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Walk In Silence
Jon Chaisson and His Obsessions with Music and Writing
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Throwback Thursday: Spring 1989
Posted on March 27, 2014 by Jon Chaisson
Ah, twenty-five years already, then? A quarter century already since I was a pimply, music-obsessed, self-proclaimed nonconformist and budding writer, twitchy and moody and waiting for my senior year in high school to be over and done with so I could go out and live in the Big Bad World. My senior year felt like a badly scripted, unwanted denouement, to be honest. I really should have been a year ahead. I say this now, well after the fact, because after twenty-five years of contemplation, I realize it wasn't that I was lazy or had any learning deficiency, it's that I was bored. And boredom begets distraction. And distraction begets so-so grades. And I never quite got out of that slump, not really. I think if I'd graduated in 1988 instead, it would have forced me to put more effort into it, made me work to my potential. It would have made me mature a hell of a lot quicker. As it happens, I ended up coasting for the rest of my education years instead when I should have excelled.
But that's a different post altogether. This is a music blog, isn't it?
Credit: flyerize.com
Spring 1989 was right about the time when that beloved radio subgenre of mine, college rock, finally emerged from its late night perch and started making its presence known elsewhere. Well, that's not entirely true. There's a lot more to it than a wider audience. Consider the following:
–In late 1988 (the September 10th issue, to be exact), Billboard acknowledged the subgenre for the first time with a "Modern Rock Tracks" chart.
–The Top 40 of the late 80s was in flux, with all different kinds of pop music gaining traction. Top 40 rock was giving way to Top 40 dance music. Many production-ready sounds had emerged as well, thanks to production houses like Stock Aitken Waterman. This was especially embraced by the poppier end of the MTV playlist, thanks to heavy rotation as well as shows like Club MTV. This let the occasional unexpected hit sneak into the charts now and again, giving other subgenres an opening for success.
–The rock sounds of early in the decade and the one before it–the arena rock, the LA glam metal, the Michael-Mann-approved, Miami Vice-ready mood pieces, and the last dregs of 70s bar band sounds–had begun to age, and age badly. Harder, more serious rock like Guns n' Roses and Metallica became the accepted norm. [Come to think of it, this is probably around the same time many FM rock stations divided between "current rock" and "classic rock" formats.]
credit: discogs.com
–Several British subgenres of rock emerged or were noticed in America about this time as well: shoegaze, Madchester, Britpop, etc. Many were noticed and release by major American labels at this time. They may not have made high chart placement, but they were starting to get noticed. Several local US scenes were gaining traction as well: Seattle, Boston, Athens, and so on.
–Even the American punk scene was in flux, many of its major late-70s/early-80s players (Hüsker Dü, The Replacements, Black Flag, et al) either having broken up, evolved considerably, or on their way to self-destruction. There would always be the hardcore punk in its many sounds and guises, and it would remain in the shadows where it wanted to be, but the newer sounds were more steeped in the post-punk sound–equally as emotional in its delivery, but more melodic and adventurous in its sound. This sound was less influenced by the DIY punk ethos and more by the UK post-punk sounds of just a few years earlier.
credit: thequietus.com
–Two years earlier in late 1987, we also saw an influx of uniquely college-rock bands releasing highly lauded albums, elevating them past the college-radio-only playlists and onto commercial radio: The Smiths, The Cure, Depeche Mode, REM, Red Hot Chili Peppers, and so on. Many of these were on Warner Bros-related labels, and a number of them had the backing of Sire Records head Seymour Stein. [Seriously, we need a bio of this man, STAT…he was such a big influence on the New Wave scene.]
By 1989, for this music nerd and self-proclaimed nonconformist, I felt both liberated and a little saddened by this change in the weather. On the one hand, I was thrilled that the music I had so loved since that fateful evening in April 1986 was finally getting its due…but at the same time, it felt like it was losing its mystique in the process. After all, this was the music I listened to on my own. It was my music, the songs that spoke to me. I tried to take the high road with this one, though…I felt it was high time my peers stopped listening to the prepackaged crap that radio was feeding us and listen to music with substance.
Style versus substance…that was the big debate of the 80s, wasn't it? Do you want something pleasing to the eyes and ears but superficial, or do you want something of deep meaning but not exactly pretty to look at or listen to? I'd like to think that's why New Order chose Substance as the title for its 1987 hits collection (and by extension, its Joy Division collection as well); they may also be making sequenced dance music, but put "Blue Monday" side by side with "Never Gonna Give You Up" and one can definitely hear the difference. One was destined for status of classic dance track that's still embraced today, the other the subject of a hokey (yet admittedly amusing) internet meme. The genre could be similar, but the quality couldn't be any more different.
Then there's also the change that comes with the change in decades as well. It's often been noted that the last few years of a decade tend to show a decline in the interests that once defined them–the flower power of 1967 gave way to the high-octane politics of 1968; the blissful haze of the 70s gave way to the discontent of the late 70s. The paranoia and the wackiness of the early 80s was giving way to the more serious and reflective late 80s. There was also the fact we were coming in on the last decade of the millennia as well. We wondered what the 90s would bring us–the promised jetpacks? World peace? Information at our fingertips? The possibilities!
I'd like to think that this calmer introspection was yet another piece in the puzzle that led to college rock, and in effect other rock subgenres, becoming more acceptable. Yes, I know, it might be a stretch, but think about it–when you're thirteen, things you dislike are stupid (or in the 80s New England parlance, fucken retahded), but when you're hitting eighteen and about to head off to college, these things aren't as important on your popularity scale and you start accepting different things easier. Where Metallica was once only listenable to those long-haired smoking weirdos who wore denim jackets and drove to school in Camaros, in 1989 they had a massive hit with the song "One"–a song based on a 30s war novel at that. By 1989 we had chart hits from Faith No More, Fine Young Cannibals, Love and Rockets, REM, The B-52s, Nine Inch Nails, and more.
In early May, just as I was finally winding down my educational years in my small hometown, The Cure released what would be considered their best album ever, Disintegration. It was prefaced by two different singles: in the UK, the slinky and creepy "Lullaby" reached all the way to #5, and in the US the darker and angrier "Fascination Street" became their first US chart hit, hitting #1 on the new Modern Rock Tracks list. This was new stuff for those unfamiliar with the band, and for those like me and my close friends, this was definitely new stuff. The Cure had always retained a darker sound since their inception, but after the much brighter sounds of 1985's The Head on the Door and the poppier, more psychedelic sounds of 1987's Kiss Me, Kiss Me, Kiss Me, Disintegration was an altogether different affair. It was epic not only in scope but in sound, "mixed to be played loud so turn it up" as the liner notes suggest. It was as dark, it was moody, and it was absolutely, stunningly gorgeous.
This album fit perfectly as a final step towards the end of the decade, and it was the soundtrack to the last remaining days I spent in my hometown. I'd spend the summer working for the DPW in the town cemeteries, and I'd be listening to this album on repeat on my Walkman while I pushed lawn mowers all over the place. I'd listen to it at night that summer, now that WAMH out of Amherst College was off the air for the season. I'd been writing a gloriously doom-laden teen roman à clef and several poems/lyrics at the time (you know how it is when you're that age), and used this album as a soundtrack as well. And when August rolled around and my buddy Chris had his first of a few "fiasco" parties as his grandfather's cabin out on Packard Pond, this album got heavy airplay both on our tape players while we laughed, played cards and did other silly things, and again on my Walkman as I finally climbed into bed later that night.
On the last day of that party, after we all cleaned and straightened up and headed back to our homes, I sat on the front porch at my parents' house and listened to it one more time on my headphones, composition book in hand in case inspiration arose. "Homesick" came on, and I latched on to the lyrics: "So just one more, just one more go / inspire in me, the desire in me, to never go home." It was the perfect ending quote to my life up to that time–not that I don't like it here, but PLEASE give me a reason to move on. It was the end of summer, I'd be heading to Boston for college in a month, and I was just itching to get started with the new chapter of my life. And to add to the bittersweet end of the season, the last track, "Untitled", came on with its slightly-offkey melodica intro, creating a melody that would repeat ad nauseum until all the instruments left again, leaving the offkey melodica drifting way. The lyrics to "Untitled" were the polar opposite of "Homesick", a last tearful goodbye delivered with such a mortal finality it felt like heartache. While the former was "okay, time to move on and embrace the future", the latter was "oh, and by the way–you can never return to the past."
Indeed, I could not, no matter how much I may have wanted to.
I've returned to my past many times over the years, mostly with writing works in progress, song lyrics and poems, and quite a few blog posts, but I understand that I can't stay there indefinitely. It took me little while in college to understand that, but I eventually got over it. Now, I enjoy heading back to the days of the late 80s, especially with my overly large music collection. I like to listen to what came out back then and compare it to what's out now. I can see and hear the cycles now, the songs of yesterday hidden in the songs of today. I talk with many of the same people in that circle of friends online now, even though a continent separates us. I might not be the twitchy self-proclaimed nonconformist anymore, though I am still that writer and music nerd.
So I think after twenty-five years, it's a good balance.
Posted in Uncategorized | Tagged 1989, college radio, college rock, music, new order, the cure, wis | Leave a reply
WiS: We've Got a Fuzzbox and We're Gonna Use It!!
Posted on March 9, 2014 by Jon Chaisson
I've been wanting to write this post since the two remastered cds came out in the middle of last year, and now I can finally do so! We've Got a Fuzzbox and We're Gonna Use It!!, aka Fuzzbox here in the states, was a cute and punky quartet out of Birmingham UK, and one of my first music crushes when I started listening to alternative rock. They'd been brought to my attention right about the same time as Sigue Sigue Sputnik in the glossy music mag Star Hits, and upon seeing their crazy-colored and spritzed hair and Goodwill-chic punky fashion, I was completely hooked–which in all honesty wasn't really hard, considering it didn't take much to rebel in a small town like mine. They made me realize punk wasn't just about rebelling against society, like American punk had suggested–it was also about doing your own thing, however out there it might be, and not giving a shit about what other people thought about it.
Fuzzbox was only together for a short time, releasing only two albums and a handful of singles (like most punk bands were wont to do during the 80s, it seems) before going their separate ways, but they were just so damn fun to listen to that it didn't matter.
Credit: last.fm – l-r, Tina, Vix, Magz & Jo
Fuzzbox started sometime in 1985 with four friends who'd decided to start a band. And like any punk band worth their salt at the time, mastering your instrument wasn't exactly high on the list of priorities. Consisting of Vickie Perks (aka Vix) on vocals, Tina O'Neill on drums and sax, and sisters Maggie (aka Magz–vocals, keys and guitars) and Jo Dunne (bass, guitars and keys), they immediately jumped in on the occasional open mike night at the local bars and learned their chops onstage. It's said Maggie was the creator of the band name, announcing that they did in fact have a fuzz distortion guitar pedal they were about to use.
Their debut single was the gritty and poppy "XX Sex", with shockingly direct feminist lyrics about exploitation and sexism in the media. They followed up with a ridiculous and silly summer single with labelmates The Nightingales and Ted Chippington with "Rockin' with Rita", and by summer's end they were given a spot on the highly influential NME C86 compilation with "Console Me". They prefaced their debut album that October with a jittery and bass-heavy single about unrequited love, "Love Is the Slug", my musical introduction to them via MTV's 120 Minutes.
Credit: fuzzbox.angelfire.com
Bostin' Steve Austin (released as a self-titled album here in the states, but with the same cover) was released in December of 1986, featuring a dozen gems about the girls' life in Birmingham–not just containing the teen heartbreak of "Love Is the Slug" and "Jackie", it also contains the confrontational "XX Sex" and "What's the Point" (their follow-up single released in January of 1987) and "Preconceptions", as well as a weirdly hypnotic cover of Norman Greenbaum's "Spirit in the Sky". The quality of the music here is surprisingly tight, even when it hints at sounding on the verge of disintegrating into a distorted mess. Vix's lyrics alternate between playful, angry, and emotional, and despite the simplicity of the melodies there's a lot going on musically. The stop-start of "You Got Me", the building tension in "Love Is the Slug" and even the 60s-girl-group pastiche of "Hollow Girl" works perfectly.
Bostin' Steve Austin got a ridiculous amount of play on my tape players between early 1987 and mid-1989–this was the side of punk that I gravitated to, the revelation that I didn't have to try fitting in with the in-crowd anymore. I didn't really need to do much, of course–wear some of my college rock tee-shirts, my grandfather's green trenchcoat, and let my hair grow out of its quintessentially 80s spiky 'do (but not to the point of longhaired metaldom), and start writing music reviews for albums hardly anyone else in my school listened to.
Meanwhile, Fuzzbox disappeared for a short while, and would reappear in early 1989 with a completely new and unexpected look and sound. I admit I wasn't entirely sure how to approach it at first, having twitched and thought "oh god, they've become Jem and the Holograms." But there was something about it…something about the slick late 80s production, the chart-ready poppiness, that called to me. I began to realize that this was the forbidden candy for me as a fan of college rock, the ultimate test: do I dare admit that, after labeling myself an alternative music nerd and a nonconformist, that I actually enjoyed this admittedly catchy music?
Credit: http://www.independent.ie – clockwise from top left: Vix, Magz, Tina, Jo
Gone was the thrift-shop fashion as well, replaced by glitz and glamour. The fuzziness of their sound was also gone, replaced by shiny synthesizers and sequencers. They now had an outsider as a cowriter of songs in the form of session musician/producer Liam Sternberg. And yet…
…and yet, there was something about this new album, Big Bang, that I just could not give it up. I was older and now in college, and yet the music hinted at the readymade poppiness of 80s Top 40, the kind that was throwaway and yet catchy and likable at the same time. The Brummie humor was still there, hiding in the lyrics of lead single "International Rescue", a loving ode to the Gerry Anderson tv classic Thunderbirds (and, in the video, a humorous nod to Jane Fonda's Barbarella as well).
Credit: musicstack.com
Big Bang kicked off with the irresistibly poppy "Pink Sunshine" (and also released as the second single) and my immediate reaction was to wonder where the hell my punk goddesses had gone off to…but I soon understood what they were doing. This wasn't about rebelling, not anymore. It was about being an adult now, having gotten over the teenage growing pains. These were the Brummie girls stuck in their jobs, dealing with the drudgery of the real world and letting it all loose at the end of the working week.
There's a lot of flirting and emotion going on with this album, and that's part of what makes it so irresistible. There's the rocking sci-fi of "Fast Forward Futurama", the heartbreak of "Self!" (featuring the guitar work of none other than Queen's Brian May!), and the gorgeous dancefloor bliss of "Versatile for Discos and Parties" (quite possibly my favorite track off the album). There's even a brilliant cover of Yoko Ono's "Walking on Thin Ice", retaining the song's mystique but giving it additional emotional beauty. The album ends on a very somber yet lovely note with a track called "Beauty", which sounds like nothing else they've ever recorded.
Big Bang's shameless pop wasn't shameless at all–it was a loving tribute to the dance pop of the decade, one that was about to come to a close. The sound of 80s pop would age, and often not for the best, but when it was done right, it was still fun to listen to. A few years later, once I discovered anime movies and series, from Urusei Yatsura and Silent Möbius and later to the Gall Force series and Sailor Moon, I began to realize that, thanks to Big Bang, I now had begun a long-lasting love affair with Japanese Pop (aka J-Pop). I began seeing the album as an unintended but spot-on paean to the J-Pop so prevalent in the credits and montages in anime, and that made me love the album even more. It's pure pop, but it's still irresistibly fun.
In 1990 they would release a final single, "Your Loss My Gain", written for a never-realized third album, and while it seemed they were progressing in a more mature pop direction, they soon split up. They all went their separate ways. Only Vix remained in the music industry, recording under various band names including Vix n' the Kix. Three compilations would surface a bit over a decade later: two albums of demos and outtakes called Fuzz and Nonsense and Rules & Regulations to Pink Sunshine: The Fuzzbox Story, and a greatest hits collection amusingly titled Look at the Hits on That (a very Fuzzbox-worthy pun title). And in 2010, Vix, Maggie and Jo reunited with the help of Vix's backing band for a one-off single, a cover of M's classic track "Pop Muzik". Sadly, Jo would pass away from a cancer-related illness in 2012, but a year later, Vix decided it was time to rerelease the band's 80s discography. Bostin' Steve Austin would finally have its debut on compact disc, and Big Bang would contain all the remaining 80s tracks, including the "Your Loss My Gain" single.
We've Got a Fuzzbox and We're Gonna Use It!! was a band that influenced not just my listening habits but my way of life when I was growing up in the late 80s; it was a refreshing view of punk-as-freedom rather than punk-as-anger, and helped me realize that the music I listen to, then and now. My tastes still lean towards the alternative, but I'm not above the shamelessly pop, especially if it's done well. In relistening to Bostin Steve Austin I now hear a lot of the intelligence and fearlessness in the lyrics, which makes me appreciate it all the more. And as an added bonus, they're there if all I want is some great and fun music to listen to.
Bostin Steve Austin: Splendiferous Edition, at Amazon.co.uk
Big Bang!: Orgasmatron Edition, at Amazon.co.uk
"Pop Muzik" single on iTunes
Posted in Uncategorized | Tagged 1986, 1989, 1990, 80s, fuzzbox, music, walk in silence | 2 Replies
Blogging the Beatles 55/56/57: post-breakup releases, "Free As a Bird" and "Real Love"
When the Beatles officially broke up in 1970, the world didn't so much end as it soldiered on, just as it was supposed to. It was truly the end of an era–the band that defined the sixties pretty much stayed within the confines of its decade, and its four band members moved onto newer and more personal phases of their musical careers. There were of course many fans who wished it were otherwise, that the four would iron out their differences and reconvene, but it was not to be. They'd already started focusing on their own personal projects as early as 1966, perhaps thought about splitting up when Brian Epstein died in 1967, and definitely started doing things on their own by 1968. It was time for a new chapter in their lives.
John Lennon had already made a name for himself separate from the band via his music, his art and film projects, his personal politics, and his relationship with Yoko Ono. By 1970 he'd created his own ersatz group, the Plastic Ono Band, whose members shifted with whoever happened to be available at the time. This was less of a group than it was merely an umbrella name that he only use whenever he felt like it. After three experimental albums with Yoko and one shaky live album, his first post-band project would be the harrowing, brutally honest John Lennon/Plastic Ono Band, released in December of 1970, his "primal scream" album wherein he exorcised as many personal demons as he could–his lack of parental guidance, his distrust of idolatry–but it also gave us the gorgeous "Love". John would follow up the equally personal but much less abrasive Imagine, the dangerously political Some Time in New York City, and the lost-weekend trio of Mind Games, Walls and Bridges and Rock & Roll before deciding to call it a day. In 1975 he would give up the public life so he could raise his on Sean. It wasn't until 1980 that he and Yoko would come back recharged with enough material to release two albums: the lovely Double Fantasy and, after his unfortunate assassination that December, the equally fantastic Milk and Honey in 1984. His legacy still lives on separate from the group, seen as many things: an innovator, a misguided cynic, a downright bastard, and a loving husband.
Paul McCartney would have the most prominent and prodigious post-Beatles career. He followed up his official solo debut McCartney (1970) with an equally creative album under both his and Linda's name, Ram, in 1971. Soon after that he created a new band named Wings, which, after a few bumps in the road (live, as well as with the releases Wild Life and other early singles), he soon hit his stride. He understood and accepted the fact that he could write a good, catchy pop song at the drop of a hat, and released a long string of singles and albums, starting with 1973's ballad "My Love", the killer James Bond theme "Live and Let Die", and Red Rose Speedway. He followed this up with a string of hit singles and albums: Band on the Run, Venus and Mars, Wings at the Speed of Light, "Jet", "Silly Love Songs", "Listen to What the Man Said", "Let 'Em In"…all the way up to 1979's danceable hit "Goodnight Tonight". The band would break up during the 1980-1981 period for various reasons, some personal, some public–but Paul soldiered on into the 80s with another string of hits. This era may have also been chock full of albums and singles, but by 1986 and Press to Play his star seemed to be waning a bit. He briefly returned to the limelight with the excellent Flowers in the Dirt in 1989, using new backing players and working closely with Elvis Costello on a number of tracks. More well-made but indifferently-received albums and singles followed, including a fantastic electronica-based side project called The Fireman, but it wasn't until 1997's Flaming Pie that he was back in the limelight. That album, inspired by the Beatles' Anthology project as well as his relationship with Linda during the last few years of her life before she succumbed to cancer, gave fans not only a fresh and updated sound but melodies steeped in nostalgia. His output would slow down from here on in, but he would never completely stop. Last year's unexpected album New was a lovely treat and a great example of a man who simply loves the craft of music, regardless.
George Harrison's solo career may have been bumpy, but he never let that stop him. Having created an impressively large backlog of as-yet-unrecorded songs, some rejected by John and Paul for Beatle work, he released the impressive three-disc All Things Must Pass in November of 1970, and it still stands as one of the best post-breakup albums. His following output did lean towards the spiritual side, but it didn't always smother the end result with proselytizing. For every "Give Me Love (Give Me Peace on Earth)" and "My Sweet Lord" there was "This Guitar (Can't Keep from Crying)" and "All Those Years Ago". There were a few misses here and there, but he was always true to himself, rarely if ever writing a throwaway song that he'd later be embarrassed by. By 1982 and Gone Troppo, however, he'd decided to let go of the music for awhile, focusing instead on his private life and his film production company Handmade Films. It wasn't until 1987's brilliant comeback Cloud Nine that he came back into focus, not just with that album but the supergroup Traveling Wilburys, who would release a much-heralded self-titled album the following year. By 1992, however, he'd only released the Live in Japan as a follow-up, and would not release any further solo albums in his lifetime. He had been working on a final album, 2002's Brainwashed, before his death from cancer in 2001. His son Dhani had played a significant role in those final recordings, and his legacy lives on in his son, who now sings and plays guitar in his own band, thenewno2.
Ringo Starr, on the other hand, would have the most interesting and varied post-band career. After a one-two punch of albums in 1970 (Beaucoups of Blues and Sentimental Journey) recorded more for his own (and, supposedly, his mother's) enjoyment, he would release a number of albums chock full of fun pop and rock songs, starting with 1973's Ringo. This album featured not only an incredibly large and varied number of cameos from his musician friends, it would also feature music and even separate performances alongside a few of his former bandmates. They would always show up on his releases, writing a song or two or playing guitar on a few tracks. He too caught the film bug, becoming an actor for a number of odd, quirky films such as Candy, The Magic Christian (filmed during the final Beatle days), Son of Dracula, and more. His last major role would be in the b-movie farce Caveman in 1981, but he would continue to show up in other productions, from Paul's 1984 Give My Regards to Broad Street, the kid's show Shining Time Station, and multiple cameos in other places. His solo albums would become somewhat scattered from the early 80s onwards, but he more than makes up for it by his consistent touring under the "All-Starr Band" moniker, playing beside all his musician friends in a hit-filled revue.
The Beatles' music itself never really fell from the spotlight in the 70s, for varying reasons. As EMI owned their music for a long time to come, they would occasionally release compilations to satisfy public demand and keep the band in the limelight. Starting with 1973's dual compilations 1962-1966 and 1967-1970 (aka the "red" and "blue" albums respectively, for their colored covers that reproduced the iconic Please Please Me/Get Back photos), there would be at least one new compilation every couple of years all the way up to 1982's 20 Greatest Hits. Some of them, like Rock n' Roll Music, were obvious cash-ins, but others such as the excellent Love Songs (featuring the brilliant Richard Avedon band photo from a 1967 issue of Look on its cover and inlay) and the curious Rarities made up for it. There were always hints of more rarities being publicly released, such as the aborted Sessions album in 1985, but they never came to pass. By the mid-80s, there was a distinct lack of any new output, and for obvious reasons: the Beatles were finally coming to compact disc!
In 1987 into 1988–most likely to tie in with the "20 years ago today…" Sgt Pepper theme–EMI/Capitol once and for all decided to release the entirety of the Beatles canon on CD. And even more excitingly, the albums were finally going to be released worldwide in their British formats, ridding collections of the endless overlaps and superfluous releases. All the non-album singles were to be collected onto two additional albums called Past Masters Volumes 1 and 2. The vinyl and cassette releases would follow suit, and any previous international and US releases would be considered in the past tense. These releases would remain the last word in Beatles music from here on in.
Sometime in 1992, the remaining Beatles had decided to reconvene to work on a documentary of the band's history. This had been a background project almost since their breakup in 1970, but in the 90s interest had returned. They would be interviewed by musician-cum-tv-personality Jools Holland and filmed all over the place, from Paul's Sussex studio to George's Friar Park mansion to Abbey Road Studios itself, finally telling the real story behind the band after all the years of speculation and confusion. The documentary, simply named The Beatles Anthology, would be a multi-episode documentary as well as a three-volume, multi-cd collection, and a book. By 1994 they were doing much of the post-production on the project, and all three had decided that they were going to work on some incidental music. That idea, however, changed when they felt that they may want to work on a true Beatles project again. George Harrison and Neil Aspinall (their former road manager and later business manager) had known of John's penchant for demoing his music in the late 70s, and asked Yoko for assistance. She handed them rough tapes of four tracks, two of which would become the all-new Beatles tracks in over two decades.
This would pose a bit of a problem, however: how to record as the Beatles, when it simply wasn't the Beatles without all four members?
Credit: beatlesbible.com
Single: "Free As a Bird"
Released: 4 December 1995
"Free As a Bird" started life as one of John's countless demos that he recorded throughout the 1970s, this one arriving sometime in 1977 during his tenure as stay-at-home dad at their Manhattan apartment, the Dakota. It's somewhat of a slow and meandering song, but it's got all the qualities of a true Lennon original: it contains a number of fascinating chord changes, its lyrics are wistful and heartfelt, and despite its somewhat somber melody, it's truly a hopeful tune. And once the other three fleshed it out into a complete song, it contains some of the most breathtaking sounds and production since the days of Abbey Road. Ably co-produced by former Electric Light Orchestra frontman and fellow Traveling Wilbury (and huge Beatles fan!) Jeff Lynne, it is one of their strongest tracks ever, and with good reason: this is the Beatles of 1994-95, influenced not only by their old sounds but by their combined solo output. It's equal parts Abbey Road, Double Fantasy, Flowers in the Dirt, Traveling Wilburys, and Time Takes Time, all in one four-and-a-half minute track.
The answer to the above problem was in the form of a few cassettes from John's demo collection, handed over from Yoko to Paul. The band took this project very seriously; if any of the members disliked what they heard, they would not release it. There was also the trick of taking a homemade recording of somewhat dubious quality, and supplementing it with a full band in the studio. They would rely on their old studio tricks for this: the recording would be processed to as clear quality as possible, vocals beefed up by Paul and George, and the arrangement would be supplemented by bridges and a few different chord changes by them as well. The new lyrics turned the theme from one of John's "I feel just fine at home doing little at all" lyrics into an altogether different one; it now became a wistful song of remembrance–similar to John's "In My Life", it became one of both sadness and hope. And luckily, all three members felt the end result was fantastic. Even Ringo commented that "it sounds like them" (meaning his old band)!
A whimsical video was created for the song, directed by Joe Pytka, and was originally used as a supplemental piece to the Anthology television airing. The video is chock full of visual cues of Beatles songs and history. We see shots of the band at the Cavern, all the lonely people crossing the Liverpool docks heading for work, eggmen making their deliveries, pretty nurses selling poppies from a tray, a long and winding road, a helter skelter…the list goes on, eighty to a hundred visual cues coming up throughout. It's a fantastic feast for the eyes and a hell of a lot of fun for the fan who has waited decades for this moment, to hear and see something new again.
Single: "Real Love"
Released: 4 March 1996
After recording "Free As a Bird", they chose the somewhat easier track "Real Love". This one was nearly complete and its demo version had already been released officially on the soundtrack to the 1988 documentary Imagine John Lennon, and they did not need to spend nearly as much time working on it. Once again they'd needed to clean up the cassette and punch up John's singing by having Paul sing alongside, and John's guitar playing was supplemented by both Paul and George. It's not nearly as strong a track as "Free As a Bird", but it's definitely catchier and therefore received more airplay than the previous. John's composition is lighter and brighter, perhaps influenced by the more positive songs he'd written for both Double Fantasy and Milk and Honey, and the end result with the rest of the band is very indicative of the poppier sound of perhaps Rubber Soul. It definitely sounds like an earlier-era track composition-wise. Though the band did enjoy working on this recording as well, it seemed they were not as excited about it as the previous one, perhaps due to the fact that it was for the most part an almost-complete track; at this point they were merely session men completing it.
The video for this track showed up on a later episode of the Anthology airing, and is a much more straightforward visual. Half of it contains footage of the three members recording the track at Paul's studio in Sussex, the other half being a mystical visual of a white piano–hinting at the same one connected to John and seen in the "Imagine" video–rising up from a pool of water and flying up into the air alongside other instruments and objects. A slow motion sequence of the band's profiles shows up about halfway through, using footage from John's film Smile and supplementing it with the slowly smiling faces of Paul, George and Ringo. It's an uplifting performance, and in its own way it's a heartfelt nod to their long-missed, much-loved best friend and former bandmate.
"Free As a Bird" would be the lead-off track on the first Anthology cd, which would be released 21 November 1995, and "Real Love" would lead off the second volume, which was released on 18 March 1996. The two other possible "new" tracks, "Grow Old with Me" (originally on Milk and Honey) and "Now and Then" (unreleased but found on many a bootleg) were not followed up on, although a brief tryout was attempted on "Now and Then" but never recorded. The third Anthology cd would arrive on 28 October 1996, sans any new track. These two songs would remain the last new Beatles tracks recorded and released. The three volumes however did contain a shockingly large amount of previously officially released recordings, including at least a dozen or so tracks that were recorded for albums but ultimately left off. This series pretty much clears out the closet, leaving only a scant few remaining tracks unheard by the public.
The Anthology project effectively turned Apple Records back into a living entity, and a long stretch of projects began in earnest. In 1994, we were treated to a fine collection of songs recorded during their frequent visits to BBC Radio (a second volume would arrive years later in 2013). In 1999, a major remastering of the 1968 film Yellow Submarine would be released, and would also treat fans to an altogether new experience: its tie-in album, Yellow Submarine Songtrack, released 13 September of that year, would be the only collection of Beatles tracks completely remastered to multiple tracks. The result is a bit odd, as many of the songs were originally on four tracks and thus sounds a bit empty, but on the other hand, the songs were finally given a lot of breathing room and one can hear many different facets otherwise unavailable.
On 13 November 2000 the new compilation 1 arrived, a collection of songs that would hit Number One on the charts either in the US or in the UK (or both). Exactly three years later, the album Let It Be…Naked popped up, a fascinating look at the band's final album reimagined without Phil Spector's overwrought meddling. Some songs retained their Spectorization, such as the creative editing/lengthening of "I Me Mine", though others like "The Long and Winding Road" and "Across the Universe" finally saw the light as intended, without the sappy strings and choruses.
In 2004 and 2006, Capitol released the two The Capitol Albums box sets, containing the first eight American albums (minus A Hard Day's Night, originally released on United Artists Records) in their unique remixes. Also in 2006, right around the same time as the mash-up craze, the famed dance/performance troupe Cirque du Soleil created a show called Love, containing nearly all-new mixes and mashups of Beatles tracks and spearheaded by George Martin's son Giles.
On 9 September 2009, the world was treated to something even better: official Beatles remasters. Although their albums had been lightly touched up and slightly modified over the years as deemed necessary, mainly by George Martin, they had never had such a complete overhaul starting from the original master tapes. They were a significant improvement over the original cd masters–cleaned up and clarified, properly balanced and equalized, prepared for the new generation fans and audiophiles. Both the stereo and mono mixes were given the process and released in glorious box sets reproducing the original album covers, and in some cases even their inner sleeves. The 1987 cd editions were phased out and replaced by the stereo versions of these albums, which have become the standard.
In 2012, the Beatles' catalog finally got its electronic day in the sun as mp3s, available exclusively (and some say ironically) through iTunes, which later in the year releases a special collection of the band's loudest tracks, fittingly entitled Tomorrow Never Knows. At the end of 2013 an odd iTunes-only release created solely to circumvent copyright issues sneaks out called The Beatles Bootleg Recordings 1963, filled with Please Please Me-era alternate takes and BBC recordings. And lastly, the US discography gets another box set release in 2014 (on my birthday, no less). The US Albums is a curious release in that it faithfully reproduces all the albums unique to the US, this time including A Hard Day's Night as well as The Beatles' Story (a 1964 documentary album), Yesterday and Today, and Hey Jude, right down to the inner paper sleeves…but contain all the remastered versions, rather than the US remixes that were evident on the 2004/06 box sets. It's generally a box set for completists, but it's well worth it for those interested.
And lastly, Paul and Ringo themselves are continuing to play Beatles songs live on tour to this day.
And in the end…
The band may have broken up over 40 years ago–a year before I was born–but it's evident that their legacy lives on, as strong and healthy as it always has been. They may not show up on the radio nearly as often as they may have in the 1970s and 1980s, but they continue to be one of the most-loved, most influential, and most important bands in the genre of rock music. Other bands have come and gone that are of equal status, of course. Other bands have also changed the face of music in one way or another, have inspired countless wannabes to pick up an instrument or write a song of their own. The Beatles are merely one of the first in a long line, founding fathers in this particular format of popular music.
They've influenced me, inspired me, frustrated me, and been part of my life's soundtrack since I was around five years old. They're still one of my top favorite bands ever. When I started writing this series, I made it a point to also learn how to play a number of the songs on guitar. I expected to just know a few more songs in the process, but instead I actually started learning a number of things: unconventional chords, interesting chord changes, how the parts of a melody work together, and how a number of sometimes completely disparate parts make up a unified whole. That last part in particular is of interest, as it made me think more seriously about my writing in general. In seeing how the Beatles deftly created their songs, I now saw how I could make my own prose better. In seeing how they created not just a number of songs but a complete and cohesive album, I now all the moving parts of my stories and make them a complete and cohesive novel. And lastly, I even learned how to listen to music even closer, to not so much analyze it as figure out how they put it together, the flourishes, the creative timing, the dissonance and the dualities.
The Beatles were one hell of a creative band, and in retrospect, I think that simple point is why they've stayed with me all these years.
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Ride Along – Administration Considers Giving P.E. Credits for Biking to School
Max Eaton, Community Liason|October 23, 2019
Henry Larson
Student-owned bikes sit outside the bricks. A recent proposal has given administration incentive to give P.E. credits to riders.
Students are very familiar with the following picture: the senior lot, full; the streets leading up to the school, full; the lot at the South Boulder rec center, full; and the lot at the church, full. Near and far, most students come to school by the most convenient mode of transportation: car. For as big of a bike culture that Boulder has, not enough students are taking advantage of the option to bike to school.
However, there is potential for this to change. Graham Hill, a director of the organization Shared Paths Boulder, recently suggested to reward students with P.E. credits if they bike to school frequently. The district is now discussing the project, and it could possibly be underway by the beginning of the 2020-2021 school year.
"It would be great if students who already bike to school, or could use an incentive to do so, had the chance to earn credit for their efforts," said sophomore Emery Jansen. "We already work so hard doing extracurriculars and our school work, and many of us already either bike or walk to school. It would be nice to be rewarded for that."
Students are also in support for this program, as they know that they could benefit greatly from it. Other than helping students focus more on school work, the program could also be beneficial for the school itself.
"I have got this term called 'carbon privilege.' And so 'carbon privilege' is basically when you have the means to drive, you do, even though it could be better for the community and the school and for your physical health if you biked or you walked," said Hill. "So, Boulder suffers greatly from 'carbon privilege' because it's great that you have a chance to get to school by car."
As short as the trip to school may be, taking a car every day can accumulate and eventually become harmful to the environment by contributing to carbon emissions. People could lessen their environmental harm if even a fraction of them began to use an alternate mode of transportation.
"To get more kids riding [bikes] to school, that means less people driving, less environmental impact, [and] better use of the pathways," said Principal Don Strensrud. "The whole premise was to try to get as many kids as possible to ride bikes to school because we have a tremendous bike pathway through our city."
Colorado, with the exception of the occasional rain and snow, typically is blessed with sunshine year round. Boulder has a great bike culture and is abundant in safe bike paths, and thus there is no place else that would be as apt to develop such a program. Plus, life in the 21st century provides students with the availability of equipment for this program, such as GPS trackers and heart rate monitors, which lets students prove that they bike. Obstacles such as the inability to provide a safe pathway for students to use and the possibility of students cheating are not an issue.
The significance of this potential program lies in the fact that no school in the United States as of today has adopted it. The district has yet to consider the potential benefits — for the community, for the schools, for the students and for the environment — at full, and by having BVSD take initiative and prove to demonstrate these benefits, it could serve to inspire other districts as well.
"The idea of really giving that chance to be rewarded with P.E. credits, in lieu of one of these B.S. [online] P.E. classes," said Hill. "It's nothing but a real positive step forward if the school district and the students support that as well."
Max Eaton, Community Liason
Second year on the Royal Banner staff. Max likes to play pinball and Atari. He cannot wait for the pandemic to end so that he can return to the arcade.
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Henry loves telling stories. Mainly, that means he produces podcasts, which you can check out here. When he isn't doing something related to journalism,...
"Come watch movies, have some fun": The New Fairview Film Club
An Original Period Drama: Review of Netflix's Bridgerton
Runoff Race: Sen. David Perdue v. Mr. Jon Ossoff
Robotics and Physics Club COVID Collaboration
(Group photos taken pre COVID crisis) Clubs are seeing a decline in membership, as the projects that they undertake under regular circumstances are...
Ignite Fairview: Inspiring Political Action in High School
College Search in Quarantine
Coral Sunscreen: This New Product is a Step Towards Staying Eco-Friendly
Independent News about Fairview and the World

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Q: Nvidia No devices were found Ubuntu 20.04 Lately i have installed cuda toolkit dev conda and my system is reporting No devices were found when i check nvidia-smi
I have  checked nvidia tools in my systems
lsmod | grep nvidia
nvidia_uvm           1011712  0
nvidia_drm             53248  0
nvidia_modeset       1228800  1 nvidia_drm
nvidia              34156544  2 nvidia_uvm,nvidia_modeset
drm_kms_helper        217088  2 amdgpu,nvidia_drm
nvidiafb               53248  0
vgastate               20480  1 nvidiafb
fb_ddc                 16384  1 nvidiafb
i2c_algo_bit           16384  2 nvidiafb,amdgpu
drm                   552960  12 gpu_sched,drm_kms_helper,amdgpu,nvidia_drm,ttm

and also ubuntu drivers
sudo ubuntu-drivers devices
[sudo] password for dev:
== /sys/devices/pci0000:00/0000:00:01.1/0000:01:00.0 ==
modalias : pci:v000010DEd00001F99sv000017AAsd00003A43bc03sc00i00
vendor   : NVIDIA Corporation
driver   : nvidia-driver-460-server - distro non-free
driver   : nvidia-driver-460 - third-party non-free recommended
driver   : nvidia-driver-450-server - distro non-free
driver   : nvidia-driver-465 - third-party non-free
driver   : xserver-xorg-video-nouveau - distro free builtin

I don't know what should i do in order to run my GPU

A: Particular version of CUDA is fully compatible with specific versions of Driver, which is kind of a nightmare. However nvidia-smi is part of the driver, not CUDA. It's hard to see how installing CUDA can screw it up. I would uninstall whatever you installed and see what happens.

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Many popular finches will live for years on relatively simple diets composed of a few types of seed. However, studies of wild finches have revealed that most consume a wide range of other foods. The following suggestions will help you to maintain your finches in peak health, color and breeding condition… a bit more work than simply filling a feed cup with seeds each day, but well-worthwhile.
I think the popular designation of finches as "seedeaters" has contributed to a lack of understanding of their true needs. In many habitats, grasses and other plants produce seeds only once each year, and so are not always available. Even in the tropics, seed production is regulated by rainfall and temperature, and many plants seed sporadically rather than seasonally. Finches must therefore rely heavily upon insects, spiders and other invertebrates, buds, sprouts, fruit, plant shoots and other such foods.
Depending upon the species of finch you keep, small amounts of the foods suggested here and in Part II of this article should be regularly offered on a daily basis. Always research your bird's natural habitats – The Finch Handbook is a very useful reference, and of course feel free to write me if you need more info.
Be sure to introduce new foods slowly. Providing large amounts of novel foods at once, especially in the springtime, may help to bring certain finches into breeding condition by mimicking what happens in the wild as the seasons change; insects and sprouts are especially useful in this regard.
Most finches are very active, and, considering their size, require considerably more food than do many larger birds. Those housed in large flight cages or outdoor aviaries, and pairs raising chicks, expend a great deal of energy and will astonish you with their appetites…be sure to monitor their intake.
Eggs, Softbill Diets, fruit and other perishable foods should be removed promptly if uneaten. I prefer to feed finches twice daily, with seed being always available and other foods being given in the morning and late afternoon. A mid-day snack of insects or another favorite will keep your birds alert and interested.
This well-written article on the Fabulous Finch website illustrates the importance of dietary changes to wild and captive Gouldian Finches; the general principles can be applied to the care of many species.
Next: African Grey Parrot Wins International Talking Contest…and a Movie Role!


We've photos from the launch of 'The Curragh - Life in 1916', Santa arriving in Monasterevin, Kildare Town Community School talent show, PBS Newbridge Coffee mornnig and Newbridge Active Retired Christmas party in Toughers.
Plus the best courts coverage and local notes section in the county.
In Leader Sport, Six reasons to be merry this Christmas racing season, Lilies shine bright for Leinster in the Aviva and Naas CBS strike again.


In 2010, Jonathan Ragas, a fisherman at Port Sulphur, Louisiana, had his income destroyed by the corporations claiming to protect him.
Ragas, a long-time resident of the small town bordering the Gulf of Mexico, spends his days on a boat, searching for crabs and accumulating money to recompense for the 300 crab traps he lost during Hurricane Katrina. But after the Deepwater Horizonexplosion that resulted in the leaking of thousands of gallons of oil into the Gulf, Ragas predicts an even bleaker future for himself. "There's always something that happens here, but this slick is going to destroy the rest of our livelihoods. Katrina put me $10,000 behind on my child support payments. This time, they're going to lock me up" (Leonard).
The Deepwater Horizon rig was something akin to a superstar in the oil world around the time it blew up on April 20, 2010. Noted as the driller of the deepest well ever created when it was constructed, the rig was positioned in the BP-run Tiber oilfield, about 75 miles off the coast of New Orleans. However, during the days leading up to the explosions, many blatant actions disregarding general safety in favor of economic advantage made the fearsome deep-water drilling mechanism a ticking time bomb. At the beginning of this gargantuan project, the U. S. Department of the Interior, in its Minerals Management Service (MMS), released a statement that assured citizens that BP and similar companies possessed sufficient equipment to manage any oil spills in the event of one. Such a claim was truly preposterous, as no such oil spill had ever occurred in deep water; a noted figure in the oil industry stated, "The industry has not developed an oil spill plan for the low-probability, high-consequence event when everything fails" (Hoffman).
In addition, the federal government was lenient towards oil because it accounted for the US's second-most profitable source of money, right after taxes. To them, oil was a resource to be exploited, a method to increase wealth, power, and influence. The disadvantages and risks of deep water mining were discarded, merely cited as an "unlikely" occurrence. Essentially, the safety of American oil workers and marine ecosystems were marginalized in favor of monetary gain (Hoffman).
While such an atrocious act came out of the MMS, they were not the only ones who contributed to the tragedy that happened in the Gulf of Mexico. BP, the company that was in charge of Deepwater Horizon and took most of the blame for the incident, had a history of oil spills and ignoring safety violations. In 2006, for example, they were responsible for one of the most destructive oil spills in Prudhoe Bay, Alaska, by "ignoring signs of pipeline corrosion, cutting costs despite record profits, and harassing workers who raised concerns" (Davidson). Later, in 2008, BP was accountable in an explosion in the Caspian Sea near Azerbaijan due to similar malpractice. Yet perhaps the most infuriating aspect of these preventable catastrophes was that BP was merely required to pay $20 million and stay on probation for three years by a federal judge. This slap on the wrist had basically no effect on the organization, as they are the tenth richest company in the world today (Davidson) (Webb).
With all this history of neglect and carelessness, it sadly remains no surprise the Deepwater Horizon tragedy ended as it did. At approximately 9:45 P.M. on April 20, 2010, methane pockets that were incorrectly stifled due to poor drilling methods built up enough pressure to shoot a geyser upward into the base, eventually taking the rig down in a heart-stopping explosion of water, gas, and mud. Eleven people perished that night, and 4.9 million barrels of oil were sent tumbling into the Gulf of Mexico ("Deepwater").
The Deepwater Horizon oil spill wreaked havoc on the marine ecosystems surrounding the rig. Pelicans, the state bird of Louisiana, were found covered in thick, unforgiving slime, struggling to fly with the heavy oil weighing down on their delicate wings. Chirping dolphins, the epitome of happiness in the dreary Gulf of Mexico, dropped dead at an unprecedented rate. The beautiful, serene mangrove islands that dot the coastline, the epitome of lush survival against all odds, were reduced to ugly roots, jutting up from the murky, oil-laden water. The Gulf ecosystem, in all its glory, became a swampland of desolation and toxicity ("Deepwater") (Elliott).
And BP walked away with a $30.7 billion bill.
In any other circumstance, such reparations would be tremendous, and more than make up for the trauma the organization inflicted on the marine world. However, BP actually managed to squirm their way out of an initial $56 billion tab by writing off part of their $32 billion cleanup endeavor and deducting most of their $20 billion settlement with the government (Wood).
So who is to blame for this calamity? Is it the MMS for enabling all this in the first place? Or is it BP, a corporation that heartlessly and recklessly takes from the environment without giving anything but death and destruction back? The true answer: neither.
Although it may be a sad reality to hear, human beings in power are easily corrupted. That's why society implemented a system of courts and judges, a system that's sole role is to carry out punishments and rewards in accordance to what is accepted as basic human values. This system has failed to keep the world safe by allowing BP to continue its malpractice.
Some individuals would call this notion ridiculous and overly idealistic. They would argue that courts simply don't have the authority to take on a multinational mammoth of a company, or the time and energy to dedicate to such "unreasonable" matters. But is that really true? Are judges and lawyers not supposed to protect the rights of the countless animals that rely on the Gulf of Mexico for sustenance or a habitat? Are they not supposed to protect the humans that fish the Gulf for a livelihood? Or, if they don't, who is left to protect the rest of the world from such heartbreaks?
The fight for stricter regulations and more stable marine ecosystems has already begun. In the weeks following the Deepwater Horizon accident, the US Department of the Interior disbanded the MMS and replaced it with a much more reliable Bureau of Ocean Energy Management (BOEM). President Obama signed an Executive Order that called for a national committee to be formed in order to investigate the BP matter. There even was a law implemented that prevented any employee with conflicts of interest from working at the BOEM ("Regulatory").
However, there still remains a lot of work to be done. BP should have never been able to implement their rig in the first place, as they had already been liable in two similar instances. A law that prevents any company with far too many safety violations from continuing practices that risk the stability of ecosystems and the lives of people should be passed, or at least be brought to the attention of men and women who are in positions of power.
Of course, one individual who keeps writing comments to BOEM will never get anything done. So it lies on the vast majority of the American people to help take a stand against large corporations damaging marine ecosystems through months of poor decisions and a repeated lack of diligence.
In order to send the BOEM a comment asking them to consider a law change, go to www.regulations.gov and type "BOEM" into the search bar. Many topics of discussion will appear on the screen, so it is very important to choose the topic to comment under that is most relevant to the post to be made. After entering the topic's page, look to the right side of the page for the "comments" button. Follow the displayed directions from there.
Yes, this process may seem long and pointless to many individuals. The cold hard fact is that a lot of people simply don't have the time or the passion to do such a trivial thing, as even if they complete the procedure, there is no guarantee that it will make a difference. That's not the truth, though. Of all the BOEM-related topics that came up on the website, none had more than three comments on it. Basically, no more than three people put in the time and effort to fight off the effect of oil on marine ecosystems in perhaps the easiest way available to them.
This overall lack of motion must change if the United States of America is to become the "shining city upon a hill" it needs to be. Citizens must rise up to the occasion and challenge authorities to fight for American ideals and American safety. Patriots must take to the comments sections of many government websites and make their concerns about vanishing marine stability and disastrous – yet preventable – oil spills heard. For, if they do not, the world's oceans will transform into inhabitable swamps of oil, helpless creatures, and lost dreams.
Davidson, Paul. "Congressmen Slam BP Executives at Alaskan Oil Leak Hearing." USA Today, 7 Sept. 2006, usatoday30.usatoday.com/money/industries/energy/2006-09-07-bp-hearing_x.htm. Accessed 18 June 2017.
"Deepwater Horizon Oil Spill – Gulf of Mexico: 2010." When Technology Fails, edited by Neil Schlager, Gale, 2008. Student Resources in Context, link.galegroup.com/apps/doc/CV2645800128/SUIC?u=nysl_li_nhpmhsl&xid=487be8e6. Accessed 18 June 2017.
Elliott, Debbie. 5 Years after BP Oil Spill, Effects Linger and Recovery Is Slow. 20 Apr. 2015. National Public Radio, 20 Apr. 2015. NPR, www.npr.org/2015/04/20/400374744/5-years-after-bp-oil-spill-effects-linger-and-recovery-is-slow. Accessed 18 June 2017. Lecture. Transcript.
Ellsbury, Hannah. "8 Most Common Types of Garbage Found in the Ocean." Ban the Bottle, 3 Dec. 2014, www.banthebottle.net/articles/8 most-common-types-of-garbage-found-in-the-ocean/. Accessed 16 June 2017.
The Hindu. 23 Feb. 2017, www.thehindu.com/opinion/op-ed/a-disaster-thats-still-unfolding/article17348719.ece. Accessed 16 June 2017.
Hoffman, Carl. "Special Report: Why the BP Oil Rig Blowout Happened." Popular Mechanics, 2 Sept. 2010, www.popularmechanics.com/science/energy/a6065/how-the-bp-oil-rig-blowout-happened/. Accessed 18 June 2017.
Leonard, Tom. "Louisiana Oil Slick: Gulf Coast Residents Fear Damage Worse than Katrina." The Telegraph. The Telegraph, www.telegraph.co.uk/news/worldnews/northamerica/usa/7660183/Louisiana-oil-slick-Gulf-coast-residents-fear-damage-worse-than Katrina.html. Accessed 17 June 2017.
"Regulatory Reforms." Bureau of Ocean Energy Management, www.boem.gov/Regulatory-Reform/. Accessed 19 June 2017.
Roberge, Pierre R. "Prudhoe Bay 2006 Oil Spill." Corrosion Doctors, 2 Mar. 2006, corrosion-doctors.org/Pipeline/Prudhoe-Bay-spill.htm. Accessed 18 June 2017.
Wankhede, Anish. "Fighting Oil Spill on Ship." Marine Insight, 5 June 2017, www.marineinsight.com/guidelines/fighting-oil-spill-on-ship/. Accessed 17 June 2017.
Webb, Tim. "WikiLeaks Cables: BP Suffered Blowout on Azerbaijan Gas Platform." The Guardian, 15 Dec. 2010. The Guardian, www.theguardian.com/world/2010/dec/15/wikileaks-bp-azerbaijan-gulf-spill. Accessed 18 June 2017.
Wood, Robert W. "In BP's Final $20 Billion Gulf Settlement, U.S. Taxpayers Subsidize $15.3 Billion." Forbes, 6 Apr. 2016. Forbes, www.forbes.com/sites/robertwood/2016/04/06/in-bps-final-20-billion-gulf-settlement-u-s-taxpayers-subsidize-15-3 billion/#6849345d36b2. Accessed 18 June 2017.


Dolce Nail Salon is a place for you to celebrate your birthday, bridal shower, baby shower, retirement, graduation, or just a get-together with all of your closest friends and be the center of attention.
You are welcome to bring your own foods and drinks to enjoy and relax while we provide you with the best manicure and pedicure services.
For your convenience, we gladly accept after hour private party reservations for 5 or more people.
Please call us at (970) 207-4003 in advance to reserve a date and time.


Google's spokespeople have suggested that linking should be natural and not manipulated. I will also concede that it is probably true that if I build a remarkably wonderful site, people will eventually find it, and some of them might link to it. But what if I'm not capable of building the best damned site on the Internet? What if I don't want to wait for people to find it? What if I don't believe that all I have to do is build it, and they will come?
The fact is that even if I'm not selling anything from my site, I want people to find it, and I don't want to wait years for that to happen. Further, I expect that many of you will agree. If link building seems like too hard of a term for you, perhaps it will help to think of it as marketing. Whatever the quality of our product, if it isn't marketed, it's probably not going to be successful. On the Internet, the road signs are links. They are the things that lead people to your site. Certainly, we should build the best damned site that we can but when we have done that, we need to market it.
With Google's algorithm getting smarter every year, we need to be smarter in building backlinks for our website as well. The old ways of backlink building will not work as well with the current search engine algorithm, and could have negative consequences. Currently, Google is placing more emphasis on quality rather than quantity, since they want their users to get the best results for each search term that they type into the Google search box. While quality is better than quantity, it doesn't necessarily follow that quantity doesn't matter. One quality link is probably not going to drive much traffic to our site, or help our site to place better in the search engine results. Thus, we need to be able to plan a better strategy to conduct a directory submission campaign, and web directories can be a part of it. Here are some rules that we might follow in the web directory submission portion of our link building campaign.
Use Higher Quality Directories — The Internet is cluttered with low quality directories. As might be expected, these directories are rated poorly by the search engines. Although Google no longer updates its PageRank, we can be sure that they are utilizing an internal ranking system. When we submit our site to these junk directories, our site may itself be negatively affected. For this reason, it is important that we look for higher quality directories for our site listings. Higher quality directories equate to a better ranking for our websites in the search engines, since by associating our websites with higher quality directories, our sites will appear to be more valuable in the eyes of the search engines, and will rank higher.
Use Relevant Directories — For instance, if we are running a local community service in your website, or advertising a brick-and-mortar business, we can submit our site to local rather than general web directories. This is to ensure that the directories that we are submitting our site to are relevant to the topic of the site. Relevancy matters, and so does diversity. If it is possible to diversify the types of directories that we can use, we should do it. For example, sites representing brick-and-mortar businesses can be submitted to local directories, regional directories, to niche directories relevant to the type of store or product, and to relevant categories of general directories. General web directories are always an option, but we should submit our site to the most relevant category. Listings in directories or categories that are not relevant to the topic of our site will be a waste of time and money, as they will be viewed as spam links by the search engine algorithm.
Avoid Shady Web Directories — We should check to see that the directories that we are submitting our site to host high quality sites. Rather than looking at the traffic or the SEO metrics for a directory, we should be looking at the quality of the tenant sites that are listed in these directories. If listed, will our site be listed with other good quality sites, or will it be listed with a bunch of junk? This is important because we don't want to associate our site with the bad neighborhoods of the Internet. We should avoid submitting our site to directories that will list anything that is submitted to them. If they don't demand quality, they won't be of good quality. Remember that.
Choose Wisely — With the multitude of bad websites that are posing as directories, we have to be very picky in choosing the directories that we want to submit our site to. We shouldn't trust every link that we come across, and we shouldn't believe everything that we read. Before submitting our site to a directory, we need to investigate it. We need to make sure that the directory is well organized, that it demands quality, and that it enjoys a good reputation among search engines and users.
Don't Use Automated Submission Tools — Avoid automated submission tools like the plague. These are spam link building tools that will destroy any chance that we have of building authority for our site. Directory submission is not about building as many links as we can; it is about building high quality back-links that will serve as a long-term investment that can improve the value of our site over time. Keep in mind, also, that most web submission services will use automated submission tools, and this includes some of those that advertise otherwise. Submitting a site to a web directory is not difficult, and we don't want to submit our site to too many directories at once, anyhow.
Our directory submission campaign should concentrate on finding higher quality directories, which will require the ability to tell the good ones apart from the bad ones. While we shouldn't believe everything we read, that doesn't mean that we shouldn't read. Web Directory Reviews is a valuable resource, as it has looked closely at several major directories. We should, of course, make up our own minds, but the Web Directory Reviews site can help to cut the research time. Others include this publication, as well as Web Directory Forum, where questions may be asked and answered.


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This week we looked at new apps and online services that are trying to make therapy more accessible, got back to investment basics and learned the difference between stocks and bonds, baked some doggy treats at home, and more. Here's a look back.
Let's say you're planning a fun trip to New York City and you found an incredible deal on a flight. The only problem? It arrives at 5:00 a.m. and that's too early to check into most hotels. No need to nap at the gate, though—you have options.
The big appeal of the Amazon Echo is that you can get things done without touching your phone. So, you might've missed that the Alexa app you used to set up your Echo is actually really useful on its own. Here are some of the best things it can do.
Some airlines have their flight attendants ask you and your fellow passengers to raise your window shades during take-off and landing. This isn't about waking passengers up at the end of a red-eye or having all the shades up or down for the next flight, it's about safety.
Investing isn't as hard as most people think, but there's a lot of jargon to learn. Stocks and bonds are two common terms that come to mind when you think about investing. Many people don't know the difference, so we're going to break it down.
When you're buying a new gadget, you want the fastest, most powerful one you can get for your money. Benchmarks can help you figure out what devices have the most power, but sometimes they're just a distraction.
Contacting your representatives in Congress is one of the best ways to make your voice heard in politics between elections. But because they deal with so many issues and vote on so many bills, it can be hard to know when something important is happening. Countable gives you a road map.


This weekend has been amazing. The Cheshire town of Macclesfield has, historically, had an annual festival (and holiday, up until fairly recently) honouring St Barnabus. After a hiatus, the festival was reborn five years ago, and Barnaby is now a regular feature in the town's calendar once again. This year I was involved in more ways than one.
On Friday night I went to see a concert in Christ Church. After being entertained by the support act, The Christophers, we enjoyed a surprisingly energetic set from the Blockheads (as in Ian Dury and the). Quite a performance! On Saturday I was back in the market place in the morning to catch a show by David Price, aka the Science Busker, who wowed the crowd with numerous science demos before the finale where, to much laughter from the crowd, he blew up his head!
Then came the parade. Having only had two rehearsals with the band, totalling less than two hours, I led the samba band through the streets of the town, pumping out batucada and samba reggae rhythms to an enthusiastic crowd of onlookers. Despite the band's lack of time playing with me acting as whistle-blower (in the Brazilian sense), we pulled it off rather well. The band played brilliantly, despite my occasional mistakes, and we were joined in the market square at the end by a trio of urban gypsies who danced along to the beat of our drums with incredible amounts of enthusiasm. Switching from playing repinique to cavaquinho in a matter of seconds, in time for the grand finale, was a challenge, but I made it, just! After a brief post-gig pint with my Mum in a local bar, I returned to Christ Church to find some food for dinner, and spent a pleasant couple of hours sitting in the sunshine on the grass with friends from the band.
It's been quite some time since I posted here, for a number of reasons. One is that I've changed jobs again (the joys of being an itinerant scientist in today's highly insecure job market), another is that I've been meaning to sort out a new system for the blog so that comments can return, but without the rampant spam.
Anyway. What have I been up to? Well, I've moved back to the UK, published some pretty cool science, played a bunch of gigs on a variety of instruments with several different bands in two countries, indulged my creative side by writing songs and designing tactile astronomy art, had my first op-ed piece published, waited over three weeks for estates to fix a waterfall coming through my office roof (I wish I was joking), written some new talks, appear to have joined the council of the Society for Popular Astronomy, and done heaps of public outreach. Life is far from quiet.
My latest talk, "When Galaxies Collide!", premièred at ArtSpace in May and went down a storm. I also gave the main lecture at an event organised by Macclesfield Astronomical Society for the science programme of Bollington Festival (also part of the new Cheshire science festival), and the whole evening had great reviews from what I hear, including from one of my old primary school teachers! Next up are two appearances at Macclesfield's annual Barnaby Festival: I'll be leading the samba band in the festival parade on Saturday June 21st, and then doing some rocketry games and astronomy demos as part of the Hive of Industry event on Sunday June 22nd. Come find me in the market square - my five-foot rocket and solar system on a string will be hard to miss!


In line with the establishment of the ASEAN Economic Community on 31 December 2015, the air transport sector in the ASEAN region, which is widely recognised as the very basis of the ASEAN economic development and integration given its integral function in the movement of goods and people, has increasingly become an important mode to provide greater support in binding the ASEAN Member States and in building the ASEAN Economic Community that is so vital for the future of the ASEAN peoples.
The ASEAN open skies agreements, consisting of a set of multilateral agreements on liberalisation of air freight and passengers services, are a critical element in the establishment of an ASEAN Single Aviation Market (ASAM). Under these agreements, there will be greater regional and domestic air transport connectivity which will facilitate greater growth of the aviation industry, the tourism sector, as well as of the whole regional economy. In addition, consistent with the vision of ASAM and the Kuala Lumpur Transport Strategic Plan 2016-2025, ASEAN Member States are working towards advancing safer and more secure skies, enhancing traffic management efficiency and capacity through a seamless ASEAN sky, and fostering greater air connectivity including the conclusion of aviation agreements with Dialogue Partners. All of these will contribute towards deeper ASEAN integration, as it enters the next phase of consolidation as a dynamic and open ASEAN Community.


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Date:Fri 15 Nov
Time:Doors 7pm
Price:£25 adv
In October 1980 three musicians took to the stage in their hometown of Bradford to play a gig under the name New Model Army. Led by frontman and songwriter Justin Sullivan, this was the start of a remarkable journey which, almost 40 years on, has seen New Model Army develop a fervent worldwide fanbase and reach multiple milestones of both creative and commercial success.
Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on a personal and political scale, both locally and globally. With the band's hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016) bringing renewed critical appreciation, chart success and an ever-growing audience of new fans to join the legion of faithful devotees, New Model Army return in 2019 with one of the finest records of their career 'From Here' to be released in August followed by a 38-date UK & European tour visiting 11 countries.
From Here was recorded in early 2019 on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing.
No reviews to display.
Doors price t.b.c.
Under 14s must be accompanied by an adult.
Box office, bar and doors open from 7pm.
All prices shown include booking fees.
Wed 04 Dec
More InfoBuy Tickets
Dr Feelgood & The Climax Blues Band
Fri 13 Dec


When we come across the word "applicant tracking system" we generally might assume that all recruitment software mostly affects an organization's hiring programs. But an applicant tracking system doesn't just have an impact on the organization—it also has an impact on the people applying for your job. Selecting the right recruiting software and configuring it accurately, can have a significant effect on what the candidates feel when they apply to your open positions. And this can be the distinction between hiring the best candidate for the job—or the candidates leaving the application process in the half.
Importance for the company: An applicant tracking system manages the information regarding the candidates, their background data, and their suitability for the interview process and job position. Basically, it works as a CRM for the hiring process, while a customary CRM mainly follow the customer behavior.
Importance for the candidate: An ATS indicates the procedure through which the candidates have to go to apply for a job position—which generally signifies the volume of the information to be submitted, screens to go through, and things to upload etc. During the complete application process, an applicant tracking system works as the key source of communication.
There are several applicant tracking systems out in the market with high efficiency, yet not all of them offers equal functionalities. Most of these recruiting solutions are developed to perform the same functions; therefore, their features can be just a little different from each other. But where the high-quality applicant tracking systems can be distinguished is the field of candidate experience. Hence, if you want to give your candidates a positive experience then you need to make sure that your ATS offers high-functionality regarding this matter.
Let's assume that the initial stage of candidate experience is a website requesting a LinkedIn connector or a resume upload. A majority of the applicants presume "all right, now they have my LinkedIn or my resume, consequently, they got the crucial information about me and the following screens might be about something different".
On the other hand, the screen that comes next ask you to provide all the information that is existing on your LinkedIn—and you find out that nothing is pre-populated in the application form. Instead of giving the candidates an opportunity to easily apply for the job they have been directed from a comparatively simple, automatic practice to the one where they have to fill out screen after screen with the information they had previously provided by allowing a connection to their LinkedIn profiles.
None of the two circumstances are the outcome of an improved candidate experience. The first situation is in fact what the applicant tracking systems must assist to evade. The second one, one the other hand, is slightly better—at least your candidates didn't abandon the site—although they are quite aggravated due to the application process, what if something more interesting is introduced in the process? What you need the most is having such systems and processes in use that keeps the best candidates engaged rather diverting them from your site.
Make it user-friendly: Your applicant tracking system should highly functional and intuitive, it must have an easy and simple navigation, and it definitely should be mobile-friendly.
Limit the number of screens: To get your candidates engaged and completing the entire application process you need to reduce the number of screens they have to move through. It can particularly get tiresome and aggravating for the candidates who are using the mobile version of your ATS.
Give an immediate follow up: When candidates complete their application process a majority of the organizations send them an email with a quick message "Thanks for applying" lacking any details regarding the further hiring process. Such emails are not helpful rather they may get the applicants disappointed. Instead develop an automated email trigger at the end of the application process thanking the candidates and giving details of next stages, with authentic timelines/timetables. Create an understandable and well-written email template.
Don't overdo your application process: Apart from the job description, which preferably the applicants already read and explored a little, you don't have to use excessive words like mission statements, other excessive details or images etc. Just develop a simple application process so the applicants can move through it easily and provide you with the information you require in the most feasible and responsive way.
Implement all these approaches if you give an "Easy Apply" option too: Easy Apply options in application process strike most of the candidates as they are not too much time-consuming, yet many of the applicants can naturally discern that they can become "black holes" whence they may never get a response from the company against their applications. Don't develop a black hole. Initiate an automated correspondence of "Easy Apply".
In a nutshell, using your applicant tracking system smartly can offer your candidates an improved and positive job application experience. To learn more about the strategies to use recruiting software for optimizing candidate experience read our blog here.


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Home Business Fisheries Unit get vehicles to improve monitoring
Fisheries Unit get vehicles to improve monitoring
The Sustainable Fisheries Management Project (SFMP) has donated has donated four vehicles valued at about 140,000 dollars to the Fisheries Enforcement Unit (FEU) under the Fisheries Commission (FC), to help in the enforcement and compliance of the laws.
The two Ford Transit buses and pick-ups were funded by the United States Agency for International Development (USAID).
At a handing over ceremony held in Accra, Mr Justice Odoi, the Environmental Specialist at the Economic Growth Office of the USAID, Ghana Mission, said the vehicles would enhance the mobility of the FEU to undertake shore based patrols.
This would improve deterrence of illegal fishing in order to rebuild marine fish stock as a means to enhance food security.
"Provision of these vehicles is one of many of the USAID Ghana SFMP activities aimed at supporting the Ministry of Fisheries and Aquaculture Development and the FC to improve regulatory compliance in the fisheries management, "he said.
"It is also to contribute to Ghana's fisheries development policies as well as objectives and the project goal to end over-fishing and rebuild marine fish stock."
Mr Odoi said fish was important for nutrition and livelihoods, adding that, the SFMP would ensure that people benefited from the assistance to the FEU to improve fisheries management.
Ms Sherry Ayittey, the Minister of Fisheries and Aquaculture Development (MoFAD), commended USAID and SFMP for the donation, saying it was timely and appropriate for their interventions.
She said bad fishing practices, such as the use of chemical and using generators to fish, created a negative environment for fishes and it made them disappear.
The Minister said Ghana's Fisheries sector was facing a myriad of challenges, including over-fishing and overcapacity, illegal, unreported and unregulated fishing.
These had led to a drastic decline and depletion of some of the marine stocks, she said.
"The canoe fishery's annual sardinella catch reduced to about 17,000 MT in 2012, from a record of 120,000 MT just over a decade ago, nonetheless, the sector supports the livelihoods of over 230,000 fishers, including women fish processors and traders," she said.
SFMP is a five-year Food Security Project, headquartered in Accra. It seeks to rebuild targeted marine fisheries stocks, which are depleted but important to the local economy through the adoption of sustainable fishing practices and exploitation levels.
The project contributes to Ghana's Fisheries Development objectives and works closely with government agencies, fisheries authorities, policy makers and fisher folks in the entire coastal stretch of Ghana to achieve these goals.
Source : newsghana.com.gh / Sammy Adjei / USAID Ghana SFMP
140000 dollars
enforcement and compliance
enhance monitoring
Fisheries Enforcement Unit
Fisheries Unit
four vehicles
improve checking
SFMP
Sustainable Fisheries Management Project
United States Agency for International Development
valued
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I am, to my eternal lament, cursed with a preference for grim, nihilistic stories which has endured since my earliest days with literature. My earliest book reports are on Slaughterhouse Five, Brave New World, 1984, A Canticle for Leibowitz, and other books involving a breakdown of the basic principles of life and morality. I don't know – I guess I'm just an apocalypse junkie. In any case, this preference eventually led me (as it would) to Camus, whose L'Etranger is one of my very favorite books along with the book I am currently recommending, La Peste (The Plague).
This is not a philosophy textbook, an exercise in existential theory like The Myth of Sisyphus. It can be taken easily, and not wrongly, as a gripping medical thriller with extended metaphysical ramblings. The characters are foremost, however; the plot proceeds, of course, but the real story is not found in the search for an effective serum. In brief, the setup is this: a strain of pneumonic plague begins to infect the residents of the walled coastal Algerian town of Oran. The gates to the city are shut and the populace must ride out the plague as it kills mercilessly and indifferently. The parallels to existential philosophy are not obscured: trapped in a place where life is taken without reason, with no means of communication with freer souls, everyone in Oran is essentially in limbo – alive but with no reason to think they will stay that way, each person must face his or her death and the death of their loved ones and attempt to reconcile it with their way of life.
That is where the meat of the story lies – in how the various people live under constant threat of death. Some succumb, some rage, some contrive to escape, but as days grow to weeks and months and the death toll rises and grows closer to home, there arrives a general feeling of apathy and vague, inescapable dread. Some boundaries in society are broken down – the rich are no less likely to die than the poor, for instance – but others are reinforced or created – the religious quarrel with the nonbelievers over the cause of the calamity. On that topic, there are two great pillars of chapters which occur near the beginning and end of the book, which give in detail the sermons given by the city's eloquent and intense preacher. Both deal with the basic theological quandary of questioning God's will and intent. After a particularly devastating scene of death, the city's leading doctor and the preacher have a philosophical falling-out, in which the doctor refuses to believe in a god that allows an innocent to suffer so.
The various schools of thought about Oran and its inhabitants' condition are not merely referred to, either. As much as an objective observer can, the narrator describes others' specific responses to imminent death, and it is difficult to fault any of them. One man was here on a business trip for only a few days; is it cowardly for him to want to leave Oran to return to his fiancée? Another, antisocial and obsessive, finds the sense of community brought about by being doomed together heartening; is it selfish for him to feel this way? Many, many things are addressed, and well, in this book. It's good to read it slow and digest – it can quicken thoughts in you that you didn't even know you had. I for one still cannot imagine what I would do in that predicament.
With all this talk of metaphysical tangents, accounts of sermons, and growing apathy, this book must sound to you like an incredible bore. Not so. The book is beautifully written and translated, and every chapter is a joy. The narrator is very human, but also quite detached and brings with him an incredibly dry sense of humor. Even the minute descriptions of disinfectant procedures and the means of collecting, burying, or burning the dead are pervaded by phrases and observations which bring a smile to the lips. I have to caution, however, that this book is a bit of a commitment. It's not Ulysses, but the general heaviness does not lend itself to summer poolside reading. Nonetheless, The Plague comes with my highest recommendation. Get ready to get depressed.
serve. I'm constructive I'll be back again yet again and can deliver a number of of my friends.


As someone who's not that concerned about her body hair, I've never personally tried waxing. TBH, the thought of hot wax ripping out my hair follicles -- especially in my bikini area -- leaves me paralyzed with fear. But when my friend told me she was getting her bikini zone "sugared" for the first time, I was both puzzled and intrigued. Since her explanation of the hair removal treatment seemed less than possible to me when I asked her to describe it, I did a little research on my own. If it were really as simple as she said, even I would be willing to give it a try. But a few questions had to be answered first, of course, before I attempted any kind of experiment downtown, chief among them being: does sugaring hurt?
To be clear, the procedure isn't quite as simple as my dear friend describes. Sure, the idea of waxing your body hair sans pain sounds awesome, but what does the process actually entail?
Well, here comes a little sugaring truth. Here's to hoping we can handle it.
When it comes to sugaring, the paste or "gel" used to remove the hair is made of sugar, lemon, hot water, and, in some approaches, honey and a little bit of lavender oil.
This means no strange additives or weird ingredients you don't understand or can't pronounce. That's a major plus, if you ask me.
Oh, and you have to exfoliate when you're done, too.
And this isn't just a suggestion; it's apparently crucial to the process, as it helps combat your ingrown hairs, makes the experience less painful, and makes the treatment more effective, because the sugaring paste isn't clogged with your dead skin cells.
Part of the reason why waxing is so painful, apparently, is because the wax sticks to the skin and the hair it's removing.
Sugaring, on the other hand, only sticks and binds to the hair, and pulls it out from the root when removed, supposedly causing less irritation as a result.
People who have tried the experiment have claimed the hair removal lasts way longer than waxing, with one woman saying she was able to go 21 days hair-free in her underarms.
Those little monsters that we call ingrown hairs are awful, but sugaring apparently helps reduce the risk of them, because of that whole sticking to the hair instead of the skin thing.
OK, I'm kind of warming up to this now.
It's possible that some of your ancestors sugared, as the treatment dates back centuries and has long been practiced in places like the Middle East, Northern Africa, and Greece.
Yeah, sorry to break it to you, it will hurt at least a little bit, though most people say it's not as bad as a traditional wax. Otherwise, it would kind of be too good to be true, you know?
So, is the natural smoothness worth the pain? You'll have to decide that one for yourself. As for me, I think I'll hold onto my hair for now.


Clark R Cossé III was born in New Orleans and attended elementary and high school there. He attended LSU and UNO and is a graduate of the LSU Law Center (1972). He has represented business interests in the Louisiana Legislature and the U.S Congress for 43 years. He most recently represented the Louisiana Hospital Association where he still consults. From 1983-1994 he was Chief Lobbyist and General Counsel to the Louisiana Association of Business and Industry. He served as a lobbyist to the Southern Forest Products Association from 1977-1982. He also represented the Shreveport and New Orleans Chambers.
Clark R Cossé III, J.D.


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Corner of South 212th and West Valley Highway in Kent to Get New Warehouse
Thursday, October 8th 2015
KENT, WA – The southwest corner of South 212th Street and West Valley Highway in Kent won't be vacant much longer as crews put up a 63,546-square-foot warehouse.
California-based Panattoni Development, with offices in Seattle, is building the warehouse on the 3.2 acre corner lot at 21214 66th Ave. S., part of the Aldarra Corporate Park.
The city hearing examiner approved last month a variance request by Panattoni to reduce a 40-foot side-yard setback to 15 feet. The developer wanted the variance because of the odd shape of the property made it difficult to design a building without the shorter setback.
"The building takes advantage of the shape of the site and has enough area and parking to make it desireable for lease or purchase," according to statements submitted to the city by the developer. "This building will replace debris and stockpiled dirt that now marks the gateway into the city."
Panattoni will set back the warehouse from the curb of West Valley Highway far enough to preserve the city of Kent sign on the property and will enhance the sign with landscaping behind it.
http://www.kentreporter.com/business/331303741.html


text:
Bogusław Zychowicz (born 18 May 1961) is a Polish butterfly swimmer. He competed in two events at the 1980 Summer Olympics.

References

External links

1961 births
Living people
Polish male butterfly swimmers
Olympic swimmers of Poland
Swimmers at the 1980 Summer Olympics
People from Mielec
20th-century Polish people

redpajama_set_name: RedPajamaWikipedia