed, occasionally used by the band members themselves)
@nee_massey (Stuart Murdoch, songwriter 1995-date)
@JacksonStevie (Stevie Jackson, guitarist 1995-date)
@Isobel_Campbell (singer 1995-2005)
@RichieFuray (guitarist 1965-68)
(surprisingly neither Stephen Stills nor Neil Young are on Twitter yet!)
@RogerMcGuinn (guitarist 1965-72)
@thedavidcrosby (guitarist 1965-68)
Crosby, Stills, Nash and Young
@thedavidcrosby
@sirgrahamnash
@jamesraymond (Crosby's son and keyboardist with C/N and CPR)
@jeffpevar (guitarist with Crosby's band CPR)
@los_demones (Greg Reeves, bassist with CSNY 1969-70)
@phil_lesh (bassist 1965-95)
@BobWeirRatDog (Rat Dog is the name of Bob's current band, guitarist 1965-95)
@BKreutzmann (Billy Kreutzmann, drummer 1965-95)
@The_Hollies (official Twitter feed)
@sirgrahamnash (vocalist/guitarist 1963-68)
@Terry_Sylvester (vocalist/guitarist 1969-80)
@humanleagueHQ (official Twitter feed)
Jefferson Airplane/Starship
@jormakaukanen (guitarist 1966-72)
@PeteSears (bassist/keyboardist 1974-86)
@Mickey_Thomas (vocalist 1979-89)
@JanisJoplin (Estate's Official Twitter Feed)
@KinksOfficial (Official Twitter Feed)
@nilslofgren
@lulushouts
@MonkeesOfficial (Official Twitter Feed)
@DavyJonesDotNet (his official Twitter feed, vocalist 1966-70)
@TheMickyDolenz1 (vocalist/drummer 1966-70)
@boyceandhart (Bobby Hart, songwriter 1966-70)
@MoodyBluesToday (Official Twitter Feed)
@JohnLodgeMusic (bassist 1967-date)
@fromMightyOaks (Ray Thomas, flautist 1965-2005)
@songwars (Mike Pinder's songwriting competition, keyboardist 1965-78)
@oasis (Official Twitter Feed)
@liamgallagher (vocalist 1994-2008)
@NoelGallagher (official Twitter feed, guitarist 1994-2008)
@BeadyEye (Official Twitter Feed)
Gilbert O'Sullivan
@gosdotcom (Official Twitter Feed)
@PentangleBand (Official Twitter Feed)
@therealdannyt (Danny Thompson, double bassist 1968-73)
@pinkfloyd (Official Twitter Feed)
@rogerwaters (bassist 1967-85)
@nickmasondrums (drummer 1967-94)
@OtisRedding (Estate's Official Twitter Feed)
@RollingStones (Official Twitter Feed)
@MickJagger
@officialkeef (Official Twitter Feed)
@bill_wyman (bassist 1962-89)
@RealRonnieWood (guitarist 1978-date)
@JamesPhelge (Stones room-mate, biographer and creator of the legendary 'nanker-phelge' face!)
@Ian_McLagan (organist 1967-68)
@nivekyeldog (or Kevin Godley backwards! Drummer 1972-76)
@TheWho (Official Twitter Feed)
@RogerDaltrey
@simont4000 (Simon Townshend, Pete's brother and Who reunion tour guitarist)
...And that's all folks! If you've found someone we seem to have missed then please drop us a line on our forum and we'll update this list – we'll do our best to keep it up to date if anyone is added in the meantime! That's it for now twitter fans – join us next issue for more news, views and music!
Labels: twitter
The Byrds "Mr Tambourine Man" (1965) (News, Views and Music 134)
The Alan's Album Archives Guide To The Music Of The Byrds 'All The Things' Is Available Now by clicking here!
The Byrds "Mr Tambourine Man" (1965)
Mr Tambourine Man/I'll Feel A Whole Lot Better/Spanish Harlem Incident/You Won't Have To Cry/Here Without You/The Bells Of Rhymney//All I Really Want To Do/I Knew I'd Want You/It's No Use/Don't Doubt Yourself Babe/Chimes Of Freedom/We'll Meet Again
We seem to be asking you to do a lot of time travel on this site of late, but bear with me because it's important for understanding the impact 'Mr Tambourine Man' had at the time it came out. It's 1965, you're a teenager or at the very least a music-interested youth and chances are you're American. You've watched the British Invasion take over your shores for a full year now and, frankly, it's all looking a bit tired. Part of you wants the British Invasion to run forever and the rest of you frankly think it s all starting to look a bit tired. After that sudden adrenalin rush when you realised that the Beatles had already released so many albums before you even knew the name (begged, borrowed or stolen from local record shops and/or relatives so you could keep up to date with everything) and you'd been to see 'A Hard Day's Night' five times things were falling a bit flat reduced to one Beatles LP every six months and two singles if you were lucky. During Christmas 1964 you'd conned your parents into buying 'Beatles For Sale', with its tired jaded overworked Beatles front cover and – by Beatles standards – tired, jaded cover versions and weird country-ish originals, which put you off slightly ever asking again and if you stayed around long enough for 'Help!' both the film and the soundtrack album seemed a little light on their feet, less the exciting energy rush of old than an attempt by older, wiser, tireder Beatleheads trying to remember how they used to come up with product (at least that's the general view – see review no 3 for why, with the benefit of 40 years hindsight, we no longer agree to this view). Gerry and the Pacemakers and The Searchers are the first to go from the front ranks of the British Invasion, other like The Roling Stones, The Kinks, The Hollies and The Who won't be household names for a while yet and even The Beatles have let you down. It's time for something new.
Or at least some clever spin on what's already been successful. When The Byrds came out with 'Mr Tambourine Man' the single they singlehandedly created a new sound by default, straight down the middle between the exciting rock and roll of the Beatles and the meaningful folk of Bob Dylan, the other big hit of the early 60s. Both factions existed in very different corners back then and yet both sounds were very contemporary. Frankly sticking the two together was genius, with a sound so recognisably new and yet so revolutionary all at the same time it was inevitable it would become a big hit. So much so that soon after this record came out The Beatles started digging Dylan and Dylan turned 'Judas' on the folk scene by becoming electric. Folk-rock was, in one neat half-hour long package, inevitable and suddenly everywhere. If you're American then you're probably also a teensy bit pleased by this outcome, after a year of hearing how great Great Britain is, to finally have a band of your own to worship and together with those clothes, those sunglasses, that cape and that amazing hair The Byrds simply had to be your new favourite group if you were a suggestive youngster in 1965. When this first record comes out in June 1965 (a couple of weeks before 'Help!' the album) the Byrds successfully proved that the single wasn't just a one-off but that they could successfully meet halfway on everything, making pretty much the world's first folk-rock album (though Bert Jansch has a claim to that too, he didn't get as much publicity or convert as many people back in 1965).
However, zooming forward to 2012, it's often hard to hear what the fuss is all about. We've heard the title track a million times now on the radio and old clips shows to the point where what once looked new and daring and the next word in cool just looks like silly and badly mired in time. We've also heard so many albums pitching their styles somewhere in between Dylan and the Beatles since this one, many of them doing it better, that we've become somewhat blasé to the true power of this record (the other 12 Byrds albums don't help, although to be fair they end up heading more towards psychedelia, country, pure rock and whatever the hell the rock-classical sound on 'Byrdmaniax' is meant to represent). After decades of reading about the back-biting of this band and the sheer amount of power struggles that went on you also get a bit distracted, going 'ooh this is a McGuinn bit!' and 'gosh what a lot of Gene Clark' rather than seeing the Byrds as a unified honest-to-God all-in-it-together band as they seemed once at the very beginning. By comparison with later Byrds albums there's also one heck of a lot of filler on 'Mr Tambourine Man' the album, with far too many cover versions and some truly unsuitable choices of material (always a problem with The Byrds and their eclectic bunch of influences, even for a band in the 60s) and here in the 21st century you could put a case together that 'Mr Tambourine Man' is the most bitty and most disappointing of all Byrds albums, if only because we've read so much about this album before buying it that we were expecting something magical and, well, timeless. In the end 'Mr Tambourine Man' simply sounds like the archetypal product of the year 1965, rather than the future as it used to sound once.
But there's a case to be made that an album deserves its place in your record collection simply because of the huge influence it holds over the next sway of records, however badly it ages itself. Let me re-iterate again: in 1965 this was the record to have. Owning it meant you were, gulp, cool (not a word we use very much on this site because, well, we don't believe in it as a concept very often but if you were young in 1965 then The Byrds were cool, in a way that modern supposedly 'cool' bands like The Arctic Monkeys and even Oasis that even your granny quite liked on the quiet never actually were), part of the 'next great thing', a thinking man's band as well as those of a rocker and enjoyer of pop. 'Mr Tambourine Man' is the sound of too many childhoods and way too many teenage crushes and romances for me to knock it completely here, so simply remember this: as ever with this site this is me looking from the outside in and trying to make sense of it all (and yearning to be one of the cool kids back in 1965 when being cool didn't mean hanging out, travelling around in gangs and being rude to people who weren't as cool as you were).
One of the reasons this album took off the way it did was surely because of the liner notes on the back sleeve. Now that might sound strange to the I-pod and even the CD generation, who might never actually look at the booklet with their purchases at all (the small type doesn't help much either with The Byrds guiltier of this in their re-issues than most). But back in the 60s people did hang out in record shops to look at records with their friends to look at the backs of vinyl albums and they then read them avidly again when they got home and had to wait for their parents to go out to get access to the stereo. Billy James, the publicist at record label Columbia, excelled himself on this record, making this then-unknown and un-tested band sound like a club you just had to be a part of, painting a romantic picture of how the band met at the Ciro's Club (we now know that the three main Byrds distrusted each other on sight) and some classic Byrds quotes about their music being part of a new exciting 'jet age sound' going 'kkkkkkrrrrrriiiiiiiisssssssssshhhhhh' and oh so very different to the 'aeroplane rrrrrroar of the 1940s' (nowadays in the 21st century all we've got is industrial computerised noise and thudding inhuman mechanical rhythms, so that our modern equivalent is simply an unappetising thuddthuddthudd, not that I'm jealous of the jet age sound era or anything, honest). For an 'adult' to 'get' these facts enough to put them on the sleeve of a debut album by an unknown group is insight indeed and the fact that James goes on to add 'there's a new thing happening...with an unseen drive that makes it compelling, almost hypnotic sometimes' is enough to make the listener salivate, never mind want to buy the record and could easily pass muster as a marketing technique on any new product in any era. (That said I'm less sure about the quoted lines about the Byrds being 'orange and green and yellow and near' – which sounds like a fan with a bad case of synesthesia to me; Tony Barrow's liner notes for the first few Beatles records are an under-rated part of their success too by the way and we ought to mention them more on this site but I'm running out of records so thought I'd mention it here).
By the way, all is not as it appears, as ever with the Byrds story. We know now thanks to various biographies, interviews and sleeve-notes down the years that the vision for a folk-rock hybrid was manager Jim Dickson's idea, not the band's. In fact when he tried to get them to record 'Mr Tambourine Man' (Dylan didn't release his version till after the Byrds' had become a single, incidentally, so it was even more fresh and new back then) the band hated it and sulked, before being forced into recording it if they ever wanted to work again. As it happens the band were still so young and untested that only McGuinn (who'd played back-up on a handful of Bobby Darin recordings, amongst others) was allowed to play on the single (none of the other Byrds had experience of making records by that time – bear this in mind next time you hear the Byrds' put-down of The Monkees' 'So You Want To Be A Rock 'n' Roll Star' for the heinous crime of – shock, horror – only playing on some of their own records; that said they do play on the rest of the album despite what some guide-books will tell you), with the as-yet non singing Chris Hillman and Michael Clarke not even at the session. If you look closely at the Byrds' history then you'll also realise that they had very different tastes and backgrounds to the folk-rockers the press had them pegged as (McGuinn loved folk and got into rock because of circumstances – the opposite is true in Crosby's case; Hillman, meanwhile, was a bluegrass mandolin player when he joined the band as bassists and Michael Clarke? Well, back then he was still hired as the drummer because he had a great haircut, not because he was particularly enamoured of music). In other words, the early Byrds success can be attributed to the abilities of those around The Byrds and whilst they were hardly puppets in the 'Spice Girls' bracket (and the Byrds do go on to forge their own destiny, as early as 1966) both Dickson and James should get a long-delayed bow for their part in creating that image that everyone wanted to be a part of come 1965 and in many ways the success of this album is more down to them than the band.
Only Gene Clark fits the criteria of folk-rock hybrid properly and it's no surprise that his contributions on this record are all the album highlights. There was never another singer-songwriter like Gene Clark, who somehow managed the difficult knack of writing Dylan-ish songs with a beat seemingly overnight and seemingly a year earlier than anyone else, McGuinn and Crosby included (you can hear how quickly he gets to grips with the new 'style' his manager wants on the Byrds early recordings released as both 'Preflyte' and 'In The Beginning'). Quite frankly, Gene's role on this album is astonishing: he's the de facto vocalist on half the album and the songwriter for much of it too, despite never having a single publishing credit to his name before joining the Byrds (or 'The Beefeaters' or 'The Jetset' , both early names for the band). He's also handling learning the cruel business of rejection well, having been booted off rhythm guitar by David Crosby despite at that stage being a better player (when Hillman came along he got booted off bass too). The other's response to his sudden shining talent was unusually harsh; aghast at the extra money Gene was making from songwriting they pretty much ostracised the singer and have been down-playing his role in the band ever since.
For all that, though, Gene is clearly the star of this album for 21st century ears. Amazingly, this is the first album we've covered on this site to feature a 'proper' Gene Clark contribution ('8 Miles High' being the exception). Frankly, that's not fair – his talent meant we should have expected one hell of a lot more of him (and indeed, if this site lasts long enough I hope to be looking at his solo career as well as his two Byrds LPs in time) and its strange in hindsight that he wasn't groomed as the band's big star at the time, like McGuinn or Crosby. That said, both of those figures were very clear in their desire to be famous – Gene by contrast was an artist's artist, in music simply for the recognition and inability to do anything else in life far more than he was in it for the fame, money and chicks, in a nutshell everything the band's managers and hangers-on were prepared to get for him; like Dylan they simply didn't know how to handle such a shy and complicated figure and even this early on it must have been clear that he had a far less robust temperament than either McGuinn or Crosby.
Biographers famously call the McGuinn-Crosby feud 'ice versus fire', with McGuinn's aloofness meeting Crosby's fiery temper head-on in power struggles for the band that seemed to be endless (though in fact only lasted three years before Crosby was kicked out of the band), but if so then Gene Clark is the 'earth' of the band, offering the real emotion and direction of the band in its early days. It somehow makes sadly perfect sense that Gene spent most of his short time with the band (leaving in early 1966) as the forgotten Byrd, ridiculed by the bigger egos of McGuinn and Crosby (there's a story that the pair used to try and split Gene up with his girlfriends, simply he could go away and write another moody song to fill up their LPs, which tells you much about their behaviour in this period) and left out of their proper legacy as late as the 1990s (the first Byrds box set 'Timeless Flight' is a masterpiece in re-writing history, with only four of Gene's songs on there – the same amount as even more 'forgotten' members John York, Gene Parsons and Skip Battin from much later and poorer-selling Byrds albums). Now many fans rate Gene as a forgotten genius because of the whacking great huge epicness of some of his small handful of solo albums ('No Other' is now seen as his greatest masterpiece with 'White Light' aka 'Gene Clark' lagging slightly behind), but for me it's his most understated and humblest moments that inspire me the most (the 1970s outtakes album 'Roadmaster' or the soon-to-be-released-on-CD-for-the-first-time 'Two Sides To Every Story' from 1977). Thankfully most of the song on these first two Byrds albums are humble, excellent story-songs that talk about doomed romances, betrayal and loss, sounding deeper than Beatles lyrics of the day but more comprehensible and identifiable than Dylan. If you know any of Gene Clark's songs and aren't a major fan then chances are you'll know the songs from this album which really struck a chord with the psyche of a generation and all three songs (and two co-writes with McGuinn) are the very best this album has to offer. Whilst the less-than-helpful support from early 20-something bandmates clamouring for the limelight Gene didn't want seems easy to understand, not least because none of them actually knew Gene that well (The Byrds never were one of those bands who did everything together and had been through hell and high water before finding fame– in fact they were heading in different directions from each other even before this first record was made), it's still a shame. Gene Clark deserved to be a star and even if he never wanted the attention in life he deserves it now, some 21 years after his death and his solo albums are in desperate need of a proper re-issue and re-appraisal.
There is one thing Clark, Crosby and McGuinn could manage together though and that was sing. Harmonies were still comparatively new in pop music in 1965, with at best only The Everly Brothers and (just about time-wise) The Beach Boys making singing harmony parts in counterpart popular before the Beatles came along. The chance to hear three such very different accents (McGuinn's Chicago, Crosby's California and Clark's Missouri ) working in tandem and sounding this deliberately American was every bit as influential as the folk-rock arrangements this album is praised for. Crosby already sounds like one of the best harmony singers in rock and roll, back when his voice was effortlessly angelic and cute (before the bad boy tendencies gave his vocals a slight edginess) and McGuinn's unique drawl gave the songs a real energy, but yet again its Gene Clark's deep grave tones that give these first two Byrds albums their unique edge and gravitas. All future Byrds albums feature breath-taking vocal arrangements somewhere down the line and Hillman will follow Gene Clark's deeper style so well from fourth album 'Younger Than Yesterday' onwards that many fans simply don't notice the change, but no later Byrds recordings match these first two albums (and contemporary singles) for well-crafted vocal arrangements, lushness and crisp originality. Frankly, the band never spent this much time working together again and that's a loss to our record collections and their legacy.
It's also worth noting how impressive McGuinn's guitar sound is throughout this album. Often erroneously praised as inventing the whole jingly-jangly sound of this era (not true, The Searchers had been doing it for two years before this), McGuinn nevertheless takes his playing further than anyone had ever gone, especially on his showcase 'The Bells of Rhymney', which is an obvious stepping stone towards psychedelia. In fact let's take a wider view on that: one of the things this album is often praised for is the sound of the thing. No other album (except successor 'Turn! Turn! Turn!') features this album's lively mix of Rickenbacker guitar (filtered through echo chambers to sound huge), pitter-patter drumming and lush harmonies, but with an edge. Both 'Tambourine Man' and 'Turn! Turn! Turn!' have a sound unique to them and they manage to elevate even the worst fare here (though sitting through 'We'll Meet Again' is still something of a slog). Usually when bands stumble across 'their' sound it happens after years of work and a series of mis-steps gradually working towards a goal (The Small Faces, The Who) – what's unique about The Byrds was that is seemed to arrive out of the blue. Whilst the heavily Beatlesy early recordings made in 1963-64 and released as 'Pre-Flyte' and 'In The Beginning' show a real skill in songwriting there's a chasm between how they sound and how this album sounds. That's partly down to the band knowing each other better as a group (Michael Clarke famously played on cardboard boxes in the band's early days because they couldn't afford a proper drum kit for him), partly because of strong engineering by Columbia's Dave Hassinger but mainly because something about the folk-rock tag 'clicks'. If nothing else this album sounds impressively similar throughout, despite a grab-bag of material dating back to the 1930s, and that's impressive considering we're still in the days when the major studios still expected rock and roll to be a passing fad about to die at any minute.
Going back to those early recordings, one puzzling thing about this album is what great tracks got left out. 'She Has A Way' 'Boston' 'The Reason Why' 'For Me Again' 'Tomorrow Is A Long Ways Away' 'The Only Girl I Adore' (all Gene Clark songs) 'You Showed Me' (Clark-McGuinn) and 'The Airport Song' (Crosby's first composition) are all first-rate songs written before this album and available on 'Preflyte' 'In The Beginning' or – in the case of the first track – as a bonus track on the latest CD re-issue of the album. Whilst I understand why the band were reluctant to let Clark dominate the writing credits so much, 'Boston' would have been more of a surefire success than any of Gene's songs for the album, a cracking Beatlesy rocker and 'Tomorrow' is perhaps the pinnacle of the whole Dylan-meets-Beatles idea, catchy but thoughtful with some words that for my money better Bob Dylan's often eccentric prose. Crosby's 'The Airport Song' is a gem too, the first inkling of the characteristically bizarre tunings he'll make famous with CSN and better than anything Crosby will write for the band until at least 1967. 'You Showed Me', while not as classic as these three songs, is also a better fir for the album and a better song all round than either of the two McGuinn-Clark songs that made the album 'You Won't Have To Cry' and 'It's No Use'. Had the Byrds had more clout within the industry, perhaps by making one of their songs the first single, then this debut album could easily have become the first debut album by a band ever to be made up of all their songs: they certainly had the talent for it and I'd gladly take any of the above list over any of the slightly dull cover versions on this record, yes even the title track.
But that said, would this album have been quite so influential without the rockier updates of not only Dylan but Pete Seeger and Vera Lynn? (whereas by contrast they added folk overtones to rocker and early band supporter Jackie De Shannon). We're back to where we came in again; if you were a kid in 1965 then this album is the best thing that could ever have happened, but come to it now as a bitten record collector anxious to find out what all the fuss is about and you might be a bit disappointed. Revolutionary in it's day, 'Mr Tambourine Man' deserves huge respect for being the first of its kind – but personally I don't buy the idea that this album is the best of it's kind too. The album's simply heading in too many different directions (depending on whether Crosby or Clark and, to a lesser extent for now, Crosby are in control) and plays it safe too many times. Once, though, this album was the future – and it's not the fault of Mr Tambourine Man that we've heard that future done so many times now that this album suddenly sounds like the past. 'Mr Tambourine Man' is often rated as one of the very best and most complete debut albums ever made, but if that's true then its down to Gene's songwriting and McGuinn's guitar – at this stage McGuinn simply can't keep pace and Crosby and Hillman haven't even written their first song for the band yet. There is still much here to recommend and whether you're a connoisseur of The Beatles, Dylan or The Byrds themselves then you still need to own this record to hear what else could be done with those influences.
The album starts, sensibly enough, with the title track. I'll admit that I'm not the biggest Dylan fan in the world and I don't consider this one of his strongest songs, but the Byrds version somehow manages to turn a quite difficult (even for Dylan) piece of prose into a proper sing-along hit without softening the impact of the words or the strangeness of the song as a whole. Few other pop songs in 1965 got away with lines about 'trips on magic swirling ships' where 'senses have been stripped' and 'hands can't feel to grip'. The words seem wrong for a 'pop' song and in fact the whole song structure has to be extended (as it is in many Dylan songs) to make sense for the sheer size and impact of the words. Just take a look at the first verse, where normally you'd expect an AABB rhyming scheme but no – the lines just keep on coming (AAAABCCCCD). Elsewhere the words are mystifyingly odd, seeming to tell the story of rock and roll musicians in words that have never been used to discuss 'popular' music before, with the tambourine player turned from a man tapping a bit of animal skin stretched over wood into the most important figure of his own day, with the narrator vowing to follow him to the bitter end. Of course, The Byrds had to 'clean' the song up a bit for airplay purposes (have you heard the original?!) and drop four of perhaps the most interesting verses. For the sake of clarity (and to show just how unruly the full version of this song truly is) here they are:
"Though you might hear laughin', spinnin', swingin' madly across the sun,
It's not aimed at anyone, it's just escapin' on the run
And but for the sky there are no fences facin'.
And if you hear vague traces of skippin' reels of rhyme
To your tambourine in time, it's just a ragged clown behind,
I wouldn't pay it any mind, it's just a shadow you're
Seein' that he's chasing.
Then take me disappearin' through the smoke rings of my mind,
Down the foggy ruins of time, far past the frozen leaves,
The haunted, frightened trees, out to the windy beach,
Far from the twisted reach of crazy sorrow.
Yes, to dance beneath the diamond sky with one hand waving free,
Silhouetted by the sea, circled by the circus sands,
With all memory and fate driven deep beneath the waves,
Let me forget about today until tomorrow."
That last line is a particularly interesting one. Gene Clark's song in particular but many other Byrds lyrics play with the notions of time – hence our allusions to time travel at the start of this review. Like The Byrds' music, Dylan's words are obsessed with the exciting 'now', the newness all around him that leaves him wanting more and his thought processes only catch up and turn these things into 'memories' when the fun exciting times are over. As a result, I'd have liked to have heard more urgency in the backing track (not by the Byrds, remember, barring McGuinn's guitar) and especially the vocals, where Crosby and Clark sound asleep at times. McGuinn's lead, though, is one of his finest, drawing all that's spooky and strange in Dylan's lyric and delivering them with the right shade of earnestness and mocking humour. In fact, considering that they hated the song and only recorded it after heavy record company pressure, they get this still unreleased song's exotic and slightly dangerous air spot-on. Personally I've heard this song so often that its often stilted air seems to get in the way of its pioneering aspects rather too much, but back in the day a song this different and yet still this catchy must have sounded like it was from another planet and I'm not surprised it was a big hit. It's also rather better than the other two Dylan tracks on the album, ones which simply seek to simply tidy up Dylan's often off-putting and deliberately un-musical song structure and vocals on rather generic pop songs rather than adding the exotic and dangerous airon a song that appears, to all intents and purposes, to be about the kind of new electric sound the Byrds have come to represent. By the way that's Leon Russell playing organ on this track (and the forthcoming 'I Knew I'd Want You'), long before his solo career and performance at George Harrison's Bangladesh Benefit Concert.
Better still is 'Feel A Whole Lot Better', probably Gene Clark's most famous moment with The Byrds and a sensible choice as b-side to the 'Tambourine' single. Clark's vocal is delicious, relishing the chance to say goodbye and good riddance to someone whose let him down but it's the band's harmonies and McGuinn's classy guitar work that the listener remembers. For such an early song this is a pivotal one indeed, featuring many of the things people associate most with The Byrds and is easily the best performance on this first album, with even Michael Clarke's often shaky drums sounding at home on the very Beatlesy 4/4 time drum rolls. As a composition it somehow manages to be an even more halfway house between Dylan and The Beatles than the title track, with a driving tempo and easy-to-follow lyric that nevertheless still digs deeper than most British Invasion songs of the period. The song's lines about falsehoods and deception aren't that common in other songs of 1965 and the very fact that the narrator is explaining his actions to his girl at all after she's obviously wronged him is way ahead of its time (to be fair, the narrator sounds as if he's talking to himself in places and working out what to say to his girl later but even this is pretty rare by 1965 standards – compare with The Beatles' comparatively nasty lyric to 'Run For Your Life' a full five months after this album's release). Listen too to the chorus where Gene sings 'I'll probably...' before the title line, a moment of doubt in a song that otherwise sounds certain and determined that really gives it an edge (it helps that gene sings those lines solo and quietly, almost to himself before the rest of the band kick in and drive him onwards). An impressive surge of energy and thoughtfulness all tied together with perhaps the best hookline of any Byrds record, this song should have been an A-side and not just a well-loved b-side.
Alas the cover of Dylan's 'Spanish Harlem Incident' isn't so impressive. McGuinn either doesn't understand uncle Bob's lyrics or doesn't identify with them as much as other Dylan songs the Byrds tackle over the years and the rather timid arrangement doesn't add anything to the original except a rather more listenable vocal-line. In fact, in places the Byrds' harmonies sound dangerously close to 'square' 1950s territory, singing in simple thirds for most of the song – something that'll become a huge no-no as the sixties get into their stride (Crosby sounds especially wooden here). You can hear the original on 'Another Side Of Bob Dylan' and its far from its author's best song but at least he gets to sing it with some conviction – The Byrds simply sound lost, covering up their confusion with large dollops of jangly Rickenbacker guitar and a rather irritating tambourine part that's been mixed way too high. In retrospect a curious decision, given that the band could have chosen one of any number of Dylan songs to cover – it doesn't say much for them or for Dylan himself that the latter actually liked their version of this song and then promptly dropped it from his concert sets the minute the band's version came out.
'You Won't Have To Cry' is a pretty song by McGuinn and Clark. Whilst the pair have never really spoken about how they worked together for this short period it sounds to me like the main melody of the tune and the whole of the middle eight are Clark's territory (with a similar stop-start rhythm quality to his other songs on this album), whilst McGuinn contributes the far more catchier lyrics and chorus, which are perhaps the most Beatles-influenced recordings the band ever released in their original lifetime (though some of the earlier, unreleased till the 1980s recordings are more heavily influenced still). The result is a pretty song, rattled off with some nice touches such as McGuinn's opening slashed guitar chords and the sudden addition of Crosby's harmonies in the second half of the chorus, but one that only truly comes alive on the middle eight, when Clark's growl naturally takes over the song on lines about the upset that caused the row rather than the narrator trying to put it right. The lyrics are a touch trite ('Put your faith in me and girl you will see') but yet again are ahead of their time in that the narrator openly admits his faults and apologises for them, promising to put things right by song's end (indeed, it sounds like it belongs to the end of a 'personal journey' musical than a pop album from 1965). That said, this song is still not as deep or as original as Clark's other songs on the album and you wish that McGuinn had kept his distance, letting Clark add more touches of his own to the song.
'Here Without You' is a case in point and my candidate for the best song on the album. Clark's narrator really pulls at the heart-strings on a song of loss where nothing feels forced and the melody-line really does sound like a spurned lover in a depressed frame of mind. Gene Clark never had much luck with his romances his whole life through and that inner torment really comes to life on this gorgeously crafted song where a voyage through the streets where the two lovers used to be happy seems to mock him as he passes through them. This is deep stuff indeed for mid-1965 and the unexpected emphasise on the lines 'it's so hard...' is a masterstroke, underlying just how genuine this song is. Clark's vocal is terrific too and very much the equal of the song, tugging at the song's notes rather than skating across them effortlessly as Crosby's harmony line does (for once there's no McGuinn vocal on the track) and adding such melancholy you feel the whole song is going to sink like a stone. It doesn't, thanks to a marvellously uplifting middle eight that surges through the speakers and all but pleads 'Though I know it won't last, I'll see you someday...' Like the narrator, though, the song simply ends up back in the same cul-de-sac and instead of a happy ending we get the first verse repeated again, a classic bit of songwriting from a man well ahead of the pack. The one element of this song that doesn't quite make it is Crosby's vocal – those of you who've come to this review from any of my dozens of jaw-dropping how-does-he-do-that? Crosby/Crosby-Nash/CSN/CSNY reviews will wonder how I have the nerve to criticise one of my biggest ever heroes but Crosby in this early period just hasn't got into the art of singing yet. His work here is beautiful by itself but it's the wrong part to go with Gene's depression, sounding too nice and sugar-coated, until the middle eight at least where he plays a tug-of-war with Gene's vocal. How shocking that both Byrds will be gone just two years on from recording this track...
Side one ends with 'The Bells Of Rhymney', a traditional song smartened up by folk legend Pete Seeger and subjected here to perhaps the greatest re-working of any Byrds cover. Apparently The Byrds had only just started playing this song in their set-lists when they recorded this take (unlike most of the rest of this album, some of which went back two years to when the band were the trio 'The Jetset'), which is impressive given that its another of the strongest band performances here and Clarke's frenetic but controlled drumming, with its sudden full stops and crashes back into the song, is as good as he ever gets. Most commentators marvel at how The Byrds manage to 'electrocute' such a sad and serious song into such an upbeat cover version but, by contrast, its the fact that the Byrds manage to keep the severity and solemnity of the song intact that impresses me most. Despite the bouncy guitar lick and closing chord ripped off The Beatles' 'Eight Days A Week', the mood is terribly doom-laden with McGuinn and Clark's shared vocal very bass-heavy and the lines about the church-bells tolling for the deaths of innocent Welsh villagers left intact. The best part of the song though is the greatest re-invention, when the band close out the song with a rather nervous sounding 'ah-ah-ah-ah-ahhhhh' in a troubled minor key, before answering with a rather more determined and together major key 'ahhhhhhhhh', which has the musical effect of sounding like a rainbow coming out after a bad storm. Apparently the Byrds took a lot of time and effort trying to phonetically pronounce the Welsh towns in the song but still got it wrong – I'm no Welsh linguist either but apparently the title is pronounced 'Rime-ney' (as in 'time-say'), not 'rhim-knee'.
Side two starts with second single and third Dylan cover 'All I Really Want To Do'. For many years the legend has gone that Sonny and Cher caught the band in concert at their equivalent of The Cavern (Ciro's nightclub) shortly after 'Mr Tambourine Man' became a hit and that the duo copied the whole Byrds arrangement of this song for their own. In fact whilst the two songs came out closely together The Byrds got their first and had peaked the week before Sonny and Cher's version came out. While better than the duo's and just about having the edge over Dylan's original too, this is another case of wrong band wrong song. McGuinn flounders with the lyrics, which suddenly sound too trite and poppy when heard without Dylan's gruff vocals attached, and the band sound far too sunny for a song that's really about frustration and last chances for a relationship. McGuinn memorably fluffed the song's lines on the most often broadcast clip of The Byrds (for TOTP during their visit to Britain) and you sense the band needed longer to do their homework before taping it to begin with. That said, Crosby's falsetto middle eight ('I don't want to take you out...') is genuinely spine-tingling and the sudden unexpected shift of keys that navigate back to the song's main riff via some full-throttle band harmonies is genuinely exciting. The trouble is that's all there is to get excited about – and even Dylan was said to be upset about this recording (Dylan being Dylan he preferred the inferior Sonny and Cher version!) By the way, the alternate take used for the single version has a few subtle differences, as you can hear if you own the latest CD re-issue (I don't as it happens, so I'm writing from memory here, forgive me if I get it wrong!) most notably the opening ungrammatical line 'I ain't looking...' replaced with the far more English-teacher-pleasing 'I'm not going to...' and a slightly faster tempo. The jury's still out which version is better, though, as it doesn't make a whole lot of difference to the song.
'I Knew I'd Want To' is another classy Gene Clark ballad, not quite up to 'Here Without You' but still impressively inventive for a song of this vintage. This time Crosby's harmony piece simply makes the song, offering a melancholy counterpart to Clark's more straightforward lead and showing more of the jazz tinges common to his later work. Lyrically this song sounds like the earlier 'hello' to 'Here Without You's 'goodbye' with some classy lines about how unique this relationship is ('I felt so close to you...') and the never-before-felt feeling coursing through the narrator's veins that 'I knew I'd want you...just by looking at you'. There's also a –for those times – second edgy reference to a 'trip' which, like the line on 'Mr Tambourine Man' somehow managed to get past the censors (they weren't so kind with Jefferson Airplane who used the same word on a single in 1966!) With a lyric like that, which never departs from that feeling of love, you'd expect the melody to be more like 'You Won't Have To Cry' but no – what we get is a tour de force of crashing, convulted and angular melody lines that reach for lower and lower notes during the course of the song, as if the narrator is reaching deep into his soul. There's also a really ominous air, heard in both the solemnity of the vocal arrangement (just contrast the way they sing the Beatley 'oh yeah-eh' on the unexpected downbeat during the last note in the song to the joyous way they sang the line earlier on the album) and the slowness of the tempo. In fact if this song has a precursor its The Beatles and particularly John Lennon's similarly complicated 'Not A Second Time' (from 'With The Beatles') and 'oh no not again' sums the feeling of both tracks up quite well. Even Crosby, never the most supportive of songwriters in his Byrds days, admired this song and the way it managed to stay simple despite some very complicated movements across chords quite rightly so – this is another Gene Clark tour de force and amazingly his third outright classic on this album.
Alas his last song 'It's No Use', co-written with McGuinn again, is not up to that high standard. It's more abrasive than the other early Byrds songs and is similar in many ways to the band's earlier song 'Boston' (though sacrificing that song's joy for more weary anger). Musically this song sounds more like The Beatles' 'You Can't Do That', made up of short staccato stabs and slashed chords, the like of which the band will never attempt again (there are other Beatles references too in the fi-i-ind' and 'befo-o-o-res' that suggest this is an early song made back when the Beatles hadn't left behind their Merseybeat roots). The slightly jarring pace and the fact that the emphasis is for once on the tune not the words makes it stand out a mile on this album – possibly because there is no actual chorus to this song, just one long verse, delivered in a stop-start manner that makes it sound more like a letter than a song. Refreshing as the change is and as good as the performance overall is, you can't help feel disappointed that the band are trying so hard to be something they're not, especially since this all-too-easy-beginner's-mistake has been avoided successfully across the rest of this album. That said, McGuinn sounds happier on this track than he has in a long time, adding a long string of jangly guitar parts that really notch up the tension and turning in the best of his pre-psychedelic years guitar solos on a seemingly improvised sloppy outburst of feedback and chaotic fury that both Dave Davies and Pete Townshend would have been proud of. Gene Clark, too, sounds committed to the vocal and manages to deliver quite a tongue-twisting lyric with his by now characteristic heartfelt aplomb. Again, only Crosby – mixed rather too high in the mix – rings false.
'Don't Doubt Yourself, Babe' is a Jackie De Shannon cover, presumably chosen as a 'thankyou' for her supportive efforts in the band's early days. Jackie probably thought of them as the natural heirs to her close friends The Searchers' throne and they give her song the same jingly-jangly upbeat rhythmic delivery that band gave her 'When You Walk In The Room' song. If so, then The Searchers win the battle of the covers, packing more wallop and energy into their impressively re-arranged riff heavy song than the Byrds manage in this cover, which is turned into a rather percussion-heavy jazz freakout that has an almost Bo Diddley hypnotic feel to the delivery. By the sound of it, this song worked far better live than it does on the record, with the band turning it into a very Searchers-ish extended loud-and-soft jam but alas no live recordings of this first Byrds line-up appear to exist, with all TV appearances of the day mimed. Although recorded at the suggestion of manager Jim Dickson (who'd been impressed with the way De Shannon stuck her neck out to tell everybody how great she though the Byrds were long before they'd made it), apparently this was Michael Clarke's favourite song of the setlist, giving him the chance to indulge in the r and b that was more to his taste back then (indeed, he sounds mightily close to Charlie Watts on most of this track, with the same jazz licks filtered through a simpler rock and roll tempo).
'Chimes Of Freedom' is yet another example of McGuinn taking the lead on a Dylan song and is perhaps the most hippie of all Dylan's songs, imagining a future full of bright vibrant colours and peace across all barriers as prejudices lift one by one. How odd, then, to learn that this song was recorded on the very last day of the sessions when tensions were tight and the band had a huge fight over the arrangement (leaving manager Dickson to sit on Crosby's chest and more or less force him to record his harmony vocal). The tensions were worth it: despite being probably the best known Dylan song before the Byrds made this album, they make this song their own far more than the other three, adding in a delightful vocal arrangement and a slower, more structured tempo that suits the day-dreaming feel of the song. The 'dee-dee-dees' on the fadeout are a little too insipid and uninspiring to measure up to the song but, apart from that, the Byrds get this track of quite hope and determination spot on, with this song so beloved by fans that they kept in their set-lists longer than any song from this album barring the title track. It was also memorably the only 'oldies' song the band played at their Monterey Pop festival set in 1967, their last show with Crosby (Clark had already left) and the fact that this song still sounded the most hippie-like and forward thinking in their set says much for how far ahead of his time Dylan was with this song (although, curiously, Dylan's always gone on to say how false he felt the flower power era to be).
The album the ends, like all good Byrds albums, with an 'oddball' tracks. Unsure which of them to make the 'Ringo', they decided their novelty song would instead be a cover version of a song that fans simply wouldn't expect them to record and that they'd make it the last track on the album to boot. 'We'll Meet Again' has been covered by hundreds of people since war sweetheart Vera Lynn sang it in during the second world war (see Pink Floyd's 'The Wall' review – no 76 - for how strong a pull this song had on the international psyche), but never like this. Sped up slightly, given a simple two-part harmony (by McGuinn and Crosby – Clark must have been out that day) and a jazzed up Rickenbacker accompaniment, this song must have sounded unrecognisable to those who knew the original. As a song I've never much rated it either – the idea of meeting again after troubles is hardly original to this song and others have done it better, without such cloying and obvious chords to boot. To this day no one can quite tell whether the band were serious or hated the song as much as me and were laughing at it when they did this (their clipped over-enunciated accents could be either a deliberate attempt to court favour with a previous generation or a bit of mocking fun, as could the very Beatlesy 'some sunny day-e-yah'). The result is memorable and arguably unique – the only other time a 1960s band had covered a pre-1950s song on an album had been The Beatles with 'Til There Was You' and this time around the Byrds actually dare to put their own touches onto proceedings. The sound of two generations (give or take a few years all the young in the 1960s had parents who had lived through the war) colliding has never been louder, especially since this song is cleverly programmed to follow the 1960s youth manifesto 'The Chimes Of Freedom' – the sound of the one against the other is profound and strangely moving, as if the band are vowing never to go back to a time when enforced battles, lost loved ones and stiff upper lips were an accepted part of culture; from now on it's heartfelt sincerity and open feelings all the way. The band will go on to cover folk standard 'Oh! Susannah!' as their closing track on the next LP – while just as daft a choice it doesn't have the same impact as this song, which is still quite politically charged and locked into its time period today; how daring must this have sounded in 1965, just 20 years after the end of the war?!
And that's the thing with 'Mr Tambourine Man'. It is daring. It tries things that have never been tried before and was perfectly in tune with it's times in a way that few albums have been since. In 1965 with rock and roll slightly on the wane it was almost inevitable that the Merseybeat's other big influence, folk, would show itself and combining the two together was a very important move forward for music. Even if it wasn't really The Byrds' idea, they do a good job of sticking religiously to their halfway point between Bob and Beatles for this album and there are several songs here – notably the Gene Clark ones – that deserve to live on as prime examples of the year 1965. Of course there are many others that don't work either and that's curious because, had the lesser songs here been junked in favour of the superior songs left behind from the Beefeaters and Jetset days then this could have been the greatest debut album of all time.
A Now Complete Link Of Byrd Articles Available To Read At Alan's Album Archives:
Labels: 6/10, Bells Of Rhymney, Gene Clark, Mr Tambourine Man, The Byrds
News, Views and Music Issue 134 (Top Five): AAA Mu...
The Byrds "Mr Tambourine Man" (1965) (News, Views ...
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Brass bands in row over child performance licences
https://www.bbc.co.uk/news/uk-wales-48939667
Image caption Brass bands feel it is unfair they have to apply for licences when there is no need for sports teams to do so
Children may not be encouraged to join volunteer brass bands in the future because of a row over licensing.
Bands legally need a licence for under-16s to compete but they feel it should only apply to those who are paid.
The child performance licence protects children from exploitation in the workplace and is issued by councils.
Some want it scrapped and others have complained about varying rules councils have, but the Welsh Government said it was "not intended to be burdensome".
Bands only discovered the law in March when a UK-wide umbrella organisation Brass Bands England (BBE) posted on Facebook about the need to licence all players under 16 ahead of regional championships being held in north Wales.
It stems from an old 1960s law to protect children from being exploited in the entertainment industry which was revised in 2014, but BBE said councils were catching up with how it applies to brass bands.
A letter has been written to AMs and Welsh MPs by the chairman of Cross Keys Silver Band in Monmouthshire, which called the licence "unnecessary".
Top brass: Defying budget cuts to save the school band
Autistic woman's song strikes a chord
David Francis wrote he would be proposing to the band "that we do not encourage children to join" because of the risk of falling foul of the rules surrounding child performers.
He agreed it should be in place for paid performers but for volunteers, it was "poorly thought out and lacking in knowledge about how brass bands operate".
Image caption Ammanford Silver Band has a small number of children under 16
Gary Pritchard, secretary of Beaumaris brass band in Beamaris, Anglesey, said the licence was "an extra level of bureaucracy".
"The child performance licence is seen as a form of child protection but it's not. It's a legislation that was intended to stop people from being exploited in the workplace rather than any other way," he said, adding all volunteers are DBS checked.
"We would like to see brass bands removed from the child performance licence requirement in much the same way that sports teams aren't required to have this legislation."
Other bands have called for the licensing application process to be made simpler because different councils have different requirements, leading to inconsistency.
Philip Rogers, from Ammanford Silver Band, said: "To a certain degree I can see why they have put them in place.
Image caption Seindorf brass band in Beaumaris have had to apply for licences before competing in different areas
"We are quite fortunate but some bands have 20-plus individuals and to fill all of the paperwork is quite a colossal task I would have thought.
"All the councils work from a different remit and if you were to standardise all of the forms it would please everybody."
A Welsh Government spokeswoman said: "The purpose of a child performance licence is to safeguard children taking part in a performance or activity.
"It is not intended to be burdensome, but a fundamental step in providing assurances that our children are appropriately safeguarded when partaking in performances and activities outside of the school environment.
"We will raise this issue with local authorities to identify whether more can be done to make the process more consistent without jeopardising the safety of the child."
Autistic woman's 'acceptance' song gets huge response
Call for new national body to save music education services
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A Dhaka court on Tuesday fixed June 8 for hearing on framing charge against BNP Acting Secretary General Mirza Fakhrul Islam Alamgir and 26 other leaders and activists of the party in three separate car vandalising cases filed with Paltan and Shahjahanpur Police Stations in the capital.
Magistrate Tarek Moinul Islam Bhuiyan of the Chief Metropolitan Magistrate (CMM) Court of Dhaka fixed the date after hearing on the time petitions.
Several accused including senior BNP Standing Committee member Gayeshwar Chandra Roy and Schechchasebak Dal president Habib-Un Nabi Khan Sohel, who are now behind the bar, were not produced to the court.BNP Joint Secretary General Abdullah Al Noman, Juba Dal president Moazzem Hossain Alal and Students' Affairs Secretary Shaheed Uddin Chowdhury Anne, were present at the court Tuesday. Earlier, April 29 was fixed for charge hearing in the three cases.
On December 24 last year, the police submitted the charge sheets against the accused leaders and activists of BNP.
On March 2 last year, Paltan Police officials filed two cases while Shahjahanpur Police officials filed another case against the leaders and activists for vandalising vehicles and creating panic among people when a procession of opposition BNP taken out from their Naya Paltan central office was heading to Maghbazar of the city.