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Send one DiS writer to the first-ever Connect festival? We think not. Here, three intrepid festival-goers – Jordan Dowling, Dom Gourlay and Dave Kerr – bring us their experiences of three days that can only be summarised as: a muddy festival in Inveraray, Scotland. With some ace bands, as it happened…
Jordan Dowling
The day kicks off with a downpour, something that would be a regular occurrence throughout the weekend, turning the virgin festival ground from pastures green to a battlefield.Make Model do little to lift the spirits with their homely adaptation on the Arcade Fire songbook. They walk a road travelled more frequently by the day, and seem a little afraid to take a detour.
CSS begin the main field's transformation into a mud pit with their 354th festival appearance this year. They have catchy dance licks by the barrowful, but very little beyond a colourful stage show and buckets of enthusiasm is gluing them together. Their polar opposite act could well be Aereogramme. Here, playing their final show, the four-piece are full of emotion and genuine, savage genius. 'Shouting For Joey is a breathtaking finale but it's during the anthem 'Barriers' that the band hit their highpoint, with frontman Craig B's vocals floating across the loch and surrounding mountains with ease, guided by thousands of echoes.
And it takes not just a great band but an iconic one to top that. Thankfully, The Jesus And Mary Chain are certainly that. Here highlights are a moot point; the strength of their performance lies in its consistency, with not one dull spot evident in a setlist spanning (relatively) recent tracks through to the b-side of the band's first single. The band are as relevant now as they have ever been, and their classic distortion-washed pop seems fresher than ever.
The JAMC leave Super Furry Animals to close the day with a greatest hits set, something that the Welsh demi-legends do better than anyone else. From 'Rings Around The World' to closer 'The Man Don't Give A Fuck', the band don't set a foot wrong and lead the crowd singing into the night.
Insects and slugs are flicked off bodies and surrounding beer cans in the early morning, just in time to miss an unannounced set from ex-Delgados singer Emma Pollock. Fun instead comes in the form of easy-riding country rockers Found and the heirs to Dirty Three's throne Early Songs. The first are akin to an early My Morning Jacket baptised in un-heavy electricity, whilst the latter spin yarns of meditate instrumental folk-rock. Both offer pleasing soundtracks to brief glimpses of sunshine. Dark clouds are further beaten away by Bat For Lashes, whose holistic hymns to Mother Earth cleanse the soul whilst maintaining enough pop sensibilities to wade away from all-out hippie waters. 'Prescilla' showcases the band at their finest: wrapped in myth and mystery, yet so wrought with emotion that its impossible not to take them to heart.
The gloom soon consumes events again, however, as Nathan Fake takes over at the Manufactured Noise stage. His beats hit like candy hearts made from steel, beautiful but delivered at a vicious velocity. A parallel truth for Mogwai, whose expertly crafted post-rock laments burst ear drums and tear ducts with ease. Live, 'Helicon 1' is simply majestic, and it's all some can do to hug friends and hold back more personal downpours. Primal Scream close the day, but the less said about their cocky, half-arsed excuse for a headline set the better.
And so the last day of the festival begins, slightly late due to a risk assessment. And not for nothing: by now much of the site is sans grass and bathed in several inches of water after a half day of rain. A lacklustre performance from Patrick Wolf doesn't help matters. Yet saviour has an unlikely name, and that name is Aqualung, who from nowhere have created a batch of dulcet indie-rock gems much more impressive than those that built their fifteen minutes of fame. Think Mew growing up in the highlands and bullied in school for listening to early U2 and you won't be far wrong.
Danish five-piece The Kissaway Trail follow on with a joyous blend of space rock and wide-eyed pop. Young at heart yet far beyond their years musically, the Bella Union-signed outfit are definitely a prospect for a future. A cheese and onion toastie (this writer's menu for the weekend) from a nearby café later and it's time for Tilly And The Wall's eternal sunshine. Sometimes they seem a little short on substantial (and original) ideas, but they reach (and warrant) such unequivocal levels of happiness that it is hard to be critical.
And this joyousness remains, somehow, for the rest of the day. Jack Butler's angsty take on Foals' math-dance workouts has fans jumping around in the mud and singing along to every word, while further on M.I.A. storms the main stage with a riotous live performance of her politically charged hip-hop calls to arms. She is joined onstage by hundreds of fans, her set cut short by flailing arms and legs swiping at monitors and microphone leads, but she emerges triumphant at the end of it all.
Which leaves main stage should've-been-headliner Björk to pick up the pieces. Being overshadowed is not a thing that happens to the Icelandic singer, and she strikes up a storm with a mix of older tracks and material taken from her latest album, Volta. From this latest collection, set closer 'Declare Independence' is a clear highlight. A plea for a country to sever ties with a ruling foreign government (especially apt giving the location of the festival), live the song is potent enough to destroy entire continents, with the hyperspace rave beats and frenetic drumming of Chris Corsano taking it far beyond its recorded form. Decades on from her first forays into music she is still one of the, if not simply the, most enticing live performer on the planet.
And it's tempting to leave it there. Nothing can come close to matching that, right? Wrong. For me to tell you that a band playing the festival's smallest stage came within inches of one-upping the Icelandic starlet would seem incredulous, but this is exactly what happens when The Twilight Sad take to the stage. Theirs is a performance of an almost unimaginable intensity; a 1,000% proof cocktail of post-rock and classic storytelling told in a thick Scottish accent. No question about it, The Twilight Sad are one of the most thrilling bands in the UK, if not on the planet.
As the festival draws to a close with a set from Idlewild, which itself doesn't fall far from the quality of the previous two acts, especially during 'Modern Way, the rain begins to clear. Yet the havoc it has caused is all too evident. A 15-minute walk takes an hour as the ground consumes those walking across it like quicksand. A negative point to end a weekend stacked full of memorable performances, but one that in the end casts a very long shadow. A trip to next year's Connect comes highly recommended for its strong bill, relaxed atmosphere, helpful staff and foodstuffs. However, it might be best to travel by canal boat and stock up on a few suitcases' worth of wet-weather clothes.
Dom Gourlay
It's a long way to Inveraray… 357 miles, to be exact, from Robin Hood country. But weather apart, the very first Connect Festival gets a lofty thumbs up from me.
Sure there were always going to be teething problems, and although the Manicured Noise tent and Guitars and Other Machines (2nd stage) stages seemed well designed for any natural intrusion of the wet variety, the (main) Oyster Stage's steep incline was always going to result in several inches of mud, sweat and tears – strictly in that order – should the heavens open at any point.
The first half of Friday felt more akin to a journey of exploration as some girl warbling a Fleetwood Mac cover is quickly exchanged for a swift pint of Kopparberg until the first highlight of the day, Make Model, take to the stage. With harmonies that are equal parts Delgados and Los Campasinos!, and tunes lifted from the back pages of Stephen Pastel's epiphany, the likes of 'Just Another Folk Song' and 'Glasgow's Number One Most Wanted' go down a treat, and even the clouds hold back the wet stuff to watch in awe, for a few minutes at least.
Another festival, another appearance by Lovefoxxx et al. While there is no denying the Brazilians' enthusiasm and popularity, their set is becoming as regular as clockwork at these kind of events and today they sound jaded. A swift hop to the Manicured Noise tent for Vector Lovers and their Mancunian-flavoured techno does the trick…
…Until the arrival of Jarvis Cocker, that is. Having missed his original flight from Paris and almost not made it here, the skinny one regales us with his in-between song tales of dolphins, dolphins and… more dolphins. Oh, and he plays some songs too, not least an impressive 'Fat Children' to open the set and a poignant 'Sooner Or Later', which he'd initially written for Lee Hazelwood to record before his sad passing a few weeks back.
Nostalgia is a dirty word around some quarters and the fact The Jesus And Mary Chain are about to play their first show on these isles for nigh on a decade is met with both anticipation and trepidation in equal measures. It takes literally 30 seconds of a storming 'Never Understand' to clear any lingering doubts, as initial fears are quickly engulfed by a feeling that this just might be one of the best sets of the whole weekend. Now essentially just the Reid brothers plus three session musos, The JAMC sound as visceral and enthralling as ever and, more importantly, they play a set that spans their whole career, culminating in a rousing 'Rollercoaster' that just about encapsulates Black Rebel Motorcycle Club's entire repertoire in three minutes flat.
Hopefully the Beastie Boys can do the same, and an opening salvo of 'Time For Living', 'Root Down' and 'Sure Shot' suggests we're onto another winner. Sadly, self-indulgence takes over and two instrumentals off their recent long player later I'm off in search of another pop fix, courtesy of the Super Furry Animals.
SFA are one of those bands it's impossible to dislike, and although they could have included more songs from Fuzzy Logic and Radiator in tonight's set rather than the more pedestrian later period stuff, there is no more perfect way to bring the curtain down on the first day then the almighty thunderstorm that is 'The Man Don't Give A Fuck'.
It's been raining all night and the slugs have gathered en masse, attaching themselves to our stash of Morinov and Fosters. And my socks. Euuurghh. Not good, then, but at least it gives me an excuse to visit the Oyster Stage earlier than planned.
Thankfully it was a wise move, too, as another of this weekend's revivalist ensembles, Edinburgh's The Fire Engines, deliver a short but shambolic set – the perfect tonic to wipe away any lasting visions of thickset slimy creatures clinging to one's instep.
From the old school of post-punk to its (supposedly) more literate new, The Low Miffs appearance on the Your Sound bandstand is less than enthusiastic and slightly jittery as head Miff Leo Condie stops one song halfway through due to the audience's lacklustre response, only to start it again seconds later. Too late pal, we've already moved on…
Bat For Lashes are an intriguing combination. Natasha Khan sings with the voice of an angel at times – albeit one conceived within Newsom and Gudmundsdottir's kooky-toned stable – and the instrumentation is nothing short of exotic, if strictly organic. Most of the songs do sound very samey though, and it takes 'Sarah' and a closing 'Prescilla' to lift Ms Khan and co.'s set from out of the ordinary.
Sound problems render Glasgow's Frightened Rabbit an almost silent replica of their name, which is a shame as their Sing The Greys long-player promises to be one of 2007's best homegrown debuts. Teenage Fanclub on the other hand sound as delightful and laconic as they did almost two decades ago, Gerry Love and Norman Blake's luscious harmonies illuminating the likes of 'Star Sign' and 'Mellow Doubt' within an inch of dazzling perfection. Blake even manages to leave the stage halfway through the set to pick up a pizza… or is it a xylophone? Who cares, we don't, we're just lost in music, you see…
Or maybe just waiting for Mogwai? Whatever, messrs Braithwaite and co. sound as dynamic and pulsatingly loud as you'd expect them to. So why would anyone want to leave after only six songs? Easy answer, We Are The Physics are about to play just across the way.
Possibly the most exciting new band in the country – for today at least – they've drawn the short straw being pared off against the rock beasts of Mogwai but half an hour later, having increased the size of the watching crowd by several hundred, We Are The Physics are a puzzling entity that can switch between Devo-esque funk-rock ('This Is Vanity') to Descendents-style thrash ('Less Than Three') with the mere blink of an eye, resulting in the first bonafide stage invasion of the weekend.
One would expect nothing less than a near-perfect set from Primal Scream to end what has been another fantastic day of quality music. Playing to their home – and easily the biggest so far this weekend – crowd, what can possibly go wrong? Their choice of setlist for starters. While 'Riot City Blues' may be a return to the band's late '80s rock 'n' roll roots, the songs just don't stand up to 99 per cent of the Scream's impressive back catalogue, and with a set top-heavy with the likes of 'Country Girl' et al, people leave in droves. 'Loaded' is wheeled out during the encore but by then it's too late for even that gem to make an impact. A wasted opportunity then.
The Kissaway Trail are a swoonsome experience. 'La La Song' is like the Arcade Fire being corrupted by Interpol, while 'So Far Away' is an exercise in verse-chorus-take off that recalls Verve in stormier waters. Surprisingly majestic.
Just across the way, a young Liverpudlian girl is interrupting the banging techno of Octogen for something for more subtle and sophisticated. Whisper it if you may, but Candie Payne's set proves to be one of the highlights of the weekend, mixing '60s pop (think Petula Clark, Nancy Sinatra) with cinematic arrangements (John Barry would be an accurate - if obvious - comparison) culminating in the sumptuous 'Little White Lie' which raises goose pimples throughout the Manicured Noise tent.
Finally, the sun has got his hat on and he's coming out to play. Tilly And The Wall's appearance brings with it the first rays of the weekend, and while their songs do seem to go on a bit about love and freedom like hippies on a day outing, the tap dancing of Jamie Williams coupled with Kianna Alarid's alluring presence makes them unmissable for one afternoon at least.
As is Jack Butler on the Your Sound bandstand, whose !!! meets Orange Juice (post)punk/dance hybrid is invigorating and impossible to keep still to, even if the mud in front of the stage has now reached ankle level, making the dancing throng look like poor imitations of the Abominable Snowman.
Hotfooting it to the main stage - more to ensure a good spot for Björk's set, I must confess – coincides with the weekend's most pleasant surprise. Having never really found M.I.A. that exciting on record, her show here was a frenzied melee of heavy bass and 1,000 words per minute (or at least it seemed that way) scattershot rhyming. Her invitation to all and sundry to get on stage and "tear the place up" didn't go unheeded either, and by the close of the set monitors were kicked over, wires split and mic stands broken in two by the several hundred revellers only too keen to join the onstage party.
For Björk, UK appearances have been few and far between in recent years and mostly reserved for occasions such as this, so for Connect to get someone of her stature to headline the final day represents something of a coup. Except she isn't topping the bill – some fat bloke from New York is instead. Despite that travesty, her set is as perfect a finale as you're likely to witness at any open air event this year. Complete with a Björkestra that includes a couple of key punchers, several horn-playing dancers and the unmistakeable figure of Chris Corsano on drums, her set is heavy on Volta and Vespertine material, but still manages to cross every boundary on the musical spectrum. The rapturous finale of 'Declare Independence', complete with flags and ticker-tape galore, feels like the communal hymn of Connect 2007 as the campsite is still ringing to it deep into the early hours of Monday morning.
Some would have called it a day after such an awe-inspiring show as that, and indeed many did, but that would have been their loss as The Twilight Sad's set on the Your Sound bandstand confirmed what all the hype has been about for the last few months about Scotland's (and possibly Britain's) best new band. Not since Ian Curtis first trod the boards in pre-Thatcher era Manchester could there have been a more intimidating or intense frontman than James Graham. Behind him, the other three members create a mesmerising wall of noise that recalls My Bloody Valentine at their peak while the singer stares impassively, occasionally taking sips from a can of McEwans when not venomously spitting out lyrics furiously. It's impossible to take your eyes from the stage for even a split second; The Twilight Sad are even more incredible in the flesh than their Fourteen Autumns And Fifteen Winters opus could suggest. Several main stages await in 2008, trust me.
With the festival almost at an end, Idlewild play a mixture of greatest hits and songs from last year's Make Another World record, and although the older tunes are lapped up incredulously, every song is greeted like an older brother returning from the Far East. 'A Film For The Future' sounds as fresh as it did back in 1998, and despite rumours that their impending tour later this year may be their last, Idlewild live are still an exciting prospect. Nevertheless, with an eight hour drive ahead, DiS is shattered and retires to bed, safe in the knowledge that the first Connect experience has been as memorable and enjoyable a festival experience as we've had all summer despite the weather. Roll on 2008…
Dave Kerr
To those of us who point blank refuse to be mugged off with e-coli inducing cuisine, unaffordable bare necessities and bills riddled with homogenic dross for any further a summer, the word 'boutique' suffixed with 'festival' could prove to be something of a winning combo.
So up to Inveraray castle we rock, in search of a little something to restore faith in that great tradition of the British festival. Lured by the promise of oysters (lord why?), a stellar bill for the discerning music lover and hopefully the smallest ever contingent of rambunctious tent-slashing dickheads, how could DiS possibly refuse?
With 'Conscious Life For Coma Boy' ringing out across the campsite, pitching a tent and quickly guzzling a Red Stripe is no fun when you know you're missing the visual drama of Aereogramme's last ever gig. As the soothing sounds of 'Post-Tour, Pre-Judgment' and 'Yes' echo out, the job of sliding along the already deteriorating path toward the main grounds to the Oyster stage proves fruitless; it's too late and Craig B shrugs a simple "this is it" before battering in the last nail with a sharp shot of 'Shouting for Joey'.
Consoling myself with the first of many ciders, Jarvis Cocker – today peeling a leaf out of the book of Cash by declaring himself "the Man in Brown, because the world is shit" – lightens the mood on the Oyster stage with equal doses of sarcasm and sincerity. 'Cunts are Still Running the World', he reassures us before changing tack to more local issues by offering a tribute to "anybody here from Dunfermline" with a sneering crack at The Skids' 'Into the Valley'.
Wandering off to see where the other stages are hidden, Cocker's tribute proves to unwittingly pre-empt up a double whammy of songs in the key of Fife as we stumble upon Beta Band alum The Aliens in the middle of their space-pop odyssey in the Manicured Noise tent. Appropriate as the moniker is, the tunes are off the wall but still powerful enough to rouse a rabble. "Goan see ma brother Kenny," suggests Gordon Anderson while the famous synthesized coda from Close Encounters Of The Third Kind closes the show.
Of course, we take his advice and see that Kenny - more commonly known as Fence collective's grand poobah King Creosote – is staying true to his folksy, experimental blend on the Guitars and Other Machines stage. Flanked by his right hand man, Johnny Lynch (AKA The Pictish Trail – this is after all Anstruther's own Wu Tang equivalent to the Wu Tang dynasty), KC dips into his nap sack of psychedelic treats and gets busy with the pump-organ while casting out the sublime melancholy of 'Not One Bit Ashamed'. "It's no good enough," he croons. The few hundred folk here lucky enough to find this second stage tucked away behind a cluster of trees might disagree.
Back in the amassing throng of the Oyster stage, The Jesus And Mary Chain amp up for their first gig on home soil since they reunited. Stood in smoke, motionless to the point of inertia - as they were when DiS caught them at Coachella earlier this year - the Reid brothers dismiss the small talk and converse via understated classics. They remind us that they might be around for while more too, unveiling nuggets of new material as they go. The Mary Chain might have just reclaimed their throne as Scottish post-punkers de rigeur in the grounds of Inveraray Castle, but Mike D of the Beastie Boys has other ideas about whose running the show.
"Tonight, duke, it's my muthafuckin' castle," he menaces. The Beasties put their moolah where their cake hole is and turn out a greatest hits set with the raucous punk of 'Heart Attack Man' and 'Tough Guy' vying for elbow room with hip-hop perennials 'Root Down' and '3 Mcs and 1 DJ'. To boot, Mixmaster Mike knocks out a solid mid-set mash-up, pitting Led Zeppelin against KRS-One amongst other ill-fitting oddities, and Money Mark brings his keys and gymnastics to the second half of the set, peppering them across new instrumental ditties 'B For My Name' and 'Suco De Tangerina'. Of course, 'Sabotage' brings down the curtain on Friday and nigh on 20,000 revellers roar the chorus like this was the last show on earth. Not a word of hyperbole: phenomenal.
Note to self: never will a mere packet of Frazzles counteract a night of drinking. Then again, judging by the revolting mess left outside one of the tents of our crew, sucking on some oysters really isn't the best tactic to lace the stomach either.
Dunking our heads in a sink of cold water and skiing through the ever-thickening mousse to the Oyster stage, Edinburgh's Fire Engines quite literally scare away the blues with their shambolic firebrand 'Hungry Beat'. "I'm still in tune!" marvels Murray Slade; "That disnae matter," retorts Davy Henderson. And there we have a shotgun summary of their entire career.
From the jarring riffs and incessant clatter of the Fire Engines' post-punk sensibilities to the inventive folk pop fun of fellow - but far more contemporary - Midlothian outfit, Found at the Manicure Noise tent. The quintessential DIY quintet dole out their uplifting vibes and juxtapose quite strangely with the foreboding idiosyncrasies of Bat For Lashes, who have apparently snuck in through the same medieval time portal as Joanna Newsom. BFL's songs are bewitching at times and suitably evoke the feel of some kind of wiccan ceremony. With titles like 'Sarah' and 'Prescilla' - who must surely have both fallen foul of their coven - singer Natasha Khan intensifies the climax by beating a gigantic stick off the stage. Strangely, somehow, it all fits into place.
Stuck in another era, Brooklyn's The Hold Steady - complete with their wired blue-collar rock vignettes - rock it up quite the thing back at the Oyster stage. Making good on the disappointment of their forced-guerrilla set at T in the Park, they present energised songs from their sleeper breakthrough LP as though they had locked Springsteen in the studio to rerecord parts of Born to Run with a bunch of marbles in his gob.
Rilo Kiley, however, are looking and sounding more like a countrified Fleetwood Mac by the record; Jenny Lewis struts on in hot pants, rattles a cow bell and wraps her silky voice around the trudging chimes of new tunes 'Breakin' Up' and 'Close Call', which, bar the vice-drenched lyrics, are such day time MOR radio-fodder that it takes the smell from the stovie stand to keep us awake - time for a return to indigenous pleasures.
"We've got two songs left, you got any more biscuits?" Some loons are pelting Glasgow band Frightened Rabbit with bits of shortcake and custard creams on the Your Sound bandstand. But, never mind the bourbons; this lot are coming from the same school of thought as Idlewild at their best or Big Country in their heyday, the Rabbit hold onto the R while their folk rock sound holds such weight that the bullish sense of jingoism that is guilty of singularly limiting many a contemporary Scottish band's sound is firmly set in their rear view.
By comparison, Sons & Daughters are much more of a crossbreed, tonight choosing to serve their kind of stomping 'Rama Lama' rockabilly with bruising riffs and a danceable cover of Adamski and Seal's classic floor filler, 'Killer' that comes from nowhere. But, shaking ass is obviously no kind of preparation for Mogwai, who take the second to headline slot on the Oyster stage with a dynamic set that peaks in all the right places. There is rarely a finer ambience all weekend than that set by a stage filled with smoke and dim blue lights while 'We're No Here' is pumped out over the PA, framed perfectly by the colossal hill and watch tower in the background.
From a big sound to a big mess with big hair; Echo and the Bunnymen – or rather Ian McCulloch – turns their repertoire into a shambles on the second stage. "I sound like a dog, d'you know what I mean? I don't like pink either…" He makes little sense, sings out of key and generally winds up the crowd any which way he can. "Up against your will," he fittingly warbles as 'The Killing Moon' gets wrecked. Modest Mouse were robbed of a headlining slot tonight.
Awakening in what now looks like a battlefield full of trenches and ravaged soldiers, an Idlewild sound check lifts some of the post-Bunnymen fug from the skull.
Soon enough, the ubiquitous Seasick Steve's distinct, bluesy three-string slide guitar takes a lunchtime slot, leading neatly into Scott Matthews and his band who produce a more regular brand of the same, albeit rife with a Jeff Buckley-esque vocal timbre and enough sludgy riffs to suggest that somebody likes to pump Soundgarden's Badmotorfinger on the car stereo every now and again.
Darting across the site to catch some indie folk, Tilly & The Wall style, the clouds finally part for one of the longest spells of the weekend and the job of cracking a few hard faces becomes all the easier for this enthusiastic hit and miss troupe of percussive tap dancers. The site of a security guard running away from a dragonfly shortly after Tilly finish, however, is solid gold.
A solo performance from Regina Spektor follows shortly after. "Wow, I just made my finger bleed… that's how much I care," she giggles, before bringing some more colour to the afternoon with her candid song about 'That Time' and rattling the hell out of her chair on the stage in the name of experimental percussion.
Staying camped out at the Oyster stage, M.I.A.'s flashy, in-your-face, electro heavy performance goes down a treat as choice numbers from Arular and Kala are mixed in with Pixies lyrics and Eurythmics samples, setting the tone for the rest of the night. But, when the Sri Lankan anarchist decides she'd like to 'Pull up the People' quite literally, the chaotic stage invasion that ensues cuts the show short by half an hour. Clever.
"It's almost dark… almost." The second from top billing behind LCD Soundsystem seemed like lunacy for a minute there, but seeing Björk getting stuck right into revamped versions of 'Hunter' and 'Hyperballad' in this twilight soon proves to be a stroke of genius. From a twilight set to The Twilight Sad, the trajectory for this Kilsyth quartet continues to climb high. This open air headlining slot on the Your Sound stage sees the band fighting with almost everything at its disposal and the wall of noise they construct from the tiny bandstand is breathtaking. James Graham grips his mic like a lifeline and leans on his stand as though it were a crutch before he occasionally takes his mouth away from it to let out a primal roar that you can still here above the cacophony at the back of the pitch. "I'm putting up with your constant whine and I won't last too long," he later fibs during 'And She Would Darken the Memory'. Nobody here looks like they're complaining because tonight, from a tiny stage, it feels like it was the underdogs who truly conquered the castle.
Jordan Dowling:
Uppers: Björk; The Twilight Sad almost stealing Björk's thunder; Cottage Restaurant food; Conversations with the Duke of Argyll; Surroundings - absolutely breathtaking. Downers: Site flooding - almost ruinous by the last night, more than knee deep in some places; DJ sets - pretty much new (nu?) rave throughout, despite the eclectic line-up; Primal Scream - dreadful after first three songs; Area layout - parking over a mile from the campsite/main arena; Merchandise - virtually no change from £20 for any festival/band t-shirt. Anthems:Björk, 'Declare Independence'; Aereogramme, 'Barriers'; Bats For Lashes, 'Prescilla'; Super Furry Animals, 'Rings Around The World'; Idlewild, 'A Modern Way Of Letting Go'
Dom Gourlay:
Uppers: Björk (need I say more?); The Cottage Café on Main Street: the best breakfasts in town; Being spotted by a fellow Tricky Tree thanks to my 'Doughty Out' t-shirt – spread the word bro'; The first half of Mogwai's DJ set in the Rizla tent on Friday night; The friendliest, least intimidating atmosphere at a UK Festival since ATP, really. Downers: The weather; Slugs; Primal Scream; Having to dispose of my beloved but mud-sodden Converse trainers; No Virgin Mobile network coverage – Scotland is in the UK too, Branson. Anthems: Björk, 'Declare Independence' (the highlight of the weekend: politically appropriate to those north of the border, and a technobassheavyslogantastic call for unity to the rest of us); Super Furry Animals, 'The Man Don't Give A Fuck' (13 years old now, but its defiant message remains as vitriolic yet joyful as ever); The Jesus And Mary Chain, 'Vegetable Man' (a Syd Barrett cover and old b-side providing a flashback to those early gigs where JAMC's riotous nature outshone the music, just); M.I.A., 'Bucky Done Gun' (the moment where all genres and their subsets collided headed on and danced as though their lives depended on it); Happy Mondays, 'Wrote For Luck' (okay, so they didn't play the festival, but when Stuart Braithwaite spun this tune at about 12.30am Saturday morning sheer pandemonium broke out in the Rizla tent, not to mention the odd Bez prototype too).
Dave Kerr:
Uppers: The notable lack of common loutish festival fuckwittery that, y'know, tends to ruin the whole thing for everybody; The Beasties repaying the duke's kind hospitality by overthrowing him in his own Castle – if only he had a Volkswagen; Björk's general mentalist demeanour; The trash man who gave out rubbish bags to sit on when the ground beside the Oyster stage became an apocalyptic wasteland; The stovie stand – genius. Downers: Missing Aereogramme; Seeing Echo and the Bunnymen – sheer masochism; The Mud – resistance was futile; The minority of tent-slashing bandits - may they be shat upon by seagulls until the end of time; Oysters – pretty self explanatory really. Anthems: Beastie Boys, 'No Sleep Til Brooklyn'; Mogwai, 'We're No Here'; The Twilight Sad, 'Talking With Fireworks / Here It Never Snowed'; Björk, 'Declare Independence'; King Creosote, 'Not One Bit Ashamed'.
All photography by Lucy Johnston. From top: M.I.A., The Jesus And Mary Chain, Tilly And The Wall, Björk, Jarvis Cocker, Bat For Lashes, Primal Scream, M.I.A., Jarvis Cocker, Rilo Kiley, Mogwai, Regina Spektor, Björk


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Lava Grill
Tue 12 2009
This lava grill provides an authentic grill experience, Its flush-mounted matt black glass cover displays an appealing line shape in combination with other appliances of this series. The lamellar structure of the induction element is striking; its flush-surrounding stainless steel trims are discernible as a detail typical of the brand-specific design language. Robert Bosch Hausgeräte

subset: commoncrawl


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Wednesday, February 20, 2013
Taking my Dad on a Who Do You Think You Are Tour
I took Dad out to my favorite place, the Somerset Heritage Centre and he agreed to be my assistant for some research there for a couple of days. The people there were so kind and generous to us. Phil Hawking was very attentive when we had questions and did lots of work to help us uncover more information about our ancestors. We came home with scores of images that I now get to go through. When Dad's grandfather first wrote the Vicar in Bradford on Tone around the turn of the century and the Vicar started sending him information about his family from the parish records there, he wrote that a "most enjoyable pastime" ensued as he tried to piece together the records of his family. I know just how that must have felt.
Dad came face to face with the wills and deeds I found last year of his 5th and 6th great grandparents. It is so mind boggling to see the signatures and wax seals on these documents that you know where signed before the Declaration of Independence and Constitution of the United States were signed. It makes everything so real. Even that old.
Dad helped me go through the parish registers that hold the records of his patriarchal line. We digitized several years of records off the microfilm with Dad running the microfilm reader and me running the computer. It was nice to sit together with him and fun to hear him say, "There's a Carpenter, there's a Carpenter." We found the marriage records and christening records for many of his ancestors and we're going to have fun going back through and documenting and piecing together the siblings and the families. Though my university administrator Dad knows how to research, you couldn't call him a genealogist, but I think he had fun.
We had a wonderful dinner at the White Horse Inn again. The people there have been so gracious to us when we have visited and the food is wonderful. It has been really nice to visit there as many times as I have. I feel so blessed to have been able to take my children and my father there now and it is so fulfilling to have been able to have been able to share this trip with my family reaching up and down.
And as a final treat, after we came back into London, the next day we went out to find the plot in the Gravesend Cemetery where many members of this family came to be buried. I hadn't scoped this site out before so when we walked in and found this fantastic tombstone it was a great surprise for me. It listed the seven family members buried there including Dad's Great-Grandparents and Great-Great Grandparents. The tombstone was in wonderful shape and had a wealth of genealogical information on it. Such a fantastic find.
So on my way to speaking at the Who Do You Think You Are Conference this year, we had our own who do you think you are tour. It was fantastic. Simply lovely.
Posted by Janet Hovorka at 4:15 PM
Labels: England, research, sharing your family history
5 comments:
- Debbie said...
Wonderful and amazing. You will always treasure this time. BOTH of you. Just wonderful.
- February 20, 2013 at 6:07 PM
- Family Curator said...
Lucky you, lucky Dad, to spend time together hunting down ancestors. What wonderful memories to share with each other in the years to come. See you soon, Janet! ~ Denise
- February 21, 2013 at 5:30 AM
- Unknown said...
Sounds like you had a fantastic time! I'm sure it was special for him.
- February 21, 2013 at 7:45 AM
- Janet Hovorka said...
Thanks Debbie. You are right. It was wonderful.
- February 21, 2013 at 8:53 AM
- Unknown said...
It sounds like you both had a wonderful time! So wonderful to be able to visit the area your family is from AND take your father with you. :)
- February 25, 2013 at 8:44 PM
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See images from Himawari-8 in the new satellite viewer
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22:30 UTC on Monday 6 July 2020 | Cloud/surface composite, Australia
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IDY28000 Australian Government Bureau of Meteorology Bureau National Operations Centre Satellite Notes for 0000UTC Chart Issued at 11:34 am EST Tuesday on 07 July 2020 A cold front, now decaying, has reached the Eucla district WA. A second cold front is quickly approaching the southwest of that state. There are areas of low cloud stretching as far north as Geraldton. Low cloud is again affecting the southeast of the country in a field of cold air. Cloud is slowly building over the Queensland east coast as the airstream turns more onshore.


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text:
Who's Ready to Get Googley?Blog Post: September 10, 2010
Jen - first and foremost, I'm very glad to hear you are doing well. My best wishes and thoughts are with you.
Thanks for sharing the background and your rationale for approving my original post. (And also for recognizing the hard work I put into it.)
Truth is, I didn't take offense to the comments here. While many were harsh, at least no-one got personal.
Sure, I would've loved to have everyone dig my post and thumbs it way up. But, as I said in my earlier comment and as you pointed out in yours, I did not give the community thumbs-up worthy content.
I should've included more actionable tips and less self-promotional quips. Tried to do right by sharing tangible takeaways in my comment and it seems like that resonated better with people.
Like you, Jen, I see the silver lining in the chronology of events here as it helped me better understand what the YOUmoz community is all about and the importance of doing my homework before creating and distributing content.
Hopefully everyone else found the dialogue healthy and helpful as well.
Thanks for weighing in Jonathan. Agree that moderator intervention may have helped but I should've done my homework. Furthermore, moderators can't be everywhere at once and I'd always rather see an open system (ala Google) that lets the marketplace decide than a closed one (ala Apple) where the chosen few hold all the power of what sees the light of day. Methinks YOUmoz falls somewhere in the middle. Definitely a tough balance to strike for any business, product, or forum.
Fair enough, Clark. I could've definitely gone further with the video to make it more instructive and toned down my post to be less self-promotional. As for the white board thumbs-up, we actually do that a lot when we're brainstorming. Put up all the ideas and then have people "like" the best ones to generate consensus.
Thank you all for the comments.
In retrospect, I did not take my own medicine by truly customizing my message for my audience.
This was one of 30 "appearances" I made over the past 10 days at a wide range of marketing blogs to promote my book. However, that sentence right there should've been my red flag. This blog is not a place for self-promotion of any kind.
I've been a passive SEOmoz reader, follower, and supporter for years but have not been active in the community via SEOmoz nor YOUmoz. So I was really ill prepared to create content that would resonate with this audience.
After reading the comments here and spending more time reading other YOUmoz posts, I realize I'd have been better off doing what I did on some of the other "stops" on my blog tour and just contribute content -- e.g. a written post on how the principles of SEO can be applies to other aspects of marketing.
I guess I was just too tempted by the Whiteboard Friday theme. :)
I also was unclear on the rules of engagement for promoting one's posts in the hopes of getting on the SEOmoz blog. I thought it was a Digg-like system where promotion was key (and encouraged) to get people to thumbs-up you. So, yes, I did explicitly ask people to give me good thumbs and, yes, I now realize that's not how this platform works.
Please know that I humbly appreciate all your feedback and plan to just file this away under lesson #8 in my book: Test Everything. Google's approach to testing often includes failing -- think Audio Ads, Wave, etc. -- and, alas, so does my approach to book promotion.
For those interested, I have created a free ebook that shares a quick overview of each of the 20 lessons in my book and saves the self-promotion for the last page only.
And, for those that are tempted to ding me again for self-promoting and including a link, here are 10 ways to leverage SEO insights for other marketing tactics that I adapted from Chapter 14: You Can Learn a Lot From a Query.
I should point out that, in my book, these lessons cover both PPC and SEO but I've focused solely on the latter for the SEOmoz community.
Hope you find this valuable and useful and, of course, not too self-promotional. :)
1. (Re)define your audience - take the keywords that convert best from organic search, run them thru tools that tell you the audience makeup for those terms (age, gender, etc.), and map them back to your "traditional" target audience. Do they match? If not, quit wasting time and money trying to reach those other folks through your display media.
2. Competitive intelligence - monitoring what keywords your competitors are optimizing for and their meta descriptions can be a great indicator of how they're trying to position themselves in the marketplace and how you can trump them.
3. Refine your unique selling proposition - use web analytics data to tell you where people click and where they don't after reaching your site from organic search. This will tell you if what specific pages, themes, copy points, and offers are resonating.
4. Adjust your product line/features - use tools that measure search query volume to help you understand what brands, products, services, and features are popular and/or trending.
5. Decide what markets to support - search query volume can also be a great indicator of which geographic regions represent the best opportunity for expansion. Core terms popping in Russia? Time to translate your content and optimize for Yandex.
6. (Re)develop your website - ok, this one certainly is not news for the SEOmoz community that is quite familiar with optimizing websites based on SEO best practices but how about using queries to determine intent of site visitors -- information, navigation, and/or transaction -- and then developing site pathing and content accordingly?
7. Tweak your advertising creative - testing various meta descriptions can help you gauge whether people will respond better to various taglines and calls-to-action. All that learning can then be applied to the creative used in other online and offline ads.
8. Inform your online display media buys - using tools that show upstream/downstream traffic and mapping that back to the original traffic source -- eg, Google keyword "auto insurance" -- can help you understand what other sites on the web would be good places for you to run banner ads.
9. Measure performance of offline ads - map query volume and site visits for brand and trademark terms to the time slots TV ads ran and see which commercials work best based on spikes in organic traffic.
10. Predicting elections - ok, we've all seen people use Google Trends to try and predict everything from American Idol to basketball games based on query volume for contestants, teams, etc. But, in the case of the 2008 U.S. presidential election, it really did work! Looking at state-by-state query volume was a pretty good barometer for voter turnout. Certainly more accurate than exit polls.
So there you have it folks. My reaction to your comments, humble apologies for taking the wrong approach, and attempt to do right by providing valuable content without being overtly self-promotional.
At this point, would it be wrong to ask people to reconsider thumbs-upping the original post?!?
Hey, a leopard can't change its spots! :)


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Transportation Security Administration officials have conducted an initial review of an incident involving a TSA agent sifting through and spilling the human remains of a passenger's grandfather.
An Indianapolis man said a TSA agent at the Orlando International Airport spilled his grandfather's ashes during a security inspection.
"They opened up my bag, and I told them, 'Please, be careful. These are my grandpa's ashes,'" said John Gross said.
Gross said he was dividing up the ashes among his family members and that he clearly labeled it "Human Remains."
"So she opened it up. She used her finger and was sifting through it. And then she accidentally spilled it," he said.
Gross said the security line kept moving as he frantically struggled to scoop up the ashes.
"She didn't apologize. She started laughing. I was on my hands and knees picking up bone fragments. I couldn't pick up all, everything that was lost," he said.
Gross said he wants an apology from the TSA and an explanation of what happened.
"I was told later on that she had no right to even open it, that they could have used other devices, like an X-ray machine," he said.
A TSA public affairs officer issued a statement that said the agency's review "concluded that the circumstances as described in some reports are inconsistent with what we believe transpired."
As to the agency's policy on screening human remains, the agent said, "TSA recognizes the importance of screening human remains with utmost respect and dignity while remaining vigilant of our security mission to protect the traveling public. It is a TSA policy that under no circumstance should a container holding remains be opened."


text:
Website: https://encocoin.net/
Explorer: http://220.127.116.11:3001/
Encocoin is a blockchain project initiative and an attempt by the Encocoin Foundation to create a new international trade(import and exports) financial instrument and payment system instead of the manual paper based cumbersome bank guarantees, letters of credits and real estates holding documents currently in practice.
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text:
What: WTF (which in this case stands for Wonderful Thai Friendship) unites a cozy bar and two floors of galleries where there's -always something great going on—an art exhibition, band, pop-up dinner, poetry reading, or guest DJ (retro music label ZudRangMa's HQ is next door).
The look: Fifties kitsch meets Macau minimalism, with lots of local art.
Who goes:** Artsy expats and low-key locals. >>
The sound track:** Hip-hop by niche collectives like Digging in the Crates.
What to wear: Flannel, Buddy Holly glasses, skinny jeans.
**What to drink: **Something classic—perhaps the Pegu Club (gin, orange liqueur, lime juice, and -bitters).
**The door policy: **Come one, come all (7 Soi Sukhumvit 51).
What: A 500-year-old Taoist temple transformed into a bar and -music venue.
The look: Sixteenth-century temple—stone floors in the bar -usher patrons up steep, scary-when-you're-tipsy attic stairs to a cozy rafter overlooking the adjoining music and arts space.
Who goes:** Brightly clad hipsters; friends from the neighborhood. >>
**The sound track: Experimental Chinese rock bands jamming in the neighboring Zajia Lab room.
**What to wear: **A cardigan, since the place is drafty, even in summer.
**What to drink: **Belgian ales and imported whiskies.
**The door policy: **There isn't even a door—it's more of a curtain (23 Doufuchi Hutong, behind the bell tower).
What: The new iteration of the -legendary club Bar25. Now in a former soap factory, Kater Holzig is a sprawling cultural playground with a restaurant, a theater, a multi-tiered waterside deck, and artist ateliers.
**The look: **Alice in Wonderland meets Berlin's underground: Vines climb up interior walls, and there's abundant graffiti and artist-created urban flotsam and jetsam.
Who goes: Berlin's young creatives dancing to electronica until the sun shines—and beyond (the Sunday night crowd often stays until noon on Monday). >>
**The sound track: **Techno beats.
What to wear: It's a free-for-all with one rule: Avoid upmarket designers at all costs.
What to drink: Anything with caffeine.
The door policy: **You might wait an hour in line and still not get the nod from the fickle door team. Hedge your bets by reserving a table in the restaurant (Michaelkirchstrasse 23).
**What: **In La Macarena, Bogotá's -bohemian quarter, a bar for salsa dancing or for mingling and marveling at beautiful couples' moves. On Fridays, a band starts at midday, encouraging lunchers to blow off work and dance until 3 a.m.
**The look: **Old salsa records on the walls, bright tables around the dance floor; it's reminiscent of Cuba's secret salsa joints.
**Who goes: **Dancers, actors, stock-traders. >>
**The sound track: **Old, deep, sexy salsa.
**What to wear: **Something that'll look good on the dance floor.
What to drink: The Hector Lavoe mojito, made with passion fruit and coconut.
The door policy: Easy (Calle 27, No. 6-73).
What: A slick, sexy social club on prime Palermo real estate, with an ivy-ringed garden containing a glowing pool and an alfresco bar.
**The look: **Two floors of dim nooks and lounges with double-height windows overlooking the lawn. A basement bar draped in black velvet makes a cozy winter snug.
Who goes: Blue-blood Europeans march to the garden for la previa (or pre-party), a raucous poolside whistle-wetter. Locals host polo bashes and daytime pool parties. >>
**The sound track: **New York City DJ, Whitney Weiss spices up classic house with eclectic pop.
**What to wear: **Girls favor colorful, near-transparent wraps from Juana de Arco; guys wear summer whites.
What to drink: **Go off the menu; ask for something with cardamom, basil, and ginger.
**The door policy: **Guest list only: Cough up $33 for an all-day pass or call ahead—and sound convincing—for a free, evening-only invite (email firstname.lastname@example.com for the address).
What: Beneath the eaves of a heritage building in the city center, a terrace bar with recessed daybeds and a glimpse of iconic Table Mountain.
**The look: **A stylish Japanese -jet-setter's loft—dark wood, leather settees, and a wall papered in sepia photos of the owner's travels to -Tokyo, Kyoto, and Hokkaido.
**Who goes: **Journalists and graphic designers. >>
**The sound track: **Electronic-influenced remixes.
**What to wear: Jeans and V-necks—nothing flashy.
What to drink: **Dawa (Swahili for medicine), a potent mix of vodka, lime, crushed ice, and honey. Tapa-size quesadillas also hit the spot.
**The door policy: **None, but the place fills up quickly (165 Longmarket St.).
What: A Japanese cocktail bar pouring meticulously mixed drinks.
**The look: **Flapper-era chic, with a long mahogany bar, leather booths, and carefully polished Baccarat crystal glasses on the back wall.
Who goes:** Businessmen and literary types who appreciate a good Moscow Mule. >>
******The sound track: **Chilled-out ambient tunes.
**What to wear: **Bartenders don bow ties, cuff links, and white dinner jackets, so you might want to reconsider your everyday jeans.
What to drink: **Ask for something omakase (translation: "I'll leave it to you").
**The door policy: **It's tiny, so call ahead to secure a spot. There's a $25 minimum charge per person (30 Mody Rd., Tsim Sha Tsui).
What: A glassy, minimalist indoor-outdoor boîte with glittery Golden Horn views atop Istanbul's hottest new art gallery, Salt.
The look: Bright, clean modernism within the old Ottoman bank building: glass walls, floating wooden stairs, and an outdoor section that hangs over the city and water below.
Who goes: Expats, socialites, and brainy members of Istanbul's ever-expanding arts scene. And smokers: Istanbul's new smoking ban has made the terrace a hot commodity. >>
**The sound track: **Just the soft tinkle of piano tunes; it's refreshingly quiet inside.
What to wear: Something simple—think Alexander Wang.
What to drink: Try the Mar-Tea-Ny, a martini made with jasmine tea.
The door policy: Arrive early to snag an outdoor table, especially on warm spring nights (Bankalar Cadessi 11).
What: **An underground ode to Victoriana on an unassuming Shoreditch backstreet. The Dickensian vibe -belies the focus on molecular mixology: Waistcoated bar staff create -inventive concoctions from fruit -infusions, herb dusts, and produce from the distilling machine in the bar's glass-walled lab.
The look: Studded sofas, oak barrels, and -antique maps play to the heritage theme; candlelit glass lanterns and a copper-backed bar add glamour.
Who goes: Laid-back intellectual types, architects, cocktail lovers, and bon vivants. >>
The sound track: Blues, rock 'n' roll, and soulful -honky-tonk.
What to wear: Plaid shirts, striped sweaters, thick-rimmed glasses.
What to drink: A Panacea, the bar's inventive take on the whiskey sour, or a classic and perfectly executed Aviation.
The door policy: None (63 Worship St.).
**What: **A converted dive on the -eastern edge of Hollywood with a -whiskey-focused cocktail list, live -music, and two bars—the smaller of which, called R&D, hosts guest celebrity bartenders mixing new and rare spirits.
**The look: **World War II–era industrial garage, with plenty of exposed pipes, metal chains, and faux weathered walls.
**Who goes: **Edgy, just-of-age Eastsiders, rock stars, chefs, the cast of Mad Men, and cult cocktail followers. >>
**The sound track: **Indie hard rock bands playing on the small front stage, or guitar from the jukebox; the prevailing theme seems to be "loud."
**What to wear: Something dark and tight—black denim, leather, and a vintage Tshirt. Lipstick-red pumps for ladies, Converse (duh) for men.
What to drink: **Whatever's on special in the back R&D bar, with winky names like Fernet Headed Slut or Bird's the Word.
The door policy: **Everyone's welcome, but expect to wait your turn on a Friday or Saturday night (5221 Hollywood Blvd.).
What: It's like a 1950s Los Angeles hotel lobby bar, but softer: The neon and shiny mahogany have been replaced with dozens of votives and smooth blond wood.
**The look: **Dark (it's entirely candlelit), with lots of curtains and corridors, and comely waitresses weaving around a serpentine bar.
**Who goes: **Serious cocktail aficionados, including off-duty chefs. >>
**The sound track: **Fifties and sixties crooners from Sinatra to Brigitte Bardot.
**What to wear: Something classic. A little black dress for the lady, jeans for the guy.
What to drink:** Sakes, classic cocktails, or Japanese whiskey. Following the custom of Japanese bars, the barkeep will sell you a bottle that he'll keep until you finish it—which could be days, months, or years in the future.
**The door policy: **Expect a 15-minute wait Thursday through Saturday (4175 St-Laurent Blvd.). >>
What: In Krasny Oktyabr—a former chocolate factory that has become Moscow's hipster central—a gypsy-inspired dance floor, bar, lounge, and summertime terrace with beautiful river views.
**The look: **Disco balls, wine bottles, and Moorish light fixtures dangle from the ceiling; surrealist photographs and paintings adorn the walls.
**Who goes: **Those who partake in the art-party scene, including young executives and the artists themselves. >>
******The sound track: **Varied—Soviet pop, Guns N'Roses, a Rammstein song or two.
What to wear: Smart -casual (from jeans and fleece to strapless dresses), without the designer affectations of pricier Moscow clubs.
**What to drink: **A mojito, and if you're hungry, some pretty good chicken pâté.
**The door policy: **Rather random, but you have to get past burly doormen every night (Bolotnaya Naberezhnaya 3/4).
**What: **A molecular-cocktail bar from pork bun daddy David Chang; it's tucked behind his East Village spot Momofuku Ssäm Bar.
**The look: **Dark wood and Airstream-tin walls lit by candles and Edison bulbs.
**Who goes: **Foodie pilgrims; the odd culinary-minded celeb (Aziz Ansari!). >>
**The sound track: **A Brooklyn party mix of loudish classic rock and nineties hip-hop.
**What to wear: **Try to look like you're not trying. Ladies would do well with jeans, a striped T-shirt, and red lips.
**What to drink: **The Mustachi-Ode, a frothy float of herbal liqueurs, bourbon, egg white, and pistachio—topped with angostura bitters in the shape of a handlebar 'stache.
**The door policy: **For the shortest wait, go on a Monday or Tuesday, or close to six on weekends (207 Second Ave.; entrance on 13th St.).
See more photos from the Global Bar Hop
The sound track: **Quiet and conversational at 7 p.m.; DJs later.
**What to wear: **Skinny Kooples suits; short dresses.
What to drink: The Oval (vodka, herbs, and St-Germain) or The Beetlejuice (involving beets and raspberries).
The door policy: Silencio is members only from six to midnight, with a selective door policy thereafter—try looking sophisticated but quirky. The Social Club is open to anyone (142 rue Montmartre).
What to wear: **Dress codes are rare in Rio, but it's safe to wear a bright dress; for men, a button-down.
**What to drink: **The tart, refreshing Rocket Collins, which blends arugula, gin, grapes, lemon, green apple, and soda.
**The door policy: **Reserve a table or arrive before 9 p.m. (Rua Dias Ferreira 617, Leblon).
**What: **A transformed warehouse in eastern Rome that hosts cultural events, art exhibitions, live music, and DJ sets in two loft spaces and an outdoor courtyard.
The look: Post-industrial chic mimicking London and Berlin.
Who goes: Roman hipsters. >>
The sound track: **A fun menu of house, indie, and electronica spun by up to ten DJs a night.
What to wear: Anything goes, though you won't see many designer labels on this laid-back club crowd.
**What to drink: **Tap beer and no-nonsense cocktails.
**The door policy: **A membership card, available online at animalsocialclub.com, is required (Via di Portonaccio 23E).
What: **An homage to whiskey on a quiet French Concession street—with scotch from every region, from the Orkney Islands to the Highlands.
**The look: **You could be in Edinburgh, given the mahogany walls, backlit bottles, and cozy groupings of mix-and-match chairs.
**Who goes: **Taiwanese industry titans, whiskey lushes, and expats out for a low-key night. >>
The sound track: **Billie Holiday crooning on a dreamy loop.
What to wear: Something -snazzy. Chinese businessmen in black wingtips and foreigners in black-silk wrap dresses sip $75 pours.
**What to drink: **You can't go wrong with a single malt such as a ten-year-old Balvenie.
**The door policy: **Almost nonexistent, as is the norm in Shanghai (123 Hunan Lu).
**What: **A rockabilly haven named for Carlos Gardel, Argentina's great tango singer.
**The look: **Artfully faded, with a padded red bar, chesterfield sofas, polished woods, and cowhide trim.
Who goes: **Tatted artsy types, fifties nostalgics. >>
**The sound track: **Retro-inspired tracks by groups like the Black Keys. Occasional live music (Justin Townes Earle has played here).
**What to wear: **Full skirts and fitted sweaters for gals; slicked-back hair and suspenders on pleated pants for guys who are really going for it.
What to drink: The Thank You for Smoking, a manhattan variant with bourbon, smoked vermouth, smoked maple syrup, and chocolate bitters.
**The door policy: **Unless it's full, you're in (358 Cleveland St., Surry Hills).
What: Grand Bauhaus building transformed into a wine bar and small-plates place amid the Gropius-inspired modernism of Tel Aviv's White City.
The look: Coolly minimalist, with light installations that wash walls in transparent pastel hues.
Who goes: Models, moguls, and media types; foodies lured by Adoni's cult-chef status. >>
The sound track: **Mod-Mediterranean pop and gypsy-influenced world music complement Adoni's neo-Levantine menu.
What to wear: Designer denim and nice T-shirts work for both sexes.
What to drink: The house Halva Martini, enriched with sesame paste, date honey, and spiced rum.
**The door policy: **Reservations are -essential (57 Nahalat Binyamin St.).
What:** A sleek, dim bar on the upper level of Tokyo's popular new Daikanyama T-Site bookstore.
**The look: Mellow lighting, unpolished wood floors, and walls of books and magazines—customers can browse the collection of 30,000-plus vintage magazines—create the cozy feeling of being in a chic Japanese living room.
Who goes: Fashionable businessmen, book-loving students, Tokyo creatives.** >>
The sound track:** Jazz strains in the background.
**What to wear: **Something understated—a well-tailored suit or a classic vintage dress.
What to drink: A signature Anjin martini—a heady mix of gin, vermouth, and Japanese plum wine.
The door policy: None (17-5 Sarugaku-cho, Shibuya-ku).


text:
UH Manoa Plant and Environmental Protection Sciences department helping to slow the spread of banana bunchy top diseaseUniversity of Hawaiʻi at Mānoa
Plant and Environmental Protection Sciences Department
HONOLULU — Hawaiʻi banana growers who are ranked number one nationally in banana production are being threatened by a perilous pathogen known as banana bunchy top disease . To help slow the spread of the disease, caused by the Banana bunchy top virus (BBTV), the Plant and Environmental Protection Sciences Department in the College of Tropical Agriculture and Human Resources (CTAHR) at UH Mānoa are producing and distributing tissue-cultured banana plants that are free of BBTV.
Plants infected early with BBTV do not bear fruit, and fruits of later infected plants are typically stunted, unattractive and not saleable. The disease is transmitted by a small soft bodied insect known as the banana aphid. BBTV was first reported in Hawaiʻi in 1989 and has since spread progressively.
"The spread of BBTV in Hawaiʻi is greatly influenced by the movement and use of infected plant material, thus, the use of field-grown banana suckers as replant material is risky," said Cerruti Hooks, a CTAHR entomologist. Cerruti shared that although the bananas may appear healthy, they may already be infected with BBTV. "Using known BBTV-free plants is the safest practice available today for replacing diseased banana plants."
In addition to BBTV, CTAHR nematologist Koon-Hui Wang discovered that many banana fields are infested with plant-parasitic nematodes. These nematode feed, multiply and migrate into the banana root system, where they impair water and nutrient uptake. This affects plant anchorage and toppling might occur under high infestations. Banana suckers collected from fields containing nematodes may already be infested with these organisms, but using tissue-cultured plantlets may also help prevent the unintentional spread of nematodes.
The University of Hawaiʻi at Mānoa Agricultural Diagnostic Service Center in coordination with the Hawaii Banana Industry Association are currently selling tissue-cultured banana plants. The plants were propagated from field collected banana plants that tested negative for BBTV and have not been genetically modified.
The following cultivars are currently being micro-propagated: Tall Brazilian, Apple/Dwarf Brazilian, Chinese Williams, Ice Cream Banana, Lady Finger, Lakatan, Popo'ulu, Saba #1 — dippig, Saba #2 — compact and Williams. The current price is $1.50 and $5.00 for unpotted and potted banana plantlets, respectively.
For more information or to place an order, contact:
Eden Perez (358-3789 or firstname.lastname@example.com);
Koon-Hui Wang (956-2455, 381-4275, email@example.com); or
Cerruti Hooks (956-2455, 391-7366, firstname.lastname@example.com).


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text:
Cellulitis is a skin infection, usually caused by Streptococcus or Staphylococcus
bacteria. Cellulitis usually develops after a break in the skin from a scrape,
cut, bite, or puncture, or after a rash.
A doctor should evaluate symptoms that can occur with
cellulitis, which may include:
Facial cellulitis in children requires immediate medical attention
to prevent potentially dangerous eye or brain infection. Cellulitis usually is
treated with antibiotics, rest and elevation of the affected area, and warm
compresses. Cellulitis may be more severe and require a hospital stay for people
who have decreased blood flow (venous stasis), long-term swelling, diabetes, or
an impaired immune system.
Last Revised:
February 14, 2011
Healthwise Staff
Medical Review:
Kathleen Romito, MD - Family Medicine & Alexander H. Murray, MD, FRCPC - Dermatology
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
Straight from the Wonder Vault we give you...the new Oreo flavors!
But first: What the heck is the Wonder Vault, you ask? It's basically a top-secret cookie lab where the culinary geniuses over at Oreo sit around and think up awesome stuff for the rest of us to binge on. (Check out the promo clip above.)
Oreo had promised they would be releasing one brand new flavor and one fan favorite, and they didn't disappoint. As of Tuesday, shoppers can now chow down on both Cinnamon Bun and Red Velvet flavored cookies.
U.S. & World
CLICK: Why Jelly Belly wants you to eat spoiled milk
But of course, just knowing the names of the new Oreos isn't enough – the public needs to know whether they live up to the hype. First, the red velvet: The flavor was released for a limited time almost exactly a year ago, and the new iteration is exactly the same. It's a great standby when you've got a little cream-cheese-frosting-hankering and don't want to whip up any baked goods yourself.
But now on to the real test: The cinnamon buns.
We began our experiment with our noses. The newest flavor smells, in a word: Christmas-y. These things are basically the edible version of a Yankee Candle. Whether that's a good thing or a bad thing is up to the taste.
It all starts with the cinnamon-flavored cookie, which is basically like a giant Teddy Graham. Then you hit the cream, which seems to somehow be more, well, cream-like, than the usual fare. Perhaps it's the sugar and spice, perhaps it's the memory of that Yankee Candle getting in the way, but something is different. Good different.
The final result is almost an enigma – a delicious sugary treat that we thoroughly enjoyed, but would shudder to do a second time around. This is a one-and-done Oreo if there ever was one. But that's what the traditional flavor is for, right?


text:
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If you're not sure where your skills would be put to best use, take a look at our Working here section. There you'll see all the areas of our business and the teams that sit within them. You can then choose the team that is most suited to your background and experience.
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I tried my best to sleep on my first night in Kenya, but the thought of being a midnight snack for a big cat made it hard.
I had arrived at the Lewa Safari Camp earlier that day and all that separated me from the wilds of the African bush was canvas. The camp is nestled inside 65,000 acres of protected conservancy land and is home to the endangered black rhino and has the world's largest single population of Grévy's zebra.
I tried closing my eyes again - big animals, I had been assured, couldn't get past the electric fence circling the site. However, an enterprising female ostrich the staff named Bahati ("luck" in Swahili) had figured out a way. If an ostrich can do it ... At 5:30 a.m. I was woken not by the lion of my nightmares but by a smiling member of the staff carrying a tray of tea and biscuits. Coming to Africa had been a dream of mine fuelled by the wildlife shows that peppered my childhood.
It was still dark as a small group of us from the camp clambered into a Land Cruiser, and the sun just starting to add a touch of colour to the sky when we came upon our first wild elephant.
He was young, and just "given the boot" from the main group, explained Thomas Njogu, our guide who was born with elephants roaming his backyard. From then on it was like being inside an episode of Animal Planet.
We saw Grant's gazelles scattering as the truck got close, oxpecker birds dealing with the tick situation on a male buffalo, two hippos in a muddy watering hole, and we travelled close enough to a white rhino and her calf that we could hear the sandpaper sound of their skin as they brushed against each other.
In the afternoon the pace changed as I opted for four-footed exploration. From the six-foot vantage point of a camel I witnessed a troop of baboons crossing a river, babies hanging on the backs and bellies of their mothers. The camel's feet trampled wild basil and Mexican marigolds while warthogs darted off into the tall grasses.
On our way back to camp in the cruiser we nearly ran over two female lions. They were basking in the sun at the edge of the road, not even flinching at the sound of the engine, just lazily checking us out by opening one eye.
The next morning the vantage point from the 13-passenger Cessna plane provided a birds-eye-view of the changing landscape.
The Laikipia plains of the north gave way to the greener and flatter Maasai land. The plane ride was an experience, but travel via hot air balloon certainly trumps it.
Liftoff was incredibly smooth, and the basket was soon gaining height over the savannah.
Travelling at around seven knots, 150 to 300 feet above the ground I spotted giraffes, warthogs and topi antelopes. At one point it was as if we were running with a journey of giraffes, their graceful limbs so long it looked like slow motion.
On our way back to camp we stopped off at a Maasai village.
The young men welcomed us with a harmonious march, their chanting reminding me of Inuit throat singing. They were tall and handsome, the red of their robes adorned with the beadwork made by the women.
Suddenly, I was being tugged into the group, my hand clasped tightly by the leader. He placed a large blue and silver necklace around my neck and I hoped I wasn't unwittingly being married off.
That evening we were enjoying a private dinner where our hosts served us a traditional Kenyan meal.
Ugali is maize flour cooked with water, which produces a doughy consistency that looks like sticky rice. It's bland but often offset with a rich and tasty stew. Just as we were finishing there was a sudden commotion in the kitchen. "Leopard," cried our guide, Rafael Rotiken. "Quickly, get into the truck!" Dessert be damned, I wanted to see if I could lay eyes on one of the most elusive creatures of the African bush. The lights of the truck caught the flashing eyes of hyenas, and even the bulbous rumps of several hippos, but no leopard.
Another early morning as I packed up my things and jumped into the Cruiser for the last time. I was headed from the bush to the beach - the Lamu Archipelago, a small cluster of islands on Kenya's northern coastline. A speedboat picked me up from Lamu Airport, heading to a privately owned beach hotel called The Majlis, on Manda Island.
Originally built as a private family home, The Majlis is made up of three villas built from local bleachedwhite coral blocks. A fusion of Italian and Swahili style, the 25-room hotel is the biggest in the area but still retains the feeling of someone's home with exquisite attention to detail. My room on the ground floor opened out directly onto the white sandy beach, with a magenta bougainvillea bush overhanging the doorway. Within minutes my footprints broke the perfect sandy canvas as I dashed for the sea.
Pre-dinner drinks were served on the rooftop bar shaded by a Makuti (palm thatched) roof. The lights of a small village opposite the hotel highlighted the spirals and domes of numerous mosques as Lamu was once a protectorate of Oman.
That night I dined on red snapper that had been caught by local fishermen out on their dhow before heading to bed lulled by the sounds of the ocean. I had come to witness Kenya's abundant wildlife and it was everything my big cat-addled brain had imagined - a veritable savannah soap opera. My only regret was not catching sight of that leopard, so until next time - hakuna matata.


text:
Mal Waldron & Johnny "Mbizo" Dyani - Live in Rome '79
Only one official record exists by this great duo :
"Some Jive Ass Boer: Live At Jazz Unité '81", so i
think that this recording could be an helpful
addition for both Waldron's and Dyani's lovers.
Rec. live at "Centro Jazz St. Louis", Rome, Italy, on
October 27th, 1979 (mics recording)
Mal Waldron,piano
Johnny Dyani,bass
1. Track #1 (39:30)
2. Track #2 (05:53)
3. Track #3 (43:27)
Total Time 1:28:52


text:
A TAXI driver has been suspended after he refused to pick up a blind woman and her guide dog, saying he was allergic to pets.
Imran Hussain, who works for Accrington firm Max Cabs, was hauled before a judicial panel at the council after it was claimed he left Jenny Nedwell and her two-year-old Labrador, Riley, standing in the rain.
The 34-year-old, who got his badge in 2009, was suspended from working as a taxi driver for three weeks and could now face criminal prosecution.
Mr Hussain, of Blackburn Road, Accrington, said he refused to take Miss Nedwell because he is allergic to pets and would have been putting other road users at risk if his eyes had 'puffed up'.
But he fell foul of the Equality Act, which states taxi drivers must pick up guide dogs or risk committing a criminal offence, unless they have a medical exemption certificate from the council.
Former Haslingden High pupil, Miss Nedwell, a wellbeing and work co-ordinator at Bootstrap Enterprises, Blackburn, said she ordered a taxi because of the rain and a meeting at work.
She said: "I told the operator that I had a guide dog. I stated it very clearly because I have had issues before.
"The taxi driver pulled up at the end of the driveway, opened the window, said he would not pick me up and that he would send somebody else."
Miss Nedwell, who grew up in Helmshore and Rawtenstall, has reverse retinitis pigmentosa, a rare degenerative eye disease that has left her with blurred vision in her right eye, and only peripheral vision in her left.
The 30-year-old, who lives in Spring Meadows, Clayton-le-Moors, with her boyfriend and Hyndburn councillor Gareth Molineux, said she rang the taxi company, who apologised. Another driver picked her up, and drove her to Blackburn.
Miss Nedwell said: "This time, enough was enough. I was late for work and it was ridiculous.
"Riley is a black dog with a high-vis yellow and white harness on. It's very obvious that he's a working dog.
"It's discrimination and that's what got to me really. It's not fair."
Speaking after Monday's hearing, Mr Hussain said he should have told the council about his medical condition.
He said he discovered his allergy when his eyes 'puffed up' after coming close to a pet, and that he had never been asked to pick up a dog in his taxi before this incident on October 17 last year.
He said: "I had to inform the council about my illness at the time and I didn't. I'm glad I'm still working because what has happened is very harsh.
"I always pick my customers up, but in that situation I would have been putting her, other people, and myself at risk.
"The council are going to give me a (medical exemption) certificate."
A spokesman for Max Cabs said: "Until the council issues him with a medical exemption certificate, he will be asked to pick up guide dogs.
"This has highlighted a shortfall in the council's application process.
"We want the council to have a big tick box on the initial application form asking if drivers are allergic to dogs.
"We don't have a single driver that has a certificate, so they will be expected to pick up guide dogs."
Coun Molineux, who is also a councillor and a disabled champion at Lancashire County Council, is a member of Hyndburn Council's judicial committee but did not sit on the committee for this case.
He said he was 'angry and disappointed' when he heard Mr Hussain had refused to pick up his partner.
He said: "It was not the first time we have had issues with taxis picking us up.
"On occasion, drivers have tried to charge more, and tried to charge separately for the dog, and on other occasions, they make you feel like they don't want the dog there.
"For Jenny and me, it was not about punishment, it was about making drivers aware they have a legal obligation to carry guide dogs.
"In this case, the punishment was probably needed, but we are glad he has not lost his licence.
"Maybe drivers in the future will think twice about not taking a guide dog."
Nearly 25 per cent of blind people have been refused access to transport, a survey by Guide Dogs for the Blind Association found. Two thirds of complaints were against taxi drivers, the survey said.
The charity said it was keen to work with taxi companies, and can give training on how to help blind and partially sighted people.
For more information, call 0845 372 7407, or visit www.guidedogs.org.uk/manchester
A spokeswoman for Hyndburn Council said "We cannot comment on individual cases. However, the council would not usually be the prosecuting authority and it would usually be up to the complainant to decide whether they wanted to refer the matter to the police."


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text:
We just issued a press release about The Regence Group and its subsidiaries here, which have been having ongoing problems with billing and claims, including a computer system error that resulted in more than 6,000 incorrect transactions.
The same error apparently caused Regence to accidentally withdraw money from the bank accounts of people are not even Regence members. (Some of the withdrawals totaled thousands of dollars.) In the process, some Regence members' names and identification numbers were accidentally disclosed to strangers.
Last week, we and insurance regulators from three other states -- Oregon, Idaho and Utah -- met with Regence Group CEO Mark Ganz and other company officials in Salem, Ore. We provided the company with a list of the problems we've noted or that consumers have complained to us about.
For more details, please see the news release link above.
Wednesday, September 7, 2011
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