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Ach Gott, vom Himmel sieh darein, BWV 2, (em português: Oh Deus, olhe para baixo do céu), é uma cantata composta por Johann Sebastian Bach em Leipzig em 1724 para o segundo domingo após a Trindade, que ocorreu neste ano em 18 de junho e que marca a data da primeira apresentação. As leituras prescritas para esse dia são I João 3: 13-18 e Lucas 14: 16-24 .

Cantata Coral
Essa cantata é uma cantata coral, baseada exclusivamente nas palavras do coral homônimo publicado por Martinho Lutero em 1524, que parafraseou o Salmo 12. As palavras são usadas sem alteração nos movimentos 1 e 6. Um poeta desconhecido transcreveu as idéias dos versículos 2-5 para os recitativos e arias. A cantata é a segunda de uma série de cantatas corais que Bach compôs no seu segundo ciclo anual em Leipzig.

O tema do coral homônimo foi escrito por Martinho Lutero, apesar de que Paul Speratus já havia usado a melodia em seu hino "Es ist das Heil uns kommen her"

Notação e Estrutura
A obra foi escrita para trombones, oboés, violinos, viola e baixo contínuo, três solistas vocais (contralto, tenor e baixo) além de quatro partes para coro.

Compreende seis movimentos:
 Choral: Ach Gott, vom Himmel sieh darein
 Rezitativ (tenor): Sie lehren eitel falsche List
 Aria (contralto, violino): Tilg, o Gott, die Lehren
 Rezitativ (baixo, cordas): Die Armen sind verstört
 Aria (tenor): Durchs Feuer wird das Silber rein
 Choral: Das wollst du, Gott, bewahren rein

Música
No primeiro e no último movimento, com as palavras do hino original, o estilo da música é "arcaico", com os instrumentos dobrando as vozes. No primeiro movimento, a melodia do coral é cantada pelo contralto, em notas longas e cada trecho é preparado para entrada em fuga das outras partes, sobre o mesmo tema. O 2º movimento é um recitativo secco, mudando para arioso em duas linhas semelhantes às palavras do coral, marcada pelo compositor como adagio. A ária de contralto está escrita no estilo "moderno" com um solo de violino, marcada pelo compositor como animada. O recitativo do baixo é acompanhado pelas cordas. A ária de tenor é contrastada por um concerto dos oboés e cordas, que são silenciosos na seção intermediária até a sua transição para o Da Capo.

Para ouvir

Texto
1. Chor
Ach Gott, vom Himmel sieh darein
Und laß dich's doch erbarmen!
Wie wenig sind der Heilgen dein,
Verlassen sind wir Armen;
Dein Wort man nicht läßt haben wahr,
Der Glaub ist auch verloschen gar
Bei allen Menschenkindern.

2. Rezitativ
Sie lehren eitel falsche List,
Was wider Gott und seine Wahrheit ist;
Und was der eigen Witz erdenket,
- O Jammer! der die Kirche schmerzlich kränket -
Das muß anstatt der Bibel stehn.
Der eine wählet dies, der andre das,
Die törichte Vernunft ist ihr Kompaß;
Sie gleichen denen Totengräbern
Die, ob sie zwar von außen schön,
Nur Stank und Moder in sich fassen
Und lauter Unflat sehen lassen.

3. Arie
Tilg, o Gott, die Lehren,
So dein Wort verkehren!
Wehre doch der Ketzerei
Und allen Rottengeistern;
Denn sie sprechen ohne Scheu:
Trotz dem, der uns will meistern!

4. Rezitativ
Die Armen sind verstört,
Ihr seufzend Ach, ihr ängstlich Klagen
Bei soviel Kreuz und Not,
Wodurch die Feinde fromme Seelen plagen,
Dringt in das Gnadenohr des Allerhöchsten ein.
Darum spricht Gott: Ich muß ihr Helfer sein!
Ich hab ihr Flehn erhört,
Der Hilfe Morgenrot,
Der reinen Wahrheit heller Sonnenschein
Soll sie mit neuer Kraft,
Die Trost und Leben schafft,
Erquicken und erfreun.
Ich will mich ihrer Not erbarmen,
Mein heilsam Wort soll sein die Kraft der Armen.

5. Arie
Durchs Feuer wird das Silber rein,
Durchs Kreuz das Wort bewährt erfunden.
Drum soll ein Christ zu allen Stunden
Im Kreuz und Not geduldig sein.

6. Choral
Das wollst du, Gott, bewahren rein
Für diesem arg'n Geschlechte;
Und laß uns dir befohlen sein,
Daß sichs in uns nicht flechte.
Der gottlos Hauf sich umher findt,
Wo solche lose Leute sind
In deinem Volk erhaben.

1. Coro
Ah Deus, olha para baixo do céu
misericórdia e ainda sobre nós!
Como poucos são os teus santos,
que os pobres são abandonados;
Sua Palavra não é confirmada como verdadeira,
e a fé, é também extinta
entre toda a humanidade.

2. Recitativo
Eles ensinam o engano, vã falsidade,
que se opõe a Deus e à Sua verdade;
e qual o seu juízo próprio,
- O sofrimento! que tão dolorosamente enfraquece a igreja -
deve tomar o lugar da Bíblia.
Um escolhe isso, outros aquilo,
e motivo tolo é a sua bússola.
Eles são como os túmulos dos mortos,
que, embora possam ser limpos na parte externa,
contem fedor e mofo dentro deles
a mostrar a obscenidade pura.

3. A Aria
Ó Deus, retira os ensinamentos
que pervertem a Sua palavra!
Luta contra a heresia
e todos os espíritos divergentes;
E eles dizem sem vergonha:
Desafiamos quem nos governa!

4. Recitativo
Os miseráveis são confusos,
seus suspiros Ah, o choro ansioso
de tanto tormento e angústia,
através do qual o inimigo das almas justas,
anéis na orelha da graça de Deus Todo-Poderoso.
Para isso Deus diz: "Eu devo ser seu ajudante!
Eu tenho ouvido o seu choro;
o alvorecer róseo da ajuda,
o sol brilhante da verdade pura
é com o novo poder,
criação de esperança e de vida,
atualiza-los e torná-los felizes.
Vou ter pena de seu sofrimento,
Minha palavra de cura é a força dos fracos.

5. Aria
Através do fogo, a prata é purificada,
através da cruz a luta é verificada.
Portanto, um cristão deve continuamente
levar a sua cruz do sofrimento com paciência.

6. Coral
Este Deus, que iria nos manter puros
Antes desta ímpia corrida;
E vamos ser obedientes a você
Sob pena de ser marcado dentro de nós.
O ímpio cerca a multidão,
Quando as pessoas forem devassas
será exaltado entre o seu povo.

Vert também
 Lista de cantatas de Johannn Sebastian Bach
 Luteranismo

Ligações externas

 Cantata BWV 2 Ach Gott, vom Himmel sieh darein Site bach-cantatas

 Texto e alemão e tradução para o inglês Emmanuel Music, Boston
 BWV 2 Ach Gott, vom Himmel sieh darein Site Bach (em alemão)
 Entradas para BWV 2 no WordCat<sup>®</sup>

Composições de Johann Sebastian Bach

redpajama_set_name: RedPajamaWikipedia


Courtesy of Frank LicatoActor Vincent Pastore and other stars will be featured in Hudson Theater Works' reading of "40 C.P.S."
Hudson Theatre Works will present a reading of Hoboken playwright Louis LaRusso's play "40 C.P.S." starring "The Sopranos" stars like Vincent Pastore and Robert Funaro as well as Tony-award winner Karen Ziemba.
While the show's cast is star-studded, its subject matter is down-to-earth.
"40 C.P.S." - which stands for "40 Central Park South" - takes these issues head-on in what Licato called a "thinly-disguised portrait of Michael Bennett," the playwright and director behind great Broadway shows like "A Chorus Line" and "Dreamgirls." LaRusso and Bennett were close friends.
"They were sort of an odd couple - it was a very interesting symbiotic thing," said the Weehawken resident. "Louis wrote this as a tribute to Michael."
As the lead character (Funaro) deals with his rising fame, issues with his estranged wife (Ziemba) and more, his deadbeat dad (Pastore) comes back into his life.
Licato says the comedy-drama was inspired by an idea LaRusso and Bennett had for a musical about fathers and sons that failed to take off before Bennett died of AIDS in 1987.
"The father is sort of old-world Italian. He comes into this very showbizzy thing where is son is very flamboyant," said Licato, who noted that although the play does deal with fame and Hollywood, it focuses more on the background of Funaro's character.
"(Louis's work) is about people dealing with real problems, which is very relevant today," said the director, who pointed out the Hobokenite's ability to write about real people.
"When he started writing plays about Hoboken people, he started finding his voice," said Licato.
Licato said that LaRusso's voice resonates with the play's cast.
The readings will be held on Friday and Saturday at 7 p.m. at the Burchard Auditorium at the Stevens Institute of Technology in Hoboken. Tickets are $25. For more information, call (201) 656-2240.


Completed for Artscape, a not-for-profit organization that develops and operates space for the arts, the Wychwood Barns is an adaptive reuse of the historic TTC streetcar repair barns to accommodate a creative new community centre, office space for local groups, and housing and studios for artists. The original barn was built in 1913 to 1921 as industrial building of masonry on a steel frame. After the industrial elements of the barns were stripped, the original structure was molded to suit the new program.


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For decades, the Food and Drug Administration regulated dietary supplements as foods, in most circumstances, to ensure that they were safe and wholesome, and that their labeling was truthful and not misleading. An important facet of ensuring safety was FDA's evaluation of the safety of all new ingredients, including those used in dietary supplements, under the 1958 Food Additive Amendments to the Federal Food, Drug, and Cosmetic Act (FD&C Act). However, with passage of the Dietary Supplements Health and Education Act of 1994 (DSHEA), Congress amended the FD&C Act to include several provisions that apply only to dietary supplements and dietary ingredients of dietary supplements. As a result of these provisions, dietary ingredients used in dietary supplements are no longer subject to the premarket safety evaluations required of other new food ingredients or for new uses of old food ingredients. They must, however, meet the requirements of other safety provisions.
Signed by President Clinton on October 25, 1994, the DSHEA acknowledges that millions of consumers believe dietary supplements may help to augment daily diets and provide health benefits. Congress's intent in enacting the DSHEA was to meet the concerns of consumers and manufacturers to help ensure that safe and appropriately labeled products remain available to those who want to use them. In the findings associated with the DSHEA, Congress stated that there may be a positive relationship between sound dietary practice and good health, and that, although further scientific research is needed, there may be a connection between dietary supplement use, reduced health-care expenses, and disease prevention.
The provisions of DSHEA define dietary supplements and dietary ingredients; establish a new framework for assuring safety; outline guidelines for literature displayed where supplements are sold;provide for use of claims and nutritional support statements; require ingredient and nutrition labeling; and grant FDA the authority to establish good manufacturing practice (GMP) regulations. The law also requires formation of an executive level Commission on Dietary Supplement Labels and an Office of Dietary Supplements within the National Institutes of Health.
These specific provisions of the DSHEA are synopsized below.
FDA traditionally considered dietary supplements to be composed only of essential nutrients, such as vitamins, minerals, and proteins. The Nutrition Labeling and Education Act of 1990 added "herbs, or similar nutritional substances," to the term "dietary supplement." Through the DSHEA, Congress expanded the meaning of the term "dietary supplements" beyond essential nutrients to include such substances as ginseng, garlic, fish oils, psyllium, enzymes, glandulars, and mixtures of these.
is a product (other than tobacco) that is intended to supplement the diet that bears or contains one or more of the following dietary ingredients: a vitamin, a mineral, an herb or other botanical, an amino acid, a dietary substance for use by man to supplement the diet by increasing the total daily intake, or a concentrate, metabolite, constituent, extract, or combinations of these ingredients.
is intended for ingestion in pill, capsule, tablet, or liquid form.
is not represented for use as a conventional food or as the sole item of a meal or diet.
is labeled as a "dietary supplement."
includes products such as an approved new drug, certified antibiotic, or licensed biologic that was marketed as a dietary supplement or food before approval, certification, or license (unless the Secretary of Health and Human Services waives this provision).
The DSHEA amends the adulteration provisions of the FD&C Act. Under DSHEA a dietary supplement is adulterated if it or one of its ingredients presents "a significant or unreasonable risk of illness or injury" when used as directed on the label, or under normal conditions of use(if there are no directions). A dietary supplement that contains anew dietary ingredient (i. e. , an ingredient not marketed for dietary supplement use in the U. S. prior to October 15, 1994) may be adulterated when there is inadequate information to provide reasonable assurance that the ingredient will not present a significant or unreasonable risk of illness or injury. The Secretary of HHS may also declare that a dietary supplement or dietary ingredient poses an imminent hazard to public health or safety. However, like any other foods, it isa manufacturer's responsibility to ensure that its products are safe and properly labeled prior to marketing.
The DSHEA provides that retail outlets may make available "third-party" material s to help inform consumers about any health-related benefits of dietary supplements. These materials include articles, book chapters, scientific abstracts, or other third-party publications. These provisions stipulate that the information must not be false or misleading; cannot promote a specific supplement brand; must be displayed with other similar materials to present a balanced view;must be displayed separate from supplements; and may not have other information attached (product promotional literature, for example).
The DSHEA provides for the use of various types of statements on the label of dietary supplements, although claims may not be made about the use of a dietary supplement to diagnose, prevent, mitigate, treat, or cure a specific disease (unless approved under the new drug provisions of the FD&C Act). For example, a product may not carry the claim "cures cancer" or "treats arthritis." Appropriate health claims authorized by FDA--such as the claim linking folic acid and reduce risk of neural tube birth defects and the claim that calcium may reduce the risk of osteoporosis--may be made in supplement labeling if the product qualifies to bear the claim. Under DSHEA, firm scan make statements about classical nutrient deficiency diseases--as long as these statements disclose the prevalence of the disease in the United States. In addition, manufacturers may describe the supplement's effects on "structure or function" of the body or the "well-being" achieved by consuming the dietary ingredient. To use these claims, manufacturers must have substantiation that the statements are truthful and not misleading and the product label must bear the statement "This statement has not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure, or prevent any disease." Unlike health claims, nutritional support statements need not be approved by FDA before manufacturers market products bearing the statements, however, the agency must be notified no later than 30 days after a product that bears the claim is first marketed.
Like other foods, dietary supplement products must bear ingredient labeling. This information must include the name and quantity of each dietary ingredient or, for proprietary blends, the total quantity of all dietary ingredients (excluding inert ingredients) in the blend. The label must also identify the product as a "dietary supplement" (e. g. , Vitamin C Dietary Supplement"). Labeling of products containing herbal and botanical ingredients must state the part of the plant from which the ingredient is derived. If a supplement is covered by specifications in an official compendium and is represented as conforming, it is misbranded if it does not conform to those specifications. Official compendia include the U. S. Pharmacopeia, the Homeopathic Pharmacopeia of the United States, or the National Formulary. If not covered by a compendium, a dietary supplement must be the product identified on the label and have the strength it is represented as having.
Labels also must provide nutrition labeling. This labeling must first list dietary ingredients present in "significant amounts" for which FDA has established daily consumption recommendations, followed by dietaryingredients with no daily intake recommendations. Dietary ingredientsthat are not present in significant amounts need not be listed. Thenutrition labeling must include the quantity per serving for eachdietary ingredient (or proprietary blend) and may include the source of a dietary ingredient (for example, "calcium from calcium gluconate"). If an ingredient is listed in the nutrition labeling, it need not appear in the statement of ingredients. Nutrition information must precede ingredient statements on the product label.
Supplements may contain new dietary ingredients--those not marketed in the United States before October 15, 1994--only if those ingredients have been present in the food supply as an article used for food in a form in which the food has not been chemically altered or there is a history of use, or some other evidence of safety exists that establishes that there is a reasonable expectation of safety when the product is used according to recommended conditions of use. Supplement manufacturers must notify FDA at least 75 days before marketing products containing new dietary ingredients, providing the agency with the information on which the conclusion that a dietary supplement containing the new dietary ingredient" will reasonably be expected to be safe" was based. Any interested party, including a manufacturer of a dietary supplement, may petition FDA to issue an order prescribing the conditions of use under which a new dietary ingredient will reasonably be expected to be safe.
DSHEA grants FDA the authority to establish GMP regulations governing the preparation, packing, and holding of dietary supplements under conditions that ensure their safety. These regulations are to be modeled after current good manufacturing practice regulations in effect for the rest of the food industry. FDA intends to work with the supplement industry and other interested persons to develop GMPs and, in doing so, will seek public comment as to their scope.
The DSHEA requires the formation of a Commission to conduct a study and make recommendations on the regulation of label claims and statements for dietary supplements and procedures for the evaluation of the claims. The members of the Commission will evaluate how best to provide truthful, scientifically valid, and not misleading information to consumers so that they can make informed and appropriate health care choices. The Commission will be composed of seven members, appointed by the President, with experience in dietary supplements and in the manufacture, regulation, distribution, and use of supplements. Three members must be qualified by scientific training and experience to evaluate supplemental benefits, and one of these must be trained in pharmacognosy, medical botany, traditional herbal medicine, or other related sciences. All Commission members and staff should be unbiased about supplement use.
On October 2, 1995, the White House announced the names of the seven individuals the President intends to appoint to the Commission. The members include nutritionists, industry representatives, a pharmacognosist, and attorneys.
The Commission will submit a final report including recommendation sand legislation related to label claims for dietary supplements to the President and Congress within two years of convening.
The HHS Secretary will establish an office within the National Institutes of Health to explore the potential role of supplements to improve health care in the U. S. The office will also promote scientific study of supplements and their value in preventing chronic diseases; collect and compile scientific research, including data from foreign sources and the NIH Office of Alternative Medicine; serve as a scientific adviser to HHS and FDA; and compile a database of scientific research on supplements and individual nutrients.
DSHEA's provisions for use of nutritional support statements and third-party literature became effective when the law was signed. The effective date for other labeling provisions and any FDA implementing regulations is after December 31, 1996, although manufacturers may label their products consistent with provisions of DSHEA until that date.


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Columbia Pike: Through the Lens of Community
Friday, January 7, 2022 at 9:00am to 5:00pm
Columbia Pike: Through the Lens of Community, a unique exhibition of photographs at the Library of Virginia, celebrates the extraordinary cultural diversity found within a single community in Northern Virginia. Columbia Pike originated in the 19th century as a toll road connecting rural Virginia with the nation's capital. Today, the Columbia Pike corridor is one of the most culturally diverse communities in the nation, and possibly in the world. More than 130 languages are spoken in Arlington County, with the densest concentration along the Pike. Unlike in many parts of the world, or even in our own country, however, the stunningly diverse group of people—representing every continent—who live and work there do so in relative harmony.
Columbia Pike Documentary Project photographers, whose personal connections to the community allowed them to capture the strength, pride, resilience, elegance, and beauty of so many overlapping cultures, created the works on view. More than 70 of the thousands of photographs transferred to the Library of Virginia's collections this spring will be highlighted in Columbia Pike: Through the Lens of Community. The exhibition will also include information about the neighborhood, the residents, and the photographers themselves. As the nation seems more divided than ever, this collection shows how one community is making diversity work.
Library of Virginia, Gallery
800 E Broad St, Richmond, VA 23219
History, Multicultural
http://www.lva.virginia.gov/news/cale...
ashley.ramey@lva.virginia.gov

redpajama_set_name: RedPajamaCommonCrawl


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reel heavy productions
APR. 3rd, 2016- MYSTIC RADICS "NATION WIDE" 12" REISSUE NOW SHIPPING TO DISTRIBUTORS! Our new 12" is FINALLY out this week, shipping to distributors worldwide… Ask your local shop for it!
As per usual, the full Mytic radics interview is coming up in the next weeks on the blog below… Hold tight! Feel free to subscribe to this blog, or to our Facebook page to know what's up.
ZEN BOW + NORRIS REGAL 12s UPDATE Regarding our two first releases, Impression by Zen Bow, and Struggle by Norris Regal, they are sold out at our distributor's –which means they are all in a shop somewhere, waiting for you! There are still copies available, for sure, over at Ernie B's : www.ebreggae.com. They are going fast!
The Mystic Radics story, ep. 3: " He said I had to pay the DJs now to put the song on their playlist"
Why did you decide to go with Mystic Radics instead of just you as a solo for Nation Wide?
Tony Moody: The early days, it was more personal, like Night Work and Pusherman, they were all personal stuff. Then when I saw that all the players I was teaching at the time started playing really well, I decided we needed to form a band. And that's when I started to deal with Mystic Radics.
(Mystic Radics member Earl Dorango joins the conversation)
Earl… I was just telling him about the Radics. So, the name Mystic Radics came from Roots Radics in Jamaica. Because Roots Radics was bad, you know? And it's more inclusive: when that band element came into it, each individual had to take personal responsibility for various things.
So on Nation Wide, Paul played the drums, I played the keys, and Desmond played the guitar—that's it, I think.
I always thought you were singing on it, but you were not, correct?
No, it's Earl doing the lead vocal. He came into the rehearsal room and I heard him sing, "Nation Wide." So then, we created a little beat around it, and then I said, okay, let me write some lyrics [laughter], let me do the verses to it. He ended up singing it with his two brothers, Tony (RIP) and Junior.
Earl Dorango in 2014, London.
Earl: I was 17 at the time. I was coming from a different Youth Club but I heard they were auditioning, and I got the lead singer spot. We recorded a few other songs where I'm singing, but only Nation Wide was released. I did this other one called Give Thanks that we used to sell as a dubplate, Small Axe was playing it a lot. I just saw it on Ebay for 130 Pounds – They called me Earl the General on it! [as it looks, someone DID release it, unbeknownst to Earl -check it over here]
Tony: I printed 250 copies of Nation Wide. I took them to Jet Star and he bought them all. So he had faith in the music, he bought them all. I had joined PRS, and when they came back in, they gave me a rundown of who purchased them. Quite a few were sold in France, but the most was sold in Ireland!
But I kept everything, all the master tapes, all the lacquers, everything. I always thought that this was going to be documented some day. So mi pushed everyt'ing under mi bed. It didn't surprize me that much when you got in touch. But you see, when mi tek it out, cobweb full it! [laughter]
So then the tune got quite big from Shaka playing it, notably on the Masseh show on Kis FM. How did that happen?
Well, when we released it, at that time, [Brixton-based, 12 tribes-affiliated sound system] Jah Revelation Muzik was big, so I wanted to have them play at our Gypsies Youth Club. I ended up giving them a copy of it, and they played it a lot, and then they told me Shaka picked it up and rub it.
Tony Moody and singer Vincent Roswell, circa 1984.
Photo courtesy Tony Moody
You also did the highly sought-after Going to a Dance 12" with Vincent Roswell as the singer.. But then, it feels like you all disappeared
Really, it's only three songs we did. And the reason why I stopped… Ok, so, we did the song Pusherman, it played on Radio One, and then when I went back to Jet Star and he said to me I need to plug it. I said, "What you mean, plug it?" He said I have to pay the DJs to put it on their playlist. Pay them. The reason why I wrote Pusherman is because the youth take whole heap of drugs, how do you expect me to go pay for a social thing? So mi sey, "Mi nah pay." And mi stop. [laughter] "You know what, I'll focus on the cricket."
I was done. The only time we put out music again was for the Zimbabwe cricket event, in 1988. It was a massive tour because The Evening Standard put £25,000 into it. They sent a camera crew from Channel 4 to record it and I got to create the music for that a 12" called Zimbabwe. I always felt that the music would have carried the cricket.
Earl Durango: But it was the other way around.
Tony Moody: Cricket was rather more important because I realized that in cricket I could do more in my own mind. Even though music is more effective, in my mind I feel I could do more with cricket than with music. Even though the music, at the time, was more impressive and more effective, I felt the lasting effect would be using cricket. It would last longer.
The Mystic Radics story, episode2: "It made me realize that I could use cricket to tackle wider social issues"
The Mystic Radics in the early 1980s: L to R. Vincent Roswell, Desmond Carter, Franco Scalisi, Tony Moody, Marvin Augustus
—Photo courtesy T. Moody.
So that first song came out, and it was already on your label, Water Mount. The name always intrigued me.
Oh, yes! It was where my wife was born—Water Mount, St. Catherine, Jamaica. So I named the label off her. And I drew the logo myself as well.
[laughter] I think it's terrible.
Well, it's very… I'd say it's very genuine.
Yes, it was like that. Because I couldn't afford to do things, I just do it myself.
How many copies did you originally press of Night Work?
Two hundred. That was at what I could afford to do. And I did try to promote it in some of the clubs because I sang in some of the clubs, like The Podium, or another one in Catford. I remember singing there once and Nitty Gritty was on the bill. It was a big dance, Frontline sound system was playing. I got to sing Night Work right before Nitty Gritty got on the microphone. But I only did it because I wanted to find a way of getting the funds for the cricket. So, that's what I did.
You kind of managed to make some money off it?
No, because the way the music business works, I realized I didn't have the kind of money to stay with it. I didn't have the kind of money to stay. Because the way how they deal with music is not for the music. They deal with it for something else. It's not just for the music. It's like they feel everything has to be marketed in a particular way, and music is sometimes is very personal. And that personal feelings or that personal attitude that you bring to it, sometimes it's not commercial enough. If you are going to say certain things that you, you know, that you feel strong about, some people would say, Oh, it's too militant, or too political. They kind of want to manufacture the spirit of music and manufacture the spirit of people and that's where the creativity is lost.
So then from this first 12 inch, what was the next one? Was it Pusherman?
Pusherman, yes. In the youth club, I remember one of them, his brother was taking drugs in a bad way. Because it was so bad he was prepared at the time to allow his girlfriend to go with the pusher man in order for him to feed his habit. And his brother was telling me, in the rehearsal room he was telling me and he was crying. And he asked me, "What can we do? What can I do?" And the only thing that came to me was for me to write a song. Because then it wasn't the pusher who they were blaming, it was the users. They were penalizing the users. So I realized that really it's not the users, it's the pushers who is creating that problem. So I then wrote about the Pusherman. And it played on Miss P's show on Radio One. I was at work and Desmond called me and said, "Tony have you got a radio nearby?" And I said yes. So I went to the personnel and I heard about few bars of the song. But then I hear them discussing the contents, the words. And then few days after I saw in the paper that they were dealing with the pushers rather than the users.
Wicked DJ cut on the Pusherman riddim, followed by the original vocal – both found on master tape, unmastered.
Do yout think that was it because of the song?
I don't know if that's what they got it from, but I know that's what happened.
Do youu remember roughly what year Pusherman came out ?
Not really. I didn't document my role in music, because I've always felt that music wasn't… even though I love it, it wasn't like the most important for me. Cricket was.
How did you get this deep into the sport?
When I came to England, I started playing football but one of the coaches from Surrey came to the school and that was like the first couple of months while I was at school. He took us to Crystal Palace, where we played cricket, and realized that I was a better cricketer than footballer. So the first few months while I was in England I played for the school team. By playing cricket, I realized that the social side of things was different from football, different from music. It is a different concept, a different mentality, a different attitude. I realized that the depth of thought that you need to play cricket was different from the instinctive nature of football. I also realized that in music the concept links with cricket.
Links in what way?
In terms of the emotion. Because it's not instant, it's not a sprint, it's like a marathon. And because it's like a marathon, it gives you more time to think, to be creative, and so on. So the creative juice within cricket, because the mental side and the physical side and the emotional side, all that is evident. So when you bring all that together, the creative juices increase.
Did you play cricket in Jamaica already?
Yes, but not so much the traditional cricket. We'd play the catchy shubby form of it. Everyone could be involved in playing this type of game because it's for the young, old and anyone. So that's what I grow up with. So when I came, I start playing traditional cricket. I was 17 when I played my first match here. But then it was a match between the community team playing against the police. So I realized that you could use cricket to tackle wider social issues So that got me going, because that concept was really good – to watch the team, mainly West Indian players playing against the police.
Was it a friendly game?
Yes, it was, and they were using it to bridge the gap in a social way. So it was very good and I really loved the idea, because then the police was very aggressive. They were very aggressive and quite a number of people died in custody and all that type of stuff. So the idea of using cricket to bridge the gap, I thought was a good one, so ever since then I grasped it and I continue doing it.
So you were very deep into cricket already, and then came Nation Wide…
Final episode of the Tony Moody interview coming up next week – hold tight!
The Mystic Radics story, episode 1 : meet me at the Youth Club
Being born is St Andrews, Jamaica, how did you end up in England?
Tony Moody: I came here when I was 13. My mother came, when I was seven, and I remember I missed her so much. So in 1967, I wrote her my first letter and I explained how much I missed her and so on, and within six months she sent for me. She was working on the buses, as a conductress.
It was a cultural shock—the change. In comparison to Jamaica, it was very cold, but I liked it. The thing that I noticed more than anything else was that there was no leaves on the trees [laughter]!
Had you started singing already, back in this time?
Well, when I came to England, the first thing I saw in my mother's new house was a piano. And I always wanted to play the piano when I was in Jamaica, but I didn't have one.
I also liked the trumpet because the most famous band back in Jamaica was the The Skatalites, and I met Dizzy Moore and so forth, I loved the way he played. But I bought a trumpet and I realized it was quite difficult, so I didn't bother.
So… the piano, then.
Yes. And I had a friend who we used to go to youth club with and his brother was one of the best pianist in Jamaica, and he used to attend the youth club: Harold Butler himself! I used to watch him play ath the Youth Club. I even paid him to play for me. So when I came and I saw the piano I then asked my Mom if I could play it and she said yes. And then I started singing as well.
What area of London did you reach when you first came? Lambeth?
Lambeth, yes. West Norwood. It's a beautiful area. But then while I was there, one day, two days, three days, playing songs I brought over from Jamaica, Alton Ellis songs and different songs to remember Jamaica, the Skatalites' songs, I'd play them, and then finally my mom said, "Okay, we'll have to go and get your school uniform to go to school". So then she took me to Brixton. I could not believe it. Absolutely wonderful. I just loved it. The vibes, just the area. I've loved it ever since. It was like a small version of Jamaica. It's the feeling. I felt like I was at home. I wrote back a letter to my grandmother and I said, "This place is like little Jamaica".
Was anybody from your family in the music business at all?
No. My mom is a very good singer, though. She'd sing Sam Cooke songs, things like that, or The Platters or Dusty Springfield songs. She's back in Jamaica now.
But anyway, when I started at my school, Kingsdale School, all of my friends and l would sing because we would go to youth clubs and we'd listen to music and then we just start singing. My friends would always be saying, "Tony, sing! Sing!" That's when I recognized that okay, they liked my voice. They didn't even know that I play the piano.
The band, now, came about because of my piano playing, I taught myself to play good enough. I played the organ as well, so my friend Sami Francis wanted to form a band and asked me if I would play the keyboards. I said yes, and that's how it started.
But the most important step for me to really get serious about putting out music was when I was playing cricket. I joined the Brixton West Indies Cricket Club and I remember playing a match against the BBC. I remember telling everybody, "I want to take a cricket team to Africa." I was 19. So they said, "Where you're going to get the money [laughs] to take a cricket team to Africa? You know you're talking nonsense." It's like a pipe dream, you're thinking, but you're just dreaming.
At the time, the apartheid system in South Africa was really bad. And I knew that if they were exposed to cricket and exposed to music they wouldn't have no time to fight because the spirit that cricket has. I believed that it they were exposed to that, they would try to rectify their differences rather than fight. So I thought if I could get at team to go to Africa to demonstrate that it actually can work if we use cricket and music linked together. It can work. So then I said, "I am going to use my music to do it". So that's when I start writing and producing and so on.
What wa s the first song you put out?
It was called Night Work. I married when I was 20. So my wife, she was doing night work, and it was very lonely [laughter], very, very lonely, because I had to look after my children. I missed her so much and I thought that by putting it into words, and writing a song and all of that she would understand how I felt. So I wrote the song for her.
So The Mystic Radics had formed already?
Yes. I was in a youth club, and I taught them to play, then I recorded with them. On Night Work, you had Desmond Carter playing the rhythm, myself, and then my eldest son, Paul, playing the drums…
Wait. You were 20 and you had your son play in the band?
Oh yes, he was like — he was young, 15. He's my step son. When I did the first song he was about 15 and I was about 20 something. I can't remember exactly. Then you had Marvin Augustus who usually played drums, too—just not on Night Work. And then his brother, Patrick Augustus, played steel drums. He still plays steel drums with Mad Professor today. Then Michael played the clarinet and melodica, Andrew —I forgot his last name—played the bass. Franco Scalisi played the saxophone. Everybody was from The Gypsies Youth Club in Lambeth. I did meet Franco at a hotel where I worked for a while, though. He would play at restaurants and that's how I met him, and then I asked him to come and join me.
Episode 2 coming out next week… Hold tight!
The Mystic Radics story – Foreword: the missing link between cricket and Jah Shaka
Growing up in pre-internet France, there was one more affordable way to get to hear new music than buying records : audio cassettes.
While a few have over the years become staples I am still religiously listening to to this very day (the Roots Ting single mixes, the Olivier Allot selections, the early days of the French-made Jah Kingdom series by DJ Clyde, etc.), some gradually became mini-Grails on their very own : The Manasseh show's, on London-based Kiss FM 100 fell in that category. Everything about the show was impeccable – from the music selection to the opening spoken jingles by one Martin Campbell. Need proof? Just download all these from this link, will you? Yes. That's what I thought. You're welcome.
Anyway, a Grail within the Grail was the series of shows that Jah Shaka did as guest over there —Mind? Blown. Imagine him playing pre-releases of Sidney Mankind's These Three Girls to a flabbergasted Nick Manasseh, dubplates galore… and then, the Mystic Radics 'Nation Wide' 12". "Oldies but goodies," as Shaka introduced it. That was it. Some day, I'd have this tune, I promised myself.
Well, it only took twenty-or-so years, until I did get the chance to reissue it on my label.
One bright day of 2014, I decided to launch on the hunt for the Mystic Radics, trying to re-trace their career from the meager credits on the 12s of theirs that I knew, all on the same label —which, I assumed, had to be their own, as it never put out any music by anyone else— Water Mount Records.
Oh boy, I thought, let the squinting start again.
After a few hours losing all the eye sight I had left on deciphering the Water Mount label's credits on the few records they put out, I came to a conclusion: my guy's actual name had to be a combination of the following occurrences: "C. Moody", "Carlton Anthony," "Carlton Moody", "T. Moody".
How about… Let's run a search with "Carlton Anthony Moody" in the UK, first and foremost? Only one hit: a certain Carlton Anthony Moody has trademarked the term "Catchy Shubby" as a form of cricket in this country, some trademark website states. Mmhh… far-fetched. But let's be overly pragmatic here: that's the only lead I got. Well, let's add "cricket" to the search. Now here comes this article:
Jamaican-born coach who used to "buy a lot of records"… Suspicious. "Tony Moody" could be very well be the "T. Moody" from the label. Plus, the picture is encouraging: this coach on the photograph would have been the right age to sing that tune back in 1984.
Too tempting: a few hours of search later, I had an email address to contact said coach. You're always kind of nervous getting in touch with people out of the blue like that. But what do you have to loose? There I went again for one of these awkward intro emails:
Dear Mr. Moody,
Ok, it might sound very strange, but here's the reason for my mail" (…) "I have been after productions from a label called WATER MOUNT that was set I think in the 80s, and as it looks from hours of research on the internet, that the producer on this label was a CARLTON MOODY, and I once found mention of T.MOODY -which I thought could be you ? Is it you? Do you know who CARLTON MOODY might be?
On this same label, I know of a 12" sung by a certain CARLTON ANTHONY so I came to the conclusion that the producers' full name is Carlton Anthony Moody, perhaps. Anyway, I hope you know what I'm talking about, otherwise it must sound pretty strange"
Etc etc—I don't mean to kill you with second-hand embarrassment, and I'm sure you get the uncomfortable picture.
(Blank space here symbolizing the next hours refreshing my Inbox every 30 seconds)
And then – 'You have 1 new message". It read what you always hope it would:
Dear Mr Carayol,
My name is Sandra Moody, I am Tony Moody's daughter and Secretary.
Thank you very much for the email, you will be happy to hear that Carlton "Tony" Moody is the person you seek in regards to the songs.
Mr Moody has expressed his appreciation in regards to your interest in the music and that it has reached all the way to you in France.
However, he would like to know what would be the benefits of his music being on your label Reel-Heavy Music.
Sandra Moody
Bingo! A couple weeks later, I was on my way to London to go meet THE Tony Moody.
Coming from France where the sport is non-existent, I never realized how big cricket actually is in the UK. Tony gave me an appointment where he works: at The Oval cricket stadium in Kensinhgton, London —which, it turns out, can shame quite a few football stadiums where I'm from, a beautiful arena made of red bricks.
Tony didn't come alone. As instructed, he had dug in the vaults and when he opened his car's trunk, it sort of felt like the old Treasure Isle logo: a few very coveted master tapes appeared, in immaculate condition, as well as a handful of vintage photographs that Tony had kept because he was confident, he told me, "that some day, someone would want to document all this."
By the time I calmed down a little (not a lot), a whole friendly crew had surrounded us: the Mystic Radics au grand complet (yes, this includes Vincent Roswell) all came to spend the rest of the day with us, and reply to my questions. Tony even invited a videographer documentary he knew to film the uncanny encounter!
The next day, after an afternoon as great as you probably imagine, I was back home. I had satisfied my own curiosity about this old 12" obsession of mine, and, very much more importantly in Tony's eyes, I knew the basics of cricket. I was now ready to launch the Nation Wide reissue process.
In our next episode – the Mystic Radics story – pt. 1.
"Shaka says so"
For "Nation Wide" to reach such elusive status, it needed some help… How about having been played in one of the most legendary sets of the Manasseh show on Kiss FM? For a few weeks in 1994, the crew invited Jah Shaka to play a few favorites on the show—and, boy, did he deliver. Hear The Mystic Radics around the 19th minute… Full Mystic Radics story coming in episodes soon, stay tuned!
32 years later, a legendary tune rides again….
RHM-003
Mystic Radics Nation Wide
12" reissue – NOW OUT!
A – Nation Wide (original mix) / Nation Wide Dub 2 (prev. unreleased)
B – Dub Version (original mix) / Alt. Vocal Mix (prev. unreleased)
Recordeded at JJ Studios, Bakham, London, 1984. Engineered by Mad Professor.
Wholesale distribution by Control Tower : dub@controltower.fr
Check out our new reissue being played in fine style by Legal Shot Sound System out of France…
Norris Regal interview – part III : a matter of principle, and an electric finale
Manicus & Steppa : warrior stance ! Photo courtesy Norris Regal.
I meant to ask you… You mentioned during one of our conversations a combination DJ cut that might be laying around on the master tape, by Manicus & Steppa. Who are these guys?
Norris Regal: Oh, them? I know them well. It's actually me and a friend messing around. We were no Michigan and Smiley, so I ended up never releasing that cut.
This should be fixed soon, ha! Back to the non-released stuff you were talking about, on the cassette tapes you had. Was it strictly dubplates for sounds, or?
Yeah -specials for sounds, really. But then I did some work with Computer Paul and then one day when I was in the studio with him, he introduced me to someone who was a song writer but couldn't write lyrics (laughs). It was pretty odd. He was pretty creative, but he never completed anything. I'm trying to word this diplomatically, 'cause I don't wanna be publishing things that…
Anyway. This guy played me a few tracks and some of the tracks I quite liked. He started telling me the idea of what he wanted on one of the tracks, a love song. I told him I could write a song for him, and I did. We recorded it with Paul and we thought it sounded quite solid. Paul loved it. The song was called "The One I Adore." We recorded it, but we didn't go no further. We didn't mix it down, we left it at that. And then a few months passed, and next thing I suddenly heard this guy dealing with Cecil Morris, who obviously I had the last links with.
But now Cecil liked the song, but decided they should have someone else to record it, and they had someone else lined up to record the song. So, unbeknown to me, they end up deciding they're going to have this other guy from the area who made a name for himself later but was then just beginning, sing it. But no one said nothing to me.
When the record came out, I think I was studying at the time so I sort of eased up off the music scene for a while, one of my friends heard the song and told me about it. So now Norris comes back on the scene, creates a bit of mayhem (laughs), and puts the original singer in the position, because obviously he agreed to all of this, and first singer's turning around, asking, "how much do you want for the song?" I said, "I don't want nothing for the song, how can you do something like that?" Well, the principle, you know?
Cut a long story short, I went onto my contacts in London, to say, look man, this is what happened. That song I believed could have gone further, but once my contacts in London had heard about it -and some of them had heard of my version, remember I said I used to keep in touch with Winston and all them guys, they said, "this can't work." It didn't grow the way it could have grown. None of the key people would play it or do anything to really push it. Which is a shame in a way —it could have been better for everybody. But you're young, you're upset, and principle is principle, you know what I mean?
To be honest, that sort of really restarted wiping my hands clean for a good while. There's always a good side and a bad side to music, isn't it? But when you are experiencing something like that, it's quite hurting. Remember, if I was established, it wouldn't have happened for a start. Suddenly now, something like that happening, it spoils everything for you. I stepped away completely after that.
What year was that, roughly?
That was about 1984-85.
What were you studying at the time?
Electricity. I'm an electrical engineer now. But you're trying to get with your life, really. Back in the days, you're going into the studio, work with them, work with Computer Paul and Pato Banton and all these guys, all of us, we used to be together and work on ideas together, letting each other hear what we are working on. I don't think it's gonna be for me now, they're going to bring a bad vibe in you, that you don't wanna develop. Every other project was just on the shelf.
So you didn't pursue a music career from there?
No. no.
But then you found a new hobby… how did the dominoes happen?
Oh, the dominoes? (laughs) I know traditionally it comes from China, but it's very popular in the Caribbean, in the West Indies. You probably heard Usian Bolt said he likes to play dominoes. That used to be one of my pastimes, which obviously developed to play in the Anglo-Caribbean League.
What it is, this league covers the whole of England, but it tends to change its shape -some teams join one year, then they fall out for certain reasons. I've been with them now for twelve-thirteen years as a player, then I got invited on the board I think because I do quite a lot of things in the community.
Yeah, I found this article saying you participate in homework groups for kids in the area, right?
That's right! You know a lot about me, man !
Didn't the City stop the funding for it?
Yeah! I always believe in giving back something to the community, and I always feel that if you come from humble beginnings, if you show certain youths a way out, or how not to take the easy route that's going to lead to misery…
I also believe education is a strong key to it. Key thing. Like this mentoring thing, it's nothing new to me because some people do need mentors, and I don't mean the ones they see on the television all the time. They need real life people who they see, and can associate with. That's the way forward, I think.
It's from seeing all you do that the Domino Federation put you on the board, you think?
That's right. On the board, they're all business people and by doing that you're hoping to encourage the younger element. And also, to get them focus. Something to do. They may make a success out of something that you may start as well, I found out that with the homework group, it was growing year by year and was very successful, the key thing for me, I tried to make it on a budget, so I wasn't charging the children I'd just use the funding money and that was it. I deliberately did that so, you know, people didn't think it was a money exercise, it was something to build up the children's self-esteem, cause once children get confident they surprise themselves, that's my experience. We had some success in that.
I had one child who came from Africa, he was in the country for less than a year, I managed to train him up, we have a grammar school system here, where you can take a test to gain entry, and he gained the entry within a year. It was hard work, but his mother was so, so proud, she couldn't believe. He got into one of the top schools in the country.
And so ends the Norris Regal story… Thanks for all the love and the following! The reissue of "Struggle" is still available in most tasteful reggae shops worldwide. If you have a hard time scoring a copy, feel free to email : sebcarayol@hotmail.com.
Norris Regal sorting through some decades-old cassettes at the Rugby
West Indian Center – November 2012 © Seb Carayol
Norris Regal interview – pt. II – the Unity connection
Where did the your stage name Norris Regal come from?
One of the times when I was singing on the sound, someone said, "bway Norris, man, you sing like a prince." and I said, "Yeah man, I regal, me regal." It kind of stuck from there.
What songs were you singing in the contest?
Ain't No Sunshine was one, definitely, it was a reggae version of a Michael Jackson song, by Phillip Fraser maybe? There's another record, I Need a Woman. That would be in 1980 I think.
Why did you not reach the finals?
There's always two sides to a story, but put it this way ; I have to be careful how I say these things cause I don't want to discredit people, but… one of the judges was in a group, and after that semi-final, he asked me if I wanted to come listen to their group, because they were looking for a lead singer.
I was a bit upset anyway, so that was the last interest I had. So I mean, I don't want to go far into that. It was just one of those things, really.
To be honest another thing that came up as well was image. At the time if you didn't have locks and you were singing roots music… In those days you were supposed to be a locks man. It was a lot of rubbishy things like that. Doesn't really help. That was probably one of these things.
So, from there, Cecil Morris told you to re-record, and?
When I met the guys, we did a few practice sessions, they obviously learned the track. I started to re-arrange things and so on, there was a bit of confusion between what Cecil wanted, and what I wanted. Obviously it's my song, so that project ended, but talking to the guys, they sort of said you don't want to let a project finish just like that. So I took the project on my own, and the first thing we decided was instead of using the same bass line that was on the riddim track, to change it so it'd be a total new track, new song, everything.
Who was the backing group?
It was a group called Unity. A local band from Stonham, Birmingham. They used to play out a lot, but I don't really recall them recording, it was a new experience to them going into a studio.
By the time we dropped this riddim and so on, I went back to the initial producer and told him this song which I did for you 18 months ago, I revamped it totally. I made him hear it, and then he loved it. First thing he said was, I need to be the one mixing it for you, Norris. So I says, OK, no problem with that. We mixed it at Easy Street Studios, London.
At the time the way the system used to be, you try out the record labels initially, and what they would do, if they see a hit in it straight away they take it up, but what a lot of the would do is say , I'll tell you what, you go press a few copies, we'll see what the reaction is, and then we'll take it up if we think we can push it further.
You'd push it to sound systems as well, right?
Yes. And radio stations, some of the distributors, depending on what type of record it is. Remember in this business a lot of it has to do with timing. Sometimes if you are a bit unfortunate, you can have a good song or a good track, and just from releasing it at a wrong time, it just fades away.
One of the things that struck me in Struggle was these stellar backing vocals -who did them?
Two girls. And me. I needed to do some backing vocals, and originally it was gonna be me and the guys. I thought it'd be better if we had some girls because it'd bring out my voice better. I needed some women. They knew two girls who were doing a bit of singing. They came to one practice session, I harmonized with them, we went to the studio and dropped that, really. To get more stronger effect, you can do the bouncing effect, where you multiply it and it sounds like a bit stronger. I don't remember the names –if you had asked me 30 years ago, I would have told you everything, man!
What happened then?
I pressed 1000 copies, got plenty of air play. I mean, it depends. Certain radio stations obviously wouldn't play it, it's not their type. John Peel played it on Radio One, and then we'd have local radio stations. They used to push it a lot. The thing was, the London side of things, I left to Jet Star and they took 250 copies off me at the time, then I deal with… You heard of Winston Reedy? Well, I became friends with him.
I started to move into those circles, I knew Carol Thompson and Janet Kay and Winston Reedy, quite a few of them. Winston and his manger at the time, Chilly Dixon. They used to help me with the promotion side of things at the time. Winston got quite big, and in the end he used to come to Birmingham a lot. He signed for UB 40's record label. Those guys helped me with marketing.
Check Norris Regal' 12″ ranking spot # 23 in Don Christie's charts ! May 1984
It's probably them who gave it to Jah Shaka?
Really it's those guys. Shaka was a producer himself, he knows what he likes and plays.
The Sirron label – What does it mean? I realy tried to dissect that when I was looking for you.
Oh… It's just my name spelt backwards.
Damn. Of course!
Don't let the secret out now!
I was researching your name, I thought it was Sir Ron maybe.
It's quite good, innit?
Do you think your record came out at a wrong time?
Yeah, partly. The trouble is, when you write about something, and if you feel passionate at the time about it, you feel that it could work any time. You learn from experience, don't you?
After that, it didn't reach the success you hoped for, then what?
Then obviously in the meantime, Bertie sent me a couple other riddim tracks, I wrote some songs, but then, I'm not even sure if he actually heard the songs in the end. he was with S&G records, but he split away from S&G. Then he was strictly working with Carol Thompson, then I think him and Carol had a bit of a bold stop. These guys at the time, if you didn't know anyone else, you were kinda stuck.
I tended to be more following around Winston Reedy, I did a few dubplates, I went to Capitol Radio with dubplates and things, I met up with some guys in Birmingham who used to aid in the backing tracks with UB40.
I also got in contact with some of these guys, and one of the guys we used to call him Computer Paul. I did a few tunes with him as well. I don't think they came out. He used to send some to America, and he used to give me feedback but nothing too strong, nothing that was gonna change my life, put it that way.
About Reel-Heavy Music
Welcome to Reel-Heavy Music! Despite what the header up there might claim, the idea here is not necessarily to start one more reggae reissue label. Reel-Heavy Music, really, is more the continuation of the almost decade I've been writing for reggae magazines in France and USA.
With a knack for unfairly forgotten artists of roots music, I've always wondered how I could give back more than through interviews.
Hence the idea: to reissue heavy roots tunes that never got the success they deserved back in their day, organically, whenever a bond is created with an artist or producer -with all the time, the respect and the care that putting out a quality product demands. I hope you'll enjoy the ride as much as I have doing this...
-Seb Carayol
Reel-Heavy Music
Contact : sebcarayol@hotmail.com
Reel-Heavy Music on facebook


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text:
Raising Hell: How the Center for Investigative Reporting Gets the Story is a nonfiction work by David Weir and Dan Noyes, with a foreword by Mike Wallace.  It was published in 1983 by Addison-Wesley Publishing Company and contains reprints of investigative journalism articles from the time period, with analysis and background on how the journalists investigated the issues and prepared for the articles.  An article by Kate Coleman and Paul Avery called "The Party's Over", which discussed the Black Panthers, was analyzed.

Jessica Mitford and Mike Wallace both wrote positively of the book.  It was also reviewed in Newspaper Research Journal.

Raising Hell is used as a college textbook, and is referenced in Pearson's The Shadow of the Panther, and in John Lofland's Social Movement Organizations: Guide to Research on Insurgent Realities.

See also
 Center for Investigative Reporting

References

External links
 Center for Investigative Reporting
 Web site Dan Noyes

1983 non-fiction books
Books about journalism


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Switch To Screen Mirroring: Display is not turned off in this section, both phone and display which you have connected will show the same content.
After selecting the mode from step 3, now you can work on more prominent display same as you work on a desktop.
You can use dual mode in Dex on your connected display monitor. While using your phone to text, call, and at the same time, you are getting your work done. If you're getting any problem in following our guide to turning Galaxy S10 into PC using Samsung DeX, then you can share your feedback via comments below.


text:
Q: UNION to merge tables has high cost, loses connection to server I'm trying to create a new table as a UNION of all rows of two existing tables with identical columns:
CREATE TABLE table3 AS
(SELECT * from table1
UNION
SELECT * from table2);

After running for a while, I get "Connection to the server has been lost."
Running EXPLAIN, the operation has quite high cost:
Unique  (cost=51951688.65..57110689.45 rows=257950040 width=36)
  ->  Sort  (cost=51951688.65..52596563.75 rows=257950040 width=36)
        Sort Key: table1.id, table1.stid, table1.e5, table1.e10, table1.diesel, table1.date, table1.changed
        ->  Append  (cost=0.00..8859500.00 rows=257950040 width=36)
              ->  Seq Scan on gas_prices  (cost=0.00..1282341.56 rows=66285256 width=36)
              ->  Seq Scan on gas_prices_1620  (cost=0.00..3707907.84 rows=191664784 width=36)
JIT:
  Functions: 1
  Options: Inlining true, Optimization true, Expressions true, Deforming true

So it's the sorting that's taking up a lot of resources.
I have set memory settings in postgresql.conf higher than default, but I'm only running on a system with 16gb of memory.
I suspect that re-indexing the existing tables could help, however I'm not sure which index to make. There is no private key on either table: No single or combination of column(s) is unique (except all columns at once).
How can I get the query to work? Thanks for your help.

A: Use UNION ALL instead of UNION.
Best regards,
Bjarni

redpajama_set_name: RedPajamaStackExchange


Next up on Lost Language is the 'ONE LOVE EP' - an exceptional release from Germany's RELAUNCH, marking the first of EL-EL's HAECKEL inspired cover pieces.
Educated at the Dorian Gray Frankfurt school of Techno and boasting releases on J00F, Bonzai and Mistique in recent years, Relaunch has become a firm favourite with those who prefer their Trance a shade deeper, their grooves a tad fuller.
ONE LOVE is a rolling Trance masterpiece with broad, emotive melodies that were tailor made for our clued up crew. It's warm and chunky in all the right places and follows our dogmatic 'OSTS/MPV' mantra to the letter.
On the flip-side, Relaunch provides us with his own down-tempo interpretation - an ambient stunner, the likes of which we haven't heard since fellow countryman Oliver Lieb released his seminal 'Into Deep' on Hooj in 1999.
We may or may not follow this up with mixes further down the line. For now we're happy to float with the balance.
One Love (One Heart) - The LL Family.


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Home MMO News Conquer Online Expansion "King of Kung Fu" Launching Tomorrow
Conquer Online Expansion "King of Kung Fu" Launching Tomorrow
Fans of Conquer Online, the combat based, free-to-play title from 99.com, have been speculating for quite some time on the game's newest class and when it would finally be released. Well, news came out of Hong Kong today that the wait for the "King of Kung Fu" expansion wouldn't be long…in fact it's tomorrow.
That's right! Players will be able to get their hands on the new Dragon Warrior class tomorrow. Using Chinese Kung Fu and nunchucks, the Dragon Warrior will feel right at home squaring off against a single opponent toe to toe or facing large groups of enemies all at once.
This expansion will also include 2 new servers for Conquer Online, the return of the Mine Cave, and a number of both online and offline events. 99.com will also be giving out tons of rewards and newbie packs for returning players that may have been away for a while to help "catch up" a little faster.
Check out the full event breakdown on Conquer Online's official site.
Mike "Magicman" Byrne has been a part of the MMOBomb family for years and serves as the site's current Editor-in-Chief. His love for MMOs and gaming in general has led him to covering games for numerous websites including Gamebreaker TV and XIV Nation where he proudly displays his fanboy flag for FFXIV:ARR.
Onslaught October 30, 2014 at 3:11 pm
This game was so much fun back in the day. But as Malice said, its pay to win. Ive spent about 1600 euro to be able to compete with other high level (geared) players. its allmost impossible to compete without paying.
Malice October 29, 2014 at 11:21 pm
"Fans of Conquer Online, the combat based"
you lost me there. Don't you mean the money based, pay2win MMO?
Conquer Online basically is the textbook example of p2w. Not all that it pretty much INVENTED it.
I mean for christ sake people pay tens of thousands of dollars for a TITLE. You're literally competing to spend more money with other players to show your dominance at spending money arbitrarily. I have to hand it to the CO dev team though, they're freaking genius' for being able to rake in so much cash.
Anyway i'm both surprised yet not surprised CO is still kicking around. Pretty nice to see they still release content sometimes that ISN'T trying to pry your wallet open.
Debido November 3, 2014 at 7:02 pm
not trying to pry your wallet open? a new class means almost a entire new item set to build and get double socket +12 super gemed oh and the weapon and armor soulsso basically another couple hundred to spend oh and a title? make that a thousand or 2
exe October 29, 2014 at 6:47 pm
so this class (or whatever you name it) is called "dragon warrior"?
he doesn't look like a fat panda at all.
anyway, it seems the almighty Bruce Lee is the inspiration for this character.


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HOME > Analysis >Story Stocks >Lyft beats estimates and...
Last Update: 08-May-19 09:50 ET
Lyft beats estimates and guides up but sentiment remains negative ahead of Uber's IPO (LYFT)
Shares of Lyft (LYFT) are little changed after the ride-sharing company reported its first quarterly report since going public in late March.
The stock is down almost 20% from its IPO price and more than 30% from its opening price on the day of its IPO. Sentiment is decidedly negative on Lyft despite the company's strong top-line growth because of its sizeable net losses and unclear path to profitability.
Lyft reported encouraging results last night, reporting a smaller than expected net loss on higher than expected revenue. The company also guided for a smaller than expected second quarter and fiscal 2019 EBITDA loss on higher than expected revenues for both periods.
For now, the results do not appear to be enough to shift sentiment, especially ahead of the IPO of its larger rival Uber (UBER), which is expected to price tomorrow evening.
Lyft reported a first quarter GAAP net loss of $1.14 bln including nearly $900 mln of stock-based compensation and payroll tax expenses related to the IPO.
The adjusted first quarter net loss of ($9.02)/share and adjusted EBITDA loss of $216 mln actually beat estimates.
Lyft's adjusted EBITDA margin improved to (28%) from (60%) in last year's first quarter. The contribution margin (selling price per unit minus the variable cost per unit) improved to 50% from 35%, and the sales and marketing expense as a percentage of revenue fell to 29% from 42%.
On the call, management said that it was encouraged by the strength in its core business.
Perhaps most importantly, Lyft said that the current competitive environment has improved recently. The market, said management, is becoming more rational, with rider incentive pressures receding amid presence from two large players in the space.
Management also said that investments in insurance initiatives can have a very high ROI to reduce costs.
Lyft said that its losses will peak this year. Management reiterated that they see a path to profitability in the core ride-sharing market, but bikes and scooters will add to losses.
Management also announced that ten of Alphabet's (GOOG/L) Waymo self-driving cars will launch on the Lyft network in Phoenix, Arizona during the second quarter. Waymo, said to be in the lead with respect to autonomous driving technology, is already testing its self-driving cars in the Phoenix market, where a safety driver will still be on board monitoring each trip. Alphabet's VC unit CapitalG has a 4% stake in Lyft. General Motors' (GM) self-driving unit Cruise raised $1.15 bln from Softbank, Honda, and its parent company at a $19 bln valuation this week. GM has a more than 6% stake in Lyft.
Much can be debated about how the ride-sharing market will evolve in a world with autonomous driving. While still seemingly years away, that technology would dramatically reduce driver costs but also increase competition in the ride-sharing market. Lyft's independent network would likely become strategically more valuable as Uber has its own self-driving ambitions.
Investors are more focused on the near-term financial results. Lyft forecasted 53% revenue growth for the year, which is excepted to slow from 103% in 2018 and 95% in the first quarter as the company laps price increases from the second quarter of last year.
With a $17 bln valuation, the 5x sales multiple is far cheaper than some recent technology IPOs, mostly enterprise software companies with similar growth but a much cleaner path to profitability.
Staring Friday, Lyft's much larger rival will also be publicly traded, so the ride-sharing story is just getting started for public market investors. At the high end of its expected IPO range, Uber would command a $91 bln valuation and trade at a modest premium to Lyft in terms of its sales forward sales multiple.
Lyft is focused on the US and Canada alone while Uber operates globally. That has allowed Lyft to gain domestic market share in recent years. Uber is also reporting sizeable losses but slower top-line growth as it invests in its more mature ride-sharing business, food delivery, logistics, and autonomous driving.
Shares of Lyft (LYFT) are little changed after the ride-sharing company reported its first quarterly report since going public in late March. The


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Dedicated to e-Businesses & the Growth of your Enterprise! Join Connect Nigeria for its Business Fair in Lagos | Saturday 26th October 2013
Banky W and Adesua set to delight Fans at the Buckwyld n' Breathless St. Valentine's Day Special | February 13th
Ciroc Begins the Year with a Neon Themed Party at Moist Beach & Painted the Sky with some Beautiful Fireworks
ZaZa Lounge and Sujimoto Group hosted a Billionaire Sunset Party on the First day of 2022 and it was Lit!
Mo Olowu hosted an All-white themed Party for Her Ruba Beauty Launch | Get the Scoop
Hero Lager recognizes Legacy of Customers by Unveiling 'Board of Heroes' at its Onitsha Plant
Events Scoop
Osas Ighodaro, Wande Coal, Nancy Isime Made Memories at the Fourth Edition of 'Laughfest'
#BNRSVP Events this Weekend
Chivas Regal Collaborates With Garmspot to Unveil Its Flagship Store & Streetwear Collection
Owners of Small and Medium-sized Enterprises (SMEs) seeking to exploit new business opportunities will have a chance to do so at the 2013 e-Business Fair organised by Connect Nigeria.
The fair, which is targeted at SMEs with the objective of enterprise growth through integration of electronic systems, is a one-day event that will attract providers of technical services in the industry as well as thousands of other businesses.
E-business in Nigeria has been identified as a significant factor that will contribute immensely to the growth of the economy. SMEs cater to a large chunk of the national economy through provision of services and employment generation and if given leverage via electronic means, it is believed that it will spur economic growth exponentially.
Participants at the 2013 Connect Nigeria e-Business Fair have been provided with an opportunity, available only at the fair, to develop websites that will promote their businesses electronically. NextDaySite, a business partner to Connect Nigeria, has promised up to 50% discount for participants exhibiting at the fair; this is in addition to benefits derivable only from the event.
According to a source at Connect Nigeria, companies seeking to exhibit their products and services will be opportune to do so by booking 3ft by 3ft exhibition booths via the fair webpage www.connectnigeria.com/bizfair.
Emeka Okafor, Managing Director, Connect Nigeria, observed that new opportunities will be created for businesses in the form of new markets from far and wide places that were previously unreachable as a result of e-business growth.
The services sector in Nigeria, which presently contributes about 34 percent to the economy, is projected to account for 45% to 75% of total economic output by the year 2020, according to the National Bureau of Statistics (NBS). The International Monetary Fund (IMF) identifies Nigeria as one of the fastest growing economies in the world, and due to its economic development prospects and growth of internet technology, the Central Bank of Nigeria is currently implementing a cashless policy with the objective of reducing cash transactions and growing smaller businesses.
Date: Saturday 26th October 2013
Time: 9AM – 9PM
Venue: The Eko Hotels & Suites, Victoria Island, Lagos.
BellaNaija.com is an official partner with Connect Nigeria's Business Fair 2013.
Related Topics:Connect Nigeriae-Business FairEmeka OkaforInternational Monetary FundMallam Sanusi Lamido SanusiNational Bureau of StatisticsNextDaySite
Ndani TV's Platinum Standard features Nigerian Music Producer Cobhmas Asuquo – Watch
90's Love Affair! BN Video Premiere: Bracket – International Baby
Rotimi O El-zakri
Very encouraging and will definately be there!!
Hi can you please give me some more information or contat number
What the National Bureau of Statistics Says About Nigeria's Unemployment Rate
To tackle Unemployment in Nigeria, Jobberman aims to provide Unlimited Job opportunities for Youths
National Bureau of Statistics' GDP Report says Nigeria is Back into Recession


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the importance of eating local
Jesse Griffiths goes Afield and artistically teaches us how to live off the land
Veronica Meewes
Sep 27, 2012 | 12:24 pm
Photo by Jody Horton
Afield: A Chef's Guide to Preparing and Cooking Wild Game and Fish by JesseGriffiths.
As the local food movement has gained more and more momentum through the years, it seems everyone wants a piece of the proverbial pie. But merely slapping the word "local" or "seasonal" on a menu won't cut it anymore. Now, specific sources are cited per ingredient, giving farmers street cred when it is due. Jesse Griffiths, who began the seasonal, sustainable dinner party Dai Due Supper Club with partner Tamara Mayfield, quietly started living by these ideals long before it was trendy.
Griffiths first developed the idea of Dai Due six years ago, and with time, it's evolved into an online butcher shop, a farmer's market stand with a cult-like following, and a school offering classes in hunting and butchery. And just last week, Griffiths published Afield, a guide to hunting and preparing wild game and fish.
Already a leader in the local food movement, Griffiths can now boast a seal of approval from Bizarre Foods host Andrew Zimmern, who wrote the book's foreword. Zimmern writes: "[Jesse] is a tireless worker, who hunts and fishes, appreciates our great outdoors, understands the importance of what we need to preserve in our cultural heritage, and translates it for the modern age — is there anything more important?"
"I would love to see more pro-cooks get out and experience this level of food... gives you a lot of respect for ingredients." - Jesse Griffiths
Griffiths doesn't just want you to think about where your food comes from — he wants you to go out there and find it. "I would love to see more pro-cooks get out and experience this level of food," Griffiths says. "It helped me with my cooking, gives you a lot of respect for ingredients. For the home cook, I just wanted to say 'You can do this.'"
Afield is at once anecdotal and educational in its prose, which juxtaposes Griffiths' hunting trips across the changing Texas landscape with step-by-step guides to butchering everything from wild boar to squirrel. The 85 accompanying recipes focus on regional comfort food like duck and oyster gumbo, venison barbacoa, squirrel and dumplings, and crab posole.
The book is also strikingly poetic in its photography, all done by artist and outdoorsman Jody Horton. Stark photos clearly depict each step of the butchering process, while vivid, rustic shots capture each completed project as the palatable dish they are. Adding a layer of context throughout, ambient images show dreamy moments from their three-year adventure: two women pluck feathers from doves while savoring glasses of white wine in a grassy field; Griffiths hauls a line against the wind into the surf; a man and his canine companion watch ducks in the sky from the bank of a pond.
"[Jody] loves hunting and fishing so he's a natural at coming along and being quiet and still," says Griffiths. "I chose the best photographer I've ever met, and he was gracious enough to accept."
Though Griffiths grew up fishing, he has only been hunting for the past five years. Humble as he is, he will be the first to tell you, "I'm still learning. Cooking and butchering I've been doing for a while. It's all intertwined. I'm no expert on any of these subjects. I just wanted to weave them together from my perspective and present the concept as a whole."
In a country where gun ownership is more associated with NRA zealots than food sourcing, Griffiths wants to open up people's minds to living off the land once again.
In a country where gun ownership is more associated with NRA zealots than food sourcing, Griffiths wants to open up people's minds to living off the land once again. In his introduction, he eloquently writes, "Hunting and fishing for your dinner gives you a distinct sense of ownership and connection to your own food sources — as well as the responsibilities that come with that, like stewardship, conservation, and a deep respect for life and death."
Already, inquiring minds want to know: Is this the first of many cookbooks to come for Griffiths? Apparently, he and Horton are already brainstorming. "But I'm still a little dazed from this one," he admits. "Maybe just vegetables next time. They're easier to catch."
Now that he's back from the field, Griffiths has a lot on his plate this fall, including a demo and book-signing at the Texas Book Festival on October 27; a free game sausage-making class at Callahan's in November; Dai Due hunting school and a wild game and fish supper club; a demo and book-singing at the Sustainable Food Center Farmers' Market Downtown on November 3; a cooking class at Central Market on November 18; and a book-signing and party at BookPeople on December 14.
If you simply can't wait for any of his cooking classes, Texas Parks and Wildlife just put out a series of YouTube videos starring Griffiths, where you can learn to prepare feral hog tacos, wild duck yakitori, grilled venison, and redfish fried three ways.
Venison Burgers
Adding in ground bacon and egg yolk keeps these burgers moist and adds lots of richness and flavor. Condiments for burgers are very rel¬ative to who's eating them, but a good, earthy cheese and mustard are prime additions for venison. Here, we recommend Emmentaler and coarse-ground mustard, along with some spicy arugula for texture. More bacon on top is not a bad idea.
1 1/2 pounds ground venison
6 ounces bacon or pancetta, ground
Dash (or more) Worcestershire sauce
4 slices Emmentaler cheese
4 good-quality hamburger buns, toasted
or grilled
Coarse ground mustard
Mayonnaise (page 54)
Sliced dill pickles
A handful of arugula
1. Build a really hot fire in a grill or preheat a large cast-iron pan over high heat.
2. In a bowl, combine the venison, bacon, salt, pepper, egg yolks, and Worcestershire sauce, mixing well. Divide the meat into 4 balls and form 4 large, 1. ½ inch-thick patties.
3. Brush the grill or pan with a little oil and grill or sear the patties until very well browned on one side, about 5 minutes. Flip the burgers and add the cheese to the top. Cook about 3 minutes more for medium rare to medium. Serve on buns with mustard, mayonnaise, pickles, and arugula.
For upcoming Afield event details, go to welcomebooks.com/afield. For upcoming Dai Due event details, go to daidueaustin.net.
news/restaurants-bars
Where to see the once-in-recorded-history green comet approaching Austin
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Hot Headlines
The "world's rudest" diner is coming to Austin, plus more top stories
Hannah J. Frías
Jan 28, 2023 | 12:00 pm
Photo by Lee Cartledge on Unsplash
Karen's Diner is still under wraps, but the Austin location is confirmed and a waitlist exists.
Editor's note: It's that time again — time to check in with our top stories. Here are five articles that captured our collective attention over the past seven days.
1. A diner with the "world's rudest service" is coming to Austin...like, whenever. Karen's Diner provides the worst service for the best experience, at least according to cheeky clientele who appreciate the campy comedy of a long-suffering server.
2. Award-winning New York pub brings Irish hospitality to Austin's Sixth Street. The Dead Rabbit pub is bringing Ireland to Texas, opening a new location in downtown Austin.
3. Where to see the once-in-recorded-history green comet approaching Austin. The comet will be closest to Earth (thus, likely the most visible) on February 1, and its most recent appearance was 50,000 years ago.
4. 6 Austin restaurants score coveted James Beard Award nominations. Austin restaurants and bars earned both national and regional recognition, with three national nominations and three nominations for Best Chef: Texas.
5. 2 Austin suburbs cash in among the richest places in Texas for 2023. Lakeway has been renamed the fifth richest place in Texas for 2023 in a recent study, while Bee Cave moved from No. 13 in 2022 to No. 9 this year.


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These Trees. Or why TV and Radio are not the same.
On last night's Compass there was a story, reported by Kerry Campbell, about a illegal tree cutting inside PEI National Park by Island Coastal Services.
As is increasingly the case at CBC Prince Edward Island, the audio from the story was re-purposed this morning to run as an item on the local news during Island Morning.
A small snippet of the story [MP3] illustrates a greater problem with this practice: when Kerry Campbell reports "these trees were cut to allow golfers a view of the water" it makes perfect sense when it's on television because accompanying these words was video of the trees and the water in question.
But when the story aired on the radio the point was dulled because, well, we couldn't see "these trees."
While it may be appropriate in many situations for CBC Radio and CBC Television to share reporting — it doesn't really make sense to send two reporters to tape the same speech, for example — if this "rip off Compass stories for the radio" trend spreads much further I think the CBC runs the risk of seriously degrading the quality and impact of local radio news.
Radio is not simply "television without pictures" (nor is TV simply "radio with pictures") and good radio reporting demands a very different vantage point and expository style than television reporting.
I imagine the rationale behind this sort of re-purposing reflects a combination of fiscal issues and the CBC's broader drive towards "synergizing the platforms." While the old school, territorial "radio is radio and TV is TV and never the twain shall meet" world obviously had its own drawbacks, I think it's important for we listeners to state clearly that local radio news is important, that it's simply not good enough to re-run Compass on the radio in the morning, and to advocate for more resources for local radio news to make this happen.
Written April 25, 2007 at 9:06 a.m. by Peter Rukavina
1 comment | Add a comment
island_journalist on April 25, 2007 - 15:53
I completely agree with what you are saying. And when you add to that the fact that the Guardian often covers what was on Compass — but two to three days later and with no more additional information — you have a pretty dire situation for local news. There's a lot that doesn't get covered, especially when the daily newspaper of record writes about 65 per cent of its stuff from press releases — or worse — just runs the press release as is. I believe the only reason it has the 87 per cent readership it is crowing about is because there is no other choice. Maybe it's time for a new, independent City newspaper?


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Players Index Page Last Updated
Tim Sherwood
3 appearances, 0 goals
P 3 W 1 D 2 L 0 F 4: A 2
67% successful
disciplined: 1
captain: none
minutes played: 270
Full name Timothy Alan Sherwood
Born 6 February 1969 in Borehamwood, Hertfordshire [registered in St. Albans, March 1969].
Married to Mia [registered in ]. Four children.
Height/Weight 6' 0", 12st. 9lbs [2000].
Jack Rollins' Rothmans Yearbooks [various] & FindMyPast.com
Club(s) Sherwood signed professionally with Watford FC from a trainee on 7 February 1987. After making his debut the following season, Sherwood completed 32 league division two appearances and scored twice before he signed for Norwich City FC on 18 July 1989 for £175,000, where he made another 71 league appearances, scoring ten goals. Kenny Dalglish then made him one his first signings for the Blackburn Rovers FC revolution on 12 February 1992 for £500,000, despite having agreed a deal with Derby County FC earlier in the day. He completed 246 league appearances, scoring 25 goals. An unsettled Sherwood then signed for Tottenham Hotspur FC for £3.8 million on 5 February 1999, making another 93 Premier League appearances, scoring another twelve goals. After a personality clash with his manager, Glenn Hoddle, Sherwood was transferred to Portsmouth FC on 29 January 2003 on a free transfer, helping them into the Premier League at the end of the season. After he broke his leg in December 2003, following one goal in thirty league outings, he was released in June 2004, afterwhich he signed for Peter Reid's Coventry City FC on 9 July. His contract was terminated on 1 July 2005 through mutual consent after eleven league appearances, and he never played again.
Club honours Football League Division Two play-off winners 1991-92, Division One/Championship winners 2002-03; FA Premier League runners-up 1993-94, Champions 1994-95; FA Charity Shield runners-up 1994, 1995; Football League Cup runners-up 2001-02;
Individual honours PFA Premier League Team of the Year 1994-95;
Distinctions None
Jack Rollins' Rothmans Yearbooks [various]
Managerial Career
Club(s) Sherwood returned to Tottenham Hotspur FC when he accepted a post from Harry Redknapp to become the assistant first-team coach on 31 October 2008. Appointed Technical Director in 2012, which oversaw the under-21 side. on 16 December 2013, Sherwood tookover managerial responsibilties of Spurs, initially as caretaker, then permanently from 23 December. He was sacked on 13 May 2014, despite a top six finish. Sherwood returned to management on 14 February 2015, when Aston Villa FC appointed him. Following a poor start to the 2015-16 season, Sherwood was sacked on 25 October 2015, and Villa were eventually relegated from the Premier League.
Club honours FA Cup runners-up 2014-15.
England Career
Player number 1088th player to appear for England. The first new player to be capped by Kevin Keegan.
Position(s) Midfielder
First match No. 756, 27 March 1999, England 3 Poland 1, a European Championship qualifier at Wembley Stadium, Wembley, London, aged 30 years 49 days.
Last match No. 758, 5 June 1999, England 0 Sweden 0, a European Championship qualifier at Wembley Stadium, Wembley, London, aged 30 years 119 days.
Major tournaments None
Team honours Tournoi Espoirs de Toulon (U21) Champions 1990;
Individual honours England B (one appearance), England U21 (four appearances)
Beyond England
Sherwood has run the Icon Magazine since 2005 alongside Jamie & Louise Redknapp. He also accepted a post from Harry Redknapp who became the a coach at Tottenham Hotspur. He did so on 31 October 2008, as an assistant first-team coach.
Tim Sherwood - Career Statistics
Squads Apps comp. apps Starts Sub on Sub off Mins. Goals goals ave.min comp. goals Capt. Disc.
- 3 2 3 0 0 270 0 0 min 0 none 1
minutes are an approximation, due to the fact that many matches rarely stick to exactly ninety minutes long, allowing time for injuries and errors.
Tim Sherwood - Match Record - All Matches - By Colour of Shirt
Home - Red 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
Away - White 1 0 1 0 1 1 =0 0 0 1.00 1.00 50.0 =0
All 3 1 2 0 4 2 +2 1 1 1.333 0.667 66.7 +1
Tim Sherwood - Match Record - By Type of Match
Type P W D L F A GD FTS CS FAv AAv Pts% W/L
2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
ECF 0 0 0 0 0 0 =0 0 0 0.00 0.00 00.0 =0
European Championship 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
Friendly 1 0 1 0 1 1 =0 0 0 1.00 1.00 50.0 =0
Tim Sherwood - Match Record - Tournament Matches
European Championship Preliminary Competition
ECP 1998-2000 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
ECP All 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
All Competition
EC 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
All 2 1 1 0 3 1 +2 1 1 1.50 0.50 75.0 +1
Tim Sherwood - Match History
Club: Blackburn Rovers F.C. - 0 full caps
Coach: Terry Venables - 0 full capsx
- 709 15 February 1995 - Republic of Ireland vs. England, Lansdowne Road, Dublin - abandoned after 27 minutes. Fr AabD unused sub 16
- 710 29 March 1995 - England 0 Uruguay 0, Wembley Stadium, Wembley Fr HD squad member
Club: Tottenham Hotspur F.C. - 3 full caps
Coach: Kevin Keegan - 3 full capsx
1 756 27 March 1999 - England 3 Poland 1, Wembley Stadium, Wembley ECP HW Start 54 4
2 757 28 April 1999 - Hungary 1 England 1, Népstadion, Budapest Fr AD Start 8
3 758 5 June 1999 - England 0 Sweden 0, Wembley Stadium, Wembley ECP HD Start 4
- 759 9 June 1999 - Bulgaria 1 England 1, Stadion Balgarska Armia, Sofiya AD unused sub 14
- 760 4 September 1999 - England 6 Luxembourg 0, Wembley Stadium, Wembley ECP HW unused sub 16
- 761 8 September 1999 - Poland 0 England 0, Stadion Wojska Polskiego, Warszawa AD squad member


The Coffee County Middle School softball team welcomed Tullahoma to the CCMS field on Tuesday. In a game you heard here on Thunder Radio as part of the Gilley Crane Hometown Sports Series, the Lady Raiders were looking for a sweep over the Lady Cats. The Lady Raiders got a no-hitter from Katelyn Davis as they earned a 1 to 0 win.
The Lady Raiders had trouble timing up the Tullahoma pitcher as they were held to 2 hits on the game. Davis had a single and scored the Lady Raiders lone run. Cheyenny Vickers had the other single in the 4th inning. Davis finished the game with 11 strikeouts, 2 walks and 1 hit by pitch. The win clinched the regular season conference title.
The Lady Raiders will be back in action on Wednesday when they host Warren County in a game that has been postponed 3 times this spring due to weather. First pitch will be at 5 PM.