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Reprivatisation in Poland
6th February 2020
Why more than 70 years after World War II are we still dealing with reprivatisation issues in Poland? Moreover, why are we being asked to insure risks associated with those issues on a regular basis?
In this article, we will try to provide you with some historical and legal background to answer those questions.
In the aftermath of World War II, the territorial shape of Poland was fundamentally changed and the newly formed country fell under the dominance of the Soviet Union. A puppet communist government was appointed and it immediately implemented measures aimed at massive nationalization (expropriation of private ownership). The draconian provisions of the nationalization acts aimed at covering the widest possible range of property of any considerable value. In addition, numerous and flagrant violations took place during the implementation of those measures. The acts that were originally supposed to cover one sort of property, were often misused to provide a basis for expropriation of completely different property that was not supposed to fall under the applied nationalization act or any other act in force at the time. This means that apart from the "legal" nationalisation, many assets were nationalised "illegally".
Warsaw Decree
A unique normative base for expropriation was created in Warsaw by the 'Warsaw Decree '. Based on its provisions, all plots located within the boundaries of the Capital City of Warsaw at that time were municipalized (all the plots went into ownership of the municipality of Warsaw). The communist idea of the Warsaw Decree was to enable the efficient rebuilding of the capital and to facilitate further growth and the prompt and proper use of land in accordance with national needs. Pre-war owners were granted an option to file for the establishment of a perpetual usufruct on their previously owned land (a right similar to ownership, which enables the use of the land for up to 99 years) for a nominal fee. In practice, most of the motions were refused and many refusals were made with no justification or in obvious violation of the rules. In addition, many historic proceedings are still pending as filings have been under consideration for nearly 70 years.
Reprivatisation after the political transformation in 1989
After the fall of the communist regime in 1989, the results of nationalisation have never been addressed in a comprehensive way. In spite of numerous legislative initiatives, the so-called "reprivatisation" act has never been adopted. The aim of such law would be, firstly, to compensate owners who lost their real estate assets, as a result of the state nationalization activities and received no fair compensation to date. Secondly, to clarify a legal status of all real estate nationalized in abuse of the nationalization laws. As it has been impossible to reach a political compromise on passing a general reprivatisation law, reprivatisation continues to be carried out on a case-by-case basis, through individual administrative and judicial proceedings, mostly in cases dealing with claims arising under unlawful actions of the State ("illegal" nationalization).
This makes a development and acquisition process in Poland quite complicated today, as many sites are encumbered with reprivatisation claims, even if many pa laces, tenement buildings, undeveloped or partially developed sites have already been returned to heirs of the pre-war owners. The current situation affects on one hand the former owners and their legal successors, and on the other hand, actually all the players on the real estate market. Thus, a reprivatisation claim check became a standard element of a due diligence review performed at the acquisition stage of any real estate. In case a potential claim is identified, the current owner, a prospective buyer or seller all face numerous problems, as there is a risk that title to the property may be validly questioned.
Unfortunately, prompted by some recent reprivatisation scandals involving corruption and revealing numerous irregularities in the reprivatisation of expropriated property, the authorities, especially in Warsaw, have become reluctant to issue the certificates on restitution claims. If such certificates are actually issued, they often contain references to many potentially pending restitution proceedings, as the authorities list them all out of caution. To make the situation worse, a review of all the historic documentation and a full legal analysis of the potential claims is not always possible, due to legal obstacles, authorities not granting access to the files or simply time pressure in the transaction.
In such situations, title insurance seems the only sensible solution for the affected parties. As Poland has been dealing with reprivatisation issues for so many years, we do joke in Warsaw that the plots with no pending restitution issues, or simply the easy ones, are gone. That is why, providing title insurance in such cases will remain an important part of our coverage and will require a lot of professional legal expertise and understanding of the complex and multilevel reprivatisation procedures.
For more information on Title Insurance in Poland, please contact Emilia Binder – Title Insurance Officer CEE & SEE at [email protected] or +48 883 307 585.

subset: commoncrawl


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Review // Uncommon Goods Paper Pots
Happy Monday everyone! I'm so excited to team up with the good folks at Uncommon Goods for my very first product review! Have you heard of Uncommon Goods? Well if not, you're missing out and I recommend doing so right away! But be warned! You will get sucked in browsing through all the great stuff they have!
Uncommon Goods is an online retailer that endeavors to feature unique designs and handcrafted gifts created in harmony with the environment and without harm to animals or people. They have thousands of fun and quirky products for everyone on your gift giving list. Most items are created in the USA, and right around a third of their stuff incorporates recycled or upcycled materials. If that wasn't enough to make you take a peek… their stuff is just plan COOL!
They recently sent me a Paper Pot to check out and I couldn't wait to crack open the package when it was delivered to my doorstep! Paper Pots come a variety of fun, glossy colors (I picked white for its versatility) and they are made of thick, sturdy plastic. Such a stylish and mod-looking way to house/hide your tissues, don't ya think? So much better than those plain, ugly boxes! Overall, I'm super happy with the Paper Pot and would love to pick up another for the bathroom!
Uncommon Goods is a great site filled with all kinds of cool items. If you're looking for some really fun gift ideas for the upcoming Holidays, this is a site to remember! Just take a look at their stocking stuffer ideas here or great gift ideas under $50 here! You'll be able to find something for everyone on your list! Happy Shopping!
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I received this product for the purpose of this review. All opinions expressed are entirely my own because I genuinely liked this product. No other compensation was received.
Review // Uncommon Goods Paper Pots
10 comments:
Great find! I thought it was a vase at first :)ReplyDelete
Seriously a cute way to store those tissues instead of that awful cardboard box!! love it!ReplyDelete
Cute! Loving their website, it's a hotbed (the good kind) for Christmas gifts!!! :) p.s I'll be posting my answers on the blog tomorrow :DReplyDeleteReplies
I know, right! So many awesome things!!Delete
I love this! Much better than the cardboard tissue box!!ReplyDelete
They have some seriously adorable things!!ReplyDelete
i love uncommon goods. definitely my go to store for sending gifts to friends and family on their special occasions! how great is that paper pot! no more ugly cardboard boxes for sure!ReplyDelete
I am a HUGE fan of Uncommon Goods, I always love browsing through their items for gift ideas. That paper pot is such a great way to hide a basic item and make it pretty!ReplyDelete
Whoa, what a neat shop! I love the idea of paper pots, it would be so great (and practical!) to style on the dresser with easy access to tissues--yay!ReplyDelete
Well that's neat and such a creative way to hide a gaudy tissue box! Yours fits perfectly next to that painting. :-)ReplyDelete
Thanks for stopping by! Your comments make me smile!!
I try my best to respond to questions/comments via email.
If you're using a Blogger account, make sure you can get emails and you're not a "no-reply" blogger. ;)
Have a great day!!


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The good people of the Northeastern Iowa Synod again assembled for a time of worship, fellowship and business.
The theme this year was Renewal through Education, with Philip Melanchthon as our featured reformer.
We are nearing the end of our six year focus on renewal through heroes and heroines of the reformation. This theme has included Jan Hus and "Bold Leadership," Elizabeth of Hungary and "Service," Martin Luther and "The Gospel." Next year we will center on home life with Katie Luther and we will end in 2020 with Joannes Bugenhagen and parish life.
Philip Melanchthon was a teacher at heart and so it is fitting that we learn more about him this year and explore the role education plays in renewal.
With two colleges, a seminary, a state university campus ministry and a church school in our synod, Bishop Steven Ullestad declared in his sermon on Friday night:
"No one can question our commitment to renewal through education,"
. He also pointed out that education takes place in many ways. The way a child learns faith in the home is just as important as academic degrees. "We teach one another and grow both with academics and life experiences," the bishop pointed out.
On Saturday morning we heard from Pastor Louise Johnson, President of Wartburg Seminary, as she preached for Morning Worship. She reminded all of us that we are called by God.
Our call depends upon God and God's gifts, not our own abilities or inclinations.
Dr. Timothy Wengert was our Keynote Speaker and he gave a presentation called "More Lutheran than Luther: Philip Melanchthon and the Educational Reformation of the Church." It was a good reminder that education has always been at the forefront of the Reformation Movements.
We heard about our partnership with the ELCA churchwide organization from our representative, the Rev. Heidi Torgerson-Martinez, Director for Global Service. She leads the team that recruits, calls, trains and supports some 230 ELCA missionaries in nearly 50 countries. She also preached at our closing worship. Her stories of her experiences with brothers and sisters across the border illustrated meaning behind our Gospel story about Jesus proclaiming that our family is everyone who does the will of God.
There was plenty of educational opportunities with more than 20 forums and workshops offered at three different times.
The topics ranged from Confessions, Transforming White Privilege, Companion Synod, Digital Ministry, Women and Justice Draft Statement, Stewardship, Safe Policies, Disaster Response, Youth and Children's ministries, AMMPARO Welcoming and many more.
On Saturday night Kris Meyer, principal of St. Paul's Lutheran School, Waverly, shared wonderful stories of how their school impacts the students and the community. Kris was also our Registrar and would often quiz us when she gave her registration reports.
There was uplifting worship and robust singing.
There was our Sunday Morning Bible Study which is always a favorite.
And of course, probably the most popular feature, was the time we dedicate to sharing stories of what is going on in our ministry settings.
This year the focus was on education and again there were many inspiriting stories of how renewal is taking place in our congregations and ministry settings.
It was a packed weekend that was both tiring and renewing and hopefully those who attended will return with fresh ideas and renewed commitment to mission.


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Video Clip Poker Casino Games
The video game of Roulette has used a wheel, yet there are two types of roulette. And also, what sort of side wagers or uncommon variations can you play? Thankful, you asked. Awaiting 9 Reds or Blacks straight can take lots of hrs – in reality, there are uncommon celebrationsRead More →


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Given that we were booked for the 5:30 p.m. seating, the Wommer and I knew that we would be be done with dinner at Sukiyabashi Jiro (すきやばし 次郎) very, very early. He suggested that we could do a second round of food, but I thought it would be a much better idea to go back to my favorite izakaya in the world. After walking around Ginza a little shopping for sake, we hopped back on the subway to continue our evening's adventures.
Once through the doors at Tamanegiya (酒たまねぎや) I came upon an unfamiliar sight. There was a woman next to Master behind the bar, who looked much younger. Who is she? Is she the assistant, his daughter, or his wife?
The three of us were seated at a table near the door, which is basically Siberia when you're in a Japanese eatery or bar. Oh well... When the hotel concierge told me our reservation would be at 8:30 p.m. instead of 8:00 p.m. as requested, I should have expected nothing less...
Gotta say that I looooved coming back here. The Wommer was wondering why a guy like Master - with an incredible collection of not just rare sake but also rare and fine wine - would choose to open his establishment in a residential neighborhood dark alley instead of being in Ginza. While this wasn't a subject I had discussed with Master himself, I offer the following theory:
If Master had chosen to do business in a place like Ginza, with lots of traffic from well-heeled customers, then it is quite likely that a significant portion of his customers - if not the majority - would consist of people who don't know much about sake, who have money, and are simply there to drink expensive sake for the sake of drinking something expensive. These people may be able to afford it, but they are not sake lovers and won't fully appreciate what they are drinking.
In the present hideaway location, any customer who comes through the door has got to be someone who really loves sake, because it takes some effort to even find this place on a map. The patron sitting next to me wondered how we even found out about this place since we were tourists. All the customers here have made a special trip, much like Michelin's definition of a 3-star restaurant, so by definition he/she must be a sake lover. This is the type of customer that Master would prefer to serve his rare collection to.
As I noted last time, the most impressive part of Master's collection is actually not his sake, but his collection of rare Madeiras. I noticed a very special bottle last time, and the bottle was still in the same fridge tonight. I asked Master to verify the maker, and after he unwrapped the mylar bag around the bottle, I had visual confirmation that it is indeed the 1795 Barbeito Terrantez. According to Master 6 bottles of this were imported into Japan, but he didn't tell me if he had more than 1 bottle... Of all the alcohol that is physically present in this establishment, there is nothing I would like to drink more than this particular bottle. I wonder what it would take for Master to open it with me... but I'm sure it involves me coming back to see him quite a few more times!
For someone who owns a tiny little izakaya seemingly in the middle of nowhere, Master is not just super connected with the Japanese sake kuras but also has a real worldly view. Among his blog posts is an entry on white wine, where they tasted 6 different whites from Sine Qua Non. Upon realizing that we were coming from Hong Kong, Master mentioned that he knew the late Kinsen Kam from Yung Kee (鏞記), who took personal care of him on his visits to Hong Kong. He may be a short and unassuming guy with a crew cut, who wears a T-shirt printed with the words that mean "low-income earner", but Master has a lot more depth than he chooses to show.
I'm so happy I came back, and I would always make it a point to come back on each future trip to Tokyo. Maybe eventually Master's new wife would soften up to me and won't kick me out at 11:30 p.m...
P.S. I got REALLY drunk tonight. The serving portions are big here, as they pour 90ml for each sake. That means after 8 glasses, I have practically drunk an entire yongobin (四合瓶) of sake... What followed was a particularly interesting taxi ride back to the hotel, as documented in a series of pictures I would later receive...


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Frequently bought together:
The Finley Elite Collection offers nursery furniture that will extend in form and function long past the baby years. Their use of quality craftsmanship, popular wood construction, shows their dedication to making top-rate baby furniture. Each piece in this collection offers a contemporary design and functionality. The cribs convert to Toddler Bed, to a day bed and a finally a full size bed! This collection includes dressers, a nightstand, a hutch, crib and changer and a convertible crib. The entire collection is JPMA certified.


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While it's hard to resist big, bold, Marni-esque jewelry, there's something to be said about quieter, subtler pieces, too. New York jewelry designer Annika Salame of By Boe fame has a knack for creating delicate yet modern jewelry in mixed metals, like this brushed metal Half Circle bracelet in sterling silver or fourteen-karat gold fill. Reminiscent of an ID bracelet, the piece has an androgynous quality that would work on its own or mixed in with flashier accessories.
By Boe Brushed Metal Half Circle Bracelet ($55 to $60, depending on metal) at By Boe or online.


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Not Carnaval, I'm afraid, but almost as exciting, with lots of visitors from around the world, but missing a big fat white snowman with a red tuque and belt. Plus you save on airfare and hotel fees as you can participate from your own warm home!
Multilingual Mama posted the January Blogging Carnival on Bilingualism, and it's spectacular. Definitely check out all the amazing posts, and comment please!
I'll be hosting the February Carnival - my first time! I want to make it awesome, and you can help! I would love for you to post. If you don't have anything to post about bilingualism, what about a bilingual book? Please email me if you want more info, or to submit something!
Mark Feb. 23 on your calendar now, that's the big day!


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With OUTDOYO you can find and book the best outdoor adventures.
OUTDOYO is an online platform where you can find and book the best outdoor adventures around the world!
Our story
Whether you go into nature because it is your second home, you are catching up with friends, or you are training for your next big achievement; we all share a passion for the outdoors.
No wonder OUTDOYO started during an outdoor holiday in the Artic regions of Europe. After a beautiful day of amazing scenery, ice climbing, and just great fun, we wanted to make plans for new outdoor adventures. We were looking for an easy way to find and book new adventures and to explore the world - the idea for OUTDOYO was born.
We've set out on a mission to build the best platform for outdoor adventures and inspire outdoor enthousiast to embark on new unique experiences. Early 2018 we launched the first version of our platform. We are working hard to add new destinations and activities to the platform. Keep an eye on our website as more will come online soon.
Are you as excited as we are? Do you see interesting opportunities? Get in touch!
Our values
- Local adventures
- Instant booking
- Best price guaranteed


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Sharpthorn was built by Manning Wardle & Co, and completed on 26 February 1877, making it the Bluebell Railway's third oldest locomotive, and the oldest surviving Manning engine. Its connection with the Bluebell started when the line's construction contractor Joseph Firbank used it for building the railway. Firbank disposed of it shortly afterwards, and after working in a number of industrial locations, latterly for Samuel Williams, it returned to the Bluebell line for the line centenary in 1982.
Sharpthorn is currently on display on a short track in the upper car park at Sheffield Park station. Its condition is so poor that plans to steam it for the line centenary were quickly abandoned. The work required includes some major repairs to the boiler and the frames, and possibly a new wheelset and tyres. Any use which could be made of the engine will be for show purposes only, as it is only a little more than half of Baxter's power (its tractive effort is only 5000 pounds, whereas Baxter's is 9000). Its limited potential for use, combined with the fact that Baxter will likely run for many years to come, and the major repairs required, and the heavy workload already under way in the workshop, suggests that some considerable time will pass before Sharpthorn runs again. This, however, is planned to happen - perhaps in about 15 years time.
|Sharpthorn has Manning Wardle's characteristic bent-over sheet cab roof, and side sheets forming little verandahs each side. The driver has to walk outside to notch up. Its current blue livery was made out of some old paint given to us, but it is planned to paint it in some kind of blue colour when it does run.
|One interesting feature of Sharpthorn is the Salter safety valve columns housing the springs - these are graduated with the boiler pressure, a relic of the days before modern Bourdon-tube steam gauges were fitted. It has a steam gauge now, which is just as well as the two columns disagree by a wide margin.
|Some indication of the nature of the repairs required is shown in this picture of the left leading wheel hub. The extra gaps between the wheel hub and the axle suggest that at some time the wheel came off the axle (which may explain the distortion in the coupling rods). Whether this wheel and axle can be used again is not yet known.
Back to the Villa Team page


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The verdict is in for Ohio State, and its football coach, Urban Meyer — and the results are exactly what you'd expect them to be.
By Neil Harrington
Ohio State really laid down the hammer on its ole ball coach following its investigation on former assistant coach Zach Smith, and Urban Meyer's involvement in covering up the former's (domestic abuse) crimes.
It's crystal clear that investigators found wrongdoing, due to the fact that Urban Meyer is suspended for the first three games of the 2018 NCAA football season, and receiving a dockage of pay for six of them.
Well, suspended is such a loose term in this situation. Meyer will be able to coach the final two games of his suspension, and ironically, the three contests he's "missing" are the easier opponents on Ohio State's schedule — go figure.
Terrelle Pryor: suspended 5 games for selling gear in exchange for tattoos
Todd Gurley: suspended 4 games for accepting $3,000 to autograph memorabilia
9 UNC football players: suspended 4 games for selling sneakers in exchange for up to $2,500
Urban Meyer: suspended 3 games
— Paul Hembekides (@PaulHembo) August 23, 2018
During the press-conference, Ohio State President Michael V. Drake stated that Urban Meyer "did not and does condone domestic abuse," while in the same breath revealed that Meyer failed to live up to the Ohio State standards regarding his handling of Zach Smith's horrific crimes.
So, which is it? It can't be both, Mr. Drake. Condoning domestic abuse also includes turning a blind eye to the situation and/or protecting said abuser — which Meyer clearly did, according to the investigation.
What Urban uttered in regards to Zach Smith's wife, Courtney; when asked by reporters at the said presser is quite telling and even more despicable — displaying the true character of the ole' ball coach.
"I have a message for everyone involved. I'm sorry we're in this situation."
No mention of Courtney, Urb? You have a message for everyone involved, except for the one person that truly matters — the one who has suffered the most?
What a joke.
If Meyer genuinely does not condone domestic abuse, she should have been something to the effect of:
"I'm deeply troubled by the pain Zach (Smith) caused to Courtney, and I'm truly sorry for my involvement in covering up his crime — which I now regret. I wish I could take it all back."
Nope. Instead, Meyer is unapologetic and is only sorry that he was caught in a cloud of lies.
The report concludes that Meyer even tampered with his cell phone and text messages regarding Smith.
The media could get access to Coach Meyer's phone and specifically discussed how to adjust the settings on Meyer's phone so that text messages older than one year would be deleted
Meyer's guilt is clear as day, yet, his punishment is solely a slap on the wrist. The Ohio State football program makes the NCAA and the university loads of money each season.
Firing Meyer would have been the just and correct course of action by "the" Ohio State. However, doing so would forfeit the cash cow and well-oiled machine of money flowing their way.
Well done, Ohio State. Bravo.
Next Post: NFL rule changes are going to raise your blood pressure.
In the words of former USC great LenDale White.
Ohio State still sucks.
Categories: NCAA, The Campfire


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Repeat: 10 Months Which Changes Fate
Ayumi Shinozaki (Shihori Kanjiya) is 33-years-old and works as a librarian. Keisuke Mori (Kanata Hongo) is 23-years-old. He wanted to become a cameraman, but had to give up on that goal. Taro Tendo (Gori) is 40-years-old and divorced. He holds regrets about his son.
One day, Ayumi Shinozaki receives a phone call. A man's voice states "one hour later, an earthquake will occur." One hour later, an earthquake actually takes place. The caller introduces himself to Ayumi Shinozaki as Kazama. He tells her she can go back in time to 10 months ago and change what she wishes. 8 people including Ayumi Shinozaki, Keisuke Mori and Taro Tendo participate, but they face something they did not expect. Under the difficult situation, Ayumi Shinozaki and Keisuke Mori develop feelings for each other.
Please scroll down to choose servers and episodes.


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Freshman speed back Tre Mason has been relegated to situational duty this season for the Auburn Tigers, toiling behind start running back Michael Dyer and backup Onterio McCalebb. But with Dyer suspended for the Chick-Fil-A Bowl against Virginia on New Year's Eve, Mason has the chance to breakout as the next superstar of the Tiger backfield.
The Columbus (Ga.) Ledger-Enquirer, Anniston (Ala.) Star and Opelika Auburn News all have profiles on Mason, who will likely take the bulk of Dyer's carries against the Cavaliers. In the regular season Mason saw most of his time as the speed back in the Tigers' Wildcat formation (97 total yards on 17 carries). Running backs coach Curtis Luper cited Mason's development in strength and conditioning - the speed back has added 10 pounds since arriving on campus - as a benefit to his ability to suddenly handle the carries of the bruising starter Dyer.
In addition to Mason's increased role and McCalebb, Luper also hinted at a "mystery" third option:
"It's a big surprise," Luper said. "There's a couple versatile guys on our football team that can help us out. We do have a No. 3 and it's someone we've moved around a little bit. It'll be exciting to see him get out on the field."
For more on Auburn, check out Track 'Em Tigers. For everything Virginia, vist Streaking The Lawn. For all things college football, visit SB Nation's college football news hub.


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Today's post consists of two emails. One is from OMICS Publishing Group to a scientist who attended an OMICS conference, and the second is the scientist's reply to OMICS.
Email from OMICS Publishing Group
Dear Dr. Jim,
Greetings for the day!! We are really thankful to you for your consistent support towards the conference Genetic Engineering 2013 and for efficiently managing the conference.
We would like to know your experience during the conference days. Also I would like to have your feedback for Genetic Engineering 2013 and Suggestions for the upcoming Genetic Engineering 2014.
Your Suggestion and feedback value a lot for us for further proceedings. Thank for your cooperation. Awaiting for your early response
Lincy Mathew
Genetic Engineering 2013
Email to OMICS Publishing Group
Hello! I am happy to provide you my honest feedback about Genetic Engineering 2013. I hope you take my comments/suggestions to heart. If not, I will certainly never attend another OMICS meeting. Frankly, it was by far the worst, most unorganized meeting I have ever attended in my nearly 30 years as a scientist. It was a total sham of a meeting. In no particular order, here are my complaints:
1) The meeting was shortened to 2 days from 3 with no notice. We were not notified of this change in any way other than when the final program was available online, it covered only 2 days instead of 3. People came from all over the world for this meeting. They need time to make flight changes etc. Personally I drove so it wasn't a problem, however, I did end up paying for an extra night for a room that I did not need. In these tight budget times, as a Government scientist we can only attend at most one meeting per year. To waste money on a room we did not need is inexcusable. We should be all notified in advance before the length of a meeting is changed.
2) I was asked to be on the "Organizing Committee" and was never asked my opinion on anything. The meeting was "organized" without any input from any organizing member, at least anyone that I talked to. Only 2 out of 19 listed organizing members were actually at the meeting. I even emailed one member that was not at the meeting and she told me that she never had any input on the meeting either. Why have an organizing committee if they cannot do anything? It appears you wanted us on a "committee" to look good, to make the meeting look legit.
3) The meeting is billed as a major event but it is far from it. At the "height" of the meeting, 19 people were in the room. By the second day, there were perhaps half as many. If all the supposed organizing committee members were present, we would have had twice as many attendees!
4) On the first day we had 13 scheduled talks. Of these, we ended up having only 8. The other speakers never arrived. Having nearly 40% of the speakers never arrive indicates a HUGE organizational problem. Do attendees think this is the fault of the organizing committee that never had a say in these maters? Is that why there is an organizing committee, to take the blame? I certainly fielded plenty of complaints while at the meeting. I finally found myself saying, I am not associated with OMICS. I have never seen a meeting where more than a few percent of the scheduled talks were missing. The other keynote speaker and I each gave 2 talks, so between us we gave a full 50% of the talks on the first day!
The second day was worse. Of the 10 scheduled talks, only 3 were given. A whopping 70% of no shows! Thus, the meeting actually ended at lunchtime on the second day. So a meeting that was supposed to run 3 days, was actually at most 1.5 days and that is being generous. Did we get 50% of our registration fee back? In a word, no.
5) There was no acknowledgement/apology from the OMICS organization about the poor turnout for the meeting even though the founder was there.
6) There was no real guidance from the OMICS organizers on how to run the meeting. I was tapped to moderate the meeting, which I did. However, that quickly turned into running it from start to finish with no guidance. It was only after many emails and in person questions that I figured out what was wanted. How the actual meeting proceeded seemed to be of little importance to OMICS. I feel very used.
7) What seemed more important to OMICS was presenting awards. When I arrived I had to sign a huge stack of awards. Anything from being a chairperson, to presenting a talk, to attending the meeting was grounds for an award. This seems very much like being in elementary school. A large amount of time was taken up on the first day by handing each other awards and having our pictures taken doing so. Why? I strongly suspect these photos will be used for promotion of further OMICS meetings. See all the smiling scientists! I did not attend this meeting to promote OMICS, but I strongly suspect that is what I will be doing. Why else have me sign these "awards"? OMICS wanted to have my name and affiliation associated with everything that happened at the meeting.
8) OMICS is not fully honest. Not only was this meeting much smaller than billed, shortened without notice etc, it is being advertised as a bigger success than it was. There is a report page that can be found here: http://www.omicsgroup.com/conferences/past-conference-reports/genetic-engineering-2013-past/
On this page, it shows twelve different scientists that gave "expert presentations" at "Genetic Engineering 2013". The problem is, 3 of those scientists were not even there! This will be discussed further below but I request my picture and name be removed from that page. I do not endorse Genetic Engineering 2014 in any way. I do not want people to think that I do.
9) As one of my duties, I was asked to judge the poster presentations which I was happy to do. Near the end of lunch on the second day, Dr. Oshimura, the chair for the day stood up and announced that he had just been told that the rest of the meeting had been cancelled. Everyone still in attendance was shocked. This cancellation was because none of the afternoon speakers were present. Furthermore, he announced that the poster presentation would start immediately. There were a couple problems with this, neither of which were his fault. I know of at least two attendees that had already left the lunch room and thus did not get his announcement. They came back at the assigned poster time, 4:10, to put up their posters and found out then that the meeting was over. Thus, their posters were never judged through no fault of their own. They came all the way from Mexico to present their posters which were never viewed by anyone but a few of us that felt badly for them. When the announcement was made at lunch, I went and asked the OMICS representative, Monalisa, what I needed to do as far as judging the posters; did she have a form for it or what the procedure was. She informed me that Dr. Srinubabu Gedela already judged them! I don't know when this happened (must have happened before lunch as we and they were in the same room and I didn't see him.) but he 1) for certain did not see all of the posters as at least two were not up yet and 2) likely is not qualified to judge posters on genetic engineering. Again, science comes second in these "meetings". The attendees that traveled great distances at significant cost deserve better.
I could go on and on but this is probably more time than I should waste on this already. In summary, this meeting was far too expensive for far too little meeting. It was "organized" (and I use that term loosely) with no help by an organizing committee, yet we take the blame. Many appearances are made to make it look like a fantastic meeting, but it is not. I do not wish to be a part of this meeting in the foreseeable future. Thus, please remove my picture(s) and name from this website: http://www.omicsgroup.com/conferences/past-conference-reports/genetic-engineering-2013-past/ I do not want anyone to be confused into thinking that I endorse your product. I also do not want my name and/or picture to appear on any other promotional material for any upcoming OMICS meeting. I respectfully ask that you follow my wishes. I wish to cut all ties with OMICS group.
Also, I am currently writing my resignation letter to resign from the editorial board of OMICS' Advancements in Genetic Engineering for all of these and other reasons.
James Sawitzke Ph.D.
Center for Cancer Research
National Cancer Institute
Frederick, MD 21702
Note: Dr. Sawitzke has sent several additional emails to OMICS repeating his requests but they have not responded, and his requested action has not been taken.
By: Jeffrey Beall
Follow on Twitter
Source: Scholarly Open Access
Jim Sawitzke says:
September 12, 2013 at 10:59 AM
I have now successfully removed myself from the editorial board via a phone call, emails were ignored. I have been unsuccessful reaching anyone on the phone about the Genetic Engineering meeting.
Sept. 12, 2013
Jim Sawitzke Ph.D.
Solomon Steiner says:
November 26, 2015 at 9:52 PM
Just for everyone's info – this massive company is run out of India, they will address you with fake names like "rebecca parker" but do not be fooled.
Scott C says:
April 11, 2016 at 7:38 AM
Indeed, I've had emails from Derrick Matthews, when the quality and structure of the English clearly indicates something is awry. Emails from OMICS have been added to my junk mail filter.
David Gurarie says:
September 12, 2013 at 11:04 AM
What a sham!
Lately, I send all such solicitations to spam w/o opening.
Bruce W says:
September 12, 2013 at 11:54 AM
This Omics Publishing Group recently sent an e-mail to a the lady, who is mentioned on our website as our department's secretary, asking her to be part of the Organizing Committee for the 2014 Neurology Meeting. The exact wording:
"Basing on your expertise we would like to honor you by giving the position as an Organizing Committee Member for Neuro -2014. Also we would like to give you an opportunity of plenary speaker at this conference. As an Organizing Committee Member the privileges would include an honorable position as the chair/co-chair for the session of your interest. "
Already a long time ago we renamed them as the Comics Publishing Group.
m3gan0 says:
September 19, 2013 at 8:33 AM
that dishonors the honorable comics publishing industry.
Nils says:
September 12, 2013 at 11:55 AM
I really don't see the need for all these new conference-organizing services. Small conferences (up to 100 attendees, say) are best organized at your own university/research institution, or at a venue in your geographical area. Then there are plenty of well-established conference centers, e.g. Banff. And finally there are the big recurrent meetings organized by scientific societies.
I believe all other organisations are just after your grant money.
Hope Leman (@hleman) says:
September 12, 2013 at 1:49 PM
We all owe a great deal to Jeffrey Beall and Dr. Sawitzke for this expose. It was fascinating reading–and very shocking to see scientists being treated so shabbily. Thank you both for such a detailed, absorbing, damning report.
Ron Davis says:
September 13, 2013 at 4:52 AM
Mr. Beall, I am happy to see a new watchdog like, Thomson Reuters, Scopus's SCImago, during my online search for reliable sources. I am happy that this market is growing. They are offering SNIP indicator. Please visit http://www.journalindicators.com/
Farid says:
September 13, 2013 at 12:20 PM
Scopus's SCImago is far better than Thomson Reuters since it is available for all users to verify the quality of a journal. These days, many Predatory journals establish a link with ISI and claim they are ISI index and many authors may accept their claims. Scopus's SCImago cannot be manupulated and it is better than ISI.
Sylvain Bernès says:
September 13, 2013 at 8:30 AM
OMICs did a single mistake: to ask to Dr Sawitzke for feedback about the meeting.
R3sanon says:
September 17, 2013 at 11:08 AM
TL/DR – Gullible career lab tech' in protected government job is angry because he got taken for the fool he probably is.
What the hell is an NCI scientist doing, wasting their only meeting per year on what is widely known to be a scam? Was this guy living under a rock? Did he not do any homework about this organization? For most scientists out in the "real world", we go to meetings run by established societies in our area of expertise. Those, and a couple of other well known conference organizing bodies (Gordon, Keystone).
This type of negative publicity is useful, to highlight these shady business practices to the <1% of academia that isn't aware of them already. But C'mon! In my opinion he got exactly what he deserved for being so gosh-darned gullible in the first place. He got his ego massaged by the invitation, and thought "this looks sweet". It's like that time the Department Chair got a computer virus, or gave the Dept. bank account details to a guy from Nigeria who seemed legit. Maybe that's why this guy is a "senior research associate" and has a grand total of 20 publications after 30 years in the biz. He'll probably also find there's all sorts of small print in the attendance contract, in which attendees agree to have their name and likeness associated with the meeting, so he's up the creek without a paddle on that front too. Wonder if this guy has an AOL email account too? Mike says: September 18, 2013 at 6:34 AM Oh mighty R3sanon, with the >20 publications (greater than Dr. Sawitzke, for sure!), we should all bow down to your dizzying intellect and sharp detection of fraud from ANY corner of the globe. Please bestow upon us more words of wisdom from your tower on high so that we "protected" minions at the NIH can learn from your astounding (probably NIH granted) research insights! LOL
Diana says:
October 18, 2013 at 1:27 PM
And despite Mr. Sawitzke's request his name is mentioned several times here still: "Special heartiest thanks to the moderator of Genetic Engineering 2013, Dr. Jim Sawitzke, NIH, USA for his contribution and consistent support for making this conference a success".
Entertaining side note I have seen at least one listed publisher link to your site as a place they are indexed. Now that is funny.


text:
Out of the Furnace
Sometimes your battles choose you.
20131 h 56 min
Two brothers live in the economically-depressed Rust Belt, when a cruel twist of fate lands one in prison. His brother is then lured into one of the most violent crime rings in the Northeast.
Movie Media —
Movie Status —
Movie Rating Not rated


text:
Building Real-World Desktop Apps with Electron
There's one surprising thing which links the VS Code, Slack, WhatsApp, Github and Atom desktop apps together - they have all been built using JavaScript, HTML, and CSS. Thanks to Electron, building these powerful, cross-platform desktop apps is easier than you think. Today we'll learn how to do just that. We'll talk about the pros and cons of building Electron apps, and look at a real-world example to see how Slack has been created. We'll dive into Slack's architecture, and investigate why we solved some of the problems we faced in the way we did.
San Francisco, California
Anuj is a Senior Software Engineer at Slack, concentrating on Front-End Performance and Architecture. He loves creating great user and developer experiences, diving into new web technologies, and sharing his learnings with others. Originally from London, and now living in the Bay Area, Anuj enjoys traveling, hiking, gaming and cooking in his free time, and is on a mission to visit all 50 US states.


text:
The cities have a rich tradition of playing Holi and the festivities are enjoyed by the residents and tourists with great fervor and joy. Holi is the festivals of colors and the season is the herald of spring with Mother Nature too conspiring with fresh blooms everywhere. The day prior to Holi is the day of Holika Dahan and a bonfire is lit with the symbolism of burning our ego and evil intentions. It is a time to embrace the goodness in everyone and many such large gathering are held all over the towns of Vrindavan and Mathura the main focus being on the small town of Braj.
Mathura Vrindavan Holi LegendsThe legend goes that since Krishna was dark skinned, he would ask his mother why his beloved Radha was fair? His mother told him that it is her color but he can color her in any color he wishes. The ritual of putting color on the faces is said to have emerged from this incident of Krishna putting color on Radha's face. Krishna with his habit of playing pranks would trouble Radha and her friends and would be shooed away by the residents of Radha's village.
Temples of Mathura Vrindavan During HoliThe Dwarkadesh Temple in Mathura is the most famous temple of Lord Krishna and the central point of Holi festivities. People from the neighboring areas gather here for the festival that lasts for a few days. This is the land of gods or Dev Bhoomi and Holi is celebrated here across the various temples for 10 days. Tours and trips are planned in advance to witness this spectacular event as it unfolds over the days. Boys and girls form groups and spray each other with colors, water and even flowers.
The temples wear a festive look, being decorated to the nine pins and welcoming one and all. The town is transformed in to a colorful paradise and the experience of Holi here is unforgettable. From the morning the festivities and celebrations of Lord Krishna's favorite festival are in full swing. Young and old everyone joins in and is drenched in color and faith from tip to toe.
The beautiful temples of Vrindavan are transformed with the colors and flowers for the occasion of Holi and the devotees and tourists alike gather in the precincts and celebrate the festival with colors and water. Krishan Balram Temple and its Holi celebration are most famous in Vrindavan even though there are numerous temples like The Banke Bihari Temple or The Radha Damodara Temple dedicated to Lord Krishna. For a truly emotional and devotional Holi, a visit to Mathura and Vrindavan is a must.
इस आर्टिकल को हिंदी में पढ़ने के लिए यहां क्लिक करें
Videos of Holi in Mathura Vrindavan
You shouldn t miss reading these:Holi Celebrations | Holi Celebrations in Barsana | Holi Celebrations in Himachal Pradesh | Holi Celebrations in Jaipur | Holi Celebrations in Maharashtra | Holi Celebrations in Pakistan | Celebrations in Punjab | Holi Celebrations in Bollywood | Holi Celebration in Offices


text:
Conventionally, the interviewer is supposed to be as absent from the process and product as possible. The event is regarded as a sort of verbal homerun derby. The interviewer's task is to lob a poem of a pitch over the heart of the plate for the interviewee to cream. Then, the miraculous crack of the bat and triumphant arc of the long ball entirely overshadow the pitcher's delivery.
Although Alison Knowles insisted that I was not, in truth, interviewing her and Hannah Higgins – Fluxus scholar, professor of art history at University of Illinois at Chicago, and Knowles' daughter – but rather the ideas that informed and animated their work, it seems to me that a few biographical insights I gleaned are not without interest and illuminative import. So bare with me a moment while I step off mound before the interviewees step up to the plate.
Knowles' very insistence that she is secondary to the artistic convictions that render Fluxus a unified movement displays a humility and humanity that pervade her personality. The reader will notice that much of Knowles' interview consists of grateful reminiscences on John Cages' formative influence on her artistic identity. The same qualities were evident in the obvious parental pride that Knowles takes in Higgin's many accomplishments.
This is worthy of note not only for the contour it gives to the reader's understanding of Knowles as a person, but most of all for what it reveal about Knowles as an artist. There is a widespread belief that the non-mainstream arts – I was going to use the term 'avant-garde,' before remembering that Knowles professed a dislike for the term – are inaccessible, pretentious, and empty. Yet the utter lack of pretension on Knowles and Higgins' part gives the lie to the prejudice that these arts are little more than sanctimonious, self-serving pomposity. As the interview makes clear, they are well aware of the light-heartedness and humor that characterizes the art at its best.
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The generosity of the interviewees was also striking. Without prior notice, I had shown up to a rehearsal of Knowles' pieces that were to be performed at Woodland Pattern Books' Anniversary Gala. Despite the fact that Knowles and Higgins had only recently arrived in town I was hoping that I might scrounge a quick, ten or fifteen minute dialogue. It was much to my surprise, then, when I was invited to dinner at Beans & Barley and granted a forty-minute interview tucked inside a several hour conversation. Given the length of the interview I have broken it up into two installments, the first part of which I now present.
Tyler Friedman: You are associated with Fluxus, an art movement beginning around the early 1960s. How would you explain what Fluxus is historically, aesthetically, philosophically?
Alison Knowles: Well, beginning out we were up against something called 'Happenings'. And the 'Happening' was a very extended form of presentation, usually on the land, involving a lot of organization of people who could run around and go up a hill. Fluxus was born because we had to stand on a stage in 1962 and we had maybe two minutes to present a work.
Hannah Higgins: Well, hang on. The 'event' format was first invented in [John] Cage's 1958 class in new music and experimental composition at the New School and [developer of the "Happening" art form, Allan] Kaprow was also in that class. It's just that his way was more multiplied and large scale where as [early Fluxus artist, George] Brecht's way was these minimal, smaller events, but they're not necessarily about the stage.
AK: No. But I can't overemphasis the importance of the Cage class in new music.
TF: Were you in this class?
AK: No, but my husband was, Dick Higgins. And I did attend a class or two, not in that class, but it was ongoing with other people who picked up theoretically from it at the New School. There's no way to exaggerate the importance of John Cage, because he stepped out of music and began to feel that the energy of new music could apply to activities. Not only did he believe that, but he allowed us on to be on musical programs with events like showing and telling about your shoes or making a salad, and he just opened the doors between music and performance art.
TF: I'm a great admirer of John Cage and I know that you had the opportunity to spend time with him and work with him and study with him. I was thinking of some of his works – in particular 4'33" – and one reading of that work is that it is reminding us that there's more to our everyday lives than meets the eye, or the ear as the case may be. I was then thinking about some of your pieces and wondering if your work has a similar sort of task. That placed in the appropriate context of an art museum or gallery space or magnified to an unusual degree (as in Make a Salad) we are made aware of overlooked aesthetic dimensions of our experience. And thereby, everyday tasks and items are re-enchanted and transformed from the mundane to the magnificent.
AK: Certainly. I would agree with that and I would say that John was my mentor there too. He would record the sound of, if not his cat, his- I did a lot of cooking with John and I was really aware when he was cooking-
HH: Oh it's a great tale.
AK: Cooking with Cage. He was very exact about his vegetarian diet, his macrobiotic diet, and it really changed his whole way of being in terms of food, which had been very different before he met [scholar of Eastern philosophy and religion, D.T.] Suzuki and decided on that Eastern path, which was an Eastern path in sound. But this path infected everything in our lives, our options, our dress. I remember buying several work shirts after I met John and discarding a different kind of identity as a woman, and finding that this other identity made me feel more serious. I was borderline feminism always but John helped me into a sense of self, which I hope is human, humanist.
TF: Is that the sort of effect he had on younger artists, that he was helping them find their own identities, not so much imposing his on them?
AK: Right, he wouldn't impose. On many evenings I had with him, first of all you'd cook and eat together, and then you'd talk if Merce [Cunningham – dancer, choreographer and Cage's partner] was there in the room at 8th street, and you'd listen to something. It was the weaving of art into your everyday experience. "Are you warm enough?" "Can I get you a jacket?" "Do you want more asparagus?" "Is it overdone?" I think what John did for me more than anything else was move me from art school into working from a source out of my everyday life.
HH: One thing I was going to say is that, while I don't think Cage imposed his will, his example was strong enough that he almost didn't have to. It would have been clear what was outside of the purview of his interests. Some super hammy, or super theatrical, or hyper-technologized thing would have been outside of his realm and I think that the folks who weren't responsive to his manner were the folks who were doing those things that would have been outside of his manner. And so I'm a little – dubious is the wrong word – but this idea that someone who doesn't impose their will but has a huge influence is somehow more virtuous for it, is for me a really problematic idea.
TF: So he exerted a gravitational pull.
HH: Yeah, right, exactly. And it was amazing.
AK: A more engaging and attractive man, you've never met. I mean he loved to talk with different people from different countries.
HH: He loved to laugh and smile. And his laugh… you just would work to get the laugh out.
AK: He and Merce would be cooking there in the kitchen and we'd be sitting there drinking quite a lot of wine-
HH: Scotch.
AK: -after the scotch. He was a good drinker, John. But it was based I would say in his profound love of life itself. Music was a way he could express that. And so he had to take it to a place where he was separated from people who narrowed life down into being a musical experience only.
HH: The comparison would be, or the contrast would be, Stockhausen's genius. There you have evermore refined structures and more complex structures as a way to critique the dominance of whatever the current structure is, you kind of push more and more in the direction of order, even if you add random elements. Versus Cage's way, which was just yielding the whole ball of wax.
TF: To indeterminancy?
HH: Right.
AK: But Cage's nature was such that he spoke ill of very few people. Even when he was trying to work with Stockhausen, I never heard him speak ill of Stockhausen. It was just, "It wasn't for me. It wasn't my path."
TF: Were they going to collaborate?
HH: So Stockhausen's wife, Mary Bauermeister, had an atelier in Cologne. And Cologne is really important for post-war German culture and art because the radio station there had an experimental format. They allowed all kinds of crazy stuff. After the war when the German cultural structure was reorganized, it was completely decentralized, because centralization was associated with the Fascist ideology. So there was this tremendous tolerance for multiple formats, and Cologne became this important center. And Stockhausen was at Darmstadt, which was nearby. His wife, Mary Bauermeister, had a studio in Cologne where she invited Cage to come and do performances when he was traveling. So they weren't collaborators, but they had a very important alliance and friendship.
AK: And WDR in Cologne, the radio, was such an opening for all of us in Fluxus. We could go over and read our texts and make our sounds on the radio. I remember holding up bean shakers and pieces of paper. It was incredible to me that I was allowed to make sounds that were broadcast all over Germany and to say a few words between and to consider it to be kind of art. I could imagine doing it on the stage, but on radio, for so many people to be available to the nature of that work… it's my homage to Cage. He really freed me from thinking too literally about almost everything.
TF: Was there any sort of crossover between the avant-garde musical circles? If this was taking place in New York in the early and mid-60's, at the same time there's a lot of wonderful avant-garde music happening in New York that is coming out of the jazz tradition, individuals like Ornette Coleman and Cecil Taylor and Albert Ayler. I wonder, was there any sort of crossover?
AK: Cecil? Oh, what a man. (Laughs) No, they all didn't go with Cage. Cage used something called chance operations and that was very negative for a lot of people who wanted to use their own intuition.
TF: I've read an article in which Cage speaks somewhat critically about jazz and about improvisation.
HH: Right because improvisation is the imposition of the self.
TF: What's the criticism though? That's an accurate observation, but what's the problem?
HH: The reason it would be negative from a Cage-ian standpoint is because the whole idea is to remove the centralizing force of ego from the production of music. The key though in preparing the performers for Friday's performance [at the Woodland Pattern Gala] is the idea that you don't want to ham it up. That means you're not inserting yourself into the simple instructions.
AK: It's funny, I think that's so self-evident.
HH: It's not though. If you go to a lot of boiler-plate performances, many enthusiastic young people who read the scores and think they're funny go very quickly from a sort of Zen humor to slapstick. It's a very slippery slope and in the end they are just trying to get a laugh.
AK: I think they have personality problems of their own.
HH: No, this is the legacy of Fluxus. It is dominated by a lot of young folks. I saw this thing in Chicago a couple years ago they were out there squirting a piano with neon paint. They thought it was part of [Philip Corner's performance piece] Piano Activities. "Do things with a piano." They missed the point entirely. How do you go from exploring and destroying and therefore creating, to just… urinating? I mean it's such a slippery slope. But they got a laugh, and the audience likes to laugh and so the same stupid curator is inviting them back. It's agony.
AK: They are not serious people. Those are entertainers in the art.
HH: They're entertainers but they think they're serious. The thing is, the humor is there. You don't have to put it in. Little things happen that are just amazingly funny. For example, when Alison did her Make a Salad at the Tate Modern. The Tate Modern is in a turbine factory in London and it has a walkway across the entire factory. She made the salad up above on the walkway, and then threw it down into tarps, and people in sterilized clothing were tossing the stuff with rakes. She hadn't tried to scale it to be funny. It was a very practical problem: how does one person make a salad for 3000 people? You need the rakes, you need the tarps, you need the sterile clothing. None of that was set up to be funny. But it was amazing, because, of course, one person making a salad for 3000 people results in these weird accidents of scale. That's what an event is. The humor is what happens when you do things in life and weird things happen.
TF: So the humor plays an essential role in the art?
AK: It's incidental.
HH: Who's piece is it where the ensemble comes in the auditorium and each performer has to decide what is going to make them leave the stage and they don't tell anyone else, so only they know it?
AK: Oh, beautiful. Eric Anderson.
HH: Usually it's something like, "Well I'm going to leave the stage when someone sneezes." Or, "I'm going to leave the stage when, someone coughs, or when a light flickers, or when I need a cigarette." or whatever it is. Well, in this one instance two performers decided that they were only going to leave the stage when the other person leaves the stage. And they both decided it without consulting each other. Everyone realized at a certain point what must be happening. It was hilarious.
AK: And it gives you a clue into what is really fall-down funny. It's a profound ingredient in the art that we would stand there after everyone had left just because the instruction said so. And that differentiates the Fluxus group from organized theater. It's key to the audience. Humankind is not cued to any script. It's about you, your life and my life. How can we make it real, more real? Well I'll show you what it's like to even make a salad for a 3000 people.


text:
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An internet based help administration is given the digital books.


text:
Released: 1988
Liam Ó Maonlaí – Vocals, Bodhran, Hammond Organ, Harmonica, Marimbas,
Piano, Vibraphone
Fiachna Ó Braonáin – Background Vocals, Acoustic Guitar, Electric Guitar, Sitar
Peter O'Toole – Background Vocals, Bass Guitar, Bouzouki, Electric Guitar, Mandolin
Leo Barnes – Background Vocals, Saxophone
Jerry Fehily – Drums, Percussion
Additional musicians
Claudia Fontaine – Background Vocals
Jimmy Helms – Background Vocals
Jimmy Chambers – Background Vocals
Luis Jardim – Percussion
Gary Barnacle – Brass
John Thirkell – Brass
Peter Thoms – Brass
Lovely Previn – Fiddle
Producer and engineered by Alan Winstanley and Clive Langer.
Photography by Amelia Stein.
Design by Steve Averill.
– – – – –
Blackrock, Co. Dublin.
Engineer Chris O'Brien set up a small but funky recording set up in the front
room of the house and recorded a few songs namely 'Fatman', 'My Baby's Coming
Home' and 'Show Me'. This was all around the time of the Magic Carpet gigs.
Then through a man called Lorcain Ennis we did some demos in Strand Studios
off Caple Street in Dublin. Leo Barnes was invited to play some sax on a song
called 'Out Walking' which literally blew us all away. This is where the first
demo of 'Love Don't Work This Way' was recorded.
A tall man with U2 connections called in one evening and picked up a copy of
the tape and pretty soon the phone was ringing wanting a meeting with the band.
In the mean time, gigs were happening in places like the Colony Restaurant,
Timmerman's, The Chicken Club at the Pembroke Bar, various gigs in Trinity and
U.C.D and of course in the Risk night-club. It was in the Risk night-club that
the famous friends started coming to see us. It was here that we hit something
musically, that was to send out waves around the globe.
U2 at this stage had set up a record label to help Irish artists. We were offered
a one single deal for the song 'Love Don't Work This Way' which we recorded
in Windmill, with Flood as an engineer/producer. It was really a tiring day
but a very professional experience, which felt like a stepping stone for all
of us. The record got great airplay and reviews and it was important to have
such a recording to send to various record companies whom were intrigued by
the band's sound. Finally, after touring for a while and rehearsing a lot, we
went over for a meal organised by London Records. This was a strange event at
the time. Almost like being courted, where the other person is eager to impress.
Anyway, we ate a lot and drank too much and made no promises to anybody. Eventually,
the paperwork was right and we signed
our first recording contract with London Records.
So many names were put forward to work with that we were dreaming names at
the end. They were stressful days where it was hard to know where it was all
going. Eventually we played with U2 in Dublin sometime between late '87 and
early '88. Clive Langer and Alan Winstanley came to see us. What we liked was
their versatility; they had worked with (Dexy's Midnight Runners, Madness, and
David Bowie) to name a few. We did a good week of rehearsals and reshaping and
we then went to London to record. It was put together in
Westside Studios near Notting Hill Gate and we did some overdubbing in Townhouse,
in Battersea (once owned by Pete Townsend). We felt good in Townhouse with their
selections of pianos/organs/ercussions/vibes/marimbas, etc. It was a very soulful
session meeting the various people involved like the Jimmy's (Helms/Chambers)
who did some backing vocals, Luis Jardin with his big fat cigars who played
percussion and Claudia Fontaine who's voice changed the shape of the album so
wonderfully. We ate a lot of Indian food and drank a lot of beer, wine and whiskey.
There was a lot of coming and going on behind the scenes with a whole sub committee
making the album, too. I remember Clive was on the phone a lot. We eventually
mixed in Westside, we had the company of people in Archies bar, while Alan Winstanley
did the mixing on the album which came to be called 'People'.
1988's 'People', was the most successful debut in Irish history. Even before
the release of 'People', expectations were high. Rolling Stone magazine said
they were the 'best unsigned band in the world'. The album's original sleeve
is shown above – now a collector's items. CD's were starting to hit the market
and subsequently, to get the market going for CD's rather than lovely old crackly
vinyl, extra songs tended to be added to the CD that weren't on the vinyl version.
'Lonely Lane' and 'Saved' being the bonus tracks for 'People'. (The Limited
Edition Import listed below with a different catalogue number is no different
to the normal CD). After it was released the band were said to be the next U2
– which was highly unfair to both Hothouse Flowers and U2. They were, after
this release, probably as big, if not bigger than U2. The album reached Number
2 in the UK chart and Number 1 in Ireland.
PETER: People forget that there's plenty of room for U2 and
us. They assume neither of us can stand each other and that we live in this
huge shadow but it's nothing like that. (Speaking in 1988).
( The song was released as a single.)
LIAM: Things out there
are very hard to understand. I find it hard to give my understanding to what
is going on in the world. I'm trying to do that through the songs. Putting my
finger out. Trying to make contact. Let some people know that somebody wants
to understand. Saying sorry is a hard thing for some people to do. It's a human
frailty. Not being able to do it. Surrender? Yeah, it's like that. Especially
to say sorry when it would be easier not to. (Speaking to Melody Maker in 1988).
LIAM: 'I'm Sorry' isn't too personal.
It's meant to be taken at face value. It can be about anything. It's up to the
listener. (Speaking in 1989).
(There was once a time, believe it or not , when they didn't play it! The video
is slightly different as there is no mandolin in the intro, a count in on the
drumsticks by Jerry and a shorter run by Leo on sax before the last verse. The
song was released as a single.)
LIAM: I like the idea that somebody could take 'Don't Go' as a straight love plea. The night before last, I looked out into the audience and saw this couple. There was something in the way they were looking at one another which told me they were thinking of splitting but when the chorus came in, they both started smiling. Quite a story. The song could be for anyone. Parents, exiles, sons and daughters. For me, it's a very personal thing, the death of my friend, Eamon. The day he died. A beautiful spring day, otherwise. A slow death. One year long. So much pain for the people around him. It's not a difficult song for me to sing though. It's a rejoicing song, in spite of everything. Just like 'If You Go' which is about the same thing, written in the same mood and the same day. 'Don't Go' is here and now. Immediate. I like to think the present being more important than the past or the future. More important than looking forward to things. Most people waste too much time looking ahead or looking back. Living in the moment can be too difficult, too painful. It has to be learned continually. (Speaking to Melody Maker in 1988).
LIAM: That song was written about
a friend of mine who was in a motor bike accident. And he was in a coma for
about a year and one day I was inspired to write this song for him because it
was one of those beautiful days and the sky was so blue and so I thought to
myself, "Please don't go." It was my personal plea to him because
I realised how precious life was and how beautiful it could be. I didn't want
him to die. (Speaking to Beat magazine in 1989).
LIAM: The light, I suppose, is whatever
anyone believes to be God. Whatever anyone believes to be God. Whatever anyone
believes to be the light. It could be love. It could be some kind of escape.
I had to leave that line open. To me, it is God and salvation. God is there…
it is nothing to be fathomed. Nothing I could fathom. I could find no justice
in saying who or what it is. It might become clearer to me. There will always
be ups and downs. Even the most pious and the most wise will have their confused
moments. There are wise people who become children again, going back to enjoy
the wonder once more. Knowing how to remain a child is a wise thing in itself.
(Speaking to Melody Maker in 1988).
(This version starts with a verse – but later versions on the 'Home' tour started
with a chorus. The song was released as a single.)
LIAM: An obvious song. Sleep
is an amazing thing. The idea that you will wake up and things will be different.
Sometimes, they might be worse. Looking to a new day. Offering words as a kind
of solace. That's all. The best songs are the ones an audience can empathise
with. I think we want to offer something. But that's not all. A song's objective
is also to stir something in a listener. Perhaps to bring some kind of relief.
People have come up to me and said they needed this song. That's the
best kind of flattery. (Speaking to Melody Maker in 1988).
LIAM: Well, actually, 'It'll
Be Easier In The Morning' is about when I was younger. You see, when I was younger
I used to have trouble sleeping. But, I learned from this experience, that if
anything gets you down never lose sleep over it. There's always a new day.
LIAM: We made 'Don't Go', and somebody said, 'We really like
that; would you like to be played on The Eurovision? We'd make a video for you.'
And we thought, 'Yeah, Planxty had done it, so it's not a sick thing to do.
They've done it well, it's a cultural event. It mightn't be everybody's cup
of tea, but it's an opportunity to do some good art.' So, we did it. We spent
a really hard-working two weeks travelling all over Europe, places we'd never,
ever been before. We were playing on the streets, doing gigs, and it became
almost all of the time. It was very heavy on us, but of course, the results
were immediate attention from all the world. We were in America in no time.
We were all over Europe in no time, we were on 'Top of the Pops,' we were on
This song has been a mainstay of the set since its beginnings. It gives the
opportunity for Liam to stretch his fingers on an acoustic guitar. During the
intro, when they supported INXS at Wembley Stadium in 1991, he said it was for
an old man he saw sleeping at the bus station he saw last night. The song has
gone through some changes from the original. On the LIVE
album, the song has altered to a more funk feel with a muted guitar constantly
holding the rhythm. Each line has a longer separation, too.
LIAM: He's hoping to be saved every night
when he goes there. I was thinking a little of all those characters you see
in the corners of Irish pubs. A lot of people who would devote their lives to
the bottle would once have devoted their lives to something else. Somebody
else. It's a long road from there. It's quite a nice side-step from life though.
Something to revolve your life around if you can no longer handle revolving
around it, around a woman or a god. (Speaking to Melody Maker in 1988).
Trivial Fact: Fiachna breaks a string
during the live performance of this song on the video 'Take A Last Look At The
Sun' and still plays on…
LIAM: The desire to reach the other side. There's an ambiguity about
it. Like 'Don't Go', it can be taken as a love song, though it's another song
about Eamon passing away. I'm not sure if I know what Heaven really is. It might
depend on my mood on the day. Sometimes I feel more… um, enlightened. Sometimes
Heaven might be a place on Earth. A new life. The promise of something new.
A possible Heaven. A Heaven where there are no bodies so man and woman, man
and man, are the same, almost merging their souls. (Speaking to Melody Maker
in 1988).
LIAM: It's a last farewell – 'if you go, I hope you get there, if you
get there, I hope you like it' – kinda like a hail and farewell to someone who's
going for the last time. By the same token it's saying 'don't go easy -fight!'
People connect with that and take from it what they want. The feel of the song
is greater than the words sung. (Speaking to New Musical Express in 1988).
LIAM: It's like walking. The way it moves. Like the sea too, perhaps.
When I sing, 'like a child touching age', it's a child touching adolescence.
Finding the first moments of adolescent knowledge. Thinking it's going to be
easy now you've grown up. That's my own experience. Then we're proven wrong.
You can't predict things. You can choose what colour slippers you're going to
wear, but you can't know when somebody is going to walk out of your life. You
just assume that they won't. Finding perfect love. That's one of the real answers.
I'm not sure it's the only answer. There's a lot of unattached people who find
a meaning to life in solitude. People who are willing to live with themselves,
alone. It's terrifying. When I talk about searching out the answers, I'm thinking
about other people too. Most people are, I'm sure, searching out the answers
to mysteries. They fall in love with mystery and that's a trap. We're all led
by mystery. Money is a mystery to us. We don't know what the mystery is until
we have money. Then we find out it's not a mystery at all. Neither does it solve
everything. Playing the Eurovison thing had mystery, but it had more to do with
going to Europe to do the video. The travelling. The adventure, if you like.
(Speaking to Melody Maker in 1988).
LIAM: 'The Older We Get' is about a specific issue – how society treats
older people, marginalises them. (Speaking to New Musical Express in 1988).
LIAM: It's also self-reassurance.
As much as reassuring someone else. Even when there's pain to consider. Yeah,
devotion. A very personal one. (Speaking to Melody Maker in 1988).
(This version is not the same as the single version which Maria Doyle Kennedy
appears on. This version was recorded for the album. The single being recorded
with Mother Records. Check out the 1998 version (very different) which appears
on the B-side of 'You Can Love Me Now'.)
LIAM: A more negative
look at love, sure. The idea that you can't fall in love with mystery. That
you simply have to fall in love wit her, you're only in love with what you don't
know about her. The beauty of summer is only what you missed in that summer
gone. People putting love on a pedestal. Not meeting love head on. That comes
back to mystery. (Speaking to Melody Maker in 1988).
LIAM: The turning point was the single. 'Love Don't Work This
Way.' (Speaking in 1989).
LIAM: Just before we got together as a band, my friends were
listening to Joe Tex, Otis Redding, Marvin Gaye and the whole Motown thing –
we were all dancing to it. That was a big inspiration for the music that I wanted
to do. When we started, I sang with this black soul voice and 'Love Don't Work
This Way' came out of that inspiration. (Speaking to Hot Press in 1998).
LIAM: The set is almost Hollywood. You can imagine the sand. The saloon
bar. The silence as he moves in. Yul Brynner could be that man. What a man,
Jesus!The man is told to leave. He's very understanding. He leaves. I don't
know if it is right to tell him to leave. Everyone has a right to arrive. I
have a feeling though that guy in the black boots is a happy-go-lucky. He might
just fall in love with the girl for one night and leave her, hurt. I see bits
of myself in both these characters. I don't know if I was trying to work something
out writing the song. Jealousy is in there. That horrible feeling. The feeling
you sometimes can't do anything about. (Speaking to Melody Maker in 1988).
(The song was released as a single.)
LIAM: It does take on a lot. It does sound quite anthemic at times.
The essence of it, for me, is in the chorus. The importance of maintaining a
direct link right down to the roots, to the ground. Times are changing and things
are moving faster. My head isn't exploding now. I haven't come across anything
worse now than I found before. I guess I'm saying that I want to know, that
I want to understand. Dealing with times of trouble… this song might be a
way of pinning things down. Reminding myself what it's all about. We need anchors,
yeah. That's what is good about a wife or a close partner. Someone who will
tell you when you're wrong. Someone to straighten your tie. (Speaking to Melody
Maker in 1988).
– – – – –
Label: SIRE/WEA
Release date:
UK 1st January, 1988.
US CD 25th October, 1990.
Catalogue Numbers:
ASIN: B00004T4B3 Cat: 35045.
Limited Edition CD ASIN: B00002DE0K
Additional images and extensions
'People' Japanese release without 'Lonley Lane' and 'Saved'
Promotional sample LP with lyric insert, picture sleeve and matching obi-strip
Catalogue Number: L28P1265
'People' audio tapes
'People' Songbook
Conversation and Music with Hothouse Flowers – US promotional release 12″
Dave Fanning interviews the band between songs
01. Don't Go (excerpt of busking version)
02. Kansas City (excerpt of busking version)
03. It'll Be Easier In The Morning (excerpt of album version)
04. Feet On The Ground (excerpt of album version)
05. Don't Go (excerpt of album version)
06. I'm Sorry (album version)
Label: London Records
Catalogue Number: SA085
'People' Sampler (UK) 5 track promotional release 12″ vinyl. Same track
listing on both sides
01. Don't Go
02. Easier In The Morning
03. I'm Sorry
04. Hallelujah Jordan
05. Ballad of Katie.
Label: London Records
Catalogue Number: HOT-1 or LONLP58, 828101-2.


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BELGIUM: CDM Group sold its CDM Track business unit to Pandrol with effect from January 6, as part of CDM's strategy to focus on noise and vibration isolation systems in the building and industry markets.
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Assignment: Agenda Comparison Grid and Fact Sheet or Talking Points Brief
It may seem to you that healthcare has been a national topic of debate among political leaders for as long as you can remember.
Healthcare has been a policy item and a topic of debate not only in recent times but as far back as the administration of the second U.S. president, John Adams. In 1798, Adams signed legislation requiring that 20 cents per month of a sailor's paycheck be set aside for covering their medical bills. This represented the first major piece of U.S. healthcare legislation, and the topic of healthcare has been woven into presidential agendas and political debate ever since.
As a healthcare professional, you may be called upon to provide expertise, guidance and/or opinions on healthcare matters as they are debated for inclusion into new policy. You may also be involved in planning new organizational policy and responses to changes in legislation. For all of these reasons you should be prepared to speak to national healthcare issues making the news.
In this Assignment, you will analyze recent presidential healthcare agendas. You also will prepare a fact sheet to communicate the importance of a healthcare issue and the impact on this issue of recent or proposed policy.
To Prepare:
- Review the agenda priorities of the current/sitting U.S. president and the two previous presidential administrations.
- You will use the same topic from last weeks discussion related to healthcare that was addressed by each of the last three U.S. presidential administrations.
- Reflect on the focus of their respective agendas, including the allocation of financial resources for addressing the healthcare issue you selected.
- Consider how you would communicate the importance of a healthcare issue to a legislator/policymaker or a member of their staff for inclusion on an agenda.
The Assignment: (1- to 2-page Comparison Grid, 1-Page Analysis, and 1-page narrative) with a title page, an introduction, purpose statement, and a conclusion. This is an APA paper.
Part 1: Agenda Comparison Grid
Use the Agenda Comparison Grid Template found in the Learning Resources and complete the Part 1: Agenda Comparison Grid based on the current/sitting U.S. president and the two previous presidential administrations and their agendas related to the public health concern you selected. Be sure to address the following:
- Identify and provide a brief description of the population health concern you selected and the factors that contribute to it.
- Describe the administrative agenda focus related to the issue you selected.
- Identify the allocations of financial and other resources that the current and two previous presidents dedicated to this issue.
- Explain how each of the presidential administrations approached the issue.
- At least 3 resources must be used
Part 2: Agenda Comparison Grid Analysis
Using the information you recorded in Part 1: Agenda Comparison Grid on the template, complete the Part 2: Agenda Comparison Grid Analysis portion of the template, by addressing the following:
- Which administrative agency would most likely be responsible for helping you address the healthcare issue you selected?
- How do you think your selected healthcare issue might get on the agenda for the current and two previous presidents? How does it stay there?
- Who would you choose to be the entrepreneur/ champion/sponsor of the healthcare issue you selected for the current and two previous presidents?
Part 3: Narrative
Using the information recorded on the template in Parts 1 and 2, develop a 1-page narrative that you could use to communicate with a policymaker/legislator or a member of their staff for this healthcare issue. Be sure to address the following:
- Summarize why this healthcare issue is important and should be included in the agenda for legislation.
- Justify the role of the nurse in agenda setting for healthcare issues.
- The response fully integrates at least 2 outside resources and 2-3 course specific resources that fully supports the summary provided.
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