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Just steps from beautiful Fossil Beach, this architecturally designed residence offers luxury living in a premier position. Set behind remote front gates, the stunning home features high, curved ceilings, spotted gum timber floors, clerestory windows and an internal water feature. Concertina doors in the rear living room open to a covered alfresco area and private yard that is ideal for outdoor entertaining. Quality finishes are evident throughout, from the kitchen with stone benchtops and 90cm cooker to the well-appointed bathrooms. The upstairs master suite enjoys a balcony with bay glimpses, built-in dressing area and impressive en suite. There is also a sitting area/study nook plus two further bedrooms with walk-in-robes that open to a balcony. Other features include an automatic skylight, double garage, security alarm, ducted vacuum and split-system air-conditioning throughout.
Close to Mount Martha Village and Mornington's Shops and Cafes, this impressive property is your ultimate coastal retreat.
* Architecturally designed beach side residence
* High ceilings & spotted gum timber floors
* Outdoor entertaining area & private yard
* Bay glimpses from master suite
* Steps from beautiful Fossil Beach
* Clerestory windows & automatic skylight
* Kitchen with stone benchtops & 90cm cooker
* Bedrooms with balcony & walk-in-robes
* Near Mt Martha & Mornington shops
* Set behind remote front gates
* Land size: 360sqm (approx.)
* Double garage, security alarm & ducted vacuum.
Photo I.D. required at Open for Inspections


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Mumbai: Having been pushed into the hurly
burly of Maharashtra politics quite unexpectedly, Chief
Minister Prithviraj Chavan faces the most important challenge
of his tenure in the ensuing local bodies elections, as he
completes one year in office on Friday.
Chavan, who spent most of his political life in the
corridors of power in Delhi, was catapulted to the highest
political office in his home state from the relative obscurity
of the backroom of the Prime Minister`s office after his
predecessor Ashok Chavan had to step down in the wake of the
Adarsh Housing Society controversy.
Managing a fractious coalition partner in Sharad Pawar`s
NCP, Chavan has weathered a string of farmers` agitations and
accusations of indecisiveness but pushed forward his pro-
development and pro-reform agenda in one of the most enduring
strongholds of the Congress.
As many as 196 municipal councils, 27 Zilla Parishads,
305 panchayat samitis and 10 municipal corporations including
the Shiv Sena-controlled Mumbai civic body will go to polls
between December and March 2012.
The fact that the last three months have seen the Chavan
government grapple with massive agrarian agitations -- by
onion, cotton and now sugarcane cultivators -- have not made
his task of putting up an impressive show at the hustings any
easier. Rising food inflation and repeated petrol price hikes
have made it even more daunting.
All through the year, Chavan has been accused by his ally
NCP and opposition Shiv Sena-BJP of avoiding taking quick
decisions, resulting in prolonged delays in clearing
development projects.

subset: commoncrawl


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Monthly Archives: January 2015
The Outsiders
William Thorndike, Jr.'s book, The Outsiders: Eight Unconventional CEOs and their Radically Rational Blueprint for Success, has been making the rounds at Burgundy. It has received high praise in the industry, from hedge fund manager Bill Ackman, Peyto CEO Darren … Read More →
Thinking Like a Private Investor
Burgundy's Investment Team researches numerous companies but invests in only a handful. To help us narrow down our potential investment universe, we use decision rules that point us toward the viable investment ideas and away from companies that are unlikely … Read More →


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02.08.2017 | permalink
OSA continues to join farmer, consumer, and rural advocacy organizations in urging the US Department of Justice (DOJ) to block the proposed merger between Bayer and Monsanto.
In a letter sent today to DOJ two dozen groups detailed the potential anticompetitive effects of the proposed $66 billion merger on the vegetable seed market. The proposed deal would join the world's largest and fourth largest vegetable seed companies and would further consolidate the already highly concentrated vegetable seed industry (see Table 1). If this merger goes through, farmers will likely pay more for a diminished array of seed options. Vegetable seed prices have increased tremendously alongside mega-mergers in the vegetable seed industry (see Figure 2).
Today, the largest vegetable seed companies are vertically integrated firms that research and breed varieties, multiply and manufacture seeds, and distribute and market seeds to farmers. Only a few vegetable seed companies dominate the market for each commercial vegetable crop (see Figure 1), and these companies are primarily interested in a relatively narrow set of high-value vegetables.


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IBFI's annual programme offers free training seminars for the managerial staff of central banks and banking supervisory bodies.
Central banks or institutions intending to register a participant must apply before the deadline (generally 2 months before the date of the seminar), using the programme of seminars provided on the Banque de France's website:
We insist on the fact that trainees have to attend every session of the seminar and sign the attendance sheet circulated every day.
A pre-booking is made with a partner hotel for all participants. This hotel is 3-star according to European standards.
Participants can book in any other hotel. However, the participants from countries eligible for a full or partial reimbursement of their accommodation costs by IBFI, must choose the partner hotel in order to obtain this reimbursement.
Banque de France covers the following costs:
Hotel (single room and breakfast)
1 - Participants coming from central banks of middle-income and industrialised countries pay for their own accommodation. This support covers 2 nights of accommodation for a 2 or 3 days seminar, and 3 nights of accommodation for a 4 or 5 days seminar.
2 - Banque de France only covers the costs of the participants from the national central banks belonging to countries benefiting from the HIPC (highly indebted poor countries) IMF/WB initiative.
This reimbursement covers 2 nights of accommodation for a 2 or 3 days seminar, and 3 nights of accommodation for a 4 or 5 days seminar.
3 – As for participants that belong to the group of other Least Developed Countries (LDC), Banque de France only covers the accommodation costs of 3 nights per LDC trainee and per seminar, as from July 2005. The central bank concerned covers remaining costs of the other nights.
Other expenses paid by trainees
Updated on: 07/07/2017 12:17


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- Worldwide Rank #145,839,111
- Follower/Following Ratio 0.46
- Daily New Followers 0
金子 未来 Twitter Stats
@0112_Mirai - Tracking 金子 未来 Twitter profile since December 13, 2013
金子 未来's story
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The plot thickens when considering 金子 未来's follower-to-following ratio, which is 0.46.
Over the past month, @0112_Mirai's was hardly active on Twitter, with an average of 0 tweet(s) per day in the past 30 days. That's pretty consistent with a total of 0 since @0112_Mirai joined Twitter.
This account is tracked by us for quite some time now, actually since December 2013. As of August 15 2018 we track 290722354 Twitter accounts, so feel free to search for other accounts you're interested in and reveal their Twitter story!
金子 未来 Tweets
@0112_Mirai has posted 0 tweets in the last 5 days, which translates to an average of 0 tweets per day.
金子 未来 Twitter Followers
@0112_Mirai has 38 followers on Twitter.
This account is #145,839,111 in the worldwide rank of the most popular Twitter users.
金子 未来 Following on Twitter
@0112_Mirai is following 82 Twitter accounts.
Last month this account followed 11 users.
金子 未来 Predictions & Milestones
@0112_Mirai will hit 38 followers in the next 3 months, and 38 in one year.
You are on 金子 未来's Twitter stats page
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My first port of call was of course my favourite social shopping site Faver. It literally took me 10 seconds to sign in using my Facebook account and then I made a new list ready to fill with all of my festival must haves.
Now personally I am not a huge fan of camping, this is definitely due to there usually being a lack of shower facilities and phone charging ports, but I was determined to cover all bases so I could ensure I enjoy my time at Reading.
Below are a few of my favourite picks from my festival wishlist on Faver which I thought you guys may be interested in.
1: Gelert Quickpitch Compact 2 Tent
The last thing you want to be doing when you get to a festival is spend hours trying to get your tent put up, so this quick pitch tent is ideal for when you'd rather be enjoying the sun and music with your friends instead of faffing around with ground sheets and tent pegs.
2: Silver Sequin Bum Bag
I've always had a love hate relationship with bum bags. I love them because you can put all of your valuables on your waist, so you know they're safe but you don't have to worry about having a bag being thrown about whilst you dance. I hate them because they're not particularly attractive. However this cute silver sequin number is in keeping with my festival season love of all things shiny so it had made it to the list.
3: Innoo Solar Power Rechargeable Portable Phone Charger
A portable charger is a must have for any festival goer. If you want to take pictures and videos of your trip, you're going to need a lot of battery life so a solar charger is perfect. You can recharge your phone and then leave the battery in the sun to recharge, and the you can recharge your phone again.
4: Glitter Pigment Make Up
....Because you can never have too much glitter! These are super affordable so if they got lost or broken or spilt, it won't be the end of the world, and there are so many colours!
5: Hunter Wellies
I'm not much of a welly wearer but if the heavens open I'd rather be wearing these than sinking knee deep in mud and ruining my trainers!
The beauty of Faver is that you can create and share lists with your friends so if you're planning a trip, event or party and you need to all chip in for supplies, you can make a list together and then each divide up who s buying what!
Once you login on the Faver website you can find your friends and link accounts so you can view the items they've favourited and the lists they have made so it's ideal if you want to be sneaky near Christmas or their birthdays, as you can have a peek at whats on their list and then you know you're getting them something they want and it will still be a surprise! You'll be able to view this list and any others i decide to make public on my account once you've signed up.
If you're interested in signing up here's a quick link to the Faver website using my personal ambassador code:
Once you follow this link you'll be on my account page, and you can create your own account using the sign up button in the top right hand corner of the page.
Happy Shopping!


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28 November 2014
Azkals manager Dan Palami hints Thomas Dooley's contract likely to be extended
HANOI – The efforts of Thomas Dooley in turning the Philippine men's football team into a well-oiled machine is set to be rewarded. Although Dooley is still a long way away from leading the Azkals to the Asean Football Federation Suzuki Cup title, national team manager Dan Palami has expressed satisfaction with the German-American coach's performance. The Azkals boss has in fact hinted that he is inclined to extend the mentor's tenure. "I have to give credit to the coaches for really bringing the team to this level," Palami said of the staff, which also includes German assistant Sebastian Stache and goalkeeping coach Jorge Kuriyama of Mexico. "It did not come by accident." It was a fast transformation for the Azkals, who were sluggish in the friendlies leading into the tournament before displaying a performance Palami described as the "best I've seen them play" in a 4-0 romp over Indonesia on Tuesday. "I think the drills and how they prepared the team have been very instrumental in allowing us to show it on the pitch," the Azkals boss said. "The coaches were readily responsive to the challenge and they were able to tweak our midfield and defense such that is has come to this result." "And this team has had a lot of firsts under coach Thomas," Palami added as Dooley steered the Azkals to numerous breakthroughs this year since the former US national team skipper signed a one-year contract last February. It was in the Asian Football Confederation Challenge Cup where the Azkals broke new ground as they defeated Laos, Maldives, and Turkmenistan, and reached a Final of a tournament for the first time. "So I'm recommending that PFF (Philippine Football Federation) extends his contract," Palami said. How long would the extension be? "Depends on (how long) I can still afford him," he said in jest. Dooley assured the best hast yet to come for the Azkals. "You always can play better. It's like when you talk to Tiger Woods in his best times and ask if he's playing perfect and he would say: 'I'm far away from perfect.'" "We are far away from perfect too," he added. "You still could see that our positioning when we play the ball around the box is sometimes not good. You can always improve."
Read more at: http://www.spin.ph/football/azkals/news/azkals-manager-dan-palami-hints-at-extending-thomas-dooley-contract
3 comments:
- Anonymous29 November 2014 at 06:33
Im not saying that we really need Shrock and Cagara but I guess this just mean we will be without them for a extended period of time.ReplyDelete
OH WELL....Replies
- Anonymous29 November 2014 at 16:21
for sureDelete
- Anonymous29 November 2014 at 23:21
Sato and Rota has been playing very well so I don't think we will need cagara in the near future anyway. Well, unless these two suffers major injury then we are screwed. As for Schrock, sometimes he is a blessing and sometimes a curse. A blessing because he can bring up the ball even in tight spaces, especially in tandem with Ott, but sometimes a curse because the opposing team knows that majority of the ball will be in Schrock's possession. In bastketball analogy, the Azkals will become like the Lakers or the Knicks, predictable because of Melo and or Kobe possessing the ball most of the time. Anyway, we played well most of the games so far except Vietnam game where the Azkals lacked in aggression and bite. Lol. Besides, 2 of the goals Vietnam made could've been routine saves as those where long distance and just inches away from Deyto. Deyto was just slow to react in the Viet game even when he decides to come up to punch a high ball he took ages to do so. Again, Deyto is our 3rd in line anyway. So we shall see against Thailand with R Muller manning the post. Hope for the best!!!!Delete


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WesternPAFootball.net Notebook: Clairton joins elite "club", Woodland Hills' in rare territory, Warriors' workhorse and a one-man wrecking crew
Written by: Josh Funk on Wednesday, September 19th, 2012
The WPIAL finally welcomed Allegheny County to the club.
The 600-win club, that is.
With its 54-6 victory over California Friday, Clairton etched itself as the first Allegheny County scholastic football program to reach an important milestone in all-time football victories.
The Bears won their 600th football game, and 50th in a row, over the Trojans. The Bears' overall record as a program now stands at 600-341-47. Clairton began playing football in 1914 and won its first WPIAL championship in program history 15 years later. Clairton has won nine WPIAL championships, including five of the last six in Class A, and three consecutive PIAA titles.
While Clairton is the first program from Allegheny County to reach 600 all-time football victories, it is the WPIAL's ninth all-time 600-game winner. New Castle, Greensburg-Salem, Jeannette, Monessen, Aliquippa, Washington, Rochester and Beaver Falls are also 600-game winners spread out amongst Beaver, Lawrence, Washington and Westmoreland counties.
New Castle became the WPIAL's first-ever 700-game winning program in Week 2. The Red Hurricanes are Pennsylvania's fourth 700-game winning football program.
During postgame comments following his team's 49-20 victory over Lancaster Catholic Saturday, McDowell head coach Mark Soboleski didn't beat around the bush when it came to what his Trojans' defensive game plan was.
"We sold out to shut him (Roman Clay) down and it was our goal to not let him reach 100 yards rushing," Soboleski said. "I give the credit to Jim Cacchione and Aaron Slocum. They are our co-defensive coordinators and they had our guys ready."
McDowell held Clay, a career 4,198-yard rusher, to just 63 yards on 19 carries. Consider it mission accomplished for the Trojan defense and coaching staff, which allowed Catholic only 34 yards rushing on 23 carries as a team.
"That team is well respected and we knew what they were about," Soboleski said. "We were focused all week and you could see that tonight."
Woodland Hills rarely finds itself among the programs consistently in the Pittsburgh Post-Gazette weekly statistical leaders for passing yardage. But Cody McClelland is changing that – through three games, McClelland has thrown for 559 yards and eight touchdowns. Woodland Hills is 2-1 overall and averaging 186.3 passing yards per game. McClelland threw for 206 yards and four touchdowns Friday.
Speaking of aerial assaults, how about some of the fast starts quarterbacks in the western half of the state have enjoyed?
Port Allegany's Matt Bodamer already has thrown 15 touchdown passes (and 100 for his career thanks to a seven-TD effort Friday against Ridgway), but he's not the only field general into double-digits for touchdown passes. South Fayette sophomore Brett Brumbaugh has 11 scoring passes, but Thomas Jefferson senior Joe Carroll leads the WPIAL, with 12. Carroll, in fact, has completed 27 passes this season, meaning he's averaging a touchdown every 2.25 completions.
East Allegheny, meanwhile, has really racheted up its aerial assault under head coach Jason Ruscitto, formerly of Sto-Rox. Junior Kyle Whipple has already thrown for 678 yards through three games and is coming off of a 330-yard passing effort last Friday. Here's the kicker – as a sophomore, Whipple threw for only 848 yards. At Whipple's current pace, he's on track to surpass that mark this week and finish the regular season with roughly 2,000 pass yards.
West Branch, a Class A program in District 6, has really given senior running back/linebacker Chad Speigle quite a heavy workload. He's accounted for 109 of the Warriors' 145 rushing attempts, 532 of the team's 636 rushing yards and eight of the team's nine touchdowns on the ground through three games. Speigle is averaging 36 rushing attempts per game, and is on pace to finish West Branch's regular season slate with 363 carries.
Sto-Rox' junior quarterback Lenny Williams threw for 400 yards Friday and eclipsed the 4,000-yard mark in career passing, but the Vikings were jousted by the Neshannock Lancers, 35-34. Neshannock scored 14 points each in the third and fourth quarters.
Williams, meanwhile, has thrown for 659 yards and six touchdowns this season and 4,221 yards and 47 touchdowns in his career. He could become Sto-Rox' third career 5,000-yard passer later this season.
Talk about a one-man wrecking crew. Defending WPIAL AAA finalist Knoch has scored 16 total touchdowns this season, and senior Ben Tackett has accounted for 11 of them. Tackett has scored 10 touchdowns rushing and one receiving, amassing more than 470 all-purpose yards between rushing and receiving in the process. Knoch is 3-0, having won 15 of its last 16 games and 24 of its last 27.
Curwensville and Juniata Valley, reps of Districts 9 and 6 respectively, share more in common than a 3-0 start and each being Class A programs. The Golden Tide and Green Hornets are the only offensive backfields in the western half of the state who boast a pair of 400-yard rushers through three weeks.
For Juniata Valley, junior Jesse Claar has run for 460 yards and seven touchdowns and senior Brett Grissinger adds 413 yards and six scores. For Curwensville, senior Josh Greslick has totaled 442 yards and four touchdowns while junior Zach Tibbins' 414 yards and four scores are not far behind.
Blackhawk junior quarterback Chandler Kincade is just 34 yards shy of establishing a new career high for single-season passing yardage. Kincade has thrown for 706 yards through three Cougar games to go along with five touchdowns. Kincade threw for 739 yards as a freshman and 547 as a sophomore, though he missed four games due to injury.
Follow Josh Funk on Twitter @Funk_pafb
Follow WesternPAFootball.com on Twitter @WPAFootball


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After a brilliant season in which Carolina shined winning almost every competition she was involved in, there were rumours saying that she could have retired now, at the age of 25 and after ten years of senior competitive skating.
Although, Carolina had decided to keep skating in the competitive circuit until Sochi Olympics in 2014.
She said: "It won't be an easy challenge, therefore I hope you will keep supporting me the way you did through all of these years"
Indeed female figure skating of the next two years will be well more challenging than the past two: with the comeback of Yuna Kim and Miki Ando, the uprise of Ashley Wagner and Akiko Suzuki along with the new coming Russian wonders the competitions will get tougher and tougher.
Anyway, Carolina knows how to highlight her strengths and with maturity on her side, I hope she will keep on doing well as she did in the past year.


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BUSINESS LEADERS have entered their first direct dialogue with the World Trade Organisation to
hammer out an agenda of contemporary challenges needing WTO action. Disruptive technologies,
E-commerce, freer people movement and finance for SMEs are on the list . . .
BUSINESS LEADERS have entered their first direct dialogue with the World Trade Organisation to
INTELLECTUAL PROPERTY has become more
central to the economies of developing countries as creative industries emerge in increasing numbers. They sell access, which is copyright, and regulators are struggling to define how the digital value chain
works . . .
ASIA is still plagued with excess capacity, especially in China, and a
V-shaped recovery is unlikely any time soon, despite a glimmer of hope in the latest Singapore figures. Consumers are not opening their wallets . . .
FOR most of the countries of Asia, growth in their trade with Europe has provided a most welcome source of diversification away from China. That trade may now be threatened, along with investment flows . . .
Florence Chong
Editor, ATI Magazine
LONG-TERM planning has allowed GHD to build itself into one of the world's largest private companies and the largest private Australian company servicing the engineering, architecture and environmental
consulting sectors. Reflecting on his eight years as Chief Executive, Ian Shepherd, who is retiring after three decades with the firm, explores GHD's extraordinary growth in recent years . . .
THE combined forces of the emergence of the Asian middle class and ageing have converged to give some companies a huge lift in export sales, primarily to China, says Peter Osborne, Managing Director, Asia, of the Australian nutraceuticals company Blackmores. The challenge is to diversify into other markets to provide sustainable future growth . . .
Tourists, students and entrepreneurs are believed responsible for up to six times Blackmores' direct cross-border sales into China.
INVESTMENT of up to US$1 trillion may be needed to allow India to meet growing energy needs over the next 15 years, says Piyush Goyal, the man charged with implementing India's One Nation, One Grid
policy, which aims to ensure that power can be made available at any point in time at one price across the country . . .
MELBOURNE — Cyber security will be a key area of mainstream risk for corporate Australia and government in 2016, according to Perspectives On Cyber Risk, a report released by lawyers MinterEllison.
Partner Paul Kallenbach, a specialist in cyber security and data protection, signals that the increasing focus on cyber security, including the expected introduction of mandatory data breach legislation in Australia in 2016, will
increase the potential for Board members to incur personal liability as a result of a data breach.
THE risks of cross-border business remain, with red tape continuing to be a very real frustration, Indian service companies are finding approvals processes too slow in Australia . . .
IF life-span increases by three years, pension-related costs could increase by 50 per cent in both advanced and emerging econmies, according to the Managing Director of the IMF, Christine Lagarde . . .
HAVING steamlined its listing rules, the Singapore Stock Exchange is starting to spread the message that it is open for business to companies seeking a dual or secondary listing . . .
THE Chinese Government has capped spending by Chinese tourists on the national credit card UnionPay, with some returning travellers reportedly being checked over by Customs in Shanghai. But the growing Chinese
middle class is unlikely to stop holidaying overseas . . .
FIFTY years on, the Royal Princes of Johor have raised the spectre of recession – as the resource-rich States of Sarawak and Sabah increase pressure for devolution of Federal
powers, and demand a greater share of royalties . . .
STORYTELLER Simon Winchester remembers when 750 million people in the Pacific were governed by 'outsiders and aliens' . . .
HONG KONG — The world has been preoccupied with the slowdown in China, but the bigger issue is the global economy, says Jim Walker, founder of the independent
economic research house, Asianomics.


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When I was 28 years old, I had nine children: Geo, Raya, Percy, Lulu, Will, Ariana, Ty, Jase, Caleb.
But, if I'm being honest, they weren't children, or babies, or even fetuses. They were embryos, and they were frozen, but they already felt like our offspring.
Have you ever wished for something so much, that the illusion in your mind becomes the truth?
That was me—2012—wanting so badly to be pregnant, that I fell in love with our embryos. The doctor said that they were little balls of cells no bigger than a pinhead, but I envisioned them as miniature babies swimming inside ice cubes, just kind of suspended there, waiting to be thawed and given life. And I was about to have two of those babies transferred into my uterus. We'd have to wait 12 days, then I'd have a blood test to ensure that both or one of them had attached to my womb, and I would finally be what I had wanted to be for so long: pregnant.
I was still young, and Jamie and I had gotten married just two years prior. So what was the big rush to have a baby? It had everything to do with the picture—the framed one of Jamie as a toddler that sat on our windowsill. I imagined our son to look exactly like Jamie did in that photo—curly blonde hair, distinct nose. He was just sitting—not running, not babbling—just sitting, dangling his chunky legs, and smiling. He was so young in this picture and already so aware of the most important thing in life—marveling in the moment, in the pause.
That was the son I imagined us having. I'd already picked out a name for him: Geo. Our earth, our world. And, as of late, I started noticing the lack of him around the house. On my way to the bathroom in the morning, I expected to step on a rogue toy truck. I'd do dishes and hear a specific tinkling of water that resembled a child's laughter. I'd turn off the faucet, and think Where is he? Where's he hiding?
But only the silence answered.
Plus, after what we'd been through over the last two years, I felt like the universe owed us. You know the moment. You've all had it. Maybe, after a string of lousy relationships or the loss of a loved one, you look up at the sky, and you say, "Enough. I deserve something good to come my way. I've paid my dues."
And we had PAID our dues for sure.
When we first started trying to have a baby, we had no idea that our odds were much lower than we'd thought, that tests would prove in-vitro fertilization to be our only option. We couldn't fathom that I would almost bleed to death after my first IVF procedure, that I'd be rushed to the E.R. and undergo abdominal surgery to sew up the ovary that hadn't clotted, that I'd have a six-inch scar where a baby bump should be. We never imagined that my sister-in-law would conceive a child the exact same weekend of my botched procedure and boast the same due date that we were supposed to have. We couldn't predict that I would be jealous of everyone with babies, that it would take me six months to be ready for in-vitro again, or that the next round of estrogen would give me such severe headaches that the nurses would fear a blood clot, stop our cycle, and that for the second time, they wouldn't be able to transfer our embryos into me.
So, this time around, this embryo transfer was going to happen. It had to work, or else I was sure that I'd go crazy with grief.
When you have that realization, it's terrifying, isn't it? Because you know that if the universe doesn't start working in your favor, you're going to lose it. And not just in that haha crazy way. No, like legit, committed crazy.
Finally, on a beautiful July day we went in for the long-awaited transfer. The doctors injected our embryos through my cervix via a catheter, which felt like the time I pierced my own ear by shoving a post through the cartilage. And afterwards, I expected to feel the weight of two marbles in my abdomen, but I felt completely, undoubtedly, the same. What did grow inside of me over the next few days was the idea that I had to create a super-womb so that our embryos would stay put in there.
I surrounded myself with chemical free, peace-inducing produce and products and publications. I listened to Dr. Oz's You: Having a Baby CDs and read pregnancy books and took prenatal vitamins and went to bed early and did visualization exercises and gave up hair-coloring and caffeine.
I tried to control the uncontrollable.
But there were some things I couldn't control, like my wacky cravings for chocolate milk and chicken skin. No joke. I'd sit in the parking lot of the grocery store and peel glistening layers of fatty, herby skin off of that steaming chicken and dangle them into my mouth. Jamie came home one day to find three bald rotisseries chickens in the refrigerator and me on the couch skinning my fourth.
I had to be pregnant.
We got the call with the pregnancy test results when we were out to lunch, and I knew just by the way the nurse said hello.
I wasn't pregnant.
Turns out the progesterone I'd been taking was responsible for my wacky cravings. When we hung up, I had a full-on public melt down—screaming, sobbing.
I was legit crazy with grief.
And I realized something in that moment: The universe didn't owe me anything. Not a single fucking thing. And you know what the scariest thought was? What if we never get our baby? I mean the whole world operates on this idea of balance. You study hard; you get a good job. You date around; you meet your soul mate. But what if you try and try and you never get what you wish for?
So, I did the most rebellious things I could think of: I got my hair highlighted. I drank pinot noir. I ate sushi. If the universe wouldn't indulge me, then I would indulge myself. But none of it felt satisfying. It drained me and my wallet.
Then the next month, I missed my period, and we found out we were pregnant the good old fashioned way with a baby boy. But I barely paused to be grateful before I worried about miscarriage. I tried to control the uncontrollable. But despite how careful I was, one morning I slipped on the ice in my driveway and landed right onto my stomach.
But I didn't miscarry.
Each ultrasound showed a healthy, kicking baby boy. Until our 18-week ultrasound, which showed a kicking baby boy AND an enlarged bladder, AND distended kidneys, and the doctor saying, "If the baby can't urinate, it's detrimental."
You see, amniotic fluid is what strengthens the lungs, and amniotic fluid is essentially baby pee. Apparently, there was a flap of skin inside of Geo's urethra that was causing his urine to back flow and bloat his kidneys. Jamie and I joked about Geo's dick skin, we said the words "dick skin" a lot, because it was the only thing that made us laugh. But we pressed pause on all our nursery preparations and didn't take a tour of the maternity ward because we didn't know if we'd have a baby to deliver there.
And I didn't look up at the sky and say, "You owe me. We've paid our dues." I just said, "Please."
I said it over and over and over again.
My entire pregnancy was a series of doctor visits and warnings not to get too attached to our son. Just in case. Then, finally, when I was 8 months along, the doctor said, "I can't believe this, but his kidneys look relatively normal." The theory was that Geo had outgrown that troublesome flap of skin in his urethra. Jamie and I cheered for the shrinking dick skin. Yay Dick Skin!
And I thought that finally things had balanced out and the worst was over.
On May 19, 2013, on Geo's exact due date, I went into labor.
I had a doula and a midwife, and when I say this, people imagine me laboring in a straw hut on a dirt floor, squatting down and yanking my own baby out of me. But I was at the hospital, and it was so blissful—listening to Ray La Montagne in the dark as Jamie rubbed my back.
It was my labor fantasy, until, quite suddenly, it wasn't.
Though I was almost fully dilated and had labored for 23 hours, I wasn't progressing, and when I tried to push, the fetal monitor went nearly flat. Then I blinked and I was being rushed into a C-section that was so urgent that the doctors didn't even have enough time to fully numb me. I had no control over anything, and I felt everything—the slicing, the pulling, the tugging. And then I felt nothing and I heard nothing. Not a single cry.
The doctor was unraveling the cord from our little boy's neck.
There was more unraveling and more silence.
Our baby's blue face and silence.
And silence.
And then the most blissful cry.
And even despite the oxygen mask covering my face, when I saw those eyes shaped like mine and that nose—a miniature version of Jamie's—I said, "He's so beautiful," and I mentally told the universe, "Thank you." I thought, "You didn't owe this to us, but you gave it to us anyway. Thank you."
How do you react when you feel completely unworthy, like you'll never accomplish enough good in this world to deserve the gift before you?
Here's what you do: You stop lamenting on all the things that have gone wrong in your life. You pause and you marvel in every miraculous moment and you say thank you.
You say it over and over again.
Thank you.
For Geo's first birthday, we had his party at the zoo. Our healthy, grinning, birthday-hatted boy sat in his high chair with a cupcake on his tray. But, there was no candle, because somehow in the chaos of decorating the pavilion, I'd lost the wax number one.
Jamie and I stood next to Geo, who now looked exactly like Jamie's toddler picture—blonde haired and blue eyed, sitting, pausing—and when we finished singing our last "Happy Birthday to you…" there was no candle to blow. But in that instant, I was glad for it.
There was no wishing for anything.
This essay is an excerpt of Nadine Kenney Johnstone's recently completed memoir about the risks and repercussions of IVF. Nadine received her MFA from Columbia College Chicago, and her work has been featured in Chicago magazine, The Moth, The Drum, and Pank, among other publications. She has worked in all aspects of writing: as a literary magazine editor, reporter, fiction contest judge, story performer, and creative writing coach. She teaches writing at Loyola University, Story Studio Chicago, and Grub Street online. Find her writing advice at Beyond the Margins,The Review Review, and monthly at Grub Street Daily.


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Hi, Janet here!
I believe in finding better ways to live your life and grow your business.
I believe in sharing those ideas!
Why I Wrote This Book
– Freedom is important to me. I believe in challenging traditional ways of doing things if they're not helping us live in FREEDOM.
– I believe in free will – and in using it! Life ought to be an adventure and lived with COURAGE!
– I believe in speaking the truth no matter the consequences because I believe the TRUTH will set you free.
– I believe in finding new, better and easier ways of living your BEST life.
– I believe you ought to go for what you truly want in life not just because you can have it but because that's how you grow and become happy!
– I believe in loving who you are and DOING WHAT YOU LOVE.
Other than that, three things that motivate me.
1. I believe in playing all out, never playing small and never towing the line.
Most people feel they have to spend their life seeking approval; trying to impress others. People struggle through life doing what is expected of them and never break free to follow their heart and live their dream.
How to Get Anything You Want – Just Like That! gives you permission to SHINE and GO FOR IT. To never hold back!
2. Most people still don't know they're creating their life with every thought, despite many books on the subject. The information in this book is grounded in science.
I use easy-to-understand elements of quantum physics to explain why life doesn't just happen to you and that you have the potential to change ANY circumstance with one thought.
3. Many people are bored with life – but aren't even aware that a little knowledge will show them life can just as easily be exciting and rewarding.
What are the signs of boredom?
- Waking up grumpy
- Wondering why you should bother
- Dreading the day
- Clock watching – can't wait for 5pm and Friday
- Drinking and eating too much
Many of us think it's always others who get all the luck and wonder what life is all about.
What if you could turn all that around?
What if you could wake up and jump out of bed because you can't wait to get out there and do what you love?
All you need is the basic facts on how life works; to know why you are here and why you deserve to be happy and how to do it.
Have you ever felt confused about what life is all about?
Ever wondered why you're here?
This book explains the human mystery – all in one place.
Collecting this knowledge from multiple books and courses takes years (which is okay too! I did and loved it) but why re-invent the wheel;
I wanted to be able to offer a book that says it all in one place.
All-encompassing books that include very simple explanations of how the laws of quantum physics play out in your everyday life – and how to use those laws are in short supply.
You don't need to understand quantum physics, I included it because having scientific proof that this works will raise your acceptance levels – you'll see this IS possible.
Having solved the human mystery is magic; to then wrap it in gold ribbon and share it is even more delightful.
More about me?
I'm someone who loves to laugh and usually has a knack for finding the good in all situations.
I'm an eternal optimist and determined see any adversity as a blessing.
All my experiences have given me strength, fearlessness, compassion, understanding for others as well as gratitude.
Each time they've taken me to greater peace and an easier, even happier life.
My childhood was rough but again I see the enormous benefit gained from that. I chose to use that experience to search for the truth about life and live in gratitude for what I have now.
Having my own children was one of the toughest times of my life, mainly because I had no family around and those early years were lonely. Having children and all that goes with that, including pregnancy, birth and the challenging baby and toddler years, helped me understand and connect with other mothers.
My Alternate Paths
I initially followed "traditional" paths such as Christianity but quickly moved on to mostly alternative paths although I now believe as long as you're growing as a person, discovering who you are, thinking for yourself and loving yourself first so that you can love others, you are on the right path.
My Family
I have two precious children who in their own ways taught me so much about life and unconditional love. They're great children, they're quite different and I'm hugely proud of them. I adore the wonderful man in my life; he's shown me that even when you're happy, you can become even happier and he makes me laugh.
I'm an ex-city girl now living on a farm in one of the most lush parts of Australia and loving it: clean air, fresh spring water, beautiful food… all the gifts of country living.
I often say, "Anything is possible" and "There is always an answer" : )
Life has shown me HOW TRUE that is.
Remember, as Henry Ford said, "Whether you think you can or whether think you can't, you're right".
Most of us need a little help or support along the way so feel free to say hi to me.
Have a look at my professional bio. It would be a joy to work with you.
Janet x


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At the start of the week, I started writing this as a diary. It got to Sunday, and I really struggled to articulate what I wanted to say – I wasn't even sure if what I thought I wanted to say was what I really wanted to say!
If you want to know all of what we got up to, then can I point you in the direction of my ginger ninja of a friend, Matt Collins and his brilliantly open and honest blog about the experiences from his point of view from last week! (http://ramblingthoughtsofaginger.blogspot.co.uk/)
Maybe over the next few weeks, my thoughts will become clearer, and I'll be able to work out what I think and feel about the whole situation.
At this stage, unfortunately this is the best I can offer...
As much as this whole conflict is about land and politics, and who should be where, and who should do what – it's so much more about people.
The people I've met over the past week, I will never forget. All the memories I look back on are about the people, the conversations, how courageous and inspirational they all are – and I'm talking about both sides of the wall here.
These people are affected by the conflict every day of their lives, in some cases in incredibly challenging and very sad ways. But they still have hope, and it's the hope which makes them so inspirational!
Everyone we talked to wanted peace, there must be a way for us to reach it. There just has to be. It's the people we should be fighting for, not any land or any politics, but for the people, on both sides, so that they can live freely and live in peace.
God of justice, give us a clear vision of what peace & justice looks like for this land.
I want to also take this opportunity to thank the incredible group of people that I had the pleasure of joining on this trip.
To Nive, Kate, Alison, Meg, Anna, Becky, Sharon, Tim & Matt – thank you all so much for being the most amazing people to share the most amazing experience with.


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Sub Penthouse – 1151 Sunset Drive
Price: $1,699,900
Square Feet: 2157
Completion: Fall 2018
Type: Sub-Penthouse
Developer: Kerkhoff
1151 Sunset Drive is Kelowna's most prestigious address in the heart of downtown.
Only 1 remaining:
- 20th Floor: $1,699,900
This 2157 sq.ft. sub-penthouse is the largest of our homes offering 2 bedrooms, 2.5 bathrooms and a bonus sitting/family room. Wrapping from the Northwest to the Southeast on either the 19th or 20th floor means the view opportunities are bountiful.
Features include 9′ ceilings, plank engineered hardwood flooring throughout all main living areas (incl bedrooms), quartz and marble countertops and upgraded gourmet stainless steel appliances and Lutron lighting control package Don't miss your opportunity to own in this pedestrian-friendly community with restaurants, recreation, entertainment, Okanagan Lake and numerous other amenities and services just outside your door.


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Ashfield District Council reaffirms partnership with Brierley Forest Park Trust
At the Extraordinary Meeting of Ashfield District Council on Thursday 18th July 2013 the members voted by an overwhelming majority to support a partnership agreement with Brierley Forest Park Trust.
Michael Lockton, Director of Brierley Forest Park Trust and Webmaster of The Friends of Brierley Forest Park, said, "Both Brierley Forest Park Trust and The Friends of Brierley Forest Park are absolutely delighted that Ashfield District Council have voted to reaffirm their commitment to an ongoing mutually beneficial partnership with us.
"Together we can now move forward, working together to make Brierley Forest Park, and its Visitor Centre at Skegby Road, Huthwaite, even more successful than it already is."


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Story: Student killed in shooting at Tenn. school
Now, if this would have happened in Texas, the teachers would then have the authority to shoot down the gunner? Why? Because two wrongs make a right. Not to take away from the tragic impact this may have on those involved, but at some point we need to address the the gun problem in America...and it's not by inviting weapons into teachers desks. The real shame is that the cost of public education is sometimes fatal.


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A box set explores the music of film noir, which was hardly in any film noir
In the 1950s, film began to move away from romantic or bombastic (depending on the type of film) orchestral scores and toward a more varied landscape. One of the chief styles of music to become the basis for cinematic soundtracks was jazz (the other, a little later, was rock 'n' roll). Jazz was no stranger to film; hell, the first talkie was called The Jazz Singer, and early jazz, big band, and swing made frequent appearances in film. However, much of the time, jazz on-screen was presented as a performance rather than as an integral part of the score, which was more times than not the tried and true orchestration that had served film so well since, basically, the medium moved beyond "whatever the piano player in the movie house knows." It wasn't until the post-war era that jazz began to migrate to the score, to become both diegetic and non-diegetic within the context of the film. Many people who know more about the history of jazz and film music than me cite director Elia Kazan's 1951 adaptation of Tennessee Williams' A Streetcar Named Desire as the point at which jazz became integral to the aural tapestry of film. So it is fitting that Jazz on Film: Film Noir, a 5-disc box set exploring the jazz soundtracks of seven crime dramas from the 1950s, should open with Alex North's score for Streetcar, even if you consider the film itself tangential to noir.
By the 1950s, jazz was moving away from the hot jazz, big band style that had been the dominant form of the music since the 1920s and toward a more intimate, experimental, and freewheeling style being pioneered by young musicians like Thelonious Monk, Miles Davis, and John Coltrane though also still heavily involving luminaries from jazz' previous generation who were still interested in innovation and exploring new tricks, like Count Basie and Dizzy Gillespie. The new sound was more unpredictable, less pop-oriented, and was better suited for a dark, smoky nightclub or bar than a bandstand. Film noir, or at least crime film, was one of the first cinematic styles to integrate this new style of jazz into the score (though noir boasts its fair share of brilliant orchestral scores as well). It made sense, after all, for a genre so tied to nightlife, to the streets, to after-hours clubs, and above all, to a certain mood and atmosphere, to tap into such a moody style of music. Jazz musicians, who might previously have looked forward to appearing in a scene set in a nightclub where they were performing, were suddenly finding themselves hired to write entire film scores, not just in the United States but also overseas, particularly in France (where French noir, spearheaded by director Jean-Pierre Melville, was at least as enthusiastic as American noir to lean on jazz), and later in the decade, Japan (where Nikkatsu Studio's brand of "borderless action" films emulated French crime films, including an obsession with jazz scores).
Compiled by Jazzwise writer and "cinematic jazz" aficionado Selwyn Harris and released by Jason Lee Lazell's boutique label Moochin' About, Jazz on Film: Film Noir makes the case, in its welcome and well-researched liner notes, for A Streetcar Named Desire not just as the coming out party for jazz as cinematic music but also for A Streetcar Named Desire as the first major example of crime, or noir, jazz. Streetcar isn't often classified as noir, but noir is a nebulous term, and the case is made that Streetcar meets more than enough of the criteria to justify consider it and its score film noir and noir jazz. Alex North's music was as groundbreaking and shocking as was Marlon Brando's brute, naturalistic acting style in the role of Stanley Kowalski. Born just south of Philadelphia in Chester, Pennsylvania, in 1910, North migrated north (as the case was) to New York where he sought work as a composer for the theater. It was there he got a gig composing music for a production of the Arthur Miller play Death of a Salesman, being directed by Elia Kazan. Kazan and his wife Molly Thacher were two of the earliest and biggest proponents of young playwright Tennessee Williams, and together Kazan and Williams mounted a number of successful productions including, in 1947, A Streetcar Named Desire.
Method and Madness
When Kazan left Broadway for Hollywood, he took Alex North with him. In 1951, North collaborated with Kazan on the film version of A Streetcar Named Desire, which starred two actors from the stage production: Karl Malden and Marlon Brando. Although revered as a classic today, upon its release Streetcar met with mixed reaction. Kazan's decision to keep the film largely stage-bound was seen by many as a step back in time to an era when many films were little more than recordings of stage performances. For Kazan, it was a way to retain the claustrophobic power of the play, but for many, it was an oddly archaic approach at a time when film was opening up, moving out of the sound stage and toward more location work. whatever criticism might have been leveled at this philosophy ultimately proved moot. Streetcar was nominated for twelve Oscars that year and won four. One of those nominations was for Alex North's score (he lost to Franz Waxman's lush, more traditional score for A Place in the Sun). In fact, over the course of his career, North was nominated for fifteen Academy Awards, none of which he won. Those nominations include one for best original song "Unchained Melody" and scores for such minor films as Spartacus, Death of a Salesman, Cleopatra, and oddly enough, the dark 1981 Disney fantasy film Dragonslayer, among others.
For Streetcar, North appropriately turned to the new style of jazz emerging in the clubs of, among other towns, New Orleans, where the story is set; "lowdown basin street blues," as North himself described it. This being the earliest example of jazz as a score, North still plays nice with classical orchestration, and much of the music is a comfortable, intoxicating mix of languid romanticism fueled by strings and aggressive, sexual modernism powered by brass. The opening theme is like Bernard Herrmann strolled into a seedy bar at two in the morning and decided to collaborate (granted, Herrmann wouldn't really make his mark on movie music for a few years yet). Sweeping, sinister strings give way to bass, drums, and a creeping trumpet, creating a sound that would, in time, become the very definition of "crime jazz." he second track, "Four Deuces," is a much purer expression of jazz without additional layers. It's sultry, smokey, flirtatious in spots, and just a little bit menacing.
North said in interviews that he wanted to write music for moods and mental states rather than actions, an approach that is very much in keeping with the philosophy of Streetcar as a study in tumultuous personalities. If you know the setting and general tone of the story, you can easily interpret the mood of the music without having seen the actual movie itself. Even without seeing it, "Belle Reeve" sounds like a faded plantation, a place of crumbling former glory, forlorn people, and wasted dreams. Listen to "Blanche" with its mix of whimsy and melancholy and you can tell a great deal about the character for whom the song was written. "Mania?" Yes, that's pretty much what mania sounds like. The combination of jazz and romantic-period orchestral music even reflects the film on a more meta-textual level, as the modern, naturalistic "Method" acting of Brando plays off the more classical, stylized acting of co-star Vivian Leigh.
Although the constant shift from jazz to classical/romantic might keep this score from being thought of by some as pure jazz (in much the same way the film itself isn't quite noir to many), it's still a landmark work. Never had jazz, in any capacity, been so integral to the overall structure of a film. Take it away, and Streetcar is not the same movie. North even ran into problems with censors, who thought his music was in some places, too sexual, too evocative. In those instances, he was forced to revert to less suggestive and confrontational orchestration — the most famous moment being the film's much-referenced "Stella!" scene. Actress Kim Hunter's reaction to Brando's tortured howling was cut because Hays Office censors found it "orgasmic," and North's music for the scene was similarly disapproved of for more or less the same reason. In the cases when he was required to compromise, North didn't half-ass it out of spite. His orchestral compositions might not be as groundbreaking as his jazz pieces, but they are still expertly written and drenched in mood. There's a reason that well over half a century later, few people mention the score from A Place in the Sun but Alex North's work on A Streetcar Named Desire is still written about, analyzed, and re-released.
The back half of the first disc is Leith Stevens' score for a relatively obscure noir called Private Hell 36, directed by Don Siegel (who went on to direct the superb late-cycle noir The Lineup as well as Dirty Harry), starring the always superb Ida Lupino (who also wrote the screenplay), and released in 1954. By then, jazz had a few years to settle in as the signature music of crime films, so Stevens' score here is less beholden to the orchestration of previous decades and freer to delve into some of the more eclectic and dissonant avenues down which jazz often meandered. The making of Private Hell 36 would make for a pretty good Hollywood noir tale itself, and Stevens' soundtrack for the film could just have easily been generated by the behind-the-scenes drama. Lupino was a pioneering woman in noir, moving from on-screen roles into the role of producer, writer, and even director, eventually eschewing the established studios (with which Lupino was frequently feuding) and founding her own production company along with then-husband Collier Young. Even after the two split, they maintained an amiable professional relationship and often collaborated. Lupino's films from this era walked the line between A and B pictures, one foot in noir and "social issue" films and the other at times in exploitation.
Private Hell 36 was inspired by real-life corruption cases shaking America's faith in law enforcement at the time, and Lupino, who wrote the screenplay (her dream when young had been to be a writer, but she came from show folk who wanted her to perform on stage), intended to also direct it, casting her third husband, Howard Duff, in one of the two lead roles. When it came time to shoot the film, however, Duff and Lupino had separated, and Lupino thought it would be awkward for her to direct her estranged husband (though the two reconciled shortly after the initial separation and would remain married until they divorced in 1984). She hired Don Siegel, fresh off the grim noir classic Riot in Cell Block 11, to replace herself. Nothing went the way he wanted. Steve Cochran was, according to Siegel, drunk and difficult for most of the production. In fact, Siegel claims a good many people involved with the film spent most of the production drinking.
He and Lupino clashed constantly. She might have hired him, but she was less willing in practice than she was in theory to give up artistic control of the film. Into this mix, you can through notorious hard-drinker and eventual acclaimed hardboiled director Sam Peckinpah, who was hired to punch up the dialogue, and you have a recipe for the kind of misadventure explored in such "film" noir as The Bad and the Beautiful. The end result of all this drunken, argumentative madness was a "could have been" picture that never lived up to its potential and ended up little more than a footnote in the history of noir that is memorable only for two reasons: the cinematography by Burnett Guffey, who had just won an Academy Award for his work on From Here to Eternity, and the score by Leith Stevens.
Stevens began the 1950s composing music for producer George Pal's big budget science fiction spectacles. In 1952, he worked with Ida Lupino on Beware, My Lovely, a film produced by her Filmakers production house and produced by her partner and soon-to-be ex-husband Collier Young. In 1953, he composed the scores for The Bigamist (directed by and starring Lupino, written and produced by Young) and The Hitch-Hiker (directed by Lupino, co-written by Lupino and Young, and produced by Young). He also did the score for The Wild One starring Marlon Brando in 1953, so he was riding pretty high when Lupino asked him to compose the score for Private Hell 36. Perhaps because it was a low-budget independent production that afforded him more freedom, perhaps because the production itself was so booze-fueled and out of control, perhaps for some other reason entirely, Stevens (working with trumpeter/arranger Shorty Rogers, one of the creators of West Coast jazz as well as Stevens' collaborator on The Wild One) turned in a brassy, confrontational jazz score that sees (well, hears) crime jazz come to its fruition. All the pieces are in place here, and the sound Stevens wove for this score would influence cop and crime dramas for years to come.
The opening theme expertly evokes the grimy, shadow-shrouded city of film noir. Ever-evolving thing jazz was, there are some new elements added to the mix, including xylophones, that give the music a "creeping through the shadows, skulking in the alleys" feel. "Havana Interlude" incorporates Latin rhythms. Each track from this score functions as a sort of template for exactly what it needs to do. "Easy Mood" is exactly the song that needs to be playing when you slink into a nightclub on a late, foggy night. "Private Blues" is exactly the song it should be for when you spend the rest of that night at that bar sitting alone, staring into your fourth glass of whiskey before you walk out into the waning darkness to an ominous fanfare. Once again, the music is about mood, and Leith Stevens knows his stuff — as does Selwyn Harris, who is to be commended for including a truly deep cut of a soundtrack in this collection when he could have gone with a higher profile score. The film is no forgotten classic, but the soundtrack certainly is (something that would become common in Italian films during the 1960s and 1970s, which legendary scores were written for many a forgettable film).
Heroin and Horns
The second disc in the set contains Elmer Bernstein's score for the 1955 Frank Sinatra film The Man with the Golden Arm, another film that skirts the boundaries of film noir but exists pretty comfortably within its confines even if it's often classified simply as a drama. Bernstein is one of the titans of film music, an artist whose contributions are almost beyond measuring. His career was almost derailed right as it was taking off when he was called before and refused to cooperate with the House Un-American Activities Committee, known more commonly as the McCarthy hearings. After a promising start composing for the films Saturday's Hero (starring Donna Reed) and Sudden Fear (starring Joan Crawford, Jack Palance, and Gloria Grahame), young Bernstein was called before HUAC, which as was their way, demanded he out any Communists he might know working in the picture business. Bernstein refused to comply with the demand, maintaining that despite having written some music reviews that were published in a left-leaning newspaper, he wasn't a Communists, had never been to a Communist meeting, and didn't know who was or was not a Communist in the industry. For his refusal to cooperate, he found himself essentially blacklisted by the major studios. Unable to capitalize on a budding career in the majors, he found work on independent B-pictures — and lower — including such infamous fare as Robot Monster and Cat Women of the Moon (both in 1953).
His big break, and a return to the big time, came in 1955 with Otto Preminger's taboo-challenging crime-drama The Man with the Golden Arm, a film that seemed designed from the ground up to piss off as many uptight moral watchdogs as it could. Based on the novel by Nelson Algren, The Man with the Golden Arm was about a talented but crooked card dealer who, upon his release from prison, wants to go straight. Unfortunately, he's surrounded by bad seeds and, even worse, has never quite been able to kick his heroin addiction, which leads him right back into the seedy Chicago underbelly from which he thought he'd escaped. Depictions of drug use and addiction were strictly forbidden under the Hays Code that governed the content of American movies at the time, and the associated Production Code Authority (PCA) refused to issue the film a seal of approval. With no seal, the movie would find it next impossible to get screened in any major theater in America, but Preminger, never one to back down from a fight persisted with the backing of studio United Artists, which hoped the PCA would reconsider based on the fact that the film depicts drug addiction as bleak and harrowing. Preminger was fighting another battle at the same time, with the novel's author Nelson Algren. Algren had originally been contracted to work on the screenplay, but he and Preminger clashed constantly (granted, Preminger clashed with pretty much everyone) and Algren was eventually fired and replaced with screenwriter Walter Newman. Preminger and Newman reworked Algren's original story to the point where they felt justified in refusing the author a screen credit. He sought an injunction against the film but, Algren being a novelist and all, he didn't have the money to pursue it any further.
The film was eventually completed and, as had been warned, failed to secure a PCA seal of approval. Preminger and UA forged ahead never the less, and their campaign for the film bore fruit. In a rare moment of dissension among America's most powerful censors, the Catholic League of Decency — which had been the spearhead of so many crusades to ban film and literature it branded objectionable — parted company with the Hays Office and "passed" the film as "morally objectionable" rather than the more damning "condemned." Perhaps as a sign of changing times and morality, theater chains that would previously have refused a film lacking PCA approval decided to book the picture, noting the artistry and important message it contained. When some exhibitors objected to the controversial poster design by Saul Bass (he of Hitchcock poster design fame), Preminger threatened to pull the film from circulation, a bold gamble which, once again paid off. In much the same way that the film's star Frank Sinatra would use his clout as a performer to force nightclubs and casinos to integrate racially, threatening that he and all his buddies would boycott them if they didn't open their doors to minority patrons (Sinatra was a dedicated civil rights advocate, albeit in an era when such an advocate could still feel comfortable cracking racist jokes about Sammy Davis, Jr.), Preminger's The Man with the Golden Arm was one of the first films to push back against the Production Code Authority. The Code was significantly revised as a result and, throughout the remainder of the 1950s and into the 1960s, became increasingly anemic and ignored as filmmakers insisted on greater freedom while filmgoers insisted on more mature, complex fare than had previously been allowed.
The Man with the Golden Arm is also one of the first films to present modern jazz as a part of the plot — Sinatra's Frankie Machine dreams of going straight by getting a job as a drummer in a bebop outfit (an ironic profession, given the reputation of jazz musicians, for a guy looking to kick his smack habit) — in a capacity more integral and complex than Jimmy Cagney or Jack Oakie needing to pull off a big variety show. It was the perfect sort of iconoclastic movie for the blacklisted Elmer Bernstein, who was afforded a great deal of freedom by two of entertainment's most notorious control freaks, Frank Sinatra and Otto Preminger. By the mid-1950s, Sinatra had been a major presence in American entertainment for a couple of decades, enough time to have had a few different fades and comebacks and to have kicked around during the big band and swing eras. His career was on an upswing in the 1950s, both as a recording artist and as an actor. Frank was looking to be taken seriously on the big screen, and his role in From Here to Eternity did a lot to advance him toward that goal. He lost a plum role in On the Waterfront to it-boy Marlon Brando, which steamed Frank to no end and inspired him to triple down on his efforts to steal the role of Frankie Machine out from under Brando, who was the leading contender for the gig. Sinatra got his revenge and harbored a grudge against Brando (who he referred to as Mumbles and disparaged as "the world's most overrated actor") for the rest of his life — a grudge that was exacerbated when they starred together in the 1955 musical Guys and Dolls, in which Brando, who could neither sing nor dance, was cast as Sky Masterson, a role Sinatra decided he wanted only after it had gone to Brando (hey, I never said Sinatra was in the right). Brando's acting style and attitude on set was utterly incompatible with Sinatra's policy of "no rehearsals, no Method, and just one take" philosophy. Realizing this, Brando would reportedly execute his scenes with Sinatra perfectly…until the last line, which he would purposely blow, forcing them to redo the whole thing and driving Sinatra bat shit insane with fury. Perhaps Frank channeled that rage into The Man with the Golden Arm's detox scene.
Anyway, though Sinatra reportedly sat in on some of Bernstein's sessions, he doesn't seem to have involved himself in the composition and recording of the music itself. Free to go nuts in a film that was spoiling for a fight on pretty much every front anyway, Bernstein unleashes a genre-defining jazz score. The movie's theme is powered by urgent, in-your-face brass and a driving tempo that recurs throughout the soundtrack. Like Alex North's work for A Streetcar Named Desire, Bernstein doesn't shy away from classical orchestration. The theme for the character of Zosh (Frankie's crippled wife, who is up to more than one initially suspects) begins as a melancholy piece centered around strings and clarinet, but toward the back-end it gives way to forlorn, brooding jazz elements. Subsequent tracks continue to work this combination, sometimes shockingly. "The Fix" begins like another slice of traditional "suspense" orchestration, but it veers suddenly, but not jarringly, into a wild jazz crescendo and then keeps wandering between the two styles. Even when Bernstein is playing in the more traditional end of the pool, he frequently opts for a more challenging, discordant style of orchestration that evokes depression more than sadness (if that makes sense), desperation, and on occasion, a delirium nearly equal to that which he's able to conjure when his jazz compositions are at their maddest (like Leith Stevens on Private Hell 36, Bernstein collaborated with arranger Shorty Rogers).
A Cookie Full of Arsenic
That approach carries over onto the third disc, which contains Bernstein's score for the merciless Sweet Smell of Success, a personal favorite film of mine and the one score included in this set that I was previously quite familiar with (having blasted it into my own ears on many a night when I was prowling the streets of my city). Upon its initial release, Sweet Smell of Success was met with mixed reaction, with many critics (and audience members) finding it too mean, too nihilistic — which is quite an accomplishment for a noir that contains no murders, no gangsters, and only the mildest of criminal activities (a little weed smoking, a little roughing up). Rather than plumbing the world of cops and criminals, it's about gossip columnists and publicists and the all-night hustle it takes to make someone or break someone in the cutthroat world of New York entertainment. Bernstein's score grabs you from the very first with a brash, swaggering fury that perfectly captures both the hyperactive hustle of Tony Curtis' publicist Sidney Falco ("a cookie full of arsenic") and Burt Lancaster's smug, venomous gossip columnist J.J. Hunsecker, not to mention the general atmosphere of excitement, fear, and energy of Manhattan's 52nd Street when it was Swing Street and all the kings and queens of America congregated there to see, be seen, make deals, break deals, and get rip-roaring drunk while the leading names of the jazz ages both past and present tore up the local nightclubs.
The soundtrack for the was actually a combined effort, with part of it being done by Bernstein and part of it by the Chico Hamilton Quartet, a popular jazz outfit that also plays a significant role in the film. Where as jazz plays a small role in the plot of The Man with the Golden Arm, it's more front and center here (though still not central), and at least this time, the jazz band includes black musicians. Hunsecker's younger sister is in love with a jazz musician (once again ironically, given the bad rap of musicians, the only decent, innocent guy in a movie full of scheming scumbags) and the over-protective and disturbingly jealous J.J. pressures Sidney into ending the relationship in the only fashion Hunsecker can imagine: by utterly destroying the young kid's life. Hamilton and his band appear frequently throughout the movie's many scenes set at New York hot spots, which include real-life locations Toots Shor's and the 21 Club (which is still around, the last remaining vestige of Swing Street). Hamilton was a West Coast guy who cut his teeth as a drummer alongside musicians and bandleaders including Count Basie, Duke Ellington, and Charles Mingus and vocalists and performers such as Lena Horne, Sammy Davis Jr., Nat King Cole, and Billie Holiday, the queen of New York's Swing Street (both when it was in Harlem as well as when it moved to 52nd). In 1955, he struck out on his own as a bandleader and formed a quintet that was notable for its inclusion of a cello, an instrument that rarely made an appearance in small jazz ensembles.
Hamilton's jazz melds seamlessly with Bernstein's more traditional score. Given that Bernstein had proven his jazz chops just a couple of years earlier while working on The Man with the Golden Arm, it's no surprise that he understands what Hamilton is doing and that the two are able to complement one another so well. Hamilton plays it modern while Bernstein mixes up dark classical compositions and big band era bravado. Without a properly annotated track list, it can sometimes be difficult to tell when one composer's work ends and the other's begins. The end result is a sinister, sultry affair that reeks of cigarette smoke, booze, and something to do with rage and hopelessness, ambition and withered dreams, aggression and impotence. The recordings were originally released as two separate soundtracks but have since been rightfully reunited, as they should. To delve into one without the other is to isolate yourself from half of the score's power and meaning. The order of songs included in this set is different than on the version with which I'd previously been familiar, released by the Stage & Screen label in 2015. That release is a combo of the two original soundtracks, grouping all of the Chico Hamilton songs together on the first half and all of the Bernstein compositions on the second. In terms of being to dwell on the details of what each man brought to the score, it's nice organization, but ultimately I prefer the order here in the Jazz on Film set, which more closely resembles how they occur in the film and creates a more accurate reflection of how the two separate scores become one and how each composer plays off the other.
After the one-two punch of The Man with the Golden Arm and Sweet Smell of Success (which, despite its initial dismissal, has since assumed a place among the classics of American cinema), Bernstein went on a tear, composing some the all-time great scores in cinema history, including the biblical epic The Ten Commandments, a string of high-profile John Wayne films, The Magnificent Seven and its sundry sequels, To Kill a Mockingbird, and The Great Escape. He was nominated for fourteen Academy Awards and won for 1967's Thoroughly Modern Millie. He scored a number of comedy classics, including Animal House, Airplane!, Meatballs, Stripes, and the Tony Danza masterpiece Going Ape! as well as oddball science fiction films such as Saturn 3, Heavy Metal, and Spacehunter: Adventures in the Forbidden Zone. Despite his success, he never turned his back on low-budget genre fare, though rarely did he work again quite so low as Robot Monster.
Cocktails for a Crime
In terms of sheer star power and impact on the entirety of the cinema music landscape, the name on Jazz on Film: Film Noir's fourth disc is the only one that surpasses Bernstein. People who have never heard the name Henry Mancini will still recognize some of his most famous compositions, which includes, among others, the theme from the film The Pink Panther, a song so ingrained into our collective pop culture consciousness that almost everyone knows it even if they don't know its origin. Mancini is most closely identified with the scores he wrote for a string of films during the 1960s that became the very definition of modern sophistication, elegance, and refined cool; films like Charade, Arabesque, and towering over them all, Breakfast at Tiffany's. Mancini's playful, lush compositions became the de facto sound of the cocktail lounge era. It's difficult to imagine, then, that he could write something as raw, eclectic, and down 'n' dirty as the music for Orson Welles' border town noir Touch of Evil, a score that draws on Latin-flavored and Beat jazz and combines it with the new evolving sounds of rhythm and blues and rock 'n' roll. But then, it's never wise to underestimate Henry Mancini, a guy who, in addition to becoming one of the most versatile and prolific composers in cinema history, attended Julliard and then spent WWII kicking Nazi butt and liberating concentration camps. This was not a man who lacked for life experience.
After the war (he was also part of the Army band), he joined the Glenn Miller Orchestra when it was being led by Tex Beneke, then parlayed his success there into a contract with Universal Studios. Like Elmer Bernstein, he cut his teeth writing songs for genre pictures. Unlike Bernstein' Mancini worked primarily on respectable films like Creature from the Black Lagoon, It Came from Outer Space, Tarantula, and This Island Earth. Oh, and Abbott and Costello Meet the Mummy, of course. In 1954, he was nominated for his first Academy award, appropriately enough for his work on The Glenn Miller Story. He would be nominated for an Oscar a total of eighteen times during his long career, winning four times, his first victory coming in 1962 for Best Original Song, "Moon River" from Breakfast at Tiffany's. Sandwiched in between those two films, and released the same year Mancini became an enduring crime jazz legend by writing the "Peter Gunn Theme" (perhaps even more recognizable and more often referenced than the "Pink Panther Theme"), he got work on a doomed B-grade noir that, despite everyone's dismissive opinion of it, became a minor American classic thanks in part to its director, and in part to the fact that, like almost every film in this collection, the drama surrounding its making almost surpasses what is presented onscreen. The director was Orson Welles, and the film: Touch of Evil, starring acclaimed Mexican person Charlton Heston.
As one version of the story goes, Orson Welles was aching for a vehicle to get him back into Hollywood after spending years in Europe struggling to scrape together financing and get a movie, any movie, made. After his controversial but much celebrated debut starring in and directing Citizen Kane, Welles struggled constantly to get another film off the ground, often coming to loggerheads with studios who demanded the right to recut his films after they were finished (if indeed they were finished). As stressful and uncertain as these times had been, they did produce a slew of films that were, at their worst, great, including The Stranger, The Lady from Shanghai, Othello, and Black Magic. But in 1951, after the completion of Othello, the wunderkind found himself shut out of Hollywood. He scraped by with some television work, made the rarely discussed Confidential Report in 1955, and found himself in the office of producer Albert Zugsmith looking for a movie to re-prove himself (yet again) to Hollywood. Although the story may be a bit of nonsense, Welles supposedly looked at a pile of scripts on Zugsmith's desk and said he'd take whichever script Zugsmith thought was the worst and would turn it into a masterpiece. The script he got was called Badge of Evil, based on a book of the same name by Whit Masterson. Welles rewrote the screenplay, cast himself in the role of a corrupt American cop on the U.S.-Mexican border, and took on the directorial duties for free.
Yet again, nothing went smoothly with the film. Final cut was taken away from Welles, who was furious and disowned the movie, issuing a detailed memo citing every change the studio made when they re-edited the film. Universal regarded the film as a failure before it was even released, and slapped it onto the bottom half of a double bill, the ignored B-side to The Female Animal starring Hedy Lamarr and George Nader. Despite a cast that included Welles, Charlton Heston playing a Mexican guy, Marlene Dietrich, Janet Leigh, and Zsa Zsa Gabor, the film didn't do much business and was quickly forgotten in the United States. In France however, where the term "film noir" had been coined and where study of these grim crime dramas had become an obsession for a generation of young film scholars and filmmakers, the film was much more highly regarded. The film grew in esteem int he United States over the decades, and in 1998 it was meticulously reassembled to conform to Welles' original cut based on that cranky and useful memo. It's now heralded as a classic of the genre, the last great film noir. And while the talk is always about Orson Welles, his struggle, his directorial flare, and the fact that Charlton Heston plays a Mexican guy (whatever; he'd played an Egyptian in his previous movie), it's worth noting that Henry Mancini's score is similarly groundbreaking work.
The style of jazz that had ruled international cool in the first half of the 1950s was falling out of style by 1958. Elvis had it the scene by then, shifting the center of cool away from jazz and sophisticated adults and toward rock 'n' roll and teenagers, who suddenly found themselves with disposable income and a greater degree of personal freedom for the first time basically since the country had been founded. In 1960, the focus of cool would shift entirely to youth culture, specifically that of London, where photographers like David Bailey, models like Jean Shrimpton, and musicians like The Beatles and the Rolling Stones were about to make even Elvis seem square and behind the times. Jazz evolved, as it had been doing since the 1910s, and while it didn't have much of a place in emerging Swinging London (they were more interested in the rawer sound of rhythm and blues), it continued to innovate, becoming more experimental down one avenue and, down the other, getting integrated into the sort of jazz-funk cocktail lounge sound that typified Italian soundtracks of the era. Henry Mancini, oddly enough, was at the forefront of this seismic shift in pop culture cool, when he used Touch of Evil to create a diverse and modern score that reflected that transitional time.
Welles' only decree to Mancini was that the music should be diegetic — that is, within the context of the movie, it should have an identifiable on-screen source, such as being broadcast on a radio, or spilling out of a club — and that it should reflect the sort of music one would expect to come from whatever location and whatever character happened to be playing it. Touch of Evil's cast and location meant that Mancini could explore a rich tapestry of musical styles, from straight jazz to R&B to primitive rock to Latin beats. American, Mexican, old, young. The end result is a soundscape, almost a field recording, as much as it is a score. The opening theme begins with a blast of brass that sets you up for what had become, by this date, a pretty standard crime jazz theme. Then the congas kick in and something altogether more swinging emerges, almost a return to the big band era, but by way of Latin-influenced exotica and seedy strip club music. This song accompanies perhaps one of the most — if not the most — famous tracking shots in cinema history (maybe the nightclub shot from Goodfellas beats it out there days, but if so, just barely), which means the music can get lost as one is struck by the sheer virtuosity of the shot, but the shot wouldn't be the same without Mancini's theme infusing it. It rises and falls as the camera drifts over the border town that serves as the film's setting, fading altogether at times, and at others being replaced by a different song as a car drives by or the camera meanders past an open doorway or window.
Other songs are more straight-forward teen beat garage rock, the kind of guitar and sax driven boogie woogie numbers that often accompany scenes of twistin' kids in cardigans and poodle skirts or leather jackets and Capri pants, depending on your gang. "Reflections" brings things back into the realm of smoke-filled piano bars an hour after last call, while "Tana's Theme," heard in the apartments of Marlene Dietrich's fortune-teller, is practically an old-time saloon number. "The Boss" is the sort of driving mix of jazz horns, guitars, and bongos that in the coming decade would become known as "spy jazz," a style most closely associated with John Barry's brawny James Bond scores and the subsequent work of Italian masters on the many Eurospy films that cropped up in Bond's wake.
Those looking for a more traditional crime jazz score — ironic, given that just seven years earlier, any jazz score was the epitome of non-traditional — will find fewer morsels in this smorgasbord than they might want, as it really is driven by rock, R&B, and the next era's cocktail jazz. But regardless, as a soundtrack it's a phenomenal, trend-setting example. Mancini's compositions are inextricably tied to the film, so often is the source of the music on-screen, but it works on its own despite this close diegetic relationship. Alternately menacing, raunchy, ridiculous, and rockin', like the movie it accompanied, it wasn't appreciated for its true value when it was released, but from a vantage point looking back, we can now see what an important work, both thematically and musically, was Mancini's score for Touch of Evil.
Return of the Legend
The fifth and final disc contains the scores for the highly regarded classic Anatomy of a Murder, starring Jimmy Stewart as a jazz musician and lawyer, and the more obscure Odds Against Tomorrow, a tense heist drama starring Harry Belafonte, Robert Ryan, and Gloria Grahame. The former's score was composed by the only old school legend of jazz represented in this collection, Duke Ellington. Ellington, who taught himself to compose music before he could read music and who honed his trade while sneaking into billiards halls as a kid, cut his teeth in the speakeasies and nightclubs of Harlem Renaissance era New York and became one of the most successful, most important artists of the big band era. When he wasn't commanding the stage live, he and his orchestra frequently appeared on radio shows, variety revues, and movies, often as themselves but rarely more integrated into the plot than having the star, who is probably a seedy but lovable producer who needs to mount one big show, walking on stage and saying, "And now, ladies and gentlemen of the audience, Duke Ellington and His Orchestra!" Though he and his music were frequently part of a soundtrack, they were never really part of the score.
Few are the jazzmen who aren't also adaptable and innovative, so as the trend drifted after the War away from big bands and toward smaller combos, Ellington was quick to respond, working with his own groups while also collaborating with some of the great names to emerge from the 1950s, including John Coltrane and Miles Davis. Despite one of the most storied careers in jazz, Anatomy of a Murder represents Ellington's first credit as composer on a film (it wasn't work he would pursue much afterward). Collaborating with Billy Strayhorn, it's a blend of styles — the new jazz that had emerged during the '50s, the swing music that Ellington had helped invent, and like Mancini's Touch of Evil score, an occasional flash forward to the sort of cocktail jazz that would become common in the 1960s. It was among the first non-diegetic score for a mainstream Hollywood film by black Americans, and once again, the film was a controversial product of mad genius Otto Preminger, one of the first films to frankly confront rape and sex in terms forbidden by the Hays Code, which by 1959, was fraying as bold, empowered filmmakers challenged its restrictions in the wake of a series of landmark obscenity trials that went the way of free speech. Ellington's music is fantastic without there being any one particular standout, though "Flirtibird" comes close. It's a pretty perfect melding of the Duke Ellington of the 1930s with the Duke Ellington of the late 1950s. It's not as confrontational as some of the other scores in this set, nor as challenging, but not everything needs to be.
The set closes with John Lewis' excellent score for the underseen Odds Against Tomorrow, a racially-charged heist film starring one of the pre-eminent figures in music at the time, as well as a firebrand civil rights advocate, Harry Belafonte. Belafonte was instrumental (along with Frank Sinatra) in pushing for the desegregation of nightclubs, hotels, and casinos. He was friend and confidante to Martin Luther King, Jr., and often was the man providing the cash to bail activists (including King himself) out of jail. Where blacks were welcome as performers but not guests, Belafonte would stride through the front door, use the swimming pool, and otherwise demand his just due at a time when many thought his "just due" should be a lynching. The man most famous for the novelty calypso song "Day-O" was one of the most fearless crusaders of the era, and he fought that crusade with his own life on the line, over and over. Like Sinatra, who also put his muscle behind integration (but, to be honest, at substantially less personal risk), Harry Belafonte was keen on being looked at as an actor when he acted, not as a musician, so he doesn't have anything to do with the score in Odds Against Tomorrow (although he does play a nightclub entertainer), unless you're talking about the score from a bank robbery. He's thrown together with a disgraced cop (Ed Begley) and a racist ex-con (king of film noir heavies Robert Ryan, who could turn a viral video about kittens and fluffy unicorns into a tense, nail-biting drama). Not a recipe for a successful heist, but then, heist crews are built for dramatic, rather than heist, success. Seriously, just knowing Robert Ryan is in a film already starts me feeling nervous.
Pianist John Lewis, of a generation that grew up with parents who loved jazz, played in an Army band before striking out with his Army bandmate Kenny Clarke to New York, where they fell in with Dizzy Gillespie, then neck-deep in the first big revolution in jazz: the move from big band to bebop. After that, he teamed up with Miles Davis, where he arranged several songs on the landmark Birth of the Cool album, and in 1951, became part of the group to shortly become known as the Modern Jazz Quartet, a group that was formed to move away from the sound of Gillespie and bebop and toward something less focused on solos and more interested in a collective whole. Although always a jazz lover, Lewis was also just as passionate and traditional European classical music, and the style of he and the Modern Jazz Quartet almost bring us back full circle to Alex North's work on A Streetcar Named Desire. Where that score was jazz-tinged classical, Lewis' score for Odds Against Tomorrow is classical-tinged jazz and an excellent way — almost soothing despite having its fair share of menace, after some of the jarring, threatening music of the previous four discs — to close out a collection that not only provides hours if top-notch listening, but inspires one to rethink (or at least think deeply about) the role of jazz, and of music in general, in cinema, as well as the role of black Americans in the history of film music (a role, like the role of many minorities, often under-discussed or ignored entirely).
As the final notes of John Lewis' "Postlude" drift from the hi-fi, Jazz on Film: Film Noir, has taken the listener on one hell of a musical journey through one of the most exciting times in American pop culture history, during which a country full of hillbillies and rebels emerged as the most powerful country in the world with the coolest music in the world; when the social conventions of the past — sexual, racial, cinematic, musical — were being more consistently and more successfully challenged with each passing day. By the end of the collection, black artists are collaborating with other black artists to score major Hollywood pictures. Two decades of reliance on traditional European chamber music was upended and replaced by a nimbler, more modern approach to scoring a film that integrated current sounds not just as acts on a stage, but as an integral part of the structure of a film. But perhaps more importantly, it's just damn good music, perfect to listen to whether you are at home in the dark, at the bar at three in the morning, or on a bus to nowhere, one step ahead of your past.


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Miguel 'Told You So' by Karim Huu Do
Karim Huu Do brings a characteristically intense and experimental approach to his video for Miguel.
This charismatic performance of Told You So, captured in numerous formats, is set in a desert where rockets are launching in the distance. A full-blown attack on North Korea perhaps?
This counterpoint to Miguel's sexy R&B is not an instant read, but it's a strong statement of the artist's mixing of the upbeat with the political on his new album, War and Leisures.
- Director
- Karim Huu Do
- Producer
- Nathan Scherrer
- Production Company
- Caviar
- Executive Producer
- Jasper Thomlinson
- Executive Producer
- Kim Dellara
- Director of Photography
- Aduard Grau
- Production designer
- Mark Snelgrove
- Editor
- Jamie Foord
- Edit Producer
- Chris Noviello
- Editing company
- Rock Paper Scissors
- Post production company
- Electric Theatre Collective
- Colourist
- Jason Wallis
- Post Producer
- Scott Boyajan
- 2D Artists
- Eric Mason, Tommy Smith, Fefo De Souza
- AE Artist
- Matt Andrews
- CG Artists
- Remi Dessignes, Steve Beck, Christopher Romano


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Categorizing things
Posted May 31, 2004 in Databases.
I am continuing to spend time thinking about the structure of the new si-blog backend. I want to make it as flexible as possible, while not getting too complicated, and I'm prepared to spend plenty of time getting it right. I'm trying to anticipate future additions, like an image gallery, that are bound to follow later.
I am beginning to realize that the way I categorize things is very important. In my current thinking, I have a single category table, and it seems to me that there should be no reason for more. The table should be quite capable of holding categories for entries, links, and images. Does everyone do it this way, or do other systems have different category tables?
By the way, I am still in need of help with mod_rewrite - I'm just not getting it.


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Additional Information
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To be admitted as a student in Franklin University's MBA program in Macedonia you must demonstrate motivation, competency, and ability to contribute to the learning environment.
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- Application form Download
- Certificate of citizenship
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- English proficiency
The language of instruction for the FU MBA program is English. Therefore, all students applying to the FU MBA program must demonstrate that they are competent in the use of the English language and satisfy the University's requirements as below.
- TOEFL certificate with minimum 79 iBT or 550 in paper version or 213 in computer version
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- A degree in English
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All the necessary application documents, original or certified copies, should be submitted to the following address:
Faculty of Economics – Prilep
Franklin University MBA Office
Gjorche Petrov St bb, 7500 Prilep,
Republic of Macedonia
Faculty of Economics – Prilep
Franklin University MBA Office
Tel.: +389 70 277 074
E-mail: firstname.lastname@example.com


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This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Informa PLC's registered office is 5 Howick Place, London SW1P 1WG. Registered in England and Wales. Number 3099067.
Exhibiting at Annual Meeting of Middle East Academy of Otolaryngology Head and Neck Surgery (ME-OTO) presents you with a fantastic opportunity to raise your company profile, generate leads and present your products.


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Home » Clinical Trials » Location » Poland
Przemysl, Poland Clinical Trials
A listing of Przemysl, Poland clinical trials actively recruiting patients volunteers.
Found (1) clinical trials
Efficacy and Safety in a Randomised Acute Pain Study of MR308: STARDOM2.
This is a multicenter double-blind, randomised, placebo- and active comparator-controlled study in female subjects to evaluate the efficacy and safety of MR308 with acute pain after total or subtotal abdominal hysterectomy (TAH or STAH). The screening Visit (Visit 1) can take place up to 28 days before the planned TAH ...
2.07 miles


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Sponsoring Luther Loudamy Jr's memorial will stop the ads from being displayed on this memorial forever. To view the full list of features click on the "sponsor this memorial" button bellow.
To tell others about the website in the memory of Luther Loudamy Jr.


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