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Put The Boot In: 'Getting Closer'-The Last Flight of Paul McCartney and Wings 12-17-79
This evening in the 'rock room' I am spinning a crispy soundboard recording from December 17th 1979 featuring the final line up of Paul McCartney and Wings. This recording was originally recorded for and destined to be a live LP release, but due to McCartney's untimely arrest for Marijuana in Japan, the album was shelved and Wings eventually ceased touring. McCartney would eventually continue as a strictly solo artist, but at this point 'Wings' were still flying high in Glasgow, the last live show of their career. The 1979 UK tour featured diverse and eclectic set lists a punk rock attitude, and a stripped down 'Wings' with Steve Holley on drums, Laurence Juber on guitar, McCartney main man Denny Laine on vocals and many instruments, and of course Paul and Linda McCartney.
The 'boot' I am using for my review is by Vigotone and titled 'Last Flight', the only track from the concert to see an official release is the version of 'Coming Up' from the Glasgow show which was released as a single in the UK and US reaching the top of both charts. Reaching into all of the dusty corners of McCartney's solo career the 1979 Wings UK tour shows a willingness to keep the 'band' aspect of Wings alive, and to develop a show based on the groups merits as opposed to past Beatles glories. The quality is that of an official release with all instruments audible and mixed well.
Opening the show with 'Got To Get You Into My Life' McCartney gets the crowds hope for a 'Beatles' tune out of the way early. What follows is a rhythmically stomping version with chorused guitars and a fresh, eager and raspy rock throat Macca. The small horn section tastefully plays the song as it was originally recorded over Paul's throbbing and rotund bass lines. The crowd explodes in appreciation as 'Wings' then jumps into the opening track of the LP 'Back To the Egg', 'Getting Closer'. A song that would never be played again by McCartney, 'Getting Closer' is a rocker will fully amped Macca bass lines that melodically back stroke through the jagged rhythm waters of the tune. The chorus is classic McCartney, smooth and cutting edge, building to a crashing conclusion with swirling laser shots from Linda's keyboard set up. A great opener to the show spotlighting two distinctly different aspects of McCartney's career.
McCartney tells the crowd 'thank you' and after a quick pause the group strums their way into 'Every Night', a standout song from McCartney's first solo LP. Soft and dynamic, the song coasts like a cool evening breeze appearing at dusk after a steamy summer day. Paul sings gloriously, with Denny and Linda joining in on the three part 'Oooohhhh's". A nice distorted representation of the guitar solo is layed down by Juber mid tune adding to the tight knit instrumentation of the track.
The concert's song choice gets even more interesting with the string of songs that follow 'Every Night' each one unique and well played. 'Again and Again and Again' jubilantly bounds from the speakers a beautifully melodic and infectious Denny Laine penned number. A song featured on the new 'Back to the Egg' LP, McCartney was always sure that Laine's best songs got their full airing live in concert. Juber plays some ticklish scurrying guitar lines that creep underneath the vocals with a shaky confidence. One of my favorite Wings tunes and a highlight thus far.
Paul wanted this line up of Wings to have a more serrated edge to their music, so it is fitting that he gives 'I've Had Enough', one of the harder rocking tunes from 'London Town', a great workout on this tour. Opening on a start and stop chopping guitar figure, "Ive Had Enough' swaggers on a quintessentially 'Macca' vocal melody that harkens back to his throat shredding with the early Beatles. A nice dual guitar figure nestles itself in the middle of the song, prior to McCartney's spoken warning to the subject of the tune.
Another round of 'thank you's' and then Laine introduces the next song 'No Words' as one of the first tunes he and Macca penned together. A true collaboration, as the song was two different tunes joined together by Laine and McCartney. The song first appeared on 'Band On the Run' and gets a live work out here that spotlights the smooth Wings vocal blend and Laine's composing abilities. The horn section squeaks and moans in all the right places contributing to a well played version.
A chance for Linda McCartney to show off one of her own songs comes next as the rare and fun 'Cook of the House' gets a live airing. A goofy rock number with swinging horns and adequate vocals by Linda, 'Cook of the House' was originally the 'B' side of 'Silly Love Songs', Wings 1976 single. Here it gets a horn drenched, old fashioned rock and roll performance with Linda finishing the tune with a crowd pleasing 'Yelp'!
After some humorous on microphone voice inflections my Paul, he introduces my personal favorite performance of the concert thus far. 'Old Siam Sir' is another track from 'Back to the Egg' which was released as a single in the UK. One of the hardest rocking Wings tunes in recent memory, this song is a thick sludgy rocker that stomps with heavy feet. McCartney is in full 'Oh Darling' voice as he shreds his vocal lines naming different locations in the UK in which his female protagonist searches for her 'Sir'. The track swells on dual guitar lines, Macca's reverberating bass, and 'jack in the box' piano lines that contrast with the distorted backing. The song slowly builds in momentum until it crashes to a well received ending. Sweet.
In what feels like an end to a first set to me, the preceding tunes set the stage for a triad of McCartney's most beloved and famous piano ballads that follow an introduction by drummer Steve Holley. McCartney messes with the crowd in his usual fashion, then begins the recognizable introduction to 'Maybe I'm Amazed', which is followed by versions of "The Fool On the Hill', and 'Let It Be'. McCartney is in perfect throat with just enough satin smooth, and a touch of sandpaper rough. The band provides a backing that frames and spotlights Paul, but still is aggressive enough that they can put their stamp on songs that are so recognizable in their composition and arrangements. After 'Maybe I'm Amazed', Paul asks the crowd to 'Whoohoo!" a bit, then delicately strikes the introduction to "The Fool on the Hill', in my opinion a fantastic choice for this slot in the show. Denny is on bass, and Linda is adding touches of percussion, and during the middle eight of the song the band clip clops to Paul's falsetto additions and the flute punctuations flavoring the musical stew. The conclusion to Paul's piano trilogy is a emotionally charged 'Let It Be' introduced by Laine. 'Let It Be' has a very secular vibe with Linda's church organ underpinning Paul's gospel piano. What really makes this 'Let It Be' a unique version is the addition of the horns, sympathetic drums, as well as the climatic guitar interlude. Midway through the set and there are no signs of the band letting up.
Leading into the second half of the show comes another run of rarely played and enthusiastic tracks from Macca's career. A tropical and icy cool 'Hot as Sun' flaunts itself with a jittery groove and groovy horns. A rarely played instrumental song from McCartney's first solo LP makes a welcome appearance with a celebratory beach party vibe. Kudos to the band for a collaborative and amazing version!
Following 'Hot As Sun' comes the UK single 'Spin It On' which Macca introduces as a song from their last LP. 'Spin It On' slices through the stratosphere with a high octane turbo charged cadence. Encapsulating the direction that McCartney was looking for from his 'rock' edition of Wings,'Spin It On' soars breathlessly through its changes with semi automatic drums and churning punk guitars. Again, McCartney is in fine voice, screaming in his interminable fashion.
It makes sense that the next tune is the song that helped usher Paul into the world of rock and roll, and the song that brought Lennon and McCartney together all those years ago. Eddie Cochran's 'Twenty Flight Rock' is a tune that McCartney has held close and busted out at different moments over the course of his career. Wings swing their way through the slippery sliding central lick as Macca counts off the flights he climbs. At the songs conclusion he replies, "Thank you rockers everywhere!'
Going in a different direction and slowing down the show slightly, Paul gives the spotlight to Denny Laine who performs his well known classic 'Go Now' which Wings always got its teeth into. With Laine on Piano and Paul and Linda sharing the backing vocals 'Go Now' reaches into the blue for some misty peaks containing a couple of nice solos by Juber. Laine's voice, one of the key elements in the 'Wings' sound is highly under appreciated. While the song choice is not super unique, it is a well played and always welcome addition to the set.
Another 'new' song comes up next, which happens to be the last song on 'Back To the Egg', 'Arrow Through Me'. The tune springs on a minimal and squishy keyboard lick that forms the central melody of the tune. Containing a slight R and B flavor with its soulful groove and melodic horns, McCartney harmonizes with the aforementioned horn licks in his chilling falsetto. This may be the 'loosest' performance of the night, but in no way does this deter the performance.
Because of the concerts proximity to the holidays, the next song performed is a singalong version of 'Wonderful Christmastime' which was also Paul's recent single. This really is a great version with on point harmonies, and even the dated synth sounds are absolutely perfect. A definite crowd pleaser, and is the case with Paul, a perfect call.
The only song officially released from this show follows with an off the rails version of 'Coming Up' filled with fat full bass and ass shaking 'disco' guitars. It's obvious why this song made it to wax as it levitates off the ground with lunatic playing and nothing less than perfection from McCartney vocally. Linda's contributions throughout the song, and the performance in gerneral are pivotal and add a good amount of ambiance to all the tunes. If you have ever heard this version of 'Coming Up', (I'm sure you have) you can gain an insight into the grandiose aspect of this concert.
The last four songs of the show are the perfect climax, perhaps a bit suspected, but with the excellent playing that has occurred, and the amount of rare goods being busted out anything Wings could do at this point would be fine! A fitting 'Goodnight Tonight' gets everyone in the mood. Starting with a ethnic drum machine rhythm, topped with spinning fan acoustic guitar by Laine, one of McCartney's finest bass lines leans in close and squeezes tight. The energy and vocal asides contained in this version make it a must have, taking the studio version to school. Stretched like bubblegum in the sun the song sticks counter punctual melodies against synthesized samples, James Brown guitar slaps and McCartney's unmistakably classic melodies. Beautiful.
Paul and the horns stand alone for a version of 'Yesterday', McCartney's most well known song, and a standard in the songwriting pantheon. The crowd sings and swells joining in a chant of 'Paul McCartney!' in joyous ecstasy, to which Paul asks if they would like to join in a singalong. With that he begins strumming like a forest minstrel on acoustic, 'Mull of Kintyre'. Another perfect song choice, being that the concert is in Glasgow, the band trickles in, soaking rain on dry earth, seeping into the fabric of the song. Bag pipe players join the stage, adding to the celebration which plainly translates through the recording and brings a smile. A crowning moment to a concert brimming with shining performances.
After another few minutes of the crowd going bonkers, Paul returns to the stage for what is the 'last song of the show, and last song of the tour'. Paul thanks everyone, lets out a few hollers, and ends the journey of 'Wings' with a perfect 'Band On the Run'. With Paul's voice starting to show some wear, and the band I assume feeling exhausted, they finish with a multicolored and multifaceted version for the books that concludes in a singalong.
With a career as long and expansive as Sir Paul McCartney, there are countless LP's, shows, and momentous moments throughout his life that can be looked at with a critical eye. The era in which this performance hails from is rich in peak, yet underrated McCartney songwriting, as well as amazing live performances.This concert acts as the signpost to a new era for McCartney, concluding his second band, and ushering in his future career as a 'rock legend'. It's a shame that only one track from this night of music has ever been officially released,(Addendum: now that the McCartney Remasters have been released 3 of the Glasgow songs appeared on the McCartney I bonus disc) but it is fortunate that the concert is available for those who are willing to search.
Every Night-Glasgow Audio With London Video
Coming Up-Glasgow-12' vinyl
Glasgow Concert Link PART 1
Posted by talkfromtherockroom at 1:12 PM No comments:
Labels: 1979, Beatles, Denny Laine, Last Flight, Linda, Macca, Paul McCartney, Wings
Put the Boot In: David Bowie-'Sniper In the Brain' September 5, 1974 Universal Amphitheater Los Angeles
Glamorously jamming in the 'rock room' today is a purported first generation soundboard recording of David Bowie and band from the 1974 'Diamond Dogs' tour. Hailing from Los Angeles this recording finds Bowie in his decadent post 'Ziggy"' persona, and still performing amazingly visual and musical concerts. I find this era of Bowie to be peak, its intensity along the lines of the 'Spiders from Mars' shows, yet different in its theatrics as well as the musical dynamics and expressions. The band for this tour had been expanded and left behind Mick Ronson and the 'Spiders' from previous years. The 'Mike Garson' band was picked as the road musicians featuring background singers, a horn section with Davis Sanborn, and capable and creative guitarists Earl Slick and Carlos Alomar. This era found David at his most fragile, thin, and pale yet still creating another persona and theatrical stage face in which to disseminate his craft.
The wonderful sounding line recording opens with about ten minutes of animal noises and sounds (played over concert PA) before breaking into the prelude of an orgasmic woman and creaming into the funky introduction of '1984'. '1984' being a foundaional track off of Bowie's new 'Diamond Dogs' LP is a fitting opener to the performance. The soundboard is crisp, if not lacking a bit of the high end, but for the most part all instruments are audible and punchy. At some points the recording seems a bit flat but only for the very discerning ear. The mix is present and the performance spacey and funky. Chunky red lipstick guitar moves '1984' forward leaving streaks on the mirror. Sounding grandiose, and much more orchestrated than Bowie's streamlined 1973 performances, the show sleekly fires musical shots across the alluring LA night sky.
Segueing somewhat oddly into 'Rebel Rebel' the music now sizzles with a punky attitude contributed to by some joyous and unique backing vocals. When the tune hits its highway stride the horns are blazing, vocalists are howling, and Bowie is scatting percussively over the glittering musicianship.
From 'Rebel Rebel's' neon ashes rises the freaky introduction of 'Moonage Daydream', from Ziggy, which erotically slinks toward the assembled crowd with a dark syncopation. Bowie sensually and breathlessly sings the lyrics with a raspy intensity. His voice does not yet sound up to its full capabilities, but is emotive and contains a weightless astronaut attitude. The tune thrusts forward on a big fat puffy bass line and windy whistling keyboard licks that sway in conjunction with the moaning horns.
Following 'Moonage ' is the 'suite' of songs from 'Diamond Dogs' first side, 'Sweet Thing' and 'Candidate'. This particular version is contained within a translucent bubble that travels weightlessly through a smog black sky. Large bell tower bass notes and spacious piano glissando's wrap up Bowie's breathy and smooth vocalizations. A whirling David Sanborn saxophone solo sets the stage for the segue into 'Candidate" which is highlighted by Bowie's rhythmic 'hip hop' lyrical grooves. The performance is hitting its full stride at this very moment. There follows a brief piano interlude at the conclusion of 'Sweet Thing' that helps to introduce a crowd pleasing 'Changes', full of dynamics and detail.
'Suffragette City' begins as the cymbals of 'Sweet Thing' fade away and is a high tempo 'blam blam'. As tiring as the woman Bowie speaks of in his lyrics, 'Suffragette' cruses along at altitude rejecting all inquires by friends and lovers, being too busy to look back. A high energy stomp.
'Aladdin Sane' is ushered in on a tight hi hat introduction that ethnically swings on scattered percussion and tightly arranged guitar and horn lines. A tune that encourages the body to move 'Aladdin Sane" changes tempos, melodies, and grooves. The song blossoms into a piano based middle section that moves like a scantily dressed dark skinned woman in sandy moonlight.Beautiful.
Bowie greets the crowd after 'Aladdin Sane' for the first time in a mock accent and ushers in"All the Young Dudes", a song composed by Bowie, but made famous by 'Mott the Hoople'. A melodic call to arms for all of Bowie's 'people', freaks and geeks alike.
'Cracked Actor' struts in on the coat tails of distorted guitars and enthusiastic horns. Bowie playfully teases his vocals like a sexual deviant. I have included video for this actual performance at the bottom of the page. With a slight pause the band slips into 'Rock and Roll With Me' which starts sluggish, but concludes in a nice singalong peak. Bowie sings quite well, and the featured guitar solo by Alomar (I think) is quite melodic and hits some intense musical spaces.
The group then screams bombastically into Bowie's fantastically funkified version of "Knock On Wood". While retaining the original melody, Bowie's arrangement leans forward and places heavy steps, placing emphasis on all the right changes. He makes the song his own through his dynamic and hard hitting arrangement.
The show then slows for a soulful rendition of 'It's Gonna Be Me' savored til the last drop and dynamically played with attentive filigree's and whispered punctuations by the assembled band. A previously unreleased track from Bowie's 'Young American's album, 'It's Gonna Be Me" is lyrically epic and musically transparent. A peak of the performance. The saxophones wail and the piano johnny apple-seed's hearty peeling glissando's as Bowie is reaches into thick liquid night for momentous vocal displays. A tremendous display of Bowie's own brand of cosmic glitter R and B, spotlighting his intimate and dynamic vocals. Wow.
But wait, there's more! Another pair of songs from 'Diamond Dogs' follows when 'Big Brother' segues into 'Chant of the Ever Circling Skeletal Family'. 'Big Brother' spies through keyholes and from fire escapes, peering into Bowie's window vision of brainwashing and reflection, based on George Orwell's novel 1984. 'Big Brother' is a slinky macabre version the breaks into a 'rag time' interlude which then leads to the brief but deliciously strange and tribal 'Skeletal Family'. Sound effects straight from the LP again blend the songs together as Bowie begins in my opinion one of his finest musical moments.
'Time' begins a slight burlesque ditty, but becomes a distorted guitar epic.....classically Bowie. Bowie's lyrics, a statement on the inevitability of time's effect on life, death, friends and his own mind reaches all the right peaks in all the right places. Bowie glides over the tic tock piano lines with taut wordless 'Lai Lai's that reach into the thick stew of time passed on by. The crowd loves it, and so do I. A fine and stirring moment.
Introduced by a fat sliding barre chorded bass interlude the band crunches 'Jean Genie' under their respective heeled boots with an intensity harkening back to the previous 'Ziggy' tour. There is an explosive middle and smoking conclusion of the tune where the 'Mike Garson' band discharges into a somewhat improvised but definitely incendiary breakdown that slides effortlessly back into the chorus of the song.
The finale of the show is fittingly the final song featured on the 'Ziggy Stardust and the Spiders from Mars' LP, "Rock and Roll Suicide'. Also featured on the live LP representation of the tour 'David Live', this version is a grand finish and and you can feel Bowie pushing to the make the conclusion of the show a memorable one. Bowie imagined himself as a 'chanteur' when preforming this number, placing himself into the character of a french renaissance era composer and lyricist. Bowie always preformed best when his persona was in flux and his 'characters' were changing.
The concert concludes with the single 7' release 'John, I'm Only Dancing' a song often ruminated over regarding its homosexual leanings and statements. It should be of no surprise to anyone, but of course the single was never released in America until four years after the fact because of the content of the lyrics. The song swings between a R and B groove and on to a full out disco beat, years before its popularity. This song is the perfect conclusion to an expansive and well played show. 'Dancing' includes glimpses into Bowie's personal preferences, a sampling of his musical head at the time, a diverse instrumentation, and a intense arrangement that leaves the crowd wanting more.
This 1974 concert finds Bowie in one his most gossiped about yet intensely creative periods of his career. After a change of band and persona, Bowie returned with a newer and bigger band, a diverse display of theatrics, and a revolutionary new LP 'Diamond Dogs' that created the pallet for his new direction. The official LP release 'David Live' is a solid representation of this tour and a nice place to start if you are not familiar with the era. I would then supplement with the numerous field recordings and bootlegs available. Bowie had fully developed into the 'thin white duke' at this point and his mystery and oracle drove his popularity skyward while fueling his own creativity. Listening to the concerts and recordings from this era reflect the multiple directions and radical development of Bowie as one of the finest rock and roll artists we have ever seen.
Cracked Actor Live 1974
9-5-1974 Entire Show Audio
Posted by talkfromtherockroom at 9:35 AM 22 comments:
Labels: 1974, Cracked Actor, David Bowie, Diamond Dogs, Mike Garson Band, rock room, talk from the rock room, Thin White Duke, Young Americans, Ziggy Stardust
Crosby, Stills, Nash and Young-"Human Highway" The Unreleased LP - A Rock Room Reconstruction
Today I have a very special and unique article developed for what is the 50th edition of "Talk From the Rock Room"! Thanks to all my readers for keeping up and inspiring me to keep the blog going! This week in the 'rock room' I have been exploring the fertile period of 1973 to 1974 for the quartet of Crosby, Stills, Nash, and Young. In May of 1973 after an extended period of non collaboration, the group met in Hawaii for some rest, relaxation and to discuss and possibly create a new LP.
Unfortunately this LP would never come to fruition as the respective members quickly moved on to solo projects before anything could be finished. The normal bickering and friction that comes from the meeting of the four powerful personalities reared its head during the LP's creation and things came to a screeching halt. Graham Nash is quoted as saying that the 'unfinished' LP would have been called 'Human Highway' and that the group had ten tracks planned for it. The LP even had the artwork picked out which I have included in this blog, of a picture of the principals taken on their Hawaiian beach vacation during the pastel of dusk. Many of the recorded songs for the prospective Human Highway were performed by the group at various performances, as well as ending up on future solo records. But as a defined collection of officially released studio recordings, it was not meant to be.
Over the course of time the unreleased LP has grown in stature and legend. Some tracks have escaped through various releases, and some still remain hidden in the deep recesses of CSNY's musical vault. What I have done in this weeks blog is recreate this 'lost' album based on what tracks are available, statements that have been made, and the information that has been leaked by various sources. On all of the studio versions I have reviewed, Johnny Barbata and Tim Drummond are featured on drums and bass respectively I believe (Little Blind Fish has Russ Kunkle on drums). Ok, without anymore extended rumination, anticipated and speculated upon, I give you my version of the lost CSNY LP 'Human Highway'
In May of 1973 it had been three years since the release of the 'Deja Vu' album and the stars were in alignment for another attempt at a group LP. Neil Young had rocketed to super stardom with the release of his LP 'Harvest', and the other principal members Crosby, Stills, and Nash were in an era where they were all extremely prolific in their creativity and songwriting. After their planned meeting in Hawaii the group convened at Young's 'Broken Arrow' ranch to get their new tracks down on tape. Using sources such as David Zimmer's CSN biography, as well as various band member interviews, and the CSN box set liner notes the band reportedly recorded the following tracks, 'See the Changes', 'Prison Song', 'And So It Goes', 'Human Highway', 'Little Blind Fish' and 'Through My Sails". I, as the 'rock room', have also taken the liberty to include the following songs to the list, based on the circulating reunion concert that took place at a Stephen Stills and Manassas show in October of 1973. The compositions,'As I Come Of Age', 'New Mama', and 'Roll Another Number' have been added. These tunes were freshly preformed when Crosby, Nash and Young joined Stills unannounced for his acoustic set and played off the cuff renditions. I assert that these songs were also in the running for the LP, based on their workout at this performance during the records formative stages. The songs I have listed total up to nine tunes for the hypothetical LP, which leaves room for one more song based on Nash's assertion of ten tracks.
This is honestly a guess on my part, but there are available choices of songs to fill that last slot. "Hawaiian Sunrise", an unreleased Young track fits the bill, and is somewhat an obvious choice because of its Hawaiian genesis, and subsequent performances by the group. David Crosby's 'Time After Time" is also a possibility due to its being composed around this time, and because of the lack of Crosby songs on the hypothetical LP. So for the case of representation I will include the Crosby song on my version of 'Human Highway'. The track listing I have developed is based on my own feeling of flow and balance, there is obviously no way I can find the true proposed track listing, so it is what it is.
Young's song 'Traces', Stills 'First Things First' as well as Nash's 'Another Sleep Song' are also candidates for slots on the album, but alas there are only ten hypothetical spots so these songs will remain 'on the beach'. I believe this album could have the defining moment for the fragile super group and it was a great joy digging into the possibilities for its creation. For experts on this topic who may ruminate about such things, I have steered away from the post 1974 tour recordings and have focused my constructed LP on tracks recorded in 1973 and early 1974. I am a wealth of useless rock knowledge, but I am no expert and my vault access is limited. I also realize that some folks may disagree with the 'Little Blind Fish' addition, but I believe regardless of its late 1974 recording date, it was a contender for the LP. I now present to you the 'rock room' version of CSNY 'Human Highway' side A.
'See The Changes'-(Stephen Stills)-Released on the 1991 CSN box set, the actual CSNY version from 'Broken Arrow' 1973 finally found its way into the daylight. A jaunty acoustic track with the meshing of the Stills/Young acoustic guitars the songs defining hallmark. The song rolls with a confident wavy gate and speaks to me that it would be a fitting opener for the LP. Definitive CSNY vocals on this one. With personal Stills lyrics reflecting on age and universal life questions, the tune is one of Stills finest and most honest compositions or the time. This song would remain unheard until the 1977 CSN LP. This version is soaked in a sweet soul.
See The Changes
'Prison Song'-(Graham Nash)-There is a CSNY version of this song that floats around in traders circles and was actually broadcast on radio some years ago.(it actually can be found on You Tube now!-see below) So, it now can be confirmed this song was slated for the eventual LP. The song deals with the silly marijuana drug laws that still haven't changed in the forty years since the songs composition. The tune is supported by some watery keyboard work by Nash, and some fireside overlapping echo vocals by Stephen and Neil on the chorus. Young lays down some shimmery vibrato guitar lines from his 'White Falcon' on the outro that reflect on Nash's perky harp blasts. The officially released version can be found on Graham Nash's 1974 LP 'Wild Tales".
Prison Song
'New Mama'-(Neil Young)-While no documentation exists of a studio CSNY version of this track, a version circulates of the quartet preforming it during the 1973 Winterland Reunion. I believe this song would have been on the album without a doubt as Stills would end up recording it for his 1975 self titled LP 'Stills" and Neil for 'Tonight's the Night". A moody but delicate song that spotlights the CSNY blend, both Neil and Stephen would 'rock' the song up a bit for their respective versions. The track feels tailor made for CSNY and its a shame that it never received that treatment officially.
CSNY Winterland 1973 Concert
'Little Blind Fish'-(CSNY)-The only song ever composed by all four members of CSNY, 'Little Blind Fish" is a pleasant ditty opening with Crosby/Nash solo vocals, before blossoming into a wah wah drenched funky groove that contains shared vocals by Young, Stills, and Crosby. I realize that this track was recorded for the pre 1974 tour rehearsals, but it has been said that this song was in the running for 'Human Highway' hence its inclusion here. I struggled between this and the Stills song 'First Things First' which is another rumored song that would infuse the LP with some ethnic percussion and a unique groove. But because 'Little Blind Fish' is a true collaboration I decided to place it here. A track that needed some future work and touch ups but an important addition nonetheless.
Little Blind Fish
Alternate Song Choice: 'First Things First'-(Stills)- Preformed on the 1974 tour this song benefited from great percussion by Stills and Joe Lala as well as stinging Young guitar licks. My personal preference in the song are the CSN infused chorus lines. Song would see official release on the 1975 album 'Stills'
'Roll Another Number (For the Road)'-(Young) In my original line up for the album I had Young's 'Pushed It Over the End" closing side one. 'Pushed It Over the End" was a dark highlight of the 1974 tour with the entire band getting off on it. The sog remains unreleased except for its appearance on the 'B' side of an imported 7" single. Upon further research and reflection I believe that this planned album had more of an "acoustic" vibe as witnessed by the casual Hawaii island rehearsals and the caliber of the more acoustic based songs that were being composed. I also tend to think that "Pushed It Over the End" was composed later than the working sessions for the LP. This is all speculation on my part, but in the end I believe "Roll Another Number" nestles at the end of side one nicely in the context of the surrounding tracks. A classic Young tune with funny and surreal lyrics, topped off with a singalong chorus. Performed at Winterland reunion 1973. The song eventually would end up on Young's 'Tonight's the Night'.
CSNY Winterland Concert
Alternate Song Choice: 'Pushed It Over the End'-(Young)-One of Neil's most legendary unreleased tracks, I hope this song would have ended up on the LP, but I have never been able to confirm that it was planned for it. the song was performed numerous times on the 74 tour and often reached wonderful heights.
THE B SIDE
'Human Highway'-(Young)- The song that gave the proposed LP its title and one of Young's most melodically pleasing compositions. Every time CSNY would preform this number their voices soared into swirling sleek vocal blends and cumulus cloud harmonies. Crosby was quoted as saying this song is the reason the group got back together to record. Young and Stills would share vocals on live versions with Crosby/Nash lifting the chorus, and again, the intertwining of Stills and Young's guitars soak the number in rich personality and give it its sturdy bones. There is a studio CSNY version that circulates on bootlegs from the abandoned 1976 sessions, otherwise the song would not see an official release until Young's 1978 'Comes a Time' LP. The version from that album in my opinion pails in comparison to any CSNY performance.
Human Highway (Live 1974)
'As I Come Of Age'-(Stills)-A song performed as far back as the 1970 CSNY tour, Stephen had been looking for a home for this amazing piano based ballad since its inception. One gets the feeling he was holding on to it until it could grace a CSNY album, as it would not see release until his 1975 'Stills' LP after all hopes of a CSNY LP had been dashed. In my opinion some of Stills truest words and most haunting melodic lines. A sparse song that speaks volumes in its delicate content.The official version from 'Stills' 1975 features Crosby and Nash on vocals.
As I Come Of Age (Live 1974)
'And So It Goes'-(Nash)-A song that was recorded at Young's ranch for the 'Human Highway' LP but which no CSNY version has circulated. The group performed the song at the Winterland reunion in a rendition that featured Young on some rainy gutter honkey tonk piano. A perfectly catchy Graham Nash song with a unforgettable chorus. An edgy tune that has the feeling of a Young composed track with its shady chord structure. The song would eventually see release on Nash's 'Wild Tales' LP, an album that contained many songs that were planned to be Nash's contributions to 'Human Highway'
'Time After Time'-(Crosby)-One of the most tender melodies ever composed by Crosby, and a highlight of the 1974 acoustic sets. Especially amazing when the other members of the group would trickle out and add their voices to the song from the deep of stage's shadows. The song would finally make its official appearance on the Crosby/Nash 1976 LP 'Whistling Down To the Wire'. ' 'Time After Time' was never confirmed to have been recorded at 'Broken Arrow' in 1973, but I have taken the liberty to add it to the hypothetical LP. The track was composed around the same period, preformed on the 74 tour, and it fills the Crosby slot nicely.
Time After Time (Live 1974)
Alternate Song Choice: Hawaiian Sunrise-(Young)- Left off of my hypothetical LP because of the amount of Young songs already on the album. The cut is an obvious choice for the record, but basing my LP on the ten tracks mentioned by Nash, this one had to be bumped in favor of a Crosby tune. This is testament to how prolific Young was during this time period with numerous unreleased songs and even entire albums! An acoustic song in the Hawaiian folk style that sways like a grass Hula skirt in a warm sandy breeze. There are fine CSNY versions available from the 1974 tour.
'Through My Sails'-(Young)- A song that would eventually close Young's 1975 LP 'Zuma", the tune takes the same position on this fantasy album. The song feels like sand, ocean, and sky with quintessential CSNY vocals dressing the sparse percussion and acoustic guitar instrumentation resulting in an intimate blend. I am of the opinion that this song was worked on in Hawaii and was a contender for 'Human Highway' based on the songs lyrical content and how Young still used the full CSNY line up even on a 1975 Crazy Horse LP. One of the best "lost" CSNY songs, even though it eventually found its way to a commercial release.
Through My Sails (CSNY)
There are numerous different possibilities and track line ups for the unreleased 'Human Highway' album. While compiling my version I paid special consideration to the tracks confirmed to be contenders for the LP, actually recorded for the album, and then used corroborating evidence from multiple sources from the 'rock room' to fill in the blanks for the rest of the LP. The period of 1972 to 1976 is a strange one for CSNY, as up to three different attempts were made at creating cohesive albums. The songs and recordings made ended up being unreleased, forgotten, performed, and sprawled out over the quartets solo and joint projects. If one of these attempts were successful I am of the opinion that the resulting album would have been legendary and a defining statement for the quartet. Nash was quoted as saying in the Zimmer biography, "Because its hard- you get so high with the prospect of doing a great album that the temptation to just put up with other peoples bullshit is great. But this just turned to a piece of shit." Its unfortunate, because the songs being brought in were great, even in some cases being held onto specifically for a CSNY album. It's sad that the individual egos could not be kept in check, eventually getting in the way of some great music. So is the tale of CSNY.
I hope fans of the group find my article informative and use it as a road map to create or listen to their own "Human Highway". The period of time which this music was being created was prolific and resulted in many timeless classics being birthed, but lost in the context of their development. Like my previous blog entry about the great lost Kinks LP, its an interesting chore to look at how and why these LPs ended up covered by the sands of time, and eventually forgotten about by their respective creator's.The possibilities are endless. Thankfully the music exists in some form for my rock fantasies and our listening pleasure.
Posted by talkfromtherockroom at 9:53 AM 6 comments:
Labels: 1974, Acoustic, Crosby, CSNY, harmonies, Human Highway, Nash, Stills, Young
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After a multi-year layoff from any serious lifting, I've gotten back into a structured routine these past couple months. Current hobbies are bourbon collecting and drinking, and firearms primarily for action pistol shooting. I'm sure I'll be posting about both as this log develops.


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Jessicah Cowan Faces Murder Charges in Santa Ana Crosswalk Death of Girl, 5
By sschaben
Wednesday, June 27th, 2012
SANTA ANA, California – Suspected drunk driver Jessicah Louise Cowan, 33, of Lake Hughes is facing 15 years to life behind bars if she is convicted of a slew of charges including murder for killing a 5-year-old girl and seriously injuring her sister and mother after she ran a red light and struck them at a 17th Street crosswalk, according to a press release issued by the Orange County District Attorney's Office.
Cowan has been charged with one felony count each of murder, driving under the influence of alcohol causing bodily injury, driving with a blood alcohol level over .08 percent causing bodily injury and hit and run causing injury. She was also given sentencing enhancements for having a blood alcohol level over .20 percent and causing bodily injury as well as being cited for possession of marijuana while driving, the report said.
"Murder may be charged in cases of implied malice where the defendant intentionally commits an act that is dangerous to human life, knowing it is dangerous to human life, and acts with conscious disregard for human life," the release said.
The alleged drunk driver's arraignment in court was scheduled for Tuesday, June 26, 2012, however, it was postponed to a later date.
The crosswalk tragedy began on June 23 at about 11:00 a.m. as Cowan was reportedly driving erratically in Santa Ana while under the influence of alcohol. As Cowan drove down 17th Street she allegedly ran through a red light and lost control of her vehicle. She crashed into the center median and then continued driving down 17th Street and ran a second red light at Spurgeon Street.
The three victims were holding hands as they walked through the crosswalk on a green light with the walk sign lit, the report said. Cowan crashed into the victims, Osmara Meza, 5, her sister Gresia, 6, and the children's mother Eloisa. The impact threw all three family members into the street and Osmara died at the scene. Paramedics transported her sister and mother to a nearby hospital where they were diagnosed with traumatic brain injuries. Meanwhile, Cowan fled the scene of the crash and drove away with a witness in pursuit of her.
"The witness used their own car to block the road to prevent Cowan from fleeing," according to the press release.
The Santa Ana Police Department arrested Cowan at the scene and while searching her vehicle found a vial of marijuana.
Drunk driving is the most frequently committed violent crime reported in the United States and someone is killed by one of these impaired drivers roughly every 40 minutes, according to statistics cited by Mothers Against Drunk Driving.
"There is no excuse for driving drunk and anyone who injures or kills someone while doing so and flees the scene of the crash should be held accountable for their actions in court," said Attorney West Thomas, founder of the Thomas Law Firm.
For roughly 30 years, the legal experts at Thomas Law Firm have represented hundreds of clients who were injured in serious traffic accidents or have lost a loved one.
Our legal team has also handled hundreds of wrongful death claims for families of victims killed in traffic accidents. Our staff is compassionate and understands the pain its clients are going through. We know that this is a difficult time for those who have been injured and for the families of those who have been killed. Our firm has a proven track record supported by settlements ranging from several thousand dollars to millions.
There is no cost to clients until our experienced team of lawyers and legal professionals have won your case. Finding the best car accident attorney can mean you will get the settlement you need to get your life back on track. Compensation for your injuries, loss of wages and pain and suffering can't take away the trauma of the accident, but it can help you rebuild your life.
Call us today at 1-855-ASK WEST (1-855-275-9378) to speak with our car accident law firm. Thomas Law Firm has offices in California including its headquarters in Irvine. We also have offices outside of Orange County to serve you in Beverly Hills, Los Angeles, San Bernardino, San Diego, Riverside and in Las Vegas, Nevada.
Categories : Hit and Run Car Accident
Tags : 17th Street crosswalk, accidente de coche bufete de abogados, dui murder charges hit and run, Eloisa, Eloisa Madrigal, Gresia, Irvine law firm, Jessicah Louise Cowan, lesión traumática del cerebro, murder charges dui, Orange County District Attorney Department, Orange County law firm, Orange County lawyer, Osmara Meza, Santa Ana, Santa Ana law firm, Spurgeon Street, traumatic brain injury
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Logos Lutheran
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ABOUT Philadelphia Lutheran Ministries
Congregations of the Lutheran Church-Missouri Synod in New Jersey and Pennsylvania have long histories of outreach and generosity toward the needs of the people of Philadelphia. That concern for the city led a group of people over fifteen years ago to begin talking about ways to deliberately reach the people of Philadelphia with the Gospel of Christ.
The Birth of Philadelphia Lutheran Ministries
In the 1990s, several Philadelphia-area lay leaders began to work toward missionary work in the city. By 1997, a committee of pastors and lay people had officially formed Philadelphia Lutheran Ministries. In 1998, the Lutheran Church-Missouri Synod (LC-MS) recognized Philadelphia Lutheran Ministries as a Registered Service Organization (RSO).
Philadelphia Lutheran Ministries is guided by a Board of pastors and lay people who worship and serve in Lutheran congregations in Pennsylvania. One pastor serves as Director while still serving as pastor of a local congregation. The Board, as the board of an RSO of the LC-MS, has the authority to call pastors to serve as missionaries to the city of Philadelphia.
Soon after its formal beginning, Philadelphia Lutheran Ministries began working with a congregation of Liberian immigrants, Christ Assembly Lutheran Church. Philadelphia Lutheran Ministries assisted the congregation as it purchased a church property in west Philadelphia, called a Liberian pastor and began services.
Logos Lutheran is a new outreach ministry in Center City begun in the fall of 2016. Divine Service is held every Sunday at 3pm at 628 N. Broad Street in the historic Old Zion sanctuary.
For more information, please visit: http://www.logoslutheran.org
P.O. Box 15155, Philadelphia, PA 19130
info@phillyministries.org
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The Many Voices of Pride
Lesbian couple admit to brutal murder of child who 'wanted to be a girl'
Lily Wakefield June 18, 2019
9-year-old Rhuan was brutally murder by his mother and her partner. (Brazilian Federal Police)
A lesbian mother and her partner in Brazil have confessed to police that they castrated and beheaded their nine-year-old child because they "wanted to be a girl" and reminded them of the biological father.
The mother Rosana Cândido, 27, and her partner Kacyla Pessoa, 28, were arrested on May 31 for the murder and torture of Cândido's child Rhuan in Samambaia, Brazil, according to Brazilian newspaper O Tempo.
A year before the murder, after Rhuan told the women that they wanted to be a girl, they allegedly ripped off the child's penis in a horrific makeshift surgery.
Cândido is accused of stabbing Rhuan multiple times and beheading them while they were still alive. Rhuan was reportedly conceived when Cândido was raped, and the child reminded her of her ex-partner.
Afterwards, the couple desecrated the nine-year-old's body to make it more difficult to identify. They removed the skin from the child's face, attempted to gouge out their eyes and then dismembered the body and tried to burn it on a barbecue. When this was unsuccessful they put the body into a suitcase and backpacks and tried to dispose of it.
Reportedly, the pair were seen attempted to put the suitcase into a sewer and were reported to police. The backpacks containing Rhuan's remains were found in their home.
The crime committed by the lesbian couple is thought to have been premeditated
According to O Tempo: "The suspicion is that the crime was premeditated, since they bought a knife and coal before the murder."
"She killed her son, quartered, decapitated, plucked the skin and tried to get rid of the body. It was a very terrible case," police chief Guilherme Melo told the Brazilian newspaper.
Pessoa also has a nine-year-old daughter who was living with the couple at the time of the murder, and she has reportedly been taken into protective custody.
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Gay man left with horrific injuries after homophobic attack outside McDonald's
Nick Duffy - July 16, 2019
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PinkNews Reporter - July 12, 2019
© 2019 PINKNEWS


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Pelican Products, Inc. Adds Rugged Cases For Samsung Galaxy Note5 and Galaxy S6 edge+
Torrance, CA · August 21, 2015
Pelican Products, Inc., the global leader in the design and manufacture of high-performance protective cases, today announced the Pelican ™ Voyager and Protector for the new Samsung Galaxy Note5 and Galaxy S6 edge+ as the newest additions to its popular rugged case collection. Both cases are now available for purchase exclusively at AT&T® retail stores and at www.att.com/Pelican.
"As our devices get smarter, they're used increasingly in a variety of unique situations - from the everyday to the extreme - exposing them to greater risk of damage," David Becker, Vice President of Sales, Consumer Electronics. "Engineering products with military-grade protection for worry-free use is in Pelican's DNA, and the new Voyager and Protector cases deliver that and more."
Pelican ™ Voyager for Samsung Galaxy Note5
Developed in the same vein as the original Pelican ™ Voyager models, the Voyager for Galaxy Note5 is slender and lightweight while still delivering quality construction and rugged 360-degree protection. Engineered to military (MIL-SPEC) standards, it features multiple layers of rigid polycarbonate and energy-absorbing Thermoplastic Rubber (TPR) and polyurethane rubber to protect against drops and impact. Additionally, it includes a scratch-resistant screen protector and a detachable, spring-loaded belt clip holster that doubles as a viewing stand. The Pelican ™ Voyager for Galaxy Note5 is available in black/gray and pink/gray with a suggested retail price of $60.
Pelican ™ Protector for Samsung Galaxy S6 edge+
Constructed with an elastomeric copolymer rubber interior to absorb shock and impact, the Pelican ™ Protector for Galaxy S6 edge+ is the device's first line of defense from life's mishaps. With snap-together assembly and an edged lip, it expertly prevents damage to the screen in times of flat impact while still preserving the full interactive experience of the phone's curved screen. The Pelican ™ Protector for Galaxy S6 edge+ is available in black/gray and white/gray with an MSRP of $50.
Pelican Products, Inc. is a portfolio company of Behrman Capital, a private equity investment firm based in New York and San Francisco.
Pelican Products, Inc. is the global leader in the design and manufacture of high performance protective cases, temperature controlled packaging solutions, advanced portable lighting systems and rugged gear for professionals and outdoor enthusiasts. Their products are used by professionals in the most demanding markets including fire safety, law enforcement, defense / military, aerospace, entertainment, industrial and consumer. Pelican™ products are designed and built to last a lifetime. The company operates in 21 countries, with 22 international sales offices and six manufacturing facilities around the globe. In Europe, the company does business under the name Peli Products, S.L.U. For more information, visit www.pelican.com or www.behrmancap.com.
All trademarks and logos displayed herein are registered and unregistered trademarks of Pelican Products, Inc.


Working in black and white can help you become a better photographer, as it has to do with composition. The relationship between the subject and the background becomes more important when there is no colour to distract the eye. Colour is very powerful, and dominates the photo so much that it's difficult to see other elements such as contrast, texture, shape, form and quality of light. Experienced photographers instinctively see these things that is why some really great photographs taken by famous photographers are in Black & White.


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Disaster Risk Management
publication March 3, 2021
Gender Dynamics of Disaster Risk and Resilience
Cover image of report - Gender Dimensions of Disaster Risk and Resilience – Existing Evidence
New World Bank report shows how gender inequalities drive disaster impacts and vice versa.
The report is a tool for those seeking to improve policies and interventions by considering gender as part of design and implementation.
It paves a way forward for this agenda by identifying priorities for analytics, as well as operations, and providing policy recommendations.
. This poses challenges for disaster risk management practitioners since information on affected population is often limited to aggregated numbers and seldom goes below the household level. However, it is also associated with opportunities. Because .
The Global Facility for Disaster Risk Reduction and Recovery (GFDRR) is committed to supporting gender inclusive approaches for better disaster risk management. A new World Bank Group report, Gender Dimensions of Disaster Risk and Resilience – Existing Evidence, financed by GFDRR, shows how . A global study finds that women's mortality from disasters tends to be higher in relation to that of men in countries where women have lower socioeconomic status.
(A conceptual framework for considering gender dynamics and disaster impacts adapted from World Bank 2012 and Hallegatte et al. 2017)
Disaster impacts (orange circle) depend on hazard type and intensity, exposure (who and what is at risk of being affected), levels of vulnerability (susceptibility to damage), preparedness and coping capacity.
Gender inequality (purple circle) arises from the expected roles of men and women in a society, which influence socioeconomic status, level of agency, and the way men and women prepare for, react to, are impacted by, and recover from, disasters.
In the overlay (maroon area) between gender inequality and disaster impacts are the factors that drive disaster impacts and are influenced by gender dynamics. This is where gender differentiated impacts happen. Gender-differentiated impacts of disasters can exacerbate gender inequality, which in turn can worsen resilience to future disasters.
That is why disaster risk management policies and interventions should operate in the overlay area, using the tools available for mitigating disaster impacts and strengthening resilience to close the gender gap in outcomes. This means .
Based on the framework, the report looks at the role of gender in disaster impacts more broadly ─ from health and education to employment and assets to gender-based violence and child marriage. The report goes a step further than previous studies looking at gender and disasters by covering the role of gender in resilience ─ including disaster preparedness and coping capacity.
Some of the key takeaways are:
. Biological factors also play a role.
Although women are in a disadvantage position in society at large, this does not always translate into worse disaster outcomes for women and girls. Men account for 70% of flood-related deaths in Europe and the United States primarily due to overrepresentation of men in rescue professions.
Women in particular face barriers to access information and resources needed to adequately prepare, respond and cope to a disaster ─ including access to early warning and safe shelter, as well as to bank accounts to protect savings from disasters and stable income.
, as well as positive spillover effects on women's position in the community.
Disaster recoveries are opportunities to build back in a way that breaks down the constraints faced by women.
The report identifies crucial policy actions that can be taken before, during and after a disaster to mitigate gender-differentiated impacts of disasters.
Finally, the report lays out key analytical and operational priorities to enhance this agenda, including:
Understand what does and does not work for different population groups by investing more in rigorous impact evaluations and assessments for designing projects.
Make resources and guidance available to facilitate gender gap assessments in disaster risk management at the country and project level.
Promote sex and age disaggregated data collection in post-disaster assessments and other disaster related data collection.
Leverage new data and technologies—such as mobility data—to explore topics, previously understudied, including gendered evacuation patterns and behaviors.
For more information, access full report here.
Full report: Gender Dynamics of Disaster Risk and Resilience - Existing Evidence
Global Facility for Disaster Reduction and Recovery (GFDRR)
World Bank and Disaster Risk Management


David J.M. Cornwell (also know as John le Carre, his artistic pseudonym) was born on the 19th of October 1931, in Poole, a coastal town in the county of Dorset, in England. John le Carre has revolutionized the spy fiction genre, creating his own niche and his own legion of followers and imitators. None of those who tried to replicate his style, however, were able to recreate the same fusion of suspense, analytic skills, rhythm and irony that the great English writer produces in each and every book. It is only by exploring his biography that we can really appreciate the style of Mr. Cronwell. The inspiration for many of his plots, in fact, comes directly from his incredible life.
Le Carre began to work for the secret service of Her Majesty during the Second World War, as an interpreter of classified documents. In 1947 he enrolled at the University of Bern, in Switzerland, and he then moved on with his studies in England, at the Lincoln College in Oxford, where he earned a degree in German literature in 1956. He became a professor at the Eton College but, after only two years, his passion for international politics pushed him out of the academic world and towards the British Foreign Office, where he started working. After a few years he was contacted by the MI6 and he decided to go back to his old job, becoming once again a secret agent. His cover was then blown by Kim Philby, a KGB agent, who revealed Le Carre's identity.
It was during the 1960s that John decided to use his incredible experiences as a source of inspiration for a series of spy stories. This happened while he was still working as an agent. George Smile, one of John's most memorable characters, was created during this phase of his career. The success was immediate and Le Carre's star seemed destined to shine right from the start. However, when the Cold War ended, the interest for the spy fiction genre suddenly declined, and many critics though spy stories were destined to disappear precisely like the historical moment that generated them. But Le Carre, starting from 1999, carried spy fiction into a new dimension, including in his plots new elements, like the terrible crimes committed by multinational corporations in the Third World.
From the beginning, Le Carre's stories and characters are very far from James Bond's triumphalism. The protagonists of his books, in fact, are extremely realistic, like the settings in which the plots unfold. Le Carre describes people who are often obsessed, ambitious and selfish, characters who follow personal interests and passions more than ideals and patriotism.
The first book written by Le Carre, which is also his first major success, is titled Call for the Dead, and was published when John was still a MI6 agent. The protagonist, George Smiley, doesn't have much in common with the other hero of the genre, James Bond. Smiley has a troubled story behind him, a failed marriage and some problems with long-term relationships. He is not attractive and he certainly doesn't own much charm. His strength doesn't reside in the actions on the field but in his analytical skills and in his incredibly astute mind. The story of the book is built around Fennan, a British high official who apparently commits suicide after a discussion with Smiley. George was supposed to verify Fennan's loyalty. Many details, however, suggest the man did not kill himself: it was murder. Smiley will find himself facing tough discoveries, moments that will make him suffer. The story is masterfully directed and Le Carre's style pushes the reader towards a universe full of doubts, where the murder hides. Furthermore, the author carefully displays the problems related to the methods adopted by secret agents, and he also indulges in engaging, subtle comparisons between individualism and socialism.
George Smiley is also the protagonist of Le Carre's second novel, A Murder of Quality. This time the focal point of the plot is the murder of Stella Rode. The atmosphere is darker, and black soon becomes the dominant color of the investigation through which Smiley finds himself involved in international intrigues secretly outlined within the walls of an English college. The rhythm is breathtaking, the story is beautiful… the novel is a must-read.
The books written by John Le Carre are absolutely perfect for film adaptations. The first script based on one of his novel was written in 1965 by Martin Ritt. The protagonist of the movie was the actor Alec Learnas. The novel on which the movie and the script were based is The Spy who Came in from the Cold, published in 1963. The world had to wait only one more year, until 1966, to enjoy the film adaptation of Call for the Dead, the first novel written by Le Carre. This time, the man behind the project was Sidney Lumet. Then, in 1969, the time came for Anthony Hopkins to star in a movie based on a masterpiece born from the talent of Mr. Le Carrè: The Looking-glass War. The year was 1969 and the man in charge was Frank Pierson.
Tinker, tailor, soldier, spy (a novel published in 1974) arrived on TV in 1970, while the sequel based on Smiley's People was televised in 1982. When The Little Drummer Girl was released in 1984, the number of the film adaptations based on John le Carre's work became five, and they'll soon become seven (number six was The Tailor of Panama): A most wanted man (based on the homonymous novel), in fact, it is set to be released in 2014. The cast includes some of the biggest stars in Hollywood: Philip Seymour Hoffman, Rachel Adams, Robin Wright and Daniel Brühl.
A little curiosity: one of the protagonists of The Tailor of Panama, released 2001 and based on a novel written by Le Carre, was Pierce Brosnan, who also played the role of James Bond, the famous literary "rival" of George Smiley. It really looks like the spy heroes always find a way to keep an eye on each other. For the record, also Jamie Lee Curtis and Geoffrey Rush starred in the movie.


ADB-PINACA has been linked to multiple hospitalizations and deaths due to its use.
Nineteen ADB-PINACA major metabolites were identified in several incubations with cryopreserved human hepatocytes. Major metabolic reactions included pentyl hydroxylation, hydroxylation followed by oxidation (ketone formation), and glucuronidation.
ADB-PINACA is listed in the Fifth Schedule of the Misuse of Drugs Act (MDA) and therefore illegal in Singapore as of May 2015.
In the United States, it is a Schedule I controlled substance.
As of October 2015 ADB-PINACA is a controlled substance in China.
^ Samuel D Banister; Michael Moir; Jordyn Stuart; Richard C Kevin; Katie E Wood; Mitchell Longworth; Shane M Wilkinson; Corinne Beinat; Alxendra S Buchanan; Michelle Glass; Mark Connor; Iain S McGregor; Michael Kassiou (July 2015). "The pharmacology of indole and indazole synthetic cannabinoid designer drugs AB-FUBINACA, ADB-FUBINACA, AB-PINACA, ADB-PINACA, 5F-AB-PINACA, 5F-ADB-PINACA, ADBICA and 5F-ADBICA". ACS Chemical Neuroscience. 6 (9): 1546–59. doi:10.1021/acschemneuro.5b00112. PMID 26134475.
^ "ADB-PINACA". Forendex. Archived from the original on 2014-07-14. Retrieved 2014-07-09.
^ "CDC: 221 sickened by synthetic pot in Colorado". USA Today. December 12, 2013.
^ Michael D. Schwartz; et al. (March 2015). "A Common Source Outbreak of Severe Delirium Associated with Exposure to the Novel Synthetic Cannabinoid ADB-PINACA". Journal of Emergency Medicine. 48 (5): 573–580. doi:10.1016/j.jemermed.2014.12.038. PMID 25726258.
^ Jeremy Carlier; Xingxing Diao; Karl Scheidweiler; Marilyn A. Huestis (May 2017). "Distinguishing Intake of New Synthetic Cannabinoids ADB-PINACA and 5F-ADB-PINACA with Human Hepatocyte Metabolites and High-Resolution Mass Spectrometry". Clinical Chemistry. 63 (5): 1008–1021. doi:10.1373/clinchem.2016.267575. PMID 28302730.
^ Drug Enforcement Administration, Department of Justice (Feb 10, 2014). "Schedules of controlled substances: temporary placement of four synthetic cannabinoids into Schedule I. Final order". Fed. Regist. 79 (27): 7577–7582. PMID 24605391.


Planned Parenthood Illinois Action (PPIA) is an independent, nonpartisan, 501(c)4 not-for-profit organization formed as the advocacy and political arm of Planned Parenthood in Illinois. PPIA engages in educational and electoral activity, including public education campaigns, grassroots organizing, and legislative advocacy on behalf of commonsense policies that protect and foster the sexual and reproductive health and rights of individuals, families, and communities.
We at PPIA fight back when anti-abortion politicians and their extremist allies try to outlaw abortion, take away access to affordable birth control, and block patients from care at Planned Parenthood health centers. We fight alongside our partners when the basic human rights of patients, volunteers, supporters, activists, and staff of all races, faiths, genders, and identities are under attack.
Planned Parenthood Illinois Action also has a political action committee, Planned Parenthood Illinois Action PAC (PPIA PAC), a nonpartisan political action committee committed to electing state and local candidates who are pro-choice and share our values.
To join the Planned Parenthood Mobile Action Network and stay updated on important fights for reproductive health and rights.
This site is paid for by Planned Parenthood Illinois Action and is not authorized by any candidate, candidate's agent, or committee.


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Ringstead is a village and civil parish in the north-west corner of the English county of Norfolk.
It covers an area of  and had a population of 355 in 155 households at the 2001 census, reducing to 324 at the 2011 Census.
For the purposes of local government, it falls within the district of King's Lynn and West Norfolk.

Name
The villages name means 'Ring place'. perhaps referring to a stone circle or circular/round topographical feature.

The village is referred to as Ringstead by the Ordnance Survey. The longer form of the name is Great Ringstead, which is preferred by the parish council. Historically, this was to distinguish the village from the neighbouring deserted medieval village of Barrett Ringstead, also known as Little Ringstead or Rinstead Parva. This was just to the west, and is now in the parish of Old Hunstanton.

Churches
The village had two parishes in the Middle Ages, which were consolidated in 1771 and so one church was abandoned. The surviving church is dedicated to St Andrew, and has a 13th century tower, 14th century nave and a 15th century chancel. There was a major restoration in 1865, which involved the partial rebuilding of the tower and chancel east wall, as well as the addition of a south aisle and porch.

The other church was dedicated to St Peter. Apart from its late 11th century round tower, it was demolished in 1772 but the tower survives in a private garden at the end of Hall Lane, near Ringstead Bury House.

The lost village of Little Ringstead had a church dedicated to St Andrew, which survives as a roofless ruin in an arable field to the west of Downs Farm. The remains have a rectangular plan, are 13th century and might comprise the chancel of a larger church. The village was depopulated by plague in 1349, but the church continued as a private chapel until it was converted into a barn in the 17th century. The ruined Chapel of St Andrew is Grade II* listed.

Notable buildings
Apart from the two churches, Ringstead has fourteen other listed buildings. These comprise the farmhouses at Bluestone, East End and Geddings Farms; the War Memorial; the Gin Trap Inn (the 17th century village pub), the village windmill, the Ringstead Gallery, 22–26 High Street and residences called Old Rectory, Ringstead Bury House, Ringstead Bury Stables, Rose Cottage, The Lodge and The White House.

Downs
The Ringstead Downs comprise a partly wooded chalk ridge to the south-west of the village, and is important for it unimproved chalk grassland. A permissive footpath runs through it and links Ringstead to the nearby resort town of Hunstanton.

Transport
The village is isolated. Although country lanes radiate to neighbouring villages, there is no A or B road, no direct route to the nearest town of Hunstanton and no public transport.

There has been no bus service since the shutdown of the Stagecoach in Norfolk bus company in 2018. Before this, the village was on the route 31 from Fakenham to Hunstanton, allowing for connections to Norwich at the former place and King's Lynn at the latter.

Notable residents
Julian Mond, 3rd Baron Melchett (9 January 1925 – 15 June 1973) – former chairman of British Steel Corporation
Sonia Mond, Sonia Melchett, Baroness Melchett – (6 September 1928; socialite and author
Peter Mond, 4th Baron Melchett – (28 February 1948– 28 August 2018) former Lord in Waiting, Parliamentary Under-Secretary of State and Minister of State

Notes

http://kepn.nottingham.ac.uk/map/place/Norfolk/Ringstead

External links

St Peter's tower on the European Round Tower Churches website

Villages in Norfolk
King's Lynn and West Norfolk
Civil parishes in Norfolk

redpajama_set_name: RedPajamaWikipedia


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Bad Blood! Taylor Swift, John Mayer & Katy Parry All Attend Drake's Birthday Bash
Oct. 24 2016, Published 4:32 p.m. ET
Things got awkward at Drake's birthday party this weekend, with exes John Mayer, Taylor Swift and Katy Perry all in attendance!
*EXCLUSIVE* John Mayer runs into exes Katy Perry and Taylor Swift at Delilah
Source: AKM-GSI
Talk about awkward!
Not one, but two of John Mayer's exes were in attendance at Drake's 30th birthday bash this weekend.
Taylor Swift famously wrote a breakup song aimed at her former flame, titled "Dear John."
But the pop princess more famously penned a diss track dedicated to Mayer's other ex who was there, Katy Perry.
Swift and Perry posed with all the same guests, but were never seen together in the same frame.
Of course, the songstresses have both moved on from their John Mayer days.
Perry has been busy dating Hollywood hunk Orlando Bloom.
Meanwhile, Swift recently ended her whirlwind romance with Tom Hiddleston.
Let's hope there weren't any confrontations at the party.
And if there were, there will certainly be a Swift song forthcoming.


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Nobel Roundup 2018
Peter C. Earle
– October 10, 2018
Drs. William Nordhaus (Yale) and Paul Romer (NYU) were named the winners of the 2018 Nobel Memorial Prize for Economic Sciences early Sunday, October 7th. The signature work of both economists deals with integrating additional considerations into endogenous theories of long-term economic growth: Nordhaus with modeling and integrating the costs of climate change, Romer's with the impact of sharing ideas that foster long-term factor productivity.
The two mutually conclude that markets are insufficient. To Nordhaus, that failure takes the form of externalities – specifically, pollution – which he has spent the better part of forty years urging an international effort against. To Romer, the potentially rivalrous nature of unprotected intellectual property can result in diminished incentives for creating and sharing innovation. Temporary monopoly rents provided by states, he argues, can protect those incentives.
Needless to say, these arguments made by both men are not without opponents. Nordhaus' DICE and RICE models have been questioned for their dependence upon estimated values, as well as for embodying a model-based approach to policy making. Romer, as well, has faced criticism for the alleged empirical insufficiency of his theories on endogenous growth. Paul Krugman, 2008 Nobel laureate, has summarized Romer's views as interesting, but impossible to confirm empirically.
The Political Implications
There is a degree of political context to the Royal Swedish Academy of Science's choices this year. The current U.S. President has called global warming a "creat[ion] by and for the Chinese in order to make U.S. manufacturing non-competitive", and in fulfillment of a campaign promise announced his intention to withdraw the United States from the Paris Agreement. Perhaps, the logic may go, Mr. Trump will have a more difficult time doing so with the heft of a newly-minted Nobel laureate, Dr. Nordhaus, enlisted on the opposing side.
Outside of the cited area, the two have a number of eclectic research contributions as well. Romer has been a vocal advocate for charter cities, and on several occasions taken the economic discipline to task for what terms excessive 'mathiness': the use of quantification not to clarify analysis but in some cases to obscure or mislead. Relatedly, he has asserted that owing to an increasing tendency among economists to defer to authority rather than objective facts, macroeconomics has been in decline for three decades.
Nordhaus is the originator of the concept of the "political business cycle", describing the phenomenon whereby economic policymaking in democracies tends to be oriented toward maximizing election outcomes. He is also the author of a much heralded 1994 article tracing the price of lighting from the Paleolithic Era (campfires) to lightbulbs to demonstrate the insufficiency of real wage and real output measures.
It was, in summary, a year heralding big ideas: inter-governmental solutions for climate change, national and international laws protecting ideas from infringement. Yet it would be remiss not to mention that evidence exists that intellectual property rights hinder innovation, and that the same governments which many individuals are looking to for solutions are the most flagrant polluters. Perhaps markets do not fail so much as courage and imaginations do.
Peter C. Earle is an economist and writer who joined AIER in 2018 and prior to that spent over 20 years as a trader and analyst in global financial markets on Wall Street. His research focuses on financial markets, monetary issues, and economic history. He has been quoted in the Wall Street Journal, Reuters, NPR, and in numerous other publications. Pete holds an MA in Applied Economics from American University, an MBA (Finance), and a BS in Engineering from the United States Military Academy at West Point. Follow him on Twitter.
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Ten years ago, a deadly plague ravaged humanity. I was eighteen years old when I watched my family die one by one. Now, I am alone. I've managed to eke out an existence amongst the ruins of our shattered world, but there is so much danger that it's a miracle I'm still alive. I am a lone female in a world without rules; death stalks me at every turn. My name is Sandy McDermott. This is my story.


The worst nightmare becomes real during an accident when two divers drown deep inside a cave in Norway. When the official retrieval operation is called off, the friends of the victims set out on a secret mission to retrieve the bodies themselves. This is a profound story of the groups' unconditional friendship that truly runs deep.
April 1994, on a quiet road in Kigali there was a roadblock where a group of neighbors were filmed. This was the early days of the Rwandan Genocide. The documentary re-visits the scene following the cameraman Nick Hughes, victims, survivors, killers and witnesses exploring what really happened on that day.
Albinos are being killed in Tanzania for witchcraft practices but there is a group of rag-tag young albinos who have decided to fight against this superstition. This is a story of true bravery told through an albino football team. Their ambition is to prove to the country that they are able as much as anyone else.
Produced by Erkko Lyytinen/ YLE, 6 x 30 min.
In the past there have been several unsuccessful attempts to do a film about the Marshall of Finland, Mannerheim. A Finnish/ Estonian production team tries to make history by doing the film in Kenya with 5000 USD and in five days. This comic six- episode series follows the teams misfortunes and absurd incidents they face while filming with the local crew. Is the team able to make history?
Copyright © Juan Reina. All rights reserved.


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Thomas Rhett Details New Nostalgic Album 'Center Point Road'
By Taylor Fields
Thomas Rhett got very nostalgic on his new album Center Point Road, as the title of the project pays homage to the road in the town where he grew up in Hendersonville, Tennessee. In fact, on Twitter, the country star shared of the street itself, "It's where I played my first football game, where I had my first kiss, where I experienced heartbreak, success, and failure for the first time. Center Point Road shaped me into who I am today."
Center Point Road is Rhett's fourth full-length studio album and follows 2017's Life Changes. The LP showcases 16 new songs, including lead single "Look What God Gave Her," and other previously-released songs like "Don't Threaten Me With a Good Time" featuring Little Big Town, "That Old Truck" and "Remember You Young." The album also features collaborations with Jon Pardi and Kelsea Ballerini.
Rhett exclusively tells iHeartRadio of his new album, "I wouldn't say that all 16 tracks are like this journal into my life, but I will say that the meat of the record, six or seven songs on the record, are definitely kind of a deeper layer into my life than I think you even got on Life Changes in 16 [songs]. Songs like 'Dream You Never Had,' 'Almost,' 'That Old Truck,' 'Remember You Young,' 'Center Point Road,' a lot of those songs are very nostalgic, very looking back into past experiences of my life and drawing inspiration from there. I feel like it was really cool to dive back in to my 16/17/18-year-old self and derive song ideas from growing up on Center Point Road, which is 20 minutes north of Nashville. I spent the time from five years old to about 21 on the same street, driving that same street every day to school, to football practice, to picking up girls on first dates; a lot of firsts happened on that road that shaped me into who I am today. And it was really cool to dig back in my past and really create ... I'm gonna call it a concept record. But there are a lot of songs that kind of are about a little bit of the same thing, just from a different perspective."
Speaking of firsts, the first time Thomas picked up a guitar was around five years old, but then seriously began learning the instrument at 13, taught by his father Rhett Akins. And the first song he learned to play on the guitar was a Matchbox 20 song. He tells us, "The first time I picked up a guitar, I think I was about five years old. My dad played country music in the 90s, and so sitting in the living room when he would get back off the road, I would make him play all of the songs that were on the radio, including his songs. But I think when I was 13 was the first time I actually, like for real, picked one up and had dad teach me how to play. And, '3AM' by Matchbox 20 was the first song I ever learned how to play on the guitar. Ever since then, man, it's like I pick a guitar up at least once a day. It's something that has become an addiction to pick up a guitar to write, play, and sing on a daily basis. And, it's kind of my therapy in a way."
He added that if he had to tell his 13-year-old self anything, it would be, "If I could write a note to my 13-year-old self and say, 'Dude, when you're 29 you're going to have two kids, a wife, and you're gonna be on a headlining tour around North America and all over the world' ... It doesn't feel like it was overnight, but it definitely doesn't feel like I've been doing this for eight years. But I think that time really does fly when you're having fun, and we've been very fortunate to have a handful of songs that are very resonate with a lot of people. And gotten to dig into people's lives through my story and [it's] been a wild ride, man."
With Center Point Road being Rhett's fourth full-length album, the country star says that he's grown a lot since his debut in 2012, which included his single "Beer With Jesus." Thomas says of his career evolution, "Man, I think at the time, 'Beer With Jesus' was as good of a song that I could write. It was the first time I ever really dove in and tried to write a serious ballad, if you will. I feel like through the last three or four records, I've really grown as a songwriter, and I think a lot of that just comes with age, and a lot of that comes with living life, and a lot of that comes from experiences. But I do feel like on this fourth record that my songwriting ability has changed from just kind of like, 'Hey, let's write a song,' to like, 'Hey, let's write a song that means something.' And there are still definitely songs on this record that I write with just the intention of making people smile, but for the most part, a lot of the songs on these records, man, I poured my heart into. And I think once I was given the ability to write songs on a more personal level and actually have them relate to the fans listening and have radio stations play a song that's so personal, it really kind of fanned the flame to make me want to keep diving deeper, and really write about life."
Rhett adds, "My story resonates with a lot of people across the world, and it's really cool to see how my story can translate in somebody's life and get comments on the internet by people saying, 'Man, that song changed my life,' or 'Hey, I had a family member that died, and that song really helped me through that hard time.' That's the reason that you write songs in the first place. But, I feel like I've grown in many ways. And then my kids have made me grow a lot. I'll say it: I was a pretty impatient person before I had kids, and now that I have kids I felt my patience level has gone up. I feel like I'm more joyful these days. I feel like I'm learning how to live more in the moment. And if anything, when I'm done with this life and career, those will be milestones for me just as much as my success in the music business."
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The term content strategy has been used in the industry as the management of media and has particularly been popular in the web development since the 1990s. Content strategy is generally recognized as user experience, design and other ways of managing how information is delivered to the users.
To ensure your content meets both your brand's needs and interest in your audience, creating a content strategy is how you plan for guaranteed results. Whether you are writing content for a blog, an article, social media or a video, creating a strategic approach to content marketing will revive your content for all that matters.
Before you get ahead and jump to creating a content strategy you have to ask yourself some basic questions. Such as, what is the function of the content that you are going to deliver to the world? Determining the type of your content, tuned to a brand, will play a key role in your complete content strategy.
Content marketing is the choice of 70 % of B2B marketers. While there can be different frameworks for your marketing strategy, you can list out the key components to build your content strategy. Between your audiences' passion and your brands USP, lies the content delivery territory.
What unique content you can bring that will earn your brand and its customer's loyalty?
Depending on your brand's image, you can approach the type of content you are going to curate for the audience. However, we have outlined some simple steps to achieve the peak interest for an audience to take action.
Inspire: Give your audience some engaging story that evokes emotional value.
Educate: Give as much information as you can fathom to the customer and satisfy every question that he can come up with, building trust in the brand.
Entertain: Give your audience a surprise element to talk about to their friends and make them share your content.
The core idea of a content strategy is to determine how you will engage your audience and regulate the content to the core message of your brand and its tone. The created content is always important and should be created with the intention of being effective. To help you to do that take this key considerations in mind.
There are several formats to plan your content and brainstorming the ideas to make sure your target audience gets the required engagement via your content is of prime importance.
Following a content creation plan in the following guideline will make sure the content is most relevant to the readers and the brand.
Findable: While you can create great content with an attractive headline, readers should be able to find them easily. The channels you are going to focus on and how you are going to present the content, will ensure maximum viewer ship and that is important.
Readable: Going through a long and windy article will make the reader maladapted for the message, on the same time it is uninteresting to the reader. The overall goal for the content is to welcome readers and give them good experience with consumable and easy yet interesting content.
Understandable: Just like readability of the content, you have to make the reader understand; what is your objective in the content that you are presenting to them. Giving a vague message, or beating around the bush, will fail the purpose.
Actionable: Making random connections with your content will overwhelm the reader. Therefore, market content that motivates them to take action.
Shareable: There are steps you can take to make your content shareable. Make your content relevant and exciting enough to make people share them on social media, also ensure to have share button with your content.
In this section of the plan, you should include the fans! For all customer needs; round the year. Such as how-to content, tutorials, and all kind of customer queries.
The content that is aimed to give a fresh perspective to the audience and engage them in your current development. Offers and discounts and other engagement should come here.
These are the contents of your product launch, events, and industry benchmarks. The broad perspective to the world.
The focus should be on developing a content marketing plan with a purpose, and that's a good place to start. Jot down the goals for your content, what purpose will it serve you. This will give you an outline of the brainstorming sessions and in determining what is best for your end results.
To make a fruitful plan, you need to identify the exact (or close) to the buyer persona and define them with a clear mental picture. This is crucial for someone who is in beginning stages of starting a marketing campaign. You will produce more relevant and valuable content that will interest your readers and convert them to your brand.
If you already have a picture of the target audience, it is always good to refresh and update them before creating a new content plan for your growing audience. So, if you have been posting blogs for a while, creating a one all-comprehensive master E-book, with all product information will be for some loyal brand connoisseur.
To manage a year's content can overwhelm you if you have not ensured a proper system in place. Several good options such as WordPress are available with sections for content creation, content publication and content analytics.
Get all your ideas on a paper or a spread sheet and allocate them to balance the tone of your marketing plan. Search for several resources available and see what your competitors are doing. Try to create something new for your audience to enjoy and also create brand recall.
You have the tools and the target, now get some of the recommended formats for marketer and templates for following popular formats.
Your marketing plan should cover your target audience and the editorial calendar will keep you on the right track of creating a diverse content for your website. Following which you should have a social media content calendar so you can promote your content on other platforms.
A good beginning point is to have tried and tested idea to promote with the listed formats. However, you should include timely topics you can come-up with. The additional content will serve you to jump your traffic, apart from the regular content you will have in your editorial calendar. So you will serve them as an addition to your arsenal.
Most popular ways are to home continent around holidays such as New Year Eve and Christmas, will have the widest readers, which is worth publishing on your blog or social networks.
Debarshi D (@Debarshi) is a Content Writer for the website SEO Cabrera.


Haley and Kaleb tied the knot during their Sandbar Restaurant wedding in Anna Maria, Florida. The two envisioned an oceanside ceremony on the sand as the sun set behind them!
Kaleb and I met at the University of Sioux Falls. We were both on the Track and Field team. I thought he was the cutest guy on the team. On the first week of school going into my Sophomore year (Kaleb's Senior), he was getting off his motorcycle while I was walking down steps and just jokingly asked "when you gonna give me a ride on that thing" and that's truly where it all started. What's really cool about our story is that Kaleb and I knew that we were something special in the beginning. It's something that is truly hard to explain but I just knew that Kaleb was the one even before we were dating.
Haley: Kaleb has a such a fun, energetic personality that draws people in. We can have so much fun together doing nothing. We both have very sarcastic personalities and enjoy "stupid" humor. I find myself constantly laughing either with him or at him. He makes such simple things into humorous memories. He's also a great dancer, though he will never admit it or show off. But sometimes if you catch him at the right time, you'll see him busting a move. He's also my best friend.
Kaleb: everything, like batman and robin, we balance each other out perfectly.
We got engaged on those same steps where it all began.


So here at display block we've taken the time to do a user experience piece by @mikepickn on the new Outlook for iOS. @omgitsonlyalex has also looked at it from a technical perspective here.
I have taken a few days to use and get to know Outlook for iOS and I am glad I have. When I first downloaded it I had the real feeling that it was a solution for a problem that didn't exist. iOS had it's own tool, mail that was indigenous to the product and built on the iOS system. It was a tool fit for purpose. This was further compounded when I tried to set up my work email account and having never used an Exchange account before, I've been Apple for longer than I can remember, I wasn't aware that my server settings needed to change to a mobilsync. server on rackspace. I was embarrassed to say I had to seek technical help! However, once that was set up and I started to use Outlook on iOS I was pleasantly surprised.
Let's start with email itself, the email experience is very like gmails primary and promotions tabs, but in this iteration of outlook they are called Focused and Other and it would appear from 4 or 5 days use that two things are happening: Firstly, Outlook appears to be getting the categorisation right in most cases and secondly, it appears to be learning from my browsing habits. The search functionality also seems quick and very accurate, I did a search for someone I knew I hadn't had an email from since 2007 and it found the conversation within 4-5 seconds which impressed me no end. I have had terrible trouble finding older conversations on the pre-installed apple mail, unless the conversation is still on the phone it can be very hit and miss. I have been infuriated with the amount of times I have stood with someone looking for the same conversation and they have found it quicker on their "inferior" smart phones. It would appear Outlook for iOS puts me back in that particular game. The swipe functionality which exists here as well as most other apps on iOS means there is a consistency of user experience not often associated with Outlook products crossing the divide.
The Calendar, which is integrated into the app is really cool, allowing you to Accept/Tentative/Decline via it's "Quick RSVP" feature straight from the client without the need to open the email. The other feature I really like is the send availability, allowing you to "suggest" a few available dates right within the app and then create the meeting invitation without ever leaving the app.
The files section seems to be a great way to manage any incoming files, open documents and move them onto one drive or dropbox, it is all very intuitive and easy to handle. It breaks your recent files received down by today, yesterday, last week, last month and then their is a search function for older files. There is also a quick filter tab which enables you to filter only file types that you have received that match your criteria, i.e. images, or docs or slides. Which improves and speeds up the search process.
When you set up your account it also automatically pulls in your contacts and they auto populate when using the email function or under the people tab there is a list of them to select from. All in all I am impressed enough with Outlook for iOS that I am switching over to it permanently, or at least until a better shinier toy comes out for me to play with.