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"BY TRANSCRIPTION…"
Most listeners during Network Radio's Golden Age could identify the stations where they heard their favorite programs and most music fans could name the record labels that produced the music of their favorite orchestras and singers.
But if you asked the same people to identify their favorite band on Lang-Worth or the latest hit from Standard or World, you'd draw a blank expression. The names RCA-Tresaurus, Associated and C.P. MacGregor would get the same response.
That's the way it was for these producers of electrical transcription, (ET), libraries for who worked anonymously but profitably in the backstage of the radio industry - accumulating a combined revenue of $10 Million by 1940 when an estimated 700 stations - over 90% of the them - subscribed to one or more of the services and were forced by the FCC to remind listeners that music was presented, "...by transcription."
The concept was simple when former Brunswick Records executives Percy Deutsch, Milton Diamond and Gus Haenschen founded the World Broadcasting System and its subsidiary, World Program Services, in 1929. (See Gus Haenschen on this site.)
They realized that radio stations needed program material - even stations with network affiliation were left with hours to fill every day. Music was the easiest and most entertaining solution to the problem but musicians could be expensive and/or undependable. Recorded music was the obvious alternative but phonograph record companies and artists were threatening to sue stations for the "unauthorized" use of their discs which were uneven in quality and durability.
World had answers for all of these obstacles. It would produce recorded programming, particularly music in quantity with top talent, duplicate it in the best techniques of the time and lease it to subscribing radio stations for a monthly fee.
The principal's contacts and reputation from Brunswick made recruiting top talent a simple matter. Recording that talent in up to ten or more songs per disc called for the new methods developed in 1925 for Warner Brothers' Vitaphone motion picture sound-on-disc system. Sixteen inch transcription discs were used, revolving at 33 & 1/3 r.p.m. (1) The technique could hold 15 minutes of content on each side of the disc - as opposed to 78 r.p.m. records' limit of three minutes, 15 seconds per side on a ten-inch disc.
The discs were produced as vertical recordings as opposed to commercial phonograph records' lateral technique. The vertical process cut sound waves into the bottom of the grooves instead of the groove's sides common in lateral recordings. Therefore a much lighter pickup arm was required for a vertically cut transcription and that reduced any surface noise and extended the life of the disc.
For better frequency response, one side of the discs was cut and played from the outside-in, (like a phonograph record), and the flip side was cut and played from the inside of the disc out to its edge. (Note the instructions on the two labels pictured above.) To facilitate all of this new technology World also leased and sold the required playback equipment to its subscribers.
To accompany its ever increasing number of music selections of all varieties World Program Service lived up to its name by providing formats and scripts for local announcers. This enabled stations to create programs under suggested titles like Carefree Capers, Hawaiian Holidays, Hymn Time, Magic Harmony, Metropolitan Moods and Western Serenades. Much of the music for these skeletal programs was provided by the World Transcription Orchestra, the World Transcription Chorus or artists whose identity was a mystery to most listeners.
This informal veil of secrecy was because many popular bandleaders and singers were reluctant to be identified with transcriptions in the early years. They welcomed the work and extra money but feared that association with ET's would jeopardize their record company contracts and cheapen the value of their names for Network Radio jobs. (2)
Although their fears proved groundless, many artists recorded transcriptions anonymously or under pseudonyms for much of the 1930's. Artie Shaw became John Carleton, Benny Goodman was Bill Dodge, Duke Ellington used Joe Turner, Fats Waller played and sang as Flip Wallace, Glen Gray was George Gregory, Hal Kemp became Hal Keen, Isham Jones was Jimmy Hale, Ozzie Nelson used Bill Burton, Russ Morgan alternated between Ralph Martin and Reed Murray, Tommy Dorsey adopted the name Harvey Tweed, Tony Pastor became Bill Ralston and Buddy Cole used his real name, Edwin Lemar. In addition, The Rhythm Makers was a house name occasionally given to the Benny Goodman, Artie Shaw and Les Brown bands by RCA's Thesaurus transcription service.
Singers also recorded under aliases. The Canadian Communications Foundation reports that Jan Peerce's 1945 RCA-Victor hit recording, The Bluebird of Happiness, was originally heard in 1934 as a World Transcription on which Peerce used the pseudonym Paul Robinson accompanied by Erno Rapee's Radio City Music Hall orchestra.
But that changed in the early World War II years. As transcriptions became a staple of stations during the American Federation of Musicians various labor disputes with the record companies, artists recognized the value that their name recognition with transcriptions carried. And when their names became known World's roster was Who's Who of music's elite. (3)
Competition developed with the great success that World enjoyed in the early 1930's. World could only service one station per market so it welcomed newcomers Cyril Langlois & Ralph Wentworth who established Lang-Worth Feature Programs in 1933, focused on providing music free of ASCAP fees for subscribers. (4) By 1935, Lang-Worth had built a library of over 300 copyright free selections although it later offered two separate libraries - one that contained BMI, SESAC and public domain music and a second that was filled with nothing but ASCAP compositions. Both libraries were filled with the work of top flight artists. (5)
Next came the Standard Radio Program Service, founded in 1934 by Jerry King, business manager of KFWB/Los Angeles. By 1941 it boasted nearly 300 stations subscribing its library of 1,000 "tax free" selections with 100 new titles shipped every month. (6) Standard also became a leader in the production of recorded sound effects which were offered as part of its library.
RCA also entered the transcription library business in 1934 with the NBC Syndicated Recorded Program Service - shortly changing that mouthful to the RCA Thesaurus - a name that few could remember or spell. (7) A year later the Muzak organization entered the transcribed library field with the Associated Program Service (8) and C.P. MacGregor added music to his transcribed program service a short time later. (9)
By 1938 an estimated 25 companies of various sizes were supplying transcribed programming to radio stations and billing a combined $4.0 Million annually. That number doubled when World War II came.
World Program Service had over 300 subscribers to its library service in 1943 when it was sold to Decca Records for an undisclosed price. Not limited to songs, World offered musical production aids to its subscribers. Combined, they amounted to over 3,800 selections in 1944 with an additional 50 new cuts added every month.
A 1945 industry report credited World with 338 subscribers, Standard Radio Program Service with 400, Lang-Worth and RCA-Thesaurus with 250 each and Associated Program Service with 150. The number of subscribers had doubled in the five World War II years.
The Capitol Transcription Service - a division of Capitol Records - was the latecomer to ET industry in 1946, advertising a basic library of 2,000 selections with an additional 70 new ones every month. With its roster of popular artists, Capitol soon attracted 300 subscribers. (10) But as one record company was getting into the business, another was preparing to leave it.
After five years of ownership, Decca boasted it had doubled the number of World's subscribers and sold the service with its basic library of 4,600 tracks to program syndicator Fredrick W. Ziv for $1.5 Million in 1948. (See Fred Ziv - King of Syndication on this site.)
The 1950's weren't kind to the transcription firms. The ET's were no longer the only high quality vinyl recordings available to the thousands of disc jockeys across America - and when 45 and 33 1/3 r.p.m. technologies were introduced in early 1949, stations were flooded with free copies of the latest releases from every record company. These were the same record companies that once stamped their discs' labels, "Not For Broadcast," and in 1938-39 attempted to charge stations $100 to $300 a month for their use!
It was becoming painfully clear that radio stations no longer needed to pay an industry average minimum of $175 per month for transcribed music when record companies would cheerfully provide all the music they could use for nothing. Capitol saw the trend coming and dropped its ET service after seven years, proposing to sell its 700 unit inventory to its subscribers which were dropping fast from a peak of 300 stations.
Yet, under Ziv's ownership and marketing, World's number of subscribers grew to 1,000 in 1953. What was the Cincinnati syndication giant's secret?
Under the headline Broadcasting Revolution Hits Gasping Transcription Firms, trade paper Billboard quoted World's Vice President Robert Freidheim, in October, 1952, "…the old concept of a library service as a music service is a dead pigeon." Lang-Worth's Cy Langlois added that his firm began changing from a music supplier to a program service in 1947 because, "We had to create programming which was not possible on a phonograph record."
Ziv ostensibly bought World for its huge music library, but the hidden value was its attractive inventory of programs - series and holiday specials - many featuring highly saleable stars like Bing Crosby, Burl Ives, Gordon Jenkins, Judy Canova, Loretta Young, Maureen O'Sullivan, Orson Welles, Raymond Massey, Robert Montgomery, Thomas Mitchell, Walter Huston and Xavier Cugat. That kind of programming dovetailed with Ziv's successful radio program syndication business model and kept it in profits while launching its equally successful television syndication activities.
Ziv wasn't alone in focusing on programs but the company's marketing strength kept it rolling while the other transcription companies began to fall by the wayside. Thus, World Program Services, the first of the major transcription services at the beginning of Network Radio's Golden Age, was the last one still flourishing at the end of the era.
As services collapsed and stations evolved, many libraries were relegated to dumpsters - a tragic end to some truly wonderful gems of music. Luckily, a few survive in the care of collectors. (Note: Examples are posted below the footnotes.)
(1) This process is not to be confused with the "Microgroove" technology introduced by Columbia Records in 1949.
(2) At their peak, transcription companies paid $2.0 Million annually in talent fees.
(3) WORLD PROGRAM SERVICES Orchestras & Instrumentalists: Larry Adler, Desi Arnaz, Ray Bloch, Johnny Bond, Nat Brandwynne, Les Brown, Carmen Cavallaro, Page Cavanaugh Trio, Bob Chester, Eddie Condon, Jesse Crawford, Bob Crosby, Xavier Cugat, Dorothy Donegan, Jimmy Dorsey, Tommy Dorsey, Roy Eldridge, Duke Ellington, Vincent Gomez, Benny Goodman, Bob Grant, Glen Gray's Casa Loma Orchestra, Buddy Hackett, Gus Haenschen, Lionel Hampton, Milt Hearth, Woody Herman, Eddie Heywood, Tiny Hill, Richard Himber, Harry Horlick, The Hoosier Hot Shots, Eddy Howard, Harry James, Gordon Jenkins, Isham Jones, Jonah Jones, Louis Jordan, Johnny Long, Jimmy Lunceford, Frank Luther, Frankie Masters, Hal McIntyre, Lani McIntyre, Noro Morales, Russ Morgan, Red Norvo, Les Paul Trio, Erno Rapee, David Rose, Ethel Smith, Charlie Spivak, Claude Thornhill, The Three Suns, John S cott Trotter, Jerry Wald, Lawrence Welk and Victor Young. Vocalists: The Andrews Sisters, Mildred Bailey, Kenny Baker, The Delta Rhythm Boys, Joan Edwards, Bob Eberle, Red Foley, Helen Forrest, Bob Hannon, Dick Haymes, Kitty Kallen, Dorothy Kirsten, Evelyn Knight, Peggy Lee, Monica Lewis, Evelyn MacGregor, The Mills Brothers, Patsy Montana, Frank Munn, Helen O'Connell, Frank Parker, Jan Peerce, Lanny Ross, The Song Spinners, The Sportsmen, Thomas L. Thomas, Mel Torme, Ernest Tubb, Jimmy Wakely and Earl Wrightson,
(4) During the 1930's and 40's transcription companies paid music publishers a $15 royalty per song per year.
(5) LANG-WORTH FEATURE PROGRAMS Orchestras & Instrumentalists: The Air Lane Trio, Ray Anthony, Howard Barlow, Charlie Barnet, Blue Barron, Count Basie, Neal Bondshu, Randy Brooks, Henry Busse, Frankie Carle, Russ Case, Larry Clinton, Del Courtney, Alan Dale, Tommy Dorsey, Sonny Dunham, Les Elgart, Ziggy Elman, Shep Fields, Chuck Foster, Jan Garber, Lenny Herman, Woody Herman, Dean Hudson, Sammy Kaye, John Kirby, Gene Krupa, Henry Jerome, Jimmie Lunceford, Clyde McCoy, Vaughn Monroe, Art Mooney, Russ Morgan, Red Nichols, Tony Pastor, Boyd Raeburn, Erno Rapee, Bobby Sherwood, Claude Thornhill, Al Trace, Tommy Tucker and Fred Waring. Vocalists: The Ames Brothers, Toni Arden, Eugenie Baird, Elton Britt, Bob Carroll, Rosemary Clooney, Antia Ellis, The Four Knights, Tito Guizar, Connie Haines, Juanita Hall, Lena Horne, The Mills Brothers, The Modernaires, Buddy Moreno, Rose Murphy, Patti Page, Leon Payne, Fats Waller, Fran Warren and Foy Willing's Riders of The Purple Sage.
(6) STANDARD RADIO PROGRAM SERVICE Orchestras & Instrumentalists: Buzz Adlam, Sonny Burke, Henry Busse, Bob Crosby, Leo Diamond, Jimmy Dorsey, Tommy Dorsey, Duke Ellington, Skinnay Ennis, Morton Gould, Jerry Gray, Will Hudson, Dick Jurgens, Freddy Martin, Matty Melneck, Leighton Noble, Red Norvo, Les Paul Trio, Boyd Raeburn, Joe Reichman, David Rose, Leith Stevens, Art Tatum, Jack Teagarden and Earl Towner. Vocalists: Doris Day, The DeCastro Sisters, Frankie Laine, Curt Massey, The Starlighters, Kay Starr, Jeri Sullivan, Martha Tilton.
(7) RCA TRESAURUS Orchestras & Instrumentalists: Tex Beneke (Glenn Miller), Les Brown, Benny Goodman Johnny Guarnieri, Sammy Kaye, Wayne King, Richard Liebert, Vincent Lopez, Freddy Martin, The Novatime Trio, Alan Roth, Artie Shaw, Phil Spitalny, Claude Thornhill, The Three Suns, The Art Van Damme Quintet, George Wright. Vocalists: Slim Bryant, Louise Carlyle, Gloria DeHaven, Eddie Fisher, The Jumpin' Jacks, Carson Robison and Fran Warren.
(8) ASSOCIATED PROGRAM SERVICE Orchestras & Instrumentalists: Alfredo Antonini,, Ray Bloch,, Ted Dale, Ralph Flanagan, Ernie Fiorita, Lud Gluskin, Al Goodman, Harry Horlick, Eddy Howard, Dick Jurgens, Art Kassell, Andre Kostelanetz, Elliot Lawrence, Frankie Masters, George Olson, Glenn Osser, George Paxton, Freddie Rich, Denny Vaughan and Alfred Wallenstein. Vocalists: Kay Armen, Mindy Carson, The Cherioteers, Rosemary Clooney, Vic Damone, The Deep River Boys, Evelyn Knight, Guy Mitchell, The Satisfiers and Martha Wright..
(9) Hollywood producer C.P. MacGregor entered the transcription field with a limited roster of artists, but the company's main thrust was a string of successful programs including The Shadow, Hopalong Cassidy and The Skippy Hollywood Theater.
(10) CAPITOL TRANSCRIPTION SERVICE Orchestras & Instrumentalists: Buddy Cole, Hal Derwin, Frank DeVol, Duke Ellington, Jan Garber, Skitch Henderson, Pee Wee Hunt, Stan Kenton, Gene Krupa, Eddie LeMar, Enric Madriguera, Alvino Rey, Tex Ritter, Merle Travis and Paul Weston. Vocalists: June Christy, Nat King Cole, The Dinning Sisters, Carolyn Grey, Peggy Lee, The King Sisters and Jo Stafford.
The selections posted below are all from the Standard transcription library housed at the Pavek Museum of Broadcasting in Minneapolis. (See www.museumofbroadcasting.org) Our thanks to Steve Raymer and Dan Henry for providing these cuts which demonstrate the quality of transcriptions which compared favorably to commercial recordings of the day.
1/ Contrasts - The Jimmy Dorsey Orchestra's theme song with Dorsey featured on tenor sax.
2/ Sweet Georgia Brown - The Tommy Dorsey Orchestra featuring Charlie Shavers on trumpet and Sam Donahue on tenor sax.
3/ I Wish I Didn't Love You So - CBS star Curt Massey is accompanied by Buzz Adlam's orchestra. Adlam was best known as musical conductor for the long running U.S. Treasury Department's transcribed series, Guest Star.
4/ My Silent Love - The Billy May orchestra and a duplicate of its Capitol Records disc.
5/ Where Or When - David Rose and his studio orchestra.
6/ Blue Skies - Columbia Records star Doris Day with a 1:43 brief programming standard.
7/ I Can't Give You Anything But Love - Another short, 1:44, programmer from Doris Day.
8/ On The Sunny Side of The Street - The Freddy Martin orchestra with vocal by Artie Wayne
9/ Old Fashioned Love - Mercury Records star Frankie Laine with the Carl Fischer orchestra.
10/ Basin Street Blues - Jack Teagarden's vocal, trombone and orchestra.
11/ There's A Small Hotel - Jeri Sullivan with Mel Torme's Mel-Tones & The Johnny White Quintet.
12/ Pennsylvania 6-5000 - The Jerry Gray orchestra.
13/ The Lonesomest Gal In Town - A 2:08 programmer with Capitol Records vocalist Kay Starr and Buzz Adlam's studio orchestra.
14/ Them There Eyes - The second of three short programmers by Kay Starr two minutes.
15/ You've Gotta See Your Momma Every Night - At 1:55 the third programmer by Kay Starr and Buzz Adlam.
16/ I'll Never Smile Again - The Leith Stevens orchestra lush instrumental treatment of a standard.
17/ The World Is Waiting For The Sunrise - Jazz violinist Matty Malneck's Dixieland group.
18/ Exactly Like You - The Red Norvo Trio in a quickly paced 2:02 programmer.
19/ Sunday - The Red Norvo Trio's 1:36 treatment of the standard
20/ I Want To Be Happy - JoAnn Greer, longtime Les Brown band vocalist and movie "ghost singer" for Rita Hayworth and Kim Novak, sings with Sonny Burke's studio orchestra.
standard__jimmy_dorsey_contrasts.m4a
File Type: m4a
standard_tommy_dorsey_sweet_georgia_brown.m4a
standard____curt_massey___i_wish_i_didnt_love_you_so.m4a
standard____billy_may______my_silent_love.m4a
standard___david_rose__where_or_when.m4a
standard___doris_day__blue_skies.m4a
standard___doris_day________i_cant_give_you_anything_but_love.m4a
standard__freddy_martin_sunny_side_of_the_street.m4a
standard__frankie_laine__old_fashioned_love.m4a
standard___jack_teagarden__basin_st_blues.m4a
standard____jeri_sulllivan___theres_a_small_hotel.m4a
standard__jerry_gray__pennsylvania_6500.m4a
standard____kay_starr___the_lonesomest_gal_in_town.m4a
standard____kay_starr___them_there_eyes.m4a
standard____kay_starr___youve_got_to_see_mama.m4a
standard___leith_stevens_ill_never_smile_again.m4a
standard_matty_melneck_the_world_is_waiting_for_the_sunrise.m4a
standard___red_norvo_exactly_like_you.m4a
standard___red_norvo__sunday.m4a
standard___sonny_burke___i_want_to_be_happy.m4a


Who can teach me use Armdebugger?
but I don't know how to port RAM addresses,can any one help me?
To calculate RAM number property BL v3.3MP you just need to port A09B6183 function (E71v45).
The 0xAD0F8700 RamSizeOfSendPart ExioPB v1.1MP is not 251: unsigned int *RamSizeOfPart() function and very specific and I cannot give here direct advice how to port.
And what is the real problem with use of you armdebugger?
ExioPB v1.1MP is not necessary,because I use ExioPB.elf now.
But for BL v3.3 I like it very much,so far without port the RAM correctly I can use the item "Unknown" already.
I haven't ever use any debuggers before,so I don't quite get your meaning of "just port A09B6183"
to set a fast slappoint at A09B6183?
you can calculate this address or just set fast snappoint at S7C analog address of A09B6190 and call to your phone, in armdebugger at left side below will be content of R0 namely this address. You can go to this address in right side of armdebugger, press key M on PC keyboard to monitor and call again and you will see what numbers will be at this address and around.
LDRB R0, [R0,#2] returns 0 for unknown, 1 for SIM and 2 for addressbook, LDRB R0, [R0] returns number of group.
Ok,I know that now,I will try IDA,thank you.
It's because this patch that I began to learn how to port,and how to compile,then how to use IDA and to try to modify some patch a little.
So it is really my most wanted patch.
How can I port ExioPB v1.1MP?


Marseille cruise port (France) counts at least one thousand travelers every year. In particular, May is the month when the most ships run in. The harbor is reached by cruise lines like Seabourn. Especially the Seabourn Encore is visiting Marseille / Marselha more than two times per year.
If your cruise is coming from Livorno (Florence & Pisa), Italy, Genoa & Portofino, Athens, Greece or Gozo Island, Malta, Marseille / Marselha is likely to be on your route.
Typical trips take 25 or seven days.
Red indicate prices cheaper than average.


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An eclectic collection of music, an array of books and films.
15/4/14 – Arzachel -1969
by Marty Willson-Piper
in Album Of The Day
Although the story of Arzachel may be a little complicated, a trip to the Uriel, Steve Hillage and Egg links will explain the story, but the short version is as follows:
Arzachel is in fact Uriel who are in fact three quarters of Egg with Steve Hillage. Hm, maybe that's not quite clear – Ok let's start again.
Uriel and Arzachel are in fact the same band. The line up was Steve Hillage on guitar and vocals, Dave Stewart on keyboards, Clive Brooks on drums and Mont Campbell on bass and vocals. Uriel broke up before they made an album as Hillage had decided to continue his education. Soon after his departure Uriel were convinced by the management to change their name to The Egg (settling on Egg) and soon after that they secured a record deal with Decca. Somewhere between the first Egg album and Hillage's summer holidays, the four original members of Uriel were given the opportunity to record an album by another label in expectation of potential success for an underground psychedelic band in the wake of Pink Floyd and Soft Machine. So they re-formed for one day in the studio under yet another name and as three of the members were contracted to Decca (Egg), used pseudonyms on the album (see the Uriel link for details of this). That's the short version.
The album has 6 songs, four short and two long (the CD reissue has 6 extra tracks). The opening track is Garden Of Earthly Delights, a soft psychedelic English classic with melodic organ and a classic warm Hillage guitar break. The song has both Campbell and Hillage singing alternately. The song has a lovely chord shift in the middle. The lyrics are based on a lute song by 17th century English composer Philip Rosseter (1568 – 5 May 1623) And Would You See My Mistress' Face.
And would you see my lady's face
It is a flowery garden place
Where knots of beauty have such grace
That all is work and nowhere space
It is a sweet delicious morn
Where day is breeding, never born
It is a meadow yet unshorn
Which thousand flowers do adorn
It is the heavens' bright reflex
Weak eyes to dazzle and to vex
It is the idea of her sex
Whose envy does the world perplex
It is the outward face of youth
It is the famed Elysium's truth
The spring that wintered hearts renews
And this is that my soul pursues
Azathoth keeps the olde world mood with Stewart's church organ sound giving the piece a mystical atmosphere. The alternate Hillage/Montgomery vocal idea works again and Campbell's shaky first take just adds to the underground feel of the track. A muttering voice can be heard in the background, then screeching organ and the sound of someone in the aftermath of torture. You hear Hillage's guitar crackling like it's being plugged in, the organ gets weirder and then we are back in the knave with Montgomery – perhaps a mad priest is being sacrificed.
Queen St. Gang (Soul Thing) changes mood and is more like a rainy English Booker T. An instrumental with descending and ascending organ lines over a bass and drum groove, despite it being the sound of an era in soul, it's actually rather timeless.
More Hammond organ on Leg, soon joined by guitar and the band sounds more like their initial influences (they were originally a covers band – Cream, Hendrix, Mayall, The Nice). Leg sounds a bit like Cream and the more blues influenced late sixties bands, but Arzachel maintain a slightly spacey atmosphere through Stewart's organ in the background, keeping it weird. Hillage sings and plays a twin guitar solo with himself, rumbling bass and drums and Stewart's reverby organ also plays a solo section, the guitars thrash underneath and the song ends in feedback.
Clean Innocent Fun is the first of the two longer songs with Hillage singing a dramatic vocal melody mimicked by lead guitar with organ and other guitar stabs. Drums join in with a series of rolls and then the bass, it sounds like Dazed and Confused with heavy organ vibrato. The only possible reason that this wasn't a popular band at the time would be because they weren't actually a band anymore – this being a one off project as Stewart, Campbell and Brooks honoured their Decca contract and made the debut Egg album and Hillage formed Khan. There's lots of great organ and guitar freak outs, busy bass lines and drum builds – it's like a cross between Led Zeppelin and Pink Floyd circa '68.
The last track, Metempychosis is a true freak out and at nearly seventeen minutes is the highlight of the album. It's Spacerock – it could be Hawkwind. The song relaxes at seven minutes as the organ breaks out and voices from a kitsch Vincent Price horror movie moan in the background. Three minutes later it gets going again with grinding bass, cymbals and toms as the guitar creeps back in followed by the shriek of the organ. The guitar sounds like a dinosaur falling off a cliff leaving Mont Campbell alone with the bass. Soon they're all back in a howling cacophony. Unfortunately there is no known live footage of Arzachel, although the extra tracks on the CD include a live audio snippet from 1968 along with demos. They pulsate, they surge, they scream, they get louder and they get softer, they hang high at dynamic peaks and then suddenly they are gone – that was Arzachel – doomed to obscurity.
If you like to listen to albums from beginning to end, if you like jams and don't let the outside world interrupt your listening (get your priorities right) then this is a great album from an era long gone. Despite this and Arzachel's obscurity, this kind of music has prevailed and interest in the genre is as strong as it ever was.
After Khan, Hillage went onto join Gong and then made some trippy guitar heavy solo albums before becoming a producer and forming System 7. (Hillage has had as big an influence on dance music as anyone has).
Stewart went onto Hatfield And The North and National Health and later had a couple of hits in the UK and Europe, one with Barbara Gaskin, who he still plays with (It's My Party, No. 1 in 1981 after being No.1 in 1963 for Lesley Gore) and the other with Colin Blunstone (What Becomes Of The Broken Hearted No.13 in 1980, No.6 for Jimmy Ruffin in 1966 – No.7 US).
Clive Brooks played on Hogwash and Solid by Groundhogs when Ken Pustlenick left and also played with late seventies band Liar and later became Pink Floyd's drum tech and still works in that capacity for other bands.
Mont Campbell shied away from rock and became more involved in traditional and World music and also became an expert on ethnic instruments.
Quite different paths for the different members but it all started here and really this one day in the studio in 1969 was as relevant as anything they ever did.
Tio read a review of this album in Spanish, go here:
http://beefheartsmiles.blogspot.com/2014/03/arzachel-idem.html
https://en.wikipedia.org/wiki/Uriel_(band)
http://en.wikipedia.org/wiki/Egg_(band)
https://en.wikipedia.org/wiki/Steve_Hillage
http://en.wikipedia.org/wiki/Clive_Brooks
http://en.wikipedia.org/wiki/Mont_Campbell
http://en.wikipedia.org/wiki/Dave_Stewart_(keyboardist)
Tags: Arzachel, Barbara Gaskin, Clive Brooks, Colin Blunstone, Dave Stewart, Egg, Gong, Groundhogs, Hatfield And The North, Liar, Mont Campbell, National Health, Steve Hillage, System 7, Uriel
14/4/14 – Lulu – To S…
15/4/14 – Egg – A Tri…
3 Responses to "15/4/14 – Arzachel -1969"

redpajama_set_name: RedPajamaCommonCrawl


Authors: García Heras, Manuel ; Carmona, N. ; Ruiz-Conde, Antonio; Sánchez-Soto, P.; Benítez, J.J.
Abstract: Conventional methods such as scanning electron microscopy with energy dispersive X-ray spectrometry are commonly used to characterize corroded glasses. However, their use is often restricted when glass pieces come from historical artworks and may not be damaged. Atomic force microscopy can be an alternative method for characterizing such glasses since it is an essentially non-destructive technique which allows their topographic analysis with good vertical and lateral resolutions. In addition, samples do not require any previous manipulation. The application of atomic force microscopy to study glass decay is reported in this paper. The main goals of the research were to study the corroded texture of both historical glass pieces and model glasses weathered in the laboratory, and to determine and compare the chemical corrosion mechanisms which occurred in both cases. The resulting data suggest that atomic force microscopy can be a useful technique for characterizing decay mechanisms in historical glasses. © 2005 Elsevier Inc. All rights reserved.


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Creating a more sustainable Des Moines takes a lot of energy and enthusiasm from our Ambassadors and board members! Over the last couple months, we've talked about where we've come from, where we're at now, and this post is about where we're going.
In 2015, the board of Urban Ambassadors created goals for the next five years. We had short term goals like when and how will we use social media and long term goals like hiring a full time Executive Director. We hope you've noticed our more robust social media offerings on our Facebook page, Facebook group and Instagram. We're excited to check that goal off the list!
Urban Ambassadors is unique because we attempt to cover the full spectrum of sustainability in Des Moines through our five focus areas and foundations. We don't believe any other organization takes this broad approach to sustainability in Des Moines and that's why we think it's important for us to have a full time Executive Director to help us fulfill our mission.
Imagine if we had a full time Executive Director to play a part or role in decisions in Des Moines that relate to or affect sustainability issues, Zack Valigosky current Board Member wondered. Zack's excited to see what kind of change can happen at the city level if there is an organization standing up for sustainability when important decisions are made.
We could be that organization! With your help (see below), we could go from an all volunteer organization to having a staff member advocating for sustainability in Des Moines. But not only would we would advocate, we'd build relationships with community members, empower people with tools and resources to achieve sustainability goals and become more of a "household name" in the metro. Sam Collison and Ciji Mitrisin, current Board Members, are excited for us to collaborate, build these relationships and help leaders grow in our community.
Left: Jeremy Moore and Chelsea Krist, Board Members, exhibit at the Climate March in Des Moines, April 2017. Top: June 2017 Meet-Up riding BCycles. Bottom: October 2016 Meet-Up Dogpatch Urban Garden tour.
We want to be able to continue our monthly Meet-Ups. These educational events showcase the accessibility and abundance of organizations (and individuals!) doing great things in the city. Chelsea Krist, current Board Member, is excited to see our Meet-Up offerings grow with the addition of an Executive Director. In addition to Meet-Ups, we want to offer the city a Sustainable Neighborhood Toolkit to provide resources and connections to help neighborhoods become more sustainable with the aim to make Des Moines the Sustainable Hub of the Midwest.
We're excited to be working towards these goals and hope you are too!
Attend our first ever fundraiser: Sustainable Sunday Funday on September 17th for an awesome bike ride, brunch and networking. Get your tickets here and invite your friends. Can't make it to the event, but still want to donate? Check out our online donation form!
Join our board for 2018-2020 to experience this exciting growth! We're looking for board members with legal expertise, accounting and strong connections to the sustainability community.
We can't wait for Des Moines to be named the Sustainable Hub of the Midwest!


Free riding (also known as Freeriding or Free-riding) is a term used in stock-trading to describe the practice of buying and selling shares or other securities without actually having the capital to cover the trade. In a cash account, a free riding violation occurs when the investor sells a stock that was purchased with unsettled funds.
The Federal Reserve Board's Regulation T requires brokers to "freeze" accounts that commit freeriding violations for 90 days. Accounts with this restriction can still trade but cannot purchase stocks with unsettled sale proceeds (stocks take three days to settle).
Freeriding can be avoided by using a margin account.
In the United States, stocks take three days to settle. If you buy on Monday, you don't pay for the purchase until Thursday. This is known as trade day plus 3 days or T+3.
This three day settlement period is considered an extension of credit from the broker to the customer. Because the transaction is considered a credit issue, the Federal Reserve Board is responsible for the rule which is officially called Regulation T.
Freeriding is a style of snowboarding performed on natural, un-groomed terrain, without a set course, goals or rules. It evolved throughout the sport's formative early years as a contrary response to the highly regimented style of ski competition prevalent at the time. Snowboarders primarily refer to freeriding as "backcountry", "sidecountry", or "off-piste" snowboarding, and sometimes "big mountain" or "extreme" riding.
Freeriding incorporates various aspects of snowboarding into a style that adapts to the variations and challenges of natural, off-piste terrain, and eschews man-made features such as jumps, rails, half-pipes, or groomed snow. To master freeriding is to seamlessly merge these aspects of other snowboarding disciplines such as freestyle and alpine snowboarding into an all-around style - giving you the freedom to make the most of whatever terrain comes your way. Whereas freestyle snowboarding relies on the use of man-made terrain such as jumps, rails and half-pipes, and alpine snowboarding is done on groomed snow - the focus of freeriding is on utilising the random flow of natural terrain. Although similar tricks may be performed in freeride competition as in freestyle competition, the major defining difference is that freeriding utilises natural terrain, not man-made features such as the terrain parks used in slopestyle competition. Tricks performed on man-made, purpose-built features in terrain parks fall specifically into the category of "freestyle" and/or "slopestyle", not freeride – and if performed on similar features off-piste, it's "all-mountain freestyle".
Free Ride is a 2013 American crime drama film produced by and starring Anna Paquin. It was written and directed by Shana Betz (aka Shana Sosin), and is based on her childhood in Fort Lauderdale. The film premiered at the 2013 Hamptons International Film Festival.
Set in the late 1970s, Christina (Paquin) is a single mother from Ohio who escapes her abusive partner, along with her two daughters; teenaged MJ (Liberato) and seven-year-old Shell (Acres). She moves to the Florida coast where she meets up with a friend (De Matteo) who gets her a job in drug smuggling. But Christina must meet the challenges of protecting and providing for her children, with her oldest daughter being more defiant and the hazards of her occupation.


text:
LACR Responds to Pandemic With Virtual Education Strategies
May 2020 Emily Smith Llinás
The twin crises of COVID-19 and falling oil prices have left the world spinning and schools, companies and professional associations searching for ways to adapt.
For the AAPG Latin America and Caribbean Region leadership team, the new reality has led to innovation and creativity.
"I have always believed that challenging times offer us the perfect opportunity to recreate ourselves and redirect our efforts into the most relevant and meaningful things in life," said Region President Elvira Pureza Gomez.
"When we started to see how the world has been changing during of the COVID-19 crisis, we realized that we wanted to be a part of that change. We have discovered that most of our educational programs can be sustained in the virtual world and can have a greater audience, reaching students and professionals that were unable to participate before with our in-person programming. In addition, after having reviewed all our upcoming events, we applied virtual strategies when possible to keep our events schedule active," she said.
Xavier Moonan, LACR vice president, said the adjustment was a challenge at first.
"For many of us I'm sure, our first reaction to COVID-19 prevention measures was to complain. We crave simplicity, regular, daily routines and we tend to cringe at any deviation from the norm," he said.
"But disruption is usually closely followed by innovation. Fueled by our passion for geology and the love for the promotion of geoscience, the AAPG LACR set about measures to not only serve in consolation for postponed events but to ramp up activity to keep geos worldwide engaged during these trying times," Moonan added.
Retooling Programs
The rise of COVID-19 led members of the leadership team to develop regional virtual strategies for some of the AAPG's most emblematic programs, the Visiting Geoscience Program, Earth Science Week and the Imperial Barrel Award competition.
In March, the region launched "Tuesday Talks," a weekly webinar series featuring Visiting Geoscientists throughout the region and beyond.
In April, the Earth Science Week committee announced the "Geoscience4All" video contest in coordination with the Colombian Association of Petroleum Geologists and Geophysicists. Contest participants submit videos of themselves explaining geological concepts using items found at home.
In May, the leadership team will start broadcasts of "Thursday Thoughts," a monthly interview series featuring regional officers, delegates, and committee chairs.
The Geoscience4All, some Tuesday Talks, and Thursday Thoughts videos are featured on the region's channel in the AAPG Video Vault.
The region's 11 young professionals chapters will hold the first ever virtual YP conference on May 18-22. The conference, "Crossing Borders in the 21st Century," will feature presentations highlighting geology or technology from participating countries.
Members of the AAPG Trinidad and Tobago YP Chapter leadership team, left to right: Mark Bishop, Shenille Samlal, Charis Mungal, Alexandra Gray
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Not That New
Moonan noted that using virtual strategies is not a new concept for the region.
"Challenged as a region with many countries great distances apart, limited number of flight routes and hubs, a range of languages and widely scattered universities and hydrocarbon hotspots, we have had to be innovative to grow and be efficient as a region," he said.
For example, LACR implemented a hybrid model for the Imperial Barrel Award competition in 2015. The first round held via WebEx includes all teams, and virtual round winners advance to the region semifinals held in-person in the home country of one of the semifinal participants.
"The hybrid model used over the past five years has allowed all LACR universities interested in participating to have the IBA experience while keeping costs within budget. We have had more than 30 teams participating in the virtual round, and the four strongest teams get the opportunity to present to judges in-person, preparing them to compete in the global final," Moonan explained.
Because of COVID-19, the IBA Committee ruled that all region semifinals and the global finals will be held virtually in 2020, but Gómez hopes to bring back the in-person round in 2021.
Best Practices in Trinidad and Tobago
In addition to region-wide strategies, LACR has success stories in individual countries who are taking their initiatives virtual. Trinidad and Tobago has led the way.
Since 2016, the Trinidad and Tobago YP Chapter has partnered with Shell in hosting STEM (Science, Technology, Engineering & Mathematics) events at high schools located near Shell's core assets and producing fields. STEM volunteers teach students about core components of geology and hydrocarbon exploration, including rocks and minerals, paleontology, sedimentology, structural geology, geophysics and petroleum engineering.
Moonan, who lives in Trinidad and Tobago, described how the STEM sessions continue to achieve their purpose in a digital format.
"The main aim of these sessions are to ensure students are more geo-aware on both fronts, the hydrocarbon exploration process and also understanding our natural resources and appreciation of our environment," he said.
"With the closure of schools and country-wide isolation policies implemented the YPs are still able to run these sessions and keep students engaged through interactive online sessions and games," he added.
The Trinidad and Tobago YP Chapter also started a virtual panel discussion series called "Let's Dig Into It!" The first panel discussion, "The Energy Industry during a Pandemic," held April 14, featured eight panelists from AAPG's global community as well as energy experts in Trinidad. The session, conducted via Skype for business, drew 55 participants from six countries.
Shenille Samlal, YP T&T Chapter president, said the panel was a great success.
"The discussion brought multi-dimensionality to the issue of dealing with COVID-19 as an industry – a topic at the forefront of many of our members' minds today," she said. "The energy sector has already felt the impacts of this virus through plummeting oil prices and the slowdown of activity, but this time is an opportunity to learn and foster new skills, to focus on conservation. Given the industry's cyclic nature, there is much hope for the future."
Samlal described the chapter's goal to stay positive during the current situation.
"Collaboration, ingenuity and creativity can be the brightest of lights in these dark times," she said.
Moonan, a lecturer at the University of the West Indies, uses technology to help geologists connect with their greatest passion: field trips.
"Geologist ... the title is synonymous with field trips, hiking, outdoor exploring, quarries and mines, rigs and platforms, field notebooks, clinometers and of course your handy dandy geological hammer," he said.
"We love our field trips. Our inner passion of exploring, finding something new, unravelling a puzzle with clues hidden in rocks is what makes us geologists. COVID-19 has – to a great extent, if not totally eliminated the possibilities of holding group field trips. But like many other geos around the region, our passion for field work and teaching field analysis pushes us to find a means," Moonan said.
In March, Moonan offered his first virtual field trips via Zoom. He uses high resolution geo-tagged drone imagery to generate 3-D models of the outcrops that he visits annually with his UWI students.
In the virtual sessions, Moonan takes students on walks along beaches, where they observe faults, fractures and formation contacts, acquire dip and strike measurements and draw lithologs. Though he's been using drone imagery to review outcrops since 2017, this was the first time he ran the entire trip virtually.
"While geos will still require an actual field visit to appreciate grain sizes and texture firsthand, the drone models have been exceptional for gaining a large scale perception of the outcrops, viewing of inaccessible or difficult-to-access outcrops, and the ability for geos to peruse the outcrops as many times as they wish at their convenience," he said.
Connecting with the Community
Moonan noted that reaching and growing the AAPG community during this new reality requires understanding of how geoscientists think.
"Our kind love to meet, network, attend conferences and workshops, share ideas, strike new deals, work together to push the limits of our understanding of Earth processes and, of course, socialize with some beer or wine at the end of the day," he said.
While members cannot meet personally right now, LACR leadership hopes their virtual initiatives will help provide the connection that geoscientists crave and appreciate.
Gómez noted that students and young professionals are leading the way.
"Most of our chapters have been offering some talks to members via online streaming services over the past few years. During the past two months, they have multiplied their virtual activities, such as webinars, conferences, panels and short courses. It has been inspiring and gratifying to see how they are leading the way in their countries," she said.
Student and young professional liaisons have WhatsApp groups for chapters in 12 countries, and the region's LinkedIn and Twitter accounts have approximately 3,000 followers.
"Having a highly connected region helps us reach a lot of people in very efficient manner. That will be key to the success of the Latin America and Caribbean Region's virtual transformation.
A Regional Young Professional Network
LACR young professionals hope to facilitate these connections through their inaugural Regional YP Conference on
May 18-22.
A brainchild of Xavier Moonan and the Trinidad and Tobago YP Chapter, the conference will feature high-quality technical talks that appeal to multiple geoscience disciplines and showcase the countries located in the region.
Samlal said the conference offers an opportunity both for technical growth and closer YP chapter integration.
"Many of us are self-isolating at home and this provides a unique opportunity to explore the South American continent and the Caribbean with just a click! In doing so, we will enrich our YP memberships' knowledge base while further developing our network," she said. "These networks are key in establishing great working relationships that will foster future regional collaboration."
Samlal noted that conducting conferences facilitates greater participation across the region.
"The LACR is quite vast, washed by the Caribbean Sea, the Atlantic and the Pacific oceans. Virtual events like this allow every single member the opportunity to participate with no restrictions in terms of flights and accommodation costs," she said.
"We have the opportunity to educate, collaborate and connect on a far larger scale than usual."
Gómez said she is optimistic about the future.
"I am confident that we will grow stronger and more resilient and that this will only improve our programs and our response to professionals' needs and will push us forward into the next era. For certain, we will continue to incorporate the virtual aspects into the educational programs, which will allow us to stay relevant in the geoscientist's professional lives," she said.
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E-Trac Metal Detector is a significant technological advancement when it comes to metal detecting and treasure hunting. Its intuitive menus, innovative control panel, comprehensive targeting options and sturdy design, sets it apart from other metal detectors.
It is designed to cater for advanced treasure hunters who can afford detectors above the $1000 mark. Its innovative functionalities and adjustment options allow so many customizations that refines the detection process, and makes metal detecting a lot more enjoyable and convenient.
And if you've been looking for an advanced treasure hunting detector to help you refine your detecting campaign, then make sure to read this unbiased E-Trac Metal Detector Review. In this review, I would be delving into the core features and functionalities that set the E-Trac apart from the rest of the pack.
The E-Trac Metal Detector is manufactured by one of the most popular brand names when it comes to metal detectors; Minelab.
Minelab manufactures and sells a wide variety of metal detectors for hunters with different amounts of hunting experience; some of which include Minelab E-Trac, the Minelab GPX, the Minelab Quattro, the Minelab Excalibur and the Minelab Safari.
The E-Trac Metal Detector is apparently the "most technologically advanced" among the Minelab series of metal detectors.
It is specifically made for experienced treasure hunters (incorporating Minelab's Full Band Spectrum technology and Smartfind discrimination); with the sole aim of providing them with a detector that can enhance their hunting experience, and make it more comforting and rewarding.
Now, let's delve into the core features that set the E-Trac apart from the rest of the pack.
The E-Trac Metal Detector uses Minelab's proprietary Full Band Spectrum technology that outperforms typical detection technologies, by transmitting broader range of frequencies between 1.5 KHz – 100 KHz simultaneously. The wide range of frequencies transmission allows the operating system of the E-Trac Metal Detector to instantly analyze responses from the signals received from the coil and then interpret them to provide users with enhanced accuracy.
This technology results in a greater operational depth range, higher sensitivity over a wide range of targets, less electromagnetic source interference and more accurate target identification.
The E-Trac Metal Detector also features Minelab's proprietary QuickMask and SmartFind technology. The SmartFind technology feature is a two-dimensional graphing display that graphically shows the user the ferrous properties as well as the conductivity of the metal found at the same time. This allows you to easily identify targets before digging.
levels, allowing you to accept and reject based on these 2 indicators; thereby making your search much more effective.
The E-Trac Metal Detector features a lightweight and waterproof 11" Double D Coil. The lightweight and the waterproof feature of the coil make it possible for you to search a variety of challenging locations, such as the sea, river, beaches, etc; locations other detectors dare not thread.
And even in instances where some other detectors have claimed usability at these challenging locations, the result is not at par with the performance of the E-Trac Metal Detector, as hunters rarely find valuable targets at these locations, using other detectors.
However, E-TRAC delivers astounding results at these challenging locations.
The E-Trac Metal Detector features four preset detecting settings that's usually the common types of detecting that experienced hunters do namely; Coins, High trash, Beach, and Relics!
High trash: For searching in trashy areas.
Beach: For searching on beaches.
Relics: To search for valuable targets.
With these preset settings feature for the most common types of detecting; you can simply turn on the detector, choose a setting, and start hunting without spending any time on adjusting the settings. Amazing time saver!
It additionally features a Pin Point Mode that lets you pin point accurately your find and the size of it before you start digging down into the ground.
The E-Trac Metal Detector has a "72mm x 48mm" LCD Display Panel that provides clearer on-screen graphics and improved target identification.
The display is neat, with buttons nicely placed on the display to make it easier for you to access the menu and make adjustments easily; thereby making detecting with E-Trac much easier.
The display is backlit; meaning you can use the E-Trac Metal Detector late in the evenings and even at night.
One prominent feature of the E-Trac Metal Detector is the USB functionality that allows you connect the detector to the computer for you to better manage settings, modes, as well as discrimination patterns and build a resource you can continually refer to.
The detector comes with a cable with which you can easily connect it to a PC or laptop.
This advanced feature is also designed to allow for quick configuration of the E-TRAC at the touch of a button to specific detecting areas and preferred targets; thereby allowing you spend little time, adjusting settings, but instead more time out in the field , detecting.
You may want to know that the E-Trac Metal Detector is much better at finding silver than it is at finding gold. A number of users have reported that low quality gold has been mistaken for trash by the detector.
Also, the programming is a little different from what some more experienced users are familiar with. So, you may want to bear in mind that the learning curve can take some time, before getting used to. But once you get a hang of it. The money spent is well worth it.
Irrespective of the above however, the Minelab metal detector still comes highly recommended to those that want to explore further and increase their treasure finding capabilities.
The Minelab E-Trac Metal Detector is without a doubt, one of the best deals you can find in the market. It has set a significant technological advancement with all its features highlighted above and its quality performance. I highly recommend it for the experienced hunters who want to substantially improve their metal hunting experience.


On October 25th, Deb, Brett and I left Hluhluwe Game Reserve and headed towards St. Lucia. Of course on route we had to stop at the Emdoneni Cat Project, one of my favourite places. When we left Hluhluwe it was about 28 degrees Celsius. When we arrived at Emdoneni it was a whopping 43 degrees C. As soon as we got to Saint Lucia in the early afternoon it was a lovely 32 degrees. The climate at Emdoneni that day was smothering. All of us, the cats included, were having trouble with the heat, but despite the extreme weather it was a beautiful day and a lovely visit with the cats.
This cheetah is feeling a bit hot.
As I explained in my previous blog post about Emdoneni, this cheetah grew up in a home with children, and therefore is trained to be ok around humans, but because of this he can also not be released into the wild, instead he is used to diversify cheetah DNA in a breeding program. Here he is giving the guide a good lick.
Deb and Brett and the cheetah.
It's still very hot out... now leave me be.
South African wild cat, the red hairs behind their ears are one indicator for their breed.
Bar-One the cranky caracal. He was named after a local chocolate bar because he stole it out of a visiting child's hands right through the fence. He was especially cranky because of the heat and walked around the enclosure and around everyone's legs growling and hissing.
Deb giving him a good face rub.
Nothing more refreshing than some water on this very hot day.
After Emdoneni we headed to Saint Lucia, checked into an Airbnb, had a shower/dip in the pool to cool off and headed from there to the boat tour to see the hippos.
Yawning hippos are the best hippos.
Baby hippo yawning in the background.
I like to call this a hippo pile-up.
There was quite a thunderstorm rolling through and we got off the water just in time for possibly the loudest thunder/lightening strike I have ever heard in my life.
Monkey business at the Airbnb in Saint Lucia.
Before check out that morning at the Airbnb we watched the monkeys go to town in the yard. Turns out monkey babies are just as wriggly and always trying to get away as human babies ;).
Next, we did a 3-4 hour guided tour around Khula village, just outside of Saint Lucia. This was a really great experience. It wasn't a tourist experience, but instead it was a tour through an actual modern day Zulu village. We visited the local school, we were invited into the homestead of a Zulu woman who raised her children on her own through the income of her weaving. We visited the village sangoma (healer), who had her sangoma-in-training there in her place and the experience was finished off with a group of local boys demonstrating some of the traditional dances and then teaching them to whoever wanted to learn.
First stop was the school. Each class has around 70 students in it.
We visited some of the youngest in their class room and got high fives all around.
The visit was timed so we arrived just before recess and the kids said their prayers and got to go outside to play pretty quickly after our arrival.
There are seven stations set up around the room teaching different subjects. Here is the math station in the corner, one station about imagination and the last station is for just play. Each week they try to focus on different theme, so when it's a week about birds then the station with the books will feature books about birds, etc.. The students move from station to station in smaller groups throughout the day which allows the teacher to spend more time with each specific group.
Early years in school are meant to be taught in Zulu only, but this teacher tries to teach lots of English to the students at the same time. They have problems otherwise if their parents can afford to send them to private school later on.
Our guide playing games with the kids outside.
Then the kids descended on the visitors, Deb and Brett played with them for about half an hour.
Many photos later, this kid behind me already knows all about photobombing.
Everyone we visited during the tour gets a percentage of the fee, for the school this means being able to help the lowest income families purchase the required school uniforms.
After the school we walked through the village and learned much about the new clinic in town, the various religious practices and then we visited this family homestead. The guide explained to us what the different buildings mean.
Washroom, and behind that boards is the outdoor shower.
This older style zulu hut is meant to speak to the ancestors, and otherwise used for storage.
The homestead is the home of a woman whose husband died before they got married. She has supported her family with weaving and presumably with the income from the tours. She sleeps in this round hut with 9 other family members, including grandchildren on two mattresses on the floor.
They showed us how she weaves these colourful place mats. She wraps dried grass stalks with recycled chips bag material, then they get woven together into mats. It takes her about ten minutes to complete one mat. It would have taken everyone who tried it an hour, minimum, to complete one mat.
Here she showed us how to wrap the grass in the recycled material and then had everyone around try it as well.
Came by this beauty during our village walk.
Next stop was the home of the sangoma, but the sangoma was away on sangoma business so her trainee filled in for her during our visit. The sangomas are the healers of the Zulu, similar to what in North America you may call a medicine man or woman. At Khula village the sangomas and the nurses at the clinics work together and have learned from each other at what point does a patient need a sangoma and when is it better to visit the clinic.
The day was finished with some of the local boys giving a traditional dance performance, followed by a lesson to teach volunteers how to dance their dances.
To read up about our past adventures in Saint Lucia, click here.


text:
Mapping ourselves!
What do maps mean to you and how can they be used in creative, expressive ways?
Each month, in my facebook group Creative Hands Tribe, I run a small challenge to stretch and explore our inspiration and artistic skills. This month sees our first Art Maps challenge, where we will look at what makes a map, how they can be used for a very wide variety of things. We will play about with drawing, painting and/or collaging with a printed map and then go on to making our own map to represent or express anything we choose!
I LOVE a good map, especially an old one, and can pour over these for hours! Indeed I have decorated my stairwell with maps in place of wallpaper. It is no surprise, I did study Human Geography at university after all! Printed maps, marked by their folds, hold a vast area, but tuck into your pocket. From studying the contours, symbols, names and features you can see something of the social geography of a place, it's history, how a town grew from a small village, find roman roads and ancient sites. (It's really no the same with Google Maps!) Maps also tell you a little about the maker, the purpose. Maps have been used for political gain and propaganda even.
And we don't just map the land, but the seas and skies too.
I once made a Constellation of the Heart for a lover...a map of their constellations and the key that whispered messages of love.
I made a map as a wedding gift, in the shape of an Ampersand with mountains, lakes and settlements telling the story of the couple, their meeting, growing together and hopes for the future. Maps can be anything that you want them to be. We add a key of symbols to leave clues to it's meaning. We can make them a beautiful flow of lines like the London Underground map, or decorate with compasses and decorative cartouches. I love that the word Cartography (the study and practice of making and using maps) contains the word ART...very telling to me.
Yes, maps are a thing of beauty, they help us find our way, keep us from getting lost, find food and shelter, or the way off the M25! Maps tell stories, histories/herstories, create illusions, portray political perspectives, divisions, unions and call us to explore our world, our seas, our universe.
You could map your senses, a map of smells experienced on a walk or journey, a map of food eaten, people met, conversations overheard. You could map and name the freckles on your body or the face of a loved one. Maps are like enigmatic books and films of the imagination.
What maps would you create and where would they lead?
Come join the Creative Hands Tribe and make a map with me!


Jeff Coffey from Fair Flies and Ben Gehrke from Lagartun will be here in the shop to do an interactive fly tying demonstration.
They will be demonstrating how to tie Salmon and Steelhead flies using Fair Flies and Lagartun products. They will talk about how and why to fish them. By the end of the night you will know what makes these products unique and why they work so well together.
This is going to be a fun and interactive evening where we will encourage you to ask questions. There will be some prizes up for grabs so be sure to call the shop or stop by to get your spot reserved now!


text:
B LEE AULTMAN, PH.D.
Educator/Researcher
Notes on Research (Part One): Thoughts on Trans Narratives and Discontinuity
When I first arrived at the Trans Archives at the University of British Columbia at Victoria, I had hardly figured what was relevant; I was only four years into my doctoral program at the time. I was eager for so many reasons. There was, of course, the standpoint of research. I needed data for my dissertation. I needed the stories of, by, and about trans communities in North America. Whether they were confined to second half of the 20th century or were fragmented medical narratives of its first, I was dedicated to my research. I sought a politics of ordinary transness from the vantage of their inner-worldly perspective. What that looked like, well I had yet to determine that. I took my sense of method from queer feminism and felt that, as someone finally learning to become a genderqueer self, I would saturate those few weeks with as many stories as I could locate. Rather than winnow down the documentary trail, rather than seeking within a text that one "critical object" signifying my idea of ordinaries, my idea of politics, I would surround myself with a plenitude. Documents can vary by way of source, print type, and I couldn't risk losing a radically ordinary trace of life because of an overbearing sense of economizing time. Was the role of the archival researcher not unlike that of entering the allegorical cave whose denizens awaited not so much the epistemic clarity or salvation I could (not) bring—but my ethical relation to them as an encounter with my otherness? These documents were the traces left by forms of life, voices like so many piles of old news ready to be forgotten, unredeemed dreams of gender affirmation or transsexual satire. This was the political task of un-forgetting at the site where memorials of transness were no different than a diary, a notebook, a scrap of paper etched with the ink of someone I had never met—but whose words were consonant with my own gendered sensibility.
The text is an encounter that blurs the form/content distinction into its rightful place as fiction. So a poem becomes an expression of, say, the structure that ordinary fantasy gives to desire. But this is no less true as a poem being the ordinary writing habit of a given person. I found a few poems. One of a trans woman who took that moment of her day, week, month—for that matter how many times did she edit it before it felt complete—time to inscribe a single page with words that expressed her habits, exchanges, relational misgivings. The agon of the archive is not my desire. It is the tension beneath the texts that came to me in boxes of folders in what seemed like endless supplies. Can a life be so meticulously transcoded into documents and texts, words and things, so that our organic bodies are, like a telos, text-bound? I read through the obituary of a man whose medical career was spent serving the trans community. Someone had inscribed "gender disorder narrative" on a piece of paper and clipped it as an addendum. Dr. John Money was both famous and infamous. Was this note an indictment at the scene where time met event, making history readable in that moment, for me, as an exchange between activist Ari Kane and this man's life's work? Was she waiting to use this obituary for some future exchange between a colleague, or at another Fantasia Fair she co-organized each year? These speculations bring anxiety to the political researcher. If answers are not immediately forthcoming then the questions must be unimportant. But I think this anxiety misses a point. These writers—most of whom are not remembered by history because they did not "make" History—are ordinary. And their speculations were ordinary, too. They were within History. Their voices made small but relatable; some were recondite statements; some were re-descriptions of gender. They speculated on the importance of their own lives into the world to which I was ethically bound as my own otherness. To speculate is an adoption of the Latin term specula, meaning "lookout post." Was it wrong, then, for me to speculate in this archival lookout post of sorts—one node among the few (but growing) that exist in which trans narratives, memories, feelings, affects, and artifacts were stored? I could see that the ordinary had become a kind of tactical survey on my part. And that narratives of the ordinary kind were not productions of linear time, or demonstrative of a time and place. They were also fragments, discontinuities of trans life.