text:
P E A C E & R H Y T H M
Q Street - Super Hi-Fi / Wolfpack - Big Mean Sound Machine 45 video
2014 Faves
Check out Our Favorite Records of 2014 over at our label website:
http://peaceandrhythm.com/favorite-records-2014/
And buy some of our stuff while you are at it.
(Really the blog has moved).
Posted by andujar at 3:51 PM No comments:
Rumba Psicodélica at The Quarters!!! This Friday 10/17
(Poster by Sightlab)
DJs Andujar & Bongohead will bring their Rumba Psicodélica party to the Quarters on Friday Oct 17. These two tropi-heads will be spinning from their expansive vinyl direct to The Quarters Sound System. South American psych rock, messed-up cumbias, dark dubs, hard Afro rock, Cuban experimental, Trópicalia, salsa loca, spookaloo, tropical funk, Caribbean electro-derangement, Ethio-groove and other borderless haze.
Join us 8pm-1am at The Quarters Friday 10/17. No cover. Come play some arcade games, drink some brews, eat some food and get your brain mangled.
Brought to you by The Quarters and Peace & Rhythm.
Posted by andujar at 3:59 PM 1 comment:
Labels: rumba psicodelica, sightlab posters, the quarters
Peace & Rhythm's Interview with Producer Ray Lugo
Ray Lugo and his groups have brought us some of the grooviest music on the planet! A well-traveled and fiercely independent artist, Ray's music have covered a lot of funky ground, from his Kokolo Afrobeat Orchestra, his Boogaloo Destroyers to his soulful L.E.S. Express studio project and solo and remix work. Coming from the heart and soul, his tunes are uplifting and get the feet and hips moving. We just had to check in with him:
(Photo by Joseph Beeson)
Please give us some background about growing up, your early years and how you got into being involved in music.
I grew up on the Lower East Side of New York, but also lived briefly in Caracas and Puerto Rico as a kid.
When I was a boy, around age 10 or so, I'd often spend long periods of time alone as my mother was not in town. In those days, my neighborhood was the infamous "Alphabet City", and at night I would often find it hard to sleep because I was afraid someone would break into the apartment while I slept. Plus I wanted to drown out the sounds of the drug dealers and people fighting that could be heard from my window. So I would listen to every station from one end of the dial to the other on a small radio I had. The last station of the night was always WBLS and this is how I grew to love disco, R&B, funk and soul. The Chief Rocker Frankie Crocker was my favorite DJ and I always looked forward to his show as he always played the hottest tunes.
By age 11-12, I was a B-boy and Hip Hop was the biggest influence in the way we looked at the world. There weren't that many actual Hip Hop records in existence at that time, so we'd often tape-record the Friday night radio shows and blast the same tape the whole week until the next show. We would also just loop a break and bump it all the time everywhere we went on the boombox. I remember Bob James' "Mardi Gras" was one we rocked for ages. 90-Minute cassette tapes with just that ONE break on both sides! hahaha. Those breaks always provided the atmosphere when we would bomb graffiti in the train yards.
The Lower East Side at the time was a place where you had Latin descargas going on in the East River Park on Saturday afternoon, punk rockers coming to buy their dope dressed in the wildest clothes as b-boys uprocked to Spoonie Gee. Everything was very mixed in New York in those days and no one made a big deal of it. It was all part of city life. I became intrigued by the punk rockers and wondered what it was all about, so one day I decided to go to a show. It was a Bad Brains show at the Jane Street Rock Hotel and my friends and I left the place with our minds blown. I had never seen so much energy, camaraderie and vibes in one room. These people had an "outsiders" club of their own and I wanted to be a part of it. So I went deep in that direction during my teens.
What other sounds did you hear growing up that really got you jumping!
As a child I primarily heard opera, as my mother is a lifelong fan. When she was around, the works of Puccini and Verdi or anything featuring Maria Callas would often be heard in the house, as she was one of my Mom's favorite singers. Opera didn't get me "jumping" but I could tell this was complex and well arranged music. We lived with my stepfather for a couple of years and he was a huge Fania All Stars fan, so I was exposed to a lot of Ismael Rivera, Celia Cruz and Hector Lavoe's music and I began to love it myself. The music that I would say changed my life was early hip-hop. I remember as a kid how the Sugarhill Gang's "Rappers Delight" could be heard blasting at every block party, in every house and in every school dance in 1978-79. That one tune switched things into overdrive. The Treacherous Three, The Funky Four + One More, and pretty much everything Kurtis Blow was putting out at the time were also anthems we would rock until the grooves started to wear out. Now THAT got me jumping for many years.
From there I became drawn to guitar driven bands and eventually landed on punk and hardcore music because I could identify with a lot of its frustration and explosive energy. So certainly, Bad Brains, Fear, Black Flag and bands like Minor Threat, 7 Seconds and MDC caught my interest. What I liked most was that these groups were really saying something lyrically, something relevant. Not all, but many of the people making that music were thinkers, they questioned the status quo.
At what point did you get involved with the NYHC scene? Could you tell us about those days?
I got into the hardcore music in the early-mid 80s. One afternoon I was loitering around Tompkins Square Park and struck up a conversation with John Omen, who played bass for Warzone at the time. He invited me down to The Pyramid club and introduced me to Raybeez who asked me if I would like to work with them as a roadie and I accepted immediately. During my time in hardcore I was fortunate to meet and share great (and some very sketchy) experiences with a lot of great people from the scene. It was an exciting period of time because there was a lot of "new" energy around and groups forming all the time. I learned so much about the world of underground, independent music during that period. Had I not known any of this, Kokolo would have never been able to tour so many countries, and I certainly would not be making music today. They taught me valuable things: dedication, conviction and above all, tenacity. Never let anyone tell you it can't be done. Never let anyone dictate your limitations. Based on these beliefs I taught myself how to write and produce funky music I could only dream of as a kid.
Back in those days, the scene had been around for about 5-6 years as "hardcore" but there were scant labels to be found and there was still and air of innocence to be found as these musicians were doing it because they HAD to, not because of a record advance, contractual obligation etc. The fanzine Maximum Rock and Roll was sorta part scene bible/part gossip column and served to keep all the scenes around the country informed on the comings, goings and misdeeds/indiscretions of bands or specific people. There was no internet then, so things were done via actual letters and phone calls. Cassette demos were very popular and you could just mail 3-5 bucks in cash and get your music in a couple of weeks or so. Most bands scraped up the cash to record their demos and sell them outside of CBGB's during their Sunday matinees. I think I still have my Sick Of It All cassette demo somewhere hahaha. New York City bands at the time did not have the same marquee draw that West Coast bands like Circle Jerks, Black Flag etc or even DC guys like Minor Threat, but it didn't take too long for the city to gain a strong foothold nationally after bands like Cro Mags, Murphy's Law, Crumbsuckers and Agnostic Front began to release properly recorded, distributed and marketed albums.
I remember the few places that actually would give many of those bands a break in order to play live were churches and VFW halls. It didn't matter where they played anyways, as the venue would often be filled, kids would know the songs and we were just thrilled to be out of NYC.
(Ray & the Boogaloo Destroyers live at Nublu, NYC summer 2014)
What led to your involvement with Underhanded Studios? How much studio experience did you have at this point? What are some notable projects that came out of there?
Around 1989, hardcore began to transition into more of a heavy metal/rock sound as a result of the rise in popularity and influence of Guns & Roses' sound. I began to sing in a hard rock group called Twin Barrels Burning at the time. We released a 7" on Dutch East India to little fanfare. During those days I was not the most reliable frontman, as my performances fluctuated from great to unwatchable. We had worked hard to generate a buzz in the East Village and we got word that Seymour Stein, president of Sire Records, would be in attendance at our show that weekend. I'm not sure if it was nerves or what but I drank too much before the show and ruined the performance for my bandmates. The big record company bigwig heard a song and a half and got back on his white limo and left. Soon after, I deservedly got booted from the band.
It was then I decided never to let my actions ruin another opportunity and to return to the DIY ethos I picked up from hardcore. One night I bought a 4-track TASCAM recorder from a junkie on St. Marks Street and locked myself in my apartment reading over the instructions manual in order to learn how to operate the thing. This is what inspired me to open up UnderHanded Records on Ludlow Street.
Before Underhanded, I didn't have a clue how recordings were assembled but had the good fortune to befriend a fellow named Steven Walcott who did and together we taught each other what the other lacked.
The label itself was moderately successful, but should have been more so. It was quite eclectic sound-wise, ranging from Latin Ska to Industrial, Dub Punk and Indie. This was at a time when small indie labels HAD to specialize on one specific style because of the financial risk involved plus the expectations of its buying public. I'm thinking of Touch and GO, Dischord etc. Only major labels had the financial freedom to delve into a much wider variety of genres at the time.
One of our most notable acts were the Latin-Ska band King Chango. They eventually would go on to David Byrne's Luaka Bop label and featured Martín Perna, who would start Antibalas, as well as Fernando Velez, who became Sharon Jones & The Dap Kings' conguero. I still have fond memories of the fun nights recording those early songs.
Also at Underhanded, we befriended Phil Lehman and Gabe Roth when they first began Desco Records, which would eventually morph into Daptone Records. They cut their first two albums there along with a host of singles, and seemed to always have a good time during the sessions.
(Kokolo)
What was your path into wanting to start Kokolo? What has been going on with it?
The first time I ever heard Fela Kuti's music was at Gabe Roth's apartment on Houston Street around 1994-95. His label partner at the time was a French fellow named Phillip Lehman and together they had launched Desco Records. Philip had been one of the first French B-boy and graffiti writers in Paris and was a true connoisseur of funk, soul and African music. One afternoon I stopped by their place and they were spinning some Fela. The long ass solos and just general song length didn't appeal to me at the time. It took me a good 6 years for me to one day purchase a Fela CD and discover the brilliance of his compositions. My ears had to mature before I could appreciate his work.
From that point I wanted to challenge myself and see if it would be possible to even attempt forming an afrobeat group given my limited playing skills. I knew that rock's formulaic structures no longer enthused me and I aspired to become a better songwriter and arranger. Of course I knew I would never touch the genius of Fela but I was convinced I could write more complex music than I had ever done before. This became the idea behind forming Kokolo. Now, 13 years after forming the band I feel it was one of the best experiences of my life for I have had the incredible good fortune to be surrounded by and to have met fantastically accomplished musicians who have shared their talents with me over the years. Some of the guys that have played with me are truly world class.
Currently, we are finishing up Kokolo's fifth studio album, which will be out in January 2015. We plan on doing an extensive tour in support. Most of the guys in the band have been busy working on a variety of new music projects for the past couple of years and it's time to get on the road again.
I find it amazing that Kokolo has toured so much out of the US (Europe, Africa, Asia). Why so few gigs in the States? Are there any particular cities or regions (worldwide) that have given tremendous love?
When I started the band, I understood that it would take between 10-12 years for the band to be known globally given the fact that most of the recording, marketing and touring would be DIY and that I was never going to seek a "Big" label for there was nothing they were going to do for me, except lock us into a disadvantageous and protracted contract. In addition, I have always been supportive of nascent "afro" scenes and clubs in a lot of countries and they in turn have repaid our support with logistics, shows and warm friendship. The music I write with Kokolo is intended to make people dance. It's hard and it's funky. In a way it is quite aggressive, in a seductive way. This works well at many of the venues that have been kind enough to host us, wherever in the world they may be.
In the United States, we only play established "nights" in clubs or events where afrobeat and afro-funk is already embraced and the crowd is built-in. Indeed, Kokolo is quite capable of booking a 35 date Coast to coast US tour, but the reality is that by the time we hit Detroit we would find a lot of empty rooms. This would be de-moralizing and pointless. We would go into serious financial debt just to pretend everyone in America is into Afrobeat, which is not at all the case. Kokolo has never lost money on a tour and this is what gives us the freedom to continue to bring our live show to wherever it makes sense.
Region-wise, there are so many great cities, countries and events we have played it is hard to pin down the top ones, but some that do stick in my mind would be The Glastonbury Festival, The Montreal Jazz Festival, playing on a floating boat club in Paris, Bullrings in Spain, the insane sound system at Block 33 in Thessaloniki Greece, Gypsy spots in Romania, Italian Beach Festivals and on and on. We got a lot of love from all of those different types of crowds. If you are one of them and you are reading this: Thank you, Merci, Gracias, Danke, Obrigado, Epharisto and Grazie!
Could you fill us in on how Kokolo gets its music together? Are you the chief songwriter? How steady is the crew of musicians?
I write all of the music and lyrics for Kokolo. In the beginning, I collaborated on a couple of songs with others but when the time came to license songs for compilations, soundtracks etc problems arose. I didn't want to deal with that again, so ever since, I write everything and things run smoothly.
All Kokolo songs start with a beat, upon which I try to place the fattest and funkiest bass line I can come up with. After those two are set I add the guitar lines, a tenor and a rhythm. Horn lines are then placed in specific places that will add dynamics to the tune and gel with the vocals. I usually listen for a few weeks to those elements and then come up with the chorus, it is only at that point that I know what the song will be about and then I write the lyrics and melodies.
During the first 4 years we had many different musicians come through the door and it took an average of about a year each to find permanent musicians who not only had the skills to play the music as I envisioned it, but that also had stage charisma as well as being pleasant and conscious people. The present lineup has been together for about 6 years now, except for our trombonist, Chris Morrow, who has been with me from day one. Kokolo would not be going today if it weren't for Chris' invaluable input and friendship.
Could you explain the different approaches you take to writing music for your various projects? When something pops in your head and you start building it, do you have an idea of which project you want it to be for?
Some songs have come from just bits and pieces I assemble from various sketches I have lying around. From 2008 or so I began to envision more funk and soul driven tunes in collaboration with female vocalists. I felt this material would be out of place within Kokolo and so I dubbed it "L.E.S. Express", which was the name of a roller skating crew from my neighborhood when I was a kid. Same for the Boogaloo material, I thought it was best to give it an individual identity, separate from the other projects.
I had several sketches that were kinda finished when I befriended Dusty from the Jazz & Milk label over in Munich. After I sent them to him, he felt there was enough there for a proper solo album and that's how "We Walk Around Like This" came about. That Jazz & Milk release was the one who opened the door for me to explore a much wider range of influences than I had ever before.
I am fortunate to write any style of music I like when the inspiration hits me, as I believe there are only two kinds of songs: the ones that make you feel something and the ones that do not. I try to keep on the feeling side of things.
How often do you play the music of each of your projects live in concert? Has LES Express ever played live to an audience?
The L.E.S. Express has remained a studio-only project for the moment. We had discussed the possibility of jumping over to the U.K. for some shows back when Roxie Ray was living there for a bit, but the logistics never materialized and the opportunity faded.
With the rest of the projects, it depends on promoter demand and whether it makes sense. Currently I play with Kokolo, The Boogaloo Destroyers as well as play solo shows and/or DJ. It just depends on what project works best with a particular audience. We usually plan tours 5-6 months in advance and try to go out for as many weeks as possible once or twice a year.
How many instruments do you play? Do you engineer all of your own recording?
I play guitar, bass, congas, clave, and a tiny pinch of keys. I'm not very advanced in any of these instruments but I play enough to convey the general ideas, which are then enhanced by the real instrumentalists in the band.
The first Kokolo album was engineered by Gabe Roth at Daptone, and we had sporadic engineers sit in between the second and third albums. I engineered the fourth album, and the new one was engineered by our guitarist, Jake Fader, in Cleveland. When it comes to my solo music, I do some of the engineering with crucial help from my friend, Ian Toole.
When you work with vocalists like Roxie Ray and Elani, do they record their vocals from afar or did you get together in the studio? I had never heard these singers until hearing them on your LES Express records. How did you discover these talents?
It was funny, because I actually first met Roxie Ray in person when I toured Australia in 2012, almost 3 years after the music was released. I had first heard her voice singing lead for Dojo Cuts, a great funk band and label mates of Kokolo on Record Kicks. We met for coffee in Sydney and the next night we did a radio interview together. She is a fantastic singer with soul for miles. The way we worked together was great because, unlike many singers, she can actually write her own lyrics and come to the table with concepts. I would send her the rough instrumentals and she would reply with finished hooks and lyrics. She rocks and is a pleasure to work with.
I met Elani through Kokolo's bass player, Kavin Paulraj, as he had spent quite a bit of time in Brazil and is a dear friend of Elani. She had never sung before and I was playing back the instrumental track when it occurred to me that the tune would benefit from some Portuguese singing. She agreed and we were able to track her and Kavin in just a couple of takes. I love the spontaneity aspect of that tune because it all flowed very naturally and chill, just like I wanted the tune to sound. Elani is a beautiful soul.
Is there a basic philosophy or attitude that you generally convey with your music?
In parallel to my music, my philosophy on life has evolved over time. I used to believe that positive change could come through the collective, in an orderly and cohesive manner. I now believe that change can only come through the modest but continued actions of the individual.
I once believed revolution was the answer, but now feel evolution is far more important. I hope we can begin to concentrate our brainpower on developing new models of living harmoniously not only among ourselves but in cooperation with our natural world. Politics, nationalities, money or status will be useless when there is no clean water to drink or non-polluted air to breathe.
The artwork on every album I have released contains a maxim I came up with many years ago: "Live more, consume less, with more joy and less stress", with this I try to encourage listeners to collect experiences, not items.
I just have to ask: what goes through the Ray Lugo creative brain when he hears a Duran Duran tune and decides to voodooize it? One of my favorites, man!
Most people think of Duran Duran as 80s pop icons, but if you listen closely you will come to find out that those guys can really play their butts off. I always liked the concept and bass line of "Girls on Film", so one night I thought "why not?" and rang up the boys with the idea. We had a lot of fun tracking that one and was happy when their bassist, John Taylor, posted Kokolo's version on their site a couple of years ago.
Who have been the most exciting artists you have heard in recent times?
There have been a couple that got me excited to check their music:
The Aggrolites are one. I found their "dirty reggae" to be the perfect mix of soul, reggae and punk attitude.
Stromae: Belgian dance artist. Great video concepts and lyrically exceptional.
Chet Faker: Really like what he's been doing with his productions. Unassuming but deeply soulful. Good key works.
Phil France: Exceptional mood pieces. I think of him as a modern day Satie.
Kompa: Not a band, but this Haitian sound really gets me going these days. Too many brilliant groups to mention in one sitting.
Little Dragon: I understand they are currently the flavor of the month, but really love how she places her vocals on top of the jangly rhythms. Impeccable.
What forthcoming projects can we look forward to?
Kokolo - Album #5 out early 2015
Los Terrificos - New Psychedelic Chicha/Spaghetti Western project Album out Summer 2015
New Solo Album – Out Early 2016
New remixes – Out Winter 2014/Spring 2015
Tours: KOKOLO/BOOGALOO DESTROYERS/SOLO/DJ throughout 2015-2016
Besides the music, what are some of your other personal interests?
I like to read a lot of Eastern Philosophy writings, things like Khrishnamurti, Osho and Buddha. I am also a beginner student of yoga.
I have also recently gotten back into following sports after many years away. I have become an avid fan of the English and Spanish soccer leagues, as well as the NBA and NFL.
In addition I volunteer as Director of a soccer program for kids with disabilities. I have learned much from spending time with people that are so grateful that you give of your time. Seeing smiles on their faces is a great inspiration.
What have been your favorite cities you have lived in or visited?
I love different cities for many reasons, but some of my favorites are:
Paris: Because you can simply walk around at night and gawk at the amazing architecture and aura of the city for hours on end.
Tokyo: Endless things to see. Whole different way of looking at things!
Manila: One of the friendliest places I have ever visited. Down-to-earth and vibrant.
Sydney: Too pretty for words.
Rome: Another place where it pays to walk around the ruins at 4AM!
Marrakesh: Top food, deals on everything and exotica galore.
Could you recommend a few favorite current restaurants?
New York: Carmine's for the best Italian meal.
Miami: Larios for awesome Cuban food on South Beach. And if it's too packed, you can scoop a sandwich from a window shop around the corner. Both great.
Nottingham: Chez Coor's for the best Jamaican food.
Bangkok: Issaya Siamese Club. Mind blowing food served in a picturesque 100 year-old heritage house.
Name a few records that you count among your all time favorites.
Bad Brains – ROIR tape: --For many years during the initial stages of American hardcore, the bad brains were simply one of the most energetic, engaging and out there groups in the country, both on and off the stage.
Ruben Blades – Siembra: --In the early 80s, Ruben was looked up all across Latin America as the "intellectual" salsero, the one who poetically voiced the concerns of the everyman. This album forever cemented his reputation as such.
Tom Waits - Small Change: --After moving on from the punk and hardcore scenes in the early 90s we began to play blues based hard rock and began to delve deeper into artists like Thin Lizzy, Merle Haggard and Tom Waits. Tom and Randy Newman are master story-tellers and on this album in particular, I find Tom to be at his peak of conceptual ingenuity.
Chic - C'est Chic: --Bernard Edward's bass lines are the reason why I became interested in playing bass and much of my music features many of Nile Rodgers' funky guitar chords. I always loved the sophistication of the arrangements and the incredibly tight grooves. Was thrilled to bits when Kokolo got the chance to play with Chic in Europe some years ago. They were still sharp as ever.
Public Enemy - It Takes A Nation Of Millions To Hold Us Back: --The way in which PE blasted upon the scene was absolutely thrilling. Their message had never been delivered in such a funky and relevant manner before, their live shows were real spectacles. The Ying and Yang provided by Chuck and Flave were brilliant. I mean, it got to the point where we actually began to believe a revolution was eminent! Bold, innovative, funky and honest.
LIVE MORE, CONSUME LESS. WITH MORE JOY AND LESS STRESS.
Contact Ray at kokolomail@yahoo.com.
You can reach Peace & Rhythm at peaceandrhythm45@gmail.com.
Post author: Andujar
Labels: interview series, kokolo
Pardon My Ears! Interplanetary Music Scene Report
Here are a few items that have come my way that I have been digging so far this year. Almost all of these were promos sent or handed to me, either on vinyl, CD or digitally. A few were selectively procured on my independent whimsy. Keep on sending your music. Vinyl sent to me will get a review. No guarantees on the rest, but I will do my best. Contact me at peaceandrhythm45@gmail.com.
Note: If you don't see the record you sent me here, don't fret. I will take care of it for the next column, of which will run soon and be smaller in size. I realize I take too damn long with these articles about shiny black wax. So more, but smaller. Coming soon.
And no, I am not giving out free music downloads here. Go and support, please.
Author: Andujar
-- I've been really digging this French project Afro Latin Vintage Orchestra for a few years now. Having found a home on top notch US indie Ubiquity Records, bandleader Masta Conga is free to whip up his personal vision of funk-jazz. The new album, Pulsion, was well worth the wait. Very soundtracky and legitimately psychedelic-sounding jazz, ALVO make the kinds of records that are a pleasure to listen to. More on the stoned vibe but with a lot of funk and rhythm to keep the limbs loose. This is gorgeous mind-massage nuttiness. It could likely pummel every "strictly library breaks" digger and leave them a lesson to remember. It's like they take all your favorite little elements out of all your favorite musical genres and sculpt them together into a solid hazy groove for head or body. A river of pleasureful sound!
--Bill Nace's Open Mouth has been releasing some documents of high art noise with cool graphics and presentation to match. Jake Meginsky studied percussion with Milford Graves and Joe Platz, is part of Slaughterhouse Percussion duo and DJs hiphop & other sounds. So of course here we get something completely left field. This new work, l'Appel Du Vide, opens with the most minimal of electronic sounds before we get to a hint of a melody transmitting from mars, a lightly percussive section around 8min and later there seems to be an old drum machine in the back. Side B begins with a warbling electro-something, almost like an arabic string instrument. 2nd section would fit with a Maya Deren flick, then minimal techno, sounds of crackly vinyl mastered into it. It'll remind you of that experience you had early morning on a pondside meditation and the next thing you knew you woke up in a hospital room and the sonic atmosphere around you became intoxicating enough you didn't even bother to ponder why you were there in the firstplace. Alien signals transmitting here. I am not exactly sure what is going on here but the whole outcome is quite good. I am amazed at the different sounds on that thing, even tape hiss sounds like it is under a microscope. Pretty exquisite stuff, I'll say. For my money I prefer the second side due to it displaying a bit more movement. This is the kind of ambient sound I can hang with. Highly creative and mysterious, this noise is music, executed with deep control of vision.
--From Santiago, Chile comes this wild group called Anarkia Tropikal! The strictly-digi album La Venganza de los Brujos is a left-field joy. The lyrics are way too fast for my brain to understand but I am really digging this group all the way around. Psychedelic cumbias, shaman-punk vibes, and general red-eyed evil with an ode to "Ayahuasca", and of course yet again some great sleeve art. This is your ticket. South America leads in a lot contemporary art and music that I like.
--Boomarm Nation (along with Sahel Sounds) presents Mamelon's "Koumba Fri Fri" 7", wicked youth-roots from Mali. Storming percussion and some fierce rapping. Kinda reminds me of a rougher cousin of fuji. The remix adds synth blurts acting as your guide, with some echo fuckery. And the El Mahdy Jr Räi Dubs 10" will alter your senses enough to be able to hear in a few corners of the world at once. Mahdy (an Algerian exile) collaborates with three other producers here on a war-weary platter with räi as a launch point and a trip through desert dub gone mad. Cut from similar edgy sonic territory as Muslimgauze, Mutamassik, etc. A couple more blasts of fresh ear from the Boomarm Nation.
--Jef Gilson et Malagasy box set (Jazzman)...French pianist Gilson has long been a legendary name to jazzheads like myself but I never heard the man's music until a few years ago. Possibly because he is European and I grew up in the States (where jazz artists used to grow on trees), but more likely because his albums run several hundred dollars a pop. A few reissues later and voila! I can now attest to the supreme music he made. This set by Jazzman offers his trio of albums (+live stuff) from the period that he was in Madagascar (late 60s/early 70s). I am really into jazz that has distinct african flavor and this has that. If ya dig Randy Weston/Don Cherry/Lloyd Miller ethno-jazz vibes then you are strongly encouraged to seek this material out. And there are plenty of soul-jazz & bop grooves as well. Some of this stuff came out originally on Gilson's Palm label and here's hoping some reissues of Saheb Sarbib and Khan Jamal would be in the cards. That would be greatly appreciated, universe.
--The (Riverhawk) Party Band are a punky, funky brass band from Lowell, MA that is inspired by Claude Debussy. Not sure how his theories relate to the musical styles on the Transcendenta LP (Nice Bass Productions), but maybe some day I will be clued in. But they give a little rap about him on one tune, and not only that but give him some prime real estate on the front cover of the record. The Party Band is a name that suits these guys, because this really is party music. "Home Grown" is my fave cut, someone should release it on a 45. "Slipstep" is another great one. What a fun LP! Get one direct from the group. Every town should have a band like this.
--I've been quietly enjoying the music of Mo Kolours the past couple of years. And now there's a debut album (One Handed Music) from the Mauritian-Brit. This music is truly eclectic softie-ish bedroom-producer stuff but with some real creativity at work. Overall it is collage-like in a way that sounds like it could've come out on DJ Olive's the Agriculture label. Stoned and funky but quite laid back on the whole. Some hand percussion, keyboards, samples (hello Curtis), steel drum, Cymande nod. And hints of dubby hiphop for added love. Interesting listening.
--Big Mean Sound Machine are a 13-piece gang from Ithaca NY. It's a funk/afrobeat thang and wordless like so many others. The music is crackin' though and I hear they are too heavy for most stages. I dug their 2012 LP (Marauders) and this brand new one Contraband is even better. Awesome grooves and some horns to learn you something proper. The band resembles a small village and yet they fit the team into a studio for a mostly live affair. Good stuff again from this upstate posse. The LP is on white vinyl. Website here.
--My ears have been liking The Shaolin Afronauts from Australia via their catalog on Freestyle, including the brand new one Follow The Path (as well as the related "Ojo Abameta" 12"). An appealing blend of afrobeat and 70's-influenced soul jazz, with a touch of highlife, Ethio and other. The guitars can be forceful when needed or sinewy. This is a top notch ensemble, crisp and tight. Even during the loosest sections the focus is there. "Baie de Sangareya" is a particularly delightful tune. I love the cover art (see above). The 12" has a few album cuts plus two more killer afro jams, worth its own admission. Three albums in and they are sounding better than ever. 'Nauts' bassist Ross McHenry released Distant Oceans, an album under his leadership (First Word Records). Really it is from late last year but I didn't really sink my brainbuds into it til this season so it'll pass, also very 70s's with a lot of keyboard action and some tasty reeds work. Some of the sections run a little too much on the smooth side for my ears but this is largely a good one. Not sure about the personnel crossover (if any) but I like a lot of the groovy music I hear coming out of Australia.
--Ikebe Shakedown have always brought its listeners a slamming groove to dance to. The formula on the new full length Stone By Stone (Ubiquity) largely remains the same: horns & percussion driven instrumental funk with a lot of afrobeat influence. As such, "Rio Grande" stands out with a spaghetti western intro and some nice vibes. And "Dram" is a dark funk number with some guitar at the end that oddly gives me a Spacemen 3 flashback. I do wish they'd add vocals to some tracks though. That would put them over the top. A 12" and 45 add some remixes, as well as an unreleased B side. I've seen them a couple times too and they are very groovy, with a lot of cover tunes from all over the globe.
--This Jazzman anthology of a little known Chi-town group called Master Plan, Inc. is a cool soul item that spans the street-fi funk of "Heartbreaker" to the smooth harmonies of "Something to be Done" to the obligatory social-conscious cut "Younger Generation". The groove on "Bag Up" reminds me of Syl Johnson ca '70, except with a female vocalist. This does well in capturing a lot of different moods & shades of 70s soul. Swanky horns, male & female vocals. Some of it sounds pretty raw. LP has 10 cuts, digi-forms have more. The bonus cuts offer some lesser later grooves and rough demos. This is Chicago soul of a lesser known name. But if you like this bag, jump in.
--Salsa is getting exciting again. There may never be a time quite like the golden era of the 60s/70s in latin music when the scene was as diverse as it got. You had rock/hippie influence, deep exploration of afro-cuban rumba traditions, social criticism, prison albums, funk, heavy metal-inspired sleeve art, LSD-soaked jams and a deep dip into disco culture. By the time the 80s rolled around the music had gotten stale. The freaks in Colombia kept things interesting for much longer, but the kings of New York discovered that kingdoms fall hard and fast. And while Miami and Santo Domingo have continued to make bank, their brands of tropical salsa and merengue were too polished on the records for a weirdo like me to really give a shit. Ya really can't blame barrio kids in the 80s for choosing rap and punk over salsa romántica. The last 15 years or so has seen a renewed dedication to the salsa dura and there has been a slow and steady climb in delivering the kind of nutty salsa that could actually rope in that kid in the corner. This conservative of genres is finally letting its hair down again and there are a few standout groups among those making their mark for the nueva generación of salseros. Here's a short profile of the champion sound: Richmond, VA's "salsa machine" Bio Ritmo have been at it since their first 7" on Merge Records appeared in the mid 90s. Ten albums later they stand at the forefront of the scene, having garnered a cult audience all over the world. This is a tight and professional band with one of the most expressive vocalists in the music (Rei Alvarez, who doubles as the band's art director) and the crazy keyboard runs of the gifted Marlysse Simmons. The band sprinkles in a wide range of flavors in their salsa: Cuban, Puerto Rican, Middle Eastern, cumbia, danzón, funk and everything else. The Puerta del Sur album has a lot of those elements. There's something for every dancer or head-nodder on this platter. Incredible hornsmanship, otherworldy keyboards and impeccable rhythms propel an album that sounds like it is destined to come out on top of all the rest come awards time. The second side is generally a little "weirder" (to my delight), but the whole record has plenty of great music to offer. And there is a song for every desired taste here. "Se Les Olvidó" meshes Cuban and Puerto Rican elements. "La Via" is a funky salsa jam. "Codeina" is a bolero in Middle Eastern flavor, with an added string quartet. I like to call this type of band "prog-salsa", given the new directions the band creates. The first side will have mom & dad dancing to their evening's content. The second side has the party (post-joint) getting freaky into the night. Bio Ritmo have never been afraid of bringing something new into their salsa every time out, something the likes of Alex Wilson, Jose Conde and another growing few oblige us with.
----La Mecánica Popular are a NYC band that plays salsa with gorgeous guitar, a lot of effects and synths. Self-proclaimed "psychedelic salsa" is an appropriate description. Hip enough to be appreciated by gringos looking for an entry into new music, while also showing massive love to the Fania generation of yesteryear when salsa had more soul and creativity. And of course you can dance to it. Descarga, bolero, guaguanco, guajira. It's all here. A band to watch out for. Names You Can Trust has the goods. Pass the joint.
--And we're pleased to announce our involvement in the co-op 7" release of Orquesta El Macabeo's latest ("Macacoa"/"No Sé Cuando Llegué"). A salsa unit from PR with a bunch of metalheads in membership that has captured the attention of the island and beyond, but this is no gimmick. A sick band (although no metal present). Contact us if you'd like to get yer mitts on it. Peace & Rhythm label catalog # 001, super limited pink vinyl copies available as well, collector scum.
--Oh Pancho! Oh Cisco! The latest in the Let's Boogaloo! series (Record Kicks, this is vol. 6) offers up a mix of party grooves of the late 60s/early 70s, from the "spookaloo" by Los Africanos (the silly-psychedelic "Monster Party") to well-loved tropical groove nuggets by the likes of St Vincent's Revolution ("The Little You Say", which while being a great tune still feels a bit out of place here.) That one would make a great 45 with St Maarten's Rolling Tones "It's A Feeling", another classic from 70s Caribbean disco on the flip. Bobby Marín's "Mr. Skyjacker" is about as fucked a piece of music that boogaloo has ever produced. Acoustic guitar, Bernard Purdie on drums, and some fucking great lyrics. Bobby Marín used to roll with the genious Louie Ramirez back in the daze. This set has many soulful flavors to offer, from bugalú to disco to descarga to funky soul. Lots of cover songs too! "Skyjacker" is also available on a snazzy new Rocafort 45.
--Trio Valore "Crazy" single (Record Kicks)...Some Paul Weller associates play an instrumental Hammond jazz-funk version of one of my favorite pop tunes. I'll take it. (Yeah, I'm guilty).
--Brownout Presents Brown Sabbath (Ubiquity) is the highly publicized Black Sabbath tribute from members of Brownout and Grupo Fantasma. I have seen both of those bands several times and have been continually amazed by their tight live shows with swingin' horns and rippin' grooves. This record is fucking great, a sonic dream come true. If you are a child of heavy music like I am then you may find excitement in Sabbath tunes played with batá and funk horns. "Iron Man" in particular is given epic treatment here. "Hand of Doom" thrills like a good horror flick, pushing you into madness. "Planet Caravan" is a smoky trip. The best part about this awesome concept is that it remains very Sabbathy, not some gimmicky funk bullshit trying to make someone else's music what it is not. The guitars are still heavy (Beto said he started playing guitar because he wanted to be in a metal band: this is the closest he's come.) This is very clearly a work of appreciation, not novelty. And perhaps making it lifestyle might be the ticket to better understanding the black (or brown) arts. The LP, the 10" ("Hand of Doom"/"The Wizard") and the live show are all evil. (This review is shortened from my bigger piece here).
--While I was not as high on the Darondo album as many others were, I always found it's most loved tune, "Didn't I", to be my favorite in its sweet simplicity. Part of the Ubiquity Records re-edit series, this 12" pays tribute to the recently-passed Bay Area soulman. The new versions are totally respectful to the vibe of the OG, generally the editors pitch the tempo to the times, loop some sections and add some effects. All versions solid, with Dave Allison's being my fave. The Let My People Go LP got a limited re-press too, on green vinyl.
--Let's enjoy another groovy set from NYC's Ray Lugo & The Boogaloo Destroyers. Ray's been through punk, latin, hard funk, afrobeat, solo records, remix work and more. Here he delivers yet another LP (Que Chevere!--Freestyle Records) from his band The Boogaloo Destroyers and the party rages throughout this one. My ears hint to me that this could include members of Ray's other band (Kokolo). Some suave trombone and steppin' timbales action. The lyrics are direct and the boogaloo is joyously jumping. This is very much a retro 60s sounding thing paying tribute to a time & place and style. Latin soul! Descarga! Jala jala! Shingaling! One of the leaders of the bugalú revival, right here in your ear. Excellent party band in a live setting too. There's also a 45 with two joints from the album.
--Tumi Mogorozi's Project ELO (Jazzman) is a pretty cool jazz album from a young South African drummer who sounds like he's been listening to his Strata East and Impulse records. It's got some Trane influence, especially in the sax paintstrokes on tunes like "Gift of Three". The guitar-playing is nice n fluid. The operatic choir is a very cool idea and reminds me of not-dissimilar ideas by Mary Lou Williams and Max Roach (check here and here) in decades long before Tumi's birth. The solo vocal on "Thokozile Queen Mother" is nice. But the real star for me is the trombonist, who really slays here. This album is impressive, especially given that it is a live-in-the-studio affair (no overdubs). At times I was wishing that the music would get a bit more "out", but it is well worth a listen if you dig this kind of jazz.
--Here's a shout-out to Alliance Upholstery for the minimalist beauty of the Jacques Renault rmx of Greeen Linez "Hibiscus Pacific" that provides the most mysterious thrill for me on this 12" (Alliance Upholstery) of baleric/disco stuff, styles of which I know little about. For Upholstery service contact here.
--The highlights for me on Jazz & Milk's Footprints comp are Todd Simon & friends (Mulatu-influenced latin jazz), Bad Jazz Troupe (nu-afrobeat), Sam Irl (minimal soul loop), Dusty (jazzy electro), Karl Hector & the Malcouns (dark afro funk), Mr Chop (roughneck breaks-very cool!) and Ray Lugo & Kira (lovely soul!) The corny uptempo version of Andy Bey's "Celestial Blues" by Deep Jazz was disappointing, however. But there are many flavors available here. Another wide-appealing release from Dusty's Jazz & Milk imprint. There's a 12" version of the 15-track full length that contains six cuts.
--A DJ/video crew from the Caribbean coast of Colombia, Systema Solar seem to have a big following in South America. This wicked 45 (Galletas Bailables) includes a couple of bangers for your electro-champeta party. "El Botón del Pantalón" was recorded back in 2012. And the Eddy Grant nod of "El Pikó Electrikó" is an absolute stomper! Hot and authentic pico sound. (Image above from a diff. release).
--I heard a previous reissue of Haitian keyboard virtuoso Henri Pierre Noël and it was memorable enough but I find One More Step to be funkier with a little more grit to his finger-dancing jazz with some tropical flavor. The song titles do not lie in describing the styles within. You'll find latin jazz, JB-inspired funk, blues and even some classical influence. I bend my ear to this marvelous record. Wah Wah 45s' label full length reissue of the early 80s OG on Reveal.
--The Impellers hit the deep funk notes with their new album My Certainty (Légéré). Nothing terribly innovative here but a solid set of soul grooves, and it is hard to go wrong with stuff like this. Hard driving with some cool bari sax. The title track has a nice acoustic approach to vary things. "Put The Man In Egomaniac" and "The Last Dance of The Moai" are gritty hard funk gems. And lucky you, the LP comes with a CD. Also from that same German label comes the new one from The New Mastersounds, Leeds, UK funkateers. The new full length Therapy is not always as hard as some of my favorite early tunes from them, but the band does kick up a quality racket. Lots of melody present on the album. Among the flavors we hear some jazzy riffing on "Morning Fly", the "Monday Meters" jam (which of course sounds like a Meters tribute), the fonky "Soul Sista" (which could be a lost JB divas track). "Stop This Game" shimmers with a fine male vocal lead and some Rhodes. "WW III" is not at all doomy like its title. And I could have done without the smooth jazz cover of Bruno Mars that closes the album. These guys have been cleaning up on the US festival circuit the past few years. I wonder what Keb Darge thinks of them now? Légéré Records have been holding their own in the funk game the last few years.
--While there seems to be an army of purists out there telling us that Fela's influence should've never left Africa, a citizen like myself actually appreciates the reach it has made. How much further from The Shrine can you get than to Warsaw, Poland? How Ubiquity finds folks like the Warsaw Afrobeat Orchestra is beyond me but the 12" for "Only Now" has a nice funky original with some Bosq magic in the alternate versions. The tune features a trio of female vocals that remind me of the Lijadu Sisters in delivery. Bosq's remix ups the ante, albeit with the vocals a little lower in the mix. The emphasis on his version is to bring it into afro-disco territory. He actually added a lot of extra elements, like organ and more sax. The Whiskey Baron of Massachusetts has had some hot hands lately, with his additional re-touch for The Spandettes (modern sweet soul with a female vocal), his Stevie edits 10" as well as working on a new album.
--Another bright young artist from Massachusetts, Kristen Ford is the definition of a true road warrior. Still in her 20s, she has already toured the US about a dozen times as well as a solo tour of Europe. (Not too mention an appearence at Fenway Park already on her resumé!). Her Kickstarter-aided self-released full length Dinosaur brings us some of the finest folk-infused indie rock tunage out there. The album includes, in spots, some lovely strings, a couple of Neil Young-ish leads (check "Bulletproof") and a driving delivery. "Internet" may very well be the best tune ever written about the subject. The vibe is fun and honest, yet focused. In a live setting (I have seen her many times) she can unleash some power that leaves the listener feeling like a best friend. Performers with this kind of confidence often find a path to stardom. Catch KFo on her never-ending tour. Here's her Bandcamp page.
--My favorite book in awhile has to be Eilon Paz's Dust & Grooves: An Adventure In Record Collecting. Or in Eilon's case An Adventure In Photographing Record Collectors because that was the goal. He set out to capture his subjects "in the most intimate of environments--their record rooms." This is the kind of thing that brings out the record nerd in all of us. No matter some subjects have specific interests (old 78s, girl groups, holy grail funk 45s) or others collect it all, there are a number of settings we see the collectors thriving in. It could be some diggers in dusty old corners of forgotten buildings, highly paid DJs on their knees in their own living rooms or smiling faces at the turntable from Africa to England. The photos are gorgeous and capture the joy of the game in all its revelry. There is one dude who displays an evidently complete collection of Sesame Street items. There are also people who get a kick out of records being vandalized by messages written on the sleeves by past owners. Another pic is one of Afrika Bambaataa's record collection getting ready to go into a museum. Other snaps show families enjoying the records together. The objects proudly displayed in subject hands range from the rarest of the rare to the most bizarre oddities to cherished favorites. Its no wonder people get that Fever. There is so much out there to love.
Labels: andujar reviews records
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Get Your Groovy New Funky16Corners Swag! - Hey everybody! The groovy new Funky16Corners swag is here! We have a very cool enamel transistor radio pin, and a pair of die-cut, all-weather radio sticke...
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You're excited to launch your new idea for a Smartwatch or Smartwatch program; make sure that you get those you are pitching the idea to are just as excited to hear about it with the eye-catching Smartwatch PowerPoint Template. This template gives you the ability to showcase not only what the watch itself looks like, but also the details that will be included in the program such as social media, notifications, sound options and more. This SmartWatch PPT Template comes with fully editable slides and downloads instantly so that you can begin creating your exciting new Smartwatch presentation right away.


Cukrov, Neven Tepić, Nataša Omanović, Dario Lojen, Sonja et al.
Multivariate statistical analyses were applied on the measured physico-chemical (Cd, Pb, Cu, Zn, Mg, Ca, O₂, alkalinity, temperature, pH, SAS, DOC and DIC) and isotopic parameters (δ¹³C and δ¹⁸O) to estimate and distinguish anthropogenic from natural influences to the water system of the Krka River. Analyses were conducted on the data collected during six years from twelve sampling sites. On the basis of orientation, positioning and grouping of parameters arranged by biplots, four main hypotheses were defined and finally statistically confirmed. Thereof, two main and distinct processes occurring in the Krka River could be highlighted: (i) upstream pollution, caused by the inflow of untreated waste-waters of city of Knin and (ii) downstream self-purification, caused by the sedimentation and/or co-precipitation of pollutants coupled by the inflow of clean subterranean water (groundwater recharge). Grouping of (i) hydrological and carbon cycle connected parameters, and (ii) anthropogenically influenced correlated parameters were proposed as a result of statistical analysis. Regarding the pH, it is shown that a stream section influenced by the subterranean inflow of Zrmanja River is statistically significantly different for all sampling campaigns during six years, being lower for about 0.5 pH unit.
" Qualitative interpretation of physico-chemical and isotopic parameters in the Krka River (Croatia) assessed by multivariate statistical analysis "


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HouseGoesHollywood: Kardashians bound and gagged, Hugh's slept with 1000 women
March 27, 2013 · by Editor
Proof celebs aren't quite like us … Hef confesses he's slept with 1000 women, Eva's dog is hounded by the paps, the Kardashians are bound, gagged and cranky, and Drew drinks green smoothies for brekkie.
Hugh's happy to settle down at 86
Hugh Hefner, the 86-year-old founder of Playboy, has confessed to Esquire magazine that he's slept with too many women to count.
"How could I possibly know? Over a thousand, I'm sure," the mogul says of the number of ladies he's taken to bed. "There were chunks of my life when I was married, and when I was married I never cheated. But I made up for it when I wasn't married. You have to keep your hand in."
Hefner has been married three times, to Mildred Williams from 1949 to 1959, to Kimberley Conrad from 1989 to 2010, and now Crystal Harris, who he wed in December.
"All our friends think it's made in heaven," he says of his wife, who is 60 years his junior (I just threw up in my mouth a little typing those words). "It's only people who don't know us, who simply see us as stereotypes in terms of age and beauty."
"I just feel very, very fortunate to have found her at this stage in my life. I saved the best till last."
Eva: the paparazzi hound my dog
E! reports: "In a new interview with New York Magazine, Eva Mendes revealed that she wishes her dog, Hugo, and Ryan Gosling's dog,George, had paparazzi protection. Meaning? Tabloids would blur their faces like British papers to do celeb kids' faces.
"I'll go somewhere and they'll be like, 'Hey, Hugo!' and I'm like, 'How do you know Hugo's name?'" she marveled. "That's so creepy!"
I feel a bit sorry for the interviewer. Not only did Eva not want to talk about her relationship with Ryan Gosling (sure, a girl's allowed her privacy), she didn't want to talk about her new movie, Place Beyond The Pines, either.
"I don't want to disclose anything because I feel like there are no more surprises anymore, whether it's in film, about the ending of a story, or what a character looks like—by the time we see the movie, we've seen paparazzi shots of the actor wearing the wig," she griped. "Where's the mystery? Where'd it go? I want it back."
I'm not quite sure what's left to ask her after that …
PS Eva also revealed this week that she's tested her dog's shock collar on herself. She told The Late Show that Hugo loves to chase after animals and she doesn't want him hurting other creatures.
"All he wants to do is prove his love to me, you know, all he wants to do is kill for me. It's so sweet," she said, "I'd feel terrible if he hurt a little thing so I try to get in there and I use – people always get mad at me for this – but I use a shock collar on him."
"And I have the remote. But I've tried it on myself at all levels," she quickly added, "I swear!"
"Remember when we were kids and we had that jokey thing where you shake hands and 'Ahh!' that thing?" she said, "It's like that, but intensified the higher you go with the levels."
Family comes first for Isla
Isla Fisher has dished on her marriage to Sacha Baron Cohen in the latest issue of C Magazine, confirming it's far from dull.
"It's definitely not a normal relationship," she said. "You know there have been times in the past with the guerrilla style film making of Borat and Bruno where there were surreal conversations: 'How many people are suing us? Are you wanted in any states? Are you alive?"'
As for her career, she admits it's taken a backseat now she has two children, five-year-old Olive and Elula, two.
"It's all about location because of the kids,' she admitted. 'Then it boils down to the filmmaker and the role and the cast. It's definitely different than it used to be. Location wasn't even a consideration, unless it was Syria or somewhere.
"I breastfed both my kids for two years so, you know it was very tiring emotionally and physically. I'm not sure I'd want to do another lead at this juncture in my life. It's why ensemble pieces are so attractive to me."
She says she has no immediate plans to collaborate with her husband on a film.
"I would love to," she admitted. "But I think we are collaborating on enough. We're doing out most difficult, most wonderful screenplays: a five year old and a two-year-old at home. I feel that's the most important collaboration."
Kardashians bound and gagged
Kourtney, Kim and Khloe Kardashian have confirmed they will be taking legal action after an image from an advertising agency working on Ford's Figo car showed them bound and tied in the boot.
In a statement obtained by omg! INSIDER from their family attorney regarding the controversial Ford Motor Company advertisement, they said: "The `leave your worries behind' Ford ads are disgusting, vile and offensive to all women.
"It is unacceptable that Ford would align itself with an ad agency that would so carelessly release these ads. The Kardashians do not take this lightly and they are exploring all of their legal options.'
The images were supposed to advertise the sedan's spacious cargo area but Ford has since issued an apology and chastised the ad agency who publicized the artwork.
Drew's post-baby diet
While Drew Barrymore says "I don't feel pressure" to lose weight after giving birth to daughter Olive because "it took nine months to build it, it will take nine months to unbuild it", she has admitted she's on a diet.
She's been following nutritionist Kimberly Snyder's food plan.
"I designed a diet for Drew that is extremely nutrient dense, but also filling so she doesn't have to feel hungry," Snyder tells People magazine. "We don't count calories but rather center her diet around whole, alkaline plant foods up until dinner. For lunch and dinner, I make different types of salads for her, followed by an entrée like the ones in my new book Beauty Detox Foods.
"I love Kim's plan because it's so easily applied to real life. I love food and food adventures and when you're on a diet, it's like all the fun ends!" says Barrymore. "I can't live like that. With Kim's program, I can still enjoy the foods I love but in a healthier way."
"She also taught me to start every meal with a salad and combine my carbs and protein for better digestion and that way I can still enjoy some carbs because a life without carbs is no life at all."
That said, brekkie is a "Glowing green" veggie smoothie and a favourite meal is raw taco wraps with walnuts and collard greens.
Ewww.
Nice legs, Josh!
Following his hilarious bump-off with pregnant wife Fergie, Josh Duhamel has posted a pic of the pair backstage.
"Have I no shame?" he wrote.
As Facebook commenter Classic Erynn noted "nice legs, josh".
I reckon everything about him is hot, even in a dress that man is mighty fine.
As for Suzanne, who wrote: "Do not find this attractive on either one kindof pitiful when your desperate to be the center of attention get it.."
Get a life … or at least a sense of humour … or at least don't look at his Facebook page.
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5/27/2012 – This ChessBase DVD was produced in 2007, when Vladimir Kramnik was still world champion. On it he describes the nirvana of attending the Botvinnik School, of being nominated for the Olympiad in 1992 by Garry Kasparov, how he went on to dethrone his mentor. Apart from narrative and analysis the DVD also includes previous interviews with ChessBase. Review by Prof. Nagesh Havanur.
Vlad learnt chess at the age of five. There was no lack of chess culture even in that remote town of Soviet Russia But opportunities of advance were fewer. It was here that fate played its part.
Fortunately for him a local chess player watching games of Vlad became a fan of our little hero and wrote to Mikhail Botvinnik. Kramnik says, the Patriarch used to receive such letters from all corners of the USSR and he need not have paid attention to this one. But he did and responded by asking for the lad's games. When the games were sent he subjected them to meticulous scrutiny and concluded that there was a talent here. Soon Vlad received an invitation to attend the Botvinnik School where famous disciples like Kasparov delivered lectures.
Kramnik says, for him it was nothing less than nirvana. He also remembers with gratitude how Garry insisted on his inclusion in the USSR team for the 1992 Olympiad when he was not even a grandmaster. He justified Garry's trust in his talent by scoring 8.5 out of 9. Then he was just 17 years old.
where he celebrated his 17th birthday with a stunning international debut.
Kramnik soon became a grandmaster and describes how he was invited for Linares tournament in 1993. Now he was in big league and describes his sense of awe at the fighting spirit of the players, especially, their resilience in defence. One such moment occurred in the game with Karpov, his boyhood hero.
Anatoly who had a difficult position fought like a lion and every time Vlad expected him to resign would find a miraculous resource and continue the fight. The game was drawn in 99 moves after a tough struggle. For Vlad the level of play in this tournament was a revelation. However, he was not overawed by his peers as he knew that he also possessed a talent and could learn and succeed. It was this self-confidence that enabled him to compete with the likes of Kasparov on level terms.
He also describes the course of each match. How did he vanquish Garry without losing a single game? He says, during his preparation he had noticed that Garry did not like to play endings, especially, those positions where a miniscule advantage was held by either side. This proved to be a decisive factor in quite a few Spanish games where Garry was not able to breach the Berlin Wall. Expectedly, the bitterness shows when he speaks of the Topalov match.
A disappointing feature of this DVD is that there are hardly any complete games, and only positions from critical encounters are commented on by Kramnik. Otherwise it's enjoyable.
Prof. Nagesh Havanur (otherwise known as "chessbibliophile") is a senior academic and research scholar. He taught English in a college at Mumbai for three decades and has now settled in Bangalore, India. His interests include chess history, biography and opening theory. He has been writing on the Royal Game for more than a decade. His articles and reviews have appeared on several web sites and magazines. He would welcome feedback from readers.


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// Copyright (c) 2018 Nikolay Zahariev <zahasoft.com>. Licensed under the MIT License.

namespace Zahasoft.Guard.Base
{
    using System;
    using System.Collections.Generic;

    /// <summary>
    /// Base interface for all responses.
    /// </summary>
    /// <typeparam name="TResult">Type of result</typeparam>
    public interface IResponse<TResult>
        where TResult : struct, IComparable, IFormattable, IConvertible
    {
        /// <summary>
        /// Gets response errors.
        /// </summary>
        IEnumerable<string> Errors { get; }

        /// <summary>
        /// Gets response result.
        /// </summary>
        TResult Result { get; }
    }
}

redpajama_set_name: RedPajamaGithub


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Dan Pound, Interlace
January 20, 2011 January 21, 2011 HypnagogueLeave a comment
One of the things that continues to strike me about the ambient and electronic genre is that for a sector of the musical world as fairly narrow in appeal as it is (excusing, for a moment, club/dance music) it's quite deep. As I make my own way through it as a reviewer, I constantly come across musicians who, while new to me, have been toiling away at it for a while and in many cases have built a respectable following. Then, having found them for myself and if I like them, I set about scooping up the stuff I've missed, feeling somewhat silly that I missed them in the first place.
Such is the case with Dan Pound. Upon first listening to his 2010 release, Interlace, my initial reaction was, "Why haven't I heard of this guy before?" Then I went to his web site and saw the list of about 35 releases and I felt even more like a dummy. With that first listen, however, Pound launched into my consciousness as an artist to whom I needed to pay attention.
Interlace starts out with a strong spacemusic feel–dribbling bits of electronics, solar wind effects, bass rumbles. It touches on darkness (the first track's title, "Fade to Black," might have been a clue) but possesses an interesting expectancy–a sense of impending light, if you will. There comes a moment in the third track, "Rare Refraction," where the meaning of the CD title suddenly becomes clear–along with Pound's intent. The track begins with piano over synth washes, curling down into a rhythmic electronic tangle balanced on a twanging beat. Out of this rises a flute, blowing a strong Native American-influenced song. Here is the interlace, the point where old meets new, ancient meets modern, organic meets technical to achieve a wholeness. The effect is enhanced by its coming after a solid half-hour of pure electronic worldcrafting. We have been brought deep inside ourselves to be reminded whence we came–and then we glide back out with "Point of the Laser," where rich pads give way to a sequencer pulse and tidal-pull waveforms. From here Pound keeps things modern with the glitchy feel of "Shadow Screen" and the complex angles and whispers of "Inside the Crystal." Through it all, though, the memory of that moment, that brief glimpse through the gap between worlds, remains. It's quite a trip. Interlace is a Hypnagogue Highly Recommended CD.
Available from Dan Pound's web site.
The Mourning Dimension, Has Opened
Pascal Savy, The Endless Seasons


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San Diego International Boat Show returns to Spanish Landing June 6-9
by NICOLE SOURS LARSON San Diego Community News Group
Published - 06/06/19 - 08:05 AM | 1590 views | 0 | 38 | |
Boat show visitors explore boats on the land at the San Diego Summer International Boat Show to be held at the Sheraton Harbor Island Hotel & Marina and the adjacent Spanish Landing Park, East, from June 6 through June 9.
Expect to see motoryachts, sailboats, trailer boats, cruisers, pontoon boats, sportboats and luxury superyachts and megayachts as the annual summer San Diego International Boat Show splashes into the water near the Sheraton Harbor Island Hotel & Marina from Thursday, June 6 through Sunday, June 9. This year's show will feature more than 150 boats from small boats to large yachts, with something to appeal to every boater's budget. Vessels will be exhibited both in the water and on shore.
This year, about 100 vendors will exhibit on land adjacent to the hotel at Spanish Landing Park, East, providing an array of boating accessories such as electronics, canvas, anchors, deck materials, watermakers, cookware, boating apparel, custom boat mattresses and other marine gear as well as boating services and financing information. Other exhibitors will offer trailerable boats, personal watercraft, paddleboards, kayaks, dinghies and inflatables.
The California State Parks Division of Boating and Waterways and U.S. Coast Guard Auxiliary will provide boating safety information.
Show hours are noon to 7 p.m. Thursday and Friday, 10 a.m. to 7 p.m. Saturday and 10 a.m. to 6 p.m. Sun. Tickets are $15 for adults, with children under 13 free. Active military receive $5 discount with ID (available at ticket booth only).
With offerings ranging from family-oriented 30-foot boats to superyachts, expect to see expanded displays of both new and brokerage sail and power yachts from major yacht dealers.
The show offers the West Coast debuts of many new boat models. San Diego's Tom South Coast Yachts, which represents Bénéteau Yachts' sail and power lines, Lagoon Catamarans, Four Winns and Wellcraft, will again have the largest display of both new and previously-owned yachts.
Workshops and demonstrations remain a highlight of the show, with boaters enjoying the opportunity to meet with representatives of Mexican marinas and tourism officials to learn everything boaters need to know about cruising in Mexico.
On the weekend children can enjoy a boating-oriented kids korner to help parents share the joys of boating with their children.
The family-friendly boat show offers food for sale from the floating Fiddler's Green Tiki Bar, offering adult beverages, plus gourmet food trucks with a range of choices, while guests enjoy live entertainment on the weekend. This year barbecue will also be available, as will a craft beer garden.
The show is located near the Sheraton Harbor Island Hotel & Marina, 3900 N. Harbor Island Dr. Paid parking is available adjacent to the hotel and at the new long-term airport parking at 3015 N. Harbor Drive, with free shuttle service for the show.
For latest exhibitor, seminar schedule and ticket information, visit sandiegointernationalboatshow.com.
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NAME: Liberty
COUNTY: Nye
BEST TIME TO VISIT: Anytime. COMMENTS: Nice area.
REMAINS: Mill foundations.
Liberty was the name of a mine. The site never had enough people to be called a camp much less a town. But the mine had a history all its own beginning in 1867. Miners worked the mine until 1874 when it was closed. During this period it produced close to $112,000 in silver with slight traces of gold. The mine was purchased in 1879 and was consolidated with a number of other mines. The effort to consolidate failed and the mine was inactive until 1883 when others began to work the mine but gave up in 1885. The mine remained quiet for many years until 1904 when it was reopened but closed again in 1905. It was not until 1910 that the mine was again opened and began producing ore worth about $25,000 a month. The mine operated until 1912 and produced almost $500,000 worth of silver and lead. Although the mine had a number of different owners and operators during the period from 1912 to the mid-1950s, it never came close to being a profitable operation again. Only the stone foundations of the mill mark the site of Liberty today.
Submitted by: Shawn Hall from his book Preserving The Glory Days: Ghost Towns And Mining Camps Of Nye County, Nevada Click here to purchase his book!


Do My Brows Need Shaping?
What would you say? Are my brows the straight slope? The softly rounded? Impeccably arched? Soft and feathered? (I don't think the "tight brow" best describes me, right?) I think I'm more soft and feathered with an impeccable arch, don't you? LMK!
March 25, 2014 – I just hate being 10 years old. My legs aren't what they used to be. I lost my footing and fell, hurting my bum front leg. It was more embarrassing than anything because my toenail scratched the hair off the bridge of my nose. I am considering rhinoplasty, but the best plastic surgeon my mom knows is in Manhattan. I don't think I could get there and back without anyone noticing, especially with my nose bandaged. And does rhinoplasty even repair lost hair on the nose? I wish I could quit staring at it in the mirror.
April 4, 2014 – I find this sign discriminatory on several levels.
April 17, 2014 – Those Farmer's Insurance commercials are funny. The bear on the motorcycle … still chuckling.
April 24, 2014 – So, I was reading The Wall Street Journal today and saw an article about a cat café in New York. Apparently, cat lovers can go and eat, drink "Cat'achinos" (whatever) and adopt homeless cats at this cafe. I really feel for a homeless animal in New York (even a cat, I suppose). Still, I don't think I want to go to Manhattan for a rhinoplasty anymore.
She spoils me is what some may often say.
(and wants to take me flying with "Dog Bose").
In the 'Benz we speed to Starbucks drive-thru lane.
To the pet store next where cats are adopted and purr.
Lizards, parrots, ferrets and fish we see.
Adventures with my mom are always fun.
But my favorite with her is watching the rising sun.
Does the rawhide accentuate my jowls?
So, one of my recent adventures in desert dog walking involved Charlee seeing a dog and yanking me off balance into a cactus. The result: cactus needles embedded in my right hand and the right side of my face. Seven weeks later (after an infection requiring over 10,000 mg of antibiotics to clear and the makings of an ugly scar on my face), I visited a Scottsdale plastic surgeon to weigh my options regarding the impending scar.
Plastic surgeon's report: the wound is still healing. Nothing can really be done at the moment. Keep doing what I am doing.
In the next breath and with a look approaching disdain, the physician changed the subject. "You really should consider doing something about your jowls, especially at your age," she said.
"My what?" I asked, perplexed.
Oh goodie. Not only have I been through a fairly traumatic seven weeks (and counting) with most likely a permanent scar on my face, but the plastic surgeon somehow felt compelled to introduce a completely new and unrelated issue unbeknownst to me and with such a lovely connotation … "jowls." Truly, the word alone could create an anaphylactic response for some.
Fortunately, my ordeal with the cactus and ensuing infection must have primed me for this conversation, because I was ready for it. "Really? What do you typically suggest for jowls? Do I need a facelift?" I asked, knowing the question was ludicrous.
"Ahh. Well, I think not. My concern is the scar at the moment," I explained more graciously than I felt. That marked the rather disappointing end of an appointment I had anticipated with such hope.
As I drove home, the plastic surgeon's words echoed in my head. "Preventive procedures for jowls," I muttered aloud. "Women my age," I snorted.
Did it require a healthy dose of fear and humility like a severe infection, the Grand Canyon of facial wounds, not to mention nearly seven weeks of living the life of a hermit – all to recognize the shallowness and the vanity of scheduling today's appointment in the first place? Or, was I able to make this observation because jowls are not yet a part of my daily repertoire?
In the "About" section of this LoveMyDogHateMyElbows blog, you may have read how Charlee loves spa day. It all begins with my simple question to her: "Does Charlee want a bath?" Her whole backend seems to wag as she walks into the bathroom for a soak in the tub. She sits patiently as the tub fills with water. Once the water is just the right temperature and depth, off comes her collar, and in his tub she goes.
Charlee seems to thoroughly enjoy the lavender-infused organic dog shampoo with natural skin and coat conditioners and thick, foamy suds. She tilts her head to one side as I massage the suds around her neck and on her spotted back. She lifts each paw, allowing me to work the suds between her pink and black toes where all sorts of small gravel, flowers, grass and other debris seem to accumulate. Once she is pristine and smelling heavenly, it is time to rinse away the thick suds and enjoy no less than 15 minutes of lying-in-Mommy's-lap time, snuggled in a cozy towel.
Today, we skip the blow dry (which is part of our fall/winter regimen) and sit outside to dry naturally in the sunshine. Charlee suns herself for about five minutes before something white and gooey on the pavement in front of our condo catches her eye. Still a bit damp, she decides to check it out.
What is this? Mmm. Interesting.
This smells great … so much better than the stuff Mom puts on me.
I am going to smell great!
Ahh! Birdie turdie perfume. Now that's a spa day.
My reality check for the day: Charlee really is a dog.
Did anyone else experience breakouts on school picture day? Since I was 16 years old, I have had a blemish for picture day (even for re-takes). Yesterday (Sunday) was no different. Yes, several years (okay, decades) later, knowing a photographer from church was scheduled to take my photograph, I was riddled with skin issues. Let's add to this the fact that I needed to visit the Christian Dior counter at Nordstrom after Sunday morning worship service. Even my 5-inch heels, really quite breathtaking, could not upstage what seemed to be a 5-inch-in-diameter pimple on my left cheekbone.
"Have you been helped?" asked a beautiful woman with flawless skin who was representing Christian Dior.
"I have not," I smiled, dropping my car keys strategically near my right foot so I could bend down, hoping my shoes would grab her attention. "I am here to pick up my pre-order." I gave her my name, and she whisked away to collect my sack of goodies.
"We have a product that clears the skin right up," she said with a kindly look of pity.
Sigh. "Thank you, but I actually do see a dermatologist's office regularly, where I buy wonderful skincare products. I even visit a plastic surgeon's office for monthly chemical peels." (I was experiencing shortness of breath by this time.) "If it helps at all, I know I look terrible today. I'm having my picture made this afternoon," I explained matter-of-factly as though Mount Everest happened to everyone systematically on picture day. She frowned as much as the Botox would allow, clearly (no pun intended) not understanding the connection.
And oh goodie, why not, this had to be the day the computer system was running painfully slowly. (When does this ever happen at Nordstrom? On picture day, of course.) "Let's move to this counter. The system is usually much faster over here," she explained, moving us to the glitzy Hollywood counter with unforgiving lighting. Sigh again.
Yes, there is more to the story, but the humble pie is choking me. Needless to say, I was glad to get home to my photogenic Charlee, whose brown and black spots would not be considered imperfections even in the world of Christian Dior.


Maintaining your house is much more than just a once-in-a-while job. It's a consistent part of everyday living, so it's a smart idea to make sure that your house has everything it needs to stay clean. Browsing through our top-rated homekeeping selections from Williams-Sonoma is a great way to start. Previous customers have helped compose this fantastic listing of home cleaning and organization favorites from their own personal reviews and experiences. While you're at it, try checking out our superb selection of highly rated top gifts to discover even more raved-about products that are backed by proven, high-quality performance.
Whether you need new supplies for cleanlier upkeep or organizational tools to keep track of your supplies and appliances, we have you covered. From spinning spice racks and stylized bread boxes to essential oils and ironing boards, you'll find that our inclusive collection offers a variety of incredible products that all lend themselves to alleviating your housekeeping hassles. If the selection you desire isn't featured on these top-rated pages, look through our other available cleaning supplies to peruse a much more expansive assortment of products that help keep day-to-day messes around the house in check. Here you'll find items such as sponges, soap dispensing brushes and colorful kitchen gloves that are all attractive and easy to use to ensure that no stains or spills are beyond your control.
Alternatively, if you want to find extra options for introducing an orderly and efficient system to your homekeeping job list, stop by and check out one of our comprehensive collections of organizational products. The countertop organization options we have include many styles of containers, including utensil holders and glass jars, and other useful finds that keep the kitchen in order. Try a revolving lazy Susan and trivets to hold hot pans and bubbling pots. A clean countertop not only looks great, but can cut down on prep time and lift the frustrations of finding the perfect utensils and seasonings in a pinch. You can also be certain that your drawers won't get out of hand with our assortment of drawer organization accessories that consist of various utensil trays and organizers. Our drawer organizers come in wooden walnut and bamboo options, with additional cork and steel trays available that match multiple themes in your home decor and make opening each drawer a pleasant, organized surprise.
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Streaming Guides
Film Theories
Kevin's Mother Sold Her Soul to the Devil in Home Alone
So who is the devil we are talking about here?
Emily Keen
It's been more than 29 years since the release of Home Alone. The iconic holiday classic has had generations of audiences head over heels for its goofy prankster of a child protagonist. Kevin Macallister is left behind in his own house while his family goes for a Christmas vacation. His goofy antics and instant ideas get him through even the direst situations. Thanks to his wits and ability to lay elaborate traps with regular household items, he is able to protect his house from a robbery and give us two full hours of entertainment.
The classic garnered enough attention to have several sects of fans and movie buffs coming up with insane theories around its simple plot. One of the craziest theories was sparked by a Reddit user who believes, Kevin's mother sold his soul to the devil to make sure her son was safe. You'd be thinking, how come a comical holiday classic about aimed at young children possibly have such a dark twist. And how come you did not notice it all these years?
Its because this is just a theory spawned from trivia and possibly does not hold much weight with the kind of evidence. As a fan of delightful holiday movies, you are probably disgusted by the idea. This may have even ruined your favorite childhood film. But the lovers of dark comedies will possibly find this theory rather intriguing.
The Polka King of Midwest who greets Kevin's mother at the airport- Gus Polinski! Apparently being in a Polka band is just a cover he uses to have his way around with innocent and troubled souls.
When Kevin's mother, Kate realizes her son has been left behind, she freaks out at the airline staff and causes quite a scene that attracts onlookers.
What she precisely tells the airline rep is "If I have to sell my soul to the devil himself, I am going to get home to my son." We must say the foreshadowing is commendable.
Amongst these onlookers stands Gus Polinski, who notices her little outburst. He has found the perfect victim. Before the airport staff can provide any advice on dealing with her ordeal, Gus walks up to her and offers to help her.
The man in the yellow jacket is the one we are talking about.
The second indication comes from the location of the airport where Kate is stranded. The Scranton airport Is located at a crossroads. According to the Reddit user Drewgarr, the crossroads is a myth connected to the world of demons. This is the place where you can make a deal with the devil. The devil makes an appearance and grants the wish in exchange for something (in this case, the soul). So in this movie Kate has agreed to sell her soul to the devil if he can get her to Kevin.
In exchange for her soul, Gus offers her ride to Chicago. He introduces Kate to one of his friends who rented a van. Kate agrees to the terms and seals the deal with the devil, thus accepting the ride. She may have been irresponsible in keeping a watch on her child but this makes up for every mistake she made as a mother. Could you have asked for a bigger sacrifice?
But how do we know for sure that Gus is a Devil?
Gus plays a woodwind instrument. And guess what the Devil's instrument of choice is? Bingo!
In the words of the Reddit user himself – "One last piece of evidence that I have found is Gus choice of instrument. Sure it's not as obvious as a fiddle, instead, it's a woodwind instrument. There are some references in the bible that one of the instruments are created and favored by the devil (my understanding at least),"
This does seem a little out there but the evidence he has provided is rather remarkable. It only goes on to prove how vigilantly the person has followed each bit of the film and then connected the dots. Sure the makers may have never had this idea in mind that the elements they have put in place have a rather hellish essence to itself. But it is rather fascinating to watch the film with a different outlook. Dark too!
Do let us know what you have to say about this theory in the comments.
Tags: hollywood movieHome alone
Elvis Presley is Alive and Featured in Home Alone Jack Jack is the most Powerful Incredible In Fight Club, The Narrator and Tyler are Grown up Calvin and Hobbes Alfred is Bruce Wayne's Real Father
In Groundhog Day Bill Murray Is Buddha and Punxsutawney Is Purgatory
Elvis Presley is Alive and Featured in Home Alone
A lifelong fanatic of slasher movies, fantasy novels, and Pokemon. Ready to argue over the Titanic door scene any time you want.
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Q: Walking in space shuttle in 2001: A Space Odyssey There is a scene in 2001: A Space Odyssey where we can see the lead actor running or jogging in the space shuttle bound for Jupiter and there is a scene in the beginning where an air hostess uses velcro kind of shoes and then spins 360 degrees and then walks into another room.
Why does she need a magnetic or velcro shoes whereas the person jogging does not? Is it related to speed?

A: The Discovery One (the space ship bound to Jupiter) has a centrifuge that provides artificial gravity through rotation in a small section of the ship.

redpajama_set_name: RedPajamaStackExchange


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MOHE
Saudi Embassy
About Saudi Arabia
About SACB
Core functions of the Cultural Bureau, Embassy of Saudi Arabia, London:
The academic side
Follow up on the progress made by the sponsored students and ask universities and institutes to send periodic reports on this progress at the end of every semester and whenever the need arises; submit to the Ministry of Higher Education and other sponsorship authorities the contents of these reports.
Hold regular meetings with the students to learn about their conditions of study and help them overcome arising difficulties.
Visit the universities and institutes with the aim of learning from officials and supervisors about the progress of Saudi students.
Seek to obtain scholarships for Saudi students in scientific subjects of rare or highly competitive nature.
Help students to enroll in universities or institutes appropriate to their studies and recommended by the Ministry of Higher Education.
Hold scientific conferences for Saudi students and enable them to discuss their subjects of study.
Attest the authenticity of the certificates issued by the United Kingdom.
The scientific side
Strengthen links with universities, institutes and scientific centers and inform their officials of the Cultural Bureau, its activities and functions through personal visits and participation in cultural and scientific events.
Form links between Saudi universities and institutions of higher education and scientific research, and their counterparts in the United Kingdom.
Prepare an inventory of universities and scientific research centers in terms of their activities, production and orientations in order to provide them with the names of the corresponding counterparts in the Kingdom.
Participate in the drafting of the agreements concluded between Saudi universities and the Ministry of Education and institutions of higher education and scientific research in the United Kingdom.
The cultural side
Communicate with libraries in order to identify their collections of Arabic and Islamic manuscripts.
Prepare inventory of prominent publishing houses and their relevant publications to the Kingdom.
Follow up on what is published in the media and is of interest to the kingdom scientifically and culturally.
Follow up on the civilizational and cultural aspects that are of common interest between the Kingdom of Saudi Arabia and the United Kingdom.
Cooperate with the concerned authorities with the aim of inviting prominent UK scientists and scholars to the Kingdom.
Coordinate with the concerned authorities with the aim of inviting Saudi scholars to carry out cultural and scientific activities in the United Kingdom.
Organization of conferences, cultural weeks and exhibitions in the UK.
Acquaint interested parties with the scientific, cultural and urban-based aspects of Saudi life and inform scientific institutes of the latest publication on the relative subject.
Organizing cultural activities and coordination with the concerned authorities to invite British and Saudi scholars and intellectuals to participate.
Acquaint the relevant institutions in the Kingdom of Saudi Arabia with the heritage of the United Kingdom.
Urge Saudi students to participate in cultural activities held in the universities and scientific centers and do not conflict with Islamic faith and Saudi traditions.
Transfer of developments in world knowledge and culture commensurate with customs and tradition in the kingdom.
Supervision and monitoring of the activities of Saudi students and their clubs.
Copyright: Royal Embassy of Saudi Arabia - Cultural Bureau in London (UK) 2014


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The mobile app industry is booming with the mobile apps and the competition is tougher than ever for the developers. I have apps almost for everything and this is the reason i left with space shortage and no idea what are the best apps to install.
Be My Eyes, an app that lets sighted people remotely help blind people with visual tasks. The app is free, anonymous, and available 24/7. Anyone can join as a volunteer or end user. There's no commitment when joining, so for sighted people, this is a great way to make the world better just a few minutes at a time.
The most innovative and best app for the society, it is a volunteer app to help the blind persons across the globe. Be My Eyes helps the blind users, whenever a blind person needs assistance, makes a call to the service and a volunteer answer it to help. The app is created with simple user interface and very easy to use. The app is used by almost 50,000 blind people and over half a million people installed it to help them.
A web browser from Microsoft for the Android users and supports cross-platform synchronizing. With this feature, a user can transfer tabs and other browsing data from mobile to PC or vice versa. The web browser also comes with a feature that helps to switch between the search engines any time and much more. The app is in preview mode right now, which means the browser is in beta and contains some bugs.
•Continue on PC: Seamlessly move content between your mobile device and PC (requires Windows 10 Fall Creators Update).
•Data Sync: Your favorites and reading list are synced across your devices.
•Reading View: Reorganize the content on a webpage to make it easier to focus on what you're reading.
•Hub View: With your favorites, reading list, history and books all in one place, finding and managing your content is made simple.
It's funny, I have never seen these applications before. Thank you for sharing the information! Also I want to say, that if you want to have good ratings in App Store or Google Play you can use android app promotion service.


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SPECIAL_TARGETS=normalize-ar.ser normalize-ml.ser first-letters-root.ser
ALL_TARGETS=$(SPECIAL_TARGETS)
DIST_TARGETS=$(SPECIAL_TARGETS)
UNICODE_VERSION=6.0.0

.PHONY: all dist clean

all: $(ALL_TARGETS)
	@echo 'Warning: messages are no longer serialized by this makefile.'

dist: $(DIST_TARGETS)

clean:
	rm -f $(ALL_TARGETS)

normalize-ar.ser: UnicodeData.txt
	php ../maintenance/language/generateNormalizerDataAr.php

normalize-ml.ser:
	php ../maintenance/language/generateNormalizerDataMl.php

first-letters-root.ser: allkeys.txt ucd.all.grouped.xml
	php ../maintenance/language/generateCollationData.php

UnicodeData.txt:
	wget http://www.unicode.org/Public/$(UNICODE_VERSION)/ucd/UnicodeData.txt

allkeys.txt:
	wget http://www.unicode.org/Public/UCA/$(UNICODE_VERSION)/allkeys.txt

ucd.all.grouped.xml: ucd.all.grouped.zip
	unzip ucd.all.grouped.zip ucd.all.grouped.xml

ucd.all.grouped.zip:
	wget http://www.unicode.org/Public/$(UNICODE_VERSION)/ucdxml/ucd.all.grouped.zip