text:
Some thoughts on 'Free' methodology and practice…
It's the big buzz-concept in the online world – the new currency is attention, recorded music can be duplicated at zero cost, so we should all give it away in order to promote ourselves as a brand, and the caveat often added to this is that we make our money off live shows.
OK, let's contrast this with a distinction I've pointed out quite a few times over the years between bands from the US and bands from the UK. As a general rule (and there are exceptions on both sides, but it pretty much stands) American bands are 'better' live, while British bands are more creative in the studio. The reason for this is one of necessity and scale: the live circuit in the US means that you could quite easily play 250 nights a year and not repeat yourself for a couple of years. It's quite possible for a coffee-shop-sized artist to literally 'live on the road' – if you want to know more about that, I seriously advise that you get Seth Horan's 'Between Two Oceans' DVD – this isn't a slick presentation about how touring works. It's a fly on the wall look at actual life on the road. Some of it's funny, some of it's silly, some of it looks like proper fun, some of it looks like purile nonsense. All wrapped around Seth's fantastic music…
The thing with Seth's DVD is that it looks like some kind of weird fairy tale from this side of the Atlantic. Here's why. if you are gigging in the UK alone, VERY few bands ever get to do more than 30 or so gigs a year. I asked a Live Nation employee recently about the bands they promote here, and who is doing more shows than that. Off the top of her head, the only name she could think of was Status Quo. Not one 'new' artist.
So, unless you're clearing at least £500 a night as a solo artist, you aren't going to be making a living out of gigs. The musicians I know who make sensible money playing live music in the UK are playing weddings, jazz or are in tribute bands.
So, giving away your recorded music as a way of getting more gigs makes far less sense in the UK than it does in the US. A lot of British bands get signed without having played even 15 or 20 gigs together. The standard model was to put together a band, play a few local shows, then try and get a 'showcase' at some shitty venue in Camden in order to 'get signed'. (If you see footage of really early Coldplay, Stone Roses or Travis TV appearances, you'll see what happens when a band doesn't do the road work… painful…)
One possible answer to this is 'well, tour abroad then!' – which is a great suggestion, and one that some artists are able to take up. Sadly, the cost of being on the road away from home is ramped up that much higher than if you're near friends and family that will put you up, so the chances of you making money at it are negligible. In fact, what you need in order to make money abroad are merch sales… including CDs…
As for UK artists touring in the US, that costs a HECK of a lot of money. Seriously big money. You need a major following at home, or a US record label to make it work, or to do what I do, which is to only do things that are sponsored by a European company and not get paid for gigs, but for 'demos' and trade shows like NAMM or bass-day events. That's not an option for 'bands' or people who don't have those kind of relationships with gear companies…
OK, that said, what's the value of 'free' for us then, given that we need to make some money off this. A few observations on the current trends in 'free' music:
Radiohead didn't 'give away their album for free': no, what they did was use a low-ish resolution copy of most of the tracks from the album as a way of generating MASSIVE publicity for a normal CD release, but also monetized their obsessional fan-base by selling vinyl to people who don't even own record players. They used the leverage they had from already being one of the world's most successful bands to create MILLIONS of pounds worth of column inches and airtime in every conceivable media channel. The amount of money they 'made' from their venture HAS to have factored in the amount of money they SAVED that they would normally have spent on advertising, and the amount over and above any ad campaign they could ever afford that they got from the stunt.
Ditto Nine Inch Nails. Trent Reznor putting out an instrumental album is not a particularly 'newsworthy' event. Trent Reznor 'reinventing the way bands market and sell their product' is. The fact that it was a 5 album set of instrumental stuff is neither here nor there. Just like Radiohead, Trent leveraged and amplified the residual level of interest there was in him as an artist already associated with the zeitgeist, albeit one quite a few steps down the food chain from Radiohead in terms of mainstream public perception. So Trent made his own album newsworthy by coming up with a payment pyramid that again leveraged his obsessional fans' commitment to the band by offering massively overpriced limited edition packages (back to scarcity as a selling point…) and making the price on the download so cheap that the teaser 'free' bit of it drew people in.
Both bands got huge exposure, but still relied on it being any good for word of mouth to sustain it or for the success of the record to spill over into live success – Neither made a loss on the music in order to promote gigs: I think in the final analysis, both bands will have made more money from these 'upscaling' adventures in progressive scarcity than in any previous album… but that's a guess. We'll see when the stats come in.
The bit of this that can be drawn out for a starting artist to use is the pyramid –
at the bottom is freely downloadable lower resolution partial release/live set/older material/live video compilation etc. that provides the curious with something that gets them involved in what you do. It gets clicking, it demands time and means they're more likely to stay than click away.
Next up is ad-supported listening – napster/last.fm/rhapsody/reverb nation – you get a coupla cents for each play, but often they'll show up on playlists or in tag clouds and you'll reach people who might never have heard of you that way…
From there we have low priced download albums – higher res than the freebies, easy to get (either from your own site or via iTunes/eMusic/CDbaby/Amazon – those are the big four) and coming with extra tracks not in the free version, sleeve notes, photos, printable artwork etc… drawing people in…
Next up from there is CDs – the old faithful. Audiences still want something to take home! The value of CDs at gigs is massive. Feel free to do USB sticks/MP3 players/DVD discs/whatever as well, but good old fashioned CDs might be declining, but for the next few years, you're going to make more money on gigs if you've got something physical to sell. A lot more if they're any good!
Then we're into the tip of the pyramid and what goes on here depends on your audience. Some possible options – 24bit audiophile downloads :: CD/tshirt/poster packages :: CD/DVD double packs :: boxed-sets of your entire catalogue :: street-team-only dinners :: fanclub only gigs :: weird freebies (food, stickers, domestic items relating to the name of the band or the artwork etc.) :: instructional material :: remixable files :: anything personalised…
Free is all about attention. Making product available for free is utterly VITAL in the current climate. However, there HAS to be a degree of subtlety and nuance in how it is applied, how you make it work, how you reach your audience, and how you move them on from the 'gateway drug' of free low-res MP3s to Class A merch-buying.
And on that note, you need some free stuff, so go Here and Here to download over 2 hours of free fabulous music!. Go on, you know you want to…
And if you've already done that and want some more, there's The webshop here for CDs and other downloads. :o)
Two free albums for you to download!
Oh yes, you read that right, TWO delicious free albums – volumes one and two in the 'Lessons Learned From An Aged Feline' series.
Part 1 can be had from Last.fm by clicking here
And for Part 2, you have to go to my Reverb Nation Page – and sign up for the mailing list there, then you can download all of that one too!
Anyway, that's about two hours of lovely tunes for you!
Why am I giving them away? Have I suddenly decided that paying for music is a bad idea? Is it that I think they're too bad to be worth selling? Perhaps there's a third option – I released 10 full length CDs on Pillow Mountain Records since 2000 – 7 completely solo ones and 3 collaborative. Four of them were very limited edition CDs – only ever 100 copies made on CD – which were given away at the time to people who pre-ordered the CD they accompanied. The three that I did with solo albums were called 'Lessons Learned From An Aged Feline' Pts 1, 2 & 3. The title came from my love of all things Cat – I had a very old cat during the time I recorded the first two volumes, and two elderly cats by the time of the 3rd, so just chose titles for the tracks that were inspired by the cats. And a few other silly things thrown in.
The tracks themselves were largely things that were recorded at the same time as the album they came with, but just didn't fit within the flow of the record. I tend to record up to 3 or 4 hours of releasable material around the time of an album, and so can often get a double album of CD-worthy stuff. The LLFAAF series gave me a chance to put some of that out, without it breaking the continuity of the 'proper' releases. I've had some emails from people suggesting they prefer some of the Lessons Learned tunes to the stuff on the CDs…
Anyway, they were free to start with, but limited. Many years have gone by, they're available via my webshop for cheaps, but their value as a way of getting people who have maybe heard of me but not bothered to buy anything to have a listen is greater than the few quid a year I make by selling them. It's also the case that the versions that are free to download are, I think, 128k MP3s. I'm going to switch everything on my webshop to 320K VBR files pretty soon, so if someone wanted the hi-res versions, they'd still have to get them there.
So these are either a way to get people listening (and in the case of Pt 2, to sign up to my mailing list via my Reverb Nation Page) or they are a thankyou to the people who've been buying my stuff all along and are patiently waiting for my long-overdue next solo album. Here's some stuff to fill that gap.
And of course, if that's still not enough to satiate your need for Steveness, then head to www.stevelawson.net and click on any of the album sleeves at the top of the page to go to the shop to buy downloads or CDs, or head to iTunes or eMusic and search for me – CDs and downloads are always available to buy. I particularly recommend the EP with Lobelia – the songs with here are definitely among the best musical things I've ever been involved with. And it's only £3.50 :o)
Then, feel free to post reviews, links, tweets and spread the word – that's what I'd like from you in return. It's not compulsory, I shan't be checking up on you. I'd just be grateful.
So there you go. Free stuff from me. Enjoy!
Creativity and Socially Networked Marketing – the good and the bad.
So much is being written about the egalitarian nature of online distribution, it would be easy to believe that all our worries as wannabe professional musicians are now over. We all know that we can get a myspace page and a facebook music page, a reverbnation widget and a last.fm page, just like the big boys. We can also get our music onto iTunes and eMusic, Amazon and Rhapsody, just by sending a CD to CDBaby and paying them less than $40 to set it up. Easy, huh?
Well, not quite. It's true that the music economy in the last couple of decades has shifted from hundreds of acts selling millions of records to millions of acts selling hundreds of downloads, but two things are still problematic – monetizing the attention that we're given, and building online spaces where attention is available in units greater than 30 second chunks.
You see, the huge problem with the MySpace/Youtube/iTunes generation is that it favours instantaneous gratification. It favours music that 'wows' in the first few seconds over music that takes a while to grow – in much the same way that mainstream pop radio has done for decades. It's just that now, it's not just the top 40 sector that's expected to fit that paradigm, it's everyone. There's no special version of myspace for people with long songs, where the listener knows that it'll take a particular piece of music a good few minutes to get going and reveal its hidden magic.
It's true that to a degree it has always been thus – playing music to your friends in a 'hey, check this out!' scenario has always been a less comfortable proposition if you're introducing them to the magic of Steve Reich or Brian Eno's Music For Airports than if you were letting them in on the hitherto-undiscovered-to-them genius of Chic or Duran Duran. Pop music is by its very nature more immediate.
No, the problem here is a slightly more insidious one – it's that all of us, 'pop' acts and more difficult to classify musicians alike, are being encouraged to market what we do via these channels in the same way, and music lovers are being encouraged to look for it in that way, and it can have a negative effect on the way we create and the way we find the music we love.
The fantastic potential that Myspace/Youtube/iTunes gives us to connect with an audience that we'd previously have needed a record label and radio plugger to connect with is still largely bound up in the 'instant gratification' notion of where the value lies in a piece of music. 30 second previews of tracks are useless for through-composed or gradually evolving music. 30 seconds of just about anything by Michael Nyman or Philip Glass isn't going to show where the piece goes as it unfolds over the course of minutes rather than seconds.
How do we deal with this? I think acknowledging it is the first part of the answer – once the influence has been 'named' we can see if for what it is, and hopefully recognise the difference between our own creative urge pushing us towards brevity or accessibility (certainly no bad thing if that's where you're leaning) and the crippling of a deeper more evolved sense of where a particular piece of music should be going out of a fear that it just won't work on myspace.
Download culture is wonderful in that it frees us up from the limitations of length – in both directions – that vinyl/casette/cd/minidisc had – we can put out tiny short works and not feel like we need to pad it out to fill a CD, or we can release massive epic hours-long single pieces if that's really where our muse is heading. There's nothing to stop you putting out 10 hours of continuous music, other than the limitations of the download speed of the person trying to get hold of it. We're no longer constrained by pressing cost or media size, but we are still subject to the evolution of the music-discovery culture, and we all need to be thinking hard about how we build a space where we encourage people to investigate music that takes many listens to sink in, music that doesn't reveal any of its complex magic in a 30 second low-res preview, but given time will seep into our consciousness and affect us in a unique way.
We need filters. We need
people and
media-outlets and
blog groups and
socially networked advisors who will recommend great music to us in the way that magazines used to.
Magazines still provide some of that, but they are very limited in their scope, because they are beholden to their advertisers and the broadcast nature of what they do, so are constrained by the need to write about people their core readership already know about. Those people aren't really our concern. The ones who already have a career, a fanbase, a stream of self-generating traffic to their sites and online store. Finding out about the new Nick Cave or Pat Metheny record is rarely going to prove difficult.
No, we need microfilter channels, groups of 5,10,20,50 friends who get excited about new music and do the research for eachother, in the same way that Google Reader lets us search out news and blog posts for eachother.
There are already music blogs like this – audioblogs that feature MP3s on a daily basis. Some of them are fabulous. Many of them are less helpful in that they are basically a mashup of bit-torrent and blogger.com – illegal giveaways of whole albums that don't actually help the band because they direct no attention or traffic in their direction. I was talking with a guitarist friend in LA in January who found that only a week or so after his latest album had come out, someone was giving it away on an audioblog based in Holland. The sales in the first few weeks of any project are important because that's when the publicity is focussed on, so to be offering illegal free downloads of an album that close to the release date is particularly galling.
The new currency online is attention. Time is valuable, and it is possible to monetize that, through sales of CDs, downloads, DVDs, t-shirts, gig tickets, teaching weekends, meet and greets, promotional spin-offs, advertising revenue. But directing attention is best done by communities, by trusted advisors, but bloggers and twitterers and facebookists and friends of friends who know their subject and seek out the best new music around and tell people about it. And do it because then their love for it is propogated, the artform and the creators are encouraged, make enough money to make the next record, and the cycle of soundtracking a part of our lives is completed and begun again.
BUT if you're a musician, unless the career part of being a professional musician is more important to you than the musician part, all of that has to be at the service of getting the word out about YOUR art. That which you hold most dear. Not an advert for what you hold dear, not a truncated, MySpace-ized version of it, but the real deal, however dense, complex, mellow, subtle or otherwise it is. Which brings me back to a point I've made a few times on here before – BE THE KIND OF FAN YOU'D LIKE TO HAVE – musicians need to be using the attention they have from their audiene to share the love, to let their listeners know about the music they love. It'll come back, karmic-stylee, and will solidify your position as a guru of great music, a person of taste and discernment and the hub of a music-loving community. That's how we build RELATIONSHIPS with the people who connect with our art – relationships built on shared knowledge and an unfolding understanding of where our aesthetic tastes overlap…
That is, as the yanks like to say, all good.
Managing Information Streams Pt 2 – Twitter!
Thanks so much for all the comments and feedback about the first Managing Information Streams post. Some GREAT stuff in the comments there.
I want to follow that up with what is fast becoming my favourite web-filter, and will hopefully become my primary interface with my network – Twitter.
The tech media has been full of articles about Twitter for the last couple of months, ranging from declaring it to be the saviour of the web to it being the scourge if humanity. Both are exaggerations, and as usual, ignore the range of ways to interact with a particular technology.
So first up, a 'what is twitter?' answer, StevieStyle – Twitter is a combination of microblog, status-update, public IM, SMS client, link-blog, mini-email, brain-storm-tool, twitterpedia and for me (I've not seen anyone else doing this yet, but I'm sure I'm not the first) a responsive public to-do list.
All of that in an IM-window style interface, portable to my cellphone, followable on the web and scannable at a glance.
So what's great about it? Let's undo everything I said it was at first –
Firstly, it's not email – I'm getting increasingly sick of email, particularly email that isn't addressed to me. It's just not a quick enough or malleable enough way to get information, to difficult to filter for quality and the group stuff just makes it harder to deal with the stuff that is to me. So I've been unsubbing from groups and mailing lists like crazy, trying to reduce the volume of non-direct email. A lot of the things I might have used email or email lists for, I now do on Twitter. How does that help? Well, I know the answer is going to be either a) very short or b) very short with a link to a properly written explanation. If you have to post the longer answer on a public blog, you're more likely to think about it, than if you just write bollocks to a mailing list.
Secondly It's not IM – IM sucks my time. IM is a very demanding thing to have running. It can be very useful and a great way to get quick responses, and also to deal with more personal things, but for the most part the big problem with IM is that you sit WAITING FOR A REPLY, and the other person is doing the same. So you don't get on with your stuff, you 'do IM' for whole chunks of time. I NEVER do that with Twitter. Even if I post 5 or 6 posts in a couple of minutes, in between I'm working, I'm blogging, I'm searching, I'm answering the good emails, I'm deleting the crap ones, I'm cooking, brushing my teeth, on the bus… whatever, it's all going on, and Twitter can fit to that. I never get tweets that say 'are you still there? hello? where've you gone, you bastard??' like on IM.
It also means that there's a public record of a process if you're planning something. This is what happened when Jeff Schmidt and I planned our podcast. I think Jeff sent me one direct message on twitter about it, and the rest was public. Perhaps as a result, the podcast had the highest first day or two's downloads of ANYTHING Jeff has podcasted. And he's done some great podcasts (search in iTunes for his name, for more – really good stuff.)
Thirdly it's not facebook – if I go into facebook and check people's status updates, there are a million other distractions – photos, scrabblez, groups, event invites, etc. I set up Facebook as a separate app using FluidApp just so I can open it, do it, and go. Twitter is the status update with the option to reply, and without the distractions. That's a good thing. Facebook can be so addictive.
Fourthly it's not this blog – blogging here takes a lot of time and effort. It's also very much an interactive archive of my public writing. Twitter is immediate, and then gone. Sure you can find or favourite tweets, but it's largely about NOW. I try to keep my blog archive manageable by not posting quick 'check this out' blogs – that's what twitter does REALLY well. I can also, crucially, start rumours on there about what I'm up to, talk about things that might happen but might not, in a way that would come back and bite me on the arse if I did it on here…
Fifthly it's not Google – if I use twitter for a question, I'm not searching the internet for prewritten answers, I'm asking the minds of my fellow twittists. I'm asking people who know me, or at least know about me, and I can follow up. And all of it in 140 characters. I'm not demanding much from peoples, but I can get top quality info. And it's filtered by who I CHOOSE to interact with. No spammers, no trolls… The traffic isn't public enough to attract disgruntled losers shouting at windmills.
Sixthly, it's not a to-do list – to-do lists are currently the bane of my life. I never know where to write things down to remember them. Twitter means that my to-dos can become discussion, friends can remind me, hassle me, and I feel a compulsion to update, and therefor a drive to get something done so as not to embarrass myself by saying 'did fuck-all today'… So I post a list, I post options and court responses, and on some things, I can collaborate. I can even ask my flatmate to pick up milk or washing-up liquid on the way home. Last night, my landlord used twitter to find out if anyone was home in order to access a document in the flat – THAT is the magique of the Twittosphere!
Seventhly, and this is a small but significant one it's not regular SMS – how? a) it's free to send, and b) I can type it, not key it in on my phone. HURRAH!!!! That should be enough to get everyone in the world signed up…
So what's unique about it, that isn't so negatively defined? OK, there's the asynchronous nature of 'following' – if someone clicks to follow me, I can choose to follow them or not. I can also follow people who don't follow me. I can follow people for the conversation, or the inspiration, I can post in the same way – conversation or open ended thoughts. And people can choose to read or ignore. No-one is wasting time they don't want to waste just to see if the info is good or not. Glance, engage, revert. It's easy.
Two, it provides interactive news. On the scene 'buzz' about events. Right now, SXSW is going on in Austin. Last week was TED – the precis of ideas on twitter is a GREAT way to find out what's hot and what's not, what are the salient parts of an hour-long talk, what's going to be rocking the tech-world in a few months time. Choose a different set of people to follow and you'll get the same from glastonbury or the protest movement, or parliament, or probably even the countryside alliance *shudder*… you choose, you filter, you edit, you follow/unfollow, and form a group of twittettes who entertain and inform, interact and educate.
Thus far the signal to noise ratio on my group of feeds is extremely positive, and the stuff that's come out of it is amazing. Lately, that's been all about Seesmic, the video-blog site. But that deserves a post of it's own, because it's f'ing amazing.
So maybe now you can see why I'm hoping to make my twitter account my main web interaction. Sign up for twitter at twitter.com, add me, and if you're a bass-head, add Jeff, Trip and search around for some others. Consider this my TwitterFesto :o) .
I'll post some more stuff about it soon, but suffice to say, if you want to get in touch with me quick, twitter beats anything besides just calling me up on the phone (we need to get back into phones – our modernist technolust has relegated phones to a last resort. that's got to change…) Email is great for longer more involved information, IM is good if your life is falling apart and you want my help or support, Facebook is good if you've got silly photos from your stag night, and Google is good if you want a URL to send to someone. Otherwise, TwitMe!
(addendum – I've tagged this as 'future of music', because twitter is something that bands and artists HAVE to get a handle on. It's where so much web communication is heading. So read this, and I'll post more about music specific application in the very near future)
(addendum #2 – massive credit must be given to Hugh MacLeod for his thinking on twitter, much of this was informed by his twitterings and bloggings. Follow him at twitter.com/gapingvoid)
All four solo albums now on Amazon.com downloads
I've just seen that all four of my 'proper' release solo albums are now up on Amazon.com download store – here they are –
And Nothing But The Bass – $7.92
Not Dancing For Chicken – $8.99
Grace And Gratitude – $8.99
Behind Every Word – $8.99
that's a pretty damn cheap way to get hold of them – and you can listen to all of them before buying over on last.fm.
The reason my stuff is now available on amazon is because it's put there by CDbaby – if you sign up for digital distribution with then (a non-exclusive deal, BTW), they'll ship your stuff to 50-odd digital stores. Most of them won't sell a thing, cos they got no passing traffic, but because some of those stores include the iTunes stores worldwide, emusic, napster, amazon and a couple of others that actually shift stuff, it's the best possible way for an indie kid like me to get his music out there. It's cheap to set up (less than $40 per album), and they take a pretty small percentage. CDbaby are the ultimate indie long-tail company. lead the market, get everyone signed up, get a little bit of cash from tens of thousands of musicians, and make millions. We're happy cos we get it cheap, they have leverage because they represent so many artists and labels, and everybody wins.
Seriously, if you're indie, and you're not with CDbaby, you're missing out. Do it.
Billy Bragg, KT Tunstall, Leo Abrahams & Foy Vance live…
So iTunes have started doing an annual festival – itunes live. This year they seem to have a thing for collaborations, which do often, it must be said, make a gig particularly special.
And is no doubt one of the main reasons why the genius that is Leo Abrahams was on the bill – his new album is pretty much all colalborations, and features KT and Foy.
The gig started with Leo on his own, playing a couple of my favourite tunes of his; Anemone (not Amoeba as I called it on twitter last night) and Kristiansand.
He was then joined by Foy for a song together, which was beautiful.
and Foy Vance (at The Luminaire tonight, if it's not sold out) – sweet Lord, why had no-one told me about him before? Loopin' up a storm, layering acoustic guitar (not sounding v. acoustic, but hey, it sounded amazing) and voice, and singing like a gospel preacher. Really really compelling stuff. I've yet to explore his recorded output to see if he's managed to capture that magic on record, but live he was breathtaking. Didn't know any of the songs, obviously, but all were arresting and beautiful. Amazing stuff.
Then a break, after which the ever-amazing Billy Bragg came on (Billy made some reference to using Google alerts – so if you're reading this, hi Billy!) – one of the most consistently fantastic live performers I've ever seen. I've never seen him do a bad gig, his rapport with an audience is that of someone who's been doing this for 30 years and still loves it, is still grateful for the chance to sing his songs and weave tales. The new songs from his upcoming album, Mr Love and Justice bode incredibly well for the record – both the title track and one he played at Greenbelt last year, I Keep Faith, are singable after the first chorus… REALLY looking forward to this one…
His set ends with a duet with Foy on Woody Guthrie's 'I Ain't Got No Home' – deep, moving, spiritual in all the right ways. Billy's lack of pretension makes him the perfect foil for an earnest gospel-tinged singer like Foy…
…or indeed, KT Tunstall. But more on their collab. in a bit.
KT's wee band these days is her, a drummer (Luke) and two backing singers, and her 'Wee Bastard Pedal' (or Mk 1 Akai headrush to the geeks), and she makes a pretty incredible noise with it. Once again I'm struck by the energy, honesty, humour and passion in her writing and playing. Amazingly she completely bollocksed up 'Black Horse And The Cherry Tree' – a songs she's played perhaps more than any other – tried it three times then gave up. And even then, the cock-up just made it all more human, intimate and special. as I said in my blog post about their last gig, screwing things up is never as bad as the artist thinks it is. Always make it funny, don't try and cover it, laugh and move on. Which is what KT did, and played up a storm.
So when BB came back on, we were all set for a big finish, and we got it! Starting with a reprise of their version of 'The Drugs Don't Work' as played at HMV last week, they then played a brand new co-write called 'Don't Do It Liza' which is one of the most arresting, engaging, emotional songs I've heard in ages. Swooping harmonies, a beautiful dark tale.. and we got to hear it twice cos they wanted a better take to sell on iTunes. :o)
All in a stunning evening – four of the best live performers around on one stage. Was amazing to see Leo, having played with him at Recycle gigs, doing his own stuff to such a large non-muso crowd, and it going down a storm. Leo's an unbelievably gifted musician, lovely bloke, and spends a lot of time making superstars sound superstar-esque, but he's getting the breaks for his own music now, and its long overdue.
KT has -as I've said too many times before – always been mischaracterised as a female James Blunt, but her live shows make a mockery of that notion in a very clear way. She's a seasoned performer, engaging and funny, and show up the depth and character in her writing in a new light. She'll hopefully be around YEARS after Blunt, Morrison et al have disappeared to Butlins…
Anyway, the tracks should be showing up on iTunes soon, and the two KT/Billy tracks are unmissable. And if you haven't already got Leo's first two records – Honeytrap and Scene Memory, go and listen to them, then buy them, they're amazing.
Also worthy of note on the night is that Last.fm were co-sponsors of the event. Given that iTunes have long been the champions of DRM (even if it was because they were bullied into it by the majors), it's nice to see them promoting a 'listen on demand' service like Last.fm, which given that the it's limited to three listens, and there's ad-revenue sharing, is still geared towards monetizing the added exposure of streaming on demand… It'll be interesting to see where iTunes store goes next, be it closer ties with last.fm, or their own streaming scheme…
And another thing, if you'd been following me on twitter, you'd have got much of this as it happened, as I was able to post updates between songs. Twitter makes for a great brain-log for notes for future blogs when out and about, and a way to generate instant feedback on those thoughts… join the fun!"
The Steve 'n' Jeff Show – podcast available now…
So the podcast is already up! – you can read Jeff's take on it here – I had a listen to it last night, and it sounds pretty fun. We talk a fair bit about the relationship between technology and music (or more getting information out about being a musician), about some of the things that turn us off and on in the music world, how much 'bassness' there is in how we see what we do… It roams a little, but Jeff's a sharp cookie, and fortunately interrupts me when I get to long-winded… He's the ideal foil for this kind of thing, and I think I do the same for him…
I guess it's worth noting that there's some grown-up language in there (both in terms of hopelessly long words, and some 'strong' ones too), so if you're overly bothered by such things, you might want to proceed with caution, though if you've ever had a normal conversation with Jeff or I, you'll be in the same territory. :o)
here's the download link, or via the player below –
or apparently you can find it on iTunes… not tried that yet…
New Steve Lawson and Lobelia EP to download
You may remember back in December, Lobelia and I put out a limited edition CDR release of our live in Nebraska EP – 5 tracks taken from our forthcoming live album (release date TBC!)
Well, it's now avaliable for download from the online store here – for &3.50
It's over half an hour long, and the track list is
happy 7:34
mmfsog 4:09
i'm lost 5:11
rain 9:14
jimmy james 6:51
and it's fab – if you go to my myspace page you can hear the first song from it.
anyway, you can get it as a download, it's fab, you'll love it, I'm sure. :o)
It's worth noting that in general, I still sell way more CDs from the online store than I do downloads. I sell more downloads from itunes than I do here, though probably the highest volume of track sales is from emusic, though the unit price is much lower… I'm guessing, I've said before, that is at least partly because as a solo bassist/jazz/ambient/whatever artist, my core audience is that bit older, and not comprised of the digital natives in the 15-25 age-group that seem to dominate so much of the discussion around online music. I have a number of listeners who would be unhappy even with 198kbps MP3s (the new ones are 256k VBR), and so still want CD for the quality… I think the next full album will come out on high res MP3 and flac… I may do what Trent Reznor and Saul Williams did and put out a free low-res version, and a paid download much higher res version… we'll see…
Billy Bragg/KT Tunstall at HMV – the value of screwing it up…
I went to a fabulous lunchtime gig yesterday – Billy Bragg and KT Tunstall at HMV on Oxford Street. I had no idea why they were doing it before I went – I assumed it was as promo for the iTunes festival that's coming up, where both of them are on a bill with the wonderful Leo Abrahams.
As it turned out it was as promo for Q magazine's top 100 greatest british pop/rock albums or some such bollocks. Q magazine used to be good, but is now, sadly, largely unreadable shit. Endless top lists of either journo picked or reader-submitted stuff, rehashing the tired and nonsensical line that they greatest bands in the history of music are Radiohead, Oasis and Nirvana (nothing against those three in particular, though I not a big fan of any of them, just that it's pretty pointless saying it in every other issue…).
Anyway, what it meant for the gig was that Billy and KT did a whole slew of great cover versions, most of which neither of them knew particularly well. Peppered in amongst more polished versions of songs like 'Every Day Is Like Sunday' (KT, complete with looped vocal harmonies), 'Ever Falling In Love With Someone (Billy's Buzzcocks tribute) and 'The Drugs Don't Work' (both of them together) were really ropey versions of 'Don't You Want Me Baby' and 'I Predict A Riot'.
But here's the thing (as Trip might say), the rubbish performances were at least as affecting, engaging and entertaining as the ones that 'worked' – there's something really magical about seeing musicians over-stretch themselves and not take it too seriously, not getting to precious. Billy Bragg has long been not just one of my favourite songwriters and guitarists (he is, as I've said before, a guitar genius, IMO) but one of my most favouritest performers, speakers, writers… he's just great, and his sense of adventure in trying songs that he doesn't know the right chords to etc. is just wonderful.
And KT Tunstall was always utterly mis-labelled as part of the Blunt/Morrison etc. crowd – she's been playing live for over 10 years, playing folk clubs, coffee shops, festivals, learning her craft, and no doubt spending night after night playing requests that she barely knows and getting away with it. That Sony manage to strip away all the energy, vibe and magic from her performance on her records is both sad and a testament to her strength of character that they still manage to be far better records that the rest of the 'nu-acoustic' crowd can come up with, but in a situation like this she really shines. She has fun on stage, she reaches for things, she's willing to look a bit of a muppet and as such draws everyone in.
Here are some pics that Sarda took of the gig – damn, he's getting good at this photography business!
Anyway, the lesson is – take risks, have fun, and don't be afraid to look a bit of a berk on stage, it'll make you look far more human, engaging and funny to your audience…
For reference, you might want to watch mine and Lo's version of 'Love Is A Battlefield' –
(and here's a link to one of the songs they did – Don't You Want Me Baby – but be warned the quality is REALLY bad.
If you want me, you can find me…
…left of centre? well, yes, but also at these places (just as a recap, in case you missed some of them!)
iLike
iSound (I'd pretty much forgotten that this one existed!)
and then just for buying stuff there's
Cdbaby (there are a host of other MP3 stores linked from here).
Amazon.
….and also on Rhapsody, Napster and god-knows-where else!
Which of them do you use? Which sites are useful to you as a listener? Which sites have features that draw you in to spend time browsing for new music? It's amazing that after all this time, there's still nothing that can top Myspace, exposure-wise, shitty design or no shitty design. Last.fm is now definitely the go-to site for hearing music on demand, and emusic is my download site of choice, though the Amazon store is pretty kick-ass too..!
Which ones do you think will last? the Facebook fan-page thing doesn't seem to have caught on all that much as yet, mainly because Facebook is ALL about connecting with people you know… I guess the artists need to do more interacting on there! Last.fm seem to have a really good thing going, and they are going to start doing subscription downloads too, it seems… What about myspace? The news about their open access API seems great if it works and we're not just swamped with spam through it…
Thoughts please, bloglings. :o)


I don't do #4 Touch People (partly because I don't teach off the bike – no room to circulate between bikes at my gym but also because not everyone appreciates touch), #7 Curse (though I have told riders that if they're thinking "When is this bleeping bleeping drill bleeping over?" that they're exactly where they should be), or #19 High Fives. I had a small, all-female class this week and mentioned that I'd been thinking about high fives and they unanimously rejected the idea of sweaty palm contact as gross, which is kind of why I haven't tried it yet. Those of you who do high fives – how do they go over in your classes?
Here is the May Challenge: choose one habit you need to work on and really go at it this month. For me, it is going to be learning more names. (Help! Anyone have any good strategies?) Drop me a comment to let me know which of these habits you employ, which you need to work on, and which you disagree with. If you're in for the May Challenge, tell us which habit you're going to work on and report back at the end of May to let us know how it went.
If your female clients do not like the idea of high fives because of sweaty palms, do what I do, cheers with your water bottles to your neighbours and surrounding fellow riders!
Darla, I like this idea! Thanks.
You know, everyone who commented vetoed the 'sweaty touch' aspect of things – that came through loud and clear.
I have been feverishly working all month to learn more names and it has gone really well. (Not so well that I can ask 20 people their names and rhyme them all back, but well in a less-than-superhuman way.) Now if I can just get my riders to use the same bike and wear similar clothes each time! I think I'm all good, then they get a hair cut and move to another bike, and it's back to square one.
I employed four strategies: (1) Ask for at least one name at every class (generally privately, perhaps if someone approaches me or if I want to tell them I noticed how hard they were working or something). (2) Repeat the name once or twice after learning it. (A cliche, but it actually works pretty well.) (3) Find out something else about the person to go with the name – can be job, upcoming vacation, likes/dislikes, just chat for a minute or two – something will pop up (4) Casually put that name (and a physical description plus whatever you learned about the person e.g. 'Carla, middle right, blonde ponytail, has a bulldog named Cheeseburger') into the iPhone ASAP after learning it. Review before classes. Repeat.
One mistake I made was not separating the riders by which class at which gym they go to. Now I've got several dozen names all mixed up. Was Carla my Tuesday morning or Wednesday night? The other thing that really helps is if Carla comes for a few more weeks before missing a few. I lose faces quickly if I meet someone and don't meet them again for a month or two.
So, which of the habits did you choose to work on? How'd it go? Any tips for the rest of us?
I have a habit…not sure it qualifies me asan amazing instructor, but I've gotten good feedback about it. Since I have my rides/playlists posted on my blog (http://stevespinlist.wordpress.com/), I just print a copy and post it outside the studio before class for anyone that's interested.
I'm trying to be a better instructor every time I coach another class, best way I have currently found is ASK for feedback from individual riders, and LISTEN to all the feedback, negative is more important than positive !
In the meantime try these 2 little hills to keep the class working hard !
Hey Boy Hey Girl -The Chemical brothers. Start off for the first 2mins 15 secs on a fast seated flat (imagine your pounding along on smooth tarmac !) use a mid range resistance, then at 2m15s increase that resistance dial, slow those legs then stand with a hand position 3 and climb to the fast beat that kicks in at 2m30s, ride strong & fast till the end at 4m51s.
Also another good fast standing hill climb with a good fast strong beat is Loco by Manian. Stand and climb off that saddle at .38s until 1m16s, then stand and climb at 1m41s until 2m32s, then final climb at 2m44s till end of track. All other times stay seated and climb ! My classes love a good strong beat to work their legs against, and it keeps them motivated and their minds off the hard work ! ha ha ! Keep Spinnin !
Ian, I have been using Hey Boy Hey Girl and it is great for a seated flat! (Look for it in my latest post.) Thanks for recommending it.
I arrive early all the time because the gym changes the system each week. There is always one connection that is disconnected, one wire missing, name it. So I am there early!
I HATE to be touch by a "stranger". I would NEVER use something physical with my participants (unless to correct a position)… No Hi-Fives for the same reason. Sweat is one reason, but mostly not everyone likes to be touch.
I kid around when my class is not full and people sit in the back. I joke about how I spit, sweat and ask them to come forward "come on! Don't leave me all alone and make me scream for nothing!". Cursing, I wouldn't, I can emphasis it when one participant do curse, but won't use it. Names… My classes have regulars, and I know their names, the ones that pass by or irregular are the toughest.
I have to give my class in French and English. It's already hard to explain and shout the instructions to achieve the routine that I have not much for other things!LOL!
I teach a 60 minute spin circuit class that is 40 min on the bike, 10 minutes weights, followed by 9 minutes balance and flexibility, a one minute silent reflection and then close with a quote by Dr. Seuss. Each class is themed and the music revolves around that theme. I also incorporate trivia on the theme. For example, "Fire & Water" or "Dynamic Divas" "Disco" or "One Hit Wonders". The songs relate to the theme and then the trivia is either connected to the songs, artist, or some aspect of the artist (something great that happened in a place where an artist was born). Great way to learn names and also fun and engaging (potentially decreasing any awkward silence and increase rate of return). If anyone is interested in sample lesson plans, let me know. I'm more than happy to share.
I always try to think about teaching my class the way that I would want to be taught as a participant. As a participant, I personally DON"T want the instructor touching me, I definitely don't want a sweaty high five and I don't want my neighbor cheering me on. I know that makes me sound totally anti-social, but as much as I enjoy the whole group fitness thing, I'm not really there for the social aspect.
As far as cursing goes, I think it would probably be frowned upon at the YMCA that I work at.
I did enjoy the rest of the ideas in the article and I agree that learning names can be difficult. Definitely something I plan to work on!
Thanks so much for the rateyourburn shout out, so glad you enjoyed the post! Love this challenge.
Names are just so hard, especially when teaching at various places, and attendance shifts around, and people sit in different spots, etc. If they would just come every week and sit in the same spot with a name tag for like, 1 month steady, I'd have a chance – lol! :-) I also do the trick of writing down names I get and that helps. And, I have a maillist and fitguru website, and the folks that signed up for those (esp. if their email incorporates their name) are much easier for me to i.d. and remember. This is always near the top of my "things to improve" list.
I shy away from the physical contact due to the sweaty/cooties issue. I'm self-conscious about inflicting another with my own sweat, and also not enthused about being schmeared with someone else's, so I've skipped this one. I'm also torn about the "choose a partner" drills. I've done them, but it can be awkward sometimes, since there's always a mix of people who are into it and those who give off more of a loaner vibe.
One idea I saw in the comments which I'm going to try: get off the instructor bike, and hop on an open bike and join the class for a bit. I think that might be really fascinating, especially for some sort of race intervals.
Names are hard! But I agree with Ted, write them down. I write them on my ride cheat sheet and can usually remember them after that.
I need less filler… sometimes I can't handle the silence of everybody just staring at me!!!


text:
Dekker positive for EPO
Silence-Lotto's Thomas Dekker will miss the Tour de France after testing positive for the banned blood-booster EPO, his team announced on Wednesday. The sample was originally taken on December 24, of 2007, when Dekker was a member of the Rabobank team. The sample was re-tested using new techniques, which resulted in a positive test for EPO. "He found out on Wednesday morning that fresh analysis, carried out in May at the behest of WADA, on urine samples from a random doping control had turned up positive for EPO," the team said in a statement.
Haunted by his past? Dekker gets popped for a nearly two-year-old sample.
Photo: Graham Watson
Silence-Lotto's Thomas Dekker will miss the Tour de France after testing positive for the banned blood-booster EPO, his team announced on Wednesday.
The sample was originally taken on December 24, of 2007, when Dekker was a member of the Rabobank team. The sample was re-tested using new techniques, which resulted in a positive test for EPO.
"He found out on Wednesday morning that fresh analysis, carried out in May at the behest of WADA, on urine samples from a random doping control had turned up positive for EPO," the team said in a statement.
Under the World Anti-Doping Code, drug testers have the option of storing and re-examining old samples, as long as there is a sufficient quantity to allow a follow-up – or B sample – test.
The WADA code provides for an eight-year statute of limitations on earlier doping violations.
Cycling's international governing body, the UCI, said in a statement issued Wednesday that it had "instructed (Monaco's) Cycling Federation, to which Mr Dekker is affiliated, to open disciplinary proceedings on this matter."
"The UCI's request is based on two elements of evidence collected within the biological passport programme: Mr Dekker's haematological profile and a laboratory report indicating the detection of recombinant EPO in a urine sample.
"According to a panel of scientific experts, the haematological profile established from blood samples collected from Mr Dekker in 2008 and 2009 demonstrates convincing evidence of the use of the prohibited method of enhancement of oxygen transfer."
It was that suspicion of blood doping that prompted the UCI to have new tests on Dekker's 2007 urine sample.
The 24-year-old Dekker, who was slated to arrive in Monaco on Wednesday for Saturday's opening stage of the Tour, will be replaced on the Silence-Lotto roster by British rider Charley Wigelius.
Team manager Marc Sergeant was quick to point out that the alleged violation did not occur while Dekker was a member of the Silence-Lotto team.
"I am sorry this happened, of course," said Sergeant, "It's important to remember that this occurred when he was a member of Rabobank, but it still doesn't make the news any less disappointing."
Oddly enough, Dekker's move to Silence was in part prompted by the Rabobank team's decision to leave him off of its Tour de France squad in 2008. The team cited "abnormal blood values" from that year's Tour de Suisse as justification for its decision.
Dekker admitted two years ago that he had collaborated with the infamous Luigi Cecchini, an Italian physician who has been linked to allegations of doping.
biological passport
Cardoso EPO case highlights inequalities in anti-doping process
French lead chorus of doubt in wake of Tour de France
Tour de France peloton reacts to positive COVID-19 tests of Christian Prudhomme, four team staffers
Andrew Hood Fred Dreier

redpajama_set_name: RedPajamaCommonCrawl


text:
Citroën C5 Aircross () - компактний кросовер, що з 2017 року виготовляється на заводі в місті Ренн (Франція). У лінійці виробника автомобіль зайняв місце знятого з виробництва С4 Aircross.

Опис

В 2015 році представлений концепт-кар Citroën Aircross. Серійний автомобіль представлений на Шанхайському автосалоні в квітні 2017 року. Модель збудована на модульній платформі EMP2. Як і Peugeot 5008, C5 Aircross є передньопривідним з активною підвіскою Progressive Hydraulic Cushions. А за габаритами кросовер займає місце між Peugeot 3008 і 5008. Двигуни плануються бензинові 1.2 PureTech (130 к.с.) і 1.6 THP (165 к.с.), а також дизельні 1.5 BlueHDi (115 або 135 к.с.) і 2.0 BlueHDi (180 к.с.). Залежно від модифікації C5 Aircross оснащується шестиступінчастою "механікою" або "автоматом" Aisin.

Кузов може бути білим, сірим, чорним, червоним або помаранчевим. Різноманітність в палітру вносять контрастні накладки Airbump. Багажна двері відкриваються «стусаном» під бампером. За нею ховається вантажний відсік об'ємом 482 літри.

Салон п'ятимісний. Приладова панель являє собою дисплей діагоналлю 12,3 дюйма. По центру встановлено восьмидюймовий сенсорний екран. Цікаві роздвоєні дефлектори обдування. Тут маса відсіків для дрібниць і м'які на дотик матеріали обробки, наприклад шкіра Nappa.

Передні сидіння не тільки підігріваються, а й пропонують масаж з п'ятьма програмами. Заднім пасажирам обіцяно найкраще місце для ніг в сегменті. Особливу увагу приділено боротьбі з шумом: тут двошарові скла і надійно ізольований моторний відсік. Система контролю якості повітря AQS затримує шкідливі частинки в вугільному фільтрі і автоматично регулює рециркуляцію. У 2018 році Aircross отримає нову технологію Clean Cabin, що дозволяє управляти фільтрацією через центральний дисплей.

Медіацентр підтримує інтерфейс Apple CarPlay і включає навігацію з тривимірними картами. Передбачена індукційна зарядка для смартфонів.

з систем безпеки наявний адаптивний круїз-контроль, автоматичне гальмування, моніторинг розмітки з корекцією курсу, стеження за мертвими зонами, камери кругового огляду Vision 360. При з'їзді з асфальту під час відсутності повного приводу помічником стане Grip Control з режимами «стандарт», «пісок», «бездоріжжя», «сніг» і ESP off.

Двигуни
Бензинові
1.2 л PureTech І3 131 к.с. 230 Нм
1.6 л 350 THP І4 167 к.с. 245 Нм (Китай)
1.6 л PureTech І4 181 к.с. 300 Нм
1.8 л 380 THP І4 204 к.с. 280 Нм (Китай)
Дизельні
1.5 л BlueHDi І4 131 к.с. 300 Нм
2.0 л BlueHDi І4 177 к.с. 400 Нм
Гібридний
1.6 л PureTech І4 180 к.с. + електродвигун 109 к.с. разом 225 к.с. 320 Нм

Plug-In Hybrid PHEV e-AWD

Citroën C5 Aircross буде першим серійним автомобілем в гаммі Citroën, який буде також доступний як гібрид з підзарадкою (PHEV, Plug-in Hybrid Electric Vehicle).

Гібридний привод включає в себе 1.6 THP 200-сильний двигун внутрішнього згоряння (ДВЗ) і два електромотора, по одному на кожну вісь. Сумарна потужність силової установки досягає вражаючих 300 к.с., що робить C5 Aircross найпотужнішим серійним автомобілем Citroën в історії компанії. На вибір є чотири режими їзди: повністю електрична їзда («all-electric»), як електромобіль з запасом ходу до 60 км; гібридний режим («Hybrid») для їзди на тривалі дистанції без необхідності підзарядки АКБ; комбіноване («Combined») використання різних моторів; режим повного приводу (4х4). Ця інноваційна технологія пропонує можливість підзарядки акумулятора під час гальмування автомобіля в режимі рекуперації енергії, або під час їзди при використанні звичайного мотора (ДВЗ) в режимі примусової зарядки акумулятора.

Продажі

Примітки

Посилання

Автомобілі Citroën
Позашляховики

redpajama_set_name: RedPajamaWikipedia


text:
The Free Library > Business and Industry > Engineering and manufacturing > R & D > October 1, 2014
The Free Library > Science and Technology > Science and technology, general > R & D > October 1, 2014
The Free Library > Date > 2014 > October > 1 > R & D
Saving childrens' lives.
<a href="https://www.thefreelibrary.com/Saving+childrens%27+lives.-a0389175318
MLA style: "Saving childrens' lives.." The Free Library. 2014 Advantage Business Media 16 Jul. 2019 https://www.thefreelibrary.com/Saving+childrens%27+lives.-a0389175318
Chicago style: The Free Library. S.v. Saving childrens' lives.." Retrieved Jul 16 2019 from https://www.thefreelibrary.com/Saving+childrens%27+lives.-a0389175318
APA style: Saving childrens' lives.. (n.d.) >The Free Library. (2014). Retrieved Jul 16 2019 from https://www.thefreelibrary.com/Saving+childrens%27+lives.-a0389175318
Globally, 22 million infants aren't receiving basic vaccines and 1.5 million children will die each year from vaccine-preventable diseases before they reach age five. This challenge is further complicated by the fact that most vaccines must be refrigerated, and more than a billion people globally don't have reliable access to electricity. Vaccination rates are lowest in remote and rural locations. As part of Intellectual Ventures' Global Good program, Intellectual Venture Labs (IVL) approached Stratos Product Development for help in developing an insulated container to strengthen and extend vaccination services in developing countries. The Passive Vaccine Storage Device was the result.
Designed to keep vaccines at the appropriate temperatures for a month or more on a single batch of ice, the device can store up to 300 doses of vaccines or enough to serve a community of 6,000 for more than a month. It's comprised of a ruggedized vacuum-insulated container, ice blocks and a telemetry module. The ultra-low power system is designed for ease-of-use via unique capacitive touch inputs and a graphic LCD display. Vaccines are stored in three "stacks" comprised of interlocking "cups" optimized for the vaccine schedules of specific countries. The IPX-rated device can be easily transported by regular vehicles, carried by two people or transported with animal assistance.
* Stratos Product Development, www.stratos.com
COPYRIGHT 2014 Advantage Business Media
Brief article
Efficient bioengineering.
Medical tests for the developing world.


Vietnam map of main tourist destinations. This map does not zoom.
Vietnam makes a terrific winter-sun holiday target, rich in culture, big soft beaches, excellent cuisine, amiable locals and irresistible shopping.
The French colonial cities of Hanoi and Saigon (aka Ho Chi Minh City) are attractive and interesting while the fourUNESCO World Heritage Sites are fascinating.
However, traffic is chaotic and due to the country's long, skinny shape, domestic travel is slow while thievery is not uncommon, especially in the cities where motorcycle-taxis have a bad name.


text:
Camden, SC
Honestly, this show was so long ago, it's long since moved into "blur status" in my mind. What I do remember was a strange, sprawling night with family and friends, some of whom I hadn't seen since high school!
Camden is Frank's and my hometown, but we hardly ever get a chance to play there. It's really a shame, but it's been very hard for us to find a regular place to play there. Danny Riddick championed us for this gig and he did whatever it took to get us to Camden. (Thanks, Danny). The last time we played there was headlining the local arena at a benefit for a fallen friend. This time, it was all about reconnecting and bringing our songs home.
Unfortunately, when we got there, we were notified that there was no opener. Well, that was a difficulty for sure. As a trio, we still hadn't learned hours and hours of material to fill out the usual full night. So I'd decided to break the sets up and brave some solo acoustic requests.
Our first set was the tightest for sure. In addition to the usual standards like "The Only Way", "Sadder Day" and such, we did brand new songs (depending on how you look at it) like "That Excites Me", "This Is The Night The World Changes" and "Save It For Another Day". We ended the set with "Taking Its Toll" and I was happy to see the arm and lighter-waving finale bring out flames as it was designed.
For the acoustic portion, I announced the reason for it (no opener) and said, "This will either be really cool or it will really suck". It started out leaning towards being cool, but kind of degenerated by the end. I was happy that when I said that it was opened to requests, the first one we got was for "From Now 'Til Then". So, as a band, we played it for the very first time live. Frank did a great job of the bass line (David Barbe did it on the record). It's certainly one I wish we did more often. The only good reason I can think of that we don't is because of the difficulty of having an extra guitar and capo at the ready. The next request was for "An Uncertain Flight". Clearly, we were playing for the Darlings-educated crowd. That was cool with me.
At some point, my sister, who'd been drinking, decided that since Frank and Josh H. were on break and I was up there alone that my Mom should be put on display. So she got a chair and put my Mom up there center stage. That was weird, but whatever, it was that kind of night. We had a request for "Down", which we did. Then it kind of went south. I take the blame. I had heard Prince's "Little Red Corvette" and decided I'd try to cover it. I did pretty well, I think. The problem was that it opened the door for people to yell a bunch of covers and songs we didn't know. I did do a chunk of Prince's "Darling Nikki", which was certainly odd with my Mom sitting next to me. Before long, the alcohol and karaoke crowd began encouraging my indulgent side. Someone yelled for "Wanted Dead Or Alive". I faked my way through it and before long, my cousin Rod was up on stage singing the lyrics (I don't know 'em that well) while my sister and my cousin Angie were on the other side singing backups along with Sharon Sinclair. It was certainly fun for us, but it got a bit out of hand and it was certainly not the most professional thing we've ever done (And by "we", I mean "me". The other guys were not to blame.). I also remember the inevitable, joking request and attempt at "Free Bird", which somehow led to "Every Rose Has Its Thorn". Yeah, you'll never see another set list of ours with that stuff on the set list.
Once we'd finally gathered our bearings and had the stage back in the firm control of official Darlings, the band came back out swinging with "I Won't Stand Still" and "Phony". Of course, during Frank's break, he'd joined in with the alcohol-crowd. So even an old warhorse like "Scared Of Myself" was a bit sloppy. Who could blame him? I think Josh was the only real "professional" tonight. But we did have some fun.
I have no idea what happened from that point. We played everything that came to mind or any song of ours that was requested. The set list was ignored, so there will likely never be a complete list. I think we ended the proper show with "Towel Cape Song" and even added in a request for "Give Up Town" which hadn't been played in a very, very long time.
To keep in line with the family aspect of this, we were temporarily a quartet for a blast through Bowie's "Rebel Rebel". My brother Benji (the soon-to-be-father, AKA Tyke R., guitarist for The Lovecrafts, Snakebones and the infamous Tykes With Guns) grabbed my guitar. We'd never done it. He'd never played it with me, let alone the band, but he pulled it right out. It was the first time that Benji and I have ever performed together on stage. Of course, since I was free of the guitar, part of that time was spent with me off the stage, rolling around on the floor, bruising myself up and being ridiculous.
If you're looking for a definite Critical Darlings show, this wasn't it. Heck, it was hardly a show. But if you've ever wanted to see the Darlings "at home", relaxed and in a mode that was nearly a reunion, this was the one.
Thanks to everyone that made it possible, those that dug on the good stuff, those that survived the rough stuff and every single person that made our homecoming feel "at home".
Now what do we have to do to get to play again in Camden or near enough by to see you again?
Click here for more pics of Chris McKay and the Critical Darlings at The Venue.


The digital display units in the HDA 5500 series are micro processor controlled and are designed for control panel mounting.
The Digga Electronic Display Gauge Kit displays the differential pressure or usable hydraulic pressure. This pressure displayed on the digital screen allows the user to cross reference the displayed pressure (units displayed in bar) with the torque chart supplied to determine the theoretical torque generated by the planetary drive unit.


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But competition didn't necessarily end up cutting prices, according to the report. One contributing factor is confusion among customers as they try to choose among scores of retail electricity providers and the overwhelming variation of plans, leading many to just stick with familiar companies rather than look for better deals, according to the Texas Coalition for Affordable Power .
Yesterday, Shell Energy North America announced that they have officially signed an agreement to purchase MP2 Energy LLC. The signed agreement is only the first step in the acquisition process, as the agreement still needs to be approved by regulators. This approval process is expected to wrap up before the last few months of 2017. According to a recent press release published by Cision PR Newswire, Glenn Wright, Vice President of Shell Energy North America provided the following statement: "We are proud to bring MP2 into the Shell Energy North America family," he said. "MP2 has established itself as a significant...


He is a little less affectionate and passionate than he was in the beginning, but is a very loving and caring mate.
He always spends quality time with us, showing how much he loves us and wanting to take care of us. Even though there is an age difference he tries his best to understand where I'm coming from emotionally.
He initiated the "I love you" and the getting serious was completely mutual. I am an pakistani man, and we have a child together., but is a very loving and caring mate.
It may have been because we both were busy people and worked during the week, but the normal day to day chit chat, or text messages were saved only for the weekends. I grew up with brothers and a strict father so I have to draw boundaries.
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This weekend, I had the opprotunity to throw down with a bunch of my buds with whom I have some long, long lasting friendships. All of us know one another from working at Camp Mo-Val, and since I've been going to Mo-Val since I was a 14 year old snot-nosed kid, you have to figure how close I am with guys who I still hold these relationships. Thanks to Dave Becker for hosting the shin dig, congrats to the other bachelor, Kit, thanks to Zimm, Darnell, Skelley, DJ, Kyle, Kev Dooley, Podorand whoever else I missed. Good golfing with you boys and thanks for making my last weekend in The Lou so enjoyable!


text:
Tonga may refer to five different languages:
Tongan language, or Tonga (ISO 639-3: ton) – a Polynesian language spoken in Tonga in the South Pacific
Tonga language (Zambia and Zimbabwe), or Chitonga (ISO 639-3: toi) – a Bantu language spoken in Zambia, Zimbabwe and Mozambique
Tonga language (Malawi), or Chitonga (ISO 639-3: tog) – a Bantu language spoken in Malawi
Tonga language (Mozambique), or Gitonga (ISO 639-3: toh) – a Bantu language spoken in Mozambique
Ten'edn, also known as Tonga or Mos (ISO 639-3: tnz) – a Mon-Khmer language spoken in Thailand and Malaysia


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Singer Debi Toni Will Bring Lost Hamlisch Song To Life
A never before song by legendary composer Marvin Hamlisch – and written shortly before his death – will get its first public performance on Friday.
The song called "A Second Home" was written by the Oscar winning composer about his favorite New York eatery The Russian Tea Room. The song is owned by the owners of the iconic Manhattan restaurant.
It will be performed by Long Island singer Debi Toni during her one woman show – "Caught In The Act, Again!" – at Manhattan's Triad Theater on Friday evening. Toni sang the original demo of the song and is excited to give it the first ever public performance.
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Filed Under: EXCLUSIVE Tagged With: Marvin Hamlisch


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At the age of thirteen, Dominic left school to follow in his father's footsteps in the housepainting business. The family house in which Behan lived was the property of Christine English, Dominic's grandmother, who owned several properties in the city. His father Stephen was a member of the IRA and had been one of Michael Collins' "Twelve Apostles", who were responsible for the deaths of several officers from the British Army during the Irish War of Independence. He was banned from a professional future career for refusing to swear allegiance to the British Crown during the war of independence.
Also during the late sixties and into the early 1970s, along with writing many TV plays, poems and songs, Behan worked with the leadership of the Official IRA to raise funds (mostly raised during extended lecture tours in the United States) to establish a permanent summer school in Mornington (Co. Meath) the aim of which was to bring Protestant and Catholic working class youths together in an adventure setting intended to break down sectarian barriers by fostering team work. The school ran courses every year through most of the 1970s and was a tribute to Behan's belief that the troubles in Northern Ireland would be resolved only by dialogue and respect.
Behan was a self-educated man whose intellect was such that he numbered many respected thinkers among his friends including the likes of Hugh MacDiarmid the Scots poet with whom he lived for three years, Louis MacNeice who became for a time a writing partner – mostly for the BBC overseas program and H. A. L. Craig the screenwriter who produced the script for the film of Waterloo. Behan also found time to work in education, having been identified by the Strathclyde Region education dept as the "Writer in residence" for the Region's secondary schools. Behan enjoyed this role for more than five years, Behan always expressed a conviction that the youth were worth investing in and the role with Strathclyde Region allowed him to reach out and help aspiring talent get recognition and encouragement.
Through relationships with various people in the music industry including Phil Solomon (one of the owners of Radio Caroline), Behan found himself to be often involved in helping performing artists (e.g. The Dubliners, David McWilliams, Christy Moore and many others to develop their acts, establish an appreciation of stage craft and (especially so in the case of The Dubliners) write material. In this way, Behan made some long-lasting friendships that spanned musical genres and included friendships with Eric Burdon, Jimi Hendrix, Chas Chandler and many other artists.
Arguably, it was as a songwriter that Behan excelled. He was a prolific composer and had more than 450 songs published during his lifetime, though undoubtedly wrote many more. Many of his songs were very popular in Ireland and among the Irish living in Britain and elsewhere, especially "The Patriot Game", "McAlpine's Fusiliers", "Avondale", and "Liverpool Lou". In 1958, he released The Singing Streets: Childhood Memories of Ireland and Scotland on Folkways Records along with fellow folksinger Ewan MacColl with whom he collaborated for a number of years. Behan, who was unequivocal in the defence of his copyright, publicly accused Bob Dylan of plagiarizing "The Patriot Game" in writing his own "With God on Our Side".
Dave Cousins of the band Strawbs wrote his song "Josephine, for Better or for Worse" in honour of Josephine and Dominic Behan. This song has been recorded several times; the best-known version is on the album Dragonfly by Strawbs in 1970. Bob Dylan's 1963 song "With God on our Side" uses the melody and narrative framework of Behan's "The Patriot Game", as well as being influenced by its theme. The melody, as Behan admitted during a correspondence in The Guardian with Michael Grosvenor Myer, was actually derived and adapted from a version of the traditional song known as "The Nightingale", "The Grenadier and the Lady", "The Month of May", though had been significantly changed in both tempo and mood to serve the narrative of the song the Patriot Game.
Behan is discussed briefly in Bob Dylan's documentary film Dont Look Back but it is clear that the enmity between them was palpable. Behan held a number of artists in contempt, particularly when they changed the lyrics of his works to mitigate political embarrassment; for example Behan had a well publicised spat with Liam Clancy whose recording of "The Patriot Game" omitted the verse in which Behan blamed Éamon de Valera for the long-term unrest in the six counties of Northern Ireland. Behan took the view that almost all of his work was written to make some form of social, historical or political statement and should either be used as an entire piece of work or not at all. The relationship between Behan and Clancy was never repaired.
Dominic Behan died at home in Glasgow, aged 60, on 3 August 1989 of complications arising from pancreatic cancer, shortly after the publication of his critically acclaimed novel The Public World of Parable Jones. He was survived by his widow Josephine and two sons, Fintan and Stephen. He was cremated in Glasgow and his ashes were scattered at the Royal Canal Dublin, near his birthplace, by May MacGiolla the wife of the Workers' Party of Ireland Dublin West TD Tomás MacGiolla. His oration was given by his lifelong friend Seán Garland, general secretary of the Workers' Party of which Behan had been a staunch supporter for many years.
^ "Power To the People", John Lennon and Yoko Ono talk to Robin Blackburn and Tariq Ali for their underground magazine "Red Mole", 21 January 1971.
^ Yoko Ono on Desert Island Discs, 10 June 2007.
This page was last edited on 7 April 2019, at 20:55 (UTC).


Public health professionals who specialize in biomedical and laboratory practice complete laboratory assessments to identify and diagnose diseases. They can also focus on studying conditions that have a chronic effect on other health factors. This field encompasses a diverse array of specialists, including bacteriologists, microbiologists and biochemists, among others. In this career, you could find yourself working in a local clinic, on research studies, or traveling abroad to complete research and diagnostic assessments in the field. There is also opportunity for advancement in education and academic research.
Those studying biomedical laboratory practices may have extensive coursework in biology, chemistry, and other sciences. Schools and programs may also have requirements for laboratory time or research exposure as a part of the degree.


Yesterday, in addition to passing the once-doomed Emergency Economic Stabilization Act of 2008, otherwise known as "the bailout," the Senate and House did a very good thing: Lawmakers extended and modified the federal investment tax credit for residential and commercial solar energy development. Such tax credits, originally enacted in 2005, are generally recognized to be essential to help the younger industry compete against the (readily subsidized) coal, nuclear and oil industries, and to allow increased competition to drive solar products down the cost curve.
Some executives hauled out Champagne. Solar power advocates in San Francisco threw an impromptu party at a downtown bar.
"It's a fantastic day for the renewable-power industry," said Julie Blunden, vice president for public policy at SunPower Corp. of San Jose, after picking up a bottle of bubbly. "This is one of those few times when you can tell you're at a turning point."
Though the bailout ended up with a less than desirable number of legislative hangers-on (cf. the arrow-factory earmark that 337 members of Congress felt was necessary), this was a crucially important addition, geared at stopping the number of new solar projects from plunging, Dow-style, over the next several years, and to keep the notion of green job creation viable as the country's unemployment numbers tick up. A one year production tax credit also applies to other energy sources such as geothermal, biomass, hydropower, and wave energy--a new category. The only snag: Tax breaks for wind production were only extended for a single year. So although an encouraging amount of track has already been laid, we may be fighting this battle all over again in 2009.


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In case you're wondering — like we were — what the heck ATIV is all about, it's "Vita" ("Life" in Latin) spelt backward because Samsung is all about nature and life and stuff. But silly name aside, there was some pretty impressive hardware shown-off today.
The hybrid offerings from Samsung feature a touchscreen tablet with a detachable keyboard accessory. It's an interesting take on the genre, Samsung's moving away from sliders (like Sony's new Duo 11) and creating a fully-removable keyboard. As a result, the Smart PC and Smart PC Pro can be used in a very traditional laptop mode or as a tablet. Both versions of the SmartPC have a 10-finger multi-touch system, S Pen for drawing and writing, 11.6-inch display, micro-HDMI, miniSD, support for 3G and 4G, and two USB 2.0 ports on the keyboard.
The Smart PC (non-Pro version) is 9.9mm thick and boasts a 1366 x 968-pixel display, not as nice as its sibling but still good. It's running on an Intel Atom Clover trail processor, which allows it to pull off an amazing 13.5 hours of battery life, with 2GB of RAM and up to 128GB of flash storage. Camera-wise it has a front-facing 2-megapixel camera and an 8-megapixel camera with flash on the back.
The Pro version of the Smart PC gives you a little more to work with in terms of performance. A Core i5 processor and 1080p display are both standard, as well as packing in 4GB of RAM and up to 256GB SSD. Prices have been set for October 26 at $650 for a base Smart PC, $750 for a keyboard bundle, and $1,120 for a Smart PC Pro.
If hybrids aren't your thing then you'll be happy to know Samsung included a pure tablet experience in its ATIV Tab. The new 10.1 inch slate resembles the Android-based Galaxy Note 10.1, but this time it has Windows RT under the hood. The display comes with a 1,366 x 768 display, 1.5GHz dual-core processor, and either 32GB or 64GB storage options. A 5-megapixel camera is built into the back with a 1.9-megapixel facing front. There are ports for micro-HDMI as well as a plain old (but still awesome) USB. The battery has been updated from the Galaxy Note 10.1, moving from the 7,000mAh pack to the 8,200mAh so users will definitely appreciate the bump up in battery life. It's still light too, weighing in at a relatively small 20.1 ounces. No official word on a launch date, but judging from the rest of the products a safe bet would be October 26.
Though it already made its debut at Computex back in June, the touchscreen version of Samsung's Series 5 Ultra Touch Ultrabook is officially here. It's basically identical in look to the original Series 5. The insides are roughly the same for the $800 and $900 models, both coming with a 13-inch (1,366 x 768) display, 500GB hard drive, 4GB of RAM, and 24GB of ExpressCache. The main difference is the less expensive model ships with a Core i3 processor, while the higher-end model sports the i5. Oh and it's now rocking a touchscreen display, if that wasn't obvious from the name.
But of course, it wouldn't be a Samsung product without a few bundled apps. This time around they chose to include some applications to ease consumer's transition to Windows 8. The S-Launcher is Samsung's replacement for the newly-removed Start Menu. As well, eSettings is a hub for power management and display settings that can be hard to locate in Windows 8. Samsung's various "Hubs" are also included for music, videos, social, and other media types. And the AllShare app uses DLNA to share data across different devices. Samsung gave a release date of October 26, the same day of Windows 8's official launch and apparently the entire ATIV collection.


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louisville baseball
Oriente's 8th Inning Heroics Push Louisville Past UVA
Posted on April 20, 2018 April 20, 2018 by Justin Krueger
Danny Oriente's two-RBI single in the bottom eighth punctuated a 2-for-3 day at the plate as Louisville (26-11) rallied to a 5-4 win over Virginia (22-17) in a back-and-forth tilt between both teams.
The win pushed Louisville's current winning streak to six games, and Oriente extended his hit streak to 11 games. In that stretch, Oriente is batting .513 (20-for-39) with 18 RBIs, and his streak is tied for the longest of any Louisville batter this season.
Oriente got U of L on the scoreboard first with an RBI single in the fourth inning.�Virginia answered with an RBI triple from Dustin Ortiz in the next inning down the right field line. Tyler Fitzgerald followed that up in the bottom fifth with a solo home run to left field, his third of the season.
The back-and-forth pace continued into the sixth inning with Virginia scoring two runs off as many RBI doubles. Andy Weber and Nate Elkhoff each punched them in the inning, giving the Cavaliers a 3-2 lead. Oriente came through again for the Cardinals in the bottom sixth, offering a sacrifice to right field that allowed Devin Mann to score a tying run from third. Virginia took the lead again with an RBI double from Justin Novak in the seventh, with Dustin Ortiz scoring the run.
In the bottom eighth, it would be Oriente again that gave Louisville a clutch hit. His two-RBI double gave the Cardinals the game-winning run in the inning, one that would be finished with Shay Smiddy's save in the ninth to close the game.
Five of Virginia's eight hits were of the extra-base variety; Andy Weber, Nate Elkhoff, Justin Novak and Dustin Ortiz all hit doubles in the game, with the latter also recording a triple. Derek Casey started at the mound for Virginia, threw 114 pitches and delivered eight strikeouts, allowing three runs on six hits in 6.2 innings of work.
Tyler Fitzgerald (2-for-4, RBI, HR) and Logan Wyatt (3-for-4, double) joined Oriente as the only Louisville batters with a multi-hit game. Josh Stowers and Justin Lavey also had hits in the game, the latter recording a double.
On the mound, Adam Wolf finished his usual Friday start with seven strikeouts and allowed four runs on seven hits, pitching 6.1 innings. Bryan Hoeing (4-1) was awarded the win, only allowing one hit in 1.2 innings pitched. Shay Smiddy recorded his first save of 2018 with a perfect ninth inning, striking out two of three batters he faced.
The Cards continue their series against the Cavaliers with games on Saturday and Sunday at 1 p.m.


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