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Live Aid and the rise of 'charity rock' in the 80s
If you care to watch the 1984 Band Aid video, 'Do They Know It's Christmas?' (I advise you think carefully before doing so), you will see some of the worst haircuts ever sported by humankind – or rather, by mankind, as all the worst offenders are men. Simon Le Bon, Bono, Paul Young, George Michael: it's a roll-call of hirsute horror. Only three women – the ladies of Bananarama – featured in the original Band Aid ensemble, and none of them get a prominent vocal spot. In their rush to feed Africa, songwriters Bob Geldof and Midge Ure left gender equity by the wayside.
Blow-dried mullets are not the only aspect of Band Aid, and the attendant rise in rock n' roll charity fundraising that it spawned, which retrospectively appear in bad taste. Band Aid is at once overblown as a spectacle and, as a response to the famines ravaging Ethiopia during the 1980s, manifestly inadequate. 'Do They Know It's Christmas?' brought together a bunch of wealthy rock stars, and the British public bought the song in droves, making it the highest-selling UK single of all time until Elton John's similarly mawkish 'Candle In The Wind' (in memory of Princess Diana) eclipsed that sales record. No doubt everyone's desire to help was genuine. But lyrically, the song creates an insurmountable barrier between the rich (participating musicians, the listening public) and the poor (those other people, over in Africa), whose suffering becomes an object of pitiable contemplation. Bono even sings at one point 'Well tonight, thank God it's them, instead of you'. Someone's gotta starve, eh? Glad it's not me!
So how did a severe famine in an impoverished African country, created by a complex array of political, environmental, and economic factors, become a cause celebré in affluent Western countries? In one word: television. The horrific conditions of the 1984-5 Ethiopian famine were brought home to British audiences via news broadcast – the BBC were the first foreign television network to report on the famine, in October 1984 – much in the way that the Vietnam War had been, for American audiences in the 1970s, their first televised glimpse of a battlefield. The response, naturally, was more television. The video clip for 'Do They Know It's Christmas?' was put together, like the song, in little more than 24 hours and rushed into high rotation, while Band Aid's accompanying 1985 concert Live Aid was watched globally by an estimated 2 billion people.
Bob Geldof was one, very well connected viewer prompted to action by the news reports. His Irish band The Boomtown Rats, who rode the crest of New Wave into number one with 'Rat Trap' in 1978 and 'I Don't Like Mondays' in 1979, had pushed him into the milieu of jet-setting rock stars, and he called upon all of them (using a Rolodex, perhaps?) for his hastily-conceived Band Aid plan. The song was co-written with Midge Ure, of Ultravox, and utilised the combined talents of – well, if you really need to know, watch the video. David Bowie was drafted to contribute but couldn't make it. Boy George was flown by Concorde from New York to London in order to record his lines, at which point the unintended irony metre had to be sent away for repairs.
Celebrity was Geldof's main criteria for Band Aid: he wanted huge stars to ensure huge sales. On that level, no one can deny the success of his formula, which was swiftly repeated in the US with 'We Are The World' (Bruce Springsteen, Michael Jackson, Stevie Wonder, et al). The air of 19th century philanthropy that clung to Band Aid – See these generous rich people! Doing things for free! – showed up the fact that by the mid-1980s, popular music was not just big business, it was respectable business. Rock stars were no longer a tacit threat to the social order: bigger than Jesus they might have been, to use John Lennon's phrase, but that was just fine. Celebrity musicians became substitute politicians, which says as much about the reduction of politics to populism as it does about the fuzzy 'inclusiveness' of stadium rock. At political rallies and arena concerts, the idea was the same: raise your hands in the air and sing along.
Live Aid certainly managed that: held on 13th July, 1985, it brought over 70,000 people to London's Wembley Stadium and close to 100,000 at the John F. Kennedy Stadium in Philadelphia. An Australian version, Oz for Africa, was held at the Sydney Entertainment Centre on the same day. In the UK, the concert cemented U2's live reputation and gave glam rock titans Queen the opportunity to lead the crowd in fervent self-congratulation with 'We Are The Champions'. INXS, then at the height of their fame, headlined Oz for Africa with Countdown's Molly Meldrum as host.
Live Aid has been used as a template ever since for large-scale charity concerts that combine live music, television and radio broadcasts, and an element of home-viewer fundraising, generally a telethon. The most recent local examples have been Australia Unites, held on the forecourt of the Sydney Opera House in early 2005 to raise money for victims of the 2004 Boxing Day tsunami, and Sound Relief, in March 2009, for those affected by the Victorian bushfires and the Queensland floods that year. Like Live Aid, Sound Relief was held at two venues simultaneously – the Sydney and Melbourne Cricket Grounds – and featured a line-up of contemporary, early 00s favourites (Wolfmother, Eskimo Joe), reunited oldies (Midnight Oil, Hunters & Collectors), and Jet, who literalised their name by flying cross-country between both venues. Also, Kings of Leon had the tact not to perform 'Sex On Fire'.
The million-dollar question – literally – pertaining to Band Aid, Live Aid, and its many subsequent imitators, is where does the money go? The BBC was forced to apologise to Bob Geldof in November 2010 after airing a series of reports which suggested that money raised by Band Aid for famine relief in Ethiopia had instead been diverted to armed rebel groups. The fact that some aid money had been used for such a purpose was not in dispute, but whether or not any of this money had originated from Band Aid. Geldof insisted no, and after initially standing by its reports, the BBC apologised without reservation.
But the difficult issue remains of how humanitarian fundraising, particularly in massive amounts, is distributed in a way that ensures it helps, rather than hinders, the people it was intended for. Aid expert David Rieff has raised detailed concerns that a good proportion of the roughly 50 million pounds raised by Geldof's musical charity went to NGOs who colluded in the forced resettlement of more than half a million Ethiopians. "There is no necessary connection between raising money for a good cause and that money being well spent," wrote Rieff in British newspaper The Guardian, "… there is ample reason to conclude that it [Live Aid] did harm as well as good." (June 24, 2005). Somewhere between 50,000 to 100,000 people died in the resettlements – likely as many as were saved from famine by fundraising efforts. As most rock stars know from experience, a lot of money can be a dangerous thing.
Anwyn Crawford
Sampling: the 80s
Music was transformed by digital technology in the 1980s, in ways that are still reverberating today. The compact disc promised 'perfect sound forever', and led to later formats such as DVD and Blu-Ray. Digital synthesizers and signal processors, and the MIDI protocol through which they communicate, made for increasingly compact, sophisticated and affordable production environments, as well as the proliferation of home studios, which can now be powered by just a laptop. And the sampler opened up radical new sonic possibilities, changing audiences' ideas about music, and leading to new genres such as mash-up.
The sampler is a a type of electronic musical instrument that is a close relative of the synthesizer. Whereas synths typically generate particular kinds of sounds, such as square waves or sawtooth waves, a sampler can record and play back any sounds.
My first encounter with sampling was as a 13 year old boy soprano, on tour with my school's choir and orchestra. While watching the TV in a hotel lobby, a striking music video appeared, in which a punk child and her accomplices took to orchestral instruments, including a grand piano, with a chainsaw and other power tools, with the music seemingly incorporating the sounds of those tools (it was actually a sampled car engine – a Volkswagen Golf to be precise). The artists had captured the attitude of punk's year zero, of destroying the past to create the future, but at the same time the work was incredibly catchy. I couldn't get the sounds or images out of my head. My musical world had changed forever.
The band was Art of Noise and the song was "Close (To the Edit)":
Art of Noise was an initially faceless group of technicians, producers, composers and writers. The team had been assembled in 1981 by super-producer Trevor Horn, to work on ABC's classic The Lexicon of Love album. Team members Gary Langan and JJ Jeczalik specialised in programming the then new Fairlight sampler (about which more later). It was while experimenting with sampled drum out-takes from one of Horn's previous bands, Yes, and combining them with 'non-musical' sounds, that the idea for Art of Noise was born. With the addition of classically trained composer Anne Dudley, and NME music journalist Paul Morley, the team was complete.
Morley named the group Art of Noise as a reference to Luigi Russolo's 1913 Futurist manifesto, The Art of Noises.
Futurism was an Italian art movement of the early 20th Century that celebrated technology, speed, violence and noise. It was the punk of its era, with founder Filippo Tommaso Marinetti declaring that "we want no part of it, the past".
Marinetti was also a pioneer of sound poetry. His 1912 sound poem Zang Tumb Tumb (also the name of Art of Noise's record label) inspired Russolo to write his Art of Noises manifesto, which proposed a new form of music: "Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound".
Russolo invented machines, called Intonarumori, to realise his musical ideas. These devices simulated industrial sounds, and could be considered a precursor to the sampler.
Futurist ideas would have a profound influence on art and music in the 20th Century.
The Dada movement which followed on from Futurism, and was considered by some to be anti-art, brought in the use of found objects such as the urinal of Marcel Duchamp's Fountain (1917), and expanded the use of collage through the cutup poems of Tristan Tzara.
American avant-gardists picked up on these ideas, with composer John Cage predicting in 1937 that the music of the future would include "all sounds", and suggesting the use of optical film as a medium for composition. This was before magnetic tape, which only became available after World War II.
In Paris, Pierre Schaeffer developed Musique Concrète ("real music") using recorded sounds and the technology of the radio studio, such as turntables and later, magnetic tape. This electroacoustic approach would inspire other avant-garde composers such as Karlheinz Stockhausen.
Stockhausen fans The Beatles brought sound collage to the masses with their infamous "Revolution No. 9", and used the Mellotron, a keyboard tape loop instrument that was a precursor to the sampler, on songs such as "Strawberry Fields Forever".
Inspired by Tzara, Beat writer William S. Burroughs and Brian Gysin did their own tape cutup experiments, concluding "when you cut into the present, the future leaks out". These experiments went on to influence many artists, from David Bowie to industrial pioneers Throbbing Gristle.
Tape became more accessible through the medium of cassettes, allowing a new generation of DIY artists, inspired by punk and industrial to experiment with cutups and found sounds. This was the background from which sampling emerged.
Sydney company Fairlight, founded by Peter Vogel and Kim Ryrie, created the first commercially available sampler, the Fairlight CMI (Computer Music Instrument) in 1979. Way ahead of its time and featuring a light pen interface and three dimensional waveform display, it was also expensive at about £18,000, putting it out of reach of the average musician. Pop stars, however, became enthusiastic users, enabling them to feed an audience hungry for new sounds.
The musical aesthetic of sampling was largely determined by the available technology. The tiny (by today's standards) memory meant that only short sounds could be used. This staccato approach was exemplified by the Fairlight's ORCH5 orchestra sample – one of the defining sounds of the '80s. One way of overcoming this limitation was to loop sounds, creating drum loops, or atmospheric 'pads', often extended through the use of another great 80s sound: digital reverb.
Here's a cute video of Peter Vogel demonstrating the Fairlight CMI on ABC TV:
Kate Bush's Never for Ever (1980) was the first commercially released album to include the Fairlight. She had been introduced to the instrument by Peter Gabriel who was a Fairlight enthusiast and whose brother in law became the UK distributor. For artists such as Gabriel and Bush, the Fairlight provided unprecedented control over the sound of their music. As Bush said:
"I took one look at it and said, 'This is what I've been looking for all my life.' I couldn't believe the Fairlight. It's called a synthesizer, but many of its sounds are of natural source. To be able to play with strings, waterfalls, anything you want, it's wonderful."
Kate Bush with Fairlight. Source.
The Fairlight was soon embraced by other pop stars, such as Thomas Dolby ("Hyperactive") Jean Michel Jarre (especially the underrated masterpiece Zoolook) and Yello ("Oh Yeah"), making it one of the most important contributors to the '80s pop sound.
By the mid-'80s sampling had become ubiquitous with the emergence of electro and house music, and a range of more affordable samplers being produced by companies such as Akai, Roland, E-mu, and Ensoniq.
M/A/R/R/S "Pump Up the Volume" is one of the defining tracks of that era.
Synthetic TV presenter Max Headroom represented this new aesthetic with his stuttering, glitchy approach to presentation. He even featured in the Art of Noise song and video clip, "Paranoimia".
Meanwhile back in Australia, post-punk experimentalists such as the now legendary Severed Heads had long been incorporating found sounds into their music using DIY techniques involving turntables, tapes, and samplers.
In 1986 Severed Heads' Tom Ellard demonstrated sampling on national television:
Pioneers of multimedia, Severed Heads went on to use another Fairlight invention, the CVI (Computer Video Instrument).
Hip hop, founded on the concept of two turntables and a microphone, was a natural home for the sampler. Instead of laboriously looping beats by juggling records, producers could create loops with the sampler, and layer multiple loops and other samples together. This explosion in creative possibilities led to the golden age of hip hop.
On albums such as It Takes a Nation of Millions to Hold Us Back, Public Enemy sampled iconoclastic black artists including Thelonious Monk and Jimi Hendrix, to create a rhythmic noise that was some of the most radical pop music ever made, both politically and sonically. As well as using samples in their music, hip hop artists such as Eric B & Rakim found themselves being sampled heavily by other artists.
Public Enemy's Flavor Flav famously rapped "you can't copyright no beats". Unfortunately for the golden age of hip hop, he was wrong. De La Soul got into trouble for the use of uncleared samples. At around the same time, experimental sample-based artists such as John Oswald ("Plunderphonic") and Negativland ("U2") also fell afoul of copyright law, driving such music underground until the eventual emergence of Napster and mash-ups.
However samples continued to be a feature of '90s pop. Art of Noise were themselves sampled by many others, perhaps most notably on the Prodigy's hit "Firestarter" which included the famous 'hey' from "Close (To the Edit)".
Digital audio, as pioneered by sampling, fed into the rise of DAWs (Digital Audio Workstations) such as ProTools, forever changing music production, along with more experimental techniques such as glitch and granular synthesis. These all paved the way for the mash-up culture in which we now live. For this we have the 80s to thank, with its visionaries such as Fairlight, who are currently bringing the 80s back with a retro-looking sampler and an iPad app based on the CMI.
Club Hordern: A retrospective
Triggered somewhat by our '80s Are Back' exhibition, Mark Murphy discusses his memories of the Club Hordern Parties in the 80s, with Richard Weiss, one of the 'Sweatbox' party organisers.
I had heard about the Hordern parties from a neighbour when I was living in The Cross in 1989. He was into rock music and I overheard him talking about the Hordern as if it was another planet – thousands of people dancing, this new drug called ecstasy, crazy music pumping out from massive wall-to-wall speakers. He had never seen anything like it.
In my mind, I was already there.
The party I decided on was called Sweatbox 'Meltdown'. I got my ticket, and not really knowing anyone in Sydney, ventured to the venue on my own. I will never forget the entrance. It was like going through a silver vortex. They had al-foiled the entrance as a tunnel and when you came out to the dance-floor there were three cherry-pickers with lights in the tops sitting in the middle of the dance floor. Thousands of people were wildly dancing to a pounding beat. I walked out of there feeling like I had discovered a new world.
House music was starting to froth and Sydney was becoming one of the house music capitals of the world. Acid was the sound of the UK Summer and it was also swamping Sydney. The Hordern became known as 'Club Hordern' by the underground.
Richard Weiss was one of the people behind the 'Sweatbox' parties. I have gotten to know him over the past few years (we travel in the same circles) and I have fondly recalled to him how he changed my life.
With the 'The 80s Are Back' exhibition at the Powerhouse Museum displaying some posters and creating a space for the house music culture which was as much about the 80s in Sydney as leg warmers and fluoro, I thought I'd sit down and have a chat to Weiss to see if he remembers anything of the era and what it meant to him.
Tell us about your early days in Sydney in the 80s as a clubber? What were the clubs you frequented/the music/the drugs? What was your first promoting event and tell us how that came about? Who were the DJs and where?
I returned from a couple of years away living in London and Barcelona with a head full of ideas. 'Stranded', the archetypal Sydney nightclub, was on its way out and Sydney needed something fresh. My first club was 'Adrenalin' at the Hip Hop club in Oxford Street. It was moderately successful, but ultimately didn't last. It did however lead me to my first successful club, 'Meltdown', which opened on the first night of the newly renovated 'SITE' in Victoria Street, Potts Point. Designed by the brilliant Ian Hartley, it was just what Sydney needed. Suddenly, I was in the right place at the right time. House music was nascent, ecstasy was novel, and I was on the ball. 'Meltdown', with its hard edge aesthetic, elitist door policy, and mixed crowd (sexuality was not the issue) took off. The music was a combination of house and acid beats, hip hop, go-go, early electro and funk. The original Meltdown DJs were Pee Wee Ferris and Stephen Allkins. From memory, Allkins went overseas and a young Ben Drayton took his place.
When did house music start filtering through here. Can you remember hearing it for the first time and your thoughts on it?
I was a dedicated reader of the NME (New Musical Express) and had read about this new style of dance music coming out of Chicago, in particular, called 'house music'. But, as Elvis Costello once said, "reading about music is like dancing about architecture". Yet one night, at the Midnight Shift in 1986 I guess, I heard 'Love Can't Turn Around' by Farley Jackmaster Funk and thought, "That's house music – and I love it!!" I tracked down a 'sampler' album of Chicago House and David Milton (owner of the Hip Hop Club and later SITE) returned from a trip to the UK bearing gifts, including 'Acid Beats' – a sampler album of acid house, and a 'Summer Of Love' graffiti style T-shirt with a big fluoro smiley face on it (this shirt – a little worse for wear – is now in the Powerhouse Museum collection).
RAT parties started getting a name in the underground. Were they the first to do the big parties?
I believe so. Up until then, only Mardi Gras & Sleaze Ball had attempted parties on such a vast scale. I think RAT was the first private enterprise party group to tackle the Hordern and ultimately the Royal Hall of Industries. They had outgrown their previous venues, including the old Balmain Bijou, Bondi Pavilion and Paddington Town Hall.
The Hordern is a massive space. When did you decide on putting Sweatbox there? How did that come about?
I was standing in the Hordern at a RAT party, looking up at the vast ceiling and rigging and thought, "how does anyone even begin to know how to put something of this scale together?" My confidence was sky-high as the result of the success of Meltdown…and I was young and reckless, I guess. All I know now is that within 12 months of that moment, I had decided to take a float in the Mardi Gras parade, promoting 'Meltdown Sweatbox' – trusting that the Meltdown brand would springboard into this new, much larger environment. One week after the Mardi Gras Parade and Party in 1989, Meltdown Sweatbox was held at the Hordern. A crowd of 4000 (close to a sell-out) attended.
Tell us about the costs of the first one and the what you wanted from it?
I certainly didn't have the sort of funds necessary to put on a party at the Hordern. I was backed by the owners of SITE – they took the risk, but also 50% of the profits. This remained the case for the first 3 or 4 parties, until we could afford to back the parties ourselves (by this time I had gone into partnership with Victor Li). Ultimately, Sweatbox was an opportunity to express ourselves creatively, on a vast scale. The satisfaction of seeing something grow from the seed of an idea to a huge event, enjoyed by thousands, is incomparable…for me anyhow. Sure we wanted to make money – we needed to in order to put on the next party – but we never sacrificed that creative satisfaction in order to make a few extra bucks.
How many people went to your parties? Did you always sell out?
I guess tens of thousands of people attended at least one Sweatbox party – many experienced most of them and some were at them all. Sometimes we had sell-outs and made a lot of money. Once or twice we lost money. In the end, after a couple of parties which just broke even, after so much work, we decided to call it quits.
How many Sweatboxes were there? Tell us a little about some of the best ones?
I'm not exactly sure….about ten I guess, maybe more.
'Meltdown Sweatbox' had an industrial theme, with three earth movers operating throughout the party, hovering over the dance floor. One had a lighting rig attached (including a massive strobe) that moved across the floor. We built a 'mineshaft' tunnel out of scaffolding and industrial strength aluminium foil, from the front foyer which brought you out on the dancefloor. We had swing-foggers that are sometimes used on film sets to create fog, and cement mixers spewing out dry ice. There were no coloured lights at all….only white light cutting through the blackness.
We contrasted that with our second party 'Let Them Eat Cake' which which was pure opulence…a rococo palace with multi-leveled chequerboard dance floor which formed a pit in the middle of the room. Above this hung a giant chandelier, with a fabric canopy creating a false ceiling. We hired in classical pillars and statues and painted everything gold. The lighting was jewel-like. It was a challenge to make this big black box of a room feel soft and elegant.
'Royal Command' was a performance-based surrealist event with hourly 'happenings' that included a bagpipe band that marched through the crowd playing along to an acid house track; a vast Chinese dragon snaking its way through the dance floor and a live 'mix' of Voodoo Ray where Pee Wee mixed from the record to a live percussion ensemble with vocalist and then back into the record.
These were just a few of our parties which became known for strong design elements and themes. A big shout out to Paul Hinderer, our designer for the first 3 or 4 parties, who was instrumental in taking our design ideas and realizing them so beautifully.
Tell us about the music. Did you want anything special or did you know the DJs and trust them?
We booked our favourite djs who understood what we were trying to achieve. We always held DJ meetings and briefed them thoroughly on the theme and discussed time slots, but with the exception of the occasional track (sometimes for a 'moment' during the night, or the last song of the night) they had full creative freedom. Back then, the music would 'wind down' during the last hour or so – for me, the last part of the night was invariably the best. On occasion, I would DJ the final hour of the night myself.
Why do you think the Hordern finished. Combination of media/popularity/cops?
In the exhibition at the Powerhouse Museum, the actual letter (which I had in my possession…go figure), calling a halt to all-night parties, is on display.
Basically the Moore Park Residents Group, or whatever they were called, lobbied so relentlessly, that they won the battle. Once the Hordern was no longer available for all-night parties (apart from Mardi Gras, Sleaze and Pride New Year), we were forced to find other venues but none had such a great location, history, and such decadent grandeur. I also remember 2 or 3 times, paying a lawyer to be present all night (expensive!) to protect the rights of the punters once sniffer dogs arrived on the scene. I wonder if anyone does this anymore?
Did you do stuff in the 90s?
Yes the last parties we did, mostly at Alexandria Basketball Stadium, were in the early 90s. We put on some great parties and some sold out but they lacked the scale of the original Hordern parties. Victor and I were also invited to co-produce Sleaze Ball in '91, I think the theme was 'Fetish' and it was amazing! I was then asked to co-produce 'Hand in Hand' for ACON on the June long weekend, which I did with David Wilkins, for 5 years. By the mid 90s I was getting a lot of work as a DJ – my first big gig was playing the Dome at Sleaze Ball in '94.
It was really a special time in Sydney. Are you glad it's all over? What are your memories
I just feel really privileged to have lived through that era and to have played a small part in a special time. Now it's just a blur of 3-day weekends, dancing to great music, hard work, and serious fun.
Funny Sweatbox stories?
Too many… the collapse of a raised bridge full of people during 'Let Them Eat Cake' (not so funny at the time – amazingly no one was hurt); watching a now famous Hollywood director swallow a pill, chuck it up, swallow it again, chuck it up…over and over; having a massive projector (well it was the 80s) stolen from the the ceiling of the Hordern during a party and whilst projecting onto a vast screen on the stage (also funnier in retrospect than at the time).
How do you feel about being included in an exhibition at the Powerhouse Museum?
Like a contented dinosaur.
This article was first published on the Spank Records blog. Thanks to Mark Murphy for sharing.


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MACOMB, Ill. - IPFW left fielder Carter DeBoe hit two long home runs and the Mastodons (15-33, 7-13) won the series finale, 8-5, with Western Illinois (15-30-1, 5-15) Sunday (May 6) at Alfred D. Boyer Stadium.
Leatherneck starter Nick Smith (3-6) allowed five runs (four earned) and five hits over 4 2/3 innings. He struck out four Mastodons and walked three.
Dan Dispensa went 4-for-4, scored and drove in a run. Tom Lilja (2-for-4) hit his third home run of the season in the sixth inning and scored two runs. Austin Cowen (2-for-3), Nick Milligan (1-for-5) and Rich Mascheri (1-for-3) also collected RBIs for the Fighting Leathernecks.
Western Illinois wasted no time jumping ahead of IPFW. Dispensa singled through the left side and advanced to second on a wild pitch in the first inning. He scored on Cowen's one-out double down the left field line and Cowen trotted home on Milligan's single through the right side.
Mike Mugg homered with two outs in the second inning to put IPFW on the scoreboard. The Mastodons again used the long ball to go ahead in the third inning. Clay Hathaway singled up the middle with one out and scored on DeBoe's two-out homer.
Matt Igara drew a walk to lead off the third inning and eventually scored to tie the contest. He advanced to third on a wild pitch and Cowhey's infield single. Mascheri drove home Igara on a single to left field while Cowhey was thrown out at second base.
Western Illinois took the lead again in the fourth inning. Lilja doubled to left center to leadoff and advanced to third one out later. He trotted home on Dispensa's single up the middle to put the Fighting Leathernecks up 4-3.
IPFW was aided by two Western Illinois errors and took a 6-4 lead in the fifth inning. A one-out walk scored on a throwing error and a passed ball. Malcolm White walked with two outs and DeBoe singled him to third base. White scored on a fielding error and DeBoe ran home when Kristian Gayday was picked off first base.
Lilja hit the fifth pitch of the bottom of the sixth inning deep over the left field fence to trim the IPFW lead to one run. DeBoe put IPFW ahead by three runs with a long two-run home run, his second of the afternoon, in the top of the seventh inning.
IPFW starter Travis Reboulet allowed four runs and nine hits over four innings. He walked four Leathernecks and struck out one. Steve Danielak (5-2) was awarded with the victory after allowing one run over five innings out of the bullpen.
The Leathernecks travel to Normal, Ill. for three games at Illinois State beginning on Friday, May 11 at 4:30 p.m. at Duffy Bass Field.


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Information on Birth Control Pills »
"What are birth control pills and how do they work?
Birth control pills are also known as oral contraceptives (OCs) or, simply, "the pill." They offer protection against pregnancy by blocking the union of sperm and egg, thereby prevent"...
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Oral contraceptives should not be used in women with any of the following conditions:
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Cerebrovascular or coronary artery disease
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Known or suspected pregnancy
This monograph has been modified to include the generic and brand name in many instances.Last reviewed on RxList: 12/12/2008
Aviane FDA Prescribing Information
Additional Aviane Information
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
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Backpack first
Trip Start
Jul 24, 1999
Trip End
Oct 02, 1999
Before long my station appeared from nowhere and I again through myself about backpack first out the door. I was picked up at the station by some hostel staff touting for business and was quickly settled into the hostel and paid up for two nights.
I then wandered into town. I managed to reach the old Town Square dominated by the townhall tower, statues and the cloth hall with markets inside the yellow renaissance hall dating back to the 16th century. At night I took in the atmosphere before heading back for another well earned sleep.
The next day I headed to the Wawel Castle and Cathedral and then worked my way round to the 'Dragons Cave' a cave with a statue of a dragon that spits fire every few minutes. Awesome!
Had a Pizza and a beer for lunch before checking out tickets to Budapest. After that I headed to the Florian Gate and the Barbican, a defensive bastion built in 1498. I hung around in the lively old square before going back to the hostel to get my tripod and then taking a few snaps that night.
On my final day I had left the hostel by 8.30 fully equipped with backpack and headed straight to the station to buy my ticket that ended up cheaper than quoted yesterday, I also stashed my pack here. After that I headed back to the square to chill out before having Pizza again for lunch and wandering round other parts of Krakow. At 8pm it was finally time to catch my train.


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I live in a tiny house that's 128 square feet -- smaller than your average parking space -- and I've never been happier.
Nine years ago, I was working a successful job in investment management, shared a huge apartment and two cars with my husband Logan, and was miserable.
I lived in Davis, California, where I was commuting two hours a day, stuck in traffic, saddled with $30,000 of debt -- mostly from student loans -- and constantly stressed. I started using shopping as an outlet for my emotions. Instant gratification! When I shopped, I felt better and didn't have to deal with whatever else was on my mind.
Then one day, Logan suggested we "downsize," get rid of our junk and move to a smaller space. He saw how stressed I was over my job, and knew how badly I wanted to go back to school and work in the non-profit world.
My response was pretty firm: no way.
I liked having a car and space in our home for guests. He was suggesting we get rid of our cars, but what if the cat got sick -- how would we drive to the vet's office? What if our parents got sick -- how would we help them? For a long time, we held back on sizing down because of all of the "what if's."
But then we started defining our values and reprioritizing. I started reading a lot about living simply. We realized that the life we had fallen into wasn't what we really wanted. I asked myself: Why was I spending time stuck in traffic to earn the money for our rent when I could be building my relationships or volunteering, for the things that were most important to me?
After much debate and discussion -- not to mention pro/con lists -- we decided the time had come to live a little smaller.
So We Took the Plunge!
We started downsizing in 2005, and in 2006 we made our first big move: switching from a 1,200-square-foot apartment into an 800-square-foot one-bedroom in downtown Davis. We also sold one of our cars. With one car and a lower rent, our debt slowly started going down.
With these reduced expenses, Logan and I finally had the time and energy to prioritize our life goals and focus on our health and happiness. We thought seriously about the stuff we had, and between friends, thrift stores and Freecycle, slowly continued scaling down.
Then came the tipping point: On New Years Eve 2007, Logan showed me an online video where a woman, Dee Williams, showed off a beautiful, sustainable 128-square-foot tiny house. Dee owns a small woodworking company and built the house herself, using salvaged cedar, torn-up jeans for insulation and solar panels for energy. She also put the house on wheels, which let her drive it to Olympia, Washington, where friends let her "park" in their grassy backyard.
The Moment We Knew We Wanted a Tiny House
A tiny house like Dee's seemed affordable, liberating and just the right size. We didn't have the wherewithal to build it ourselves, so we reached out online and asked Dee herself to design it. She happily agreed.
We had a couple requirements: Like Dee, we wanted wheels on the house in case we ever wanted to move, and it needed to be small enough that we wouldn't need permits or official permission to drive it down the highway.
In total, the house would cost us $33,000, a little more than we wanted to spend, so I became a tiny house monster, constantly researching and talking about how we could afford our own. Once we had the house, we'd take it to Portland, where two of Dee's friends kindly offered to let us rent space in their backyard.
So we saved up, moving in 2008 to a smaller, 400-square-foot one-bedroom in Sacramento and downsizing even more. We wouldn't be taking out a mortgage or anything to pay for the house, so we needed to have the full amount in cash. It took us a couple of years, but finally we reached our savings goal. In 2008, we sold our second (and last) car.
Finally, in October of 2011, we moved into our tiny house.
Between rent, utilities and our $5 electricity bill (we plug in to the main house through an outdoor extension cord), we pay about $500 a month in general housing expenses–better than the $800 to $1,100 we were paying before. Not too shabby … and best of all, no mortgage!
Of course, we had the same fears as any new homeowners: What if we moved in and hated it?
But now, ten months after first moving to the tiny house, I can honestly say there hasn't been any buyer's regret. In fact, we love our new lifestyle.
How the Tiny House Changed Our Lives
One of the biggest effects of having less stuff and spending less was I didn't need to work at a job that made me unhappy!
Now, Logan and I can both do what we love. He finished up grad school in California, and now works in research at an Oregon health facility. I left the investment management industry and started working as a sexual assault and domestic violence victim advocate in 2007. I bounced around the advocacy field, working with crisis centers, doing research on domestic violence and working in public policy before quitting my day job in 2010 to write full-time.
I've also had time to volunteer. Between my work at an organization called Living Yoga and helping to organize an annual Portland summit of artists, I used to spend about 10 hours a week volunteering. Then my dad got sick last year, so I wasn't able to volunteer as much. Logan and I will soon be moving to his family's cattle ranch in Northern California, which involves driving the house down Highway 5. Although we've never moved the house before, we're excited to relocate where we can be closer to both our families, so hopefully I'll be able to volunteer there as well.
Our debt stress? Gone, along with our debt! It feels great not to worry about car payments, student loans or credit cards, and to own a home of our own. This financial freedom has made such a difference. Mostly, it's brought us a sense of relief.
What It's Like When Your Home Is a Tiny House
128 square feet may not seem like a lot, but it's really all we need.
We have a kitchen with a freestanding, ethanol-powered sailboat stove and a bathroom with a compostable toilet filled with moss and peat that we empty every few days, depending on how often we use it. The toilet can be removed to create a shower stall.
Our little window nook is a great sitting area that also doubles (well, triples) as the dining room and the guest bedroom. There's a garden hose attached to the house so we have water for cooking and dishes, and we filter drinking water from the faucet.
We love the house, but we are not without our challenges.
Right now we have an inversion shower, which means we have to take off the composting toilet and fix up the curtain before showering. We usually shower at the gym (I spend about $50 on membership there) but some days it would really be nice to have a true shower.
A lot of people ask if I miss my privacy, but my husband and I get along really well -- I don't see him for most of the day when he's at work, so when he comes home, I'm always glad to see him.
If we do need some personal space, he'll go for a bike ride or I'll take a walk. One benefit of having a small space is that if we argue, we can't just ignore it. I think that's good for us, to not worry about stupid arguments. And since getting rid of so many of our money worries, we definitely fight a lot less.
What Our Spending Looks Like Now
Driving hours to work (and paying for cars and gas) is definitely a thing of the past. In fact, because a lot of my work is in e-course development and writing, I mostly work from home or take a short bike ride to downtown Portland.
If Logan or I need to go somewhere -- work, the grocery store, yoga -- we'll either walk or bike. Logan bikes about 6 miles to work each day, which takes him about 30 minutes.
We do spend more on food because we buy local and organic, and we don't have a fridge (our house isn't equipped), so we shop more often. Last year, I made about $19,000 from my writing projects, which include my book advance (I wrote about our "tiny house" transition to living a much simpler life), ebook sales, freelance projects and my e-course (I teach a course on minimalism). Although that's way less than what I made at my old job, I'm doing something I love and the amount is okay when our expenses are so low.
As for my shopping bug, I find that now I don't need to shop to soothe my emotions, because my day-to-day life is much simpler and more fulfilling. When I have the urge to buy something now, usually I'll wait 30 days, just to make sure it's really worthwhile. I also try to keep a "one thing in, one thing out" rule, so if I buy a new pair of shoes, I'll donate one to charity. Just because we've downsized doesn't mean I don't want new stuff. In fact, I always want stuff! For me, it's just a matter of knowing what my buying triggers are.
I have this incredible gift of time now, so if my family needs help I can be there, and I have time left over to give back to my community. The size of our house hasn't prevented us from seeing friends and family; when we have friends visit, they can either sleep in the loft or we'll put them up in a nice hotel.
Life is always uncertain, but embracing that uncertainty has really helped. You just have to take the plunge and do things. When it comes down to it, Logan and I aren't really about austerity, but we want to spend on experiences rather than things. We save a lot, but are also able to spend extra income on going out to eat, biking, camping and traveling. I'm much more aware of my community and my environment -- I notice the seasons change and participate in my community more. Not to mention with biking, walking and eating right, I feel so much healthier.
What Other People Think
When we first started, a lot of our friends and family -- including my mother -- thought we were nuts. Now, after seeing how satisfied we are, they think we're at the head of the pack.
Whenever a friend says downsizing seems overwhelming, I just say to start small. Look at one room in your house, or one closet, and see what you can give away. Then, move to the next room. Trust me, it's pretty surprising how much stuff you really don't need.
We don't expect everyone to move into a tiny house; we know it's a little unusual. And Logan and I aren't planning on having kids, though that's not to say you can't have children and live in a small space! We all make choices about how we want to live.
All of these decisions have taken on a bigger significance since my dad passed away in June. Especially since then I've felt an intense responsibility to live my life well. I've learned that stuff doesn't matter in the long run … it's people you'll never get back. I want to make him proud.
The way we see it, everyone should be mindful of their choices. For example, I would definitely say I care about the environment, but I don't live in a tiny house because I want to save the planet. I do it because it makes me happy and gives me the freedom to do the things I want.
If the suburbs are a good fit for you, that's totally okay. If a tiny house with 128 feet and a fantastic cat is a good fit for you, that's totally OK, too.
Simple living blogger Tammy Strobel is the author of You Can Buy Happiness (and It's Cheap): How One Woman Radically Simplified Her Life and How You Can Too and self-published Smalltopia. She lives (in a tiny house) in Portland, Oregon. She writes regularly at rowdykittens.com. All images courtesy of Tammy Strobel via rowdykittens.com.
Reprinted with permission from LearnVest. Want more?
How Becoming a Mom Made Me a Financial Adult


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Tropical Fish Keeping - Aquarium fish care and resources
- Freshwater and Tropical Fish
- - Red Tailed Shark not eating!
Red Tailed Shark not eating! Hello, i have had my RTS for about 3 days now and he/she will not eat! i have tried flake food but it doesnt sink to the bottom and my gourami eats it all, i tried brine shrimp which also gets eaten by the gourami, i tried a food block which i may have seen him nip at once or twice, but i cant be sure, and i tried an algae wafer right in the center of his territory and he wont bother with it. i also tried blanched lettuce and cucumber, neither of which the RTS will eat. please help! |
For getting flake food to the bottom a couple of things that you can try. You can either presoak the food and then place it in the tank, or hold some of the food below the water line and let it go, it will sink to the bottom. Another thing that you can do in combination with this method is placing the food on one side of the tank for the gourami, and on the other side place the food in for the RTS. Also there is sinking waffer food that might work also, I use this for my corys and usually works well. |
For substrate fish you should always feed some prepared sinking foods, such as tablets, pellets or wafers. Those made by Hikari and Omega One are nutritious foods, and both manufacturers make several types. A variety is important, select 2 or preferably 3 different types [this applies to flake foods too]. When you feed the fish in the tank, the flake goes in for the upper fish and you can drop in one pellet/tab/wafer for the substrate fish. Sometimes fish take a while to get used to vegetable foods like cucumber and similar, and some may not touch them. If you can get 3 good prepared foods, the fish will get all the balanced nutrition they need. Byron. |
i got some sinking pellets for her and she seems to like them. thanks everyone! |
Be sure and keep up with weekly water change for your tank. I sometimes feed more food than I intend to, and water changes are fastest way to remove the uneaten food on substrate. My fish normally get fed once a day and the cory's, pleco's, get fed after light's off for the day. |
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You are currently looking at Flamebate, our community forums. Players can discuss the game here, strategize, and role play as their characters.
You need to be logged in to post and to see the uncensored versions of these forums.
Which buildr forums do you think need a style or logo makeover? | |||||||
Post your #1 pick or all that you think need a fresh face. LOGO – Homicide Girls STYLE – Internet Confessional These are just off the top of my head, will post more later. |
Posted On: 03/31/2009 12:12AM | View kittiejenn's Profile | # | ||||||
obscure phobia support board. It wasn't really that funny of a joke, and it just looks lame. |
Posted On: 03/31/2009 12:15AM | View Adapt's Profile | # | ||||||
Logo – Obscure Phobia Support Boards |
Posted On: 03/31/2009 12:15AM | View twas's Profile | # | ||||||
Adapt Posted: The style is p cool. Log in to see images! Actually, that ~2 month long streak where every forum was created with basically the same style I just submitted over and over after changing the colours, could probably use a revamp. Log in to see images! Ricket edited this message on 03/31/2009 12:21AM |
Posted On: 03/31/2009 12:20AM | View Ricket's Profile | # | ||||||
Something that bugs me, in terms of buildr forums. Sometimes the hacker attacks that change the background of the forum work correctly (the new background image is, well, in the background), and sometimes they don't (there's a solid block of color in front of the background the attack sets.) Anybody know why this is? I'd like to see bg and bg2 function correctly on all forums, when I get back to streaking I'll take a tally of which ones work right and which don't. |
Posted On: 03/31/2009 12:23AM | View Possibly a Cabba...'s Profile | # | ||||||
Ricket Posted: I didn't know you liked it so much. Log in to see images! Srsly though I think it just looks ugly whenever you enter it. I mean the logo can stay, but the plain white? At least it only one forum. |
Posted On: 03/31/2009 12:24AM | View Adapt's Profile | # | ||||||
I still have my logo from Phobia that got 2nd place back there. Also, if you guys need help on the revamps, I'd gladly do it. |
Posted On: 03/31/2009 7:45AM | View Fran's Profile | # | ||||||
Kinda funny nobody mentioned The Teachings of Goa-Tse yet. |
Posted On: 03/31/2009 7:50AM | View Nicco's Profile | # | ||||||
Nicco Posted: It looks pretty cool, and I doubt anyone except moderators consider goatse as shock anymore. Log in to see images! |
Posted On: 03/31/2009 11:01AM | View Fran's Profile | # | ||||||
Fran Posted: |
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Nicco Posted: I was just gonna say. |
Posted On: 03/31/2009 11:08AM | View Fortunato's Profile | # | ||||||
Suburban Gangsters Paradise |
Posted On: 03/31/2009 11:14AM | View The Baroness's Profile | # | ||||||
Style, Girls Advocating Sexual Purity, at least I think it's style… The bumons anyways, all are the same and that is lame. IT'S TRUE CUZ IT RHYMES!!! |
Posted On: 03/31/2009 11:32AM | View Dunatis's Profile | # | ||||||
I like OPSB. Seriously, if you can't make jokes with the style, what is it there for? |
Posted On: 03/31/2009 8:41PM | View Big Brother's Profile | # | ||||||
Aside from Teaching of Goatse, what I can remember now are: Fetish (Logo), Reincarnation (logo), Mad Scientist (style). Obscure Phobia is pretty funny I think, don't change it.. And what's wrong with Internet Confessional? There also a forum where the post text is the same colour as one of the post background colour but I don't remember which forum, anyone? |
Posted On: 04/04/2009 10:50AM | View Inertia's Profile | # | ||||||


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Home > Article
Isabelle Huppert: three times a lady with Hong Sangsoo
the 21.05.2012 at 12:00 AM - Updated on 22.05.2012 at 5:52 PM
In the film In Another Country, the Korean director continues his experimental study of a story. He depicts in one place, three stories, with the same actress as three different characters.
Photo from the film In Another Country
Since his film debut in 1996 with The Day a Pig Fell Into The Well, Hong Sangsoo has been establishing his highly individual style of cinema: a universe comprising obsessions (romantic relationships, the difficulty of communicating, films, alcohol), an unprecedented approach to narration and a clearly identifiable cinematic language consisting of long sequence shots and zooms.
What is striking in the films of Hong Sangsoo, is the permanent uncertainty about what is being shown. The viewer has no reference points: the same actor plays multiple characters, the same event is told from several different viewpoints, the same place is assigned to different characters, and characters change personality. These variations on the story, characters and temporality, express the absence of a single truth, the complexity of reality, the weight of chance, and the difficulty of defining people in terms of both what they are like and what they want. With Hong Sangsoo, nothing is certain and anything could happen.
In Another Country pushes conceptual experimentation to the extreme as Isabelle Huppert plays three characters, "a woman who is both never quite the same nor ever completely another person." Alternately playing a famous director visiting a friend, a married woman on a get-away with her lover, or a wife whose husband has left her, who is left to console herself with a friend, she will live out three different situations in the same place, a resort in South Korea.
Hong Sangsoo likes to say that he does not deliver a message. He makes suggestions. "What viewers get from my films depends on their mood or their situation."
B de M
The film will be screened in the Grand Théâtre Lumière on Monday 21st May at 16:00.


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Check out what I like at A&F!
Lauren Moshi Chopper Dress Be on the edge this season in this Lauren Moshi Chopper Dress. White t-shirt dress has a scoopneck, short sleeves, pockets on sides and raw edges along the bottom. Fun motorcycle screen print on the front of this Lauren Moshi mini dress.
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Two Birds makes one dress. One dress that you can wear about a million different ways, in a smattering of beautiful colors. Check out their creative website to learn just how to tie, wrap, and twist this dress into shape. Strapless you want? No problem. Oh, you said you need your shoulders covered? Ok, sure.
Milly Scallop Pencil Dress Classic navy never looked so good. This Milly Scallop Pencil Dress has short sleeves, an eyelet floral bodice and a scalloped neckline and bottom. Seamed details, zipper closure and back slit on this cotton Milly dress. Lined. # Length: 37" # 100% Cotton # Dry Clean # Made in USA from Imported Fabric
Milly Valetta Dress in Leaf Another gorgeous dress from Milly! This Milly Valetta Dress in Leaf print has a solid green bodice and bottom, skinny straps and piping around waist. You'll love the cute leaf print on the skirt of this Milly mini dress. Lined.
f the extent of your Jackie O fashion inspiration resides in your oversized black sunglasses, it's time to go a step further with this seductive Jackie-O Dress from Black Halo. The designer delivers alluringly feminine pieces that have gained a sizable celebrity fanbase. And once you slip into this slimming number, you'll understand why. In a crisp white hue, this frock features an asymmetrical draped collar and pencil skirt with back slit. A skinny black belt cinches the natural waist, while squared cap sleeves finish this vintage-meets-contemporary look.
Prairie Underground designers Davora Lindner and Camilla Eckersley blend an unusual formula of earth-friendly and low-key edge. This Jazzy Jersey Dress is a prime example of the line's fashion-forward sensibility that's always soft and comfortable. With a bit of '80s dancewear inspiration, this organic cotton frock features cutout shoulders, a crossover bodice and dropped waist. Tonal buttons adorn the shoulder straps and the center waist, while low-sitting pockets maintain casual appeal. * 100% organic cotton * Made in the U.S.A. * Color: Black * 37.5" long
Effortless chic with Hollywood flair--that's La Rok! Made of a supersoft and comfy jersey knit, this Cannes T-Neck Halter Dress features ruched detail, while a center overlay drapes down the front. The back offers additional interest with snap closure behind the neck and lacing up the low back. You'll be camera-ready for the paparazzi when pairing this dress with metallic heels. * 94% micro modal, 6% spandex * Made in the U.S.A. * Color: Harbor * 34" long, measured from the center neck
Low in the bodice and dipped even lower in the back, these pieces are hardly for the faint of heart--for the woman who loves all her curves and doesn't mind letting the world know it.
I love this line of dresses - they're great for work, travel, whatever. They are super wrinkle resistant, machine washable, quick drying, stain resistant (I teach, so that's important!) & flattering to almost anyone's figure. They layer nicely, dress up or down, classically styled, & are really comfortable. I can't recommend them enough!
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Full profile →'">
The author is a Forbes contributor. The opinions expressed are those of the writer.
According to a CDC's Morbidity and Mortality Weekly Report yesterday, the flu has hit harder in this 2013-2014 season than in the past. Part of the problem is that not as many people have gotten flu vaccinations as last year. The situation is particularly bad for a group that you wouldn't normally expect: Younger adults. Hospitalization – and death – rates for adults between the ages of 18 and 64 are considerably higher than in the past. The good news is that the flu shot is fairly effective, and since the flu season ain't over yet, there's still time to get vaccinated.
The CDC says the reason this year is worse than others is twofold. One is the reduction in flu vaccinations for younger adults and children. Says the CDC's director Thomas Frieden, "by November, only a third of 18 to 64 year olds had been vaccinated. That's one of the reasons we're seeing a much higher proportion of hospitalizations and deaths among 18 to 64 year olds than we generally see."
And young children aren't as protected as they were last year either. Right now, the vaccination rate for children was around 50%, but last year, by the end of the season, it was 80%. Hopefully the number this year will grow. There have been 50 pediatric deaths already this season.
The other reason that this year's pandemic is more dramatic than previous ones is that young and middle-aged adults may not have been previously exposed to the strains floating around this year. So interestingly, it's older people, says the CDC, who may actually be in better shape, since they are more likely to have residual immunity from past afflictions with the same flu strains that are prevalent this year.
The vast majority of the cases this year are due to the H1N1 virus, also known as "swine flu," which caused the 2009 pandemic. Luckily, according to the new report by the CDC, very few of samples tested were resistant to common antiviral drugs.
The good news is that for people who have gotten vaccinated, the flu shot seems to be working relatively well. According to Ann Schuchat, the director of the National Center for Immunization and Respiratory Diseases, vaccine effectiveness rates "range from 52 percent for people 65 and older to 67 percent for children 6 months to 17 years of age."
The flu shot also appears to reduce the risk of people having to seek medical care due to the flu. "We found that flu vaccine reduced the risk of having to go to the doctor for lab-confirmed influenza illness by an estimated 61 percent across all ages," said Schuchat.
The experts also strongly urge doctors to be liberal with antiviral medications for anyone "presenting" with flu-like symptoms. Frieden's message to doctors: "If they're very sick, don't wait for a test. Don't not treat if the test is negative. If you think clinically it might be flu, treat for flu promptly. Unfortunately, we're seeing that only a small proportion of people who are severely ill and have flu are treated for flu promptly. And that can make a difference."
Finally, the CDC stresses that it's not too late to get a shot, since we still have another month to go. Says Schuchat, "I want to remind you all that there's still a lot of influenza circulating. So if you haven't been vaccinated yet, it's not too late for you to benefit from getting vaccinated." And Frieden's message is even more blunt: "influenza can make anyone very sick very fast, and it can kill. Vaccine is the single-most important thing you can do to protect yourself."
The CDC's best tips for protection:
- Get the flu shot
- Stay away from sick people (and if you're sick, limit your contact with others)
- Wait till your fever is gone for 24 hours before going back to work or school
- Avoid touching your eyes and nose, as this is what can spread the virus
- Wash hands with soap often (or use sanitizer, if you can't wash your hands)
- Clean and disinfect surfaces that may carry the virus
- If you do get the flu, antiviral drugs can shorten the duration of the illness, especially when started within two days of symptom onset.
For more information, see the CDC's site on protecting yourself from the flu: http://www.cdc.gov/flu/protect/preventing.htm
Follow me @alicewalton or find me on Facebook.


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Fasting Study of Hydromorphone Hydrochloride 8 mg Tablets and Dilaudid 8 mg Tablets
This study has been completed.
Information provided by:
ClinicalTrials.gov Identifier:
First received: February 26, 2009
Last updated: October 18, 2016
Last verified: October 2016
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- Tabular View
- No Study Results Posted
- Disclaimer
- How to Read a Study Record
The objective of this open-label, randomized, two-period crossover study was to compare the oral bioavailability of a Mallinckrodt test tablet formulation of hydromorphone 8 mg to an equivalent oral dose of a commercially available hydromorphone tablet (DILAUDID® 8 mg, Knoll Pharmaceutical Company) in a test group of healthy subjects under fasting conditions.
Condition | Intervention | Phase |
Healthy |
Drug: Hydromorphone Hydrochloride tablet 8 mg Drug: Dilaudid® tablet 8 mg |
Phase 1 |
Study Type: | Interventional |
Study Design: | Allocation: Randomized Intervention Model: Crossover Assignment Masking: Open Label |
Official Title: | An Open-Label, Randomized, Two-Period, Crossover Study to Evaluate the Relative Bioavailability of a Test Tablet Formulation of Hydromorphone Hydrochloride (8 mg) Compared to an Equivalent Dose of a Commercially Available Reference Drug Product (DILAUDID®, 8 mg Tablet, Knoll Pharmaceutical Company) in Normal Human Subjects Under Fasting Conditions |
Resource links provided by NLM:
Further study details as provided by Mallinckrodt:
Primary Outcome Measures:
- Bioequivalence based on AUCt, AUCinf and Cmax [ Time Frame: Two-period crossover with blood samples obtained prior to and following each dose at selected times through 24 hours. Washout period between doses was 7 days. ]
Enrollment: | 24 |
Study Start Date: | December 2002 |
Study Completion Date: | December 2002 |
Primary Completion Date: | December 2002 (Final data collection date for primary outcome measure) |
Arms | Assigned Interventions |
Experimental: A
Hydromorphone Hydrochloride tablet 8 mg
Drug: Hydromorphone Hydrochloride tablet 8 mg
Hydromorphone Hydrochloride tablet 8 mg, single dose fasting
Active Comparator: B
Dilaudid® tablet 8 mg
Drug: Dilaudid® tablet 8 mg
Dilaudid® tablet 8 mg, single dose fasting
Ages Eligible for Study: | 18 Years and older (Adult, Senior) |
Sexes Eligible for Study: | All |
Accepts Healthy Volunteers: | Yes |
Inclusion Criteria:
- Males or non-pregnant, non-lactating females, 18 years of age or older.
- Female subjects must be postmenopausal for at least one year, or surgically sterile, or practicing adequate non-hormonal contraception for at least 3 months prior to and for the duration of study participation. All female subjects will undergo a pregnancy test at screening and at check-in to the clinical study site for every dosing period. The results of the test must be negative for continued participation.
- Weight must be within 15% of the ideal weight for height and frame, as adopted by the Metropolitan Life Insurance Co., 1993.
- Qualifying subjects must be in good health and physical condition as determined by a screening medical history obtained within 30 days prior to study start. Subjects should not present with a history of significant past illness expected to affect the investigation.
The normal status of subjects will be confirmed by the following procedures:
- Laboratory tests (serum chemistry, hematology, urinalysis)
- Human immunodeficiency virus (HIV), hepatitis, alcohol, and "drugs of abuse" testing will be done at screening. Results of the HIV, hepatitis, alcohol, and "drugs of abuse" tests must be negative or non-reactive for
- Electrocardiogram: A 12-lead electrocardiogram (ECG) will be obtained for all subjects. This ECG must be interpreted by appropriately trained and experienced medical personnel. A subject with an ECG that is not within normal range does not qualify, unless specifically accepted (with comment) by the investigator.
- Subjects must be able to provide written consent and agree to abide by the study requirements.
Exclusion Criteria:
- History of alcohol, drug, or narcotic abuse or dependence.
- Chronic use of tranquilizers, sedatives, aspirin, antibiotics, or other medications.
- History or presence of major organ dysfunction.
- History of cardiovascular, respiratory, hepatic, renal, gastrointestinal, endocrine, or neurological disorder capable of altering the absorption, metabolism, or elimination of drugs or constituting a risk factor when taking hydromorphone.
- History of anxiety, tension, severe agitation, psychosis, or mental depression.
- Family history or diagnosis of epilepsy or other seizure disorder.
- History of acute abdominal conditions.
- History of conditions that might contraindicate or require caution be used in the administration of hydromorphone including: renal impairment, hepatobiliary or pancreatic disease, GI obstruction, cardiac disease, obstructive pulmonary disease, acute or severe bronchial asthma, hypercarbia, elevated intracranial pressure, depleted blood volume, paralytic ileus, or allergy to hydromorphone, any opiate agonists, or naltrexone.
- Administration of any other investigational drug during the 30 days prior to enrollment into the study.
- Subjects who smoke or have a history of smoking, or use nicotine-containing products.
- Subjects who have donated blood within 30 days prior to study entry, including that withdrawn during the conduct of any other clinical study.
- Subjects presenting with acute illness.
- Subjects who have taken prescription drugs within 14 days or over-the-counter medications (including herbal preparations) within 7 days prior to dosing except for standard daily dose multivitamins.
Contacts and Locations
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study.
To learn more about this study, you or your doctor may contact the study research staff using the Contacts provided below.
For general information, see Learn About Clinical Studies.
Please refer to this study by its ClinicalTrials.gov identifier: NCT00853554
Please refer to this study by its ClinicalTrials.gov identifier: NCT00853554
United States, Missouri | |
Gateway Medical Research | |
St. Charles, Missouri, United States, 63301 |
Sponsors and Collaborators
Study Director: | Herbert Neuman, MD | Mallinckrodt |
More Information
Keywords provided by Mallinckrodt:
Additional relevant MeSH terms:
ClinicalTrials.gov processed this record on March 23, 2017
Responsible Party: | Herbert Neuman, MD/Chief Medical Officer, Mallinckrodt |
ClinicalTrials.gov Identifier: | NCT00853554 History of Changes |
Other Study ID Numbers: |
3249-02-769 |
Study First Received: | February 26, 2009 |
Last Updated: | October 18, 2016 |
Keywords provided by Mallinckrodt:
Healthy Subjects Bioequivalence |
Additional relevant MeSH terms:
Hydromorphone Analgesics, Opioid Narcotics Central Nervous System Depressants |
Physiological Effects of Drugs Analgesics Sensory System Agents Peripheral Nervous System Agents |
ClinicalTrials.gov processed this record on March 23, 2017


text: Mike Hargrove's Fading Passionmjdeadspin7/01/07 3:03pmFiled to: Seattle MarinersBaseballMlbMike Hargrove31EditPromoteShare to KinjaToggle Conversation toolsGo to permalink Ignoring Crash Davis's sage advice, "Never fuck with a winning streak," Mariners manager Mike Hargrove is stepping down. He's not really giving a reason, other than to say that "his passion has begun to fade." I just think he needs to hang out with David Ross more. That'll get the passion going. The Mariners are just four games back of the Angels in the AL West, and 1 game behind Detroit in the wildcard race ... which makes the timing of this weird. Some are speculating that there's something wrong with his health, but Enjoy the Enjoyment heard on KOMO that Hargrove's decision is "not health-related." I won't believe this is true until I see that the prostate exams in the Mariners dugout are as thorough as the ones given in the Cubs dugout. In other baseball news, Jeremy Guthrie's perfect game bid was broken up after three innings. Sorry, UM. Advertisement Advertisement Hargrove Stepping Down, McLaren is New Manager [Enjoy the Enjoyment] Report: M's manager Hargrove to resign [ESPN]Reply31 repliesLeave a reply


text:
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December 4th, 2012, 10:57 AM | #1 |
81 inches of fun
CVT MT Rainier RTT available in MI
I currently am storing a lightly damaged (but doesn't affect it's use) Mt Rainier RTT with annex for CVT. They sent me a replacement, and I told him I could store it for awhile in my storage unit. Now my wife has decided to 'refresh' our kitchen so while I don't need the extra space I could use it. I figured I could post this here and maybe help them move it. CVT wants $1195.00 for it. Normally it is $1595 + $300 shipping
Contact CVT if you want it, Bobby was my contact http://www.cascadiatents.com/ Cascadia Vehicle Tents- 61510 American Lane #140 Bend, Or. 97702 Call: 541-312-8368 (TENT) office 0r: 541-419-2790 cell This is the Tent on our H3 Picture of the damage This is what it would look like on a trailer, same model tent but a different one. |
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text:
Guess what? He's wearing my beanie. Also, his ego has probably inflated about 600 degrees if only because a handful of Instagram commenters likened his demeanor to George Clooney's. What about me, though, guys? Aren't I doing Fran Lebowitz meets Kurt Kobain is having an affair with Sherlock Holmes if Sherlock Holmes were a business man and wore a structured hounds-tooth blazer, well?
Jacket is Stella McCartney from The Outnet and plaid shirt is Dries van Awesome. Just get yours from the mens department at Uniqlo, though, honestly.


text:
Advantage Series Portable Sink - One Stainless Steel Deep Basin
Volume discounts available.
The Advantage Series Portable Sink provides convenient, portable hygiene wherever you need it - without the use of permanent plumbing. This self-contained portable sink features the Ozark On-Demand pump and heater system, supplying up to 40 hand washings from one full tank. The Quick-Connect fresh water tank is independent from the waste water tank to prevent cross-contamination. The attractive laminate cabinet is available in a cherry or maple finish, and features locking doors for secure storage. And the durable melamine countertop and deep stainless steel sink basin will withstand years of heavy use. Oversized locking casters make transport smooth and easy. If you'd like to add a custom logo to your Advantage Series Portable Sink, give us a call at (877) 839-3330. Made in the U.S.A.
*Each portable sink unit must have a grounded, dedicated 110V/20 AMP circuit breaker.
Key Features
- Extra-deep single basin sink
- On-Demand pump and heater system
- Quick-Connect fresh water tank
- Seperate waste water tank
- Three locking storage cabinets
- Oversized locking casters
- GFCI outlet protection
- Cabinet material: Melamine
- Sink basin material: Stainless steel
- Height: 36"
- Width: 48"
- Depth: 24"
- Sink dimensions: 14" W x 10" L x 9 3/4" D
- Countertop worksurface dimensions: 2' D x 4' W
- Fresh water tank capacity: Five gallons
- Waste water tank capacity: Six gallons
- ADA compliant faucet handles
- NSF approved
- Fully assembled
- Warranty: Two years


text:
« Where are boat building courses in Central Florida?
Fiberglass and Composite Boat Building |
bronze bolt in rudder tube or grp ? »
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Born To Be Wild Born to be Wild is an inspired story of love, dedication and the remarkable bond between humans and animals. This film documents orphaned orangutans and elephants and the extraordinary people who rescue and raise them - saving endangered species one life at a time. Note: This is the 2D version of 'Born to be Wild 3D' Captured in IMAX 3D, 'Born to be Wild 3D' is a heartwarming adventure transporting moviegoers into the lush rainforests of Borneo with world-renowned primatologist Dr. Birute Galdikas, and across the rugged Kenyan savannah with celebrated elephant authority Dame Daphne Sheldrick, as they and their team rescue, rehabilitate and return these incredible animals back to the wild. Starring Morgan Freeman Directed by David Lickley Running Time - :40 Genre - Documentary Opened in Theaters - Friday, April 8th, 2011 (2178 days ago) ShowtimesThis movie is currently playing in theaters. View Showtimes Home VideoThis movie is likely available now on home video.MultimediaRelated News Articles and Web SitesLooking for More Information?Search Google for more information about this movie: |
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The BigScreen Cinema Guide is a service of SVJ Designs LLC. All graphics, layout, and structure of this service (unless otherwise specified) are Copyright © 1995-2017, SVJ Designs. The BigScreen Cinema Guide is a trademark of SVJ Designs. All rights reserved. 'ACADEMY AWARDS®' and 'OSCAR®' are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. |


text: The inspiration flowed and McDiarmid claims that if you look carefully you will see that these instruments share similar geometry and construction principles with yacht design. Observing the construction of such stringed instruments he noticed the striking similarities to superyacht construction. Evident from the outset was the pure craftsmanship of the very highest quality. Box and modular construction of the instruments main belly and back (the hull, bulwarks and bulkheads of the yacht) and the marriage of the tail piece, neck and scroll (the super structure) The bridge is of course the bridge. McDiarmid also looked at the various types of bows used to play instruments and learnt about three violin bow heads: transitional, swan-bill head and pike-head. These inspired the reverse bow design that flows up, into, through and over its concept. The tuning pegs on the neck of such instruments inspired anchor lockers, mooring guides and window graphics while the neck/hand area inspires a deep set hull window for a sensational view of the water whilst on board. The f-holes (sound holes) provide atrium like glazing inspiration while a huge, main deck curved 'glazed wall' aft allows natural day light in. Technical/Principal Characteristics of the new 120m superyacht Stradivarius by Alex McDiarmid: Length overall: 120m / 393ft Beam: 20m / 65ft Owner state room and private decks Berth capacity for guests 16 in 8 cabins Berth capacity for crew 30 A hybrid power Diesel Electric propulsion system with pod drives, electric Voith Inline Propulsors/thrusters, Volvo Penta D16 MG gensets, Valance batteries. The hull is made from steel while the superstructure is in aluminium, the more common combination for a yacht of this size.


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Comment #5 Friday, November 2, 2007 8:57 PM
I purposely aimed this one right between your eyes John!
I've been stuck on stupid with this since it came out! With all the stuff that goes with it, she became a project! There's 17 friggin walls for corn sakes and all of them work!
People who've been asking where have I been, now you know!
What can I say dude, if there's a "Skinner of the Year" award to be had, you have my vote hands down!
2007 will go down as "Year of the vStyler"!
Thanks for the visit JG, I think I'll start woking on Harmony now!
Stay tuned;
-->To my bro vStyles<--
Comment #6 Friday, November 2, 2007 10:57 PM
Comment #7 Friday, November 2, 2007 11:53 PM
Nope! I had to get it out my soul or bust Steve! Glad you like the diggs dude!
Even nicer of you for making the elements that made this shot possible brother man!
Damn Right! Slobber all you want!
Thanks for the visit and for leaving your prints all over this shot my friend, couldn't have done it without you!
-->To Messiah1<--
Comment #8 Saturday, November 3, 2007 12:54 AM
Comment #9 Saturday, November 3, 2007 2:31 AM
tons to do and judys back in ICU , but I
got to take a minute here and say a few
words about your shot .......... most
excellent my friend almost good enough
to be a wall in it's own right - very
well done presentation and blending of
components , color coded just right and
layout dead on ... a ture professonal at
work here , 5 large to you and this final
thought , ember rectus granada dumus ....
.... so ya got that going for ya !
PS ... I just renewed for 2 years a week ago and
while i was moving I came back to find out I WON
the Holloween Contest with my wall entry and Won
another 2 years extension soooooo i'm paid up here
till '2011 ... my gosh .... hope I live that long ...
Comment #10 Saturday, November 3, 2007 3:28 AM
Comment #11 Saturday, November 3, 2007 4:33 AM
Kirk the colors are great, you did it again, Im glad Im on your team, And you know you can't stop here, keep up the good work.
Comment #13 Saturday, November 3, 2007 6:10 AM
and my first attempt didn't get posted.
Sodden craft disease...can't remember what I wrote now,
but anyhow, it's a great shot and you've indelibly
stamped your mark on Vienna 2 and the SS Gallery.
Comment #14 Saturday, November 3, 2007 6:28 AM
Comment #15 Saturday, November 3, 2007 9:31 AM
You're too kind Quietson, thanks for the props but most of all thank you for the wrenchtime you put into creating Tapestry!
And you're right about vStyler, no one does it better and there's not a better friend!
I've collected and tested 17 walls designed for V2 but Tapestry grabbed me by the heart!
I appreciate the visit and the encouragement QS, it pushes me to try harder!
I'm keeping an eye on your gallery!
-->To Quietson<--
Comment #16 Saturday, November 3, 2007 10:04 AM
tons to do and judys back in ICU , but I
got to take a minute here and say a few
words about your shot
What up Az!
Glad you're back, I hope the move is going smooth for you and my thoughts are with you and Judy always!
excellent my friend almost good enough
to be a wall in it's own right - very
well done presentation and blending of
components , color coded just right and
layout dead on ... a true professonal at
work here
You ain't being partial here are you? Kidding!
Az, I've done nothing but collect and play with all of the V2 components since it came out, there's a lot of stuff! It's taken me this long to try them all! This concept is the results!
while i was moving I came back to find out I WON
the Holloween Contest with my wall entry and Won
another 2 years extension soooooo i'm paid up here
till '2011 ... my gosh .... hope I live that long
Now you know what the WC staff is saying about this Mike! Aw Shi*! We gotta deal with this maniac for how long?! Bet you they're shaking in their boots right about now!
Thanks for the props partner, holler soon!
-->To DaBadBoy<--
Comment #17 Saturday, November 3, 2007 10:21 AM
Hey Kaazz, thanks for stoppin' by to leave the kind words, it's always a great day hearing from you!
It has been a while mainly because it's taken me this long to collect and test all of the V2 components! I'll say it again, there's a ton of stuff here, SA and DA! Trust me, I tried them all!
It literally took weeks to decide on these components to present because all of the components fit in nature! This shot was made from difficult choices including 16 equally beautiful walls!
You know I appreciate the encouragement my friend, I will try harder!
-->To Kaazz<--
Comment #18 Saturday, November 3, 2007 10:42 AM
What's up Terminator?
Glad you came by to check things out! The colors are rather stunning and it took weeks of testing loads of components and many possibilities to put this one together!
I'm glad you're on my team bro!
And you know I'm going to give my best dude, I always reach high!
Chirp when you can!
-->To my life long brother Longdude<--
Comment #19 Saturday, November 3, 2007 10:50 AM
Comment #20 Saturday, November 3, 2007 11:00 AM
This is so beautiful!! This shot has of all of the techie things to have a kick-butt functional desktop! You've got so much going on here, yet it's so open! All of the elements you've chosen flow together so beautifully! But, the trully amazing part is the warmth this shot conveys! The wall reminds me of a thick soft chenille blanket! I just want to pick this up and wrap myself in it! Excellent, excellent job, Luv! The Screen Master has done it again!
Comment #21 Saturday, November 3, 2007 11:01 AM
and my first attempt didn't get posted
Don't you hate when that happens?
but anyhow, it's a great shot and you've indelibly
stamped your mark on Vienna 2 and the SS Gallery
Well thank you Sir, you know the encouragement keeps me going!
This was a lot of stuff to play with MrStarkers! Leave it to vStyler to once again send the customization industry into a frenzy! This design comes from a lot of hours of testing a great many elements and possibilities!
Basically this shot is showing my actual usage with live elements exposed!
I appreciate you stopping by my friend, I do have some catching up to do on my comments especially with you!
We'll see you soon, hi-5 to you and hugs to you and the Mrs.
-->To SirStarkers<--
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text:
Item # wkhy34jadj413zz-hyperlite-wakeboard-completes
Core Material: | Foam |
Rocker Type: | 3 Stage |
Center Fin: | No |
Side Fins: | 4 Bolt On |
Flex Core: | No |
Rail Ready base: | No |
Closure Type: | Speed Lace |
Mounting System: | 6 in |
Tool-Less Mounting: | No |
Sizing: | Multi Size Fit |
Manufacturer Warranty: | 1 Year |
The Hyperlite Jade Wakeboard with Jinx Boots is the best new thing to happen to wakeboarding. Its top deck design has the first ever toe side riser to give you additional leverage when carving on your toe side. With the Jade comes toe side channel extensions that will give you the most out of every carve. Let''s not forget to mention the subtle 3-stage rocker that will get you poppin out of the water, and landing with ease. The removable and adjustable fins also make the Jade one of a kind, as the board can progress while your riding progresses too!
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text:
There is the first light by which
the world began. Some say it was made
by a lonely deity peering into the void
and empty black – no stars, no moon, no sun,
no world, no us – and to dispel this loneliness,
he began to speak everything into existence,
beginning with light. We have guessed at his – or her –
name since we picked up chisel to mark stone or
tattooed our hearts in ink upon papyrus
or common paper. Some have even guessed
that the light made itself, pulling together
enough gas and matter to contract and then explode,
flinging dreams of stars, planets, and
little crowds of creatures in every direction.
How many lights can we live without?
Certainly not the sun, nor the moon,
nor the stars. We instinctively look for luminescence,
hoping for a kind spirit or a logical, constant force
behind the candle power, the nuclear fission, or the
moon-white reflective mother who stands in the darkness
so that we are not alone. We use the little, coruscating beacons
in the night above to point north, south, east, and west, to
guide our boats cutting pathways across
the face of the midnight cornflower deep, to
tell us where on Time's back we are suspended
and how much longer our ride will be.
And when the heavenly bodies are not enough,
we begin to create lights of our own. Perhaps
it was a curious ancestor striking rocks together
after watching lightning giving birth to an accidental bonfire
and deciding: we need that! Our ancient stories might say
it was a benevolent Titan or trickster Raven
giving us the gift so we did not remain in the
frigid inky dark with empty bellies, but we
had to keep kindling it over and over again
on our own. And when fire was not enough, we
channeled the current of the gods through
wires and conduits to give us light we could
conjure up, as if we are impressive shamans
or priestesses who can control the forces of nature.
Even as we are lit by day and by night,
in the open pasture or inside our sturdy walls,
we seek light that is not seen by our human eyes. We tell
our children of planets dancing together in waltz time to
make a star which guided eastern wise men to the cradle
of another light compressed into flesh – a little baby boy
sleeping amongst straw and the lullabies of cattle. Or
we tell of lamps which miraculously remained lit for eight days
in the absence of oil. Or we peer through telescopes
and balance equations and see the light of logic
and the laws of physics staring back at us. We seek light
through sage teachings passed down from mouth to ear
or by cracking open their written word chests
through proverb and aphorisms.
And even more light courses through
our fragile, carnal bodies with skin stretched tight enough
to cover muscle but yet still cannot conceal rivers
of collected daylight that run through us. Look careful: there are
banks, canyons, and channels that barely contain
their flows. The radiance of joy cuts an ancient path
down to a bayou, empting into another coastline
next to where love has spread fringed fingers to create
a delta. And do not stop to marvel now, for there is
more: the ribbon of life that has weaved itself
through everything opens an eye, drinks in breath,
pulls nutrients inside of itself, and leaves
another little version of itself behind. The ribbon
looks like DNA strands to one eye, like
a heartbeat to another eye, like
a poem or a song to another eye or ear.
And with all of this light, is it really that marvelous
that we each carry a little tiny candle in that
red four chambered room in our chests? When
the darkness of war, or murder, or persecution,
or fear obfuscate everything else, we still have
those little candles singing and glowing
inside of us. Can we not peer inside
our little glass crimson caverns and find them to
guide our way through the black or unite them
to start a bonfire?
I leave you with all of this talk of light, convinced
that our candles will still be burning on the morning
of December 22, 2012. That sleepy-eyed stone giant
of a calendar that we discovered embossed on temple walls
will turn his head and see the sun rise, see
the moon and stars go to bed, and see all the
other lights burn, flicker, and sing: this will be
just what he expected. And we should expect no less
Written 12/19/12
© Nicole Nicholson. All Rights Reserved.
I went a little left of center for We Write Poems Prompt #136 and decided to speak of twelve sources of light instead of twelve words. because of last week's tragedy, I figured the best thing to focus on was light. I am such a lover of words that I cannot limit myself to twelve.
This will likely be my last poem for 2012. I wish everyone a happy holiday season — Merry Christmas, Happy Hannukah, Happy Kwanza, and happy winter solstice. If you don't celebrate anything at all, I wish you happy holidays anyway. I will be back in early 2013.
One last word of explanation: I have a code or a legend to decode this poem for you. Are you curious as to what the twelve lights are?
The first light: which began the universe.
The second light: the sun.
The third light: the moon.
The fourth light: the stars.
The fifth light: fire.
The sixth light: electricity.
The seventh light: faith and belief.
The eighth light: wisdom
The ninth light: joy.
The tenth light: love.
The eleventh light: life itself.
The twelve light: within ourselves.
Thank you for reading, and many blessings to you.