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Looking For Sugar (Soul July 1969)
After 6 weeks at the top of the Billboard R&B chart Marvin Gaye's "Too Busy Thinking About My Baby" was replaced by yet another #1 hit from the Tamla Motown stable. Junior Walker & the All Stars were the most old-school at the Detroit label, Walker's raspy saxophone & throaty vocal interjections backed by that driving R&B beat always hit the spot. The rough edges were smoothed a little for "What Does It Take (To Win Your Love)" & the group had their biggest hit since 1965's "Shotgun". The Top 10 was packed with great artists, James Brown, the Isley Brothers, Stevie Wonder. Climbing up to #10 was something new by someone new, another hit out of FAME Studios in Muscle Shoals, Alabama.
As a teenager Candi Staton toured & recorded with her sister in the Jewell Gospel Trio. Married with four children, it was 1968 before she was ready to begin her solo career. Singer Clarence Carter, well established in Muscle Shoals & who was to become her second husband, introduced Candi to FAME. The studio pulled out all the Funky stops & a run of R&B hits, many written by Carter & George Jackson, earned her the title of "The First Lady of Southern Soul". "I'd Rather Be An Old Man's Sweetheart (Than A Young Man's Fool)" absolutely fizzes along & Candi could slow it down too. I definitely prefer her version of "Stand By Your Man" to Tammy Wynette's original.
Candi moved to Warner Brothers in 1974. She stayed with producer Rick Hall for another LP before hooking up with Dave Crawford. Out of these sessions came "Young Hearts Run Free", a #1 R&B hit, #2 in the UK, an enduring Disco smash. 1976 was the year that all my friends seemed to be getting married, the DJ spins "Young Hearts…", everyone's out on the floor & these are the good times. The Bee Gees' "Nights On Broadway" returned Ms Staton to the UK Top 10 the following year. In 1991 she was back when a remix by the Source of "You Got The Love", a great lost track, became a party anthem. Whether it was Soul, Disco, Gospel or Dance music, Candi's strong recognisable vocals always delivered.
Rising to #41 is another debut release, this time on a brand new label. By 1968 Pop's greatest writing/production team, Holland-Dozier-Holland, had become dissatisfied with their position at Tamla Motown records. Responsible for over 20 #1 hits & countless other chart entries there's not a chance that they saw all the royalties that they were due. The trio got themselves an office in downtown Detroit, converted a movie theatre into a studio & started Hot Wax records. The Honey Cone, a female trio, were the first act signed to the label & "While You're Out Looking For Sugar" their first record. As you see from the above disc there's no mention of H-D-H. Ongoing litigation, particularly with Jobete, Motown's publishing company, meant that sole production credit was given to A&R man Ron Dunbar who shared the writing with "Edith Wayne", an adopted pseudonym. No-one was fooled, take a listen to the track, that's how a Holland-Dozier-Holland song goes.
Honey Cone, Carolyn Willis, Shelly Clark & Edna Wright, were brought to the Motor City from Los Angeles where Shelly had been an Ikette & Edna had sung with her sister Darlene Love, a favourite of Phil Spector. The record buying public took some time to become accustomed to this urgent, energetic sound that wasn't Diana Ross & the Supremes, "While You're Out…", "Girls It Ain't Easy", "Take Me With You" & the Funktastic "When Will It End" all should have been bigger hits. It was "Want Ads" that finally sold a million in 1971 & succeeding records followed it into the Billboard Pop Top 30. Their star was on the wane by 1973 when Holland-Dozier-Holland proved to be better record men than label executives & Hot Wax folded due to financial problems. That was it for Honey Cone which was a pity as they were not only well-liked but were a worthy part of the American girl group lineage.
This is where I love being the boss of this thing. The chart was crammed with great songs worthy of our consideration but at #45 was a single by one of my all-time favourite vocalists. So, my final selection for July has to be Howard Tate.
Tate, born in Georgia, raised in Philadelphia, sang Gospel then R&B with Garnett Mimms. His friend brought Howard along to writer/producer Jerry Ragovoy & between 1966-68 the pair created a blend of Tate's emotional Bluesy lamentations with a sophisticated Uptown New York Soul that was as good as it gets. Jerry liked a touch of drama in his arrangements, with Howard a lighter touch allowed a great singer to shine, never more so than with "Get It While You Can", the title track of the one LP they made together & a song that has been equalled but rarely bettered. "These Are the Things That Make Me Know You're Gone" was recorded, without Ragovoy, for Lloyd Price's Turntable label. (Lloyd had major hits in the 1950's with songs that you've heard of. That's his photo on the above disc, well it was his company!) The LP "Howard Tate's Reaction" is not as strong as his previous output but Howard sings the all heck out of the songs & there are not too many of his records about.
By the late-70's Howard had quit the music business & got a real job. A family tragedy led to addiction & homelessness. He was back on the right track when in 2001 a disc jockey discovered him & encouraged him to return to performing. That wonderful voice had endured & there was an acclaimed new LP made with his old producer. Other records followed, the old ones were re-released & the renewal of interest allowed Tate to sing for a new international audience. Plenty of artists, Janis Joplin, Jimi Hendrix, Ry Cooder & others have covered his songs but, as Soul fans know, there ain't nothing like the real thing & Howard Tate is certainly that.
tagged as 60s soul, candi staton, holland dozier holland, honey cone, howard tate, i'd rather be an old man's, muscle shoals, these are the things, while i'm looking for sugar
Put On Your Wig Woman (Junior Walker)
As the 1950's headed towards the 1960's songwriter Berry Gordy was doing nicely from his connection with singer Jackie Wilson (Berry wrote "Reet Petite", "Lonely Teardrops" & others) while having a shrewd eye on the business of music through an involvement with talent he found in his hometown Detroit. His Tamla label released its first disc in 1959, the Miracles' "Shop Around" became its first million seller the following year & the Motown Record Corporation would soon stake a claim to be "the sound of young America", as big an influence on the decade's popular music as the British Beat explosion.
We all know the great stars signed to the label, Marvin, Stevie, Diana & the Supremes, the Four Tops, the Temptations. There were plenty of other acts who benefited & contributed to the Motown sound. That driving beat of the house band, the Funk Brothers, matched to a melodic & lyrical acuity & urbanity placed African-American music firmly in the Modernist movement of the decade. Pop Art…you betcha! Junior Walker, a saxophonist, a little older than the others, never really adhered to the Hitsville formula but he & his All Stars enjoyed much success because their distinctive, individual style was pretty irresistible.
Junior Walker, born in 1931, was playing in bands in Battle Creek, Michigan, 120 miles east of Detroit, in the mid-1950s. The All Stars played both kinds of music, the Rhythm & the Blues, tenor sax playing Junior being influenced by the Jive of Louis Jordan & the Jazz of Illinois Jacquet (great name). The band signed with Harvey Fuqua, a singer turned label head, whose hits with the Moonglows, the classic "Sincerely" & the extra classic "The 10 Commandments of Love" were as good as Doo Wop got. Harvey was Berry Gordy's brother in law & when he joined the family company he took his roster with him. The second 45 issued under the growing Motown umbrella found Junior Walker & the All Stars at the top of the R&B charts & in the Pop Top 10, a list that was pretty much all British Invasion & Tamla.
On "Shotgun" (coming up later) the band were augmented by a Funk Brothers backline, including the peerless bassist James Jamerson. It's a Soul Explosion, the honking sax, call & response vocal shouts & a demand that you dance urgency is the trademark of Junior Walker & the All Stars. Gritty is not the adjective most associated with Detroit at this time, these guys were, they found an audience & Motown let them do their thing. "(I'm A) Roadrunner", the 4th Top 10 R&B 45, was written by ace team Holland-Dozier-Holland, another injection of Soul adrenaline, a super smash. King Curtis & Cannonball Adderley were masters of Soul/R&B saxophone & Junior Walker was not only just as groovy but his records were a whole lot of fun.
The major influence of the label on the artist was to point him towards the cupboard where they kept their back catalogue. First, in 1966, Marvin's "How Sweet It Is (to be Loved by You)" & "Money (That's What I Want)" were Walkerfied. The following year H-D-H's hit for the Supremes, "Come See About Me" was given a gutbucket revival, guaranteed to pack out any dancefloor anywhere. In the UK Junior Walker was a major Mod favourite. His records may not have made Top of the Pops but were played on the pirate radio stations & were essentials for any DJ in clubs (in my case youth clubs) all over the country. The ones already checked, "Shake & Fingerpop", "Pucker Up Buttercup", the killer "Shoot Your Shot", it's becoming a list & we knew them all.
In 1969 Walker & his producer Johnny Bristol, an ally since before Motown, changed it up & had a big success. "What Does It Take (To Win Your Love)", written by Bristol, Fuqua & staffer Vernon Bullock, was recorded in 1968 for the "Home Cookin'" LP & released with some reluctance by the label. It's slower paced, the edges are smoothed, the vocal more featured & it sold a million. Followed by a fine cover of the Guess Who's "These Eyes" this new style kept Junior in the game, away from the golden oldie circuit in the new decade.
Junior Walker came out of the Jumping Jive R&B tradition & found his place in Soul music. He had international success with his records & the evidence is that his live shows were not to be missed. If, in June 1969, you were at the Fillmore West in San Francisco for the All Stars/Grateful Dead double bill then I am jealous. The group were regular, popular visitors to the UK & this clip (in colour!) of their 1967 gig at the Ram Jam Club, you know it, on the Brixton Rd, above Burton's & the gas showroom, yeah you know, is just wonderful. Junior & his band, Willie Woods, guitar, James Graves, drums & Vic Thomas, organ, (bassist unknown) blow up an absolute storm. If I ever get this time machine finished then look out for me in the audience the next time you watch this lovely thing.
tagged as come see about me, holland dozier holland, junior walker, roadrunner, shotgun, soul, tamla motown
Ask Yo Mama (Chairmen of the Board)
Right here are the Chairmen of the Board on the Soul Train promoting "Finder's Keepers" the lead single from their 1974 album "Skin I'm In". The trio, General Johnson, Danny Woods & Harrison Kennedy, were being helped out by some friends. On keyboards it's Bernie Worrell (that's the great…) & on bass there's Billy "Bass" Nelson (again that's…), a couple of Funkadelics taking time out to be on the telly. It's a rare treat to see drummer Zachary Slater, McKinley Jackson (trombone) & the multi-talented Donald Baldwin (guitar). These guys were busy being part of the house band at Invictus Records & didn't get out of the studio much.
The Chairmen were having a good 1970's. They hooked up with Holland-Dozier-Holland when the greatest hit makers of the decade left Tamla Motown to form Invictus/Hot Wax Records in 1969. General Johnson's teenage group, the Showmen, had a hit with the marvellous "It Will Stand". This time around he was ready to make his contribution. The label had big hits with ""Want Ads" by Honey Cone & Freda Payne's "Band of Gold". General J co-wrote the former & had songs ready for Freda's albums. Contractual folderol with Motown meant that H-D-H had to employ the pseudonym "Edith Wayne", they, with Ronald Dunbar, provided the Chairmen of the Board with "Give Me Just a Little More Time", a smash hit debut.
The group continued to make uptempo Pop-Soul records in the tradition of the label owners' previous employers. All of them raise the spirits & make you dance. If anything they were more popular in Britain than in the US. The General became a producer & all three Chairmen got to make their solo albums. For the group's 1972 LP "Bittersweet" he co-wrote all but one of the songs. Two years later, for "Skin I'm In", others in the Invictus posse added their talents.
Jeffrey Bowen came over from Motown where he had written for Marvin Gaye & produced the Temptations to be Vice President of the new label. He was given the tapes which were to become "Skin I'm In" & set about creating a whole new sound for the Chairmen of the Board. George Clinton's psychedelic Funkateers were signed to Westbound Records while recording for Invictus with Ruth Copeland & under the old Parliament name. Bernie Worrell added layers of synthesizer, Billy Nelson co-wrote a couple of tracks with Donald Baldwin, a classically trained musician/arranger, a protege of Bowen's who was proving to be very useful. Funkadelic guitarist Eddie Hazell was around too. The released LP, influenced by the Psychedelic Soul of Sly & the Family Stone & the Temptations, the new Funk of the Isley Brothers & Earth Wind & Fire is damn near a masterpiece.
The "Finder's Keepers" clip shows Danny giving Ronald Isley a run while the band races, bubbles & has some fun. "Life & Death" is a suite, a Sly Stone joint linked by two Bowen/Nelson pieces. It's Prog Funk, in a good way, & it's amazing. Bernie Worrell's work on this sits with stuff like this he did for Funkadelic & Talking Heads. The 9 tracks continue to surprise & delight. "Skin I'm In", like the previous year's O'Jays LP "Ship Ahoy", displays the expanding range & ambition of Black American music. Both deserve to be considered alongside albums that are more highly regarded.
We have some time left here so let's end with one of the classic singles that the Chairmen of the Board are remembered for. I'm spoilt for choice here so it's "Pay to the Piper" for no other reason than it's irresistible.
tagged as chairmen of the board, finder's keepers, general johnson, holland dozier holland, invictus, life and death, pay to the piper
Better Late Than Never (Motown Hits)
In March 1965 a series of 6 four track EPs marked the establishment of the Tamla Motown label in the UK. Previous releases had been through London American, Fontana, Oriole & finally Stateside. The assembly line at Hitsville USA in Detroit was sustaining 5 subsidiaries, Tamla, Motown, Gordy, Soul & V.I.P. The same writer/producers, the same musicians, a unique & successful operation, "the Sound of Young America". There were 43 singles on the new label in the first 9 months. They couldn't all be chartbusters, weren't all by the great stars of the roster. Sometimes it took a little longer for the record buying public to catch on to some of the gems from Tamla Motown.
"This Old Heart of Mine" by the Isley Brothers was the #1 record of my youth club years (that's the ones immediately before I could get served in pubs). The debut Motown release for the Brothers, January 1966 in the US, March in the UK, it was their only Top 20 hit in the US for the label & scraped into the Top 50 over here. If you were not already out on the floor then you certainly were before Ronald started singing. Over two years later the song was still being played in the great Soul/Ska sets I attended in the upstairs rooms of bars. A re-release saw it become a Top 3 hit, another smash for the crack Holland-Dozier-Holland unit. Trouble was, for Motown, the Isley Brothers had already left the label before this success.
"The Isleys' wild call & response songs "Shout" & "Twist & Shout" had been picked up by the British Beat Boom & the group were a little too rugged for the sophisticated Detroit sound. The first LP for Motown had heavy involvement from H-D-H but 3 of their songs were a little second-hand having already been hits for others. On the "Soul on the Rocks" LP (1967) the A Team were absent & , while talented people were around to produce, the Isleys were dissatisfied with with the material & promotion they received. Motown went back to an old hit "I Guess I'll Always Love You" & it did well again. "Behind a Painted Smile" had not been considered as a single in 1967. By May 1969 it & other stomping Isley tracks were favourites in the Soul clubs. This dense, dramatic classic, a perfect blend of impassioned vocals & the driving Funk Brothers rhythm section (James Jamerson, Benny Berrigan ?), Joe Messina's fuzz guitar became a Top 5 hit. The Brothers Isley were more popular in the UK than at home until "It's Your Thing", on their own T-Neck label, scored their biggest sales yet. A couple of years later resistance was futile as their expanded family band just took over.
Oh yes ! The Elgins only got the one shot at Motown. The LP "Darling Baby" (1965) was produced by Brian Holland & Lamont Dozier, again featuring song's by Detroit's most talented songwriting trio with 4 covers of Atlantic hits as the filler. The title track & "Heaven Must Have Sent You" were R&B hits but there was to be no second LP from the group. In 1967 singer Saundra Mallett Edwards left the group & though she was replaced just look at the clip, from "Swingin' Time" & you will see why she was missed. "Swingin' Time" was a music show out of Windsor, Ontario, just across the river from Detroit. They got some great Motown acts as guests & the surviving Y-tube clips are worth searching out.
By 1970 columnist Dave Godin had identified a North-South divide in UK Soul fans. While Funk began to carry the swing in the USA "Northern Soul" fans were more interested in crate-digging for obscure uptempo dance records from the mid-60's. In 1971 the 6 year old "Heaven Must Have Sent You" was re-released, broke out of the clubs & was a Top 3 hit. In the Spring of 1971 Stevie Wonder released "Where I'm Coming From", Marvin Gaye "What's Going On", Diana Ross, no longer a Supreme, was filming "Lady Sings the Blues" & plans for Motown to leave Detroit for Los Angeles were in advanced stages. The success of "Heaven Must…" showed that the public still wanted to dance & sing along to those classic Holland-Dozier-Holland, themselves no longer with the label, songs OK…♫ I've cried through many endless nights, just holding my pillow tight. Then you came into my lonely day, with your tender and your sweet ways. ♫ Smashing !
Canadian R Dean Taylor signed for Motown as a songwriter & recording artist in 1964. The records didn't go so well but writing credits kept his name in the frame. There was a Marvelettes track with Norman Whitfield, a Brenda Holloway A-side with Frank Wilson. In 1967 "7 Rooms of Gloom" was the 4th single from the 4 Tops greatest LP "Reach Out". It was the B-side, "I'll Turn to Stone", with the credit Holland-Dozier-Holland-Taylor (that's good company to keep), which became a dancefloor favourite. A dramatic self-produced single from that year, "Gotta See Jane", written with Brian Holland, failed at home but reached the UK Top 20 in 1968. With the departure from the label of the great trio Motown's production staff had to step up to keep the hits coming. Taylor had co-credits on two singles by Diana Ross & the Supremes, "Love Child", a #1,& "I'm Living in Shame". You know more R Dean Taylor songs than you thought you did.
In 1970 R Dean moved to Rare Earth, a label Motown set up for white artists. He scored with "Indiana Wants Me" an odd song about a murderer chased & caught by the police. It was his only US success but we hadn't finished with him yet in the UK. Back in 1966 he had recorded "There's a Ghost in my House", another track with that impressive H-D-H-Taylor credit. Another irresistible Motown stomper that went missing at the time, it became a staple of Northern Soul DJ sets & reached the Top 10 in 1974. That's 3 Top 20 hits for R Dean Taylor, an individual Motown talent.
All 3 of these songs were resurrected by the Northern Soul scene but you didn't have to be a regular at the Casino or the Twisted Wheel to appreciate & enjoy them. The scene was big in the early 1970's, these rediscovered breakout hits received wider radio play & sold to a bigger audience. We were listening to Sly, Marvin, the Isleys, Funkadelic, the new sounds of Black America but the fact remained that you could not beat a bit of classic Tamla Motown to make your weekend go better.
tagged as behind a painted smile, heaven must have sent you, holland dozier holland, isley brothers, r dean taylor, soul, tamla motown, the elgins, there's a ghost in my house
Mo' Motown. Clean Out Of Sight.
In May 1965 Tamla Motown started to release records on their own UK imprint. Now we all love a list but the Motown discography really is a thing of wonder. The first three 45s are "Stop In The Name Of Love" (Supremes), "Nowhere To Run" (Martha & the Vandellas) & "Ooh Baby Baby" (Miracles). It's like…how did they do that ?
The label did take a little time before it became the nonpareil Hit Factory. That first year saw releases by Choker Campbell's Big Band, crooner Billy Eckstein & rockabilly Dorsey Burnette. I'm sure that these, like others who did not trouble the chart compilers, had merit but they were hardly "The Sound Of Young America". There were other acts who were around, who even made a significant contribution to the label, but are not considered to be in the pantheon of great Motown artists. And here's one now.
A new year, a new name for the Elgins who recorded their first Motown release as the Downbeats. The female singer, Saundra Mallett was new too. The band were produced by Holland & Dozier & got first shot at some pretty good songs by the ace team of Holland, Dozier, Holland. Both "Heaven Must Have Sent You" & "Put Yourself In My Place" were Top 10 R&B hits in the USA & were absolute dance floor fillers in the UK. 1966 was an annus mirabilis for H-D-H but I'm surprised that "Heaven" was not held back for Diana, Mary & Flo' because it is an absolute Motown classic stomper. A 3rd single from their only LP, the lovely "I Understand My Man", bombed & the Elgins were over by 1967. Thanks then to "Swingin' Time", a music show out of Windsor Ontario just across the river from Detroit, for capturing this charming, pure 1966 Motown moment. Five years later the Elgins had hit records in the UK when re-issues of these golden oldies captured the next generation of youth clubs & soul dances. Top stuff !
Brenda Holloway in May 1967, in colour…oh yes ! Berry Gordy Jr signed Brenda to his label when she was just 17. She was from California & chose to remain on the West Coast rather than re-locate to Detroit. This independent streak did not always serve her well but a hit record on her first go around positioned Brenda as the female solo star to replace Mary Wells, the "Queen of Motown" who left the label in 1964. "Every Little Bit Hurts" is an emotional blockbuster of a song, a soul classic. Brenda toured with the Beatles in 1965 but Smokey Robinson gave her Wells' old songs to record & the hits were not repeated. By the time "Just Look What You've Done" was recorded she had her problems at Motown. Her self-determination was regarded as trouble-making & more amenable acts got more promotion. The track, written by Frank Wilson & R. Dean Taylor, is vintage Motown & sold quite well. Brenda wanted more &, in 1968, walked out of a Detroit recording session, returned to Los Angeles & never went back.
To say that Brenda is looking good in this clip is a statement of the bleeding obvious, She was a striking woman & 40 years later she still is. We know because her music has not been forgotten, especially around the UK Northern Soul scene. "Every Little Bit Hurts" has been recorded by Aretha & Alicia. Here in Britain the Spencer Davis Group, the Small Faces & the Clash have paid their respects. After Motown Brenda almost retired. It was the interest from the UK which encouraged a return to performing & a chance to see an artist who made some great records but who's potential was perhaps never fully realised by the label.
In 1966 Jimmy Ruffin got the break that all singers looked for. His recording of "What Becomes Of The Broken Hearted" caught the wave of Tamla tenderness & became a world-wide smash. Jimmy had passed on an offer to become a Temptation to his younger brother David. It seemed that he had done the right thing. "I've Passed This Way Before" was the next along. The same team of James Dean & William Weatherspoon (without arranger Paul Riser) wrote the song & it made the Top 20 but Jimmy struggled to establish his own identity as a performer. There were diminishing returns for subsequent 45s. In 1970 the Ruffin Brothers made an LP together which can still make you sit up & listen to it's sweetness & passion.
Jimmy remained at Motown & around 1970 records which meant little in the US became big hits in the UK. This is because Jimmy had not been forgotten. Over here we do try to value quality over the latest bright shiny thing being waved before us. It is also because "I'll Say Forever My Love", "Farewell is a Lonely Sound" & "It's Wonderful (To Be Loved By You)" were all good songs, well produced, that were certainly worth having around. Jimmy Ruffin, like Edwin Starr & others, moved to England because there was money to be made & a greater appreciation of the enduring worth of his music. In this country we can be a little obsessive & excessive with regards to Soul Music. These songs & artists, from a halcyon time for African-American music, deserve to be remembered alongside the pantheon of the Supremes, Marvin, Stevie, Smokey & the rest. It's a freaky, geeky job but someone's got to do it.
tagged as 60s, brenda holloway, elgins, heaven must have sent you, holland dozier holland, i've passed this way before, jimmy ruffin, just look what you've done, tamla motown
When You Need A Hand To Hold, Darling, Reach Out (Four Tops)
The Northern Soul scene in the UK has prolonged the careers of artists who would struggle to call what they used to do a career. There has though been a tendency to value rarity as much as quality. Only 250 demo copies were pressed of Frank Wilson's Motown 45 from 1965. it is a fine record but £25,742 ($40,000) for a copy ? I've got it on CD ! Many great tracks have been excavated & played out by DJ obsessives but I find it does help to get back to where you once belonged. To renew contact with the soul greats, the artists who's music put the bug in your ear & led you down the road to infatuation. Here's four of them now.
In 1965 "the Sound of Young America" started out of West Grand Boulevard, Detroit (Hitsville USA) & spread to the rest of the world. For 3 consecutive years the Four Tops had 4 hit singles. The group were not too young, they had worked together for a decade & were all coming up to 30. They were though the epitome of the Motown sound. Holland-Dozier-Holland…check, the Funk Brothers' indefatigable insistence that we should dance…check, as Marvin sang, a "Pride & Joy", yup, it was all there. The first hit, the impassioned "Baby I Need Your Loving", was pinched in the UK by some Mersey magpies. The subsequent run, which included "The Same Old Song", were left alone, any approximation of these perfect, floor-filling stompers would just be gimpy. Their records only reached the lower Top 30 over here but were the toppermost in every club in the country.
What a clip this is. The Tops, Duke, Obie, Lawrence & Levi, are smart casual here, instead of the usual matching band uniforms, they look the better for it. There's an off-the-cuff feel about the presentation, certainly compared to the precisely drilled choreography of the Temptations. Of course Levi Stubbs is lead vocal, centre stage but he's happy singing & dancing with his boys. Sugar pie, honeybunch, this song just flows with a simple, urgent logic.This is how a great pop song sounds & I have to smile, I can't help myself.
In 1966 Motown & the Four Tops went into overdrive. There was a lot of competition but "Reach Out, I'll Be There" was not just a great soul song, it was alongside "Good Vibrations", "Sunny Afternoon", "Eleanor Rigby", stuff like that. The group were #1 in the world & they consolidated their primacy with a run of subsequent 45s which were, as I believe the young Americans say, awesome ! I remember a friend, a vocalist of ability who has made his own albums, hearing "Standing In The Shadows Of Love" for the first time & being stopped in his tracks. I could have picked any of these hits but "Bernadette" just never pales, the pause before Levi returns for the fade-out…perfect. Here the boys are suited & booted, smart guests in American lounges of a Sunday night. It's Levi's show now, the songs' pleading lyrics encouraging him to strain his powerful tenor voice. The backing vocals were lower in the mix & Levi Stubbs can be remembered as a great male Motown voice with Marvin, Smokey & David Ruffin.
In 1967 H-D-H, left Motown. The band needed new writers & new producers. The Temptations headed off to psychedelic soul but that was never going to suit the Tops. There were different producers, including the very same Frank Wilson. A new policy of taking new, classy pop songs by young writers brought them hit versions of Left Banke's "Walk Away Renee" & Tim Hardin's "If I Were a Carpenter". The band were making some classy cabaret soul, Levi could ease off & still deliver a world class vocal. Now the hits were bigger in the UK, "Do What You Gotta Do" (1969) is a Jimmy Webb song, an early one from when the young tunesmith would write true stuff down in songs. Nina Simone recorded the definitive version of this song but Levi does his thing &, while it may be from the middle of the road, he does it well.
The band left Motown in 1972 & they did have a few more hits. Man, they had a lot of credit in the bank after a decade of success. If you didn't rate Levi Stubbs then you were wrong (Feed Me Seymour ). The 4 friends continued to perform together until 1997, welcome all over the planet. Only the unfortunate death of Lawrence Payton broke the sequence. Now Duke Fakir is the only surviving member but when you play those Motown records they are all still around.
I am not posting this without including this performance at the RFK Stadium in Philadelphia on July 13 1985. While Phil Collins was being tiresome on both sides of the Atlantic on the same day. While Queen's (spit !) posturing pantomime pomp-rock pretence embarrassed us all. The Four Tops appeared at Live Aid (between the Hooters & Billy Ocean !) & they were this brilliant.
tagged as bernadette, do what you gotta do, four tops, holland dozier holland, levi stubbs, live aid, same old song, tamla motown
Holland, Dozier, Holland – After Motown
Tamla Motown's modus operandi has been compared to the mass production lines of the auto factories of the company's home city, Detroit. Such was the expertise & efficiency of all aspects of Motown that their bright & shiny product, "The Sound of Young America" had soon sold exactly 2.5 gazillion records. Previously both singers & songs were here today, gone tomorrow but a new industry was being forged. The young creative artists saw that this music thing could be a career. The rules were being made up as they went along but , somewhere, there was a big pile of money. In the Summer of 1967 the Motor City was burning after 5 days of riots. Around the same time there were members of Berry Gordy's Tamla tribe who were looking to get their share & to get paid.
The composers/producers, Lamont Dozier & brothers Eddie & Brian Holland were a very potent triple threat. They wrote an incredible 25 #1 hits & in 1967 were disputing the royalties they had received. The split with Motown was a messy one. The trio staged a work slowdown & left in 1968 to work for Holland-Dozier-Holland Productions Inc. By 1969 their 2 labels, Hot Wax & Invictus, were back on the charts.
And that's why they were called HOT pants ! In 1970 the beautiful Freda Payne hit the Top 3 in the US with "Band of Gold". HDH had sued Motown & had been met by a counter suit which took almost 10 years to unscramble. "Band of Gold" is credited to Ronald Dunbar & Edythe Wayne…yeah right. Ms Wayne was a pseudonym adopted by HDH as they were prevented from using their own names in the dispute. The record was a UK #1 hit for 6 weeks & I remember getting a little tired of it at the time. Not now, it's a floor-filling stomper of an absolute Motown vintage. The Supremes must have been thinking "Hey, that should be our song !"
In a converted Detroit cinema HDH & other talented writers attempted to replicate Motown's success. Freda Payne had another US Top 20 hit with the anti-Vietnam war song "Bring The Boys Home", banned by American Forces Network at the time & still rarely heard, it's that good. The record was made by a team which included General Johnson, a man who was getting a second chance with Invictus & was giving it his best shot.
General, I have just discovered, was writer & singer on "It Will Stand" a 1961 hit for the Showmen. Listening back it's "Well, of course he was". It's a truly uplifting song…this or Jonathan Richman's cover will set you right up for any day you start with it. He hooked up with producer Greg Perry & brought his new band to the new label. The Chairmen of the Board had some hits, more in the UK than the US, but were around in the years between those 60s TV pop shows & "Soul Train". Surprisingly this odd clip of "(You've Got Me) Dangling On A String" is the only one I can find of them on the Y-tube. It's a good song but the film is funny rather than funky, cheesy when it needs to be greasy. Hell, it's a proper single, another irresistible call to do the funky chicken or whatever elese was the current thing.
Their first & biggest hit was "Give Me Just A Little More Time" , an Edythe Wayne original (I do hope that there is a real Ms Wayne) produced by HDH & recorded using the Funk Brothers who were moonlighting from Motown for their old buddies. There were successes over on the sister label Hot Wax. In 1971 the hottest female group in the US were a trio from Los Angeles & the first signing to the label.
Hmm-hmm…"Want Ads" by Honey Cone. Well hello Ms Jackie Browns ! "Wanted, young man single and free. Experience in love preferred, But will accept a young trainee". Well I was in that, presumably long, line…still waiting. The trio, Edna, Carolyn & Shelly, had experience in Los Angeles girl groups (Edna Wright is the sister of the incomparable Darlene Love, Phil Spector's voice of choice on many songs). They got together in 1969 & were the first signing to Hot Wax. 1971 was their year, gold records & "Want Ads" at #1. It is a perfect update of the Motown pop-soul formula, sparring with "I Want You Back" by the Jackson 5 as the twin peaks of a turn of the decade, feelgood hit. Not quite disco yet but you know that a change is gonna come. The song was written by Perry, Johnson & engineer Barney Perkins, I would be surprised if Ms Edythe Wayne did not contribute. By 1973 the Honey Cone hits has stopped but so had Holland, Dozier, Holland's plans for their own independent label.
It must have been difficult for the artists to become businessmen. HDH could hire capable people to manage their affairs but a hit single generates a heap of money very quickly. Getting & keeping a share of this heap can be a difficult thing. In 1973 Hot Wax folded with debt & cash flow problems while Invictus signed a distribution deal with Columbia. Of course we know now that Columbia's fortune tellers had presciently predicted that pop music would come to be dominated & shaped by music made by black artists. HDH joined the other 2 prominent black independent labels, Stax & Philadelphia International as lambs lying down with the lion. By 1976 the entertainment titan, motivated by the dollar bill rather than creativity, had pressurised & controlled distribution, subsumed or cherry picked from the 3 famous labels. Conspiracy theory ? Hey sue me…I have no money.
For some time the Tamla triumvirate separated when Lamont Dozier pursued a solo career. He was replaced but Holland, Beattie, Holland ?…Nah. When Invictus finally folded in 1977 HDH Records came around & control over the valuable back catalogue was established. As Pop left behind its juvenescence there was a rush to bestow lifetime awards & to establish Halls of Fame. Not a one, Rock, Soul, any kind of music you got, was able to overlook the lasting, still amazing, contribution made by these 3 outstanding talents.
tagged as 70s soul, band of gold, chairmen of the board, freda payne, holland dozier holland, honey cone, hot wax, invictus, want ads, you got me dangling on a string
Detroit dream girls (the supremes)
The Supremes' story is now part of pop music's DNA. The promotion of Diana Ross at the expense of her friends. The reaction of Florence to this marginalisation leading to her being dumped from the world's leading female act & to a sad demise. It has become one of the folk tales of the 60s. Like the Beatles in Hamburg, developing a self-belief & a sound that would affect the world or the separation of Brian Jones from the group that he thought he led, it has been told & re-told from many different perspectives. We think we know the "truth" of these stories. We don't need Carl Jung to come over & explain to us how a culture develops it's own myths & legends.
Well…"Forever Came Today". What a great pop single this is. The third single released as Diana Ross & the Supremes burns with a slow fuse before building to a fine dramatic climax. The "Reflections" LP introduced a touch of psychedelic soul to the hit sound but this track eschews the gimmicks and excess of the title track. The restraint of the arrangement, in the verse the electric piano is joined by a tambourine as a lead instrument, adds to the power of the song.
These were turbulent times at Hitsville & not just for the Supremes. Holland-Dozier-Holland, the writers responsible for the group's amazing run of winners (10 #1 hits) were unhappy. They slowed their song production & were planning a future away from Motown. "Forever" was the last 45 they wrote for the girls. Recorded in 1967, released early in 1968, it was the first record of their's to miss the top 20 since their success had begun & the first record to use session singers in place of the harmonies of "and the Supremes". By the end of 1968 the Supremes were back in the top 10. Lamont Dozier & the Holland brothers had left Motown in a blizzard of suit & counter-suit.
There are clips of the Supremes promoting their world-wide smash of the 1967 summer of love, "The Happening", with Florence. In others Cindy Birdsong (wonderfully, her real name) had tip-toed into her place. Two singles later Ed Sullivan was introducing Cindy as part of a group who promoted all their releases on Sullivan's prime time TV show. The group always had their best new frocks on for these performances. Anyone who wants a view of the range of 60s fashions only has to check on the Supremes' photos. Whether dressed like Vogue models or in more "street" clothes they were never less than immaculate.
The performance shows how Diana was now the focus. Her ambition can be criticized but she could sure sell a song. However, the Sullivan house band are not the Funk Brothers. This absence of groove makes for a pretty insipid result & perhaps influenced the song's eventual sales. I have included this clip because it shows Mary Wilson at her best despite the exclusion from recording & the absence of her chidhood friend.
The Supremes first came to the UK on the back of a 2nd hit with "Baby Love". They appeared on Top of the Pops in quite low cut dresses & made an immediate impression on my young self. I had never seen beautiful, young Afro-American women on British TV before. It was Mary who made the biggest impression. Francoise Hardy, Monica Vitti, Julie Christie, for myself Mary Wilson joins that list of great 60s beauties. Diana can smile & over-emote , she can take the majority of the camera shots. Show me a clip of the Supremes in the 60s & I only have eyes for Ms Wilson…and there ain't nothing I can do about it !
I have been looking around for a clip to show just how good the Supremes could be. The early appearances are in black and white. They often sang live with a white bread band making little effort to emulate the sound of the record because that would be impossible. I have settled on the breathless rush of "You Can't Hurry Love",often copied but never bettered. This is another great pop record from Tamla Motown.
tagged as diana ross, holland dozier holland, supremes, tamla motown


The shop in Icarus Galaxy is now in a working state and players are able to purchase products from there using credits that they have earnt from fighting the enemy! Ive chosen to use an XML based sto... - read more.
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After many hours creating the game engine and menu system, I think I'm finally ready to start work on the campaign! I've finished the shop, particle system and gui which were my last things to do in ... - read more.
Check out the new particle system video of Icarus Galaxy I've created just to show you people what it looks like: In other news... The campaign is coming along very nicely! - read more.
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So these past few days I've been focusing on adding a credits system to Icarus Galaxy, it's a lot more work than it seems! I've added a basic credit system and made bots leave 'bits' behind after they... - read more.
So I finally made the space station for Icarus galaxy , take a look! - read more.


text:
Lovro Ravbar
Independent artist - saxophone player, composer, band leader, mentor and producer
Lovro Ravbar (12/6/1977, Novo mesto, Slovenia) is a saxophone player, composer, band leader, recording artist and producer, comfortable with various styles of music. He started playing saxophone at an early age of nine at the local music school Krško (Slovenia, EU). Soon he participated with the local wind orchestra, Big Band KK as well as with the school symphony orchestra.
He studied classical music at SGBS Ljubljana (Conservatory Ljubljana) with prof. Matjaž Drevenšek and graduated in 1998. Until 2005 Lovro Ravbar continued studies of jazz and world music at Rotterdam's university for music and dance (Codarts, Havo voor Muziek en Dans) with professors Dick de Graaf, Ben van den Dungen, Benjamin Herman and Piet Noordijk. He also participated in workshops of Jerry Bergonzi, Andy Arnol, Dave Liebman, Donald Harrison and many more.
After finishing the six years of study and work in Netherlands he returned to Slovenia holding a Master's degree in 2005 from Codarts, Havo voor Muziek en Dans and continued his rich career in music. Currently he is performing, recording, teaching, composing and producing.
In 2004 Lovro won the First prize - Best Jazz Composition of the Year, at JAZZON 2004. https://www.dnevnik.si/92477
In Autumn 2008 Lovro released his first jazz album – RUSH HOUR (LP glasbena produkcija/Distribution Dallas Records). http://24ur.com/ekskluziv/glasba/prvenec-lovra-ravbarja.html
In April and May 2009 Lovro was touring as a lead alto and a solist with
European Jazz Orchestra EJO Tour 2009 (EJO), conducted by the great Peter Herbolzheimer.
Concerts were broadcasted on numerous national radio and television stations across Europe.
In July 2013 Lovro was touring as a solist with Big band KK. http://www.culture.si/en/Big_Band_KK
The last two concerts were performed at the 47th Montreux Jazz Festival in Switzerland.
Also in 2013, Lovro was on summer tour with Croatian National Radio and Television Big band (HRT Big band).
In 2015, Lovro began a highly successful collaboration with The Bug Orchestra, culminating the tour with a performance in Prague's world- renowned club, Lucerna Prague, Czech Republic.
In 2016, he composed three compositions for Big Band RTV Slovenija. His compositions were recorded and soon later premiered in Kino Siska, Ljubljana
Also in 2016, two compositions were performed at a prestigious event, International Festival Imago, Ljubljana, Slovenia. (http://imagosloveniae.net/arhiv/otvoritveni-koncert-28-ciklusa-poletje-v-stari-ljubljani/) The concerts were frequently broadcast on Slovenian National Radio and Television (RTV Slovenia).
In August, 2016, Lovro, together with Big Band KK, performed at Jazzinty festival of Novo Mesto and shard the stage with a legendary American singer Deborah Brown and bass player, Joris Tepe.
In October 2017, Lovro Ravbar released his second record "Get On Board". The album includes eight original compositions recorded by more then twenty musicians. The album is to be published in LP vinyl format as well.
Currently Lovro is on "Get On Board" tour with his nine-piece band performing on festivals such as:
28.6.2018 – Jazz Festival Ljubljana (SI)
6.7.2018 - Fest Jazza Koprivnica 2018 (CRO)
5.10.2018 – Festival Slovenskega Jazza Ravne 2018 (SI)
Spring 2018 - The artistic direction of the newly formed big band "Bend-it! Orchestra" was taken over by the internationally renowned saxophone player Lovro Ravbar.
Bend-it!'s debut concert was held at the MareziJazz - Big Band Festival in July 2018. The audience was impressed by their powerful sound, energetic performance and a joy of playing together that was almost visible.
The musicians do not limit themselves to one particular genre, they perform various songs, from the swing classics, through pop and jazz fusion, up to their own compositions (which for now are mostly their conductor's work). Bend-it! is thus bending the boundaries of musical styles and moving in the direction of finding a recognisable and distinct sound.
Lovro Ravbar has been recording and performing with his quintet/quartet/trio and various artists, bands and orchestras such as European Jazz Orchestra conducted by Peter Herbolzheimer, Slovenian national radio and television Big band (RTV Slovenia), Croatian national radio and television Big band (HRT Big band), National Radio and television symphony orchestra of Slovenia, Big band of Slovenian army, Big band KK http://www.culture.si/en/Big_Band_KK The Fool Cool Orchestra, Big band of Rotterdams HS voor Muziek en Dans, Big band DOM, Big band Cerknica, LeeLooJamais (SRF 2004 music award, MTV Video Plays Award 2013, nominated for MTV music awards Lisboa 2005, Liverpool 2008, Madrid 2010, Best live act of Hitorama 2010 award), Femi Temowo (Amy Winehouse), Hans van Oosterhout, Franklin Arrindell, Tashas world (BBC radio award) and Jill Scott (Grammy winner), Rob McConell (triple - Grammy winner), Fool Cool Orchestra, Izidor Leitinger, Vladko Stefanovski, Simone Zanchini, Ratko Zjača, Ratko Divjak (Prešernova nagrada), Massimo Savić, Brandi Disterheft (Juno award for traditional jazz album of the year 2008), Eric Vloimans, Matija Dedić (Porin winner), Duško Goykovich, King's singers (Grammy winner), Owen Hart, Joe Kaplowitz, Eric Durrer, Adonis Rose, Joao Falcato, Tyrone (Incognito), Larry Harlow (Latin president of NYC), Aleksandra Kovac (MTV music awards winner), Trkaj, Spinz, Alenka Godec, Rembrandt Frerichs, Peaceful colours, DJ Paolo Barbato, DJ Sylvain, Demolition group, Janez Bončina Benč, Alenka Godec, Zoran Predin, Vlado Kreslin, Deborah Brown and many more.
Lovro Ravbar has been playing for audience in Slovenia, Netherlands, Croatia, Italy, Serbia, Czech Republic, Germany, Hungary, Slovakia, Romania, Switzerland, Bulgaria, Poland, Belgium, Luxemburg, Denmark, England, Spain, San Marino and Portugal at the venues and festivals such as North sea jazz festival, Montreux jazz festival, Festival Lent, Festival Exit, Jazzcafé Dizzy Rotterdam, Jazz festival Cerkno, Cankarjev dom Ljubljana, Big band festival Budapest, Jazz club Gajo, Jazz club Zagreb, The Famous Jazz Café London, Lucerna Prague, Delicious Vinyl Hollywood, California and more.

redpajama_set_name: RedPajamaCommonCrawl


'What do I want to say?' is the question I'm forever coming back to. I'm an Australian, born to an Italian and a Greek, who's living in Canada as a woman of the 21st century. I have a lot to say.
Storytelling is one of the oldest rituals in the world. We share stories to remember, to entertain, to provoke change. We give voice to the voiceless but when that voice is funnelled through a very limited perspective, then limited conversations is what we end up with. I believe, without a shadow of a doubt, that when we include more diverse stories from more perspectives, more genders, more ethnicities, more sexual preferences, more abilities, more socioeconomic backgrounds and more ages, we create rich, interesting, complex and entertaining perspectives for better conversations. Now remembering that it's called show – business, more engagement means more dollars.
What we say matters, what we do matters and if the conjunction of the two doesn't have a platform to exist upon then we get up and make it happen.
As storyteller's our wealth lies in both the monetary and the experiential we so courageously and vulnerably explore. Whether it be on the stage of a small independent theatre or for a blockbuster on the big screen. We have the ability to change lives, to change minds and to save lives. Maybe not on the ER table but in conversations at your own table. And so, I invite you to explore this home I've set up, to take it out to the streets and onto your own table.
Film and theatre trained in Sydney, Australia, Kristina has played roles from Carol in Oleanna to Lysander & Robin Starveling in Midsummer Night's Dream. She has studied at the National Institute of Dramatic Arts (NIDA), The Actor's Centre Australia (ACA), Anthony Meindl's Actor Workshop (AMAW) in LA & NY and appears in NYC Comic Con nominated film Looking for Heroes as well as Plant Love 2 and Tinder: Face to Face.
Kristina is represented by The Characters Agency in Canada and Mollison Keightley Management in Australia. Follow her on Instagram for her latest stories.


We had moved to Windsor Locks, CT into a small complex of approximately 50 to 60 families. The units were a combination of single houses and duplexes with a single road running through the units. It was like one huge Mother Goose family with her many goslings. Everyone got to know one another and "neighbors helped neighbors" through good times and bad.
The complex paralled Elm Street and was easily accessible to stores, churches and schools. It was a great place to raise youngsters. In addition, at the back end of the complex, there was an undeveloped piece of land which still harbored its own community of small furry creatures. In springtime, the field came alive with beautiful wild flowers. Small bunches of blossoms were picked by small hands and brought home to sit in small vases on peoples' dinner tables. During the summer, the whole town converged on the land to celebrate the yearly Strawberry Festival. This was a time to watch kids' races, enjoy hot dogs, hamburgers, soda and just share conversations of town happenings. When fall arrived, the grasses browned and finally laid to rest. Then the winter snows arrived. Boot tracks made trails and children's bodies, clad in warm coats, were flung backwards with abandonment making "angels in the snow".
These were times when it was safe to go outside at night and after the children were in bed, I would often go out and just stand in the expanse of the field to look up in search of the constellations in the sky. Frequently, I would also take our two children, Mike and Robyn along and we would walk together so they also could enjoy the peace and quiet that had descended on the land. They would play a game of who could first find The Big Dipper among the stars.
One particular winter, a "Northeaster" struck the area with a vengeance. The main road (Elm Street) was nearly closed. The plows struggled against the storm trying to keep access for people living on the street and for others like ourselves whose driveway led off that road. Our cars took on the appearance of white hills and valleys.
The following morning, since the Town plows still could not get into our street, men emerged from the warm houses armed with shovels. Forming lines, they started at one end of the complex clearing the street yet stopping on the way to help one another extricate their cars. We were at the far end of the street and I decided to go out and see if my dear-older-summer-loving Peugeot would start. It was a warm weather car, so to speak; However, I brushed off the hood, took a hot water bottle and a blanket and laid it on the block of the engine, and went back inside a warm and cozy kitchen. When I returned, to the surprise of everyone (and the chagrin of many who owned newer cars,) my dear car roared alive with a shutter, shaking the snow on its roof.
That event caused many laughs for many days but the greatest adventure was yet to come.
The winter nights, with their crisp cold that nipped your finger tips, even through wool gloves and bit at your nose, kept us inside more. But one night, just a few days before Christmas, I bundled up the two children for an adventure in a night walk and turning off the flashlight just for the excitement of walking in the dark. The street lights on Elm Street were evident just leaving shadows on our street so that you could look up at the sky and see the grandeur of a winter night. There wasn't cloud in the sky. The stars seemed to twinkle with a brilliance of awe only possible in the winter. The moon's rays made diamonds on the snow.
As we started out the door, I realized I had forgotten my gloves. I told the children just to stand outside and wait for me. Before I could even find my gloves, a shriek from our son found me racing out to see what was wrong. The conversation ran like this.
"MA, MA", he hollered. "UP THERE, pointing frantically up at the sky with gloved fingers. I looked up and all I was seeing were stars. I searched around and just couldn't seem to see anything different.
"Mike, what is it you see? I asked.
"Over there, over there, across the moon", he cried. "Don't you see it? It's Santa Claus and his sleigh. Right there".
Turning my head in a complete circle with my cold feet following, just knowing that there must be a bunch of stray clouds floating around, I realized for certain there were NO clouds in sight.
I carefully peered out again from under my hooded jacket and THERE IT WAS! Something was passing over the moon. I squinted my eyes and the image passed into the darkness but you could still see some imperceptible image.
Mike continued his personal diatribe insisting that he saw Santa Claus.
At home, he explained the whole episode in detail to his Dad. Standing quietly behind this determined child, I caught my husband's eye and slowly nodded my head up and down for; in all honesty, I had to agree with him.
That one cold winter night, just close to Christmas, I saw something pass across the moon's image. And it wasn't a cloud.
"Well, I still believe it was really him", he said with a smile.
What could I say for I was there.
So some cold winter night, shortly before Christmas, when the sky is clear, the stars are twinkling and the moon is out, take a walk, look up at the sky. Perhaps you'll see what he saw that night. Miracles can happen.


Transnet SOC Limited proposes to expand the Saldanha Port iron ore infrastructure and operations, to increase South Africa's iron ore export capacity. This proposal is supported by the national strategy of the government infrastructure development drive.The proposed Port expansion provides for an increase in the throughput capacity of the Sishen-Saldanha iron ore corridor from 60 to 88 million tons per year/annum (Mtpa).
The following properties are affected: 196, 195/RE (Hopefield), 1185.
Environmental Affairs (DEA Reference Number 14/12/16/3/3/2/567).
associated Public Participation Process for the project.
Office. Please find a Comments Sheet enclosed for your perusal.


PREHEAT broiler. Line baking sheet with foil. Place bell pepper halves skin-side-up on prepared baking sheet.
BROIL for 5 minutes or until charred. Transfer to a bowl and cover with plastic wrap. Let sit for 10 minutes or until charred skin can be easily removed.
PREPARE pasta according to package directions; drain, reserving 3/4 cup cooking water. Transfer pasta to large bowl.
PLACE bell pepper, basil, almonds, garlic and salt in food processor or heavy-duty blender; cover. Process until smooth. With machine running, gradually add oil and 2 tablespoons water. Stir in cheese.
ADD sauce to bowl with pasta along with ½ cup reserved water; toss to coat. Thin with additional reserved water if needed. Garnish with basil leaves, additional cheese and almonds, if desired.
Cook's Tip: 2 cups jarred roasted red peppers can be used in place of fresh. Can use 2 packages (9 ounces each) BUITONI Refrigerated Sweet Italian Sausage Tortelloni in place of the 20-ounce package.


Aamir Khan is no stranger to controversies. In fact, over time he has become good friends with them. So just when everybody thought that the intolerance row which created a huge media furore in the country is finally losing steam, Aamir made a grand entry into the thick of things and made them worse by saying that he and his wife Kiran Rao were actually contemplating leaving the nation over rising intolerance in the country!
While a lot of people were shocked by this startling revelation, we noticed that the warning signs were always there. Here are some memes, jokes and forwarfs from WhatsApp and social media sites like Twitter which show that Aamir Khan was forever hinting at leaving India in his movies.
Actually….Aamir has completely misunderstood the whole issue.
"I WANT TO FEEL SAIF".
Listen to your wife & move out to any of the 56 Islamic country.
Make another PK movie making fun of Mohmmad the way u have done with lord Shiva when u were at India.
If u r still alive, come back and share your tolerable experience of these countries.
Aap ke dost ka KHANdaan is feeling insecure..
Toh aap ka farz banta hai …. unko border ke us paar chhod ke aao .. !!
Darwaza khula hai jisko nikalna hai nikal lo……Aamir Khan, Shahrukh Khan…..
Dear Aamir khan… The satire your movie made on Indian Gods and beliefs (and rightly so) wouldn't have been allowed in quite a few countries…. #PK. Nonetheless you should set an example of being a nice obedient husband and make Kiranjis wish come true…how about Oman, Jeddah or Myanmar? Few of the most open economies of the world! Very tolerant.
History is witness to the fact that Amir has always picked up some controversy just before the release of his movies….this time it is a new low.. Cheap stunt….
Does his statement make any difference to my life …. Actually not.. I really don't care for his opinion.. What irritates me Z hat he has used FREEDOM of SPEECH of TOLERANT India to Brand the country as INTOLLERANT..thats unfair..dont drag down the whole country in ur liberal use of right to FREE SPEECH..
सबसे अधिक असुरक्षित तो तुम आमिर खान के घर पर हो – पता नहीं कब वह तीसरी ले आए!
I am an ordinary Indian citizen and an avid movie-goer. You are a superstar in a country where the majority of movie-goers are Hindu. For years, we have spend our money to buy tickets for your movies. It is our money that has made you what you are today.
In 2004, MF Hussain directed and released a movie titled Meenaxi, starring Tabu. A song in the movie, Noor-Un-Al, had a verse taken from the Quran. The All-India Ulema council, Milli council, All India Muslim council, Raza academy, Jamiat-ul-Ulema-e-Hind, Jamat-e-Islami etc. protested against the movie, calling it blasphemous. In response, MF Hussain's son said his father had no intentions to offend anyone, and quietly withdrew the movie from theatres just two days before its release. You haven't spoken a word against the intolerance of the groups mentioned above.
When the movie Vishwaroopam was released, Muslims in Tamil Nadu protested, and agreed to allow the movie's release only after certain scenes were cut. Vishwaroopam, stars Kamal Hassan, who on many occasions has mocked Hindu gods and Hindu practices. At the peak of the protest, you never spoke a word against the intolerance of the Muslim groups.
Various Christian groups rose in protest against the movie adaptation of Da Vinci code, and the movie was banned in Punjab, Goa, Nagaland, Meghalaya, Maharashtra, Tamil Nadu and Andhra Pradesh. In other places, the movie was released with an 'Adult' certificate, despite the movie having no explicit scenes whatsoever. In addition, the censor board insisted that theatres carry a special 15 seconds disclaimer before and after the movie. Till now, you haven't uttered a word against the intolerance of the Christian groups.
Ironically, when your movie PK released, the government of the day did not interfere with the artistic rights of the film makers, despite many sections of the society feeling hurt by its portrayal of their faith. Much after the movie had runs its course, you offered a reluctant apology for hurting the sentiments of people, but that was after the movie grossed a whopping INR 7 billion.
And when your fellow actor Salman Khan was convicted by a court for homicide, which involved killing poor people lying on the pavement, you never spoke a word against drunken driving; instead, you went, hugged him and expressed your solidarity with the convicted Salman Khan.
And yes, there is growing intolerance in India. On March 13th, a 71-year-old nun was raped in a church in Kolkata, by a Bangladeshi immigrant Mohammad Salim Sheik, with the help of his other Bangladeshi friends. Four youth from the suburbs of Kalyan joined the ISIS, and many from West Bengal and a few other states are likely to join the Islamic State. Thirty-seven-year-old Afsha Jabeen was arrested by the Telangana police, for recruiting youth in India to join ISIS. And do you know what Arif Fayaz and Fahad Shaikh, two misguided Indian youth who left India to join ISIS told their families? They said 'I do not want to live in this sinful country.' Now does that sound familiar?
No matter who we are, we should never forget that this nation gives us more than what we give back to it. And to carry forward our personal agenda, such as promoting our next movie, we should never try to be in the news by pulling the nation down. And everything in life is not about a deal that you can snap whenever it doesn't serve your vested commercial interests.
Kiran Rao wife of Aamir Khan says she wants to leave India for the safety of their children ..
Really Mr. Amir Khan? What are you waiting for? Please pack your bags and leave. Oh ho! You are waiting for your movie to release. Shame on you. All for a publicity stunt. Weren't you the same guy who acted in Sarfarosh, Lagaan and other critically acclaimed movies? And what was Satyamev Jayate, a hogwash? How can national personalities like you make such anti-national comments? A wife makes a no brainer comment to her husband and you choose to make it newspaper headlines. Can we expect some responsible behaviour from you? Obviously not. Just do us a favour and leave ASAP. Many countries have visa on arrival. Dont waste your and our time. We certainly dont need you. India is better off without you, your wife and kids. I respected you and now you have lost it completely. We have been tolerating you for far too long and dont try our patience now…..
wonder why should we tolerate you and your movies going forward????
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text:
The Feminist Encyclopedia of Spanish Literature: N-Z
Categories Spanish & Portuguese December 31, 2007
Luanda, Benguela, Bissau, Lourenço Marques, Porto Amboim and the Island of Mozambique were among the oldest Portuguese-founded port cities in its African territories. For example, Spanish mantequilla, aguacate and albaricoque (respectively, 'butter', 'avocado', 'apricot') correspond to manteca, palta, and damasco, respectively, in Argentina, Chile (except manteca), Paraguay, Peru (except manteca and damasco), and Uruguay. The "treaty" betw een Mexico and the USA, legitimating the USA's seizure, was signed in early 1848, and before the U.
Publisher: Greenwood (November 30, 2002)
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RODGERS HAIL UCL PLAYOFF QUALIFICATION
Brendan Rodgers is excited that his Scottish top flight champions' side qualified for the Champions League playoff stage after seeing off Rosenborg. James Forrest handed them the required points with his stunner in the 69th minute.
Celtic were not at their best in the first leg at home. They were not still at their best away but they were more spirited than their hosts, getting the decisive goal late in the second half. The Scotland international went agonizingly close earlier in the game before he finally got his sole goal to hand Celtic a 1-0 aggregate win.
Rodgers praised the performance of the team despite the limitations ahead of the duel.
"It was a big performance. Take away the win, what was important for me was the maturity. This time last year I was going into these games with a hope that we could go through, to try to find a way.
"To come out here and play to that level with that composure – everyone was talking about the pressure of the game so to play that way was sensational, really," the former Reds boss said.
The Hoops' boss praised NirBitton for his performance despite the alteration from his original role. He also praised Forrest for his goal, scoring from wide.
Rodgers said the draw would come with its anxiety which the team would be happy to go through. He says he is confident in how the team work and play. For now the focus would be against Hearts on Saturday.
Rosenborg coach KareIngebrigtsen said his side suffered for not taking their chances when they had the opportunity. He claimed they started losing the game from the clash at Parkhead.
"We should have scored in Glasgow, that's where we lost it, not today."
Celtic Celtic, Champions, Explained, Football, Glasgow
← Hayes agree to join Celtic
Brendan Rodgers Liverpool's dream was not fulfilled →


Dr. Wiegand will deliver his lecture from 5 pm - 6 pm. those of you who cannot attend the full lecture may come before and/or after to greet him. This event may be open to the public based on available space, so we are encouraging both the SLIS and non-SLIS community to please RSVP. Refreshments will be served.
Research for Wiegand's lastest book, Part of Our Lives: A People's History of the American Public Library shows people have loved these ubiquitous civic institutions or three reasons: for (1) access to practical information; (2) the spaces public libraries make available; and (3) the transformative potential of commonplace stories they provide. Over the generations librarianship has largely concentrated on the first. This presentation focuses attention on the latter two to argue in librarianship they have been overlooked and undervalued for their contributions to the daily lives of public library users. It will be an excellent introductory precursor to our panel discussion on Wednesday, February 24.
Dr. Wiegand will also be hosting office hours and is available to meet with students one-on-one from February 22 - February 26. He has let us know that students may email him to set up meeting times: wwiegand@fsu.edu.
Often referred to as the "Dean of American library historians," Wiegand's prolific research and publication has focused on many areas of public libraries. His work has direct implications for the present and future of all fields of library studies: diversity, innovation, advocacy, collection development, etc. He looks forward to sharing his lifetime of work in this field with you.
Part of Our Lives is physically and digitally available from Beatley Library. It joins 5 other works in the Beatley collection by Wayne and/or his wife Shirley.


That's what most people ask, it sounds very technical but then I say 'if you've seen the programme Heir Hunters it's that, I do that'.
We trace missing beneficiaries from unpaid estates; when people die without leaving a will and have no apparent heirs we find who the money and assets should go to. It's a competitive industry where you have to work several cases at a time and evaluate and prioritise the most valuable. I work out of our office in London but we are also supported by travelling reps that we can dispatch around the country to do more specific location research or sign up heirs when they've been traced.
As I work urgent cases along with one other colleague, one of us has to be in the office to cover all operating hours, which means I alternate my start and finish time week by week. Early starts are 8:30 and late starts are 10:30. I check the Bona Vacantia list issued by the Treasury every day as that cites new cases that we can pick up. I then assist case managers, conducting family tree research and arranging visits.
I graduated from Goldsmiths University with a history degree and thought I wanted to work for a museum or library in archiving. I did an unpaid internship with the Museum of Everything on an exhibition of outsider art – art not created for an art market- which was exhibited in the Wonder Room at Selfridges. After that I had the all too familiar dark period that many graduates experience where I was unemployed and had to move back in with my parents in Reading. I had to take a job as a 'lunch time controller' (dinner lady) which I did for almost 6 months while applying for jobs. That's when I started watching 'Heir Hunters' and liked the look of that job, so I applied to all of the London probate genealogy firms and landed a paid internship at Finders – the rest (as they fittingly say in this case) is history.
It's true, most probate genealogists have history or law degrees, although it is by no means essential. As an interest in lineage is vital to the job it is perfect for history geeks. You have to be so precise, a perfectionist really; if you didn't have a genuine interest in this type of research you would be bored.
Yes, we joined in 2013. They come to us for retrospective cases that have an interesting social history side, and 3 times a week they come in to film us working on live cases.
I get frequent lolz looking at people's names in the marriages, births and deaths registries – you'd be amazed at some of them!
I have to call relatives of the deceased and while you're often letting them know they stand to inherit money, you are also bearing the bad news that one of their relatives has passed away. On the flip side, we do also reunite people, which always feels great.
Pay attention in IT class and worry less what people think of you.


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The Harry Bridges Center for Labor Studies currently seeks applications from University of Washington graduate students for grants of $2,500-$5,000 for research about work, workers, and their organizations. The purpose of these grants is to provide funding for research expenses.
The Skidmore, Owings 7 Merrill (SOM) Foundation is pleased to announce the opening of nominations for the 2016 Structural Engineering Traveling Fellowship. This $20,000 award for independent travel and study is open to both undergraduates and graduate students who will receive a degree (Bachelor's or Master's) July 1st 2015 through June 30th 2016. The Foundation's goal is to instill in its fellows a heightened sense of the importance of aesthetics in structural design by offering them an opportunity to study buildings and bridges throughout the world.
To Apply: Students must be nominated in order to apply. If you are interested, please contact a structures faculty member. CEE can nominate up to two candidates, and nominations are due on Monday, Dec. 7th.
Questions? Contact Nancy Abshire, Executive Director, at 312-360-4524 or somfoundation@som.com OR visit the SOM website!
The award of $20,000 is granted for independent travel and study, and is intended to foster a heightened appreciation and understanding of structural engineering through first-hand experience for the winning student. The Foundation's goal is to instill in its fellows a heightened sense of the importance of aesthetics in structural design by offering them an opportunity to study buildings and bridges throughout the world.
If you are interested, please consult a structural engineering faculty member promptly. The Department must submit a maximum of 2 nominations for the award by the December 7th deadline. Nominees must receive a bachelor's or master's degree or Ph.D. from an accredited US school between July 1, 2015 and June 30, 2016.
Eligibility: The EC competition is open to all students who are registered for the PNWIS Annual Conference and have not been out of school for more than one full year. The competition will be a combined event for graduate and undergraduate students competing equally (Click here to Register for the PNIWS Annual Conference).
Networking opportunities: meet environmental, engineering, manufacturing, regulatory, and legal professionals from all corners of the Pacific Northwest and beyond.
Attend and participate in talks focused on current developments in environmental science, engineering, law, and regulation.
Visit exhibitor booths to discover job opportunities and network with consultants, vendors, and other environmental professionals.
Student activities include: the Environmental Challenge, Student Paper Competition, the Fireside Social, PNWIS Bingo, Career Panel, and more.
Student volunteers needed! Student volunteers will receive extra benefits.
Questions or interested in volunteering? Please contact Student Programs Chairs Matt Moroney or Melody Kieneker.
The GREEN Program is the premiere experiential learning program for future clean energy and sustainability leaders. The short-term immersion programs take students on adventures to the epicenters of clean tech, sustainability, and innovative industries.
HDG Architecture and DCI Engineers are now taking applications for the 2015 European Travel Scholarship. Last year, our very own Molly Johnson won the 2014 European Scholarship. You can check out Molly's amazing travel blog here.
PacTrans is pleased to offer support to UW graduate students to attend the annual TRB meeting in Washington, D.C.
To apply: For consideration, please send an e‐mail to pactrans@uw.edu including the title of the paper you will be presenting as the primary author at the TRB by Tuesday, December 2, 2014.
Support: PacTrans will pay two‐thirds of a student's costs (up to $700).
Eligibility: Applicants must be either current or recently graduated students in good standing in a UW graduate program for consideration. They must also be the primary author of a paper accepted at the TRB conference.


text:
«Homer Loves Flanders» () — шестнадцатый эпизод пятого сезона мультсериала «Симпсоны». Премьера эпизода состоялась 17 марта 1994 года.

Сюжет
Гомер безуспешно пытается выиграть билеты на футбольный матч на радиоконкурсе. Нед выигрывает билеты и приглашает Гомера в качестве своего гостя. Хотя ему не нравится Фландерс, Гомер соглашается, потому что отчаянно хочет присутствовать на игре. Нед оплачивает всю еду и убеждает победившего квотербека отдать мяч Гомеру. Пораженный щедростью Неда, Гомер подружился с Недом и его семьей.

Гомер начинает проявлять чрезмерную благодарность и до бесконечности раздражает Неда и его семью, прерывая их семейное время вместе. Семью Фландерсов и Симпсонов вместе отправляются в поход, но не ладят. Когда Симпсоны начинают драку за еду, Нед говорит своей жене, что он возненавидел Гомера.

Вернувшись домой, Гомер не обращает внимания на враждебность Неда. Он прибывает в дом соседа, ожидая поиграть в гольф, но Нед и его семья садятся в машину и мчатся без него. Нед, остановленный шефом Виггамом за превышение скорости, проходит тест на трезвость на глазах у неодобрительных горожан. В церкви, когда все прихожане склоняют головы в молитве, Гомер очень громко вдыхает через нос, из-за чего Нед кричит на него. Это тревожит прихожан, которые еще больше расстраиваются из-за Неда. Но Гомер заступается за Неда и убеждает дать ему еще один шанс…

На следующей неделе все возвращается на круги своя, поскольку Гомер снова раздражен Недом. Эпизод заканчивается тем, что Симпсоны проводят ночь в доме с привидениями великого дяди Бориса Гомера, который он недавно унаследовал. Выключив свет, они видят то, что заставляет их кричать от ужаса.

Культурные отсылки
 Сцена, в которой Гомер догоняет уезжающую машину Фландерсов и цепляется клюшками для гольфа за задний бампер, — пародия на аналогичную сцену в фильме «Терминатор 2: Судный день».
 Можно заметить, что у Фландерсов на стене висит картина Леонардо да Винчи «Тайная вечеря».
 Мо в приюте для бездомных читает роман «Little women» Луизы Мэй Олкотт.

Серии «Симпсонов»:5 сезон

redpajama_set_name: RedPajamaWikipedia


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Much has been made of the similarities between the 2007 shocker in Ann Arbor and the 2018 version in Happy Valley. The Mountaineers play good teams tough on the road, don't blink and execute their game plans well. Though likely a surprise to many fans, surely James Franklin knew what this opponent could do. The silver lining, perhaps, is that the team has already ensured a ton of adversity, and the game allowed the Lions to see firsthand areas of weakness, and who shows up in the big moments. With that, here are the grades for the season opener.
The defense played generally well for the first 3 quarters, holding the Mountaineer offense to 3 points in that time, and minimized the damage by the Appy St. ground game. QB Zac Thomas played most of the game at a very high level, but there were glaring breakdowns in the secondary. Wide open receivers, broken tackles, and lackadaisical effort allowed the Mountaineers to be opportunistic while piling up 451 total yards. After the comeback, the defense made key plays when necessary. 2 sacks and an Amani Oruwariye interception to seal the game in overtime with the clinching interception.
Oruwariye atoned for some coverage lapses earlier in the game to shut the door on the game's final play.
This would be lower if not for KJ Hamler's gutsy 52-yard kick return in the 4th to keep any hope of a comeback alive. Blake Gillikin, usually a weapon and a member of the Ray Guy Award watchlist, had an uncharacteristically average game, on par with his counterpart Clayton Howell. Freshman K Jake Pinegar appears to be a reliable option in the kicking game. But giving up a kickoff return for a touchdown and an onside kick (though it offset one of their own) are not good ways to start a season. It appears special teams may be an Achilles' Heel this year.
Penn State likely doesn't come back without that runback late in regulation.
The metrics were there: 434 total yards, over 200 each balanced between passing and running. No turnovers, a near-100 yard rusher, and 7 receivers catching at least 1 pass. But the offensive line, believed in the offseason to now be an area of strength, struggled to give Trace McSorley time. McSorley frequently had to vacate the pocket and roll out to try to find open receivers. Juwan Johnson, hoped to be a legitimate #1 receiver, somehow had 6 catches but 3 bad drops. Each was very catchable, and would have been hugely beneficial to the team. Couple that with Appalachian State yielding 100 penalty yards, and there are some chinks in the armor. Miles Sanders played very well, and appears to be headed for a great year. Ricky Slade also played well, scoring his first touchdown, while providing a great second RB to offset Sanders. Mark Allen also played well, particularly in the first half. It seems soon that Hamler and TE Jonathan Holland might be the 2018 equivalent of DaeSean Hamilton and Mike Gesicki; if Johnson wants to be a big part of the plans this year, he has to come up with the critical, tough catches that come his way. New OC Ricky Rahne will improve as a playcaller, which would be a relief when considering some of the questionable calls early in the 4th quarter.
With honorable mention to Sanders and KJ Hamler. Trace the Great is a natural leader, unflappable under pressure. He had 2 early rushing touchdowns and created time and space to allow the offense to operate. When #9 is in the game, the Nittany Lions will always have a chance.
It's the coaches' job to adapt to the opponent being successful and ensure the team is prepared for anything. They have to fix the special teams' gaffes. There is no excuse for them to have not expected the onside kick attempt by Appy St. after they pulled within one touchdown. The most alarming part was the missed tackles and general complacent attitude the team exhibited in the 4th quarter. To go 1-0 every week, you first have to play 60 consistently high-level minutes. The team will face enough challenges from the opposition without giving them anything cheap. Both the coaches and players will learn from this game, and in the end the team responded when they needed to. 1-0, now it's onto Pitt Pitt Pitt Pitt Pitt.