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Pakistan's nuclear diplomacy
Munir Akram Published June 26, 2016
The writer is a former Pakistan ambassador to the UN.
GIVEN the growing conventional arms imbalance with India, Pakistan's security is now critically dependent on nuclear deterrence. In the long, difficult struggle to develop this capability, in the face of determined Western opposition, Pakistan's scientists, almost all its political leaders, and several of its soldiers, played vital roles. No less important was the part played by Pakistan's diplomats.
It was the foresight of diplomats like Agha Shahi and Iqbal Akhund which held back Pakistan's leaders from accepting the Nuclear Non-Proliferation Treaty.
Pakistan warned the world even before the NPT was adopted that India would use the non-safeguarded facilities and fuel provided by Canada and the US to build N-weapons.
After India's 1974 explosion, Pakistan's proposal to create a South Asia Nuclear Weapon Free Zone put India on the diplomatic defensive and politically retarded its N-weapons plans.
Through active diplomacy, Pakistan secured the agreement for the French sale of a nuclear reprocessing plant. This was disrupted by the US; but not before Pakistan had acquired the plant designs and technological knowhow.
During the 1980s and 1990s, Pakistan was engaged in a diplomatic battle to avoid Western demands for restrictions on nuclear enrichment at Kahuta and termination of its nascent missile development.
The country must break out of its defensive mode.
An agreement was concluded for peaceful nuclear cooperation with China before it acceded to NPT (as an N-weapon state). It included a clause that has enabled ('grandfathered') China's supply of nuclear reactors to Pakistan.
In 1994, Pakistan rejected a US 'offer' to release of 72 F16 aircraft Pakistan had purchased, and Washington had blocked unilaterally, in exchange for a 'temporary' freeze on nuclear enrichment. Stopping the Kahuta centrifuges would have destroyed half of them.
In May 1998, on the Foreign Office's advice, Pakistan turned down US offers of billions in aid not to reciprocate India's nuclear tests. Not to do so would have raised doubts about Pakistan's nuclear capabilities and destabilised deterrence.
Following the 1998 tests, Pakistan ensured the UN Security Council Resolution 1172 recognised that India had tested first, maintained parity in the restraints asked of the two countries and included a call for resolution of the Kashmir dispute. In the parallel dialogue which the US initiated with Pakistan and India, Pakistan insisted on an identical agenda covering nuclear and missile restraint as well as the Kashmir dispute.
In the wake of the A.Q. Khan proliferation affair, Pakistan avoided penalties and succeeded in defanging provisions in the US-sponsored UNSC Resolution 1540 aimed specifically at Pakistan.
However, this 'affair', and Pakistan's unequal alliance with US in the 'war on terror', provided the US with the excuse and diplomatic leverage it needed to 'de-hyphenate' Pakistan and India and offer the latter an 'exception' for civilian nuclear cooperation as a means of securing its strategic support against China.
At a critical point in 2008, when the Indo-US 'Safeguards' Agreement came up for approval to the IAEA board Pakistan's representatives were instructed by a new Islamabad leadership, beholden to Washington, not to force a vote. If Pakistan had asked for a vote in the board, several NPT members would have been obliged to oppose or abstain. Thereafter, they would have been unable to support the clearance of the Indo-US 'exception' in the subsequent meeting of the Nuclear Suppliers' Group (NSG), denying it the consensus required for approval.
The consequences of this diplomatic default have been strategically significant. It broke the political 'parity' between Pakistan and India's nuclear status. More importantly, the external nuclear fuel and nuclear reactors acquired by India under the 'exception', will enable it to utilise all its indigenous fissile material stocks for weapons production.
Since this reversal, while Pakistan has intensified its fissile material production and blocked the so-called Fissile Materials 'Cut-Off' Treaty, its nuclear diplomacy has been mostly reactive and defensive.
To 'prove' its non-proliferation credentials, Pakistan has engaged in nuclear consultations with the US and adopted various export guidelines and nuclear 'safety and security' measures, often with US 'help'. No doubt, the US has gained closer insights into Pakistan's programmes and plans. Worse, Islamabad has embarked on the fool's errand of seeking a US nuclear 'exception' similar to India's.
Even in the unlikely event this is granted, Pakistan will not be sold nuclear reactors by the US or its allies. Nor can Pakistan afford them. But the plea for this 'exception' has opened Pakistan to new demands from Washington: to halt fissile material production and development and deployment of tactical and long-range missiles and sign the Nuclear Test Ban Treaty without waiting for India. In exchange, the US would consider making a positive recommendation of Pakistan's case. It is folly to go further down this path.
Pakistan's diplomacy must break out of its defensive mode and utilise all the leverage it can muster to reverse the discriminatory restrictions; impede India's strategic build-up and preserve the credibility of Pakistan's nuclear deterrence.
To this end, here are some of the actions Pakistan could initiate: one, an active diplomatic campaign at the UN, in major capitals and media, to expose the false premises for the discriminatory restrictions against Pakistan and the West's double and triple standards on disarmament and non-proliferation.
Two, proposals to India for reciprocal arms control and strategic restraint, such as non-use of force; low force zones; non-deployment of destabilising weapons. At the very least, this would put India on the diplomatic defensive and help to resist US pressure on Pakistan to accept unilateral restraints.
Three, offers of peaceful nuclear cooperation, under IAEA safeguards, to Saudi Arabia, Iran and other Muslim and developing countries. This may motivate NSG to invite Pakistan to join the group.
Four, proposals, initiated with China and other developing countries, for genuine disarmament, including treaties to halt the current multi-billion dollar upgrade and miniaturisation of US and Russian nuclear weapons and bans on the development and deployment of laser, anti-satellite and other space weapons.
To enable Pakistan to revive active nuclear diplomacy, the disarmament department in the Foreign Office must be strengthened and staffed with the best and brightest diplomats. This would be a cost-effective investment in preserving the credibility of Pakistan's nuclear deterrence.
Published in Dawn, June 26th, 2016
Comments (15) Closed
Prescription from a Pakistani ex-diplomat (Read as continued blackmail of the world) - Three, offers of peaceful nuclear cooperation, under IAEA safeguards, to Saudi Arabia, Iran and other Muslim and developing countries. This may motivate NSG to invite Pakistan to join the group.
Excellent writing, Pakistan need to be diplomatically strong to counter anti-state activities, furthermore, the foreign office should contain people of good talent on diplomacy regardless of the political affiliations, regardless of the political interest, the nation interest always comes first.
Ashutosh Mishra
Good article from a nationalist point of view!!!
Jun 26, 2016 12:04pm
Hasnat Aslam
A superb article. The best part was the appreciation he did. A mind blowing article deserves appreciation
Socrates of Gilgit-Baltistan
Hats off for such a prolific analysis of the current state of affairs of the ongoing efforts regarding our entry into the NSG. However, decisions made in haste without thouroghly examining all the factors would simply exacerbate the matter rather than yielding us any favorable outcome. Therfore, input from the expert side should be encouraged the like of it has been propounded by the learned contributor in the detailed article above before outlining the final contours of the difference between demands and requests. As far as the matter of extending peaceful nuclear cooperation, under IAEA safeguards, to KSA, Iran or any other Muslim ccountry is concerned it is the stated that the time is still not ripe for such risky endeavour on 2 counts given the fact that world community does not want to see the materilisation such concept happening forthwith in the first place and absence of trust factor in presenting their guarntee of responsibilty after getting the technology in the second place.
Excellent exposure! The article will touch many raw nerves connecting inauspicious economic and military hegemony nerves of anti-pak systems. I salute the writer.
Great article. I am confident that Pakistan along with China will become a world power.
Generally Gobar
Oh yes; the first thing pak must do is to re-open the nuquelar walmart; THAT, will solve all the problems and make pak the world's sole superpower. Good thinking, Mr akram.
I think the ideas are excellent - to put Pakistan's best and brightest to work on this area of nuclear diplomacy focused on a neighbour's rise
Well India just entered theMTCR club and will enter Nsg by year end.
Well said sir but to adopt this policy Pakistan need real leader. God has given every thing to us except leader?
jam shed
"In 1994, Pakistan rejected a US 'offer' to release of 72 F16 aircraft Pakistan had purchased, and Washington had blocked unilaterally, in exchange for a 'temporary' freeze on nuclear enrichment. Stopping the Kahuta centrifuges would have destroyed half of them. In May 1998, on the Foreign Office's advice, Pakistan turned down US offers of billions in aid not to reciprocate India's nuclear tests. Not to do so would have raised doubts about Pakistan's nuclear capabilities and destabilized deterrence", Great article and a big eye opener sir and hats off to our visionary diplomats of the time. No doubt Pakistan stood up to US pressures and as we know things have not changed an iota. Pakistan response to India's May 28th May was appropriate and timely and proved that Pakistan had the capability. It was no fluke !!
The only thing Pakistan can do is to use the money of these rich gulf countries to lobby in EU and the US.
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1.) Catherine Wilson (1833-1919) ... born at Balloney, Maybole - daughter of John Wilson and Anne Fergusson.- she married William Aird (1831 - 1859) - son of John Aird and Agnes Fergusson - in Maybole, December 14, 1855.
3.) Football - someone has placed a small "x" by my grandfather, John Robb (1885-1961) and this would have been taken somewhere around 1905-1907.
4.) John Robb (1885-1961) and his wife, Helen Watson (1886-1958) ... my grandparents - John Robb worked for John Gray & Co. - Ladywell Tannery and Shoe Factory and Helen Watson worked for James Ramsay Tanner Currier & Shoe Manufacturer. I have both of their letters of recommendation they received from these factories when they prepared to emigrate. They had become engaged in Maybole ... and married a few months after they arrived in Canada - 1907.
5.) Robert Watson (1890-1954) and Samuel Watson (1895-1915) - emigrated to British Columbia, Canada 1907 .... returned for World War I with the Canadian Expeditionary Force.
6.) Masonic or Orange Parade - looks to me like it is coming up Weaver Vennel ... and that is where my Robb family lived. These row houses were built in around 1892. My great grandfather, John Robb (1858-1939), owned # 37 from day one. There are still Robb family/descendants in it today. I am not sure of the date on this photo ... but your might be able to determine the date by the clothing ... or if someone recognizes someone in the parade.


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Home / Products / Limited Edition Print – Loch Lomond II
Limited Edition Print – Loch Lomond II
We are so excited to be able to offer these beautiful High quality Giclee prints of Alex's Boyd's renowned 'Sonnet's Series which was created in collaboration with the poet Edwin Morgan. We worked remotely with Alex as he is rarely in one place for long and regularly travels to faraway and remote places as part of his creative process. These works are evocative and sensitive making a powerful statement seeming to connect the contemporary with the ancient and mystical. They are intimate and emotional works making them a valuable addition to your home or an extra special gift.
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Limited Edition Print - Loch Lomond II quantity
About Alex Boyd
Alex Boyd – Born in Germany in 1984, Alex grew up on the West Coast of Scotland. He has worked alongside photographers such as Rankin and trained under Japanese master printer Takeshi Shikama. Alex is a Fellow of the Royal Society of Art (FRSA) and his work is held in several national collections such as the National Gallery of Scotland, The Royal Photographic Society, and The Yale Museum of British Art.
A1 (594 x841mm), A2 (420 x594mm), A3 (297x420mm), A4 (210 x297mm)
*Special order item – please allow 5-7 days for dispatch.
Highest quality Giclée print on fine art paper: Hahnemule Photo Rag Smooth Matt 305gsm. Printed with museum quality archival inks. Each print comes with a Certificate of Authenticity signed by the artist with a unique serial number.
Categories: Alex Boyd, Limited Edition Prints, The Art Room
We are so excited to be able to offer these beautiful High quality Giclee prints of Alex's Boyd's renowned 'Sonnet's Series which was created in collaboration with the poet Edwin Morgan. We worked remotely with Alex as he is rarely in one place for long and regularly travels to faraway and remote places as part of his creative process. These works are evocative and sensitive making a powerful statement seeming to connect the contempoary with the ancient and mystical. They are intimate and emotional works making them a valuable additon to your home or as an extra special gift.
Original Mixed Media Artwork – Angel #4

redpajama_set_name: RedPajamaCommonCrawl


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Grantland: The NHL's All-Time 'They Gave Up On Him Too Soon' Team
The Bruins made headlines last week by trading Tyler Seguin to the Dallas Stars as part of a seven-player deal. The move was unusual, since Seguin is still only three years removed from being the second overall pick in the draft, and is generally considered to be one of the most promising young players in the league. The Bruins had their reasons — the team was reportedly concerned about his off-ice partying and whether he was committed to winning — but they're still taking a significant risk.
How significant? Let's just say that NHL history is filled with examples of teams giving up on young players too soon. So many, in fact, that you could probably fill out an entire roster using nothing but future stars that some unfortunate team let slip away. And today, that's exactly what we're going to do.
As with any attempt at this sort of undertaking, we'll need to establish some random and completely arbitrary ground rules:
• We're looking for young players, so let's say they have to have been moved before they turned 25. That age cutoff eliminates a few obvious candidates you may be expecting to see, like Joe Thornton, Dominik Hasek, and Phil Esposito.
• These have to be actual players who were traded, not future draft picks that were used on star players. If you'd rather read about teams trading away draft picks who turned out to be Hall of Famers, I'd suggest you try here.
• We're doing a full roster: four centers, eight wingers, six defensemen, and two goalies. We won't bother differentiating between left wing and right wing, because I hope to someday join the PHWA.
• While I don't want to get too deep into defining what it means to give up on a player, we'll exclude certain unique cases where it was clear that the team had no choice but to trade a guy through no fault of their own. That includes the Nordiques trading Eric Lindros and the Thrashers moving Dany Heatley.
• Yes, I will probably forget a few guys. Yes, you will yell at me about this in the comments. Yes, I will act like this doesn't bother me even though it totally does, then spend the rest of the day passive-aggressively taking it out against my family.
Everyone got all that? Cool, let's get started
Labels: grantland
Shawn Karp July 11, 2013 at 11:46 AM
Surprised that this Mad Mike trade didnt' make it:
New York Islanders traded Todd Bertuzzi, Bryan McCabe and 3rd round selection (Jarkko Ruutu) in 1998 to the Vancouver Canucks for Trevor Linden.
Down Goes Brown July 11, 2013 at 12:01 PM
I actually had Bertuzzi on the list and had even done his writeup, but then I found a few more guys and he got bumped to the honorable mentions.
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Category Archives: 1985
The heart always beats a little faster when there's news of a 'previously unreleased' Miles project. And if it's from the 1980s, even better.
The era is still one the least understood/lauded periods of Miles's work, despite the stellar efforts of George Cole.
It also has not been served well posthumously, particularly by his final label Warners; in recent years. there has been the weirdly undercooked/incomplete Rubberband project, and the appallingly-mastered/incomplete Warners Years box set.
So hopes were high for Sony's new Bootleg Series 7, which takes in the years 1982 to 1985 and looks at the sessions that made up the (classic) albums Star People, Decoy and You're Under Arrest. The packaging looks OK:
But what about the music? Before his death, Teo Macero, producer of many epochal Davis albums and also Star People, was very critical of the 'complete sessions' boxes that appeared after Miles's demise. It's safe to say he would not like this one either.
We essentially get a collection of long studio jams, with occasional familiar sections that Teo edited in to the final masters, plus some alternative versions of some You're Under Arrest material, some full-length, unedited versions of released tracks and one or two outtakes such as 'What's Love Got To Do With It'.
The full, unedited versions of 'Freaky Deaky' (Darryl Jones' first recording with Miles) and 'Katia' (before Miles took his razor blade to John McLaughlin's remarkable solo) are well worth hearing. Marcus Miller plays a brilliant bass solo on 'Remake Of OBX Ballad'. There's also a really strange duet between legendary jazz trombone player JJ Johnson and Miles on keyboards.
Unlike some of the previous Bootleg Series albums, there's a lack of interesting studio chatter, which would have enlivened things (though there is the occasional funny Miles interjection). And there are still tracks that refuse to leave the vaults, such as Miles's version of Nik Kershaw's 'Wild Horses'.
Disc one just contains too many formless jams, with Mike Stern, Miles and Bill Evans struggling to put together cogent solos (despite Al Foster's beautiful drumming), and basically the band is crying out for John Scofield's arrival in autumn 1982. He brings immediate relief, from both a soloing and compositonal perspective. The live disc is serviceable and quite well recorded, but certainly not one of the best nights from the 1983 tour.
Essentially, we learn three things from the very uneven Bootleg Series 7: Scofield was a vital addition to Miles's band and prolonged his career, Miller was Miles's best bass player of the 1980s and Macero did a great job on Star People. But we probably knew all of that already.
So, basically, it's another opportunity missed. I'll stick to the original albums, with one or two exceptions. But you gotta check it out if you're a fan of Miles's 1980s music. George Cole covers the box in a lot more detail here.
And look out for new documentaries about Darryl Jones and Scofield.
Posted in 1982, 1983, 1984, 1985, Album Reviews, Fusion, Jazz, Jazz/Funk, Miles Davis / Tagged alfoster, billevans, darryljones, georgecole, jjjohnson, johnmclaughlin, johnscofield, marcusmiller, mikestern, milesdavis, minocinelu, nikkershaw, robertirvingIII, teomacero, thebootlegseries7 / Leave a comment
Book Review: Prince And The Parade & Sign 'O' The Times Studio Sessions by Duane Tudahl
Could Prince have thrived in this current age of the 'bedroom' musician?
On the evidence of Duane Tudahl's superb new book – documenting every single studio session that produced the classic albums Parade and Sign 'O' The Times, plus countless others too – the answer would be a resounding 'no'.
As Tudahl points out in his wonderful follow-up to 'The Purple Rain Studio Sessions', Prince's genius very much depended on a coterie of talented, fiercely committed back-room staff, particularly Susan Rogers, Peggy 'Mac' Leonard, Coke Johnson and David Rivkin (brother of Revolution drummer Bobby), not to mention the constantly-on-call band mainstays Eric Leeds, Matt Blistan, Wendy Melvoin and Lisa Coleman, all of whom are interviewed at great length.
But there's absolutely no doubt who's the boss and the book doesn't shy away from uncomfortable truths about Prince's methods and manners. However, it's an embarrassment of riches for the fan and valuable historical document, not to mention a great, gossipy read.
We join the book at the beginning of 1985, smack bang in the middle of the Purple Rain tour. We learn how he quickly tired of its routine and looked ever forward, taking particular inspiration from Sheila E and other collaborators, ducking into studios around the country often straight after a gig, usually recording between 2am and 6am (Sheila's album Romance 1600 was almost exclusively put together in this fashion).
We also learn that there were three huge equipment trucks on the tour – one that contained reels of tape, one with the stage gear and one that contained only Prince's instruments, so that he could record anywhere, anytime.
Tudahl tells the whole story of the fascinating Los Angeles night of 28 January 1985, when Prince won three awards at the American Music Awards but then failed to repair to A&M Studios for the 'We Are The World' session (he offered a guitar solo to Quincy Jones but was turned down!), instead going out to party at Carlos 'N Charlie's Mexican restaurant.
The evening had huge repercussions and began a period of press barracking – he was even lampooned on 'Saturday Night Live', with Billy Crystal blacking up and singing 'I Am The World'.
Tudahl has access to a huge number of candid interviewees who provide a kind of making-of guide to other key side projects from the period: St Paul Peterson talks in detail about the recording of The Family and his subsequent fall-out with Prince; Jill Jones describes the painful, hugely drawn-out period working on her underrated 1987 solo record; Eric Leeds describes how the Madhouse albums came about.
Then there are the fascinating details: we learn the full story of how 'Kiss' came together, with Prince getting inspiration while playing basketball on the Sunset Sound court; how the expansion of The Revolution in February 1986 was somewhat of a result of Prince's fascination with 'twins', probably inspired by his fiancée Susannah Melvoin's relationship with her sister Wendy.
We also get a real sense of Prince's incredible progression as a musician, especially through the early days of 1986, and learn all of the relevant details about his collaboration with Miles Davis.
We read how the US bombing of Libya on 14 April 1986 affected Prince, inspiring a talk with Jill Jones, the viewing of a film about Nostradamus called 'The Man Who Saw Tomorrow' and subsequent removal of some of the more frivolous material on Jill's album. We also learn how the LA earthquake of 12 July 1986 inspired the classic song 'The Cross'.
And there are fascinating nuggets about how he saw his own work – he reportedly told Eric Leeds and Susan Rogers on 29 July 1986 that he thought his lyrics to 'Adonis And Bathsheba' were possibly his best, though Leeds and Rogers certainly didn't agree… Both reasoned that Prince protested too much only when he was unsure of himself.
There are also the fascinating machinations of how the Sign 'O' The Times album finally came together, after numerous false starts, tracklist changes and the Warner Bros. top brass – led by Lenny Waronker – refusing him a triple album.
And then no detail is spared in the section on the 'sacking' of Wendy and Lisa, subsequent hiring of Cat Glover and reformatting of Prince's live unit.
The period is an absolute whirlwind, and the mind boggles how much all of this studio time cost Prince and Warners. But finally the impression we are left with is that this book gets as close to the 'real' Prince as we are ever going to get – it's not for the faint-hearted fan, but a fascinating, rewarding journey if you can take it.
As someone who regularly worked on a completely one-to-one basis with him, Susan Rogers often had the best seat in the house, and she offers rich insights into his family background and psychology. The section on Prince's lonely recording session of Christmas Day 1985 will linger long in the memory.
But all of this is only scratching the surface. We haven't even mentioned the making of 'Under The Cherry Moon'. It's another wonderful book and enormous achievement by Tudahl. We await 'The Lovesexy/Batman Studio Sessions' with baited breath.
'Prince And The Parade/Sign 'O' The Times Era Studio Sessions' is published by Rowman & Littlefield.
Author Duane Tudahl discusses the writing of the book in this podcast.
Posted in 1985, 1986, Book Reviews, Prince / Tagged bobbyz, catglover, cokejohnson, davidrifkin, duanetudahl, ericleeds, jilljones, kiss, lisacoleman, lovesexy, madhouse, mattblistan, milesdavis, paisleypark, parade, paulpeterson, peggyleonard, prince, sheilae, signothetimes, susannahmelvoin, susanrogers, thecross, thefamily, therevolution, underthecherrymoon, wendyandlisa, wendymelvoin / 2 Comments
David Bowie Impersonates Marc Bolan: 18th August 1985
1985 was a mixed year for DB.
Tragically, his half-brother Terry Burns took his own life in January, but then the summer was a very 'up' period – he was a wholehearted contributor to Live Aid, promoting the event widely and enjoying the company of his contemporaries and assorted young bucks alike.
He was also relishing getting out of his comfort zone courtesy of key roles in Jim Henson's 'Labyrinth' and Julien Temple's 'Absolute Beginners'.
Then summer 1985 spawned one of his greatest singles, the theme song for the latter movie. Like 'Dancing In The Street', 'Absolute Beginners' was produced by David alongside Madness/Dexys/Costello collaborators Alan Winstanley and Clive Langer.
The backing tracks had been laid down at Abbey Road but the final vocal session took place at London's West Side Studios (owned by Langer and Winstanley), Olaf Street, near Latimer Road tube station (and very close to Grenfell Tower), on 18th August 1985.
After nailing the song in just a few passes – as was his wont – Bowie found himself in the studio with a bit of time on his hands. Instead of making an early exit, he quickly wrote some rather overwrought lyrics vaguely in the style of Bruce Springsteen and then entertained Langer and Winstanley with a succession of vocal impersonations.
Engineer Mark Saunders thankfully captured these precious moments and has very kindly put them on YouTube for our delectation.
So enjoy Bowie's irresistible takes on Springsteen, Marc Bolan, Tom Waits, Lou Reed, Anthony Newley, Iggy Pop and Neil Young, complete with charming asides ('That's it – night-night!').
It's a doorway to happier times. DB: miss him, miss him, miss him.
Posted in 1985, David Bowie / Tagged absolutebeginners, alanwinstanley, clivelanger, davidbowie, davidbuckley, iggypop, jimhenson, labyrinth, loureed, marksaunders, strangefascination, westsidestudios / 1 Comment
When Thomas Dolby Met George Clinton: 35 Years On
They say you should never meet your heroes – if the summer of 1985 is anything to go by, Thomas Dolby probably knows a thing or two about that.
First there was THAT Grammy Awards performance alongside Stevie Wonder and Herbie Hancock.
Then he contributed production, arranging and keyboard work to Joni Mitchell's underrated Dog Eat Dog, and, of course, there was his appearance at Live Aid as part of David Bowie's band.
But arguably Dolby's most intriguing collaboration of summer 1985 was with P-funk pioneer George Clinton, who was onto his third solo album of the decade.
Just after Live Aid, Clinton invited Dolby out to the Bee Gees' Criteria Studios in Miami to work on two tracks for Some Of My Best Jokes Are Friends.
Clinton was finding much lyrical inspiration in Reagan's America, and his latest album was firmly focused on the Nuclear Threat. During a hilarious fishing trip with Dolby off Miami (apparently during which Clinton sat in a swivelling captain's chair, rolled joints and played rough mixes on a boombox), they came up with a character for Dolby – the Space Limousine Driver! Of course…
Clinton then invited Dolby to perform at a James Brown tribute night for the annual Black Urban Music Conference in Washington DC. Apparently his guest spot during 'Sex Machine' (described by Dolby as being 'like Alec Guinness having a seizure') made Mr Brown laugh and also gave Dolby some cred with the hardcore P-funk crowd (though sadly it doesn't seem to be on YouTube…).
Clinton was also apparently thrilled with Dolby's contributions, and asked if there was any way he could return the favour. Dolby quickly cooked up a new song, recruited the Brecker Brothers and Lene Lovich and retained the formidable bass/drums team of Rodney 'Skeet' Curtis and Dennis Chambers from 'Thrashin'.
They christened the new band Dolby's Cube and recorded a great one-off single at Battery Studios in London. Sadly, despite a cool video, it didn't chart.
Dolby's experiences with George loosened him up, and made him reassess a solo career that he felt thus far had been hamstrung by dodgy business practices and too much emphasis on 'image'.
His effervescent 1988 album Aliens Ate My Buick was more explicitly influenced by Clinton, who also contributed the song 'Hot Sauce' (Francois Kevorkian's superb remix of 'May The Cube Be With You' was also included). The summer of '85 was certainly a memorable one for all concerned.
Further reading: 'The Speed Of Sound' by Thomas Dolby
Posted in 1985, Funk, George Clinton, Thomas Dolby / Tagged aliensatemybuick, breckerbrothers, dennischambers, dolby'scube, francoiskevorkian, georgeclinton, lenelovich, maythecubebewithyou, pfunk, rodneyskeetcurtis, thomasdolby / 10 Comments
Bill Evans: Living In The Crest Of A Wave/The Alternative Man
When people say 'I hate jazz', I sometimes wonder if they're really saying they know a crap composition when they hear one.
Legions of talented jazz sidepeople have been given solo record contracts only to deliver music that proves they can't write decent tunes.
A case in point is saxophonist and William Hurt-lookalike Bill Evans. He's had a very solid career but his solo work is distinctly underwhelming.
(And then there's the name. If you play jazz, you probably need a stage name if you have exactly the same moniker as a bona fide legend from decades gone by – the pianist Bill Evans died in 1980.)
But give Sax Bill some credit – he was an absolutely vital figure in Miles Davis's 1980s comeback, a good friend and carer of the trumpeter and player of several gritty solos on record (Star People is a good place to start).
But by 1983 Bill found himself inexplicably frozen out, barely getting any solo space from Miles.
He got the message and jumped ship to join John McLaughlin in the new Mahavishnu Orchestra and also embark on a solo career which kicked off with 1984's Living In The Crest Of A Wave, a pretty anodyne collection of new-agey fusion.
Let's call it The Metheny Effect. Many tried and failed to ape that guitarist's mixture of Ornette Coleman-inspired melodicism, Latin flavours and down-home, Midwestern, open-sky simplicity.
With its folky themes, puny production, emphasis on soprano sax, fretless bass, ride cymbals and an 'environmental' bent, LITCOAW could almost have come out on Windham Hill.
Only the closing title track works up any kind of energy or interest, when Evans finally busts out the tenor and blows up a storm over Adam Nussbaum's frenetic jazz/rock groove.
Evans' followup, 1985's The Alternative Man, was his first record for the illustrious Blue Note Records and as such should have been a celebration. Unfortunately it was an object lesson in how not to use technology, and just the kind of '80s 'jazz' album that illustrates what a brilliant job Marcus Miller did on Miles's Tutu.
Evans in the main stumbles around with ugly Linn Drum patterns, electric drums, blaring synth pads and raucous hair-metal guitar solos, all topped off with some fairly insipid soprano playing. A few tracks and you'll be wanting to break out the Albert Ayler or David Murray albums, and fast.
The only interest predictably comes with two more open, organic offerings, the excellent 'Miles Away' which reunites Evans with his Miles colleagues Al Foster on drums and Miller on bass.
And 'Let The Juice Loose' is fun, a cool bebop head featuring some enjoyably un-PC Strat-mangling from the late great Hiram Bullock.
But hey – some of this music brings back good memories, when I was digging around the Record And Tape Exchange and Our Price for bargains and closely monitoring the personnel on the back of my favourite Miles and McLaughlin albums.
These albums also definitely represent a weird time for '80s jazz, when established labels were signing all and sundry, fishing around for the next Young Lion or Metheny.
And thankfully a few dodgy early solo records didn't hurt Evans' career much, as he's gone on to be one of the most respected players on the scene.
Posted in 1984, 1985, Album Reviews, Bill Evans, Fusion, Jazz / Tagged adamnussbaum, alfoster, billevans, bluenoterecords, dannygottlieb, hirambullock, johnmclaughlin, livinginthecrestofawave, mahavishnu, marcusmiller, milesdavis, thealternativeman / 2 Comments
Propaganda: Wishful Thinking
ZTT Records – under the auspices of Trevor Horn – really used the remix format.
No throwaway, rush-released projects for them. Their remixes were petri dishes for sonic experiments and situationist pranks, many worthwhile and innovative.
And of course several remix albums were released on ZTT – Grace Jones' Slave To The Rhythm was essentially one song done eight different ways, and there was also a whole Frankie Goes To Hollywood LP dedicated to 'Two Tribes' remixes.
But maybe a lesser-known example is Propaganda's Wishful Thinking, a reworking of the Düsseldorf unit's seminal 1985 album A Secret Wish, originally produced by Stephen Lipson (with one track – 'Dr Mabuse' – helmed by Horn).
A Secret Wish's stock seems to keep rising year after year, gaining more fans and sounding better than ever. But Wishful Thinking is a weird project, to say the least.
Co-remixer (alongside former tape op Bob Kraushaar) Paul Morley's absurd liner notes quote Goethe and boast that the album is the result of '39 studio hours', which, by ZTT's painstaking standards, doesn't actually sound like much.
But it's a thrilling, epic collection just the same, regurgitating many of the original album's sonic motifs but in a different order and a different place on the stereo spectrum.
'Machined' reimagines 'P-Machinery' as a mid-tempo minimalist piece, featuring mainly Claudia Brucken's vocals and gentle drums.
'Jewelled' fuses the two versions of 'Duel' from the original album, mixing her 'angry' vocals with the backing from the 'pop' version. It's pretty funny and genuinely surreal.
Hidden elements embedded in the original mix are subtly revealed, like Lipson's chiming guitars on 'Laughing'. 'Loving' exposes and amplifies Andy Richards' gorgeous piano and synth from 'The Murder Of Love', finally revealing it as the fantastic pop song it is.
The two versions of 'Dr Mabuse' bring out Horn's genius and natural flair for the dynamic, showcasing not one but two brilliant bass vamps and a whole host of other sonic delights (thrillingly, one version is used in the absurd opening credits of John Hughes's 1987 movie 'Some Kind Of Wonderful').
But possibly the best track on Wishful Thinking is the closing 'Thought', an excerpt of the band's version of Throbbing Gristle's 'Discipline'.
All in all, it's an epic, exciting hour of music, and a real one-off. For anyone still fascinated by A Secret Wish, as this writer is, it's required listening.
The band probably hated it, though Brucken did donate one of her paintings for use on the cover (but then she was married to Morley at the time…).
Posted in 1985, Album Reviews, Pop, Propaganda, Synth Pop, ZTT / Tagged 12inchsingles, andyrichards, asecretwish, claudiabrucken, frankiegoestohollywood, industrial, paulmorley, Pop, propaganda, remixes, stephenlipson, throbbinggristle, trevorhorn, wishfulthinking, ZTT / Leave a comment
Narada Michael Walden: Looking At You, Looking At Me/The Nature Of Things/Divine Emotion
Singing drummers: the '80s were chock-a-block with 'em.
But Narada seems a somewhat forgotten example, at least compared to the far more popular Phil C, Don H, Stevie W and Sheila E.
Yet he started the decade as the one you'd probably have put your money on, ending the '70s as he did with an impressive run of R'n'B hits.
Narada had of course started his music career as a jazz/rock drumming tornado in the second incarnation of John McLaughlin's mighty Mahavishnu Orchestra, going on to record famous fusion sides with Jeff Beck, Weather Report, Tommy Bolin, Alphonso Johnson and Jaco Pastorius.
During the '80s, he was one of the most in-demand producers on the planet, helming Whitney Houston's 'I Wanna Dance With Somebody', Aretha Franklin/George Michael's 'I Knew You Were Waiting For Me' and Starship's 'Nothing's Gonna Stop Us Now'.
But his solo career was somewhat in limbo during this period, so it's fascinating to check out a new, nicely-appointed three-album survey of his 1983-1988 output.
Looking At You, Looking At Me (1983) is the best of the three albums, but a frustratingly inconsistent record. Listening to the superb title track, you'd think he might have found hit his true metier, a languid, luxurious, West Coast pop/jazz, similar to the kind of music Al Jarreau or Manhattan Transfer were making at the time.
But an OK duet with Angela Bofill, passable cover of 'Reach Out (I'll Be There)' and sick drum-machine/horn workout 'Shake It Off' aside, the rest of the album is fairly unmemorable R'n'B with occasional virtuosity from guitarist Corrado Rustici and bassist Randy Jackson.
The followup, 1985's Nature Of Things, is even more problematic, sounding mainly like a kind of soft R'n'B version of the 'Top Gun' soundtrack, with way too many synth-based ballads.
But Divine Emotion (1988) was a partial return to form, led by the effervescent title track (with one of the great '80s basslines) which gave him a timely UK hit.
Narada had obviously been prompted into action by his highly successful production work – his vocals and arrangements have never been better.
But while Divine Emotion sounds like a million dollars, there are still issues on the songwriting front. Put simply, only the title track, 'But What Up Doh' and closer 'We Still Have A Dream' have memorable hooks (the latter also features some brilliant jazz/rock kit work from Narada).
One wonders what might have happened if he had hooked up with some great 'pop' songwriters like Kenny Loggins, Rod Temperton, Michael McDonald, Carole Bayer Sager or even Burt Bacharach at the outset of the decade rather than relentlessly ploughing his own furrow; 'Looking At Me, Looking At You' offers tantalising possibilities.
But looking at his career as a whole, it's all turned out fine – Narada's always been one of the coolest, most talented musician/producers around, and apparently he's a joy to work with.
Posted in 1983, 1985, 1988, Album Reviews, Funk, Fusion, Narada Michael Walden, Soul / Tagged angelabofill, corradorustici, divineemotion, johnmclaughlin, mahavishnu, naradamichaelwalden, randyjackson / Leave a comment
The Redskins: Bring It Down
I first heard The Redskins' 'Bring It Down (This Insane Thing)' circa 1985 on 'The Max Headroom Show' and was seriously impressed.
Listening back more than 35 years on, there are shades of early '80s punk/funk: Gang Of Four, 23 Skidoo, A Certain Ratio, plus a bit of Dexys/Jo Boxers, courtesy of the spicey horn arrangements.
The lyrics seem fairly revelant in a post-Grenfell world and feature somewhat of a classic opening line, parodying Prime Minister Harold Macmillan's famous 1957 speech: 'You've never had it so good/The favourite phrase of those who've always had it better…'
The band's break-up as announced in the NME – click to enlarge
The band are a solid, funky little unit and I like singer Chris Dean's chuckling Melle Mel homage and general swagger – it's a classic '80s vocal performance. His Afro-beat-flavoured rhythm guitar playing is pretty good too.
Their Wikipedia entry claims that The Style Council's Steve White plays drums on this but it doesn't particularly sound like him. The Redskins burned fairly brightly for four years, starting out as an NME-approved indie act and then graduating to a major-label deal in the classic '80s style.
They split up after their Anti-Apartheid tour of 1986. 'Bring It Down' was their one and only UK top 40 single – a fairly poor return when such blue-eyed-soul inanities like The Blow Monkeys' 'It Doesn't Have To Be This Way' were just around the corner.
Where are they now? Who knows? No reunion. No sell-out. One near-hit.
Posted in 1985, Pop, Rock, Song Stories, The Redskins / Tagged alexeisayle, bringitdown, maxheadroom, mellemel, nme, stevewhite, theredskins / Leave a comment
Re: Eurythmics
At the peak of their pop success in November 1986, Eurythmics' Annie Lennox told Melody Maker magazine: 'I'm an angry person. I'm angry generally. The world is not a place to be passive in. I didn't ask to be born…'
Lennox played at Sadler's Wells the other night to rave reviews, her first London gig for over 10 years. I'd like to have been there; her music makes much more sense to me live than on record.
And her solo work appeals more than Eurythmics – they're so much part of the UK pop furniture that maybe I can't really judge anymore, though 'Love Is A Stranger' always seems genuinely beguiling.
But then I saw some footage that made me re-assess their whole career. The penny dropped. A fascinating documentary has appeared online capturing Annie and Dave demoing their enormo-selling 1985 album Be Yourself Tonight in a fairly cheap Paris studio complex.
The songs are stripped down to just drum machine, a few keyboards, guitar and vocals, and what comes across is the sheer joy of creating this music. Lennox brings the songs to life with skill and courage and Stewart's guitar playing is wittier and flashier than I'd ever heard it before (and he gives good interview too).
I've since compared these early run-throughs to the album versions and they're so much better; wish they'd had the guts to release them as they were.
Posted in 1985, Eurythmics / Tagged annielennox, beyourselftonight, davestewart, Eurythmics, loveisastranger / 5 Comments


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Rewriting the North: Place, Nation, and the Cultural Politics of Devolution
Ashbridge, Chloe (2021) Rewriting the North: Place, Nation, and the Cultural Politics of Devolution. PhD thesis, University of Nottingham.
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Between the 1997 devolutionary moment and the 2016 Brexit-vote, the Union's continuity has become increasingly uncertain. In England, the fraught relationship between the North and the South East of England has been at the centre of debates regarding devolution, with the 'English Question' taking on an explicitly regional dimension. At the same time, British devolution developed a distinctively cultural registration, functioning on the one hand as a surrogate for national parliamentary representation; and, on the other, regional decentralisation, an attempt to disrupt the status of London as Britain's cultural epicentre. Rewriting the North extends this debate by appraising the relationship between British constitutional culture and the literary North. To do so, this thesis advances two interlinked arguments. First, that Northern England has functioned in the national imagination less as a geographical territory than as a culturally loaded spatial metaphor for a nexus of socio-economic and constitutional tensions throughout Britain. Second, that this construction of the North has been augmented by a persistent cultural North-South divide, which has served as a bulwark of the Union in securing the continued suppression of a national England.
Drawing on political arguments advanced by the New Left, and contemporary literary interventions in this field, Rewriting the North identifies what I term 'the cultural politics of devolution'. Through close readings of six contemporary authors – Sunjeev Sahota, Sarah Hall, Anthony Cartwright, Adam Thorpe, Fiona Mozley, and Sarah Moss – this thesis uncovers the processes by which twenty-first-century fiction about Northern England imagines alternative democratic futures for the region and the English nation. The corpus of primary works situates the North at the centre of several contemporary political developments in Britain, and is characterised by the complexities of devolution as a state-led process: uneven development, tensions between regional and national powers, democratic deficit, and agency are central concerns to which these novels consistently return. 'The cultural politics of devolution' thus represents a new theoretical approach to devolutionary studies that stages a dialogue between a decentralised literary-critical practice and a thematic concern with political devolution as a state-led process. Rewriting the North considers the extent to which twenty-first-century representations of Northern England simultaneously convey an urgency for alternatives to British state centralisation and reflect the limits of devolution for radical democratic change. The formal and stylistic contradictions of the texts discussed herein indicate a rejection of devolution as an emancipatory challenge to British hegemony, and position Northern England's democratic promise in direct opposition to the Union.
Thesis (University of Nottingham only) (PhD)
Head, Dominic
Northern England in literature, regionalism in literature, English question, Sunjeev Sahota, Sarah Hall, Anthony Cartwright, Adam Thorpe, Fiona Mozley, Sarah Moss
P Language and literature > PR English literature
Faculties/Schools:
UK Campuses > Faculty of Arts > School of English
Ashbridge, Chloe


text:
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func (f *jobInformer) Informer() cache.SharedIndexInformer {
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func (f *jobInformer) Lister() v1.JobLister {
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redpajama_set_name: RedPajamaGithub


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This article was published on December 27, 2009
Shoes of Prey and the New Web of Real Customisable Things
Kim Heras
Kim Heras is a Sydney-based technology writer and entrepreneur. His passions include the Australian startup industry, innovation and the (show all) Kim Heras is a Sydney-based technology writer and entrepreneur. His passions include the Australian startup industry, innovation and the web as an enabler of change. You can follow Kim on twitter - @kimheras
Shoes of Prey
, the Australian startup that lets you create custom women's shoes online has had its official launch and, along with kick-ass shoes, brings the promise of things to come for all of us.
Founded by former Google employees Michael Fox and Mike Knapp; and with Fox's wife Jodie, the business' "Director of Fashion", the site has gained a lot of attention since coming out of stealth a few months ago, and rightly so.
Every single woman I have shown the site to, without fail, has looked like a kid on Christmas Day. Admittedly I was showing many of them the site on the actual Christmas day, which may have had an influence on their look, but that small fact aside there's no doubt that the site is a winner for a large chunk of the fairer half of the population.
Adding to the hype surrounding Shoes of Prey, the site has just been announced as a finalist in the TechCrunch Crunchie Awards category of Best Bootstrapped Startup. More importantly though, they've also been nominated in The Next Web Australia Awards in a number of categories and will no doubt feature in the finalists there too.
So what is it about Shoes of Prey that makes the site so interesting?
First of all, it's the number of options – Shoes of Prey's simple online shoe-designer can be used to create 3.81 x 10^22 types of shoes that's 381 followed by 20 zeros!
Secondly, it's the customer service side of things like their Guaranteed Gratification Policy – if the shoes don't fit, or just don't fit your dream, then you can send them back for a full refund!
But, most importantly, it's a great example of what will no doubt be an evermore-popular component of e-commerce – the web of real, customisable things.
Need proof? Check out Milk or Sugar and its collection of sites that allow you to order custom goods online.
Between real customisable things, rapid prototyping and the growing trend towards user-led innovation, it's clear that we're in for a change in the way that many of the things we buy are developed, created and distributed.
The current popular model, where companies come up with stuff they think we might want, mass produce it, then squeeze the f*** out of suppliers in order to compete on price, leaves little room for smaller producers to compete globally.
Sure there are artisan sites like Etsy and RedBubble, but customisation is about something different.
What customisation does is allow businesses to compete at scale on a new form of value – the "me" in a world of impersonal mass-produced goods.
Nike know it. So do Ralph Lauren. But they and the other big boys playing in the space are working both sides of the game. That's not showing any real commitment to the cause and will do little to counter the real winners from this movement – startups, like Shoes of Prey who, by building a business purely on customization, will shift the demand curve rather than moving up or down it.
It's been a long time coming, researchers have been writing papers on the idea of mass customization for almost 15 years, but when women are prepared to buy something as personal and important as a custom pair of shoes online you know the movement's time is near.
Published December 27, 2009 - 5:02 am UTC
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Respect Your Elders
Anne Marie is having a weekend of activism, so this week's Sunday Column has been written by the Party Chairman.
A phrase we can all remember being told when growing up. And with good reason too. As life develops, we realise that much of the advice and comment given to us by our parents or more elderly people proved to be sound, as nothing can replace life experience. I remember often rejecting the words of my parents as a teenager, thinking I knew better. But I didn't, and looking back I realise how they were right about pretty much everything – especially as a parent now myself. And all their advice was selfless, because they simply wanted the best for me.
Cultures across the world have also taught this wise approach, with elders often revered and venerated, sometimes even worshipped after death. But in recent years, here in the UK, we have seen our approach to the older members of society deteriorate, and it is unpleasant to see.
The time I first started to notice a dramatic change was around the time of the Brexit vote. A functioning society would have listened to the generation that had 40 years experience of living through the EU. Many older people articulated the erosion of control and independence in the EU and believed the future was better for their kids and grand kids outside. The vast majority of older people still live the morality and ethics of a generation that puts others first, including people that were so selfless they rushed to fight fascism for the protection of their country and families.
One would have hoped for at least civil discussion, but instead we then had a widespread assault on the old and their opinions, which all too often turned into disgusting death fantasies. How many time did we see pundits and celebrities tweeting life expectancy figures and working out the point where enough older people would be dead to swing the Brexit decision?
To believe that your views and opinions as a 16 year old completely invalidate that of someone who has lived 70 or 80 years, seeing it all, points to a selfish generation that lacks common decency and respect, and this is a major worry for the future.
There are of course many good younger people so we cannot generalise, but what we see is a shift.. a trend. We see it elsewhere. I had the unfortunate experience of my mother being rushed into hospital. I was called in during the early hours and the first thing the medical staff did when I arrived was to try and force me to sign a 'do not resuscitate' form. It was a horrendous experience to be greeted with in that situation, hoping to catch me in a vulnerable moment. The message I took was 'this is a bed she is taking, and inconvenient for us'.
Fortunately she recovered, but it didn't stop her being treated badly in the hospital. She became ill again due to lack of food and water (had become dangerously underweight); she was not able to eat the inappropriate food they brought round at mealtime. Instead of noticing she hadn't eaten, they simply removed the untouched food and drink and did nothing else. I had to break the rules and take in appropriate food at visit times, and am convinced without me doing this, she would never have left that hospital. No wonder such a large percentage of the NHS budget is for settling negligence claims.
The state of our NHS is for another article.
Most people reading this will agree that there is an assault on families, the family unit in particular. But also all the values, morals and ethics that have served us well for generations. We spent time with our grandparents, listening stories and enjoying every minute of it (OK, most of it!), and learnt our life lessons. Now the state wants to teach us our values. Schools and Universities have replaced the 'father to son' talk for many – and we can all take a little blame. As life became more complex, technology made us busier by fooling us into making us believe it was making life easier. We've allowed the state to fill the void, because we don't gather often enough as a family and just talk.
"Grandad is from a different time, he's bigoted to think men cannot menstruate. He's making it up about his wartime experiences in Arab countries as he just doesn't like brown people".. and so on. Teachers are openly political, and invariably left wing, and are feeling emboldened enough to push the envelope on what can be promoted in our schools and colleges. It's all contributing to the breakdown of respect. Curriculums are evolving all the time, it is shocking to see how much now attacks Britain, her history, her culture and elevates everyone else as somehow better.
Simple truths, simply told such as 'there are plenty of good reasons not be fat' have been deemed inappropriate by the woke class. Most of the best advice I have ever had in life has been in direct and to the point statements such as these from people who have learned and experienced far more than I have.
Nish Kumar, 'comedian' and BBC favourite took a break from attacking British heritage and joked 'I want you white people in the audience to do something for me….. I want you to go home and kill your racist Brexit-voting parents'. Charming eh? But it is OK when the left do it, a right wing figure saying the reverse wouldn't appear on TV or social media again.
This is all part of the drip, drip, drip effect of undermining the older in society. The disrespect has spread too, it isn't just left activists and students, we have seen it in certain professions. We all saw the appalling scenes of one of our veterans being pounced on and man handled to the ground by police at Dover during the protest against illegal immigrants. If only they acted with such enthusiasm against the criminals entering the country! It isn't just Britain, in Australia police manhandled and arrested an elderly (and quite frail looking) pair of men who were protesting against masks and the lockdown. They are scenes that would scarcely have seemed believable 5 years ago. Some of the footage in Care Homes caught on CCTV is too distressing to even talk about.
There is no consideration in decision making for older people, as we saw with the ridiculous 'Land of Hope & Glory' on last night of the Proms debacle. Many older people have been locked up in care homes or isolated for months. Many still stand for the Queen on TV and have had generations before them passing down what our history, royalty and achievements mean. So when a 25 year old immigrant on Sky News tells us why the song should be banned, why on earth should her (preferred pronoun assumed) opinion carry any weight against generations of Britons? The anti British feeling of these vindictive people is happy to cause distress to our elders who are heartbroken by what is happening.
During COVID, we haven't allowed them to be with family, even in their final moments. It is a wicked scandal.
Age counts for nothing – in fact it now counts against you – and this unpleasant age has been ushered in by nihilist intolerant and ugly people who think of nobody other than themselves and their hatred for the country they are blessed to live in.
I am happy to say that For Britain does not adopt this mindset. Our respect for people with long and varied lives, and what they can teach us couldn't be higher. Actually, we feel loss for the time when society held their values, and Britain was a safer, happier and a just more tolerant place. We may not have had as much, but we knew right from wrong, and who to show respect and courtesy to.
It starts with rejecting this assault on us from the left, in whatever form the Marxists take – be it Extinction Rebellion, Black Lives Matter or whatever. The Tories are failing miserably, and Labour would only accelerate it even further.
It isn't only this party that sees it, most people we talk to do. I am sure it is the same for you, so let's tell them that there is something they can do about it. Help promote the only party that is awake to this and will tackle it head on. The war we are fighting now may not carry the same risks that our elders had to endure, but if you feel that same sense of selfless pride and determination to fight for what you believe in, join us in this battle for Britain, a battle for hearts and for minds.
Losing isn't an option we can consider.
For Britain Team2021-06-10T09:05:39+01:00Blogs, Sunday Column|


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JWU Online > Blog > To-Go Cocktails: Tips and Trends
To-Go Cocktails: Tips and Trends
by Brian J. Warrener MBA
To-Go Cocktails Tips and Trends
The coronavirus pandemic has had devastating effects on the restaurant business. Experts estimate that more than 20,000 restaurants have closed their doors permanently and many more are likely to follow. Some restaurants, however, have been quite resourceful in figuring out ways to survive, if not exactly thrive. In many locales, outdoor dining has been a key to survival in conditions where demand and capacity have been reduced. Takeaway and delivery programs have also played a part in the new normal for restaurants. This is especially true in the case of high-profit specialty cocktails.
In an effort to support their bars and restaurants, 30 states and DC have passed some sort of law allowing these establishments to provide their customers to-go alcoholic beverages. (At the end of June, the state of Iowa made its law permanent). As was the case before the pandemic, these laws vary widely. Operators have had to be keenly aware of the specifics and tailor their programs to comply. But many have provided their clientele with high-quality popular offerings. Some may even be looking to continue and grow these programs beyond the current necessity.
There's nothing simple about crafting a great to-go cocktail program. But the experiences of some successful operators certainly do provide some direction. Here are some of the key considerations.
To-Go Packaging
The old adage says, "We eat with our eyes." We drink with them, too. For all time, savvy operators have known that the appearance of a drink and the environment in which it is consumed are critical to a satisfying experience. Off-premise consumption doesn't allow for creating the atmosphere within which cocktails are consumed, so it's important to provide other pleasant aesthetics. The most important is packaging. Like a great glass, a great package enhances the enjoyment of the drink. For example, clear glass bottles are weighty and allow for beautifully displaying colorful liquids and garnishes. Carefully curated fonts, logos, graphics and photos can help communicate the vibe in your establishment. Messages and recipes can turn an impersonal experience more personal.
Choosing which cocktails to offer to go can be a difficult choice. Some customers will certainly prefer to offer their favorite from your specialty menu while others will want to drink what they want to drink. For most it may be unrealistic to provide a full complement of offerings. This might be especially true for bars and restaurants that are currently offering in-person dining and need to service these customers at the same time. Considering unique formats and packaging, making your entire menu of drinks to go "a la minute," can slow things down in house.
Also, some cocktails simply don't hold or travel well. Carbonated mixers should be consumed immediately or go flat and mostly alcohol forward drinks hold best. Avoiding the former and focusing on the latter gives you the best chance at success.
Drink Format
The format in which you offer your drinks is a final and key consideration. At the beginning of the pandemic, the state of Massachusetts allowed restaurants to sell beer and wine to go, but not cocktails. Ran Duan is a James Beard Nominee and Tales of the Cocktail Spirited Award Winner. He is a creative bar owner and practitioner and a Johnson & Wales University alum. He began offering Blossom Mixers, cocktail kits that included everything a customer needed to mix signature Blossom Bar Cocktails … everything, that is, except for the booze. Duan has gone so far as to offer cocktail ice cubes, garnish kits and glassware to help take the experience to ever-higher levels. He has since moved on to offering mixed drinks that include the spirit, as Massachusetts Governor Baker has eased some restrictions but Duan still offers his popular Blossom Mixers.
Some operators have focused on fresh-made cocktails ordered and ready in time. Others have focused on bottled or batched cocktails to ease the stress during whatever peak busy periods still exist. As mentioned above, drinks in this format can be limited by mixers and are best if more alcohol forward. Some prior experience with batching and bottling is best for successful results to be achieved. Still, others have created a pleasing combination of the two on their menus.
Again, in some cases format can be dictated by the law. Some states only allow for two portions of mixed cocktails to be sold at a time. I recently spent some time with a former student of mine whose bar is offering something similar but who is considering offering spirited cocktails and kits in larger formats to accommodate customers looking to serve their drinks to smaller groups of guests.
Without a doubt, laws allowing to-go cocktails have provided a welcome lifeline for restaurants struggling to survive during these unprecedented times. That said, there are still a number of questions that need to be answered if the service is to continue. While 80% of Americans are in favor of to-go alcoholic beverages, some public health advocates are concerned about overconsumption, public consumption, and especially underage consumption, as the result of loosening tight controls. The efficacy of third-party delivery by companies like Uber Eats and GrubHub has also been questioned. In response, Health Communications has tailored its TIPS Responsible Beverage Service Program to account for this new mode of delivery as many operators hope that their locales follow the lead of Iowa and permanently allow service to go.
Are you interested in this topic? Considering a future in the industry? Give yourself a headstart with a bachelor's degree in culinary arts & food service management from the Johnson & Wales University College of Online Education. To learn more, complete the Request Info form, call 855-JWU-1881, or email [email protected].
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AuthorBrian J. Warrener MBA
Brian Warrener began his career in the hospitality industry in 1985. He has more than 15 years of experience as a property general manager overseeing operations at private city and country clubs. He has taught at JWU since 1995 and has been a full-time faculty member since 2002. Professor Warrener's areas of scholarly interest include food and beverage operations and service management theory and practice. He is a prolific writer, having authored more than thirty articles for national industry publications, and is a frequent presenter at industry tradeshows. He is a member of the Advisory Board for Nightclub and Bar. He holds a bachelor's degree from Harvard University and MBA from the University of Rhode Island.


My images are often of models at a location, where they are not necessarily that large in the frame. So for one of my last shoots I decided I would try to produce some more traditional portraits, and luckily I had the perfect model for this, the incredibly beautiful Fredau.
According to the dictionary definition a portrait is an image in which the face and its expression is predominant, so that's what I went for. We produced so many great images and these are a just a small selection.
We also did some more traditional nudes as well.
And also a bit of creative imagery.
Fredau now lives in Canada, and I'm sure I'm one of a long queue of photographers who can't wait to work with her again when she next visits the UK. So I hope you're having a great life in Canada Fredau, and thanks for producing so many great images with me.
Thank you Elizabeth, funnily enough I did that one just as a banner image.
Thanks for your comment Rod. Beauty is supposed to be in the eye of the beholder, so for your paints you are looking for something in particular. Personally I do find her very beautiful as I do all of the models I work with, including the models with more muscle tone that would appeal more to you such as Katy.
The third photo makes me want to wait for her to tell me something. Maybe it's the clear, straight gaze of her eyes. The photo is honest, subtle, strong but maybe a little sad too. It's deep and elegant.
Thank you as ever for your thoughtful comments Mr Pope. I've just entered it into an exhibition with a title of 'The Stare' as there is definitely something there, and we each read something different into it.
Maybe this year is the year of the portrait?