text:
Treatment options
Treatment and care of people with cancer is usually provided by a team of health professionals, both medical and allied health, called a multidisciplinary team.
If you're suspected of having ovarian cancer, you should be referred to a gynaecological oncologist. Research shows survival for women with ovarian cancer is improved when their surgical care is directed by a gynaecological oncologist.
Treatment for ovarian cancer depends on:
- the stage of the disease
- the location of the cancer
- the severity of symptoms
- your general health and wishes.
Treatment may involve the following.
Surgery is usually the initial treatment for ovarian cancer.The aim is to remove as much of the cancer as possible from the body by removing the cancer cells, and organs and tissues that the cancer cells have spread to. This allows adjuvant treatment, such as chemotherapy, to be more effective.
A laparotomy is usually performed – this is a cut through the wall of the abdomen from the belly button to the pelvic bone.
Depending on how far the cancer has spread, the surgery may remove the ovary and attached fallopian tube (or both ovaries and both fallopian tubes if the cancer is in both ovaries), and/or the uterus (in an operation called a hysterectomy). If the cancer has spread outside the pelvis (stages III or IV), other tissues and organs will probably also be removed, as well as lymph nodes that appear abnormal.
For early-stage ovarian cancer or borderline ovarian cancer, a less invasive surgery using laparoscopy ('keyhole surgery') might be possible. Laparoscopy involves a number of very small cuts in the abdomen, rather than a single large cut. A laparoscope – a tube with a light at the end – is inserted through one of the cuts to allow the doctor to see inside the abdomen, and surgical instruments are inserted through other cuts to remove tissue.
After the surgery, you may have some pain and tenderness in the pelvis and abdomen for a few days or weeks. Other side effects might include swelling in the legs (lymphoedema), constipation and difficulty urinating. Depending on the extent of the surgery, it might take several weeks for you to fully recover and return to normal activities.
If both ovaries are removed during surgery, you will go through menopause (i.e. your menstrual periods will permanently stop) and may experience symptoms associated with it. These can include hot flushes, night sweats, vaginal dryness and mood swings.
Most women with ovarian cancer will have both surgery and post-operative (adjuvant) chemotherapy to eliminate any cancer that remains after surgery.
For some women with stage III or IV ovarian cancer, chemotherapy before surgery (neoadjuvant chemotherapy) may be used to shrink the tumours before surgery.
See more about the types of chemotherapy and possible side effects.
Radiotherapy uses high-energy X-rays or other types of radiation to stop cancer cells growing. This treatment is not commonly used to treat ovarian cancer, but it can be used to help relieve symptoms caused by the cancer or when it has come back after treatment (recurred).
See more about the types of radiation therapy and possible side effects.
Targeted therapy
Targeted therapy refers to treatment with medicines that are designed to specifically attack cancer cells without harming normal cells.These types of medicines affect the way that cancer cells grow, divide, repair themselves or interact with other cells.
Medicines that might be considered for targeted therapy for some women with advanced ovarian cancer include bevacizumab and olaparib.
Bevacizumab is a monoclonal antibody that belongs to a class of medicines known as angiogenesis inhibitors. These medicines prevent the formation of new blood vessels that are needed for the cancer to grow and spread.
Olaparib is a different type of medicine, called a PARP inhibitor, that may be used to treat women who have advanced ovarian cancer with mutations (gene faults) in BRCA genes and who have already had treatment with other types of chemotherapy. BRCA genes are involved in repairing damaged DNA and normally work to suppress tumour growth. Olaparib acts by preventing tumour cells with a mutation in a BRCA gene from repairing themselves.
Bevacizumab and olaparib have both been shown to shrink or slow the growth of advanced epithelial ovarian cancers.
See more about the types of targeted therapy and possible side effects.
Hormone therapy
Hormone therapy, which uses hormones or medicines that block the action of hormones, is rarely used for epithelial ovarian cancer (the most common type of ovarian cancer) and is more likely to be used for ovarian stromal tumours.
Medicines used in hormone therapy for ovarian cancer include luteinising-hormone-releasing hormone (LHRH) agonists, tamoxifen and aromatase inhibitors. All of these act by preventing oestrogen from stimulating cancer cell growth (they either reduce the levels of oestrogen or act as anti-oestrogens).
See more about the types of hormone therapy and possible side effects.
Follow-up after treatment for ovarian cancer can be used to check whether the treatment worked, to manage side effects of treatment and to identify whether the cancer has come back (recurred). It also gives the woman the opportunity to talk about psychological and emotional issues. The type and timing of follow-up will be determined by the woman and her doctor, and may include a physical examination of the pelvic area, blood tests and imaging.
Advanced disease
Because there is no screening test to detect ovarian cancer early, most women have advanced disease when they are diagnosed. In advanced (metastatic) ovarian cancer, cancer cells have spread in the bloodstream or lymphatic system to other areas of the pelvis, or to tissues and organs outside the pelvis. Stages II, III and IV of ovarian cancer are treated as advanced cancers.
Surgery for ovarian cancer may remove the uterus, both ovaries and fallopian tubes, omentum (fatty tissue around the organs in the abdomen) and lymph nodes. In advanced cases, the aim of surgery is to reduce the bulk (size) of the tumours, so no visible cancer remains. This is called maximal tumour resection. Research confirms that women have a better prognosis and survival when there is no visible cancer and the surgery is followed by chemotherapy. In many cases, other organs and tissues that the cancer has spread to will be removed, such as the intestines, bladder, diaphragm, liver, spleen, stomach, gall bladder, appendix, pancreas and peritoneum (the membrane lining the walls of the abdomen and pelvis).
Your gynaecological oncologist will discuss the procedure with you in detail before the surgery.
If the cancer is very advanced, maximal resection will not be possible. Other conditions (comorbidities) such as pre-existing heart, lung or other medical conditions may mean that anaesthetic and surgery is not a good option. Chemotherapy may be needed to shrink the tumours.
Recurrent cancer
Ovarian cancer can recur (come back) after treatment. The cancer can recur in the pelvis or somewhere else in the body.
You may have signs and symptoms of recurrence of the cancer, or the recurrence might be detected during blood tests without producing any symptoms.
Treatment options for recurrent ovarian cancer include surgery, chemotherapy and targeted therapy.The type of treatment that is used will depend on the type of recurrence, the time since the first treatment and whether you have previously had chemotherapy.


text:
Home>Products>Tea Fixation and Drying Machine>Best Price Condiment Microwave Drying Sterilization Equipment
Best Price Condiment Microwave Drying Sterilization Equipment
- Tea Fixation and Drying Machine
Industrial Microwave Systems Co Ltd.
- Shandong, China (Mainland)
- CE Certification
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- Industrial Microwave Systems Co Ltd.2020-07-10 09:46:19
Welcome to my shop! Glad to serve you! Please send your question!
Product Details
|Drying Oven
|Place of Origin:
|Shandong, China (Mainland)
|Brand Name:
|Model Number:
|KLD - industrial microwave oven
|110 - 440V; upon customers' demands.
|10 - 200 kw
|Upon customers' specific requirements.
|1 - 6 ton
|CE Certification
|12 Months for Microwave Green Leaves Dryer
|After-sales Service Provided:
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|Product name:
|Condiment Microwave Drying Sterilization Equipment
|Industry, agriculture, chemical, medicine, wood and so on.
|Dehydration, sterilization, drying and heating.
|Heating source:
|Stainless Steel
|Cooling Method:
|Water cooling; air cooling.
|Controlling Mode:
|Digital timer control
|Magnetron Brand:
|Easy to operate.
Product Description
Best Price Condiment Microwave Drying Sterilization EquipmentProduct Description
Introduction of Microwave Drying Sterilization Equipment:
n According to different customers' requirement, we supply different types microwave ovens for your choice.
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|Microwave Dryer
|10 - 200
|10 - 200
|100 - 2000
0 - 10 m/min
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1. Packaging: Inside plastic bag, outside wooden case for Tunnel Microwave Dryer (Based on the customers' need adopt the wooden case or wooden pellets, etc.).
2. Shipping:train, express or upon clients' demands.
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25 - 30 working days after down payment receiving.
Warranty Period:
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Company Information
Jinan Kelid Machinery Co; Ltd. is a professional supplier of food processing machines. Our
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- Industrial Microwave Systems Co Ltd.
- AddressNo.18, Lanxiang Road, Tianqiao District, Ji'nan, Shandong, China
- Phone(Working Time)+86 0531 85064681
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subset: commoncrawl


text:
28 July 2016
This Bitter Land
This bitter land
Watered with my soul
The fruit it bears
Leaves me so cold
This bitter land
Does nothing for love
This bitter land
Brings pain from above, oh-oh..
Yeah, running on the concrete across the train tracks
The devil is behind me
In the ghetto where's you'll find me, it's where I stays at
Cop shot us up, he get a medal then retire
But it never will define me
Write a letter to the president, whoever in control of the society
Tell 'em stop riding me, stop driving us into a suicidal ideology
Tryna feed my seeds
Getting high on weed, study my degrees
Stay fly, getting paper
With some dead white people faces in the circle of spaces around the green
I'ma lean, taking Percs as a bit of Earth
Is a nigga cursed? Am I blessed? See what I mean
It's a test, life is a test
Life is like a hood, hard
Trying not to fall between the cracks
In the cracks it's so dark, and the dark
Seems more appealing than the light in the land
Where you gotta fight
Catch a body in the night, we need a plan
To survive, to survive the land
Survive the storm, when it comes through
Either you're busy living or busy dying, look what it's come to
Look what it's come to, so what you're gonna do?
This bitter land is far too real
This bitter land, it does not heal
Cause in the land skies are grey
But we fight the storms that come our way
A boy who strives to be a man
Must push to lead with all he can
Oh, this bitter land
Oh, bitter land
Oh, oh, oh, oooh
This bitter land can't stop my fight
This bitter land
Look what it's come to
So what you gonna do?
My land.


text:
May 23, 2010
Just about any amateur astronomer can tell you the basics about Jupiter. It's the fifth planet from the sun. It's got a Great Red Spot on its lower half. And it's encircled by two prominent brown stripes. Well, check your telescope tonight and you'll find that one of those stripes has gone missing — and scientists aren't entirely sure why.
Amateur astronomers raised the alert about the fading stripe last fall. The giant planet ducked behind the sun for a few months over the winter, and when it came back to the morning sky, the dark band in the Southern Hemisphere was gone.
"This is not the first time this has happened," says Kelly Beatty, senior contributing editor for Sky and Telescope magazine. He tells NPR's Guy Raz that particular stripe goes missing every 10 years or so. In fact, it's disappeared about 18 times since the turn of the 19th century.
He suspects that the stripe may not actually be missing at all. Unlike the Earth, he explains, Jupiter doesn't have a solid surface. "What we see when we look through a telescope is a planet-wide cloud deck surrounding the entire place. So these two bands, which are kind of like racing stripes around the midsection of Jupiter, are dark bands that have a different composition than the other clouds around them.
"What scientists think has happened is that some kind of disturbance has taken over in the Southern Hemisphere and created cirrus clouds, maybe, that [have] completely enveloped the planet and covered this band with a high, thin blanket that will eventually go away," he says.
So Jupiter's southern stripe might just be hiding. How long until it reappears, nobody knows. "It could be six months from now," Beatty says. "It could be two years from now."
One thing's for certain, he says: "There are amateur astronomers around the world with their eyes glued to their telescopes in the hope that they will be the first to be able to see the beginning of the return of the south equatorial belt."
Jupiter's disappearing belt wouldn't have been noticed so quickly without those hobbyists, Beatty says. In fact, in astronomy, the pros depend on the amateurs to sound celestial alerts.
"There aren't enough professionals to keep track of everything going on in the universe all the time," Beatty says. "So in a sense, they rely on amateur astronomers — who have very good equipment, by the way — to actually keep an eye on things."
"When they see something, they notify the professionals, and the big guns get swung over to take a look."
If you'd like to join the watch, Jupiter's easy to spot just before dawn. "If you're just eyeballing the sky," Beatty suggests, "it's a bright star in the eastern sky. It's the only star that bright anywhere nearby; it's very obvious."
"If you have a pair of binoculars," he adds, "you'll see that Jupiter's actually a little disk. If you have a small telescope, you'll be able to see not only this disk, but the two stripes across it — or what were the two stripes. You'll only see one."
Beatty admits he kind of misses the second stripe. "I kind of miss the symmetry of it, because it tells me that there is order on Jupiter."
"Right now, the fact that that one belt is missing, it's like a missing tooth. There is disorder on Jupiter — and we just don't know why."


text:
February 13, 2012
it was cold, winter morning (volume ii)
9 comments
February 09, 2012
It was cold, winter morning. I observed through the window how she got out of the cab. I opened the door and for the first time I saw her gentle eyesight - eyes cold as they were a frozen ocean. Then I allowed her sleepy body to lay down on my bed. Through the lens I followed her sad dreams. I can`t speak to You with words yet, so allow me to tell about myself on these photos, on which I`ve enchanted this little, sad girl, who is within You (and is the reflection of myself - our trembling hands, eyes, seared from light, wet with tears, and mutilated bodies).
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text:
...one of the most highly
regarded and expertly designed C++ library projects in the
world. — Herb Sutter and Andrei
Alexandrescu, C++
Coding Standards
Start an asynchronous send.
template< typename ConstBufferSequence, typename WriteHandler> DEDUCED async_send_to( const ConstBufferSequence & buffers, const endpoint_type & destination, socket_base::message_flags flags, WriteHandler && handler);
This function is used to asynchronously send raw data to the specified remote endpoint. The function call always returns immediately.
One or more data buffers to be sent to the remote endpoint. Although the buffers object may be copied as necessary, ownership of the underlying memory blocks is retained by the caller, which must guarantee that they remain valid until the handler is called.
Flags specifying how the send call is to be made.
The remote endpoint to which the data will be sent. Copies will be made of the endpoint as required.
The handler to be called when the send operation completes. Copies will be made of the handler as required. The function signature of the handler must be:
void handler( const boost::system::error_code& error, // Result of operation. std::size_t bytes_transferred // Number of bytes sent. );
Regardless of whether the asynchronous operation completes immediately
or not, the handler will not be invoked from within this function.
Invocation of the handler will be performed in a manner equivalent
to using


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I have a ubiquitously discussed fascination with shots at the rim. I want to know how teams make them and how teams stop them.
A week ago, in the midst of fan euphoria with the Wildcats in the Bay, I went in on Stanford's #TreeDunk. The silly video lauded the Cardinal as dunking all over Wildcats. I took to the numbers and found that they actually spend very little time at the rim and that's fine.
What I neglected to address – and I had no qualms about it then – is rim defense. So this week I will.
Defenses are constructed in many ways with lots of different philosophies on how they're going to keep you from scoring. We can look at UCLA for example. Here's a team playing significant amounts of zone this season, packing into the lane to compensate for size and athleticism issues. They're effectively defending by forcing teams to shoot threes. Against the Bruins, 42.3% of shots are from distance (that's 7th most in the nation). Conversely, Sean Miller's pack line defense is engineered to limit threes, allowing just 26.9% of shots from deep (23rd lowest in the nation).
But forget about three point defense. You can read about it here and learn a lot.
Defending the rim is interesting because it is so often associated with the blocked shot. It's the big men blocking the shots and it's the big men living in the paint. If such is our belief system, we'd be led to think that the Bachynski Devils are the best rim protecting team in the conference – if not nation! After all, the big Canadian leads everyone with 4.1 blocks per game and the Devils subsequently lead the conference in block percentage (a look at blocks per 2-point FG attempts). Here's how that breaks down for the Pac:
Indeed, with Bachynski swatting shots away, the Devils have the highest rate in the conference. Walking our way further down the list we find that the conference's second leading shot blocker, Omar Oraby, anchors the eighth best shot blocking team (by percentage). But as these are both big men, we can examine things a little closer to the home of this discussion. The percentage of shots at the rim a given team is blocking:
Perhaps not-surprisingly, this chart demonstrates that some of the more front court adept teams do a better job of blocking shots at the rim. This makes sense as Washington is devoid a significant post presence whereas teams like ASU, OSU, and USC have some significant size down low (you realize Omar Oraby is 7'2″). This further suggests that perhaps Washington's rim defense is not predicated on shot blocking (though to say anything of Washington's defense this season is a leap). Size doesn't necessarily matter when it comes to shot blocking, but it can't hurt.
Of course noting one stat of a single talent (Bachynski, Oraby) won't tell us much about the whole. Neither does the lone stat. To note that ASU and Utah sit atop the conference in block percentages is really just to say…well…that they lead the conference in that stat. What if teams were making every other shot? You block a few but they make the rest? I suppose we could look at that too then, couldn't we. An examination of each Pac-12 team's defensive field goal percentage at the rim:
Leading the way here is USC. The same team we previously saw sitting in eighth place in block percentage and third in block percentage at the rim. Meanwhile, Colorado is in second with just the seventh best block percentage overall and at the rim. Next is Cal who ranked sixth in both block percentages and, in some regard, we're starting to see an inverse relationship. I don't believe this to be statistically relevant but I do think that this is an indicator that just because you're blocking shots, doesn't mean people aren't making other attempts. Our presumed block leaders, ASU and Utah, are in the middle of the pack, yielding pretty average FG percentages.
Washington sits at the bottom of both lists and I'm willing to leave that discussion there. The interesting fact here is that Arizona – they of the nation's top defense – allow teams to shoot a gaudy 65.6% at the rim (316th nationally). The average team shoots 60.9%. It would seem the Wildcats are amongst the worst rim defenders in the country.
Because what if Arizona just didn't let teams take shots at the rim? Thus far we've noted teams that dismiss shots around the rim (presumably) and teams that affect missing at the rim (dFG%), but what about limiting shot attempts? As we noted earlier re: three-point shooting, teams can be constructed to limit a certain shot. With regards to the close parameter shots, this might be a good strategy. Shall we gander at the teams limiting these chances? We shall:
HOLY PACK LINE DEFENSE the Wildcats don't let anyone get near the iron! That percentage leads the nation and handily leads the conference. But with regards to whether or not they defend the rim well, can we simply anoint them the Sworn Brother's of the Rim's Watch? Probably, but I'm not entirely satisfied. What do we know about Stanford's rim protection – the team I dogged for not taking shots at the rim and who led this article? They allow 32% of shots up close while the average team is taking 38.3%. Not too shabby while also ranking fourth in dFG% at the rim. Meanwhile, Colorado ranks near the bottom of the twelve at 36.7% of shots at the rim, flirting with average. However, they nearly lead the conference in dFG% against. Are you seeing a pattern? I'm not.
So what I did was find the total number of field goal attempts each team has yielded and multiplied it by the team's percentage of field goals at the rim. This led to the gross number of shots at the rim and was then multiplied by the field goal percentage at the rim. Those numbers crunched yields us the gross number of made field goals at the rim. And that was the number I wanted – or at least thought I wanted. If teams aren't making shots at the rim, then you're protecting it, right? This factors both affecting misses and limiting chances. Here's what it looks like – I mean all of it:
Once again, however, not so fast my friend! I have one final chart for us (and then I'll show one more). The above offers gross data and if I'm being completely honest I think I just wanted you to see all of it. The factor we're not accounting for is defense. Teams play at different paces, putting up more or less shots and subsequently their opponents doing similarly. USC, for example, appears to have the resume of a good rim defending team when looking at % shots allowed and dFG%. But they're also the third fastest team in the conference behind UCLA and Oregon and are subsequently yielding 12 dunks or layups a night – third most in the conference. So let's divide the above columns 2 and 3 to get our rim defense rankings:
By finding the ratio of rim makes to total field goal attempts on defense, I believe we're looking at the defense as a collective. After all, the goal of a defense is to prevent the other team from scoring and the other team scores by taking shots. That's what is represented in the denominator. The numerator in this case (field goals made at the rim) represents the number of easy buckets yielded. In short: As a fraction of total defense, how much are you giving up at the game's easiest success point?
If you're Washington, it means that one quarter of all shots taken against you are worth two points from very close to the rim. That's not good. Conversely, Arizona allows just 12.07% of the shots against them to be successfully laid or dunked in. I wish I had national context to these numbers but I don't have the bandwidth right now. If you want more, email me and we can talk.
In bringing things full circle, Jordan Bachynski is going to set both the school and conference blocked shot records. He is a factor in protecting the rim as are all great shot blockers. That's an important and helpful asset to the game. But like everything else, there is no Bachynski in team. Its appears the defensive collective – if not strategy – can often protect the hallowed area. Of course with this information, we can further our understanding of a team's defensive strategy which would take a team by team analysis. But that's for another post so just know that Oregon severely misses Arsalan Kazemi and Tony Woods.
But one final chart. This time with no numbers, just color coordination so we can see how all of this adds up across the factors we examined and the mishmash of strategies used to protect (or otherwise) the rim:
NOTE: All data and stats for this piece were obtained from Kenpom.com, hoop-math.com, and basketball-reference.com.


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Monday, June 30, 2014
cornflower blue
We cooked a summer dinner for our dear friends on Friday!
The food was delicious and the evening was so enjoyable and special in many ways.
The corn flowers on the table, I especially picked for Chris, because I know she likes the color so much!
Geplaatst door wood & wool stool op 12:15 AM 2 comments:
Saturday, June 28, 2014
lammie's flower garden
Yesterday we visited Lammie and walked around her flower garden.
So many beautiful natural corners, colors and surprising details.
Lammie's shop, home and garden are always a source of inspiration!
Geplaatst door wood & wool stool op 7:07 PM 5 comments:
Labels: colors, flower garden, flowers, friends, inspiration, lammie, le jardin, natural, style
Friday, June 27, 2014
summer of love
Geplaatst door wood & wool stool op 10:40 AM No comments:
Labels: dried flowers, flowers, home, living room, summer of love, wood & word sign
Thursday, June 26, 2014
summer evening stroll in zwolle
Geplaatst door wood & wool stool op 7:24 PM 3 comments:
Labels: museum de fundatie, places to go, street art, zwolle
Wednesday, June 25, 2014
vintage bottle table lamp
Meanwhile on the canteen table in our kitchen:
Vintage bottle becomes table lamp stand. I took it from our jars collection on top of the kitchen cupboard. The lampshade comes from our attic.
Working on a new stool cover for a special birthday stool of my sweet friends daughter.
As you can see, Lammie also has left her name on our canteen table.
Geplaatst door wood & wool stool op 11:47 AM 2 comments:
Labels: basket, blue, canteen table, colors, crochet, green, handmade, home, kitchen table, moroccan, stoolcover, table lamp, vintage bottle, wood & wool stool
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The central purpose of Arc'teryx is to build the finest products possible. They achieve this by merging unrivaled designs with the best quality, highest performing materials and assembling them in the most innovative and most durable manner for the intended use.
Their name came from the Archaeopteryx Lithographica, the first reptile to develop the feather for flight, freeing itself from the constraints of the horizontal world. Arc'teryx is soaring to new heights and setting a standard in the technical clothing industry that is hard to reach.
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NEW YORK — Stock futures rose sharply on renewed investor confidence in the Fed's commitment to an aggressive monetary policy, as well as some big sales numbers from automakers and an improving jobs picture.
Dow Jones industrial futures rose 109 points to 15,542. S&P futures added 12.7 points to 1,693.20. Nasdaq futures gained 23 points to 3,106.
The Labor Department reported Thursday that the number of Americans seeking unemployment benefits dropped by 19,000 last week, hitting the lowest level since 2008.
It was a surprisingly strong report, even though weekly employment figures are volatile. The less volatile four-week average slid 4,500 to 345,750.
Economists are likely rethinking their estimates on job growth for July which will be released by the Labor Department on Friday. Projections currently call for just over 180,000 new jobs.
Part of the reason for healthier numbers can be traced back to the incredible year that automakers are having. U.S. automakers did not shut factories temporarily as they usually do each year because demand has been so strong.
Automakers are posting sales for July and Chrysler started the industry off with a bang.
The Detroit automaker said sales rose 11 percent last month, its best July in seven years.
Global markets rose early after the U.S. Federal Reserve hinted Wednesday that it might need to maintain its $85 billion a month in bond purchases, which have kept borrowing rates extremely low.


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December 6, 2022| Trash and Recycling| Hopewell Borough
Comments are closed.
Hopewell Borough Follow
Best town in Mercer County. Come to think of it - best town in the whole State! Official tweets right here!
Saturday 6/24 is the first of the Borough's free summer concert series! See you there for Castle Lane - more info on our website. https://www.hopewellboro-nj.us/government/recreation/
Borough of Hopewell
88 East Broad Street
Hopewell, NJ 08525
(609) 466-2636
(609) 466-8511 (fax)
Administration Office Hours:
Monday – Friday, 8:30 am – 4:30 pm
Paul Anzano
Council President
Sky Morehouse
Borough Council
David Mackie
Ryan Kennedy
Samara McAuliffe
Debra Stuhler
Krista Weaver
(click on any of the names above to connect via email)


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Many Improvements!
This release represents a stable release of the product and is a significant improvement from the 1.5 release. Along with defect patches, we also include the following enhancements.
- Support for MySQL 5.7
- New! Binlog Utilities:
- mysqlbinlogpurge - purge old binary logs
- mysqlbinlogrotate - rotate the binary log
- mysqlbinlogmove - relocate binary log files
- New! Replication Utilities:
- mysqlslavetrx - skip transactions on one or more slaves to solve errant transactions and consistency error
- New! General Utilities:
- mysqlgrants - show grants for users
- Improved functionality of --exclude option with SQL wildcards
- Improved packaging in RPM and Windows distributions
- Improved accuracy of calculated disk usage for mysqldiskusage
- Improved packaging in RPM and Windows distributions
- Improved output for mysqldbcompare and mysqldiff
- Improved SSL support
- The Replication utilities have undergone a number of improvements for new 5.7 features as well as quality and usability improvements.
- The documentation has been improved including more descriptions of SSL connections and clarification of replication commands.
- Finally, this release contains a host of minor improvements for quality and robustness
How Can I Download MySQL Utilities?
You can download MySQL Utilities 1.6.4 GA from the following link using one of the pre-built installation repositories including a source download.
Where is the Documentation?
You can find online documentation for MySQL Utilities version 1.6 at:


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Deer Antler Velvet—What Is It, How Does It Work?
Experts explain the substance behind the Ray Lewis controversy.
It may sound warm and fuzzy, but deer antler velvet is at the center of a new sports controversy involving Baltimore Ravens linebacker Ray Lewis.
Lewis, who's headed to the Superbowl in New Orleans this weekend, looked into using a nasal spray made of deer antler velvet to heal his torn right triceps, Sports Illustrated reported in their February 4 issue. Lewis denies the story, calling the rumor a "trick of the devil," according to USA Today.
Made from male deer antlers during the stage when the antlers are covered in soft fuzz, the unproven performance enhancer is often used by athletes who believe it helps heal cartilage and tendon injuries more quickly and boosts strength and endurance.
However, it's not approved by the U.S. Food and Drug Administration, and is banned by the National Football League.
Even so, it's a big business, especially in New Zealand, a major exporter of deer velvet, which ships tens of millions of dollars worth of the substance to Asia and the U.S. each year, according to the New York University Langone Medical Center.
Deer farming is a huge industry in the country, with about 2,800 farmers that own approximately 1.1 million deer, most of them red deer, elk, and red deer-elk hybrids, according to the company New Zealand Deer Velvet.
Before removing the velvet from a stag's antlers, certified veterinarians or farmers give the animal stag a local anesthetic to minimize stress.
We asked a few medical experts to give us the facts on deer antler velvet.
What Is It?
Deer antler velvet is essentially a growth hormone called "insulin-like growth factor 1," or IGF-1.
Growth hormones, which are naturally produced by the brain and liver, regulate how our bodies grow. If the body doesn't produce enough growth hormones, dwarfism can occur; too much, and a person may get acromelagy, a type of gigantism. (See a human-body interactive.)
Doctors give growth hormones to young people with stunted growth, but they don't recommend it for athletes or bodybuilders, according to Spyros Mezitis, an endocrinologist at Lenox Hill Hospital in New York City.
That's because many athletes take several times the recommended dosage, which can result in adverse effects, Mezitis said. For example, too much IGF-1 may cause tendons to become too tight and break or may disrupt how the body metabolizes fats and sugars.
What Does It Do?
Early research shows that IGF-1 may be effective in healing some cartilage and tendon injuries, noted Leon Popovitz, an orthopedic surgeon and founder of New York Bone & Joint in Manhattan.
A recent study found that taking IGF-1 supplements is linked to improving cartilage damage in joints due to repetitive trauma, Popovitz said.
Even so, such studies are still very preliminary, and growth hormone research is still unproven, he cautioned. At the moment, deer antler velvet is available as an unregulated supplement.
"What often happens is these supplement companies grab these promising [hormone] factors, jump on them, and market them before the entire medical community has the ability to know the real detrimental effects," Popovitz said.
How Does It Work?
IGF-1 affects how the body repairs itself. First, the hormone aids in building up a matrix or base—essentially a building block of protein—that's needed for cells to grow.
Then, the substance increases the number of new cells that accumulate on that base, which get busy healing the injury.
What's the Bottom Line?
IGF-1 has shown promise for helping kids with stunted growth or people with dwarfism, as well as for healing cartilage or tendon injuries. It should not be used without a doctor's care, especially as a performance enhancer.
But as far as linebacker Lewis goes, since he's "looking to improve his recovery, I don't think he's necessarily doing anything wrong," noted Popovitz.
That said, "we have to be mindful that professional athletes are not typical athletes," Popovitz said, noting some are known for taking extreme measures.
For your average weekend warrior, he said, "it's a little too soon to be rushing to use it."


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KOPAVOGUR, ICELAND (Nov. 9, 11:45 a.m. ET) — Iceland's Promens hf has turned to green energy for its latest investment at its expanding rotational molding plant in Dalvik in northern Iceland.
Last month, it installed the facility's third rotomolding oven supplied by Reinhard India. The oven, the world's biggest of its kind run on electricity, rather than oil or gas, makes use of Iceland's plentiful supplies of hydro and geothermal energy.
The Icelandic plant molds a range of sturdy insulated polyethylene tubs used in various segments of the food processing industry, primarily still for fresh fish.
Its latest rotomolding equipment is the centerpiece of a newly constructed 840 square meter production hall, which has enough space to accommodate a fourth oven as demand for Dalvik's packaging grows.
Promens, based in Kopavogur, said it had been keen for some time to make greater use of the country's abundant green energy in its local production. Switching to the electric oven not only improves its carbon footprint but also provides a better working environment for its Dalvik workforce, the firm said.
"In the future, we intend to transform our two current fossil fuel ovens to electricity as well. We feel it is important to make our contribution to improving our environment and it makes good business sense as well," said Dadi Valdimarsson, vice-president of Promens's materials handling business.
The new oven operates at 400 degrees C and the new production hall also is equipped with a state-of-the-art cooling system for molds after they emerge from the oven.
The expansion project was partly prompted by continuing growth in the meat industry which is one food processing market for which Promens has developed insulated tubs. Dalvik is the center of the firm's insulated tub business which comprises four plants, including other European units in north western Spain and Norway.
Promens Dalvik sells its containers locally as well as exporting to 60 countries worldwide, with most supplied in Europe.


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text:
Release Date: 2008 |
Album Rating: 4.5 | Sound OffA note to the readers, I considered these other headlines:
If Alcest was done right.
Have a Nice Life is my Pax Cecilia of 2008.
Bands this album sounds nothing like:
Pink Floyd, The Mars Volta, Circle Takes the Square, Hot Cross, Deftones
Album Rating: 4.5 | Sound OffAbsolutely.
You just namedrop in every review it's like jeez
Doesn't matter though since hopefully the album will get all kinds of attention
Album Rating: 4.5Nick Greer has a quota to fill in regards to name drops of Circle Takes the Square. It funds his college education.
Album Rating: 4.5(his college education is free)
Album Rating: 4.5 | Sound Off[quote=Burt]You just namedrop in every review it's like jeez
Doesn't matter though since hopefully the album will get all kinds of attenti[/quote]
Sometimes you have to beat sputnik's general populace over the head when you want to make a point. I'm just letting people know that they should like this as much as they like CTTS.
Album Rating: 4.5ruined it how?
I think he's worried we'll give away the twist ending
Album Rating: 4.5Antiochus is afraid of water.
More like Antiochus is dead the whole time
I don't see why everyone and their mother seems to have this when the release date is February 15.
Album Rating: 4.5The release date is actually January 25th.
Huh. I guess Sputnik lies again! I'll have to look for this, then.
Album Rating: 4.5I just finished listening to this, it was a stunningly beautiful album. It's going to require more listens to fully soak in but I'm very impressed right now. I'm going to order this as much for the booklet as I am for owning the CD. Great review as well.
This is a tricky CD to get ahold of, isn't it? Well, based on what I've heard so far, it seems very worth it.
Album Rating: 4.5 | Sound Off[quote=Jom] I agree that you name-dropped a TON in this review[/quote]
I never name dropped to say that Have a Nice Life sounds like a big name artist though. I just used them contextually. In fact, I went out of my way to explain how these guys are unlike Hot Cross, a band I usually name drop. Who cares.
I'm glad to hear that people are digging this though.
Album Rating: 4.5I really can't get over how elegant this album can be.
This sounds enticing.
Album Rating: 4.5 | Sound OffLike what flaws?
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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How my beloved dog Chaser led me to a career in the veterinary field and a passion for preventive care.
Sometimes it's one special pet that gets us into the veterinary field. Chaser was the one that changed my life. If it wasn't for that rescued Brittany, I wouldn't be writing this story. I wouldn't be in the media talking or writing about pets. Here's how I met her—and where our special relationship took me through the years.
Lovable but flawed
While Chaser and I instantly connected, she did have her issues. The 9-month-old country dog melted in the big city. She was terrified of loud noises, like city buses that rumbled by. She literally shook with fright at the sight of a fire hydrant.
She also had separation anxiety. Whenever we left the house, she lost house-training. In fact, whenever I closed the bathroom door to do my business, she did the same on the other side. This was before veterinary behaviorists, and before drugs and nutraceuticals were used as tools to assist dogs with this problem.
There was no one sure of behavior modification protocol back then, but several dog trainers offered wonderful ideas. My wife's was the most original plan to deal with our dog's separation anxiety—she blew up a picture of me, draped an old worn T-shirt around it, and played a recording of my voice. She figured if Chaser could see, smell, and hear me, she wouldn't be so upset by my departures. It didn't work.
I hung in there and over time Chaser underwent a Pygmalion transformation into my fair confident canine.
I had been writing about pets part-time, but when Tribune Media Services offered me the opportunity to write a syndicated newspaper column, it was Chaser who helped convince me it was the right thing to do. I felt there wasn't enough information to help pets with behavior problems, and I wanted to encourage others to discover the joy of living day to day with a best friend with four legs. I thought the lucky ones might have a connection approaching what I had with my dog. My bond with Chaser was so apparent, strangers on the street would comment.
Serious but treatable
By now Chaser was 13 years old, but she seemed perfectly healthy. We visited the veterinarian every six months, and during one preventive care exam Dr. Sheldon Rubin in Chicago saw a growth in her inguinal area. His suspicions proved correct, Chaser had mast cell cancer.
The word cancer is itself devastating. Because we caught it early, and because we were lucky, Dr. Rubin was able to achieve excellent surgical margins.
Veterinary oncologist Dr. Barbara Kitchell at Michigan State University College of Veterinary Medicine said neither chemotherapy or radiation therapy was suggested because of just how early the diagnosis was made. She did say if I had waited even six months, or until there were symptoms, it's likely Chaser may have become a victim to cancer.
Chaser recovered from surgery in a week, and lived more than two years in good health until the very end.
I will be forever grateful for that one veterinary visit, which gave us two more years together.
Troubled but hopeful
So, a few years ago, when John Payne, then-CEO of Banfield, told me about a coalition of industry, the American Animal Hospital Association, and the American Veterinary Medicine Association then called the Partnership for Preventive Pet Healthcare, I was ecstatic. For years I knew veterinary visits have been moving in the wrong direction. I was already speaking to veterinarians at conferences about how to market practices with preventive care in mind and talk with the public about how preventive care may save their pets' lives—as well as save them money. I truly believe and hope that being a mouthpiece for the now-renamed) Partners for Healthy Pets (www.partnersforhealthypets.org) might be my legacy. I was the first media partner welcomed into the fold.
Veterinary medicine gets better all the time and students graduate with hopes and dreams of saving lives. However, as enthusiastic or talented a veterinarian happens to be, you can't help pets you are not seeing.
My mission: to add my voice to those who are attempting to reverse this alarming trend, and step up my conversations with pet owners about why preventive care matters.
Every time I'm speaking about preventive care, and even as I write this story, I think about those two additional years I had with my canine soul mate.


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Here is another way to fool :) the system: (don't take this too harsh)
If your comment is older than 5 minutes,
- do as if you didn't see it.
- Hit the edit button. It will prevent it hadn't noticed too, that you're going to start an action you'll never end regularly.
- Edit
- Don't hit
save, but mark your comment, Ctrl c (copy to clipboard). Else you get punished by the orange
comments may only be edited for 5 minutes(click on this box to dismiss)-box.
- Trigger
- Create new comment. Insert the whole thing. Ctrl v
- Trigger
- Now delete the old version.
- Mission accomplished.
Alternative version I like to suggest, instead of this complicated gymnastics:
If no comment has been added in between, allow edits even years later. Maybe issue new informations, if the comment adresses special @persons.
Of course only, if no new comment has been added meanwhile.


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A year ago, the software was still more or less the same as was demonstrated in the video linked above in mid-2010.
SupportSupport for the project consisted of initial seed funding from the Awesome Foundation, and a generous research fellowship from Flinders University, that freed up the majority of my time to focus on the project. The project then received a further significant boost with my being granted a Shuttleworth Foundation fellowship.
|Dr. Paul Gardner-Stephen in South Africa, while meeting with the Shuttleworth Foundation.
TechnologyFurther resources were added due to support by the Open Technology Initiative's Commotion Project, which is focussed around resilient communications systems to protect against human rights violations and what might be generally called "politically induced disasters" as compared to natural disasters.
Using these resources, the Serval Project has set about transforming the proof-of-concept demonstration software of 2010 into a production quality system. This has resulted in near complete replacement of every component.
Instead of using Asterisk and SIPdroid for voice calls we have implemented our own mesh-oriented voice protocol and programs, resulting in a much smaller, faster program.
The underlying mesh network that allows the phones to communicate directly with one another, and to relay calls and data for one another has been redesigned and reimplemented from the ground up, with high-grade security baked right in.
The Rhizome store-and-forward data service has been created, and then rewritten to take advantage of the new mesh implementation. MeshMS (Mesh-based SMS) has in turn be reimplemented to make use of Rhizome, and has been demonstrated delivering a message between Africa and Australia, using nothing more than three mobile telephones.
The user interface has been completely redesigned and reimplemented, to give a much more integrated user experience.
|Screen-shot from a nightly build of the next planned release of the Serval Mesh, featuring redesigned user interface.
Increasing Recognition
This year has also seen a continuing increase in recognition of what we are doing, both locally and internationally. Either myself or the Serval Project has been short-listed or awarded in the Rolex Awards for Enterprise (short-listed), South Australian Tall Poppy Awards (short-listed, announcement of winners pending), South Australian Science Excellence Awards (short-listed, announcement of winners pending), Flinders University Early Career Researcher Awards (awarded), Anthill Smart 100 (awarded), NexExplo Top 100 (awarded), and Ashoka Change Maker's Competition (short-listed).
|The Serval Project was one of 11 finalists in the Ashoka Change Makers Citizen Media competition.
|The Serval Project was one of the top-100 innovations named in the Netexplo list of 2012.
I have also presented at TEDx Adelaide, and presented the Inaugural Jim Bettison Memorial Oration at the Adelaide Festival of Ideas, have been invited to present at the Australian Fire And Emergency Services Council conference (AFAC2012), and the Fórum Internacional Software Livre (FISL13), Brazil, participate in the Australian Academy of Science's High Flyer's Think Tank, as well as having presented at Linux Conference Australia 2012.
The Serval Mesh software has now been downloaded more than 13,000 from the Android Market. More than half of the downloads have been from France, we presume the result of our appearing in high-profile news service La Monde, and the involvement of exchange students from INSA Lyon in the Serval Project.
Increasing Collaboration & Impact
But perhaps most exciting has been the increase in collaboration and impact as we begin to reach sufficient technology maturity for our software to be used in trials, and hopefully in the next 12 months in operational deployments.
Collaborations with researchers in South Africa and Israel have already resulted in one journal paper being published, and another two are in preparation. Perhaps most importantly, these collaborations are a clear marker of the Serval Project becoming international in its endeavour and undertaking, so that in the long term it will not fall upon our shoulders alone to develop and maintain the technology.
But most exciting of all has been the two trial deployments, one in Nigeria as part of a human rights/citizen journalism project, and the other in New Zealand with the New Zealand Red Cross IT&T Emergency Response Unit by trialling our technology at their week-long KiwiEx'12 training exercise.
|Members of a community in Nigeria familiarise themselves with the Serval Mesh software.
The relationship we have developed with the New Zealand Red Cross ERU has been tremendously helpful in a number of ways. It has given us the opportunity to understand, first hand, what the needs of an operational deployment in a disaster zone are, and this has directly shaped the development of the technology, and continues to do so. It has also opened the doors to other NGOs and even UN agencies to discuss our technology and how it might be able to be used by those organisations.
A recent outcome of this is that along with the NZ Red Cross and other partners who trialled technology at KiwiEx'12, we have been invited by the UN WHO to put together a proposal for a standardised resilient field data collection capability for their consideration.
So overall it has been a year of getting ready and making tentative first steps of engagement with the international community. Together with the software development progress that has been made the feeling is that this year has been one of preparation for broader engagement and increased impact in the year to come. By continuing to focus on the humanitarian/disaster response use-case for the Serval Mesh technology, and the relationships that we have already begun to create in that space, we are confident that the coming year will be an exciting one, and one where it is our goal that by mid-2013 at least one emergency service or disaster response organisation will have some aspect of Serval technology ready for deployment to support them in their future operational exercises.


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Art Nouveau Style (When You Can't Afford the Real Thing)
Sometimes I torture myself by doing a search for Art Nouveau furnishings on 1stDibs. I covet the impossibly beautiful lamps, mirrors, plates and furniture — all impossibly priced. You won't impress your purist collector friends (and some of these pieces are very loose interpretations of the style!), but these pieces can give your room a bit of Art Nouveau-esque whimsy and fun.
With its sinewy lines, flower and plant motifs, and ethereal curves, Art Nouveau decor is almost fantastical in its beauty. I especially love the idea of pairing Art Nouveau pieces against the stark sleekness of mid-century modern furniture. But the sad fact is that I cannot afford the real thing. Luckily there are some fun reproductions out there and inexpensive accessories designed in the Art Nouveau style. (If you want a concise but thorough education on Art Nouveau, it is worth checking out A Quick History of Art Nouveau.)
1. Reproduction Art Nouveau table lamp in the Handel, Tiffany style with art glass shades, eBay. Bronze Maison Design Art Nouveau Style votive candle holderAmazon, $24.99. Art Nouveau calla lily mirror in cold cast resin. Amazon, $49.95
2. Hickory Hardware Art Nouveau 3-3/8 in. Satin Pewter Hook, Home Depot, $6.37.
3. Brass table mirror, Vintage Blue Smiles on Etsy, $149.
4. Pillow from Couple Home on Etsy, $13.50.
5. Cicada jewelry box from eMuseum Store, $15.
6. Klimt mother and child teapot from eMuseum Store, $34.95.
7. 1920s Art Nouveau bookends from Mom's Vintage TReasures on Etsy, $188.
8. Perhaps the ultimate in reproduction Art Nouveau style loving: A newly designed Art Nouveau style house near Moscow. Lux Interior Designs.
9. The Plate Lady, $25.95.
10. Wall mirror at Mandarava, $69.34.
Images: As credited above.


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Descent: Journeys in the Dark - Second Edition
Descent: Journeys in the Dark Second Edition is a board game in which one player takes on the role of the treacherous overlord, and up to four other players take on the roles of courageous heroes. Featuring double-sided modular board pieces, countless hero and skill combinations, and an immersive story-driven campaign, Descent: Journeys in the Dark Second Edition transports heroes to a vibrant fantasy realm where they must stand together against an ancient evil.
This updated version of the classic board game of dungeon-delving adventure features a host of enhancements, including new heroes and monsters, streamlined rules, a class-based hero system, campaign play, and much more.
Descent: Journeys in the Dark Second Edition includes –
- A rulebook and quest guide
- Eight hero figures and 38 monster figures
- Nine custom dice
- Nearly 250 cards
- 48 Map tiles
- Over 150 tokens
Studio: Fantasy Flight Games
Product Code: DJ01


text:
ZCAP - Feasibility and preliminary efficacy of a transdiagnostic cognitive behavioral therapy treatment approach for alcohol misuse integrated within HIV care in Zambia
This research aims to test the efficacy of a modified cognitive behavioural theory in addressing mental health and substance use among PLHIV with hazardous drinking using a randomized control trial. The findings will be used to co-design a suitable approach to integrating the model into routine HIV care, which we hope to test through rigorous randomized control study design.
Active Dates
08/05/2018 to 04/30/2021
Faculty Involved
Health Topics


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"Hi, is that Simon? This is Kylie..."
Ah, Miss Minogue. We've been expecting you.
Cards on the table, right up front: I believe Kylie Minogue is a pop genius. And before we go any further, it's necessary to clarify exactly what is meant by that. The rockist, hippy notion of 'genius' involves the self-made auteur, toiling away at the coalface with their bare fingernails, carving out a monolithic monument to their own ego. In pop - which is where Kylie Minogue utterly excels - the skill set is different. Pop, by its very nature, is synthetic and collaborative, and therefore pop genius is about having a vision of exactly what you want, and knowing exactly who you need to work with (songwriters, producers, video directors, costume designers, choreographers) in order to create a heightened uber-self, a perfect pop THING to send out into the world.
So I tell her this, and I tell her why. Kylie, I think you are a pop genius.
Kylie Minogue: Um, thanks, firstly! That's very kind. I guess if you look at it that way, with pop there's more pieces of the pie, therefore there's more risk, because there's more elements that need to work together to make it... fantastic. Rock seems to be a different beast, although they still need someone to put their video together, someone to design their album cover... There's not that many people who are completely self-manufactured.
Interesting that you should use the word 'manufactured', because by any workable definition, you were undeniably a 'manufactured' pop star when you started out under Stock Aitken Waterman. But, over time, you've become this whole other thing. With, I'd imagine, very strong views on what should be done, from top to bottom.
KM: Yeah, mainly because I'm curious. And I think in the early days at PWL, I fitted in perfectly because it was not that different to being in a soap, where you get your lines, say your lines, forget the lines, and learn the next lines. And you just punch it out, there's no time to waste, do it, do it, do it, do it, on-on-on-on, that's it. As time went by, I wanted to be more involved and have more say in the person I was presenting. And then, jump-cut to however many years later, which is nothing short of a miracle really. I don't know that anyone else at Stock Aitken Waterman carried on with a consistent music career. And yeah, perhaps people for the most part don't recognise that it's not been the easiest thing to do. Part of my job is to make it look easy... but it definitely wasn't at times, that's for sure.
I first interviewed Kylie Minogue, I remind her, fifteen years ago. We're roughly the same age. We'd have been in the same year at school.
KM: Hah! And here we both are, still doing the same old thing...
But we're not meant to be. You're certainly not. Pop stars (as opposed to rock stars) aren't supposed to continue beyond the age of 40. But here you are, at 44, with a new album, The Abbey Road Sessions (featuring orchestra-assisted reworkings of 16 Kylie classics). Having already been through several media nicknames - CuteKylie, SexKylie, IndieKylie, DanceKylie - as brilliantly satirised in the 'Did It Again' video, it's only a matter of time before some wag comes up with OldKylie.
KM: It's only in the last year or two that that's even been a question. It seems that my age has to be put after my name in just about everything, which... When I was younger, I didn't understand why older women were complaining about being called 'old'. And suddenly you're in that bracket, and you're like 'What...? Why do you have to...? I don't...?!' I don't feel that old, and it doesn't seem like it should make much of a difference, but in the last year I've had to consider it. I mean, if you look at Radio 1, and what their audience target group is, it's a different generation to me. Not that I don't have fans in that age group, cos I do. Which is fantastic. But more of my fans are in a different age group. So I've suddenly found myself in a position where I'm being a little bit schizophrenic, because there's something like The Abbey Road Sessions, and (its lead single, previously unreleased) 'Flower', which shows a more mature, classy side, and the opposite in something like (recent Dirty Vegas-produced electro-house single) 'Timebomb', and they're both relevant parts of me. I would hate to feel that I'm pressured to step down from being a pop star! Maybe it's over 50 now when you're meant to stop, who knows. We all seem to have been afforded another decade in this new day and age. Maybe it's true what everyone's saying, that 50's the new 40, and 40's the new 30. Who knows. In the meantime I'm just doing what feels right for me.
You had an insanely large body of work - 51 singles, 11 albums and 25 years' worth of material - to choose from when it came to recording The Abbey Road Sessions. What was the process of whittling it down to a final 16?
KM: We had a rehearsal period in a studio that was not Abbey Road - somewhere cheaper! - and we already had a few sketches of how to do songs, but that week was just lovely, a chance to be with the band and the producers Steve Anderson and Colin Elliot, and we literally just tried things out, and that's how we discovered which songs would work. Some songs there were two versions of, which we ended up recording because, until they were done, we wouldn't know for sure. Some we tried and they weren't different enough, or kinda didn't evolve into anything that warranted them being on this album. And I wanted it to represent the entirety of my career, so we had to take that into account as well and choose something from each period.
Were there any that it killed you to have to leave out?
KM: I would have loved to include something like 'Breathe', which was one of the first reasons this album came about, because we were on tour and we did a little acoustic version of 'Breathe' in a dressing room and uploaded it for fans, and they went nuts about it. And for me that was such a simple thing to do, but because of its accessibility they really loved it. You know, stripping away the costumes on-stage and the programming and all of that stuff, and just having a real vocal connection.
Your live shows, of late, have featured a lot of alternate versions of your hits, so it's a natural progression...
KM: Yeah. The last few years we've done more of a sleazy, club version of 'The Locomotion', but the version on this album, I think, might be my favourite one. It's almost taken it back further than when I first did it. It's more like a Sixties track, which of course it originally was. And I haven't done 'The Locomotion' like that in such a long time. So a lot of the songs have come full circle. Something like '(I Should Be So) Lucky', I originally did that as a torch song in '98, I think. And that was because it kind of needed to be included in the show, but I wasn't at a point where I could face the original version. And then time passes, and I'm more than happy to throw in an "original-sounding" version of that in a concert. It's just been dependent upon where my head's at, and where current taste is at.
I gather that 'Flower' was intended to be on the X album, in 2008?
KM: It was written for X, but I don't think it even got close to being on X. It was something that I'd submitted for it, but it was just passed by, basically.
I consider X to be a pop masterpiece. It's one of those albums you can listen to from start to finish without a single weak track.
KM: I'm really pleased with that album. I think, at the time, well... certainly on Aphrodite, I had an executive producer, Stuart Price, and I really wanted it to be a bit more cohesive than X, which was a bit all-over-the-place. But actually, it's an album which friends who are fans, friends who know a lot of my music, they will say they keep going back to X. So I guess the decisions were the right decisions... including the one to keep 'Flower' out of that.
X is a perfect example of the collaborative nature of pop genius. You brought out the best in Calvin Harris (who co-wrote and produced two tracks), and he brought out the best in you. You caught him at the peak of his game.
KM: Well, at the beginning, I don't know about the peak! - he was [just] getting into production. And I'd imagine he'd be pretty much the same in the studio today, because even then he was very very definite and considered about the melody that he liked, and his chord structures were fantastic. It was clear he would go places. I don't know that anyone predicted such a stratospheric rise, but I'm thrilled for him."
You managed to lure Nick Cave to Abbey Road to re-record 'Where The Wild Roses Grow'...
KM: Yes! Yes! Yes! My god, I was on tenter hooks waiting to see if he'd say 'Yes' to being on this album, and I was absolutely over the moon.
When you worked with him first time around, what were your impressions of him, beforehand and afterwards?
KM: My experience with Nick Cave was probably a bit back-to-front, because I didn't know that much about him. But about six years before, my boyfriend at that time had said 'My friend Nick wants to make a record with you', but I didn't really know who he meant, and kind of said 'Oh OK, that's great', and thought nothing more about it. And then, when it finally did come around, I was interested, because what made me feel really secure about it was knowing that six years ago it had been mentioned to me. Because at that point, whenever it was, in 96 or something like that, there was a lot of post-modern stuff happening, and if this had come out of the blue, I might have thought 'Oh great, here's someone coming to take the piss.' You know? But I knew this was for real, and I knew it came from an honest place.
So the first time I met Nick was actually at the studio in Melbourne. We'd spoken on the phone before that, but I hadn't met him, prior. And after working with him and recording this, ultimately a tragic song but this very tender, beautiful, sexual song, then I speed-read a biography on him. And then I realised, 'Wow, is this the same guy?!' I read about The Bad Seeds, and even before that The Birthday Party, and oh my god, the things they got up to, the life that he led! And it just seemed in complete contrast to who I met, and who I recorded with, and what we did together. And even my performances with him, whenever we duetted, it was very tender. Super-tender. And the first time I saw him perform live, it was at the Big Day Out festival in Australia, and we had done our part, and I stayed to watch the rest of the show and I was completely blown away. It was like my head came off. I gather you've seen them live?
Many times, yes. I'm a big fan.
KM: So that energy, and his body language, the delivery, and the fury of some of those songs, just made him more amazing and more of a mystery to me.
And yet, in real life, he's the perfect gentleman.
KM: Exactly! So, everything I knew about his history and his reputation and his greatness and his genius, and his cerebral nature, you know, he's like a poet... It wasn't that it was a surprise to find he's a true true gent. It was the other way around, my discovery.
In Cave's novel The Death Of Bunny Munro, the titular protagonist - a vile and depraved travelling salesman - has a distasteful onanistic fixation upon the famed Minogue posterior, as shown by the following extract:
Bunny turns on the radio and Kylie Minogue's hit 'Spinning Around' comes on, and Bunny can't believe his luck and feels a surge of almost limitless joy as the squelching, teasing synth starts and Kylie belts out her orgiastic paean to buggery, and he thinks of Kylie's hot pants, those magnificent gilded orbs which makes him think of riding the waitress's large, blanched backside, his belly full of sausages and eggs, back up in the hotel room. He says "Yes!" and takes a vicious, horn-blaring swerve, re-routing down fourth avenue, already screwing off the top of the hand cream. He parks and beats off, a big, happy smile on his face, and dispenses a gout of goo into a cum-encrusted sock which he keeps under the car seat.
Admittedly, Avril Lavigne gets it even worse.
Kylie, what did you make of that?
KM: Hah! You know, he sent me the book, and he put in a little note apologising in advance. So, hey, I don't care. Nick Cave can say anything. He's allowed!
I've seen you say that he helped your reconciliation with your own past.
KM: Yeah, it's very true! When we worked together, I was going through my whole Impossible Princess... stage. And Nick said to me - I'm really paraphrasing, I can't remember exactly, but - he said he preferred - he wanted to hear me sing - pop music. Which again, is kind of odd compared to what you'd think he would say. And the big turnaround was at the Poetry Olympics at the Royal Albert Hall, reciting 'I Should Be So Lucky' which he willed me into doing. I tried to find numerous excuses not to do it, but I did it, and it really set me on a different course. It was like the equivalent of going to some sort of therapy group, or sitting in a hot teepee sweat-tent, or whatever those things are. I just went, 'OK, that's it! I'm facing That Girl.' I don't know if I was scared of her, or felt eclipsed by her, or too defined by her, I dunno... but it was like meeting her face-to-face and going, 'OK, I'm not going to get rid of you, so let's join forces.' From that moment on, I learnt to embrace my past and embrace pop.
The most stunning Kylie show I've ever seen was the X2008 tour at the O2, a stunning high-concept spectacular combining freako fetish fashion, Pop Art visuals, bleeding-edge technology and brilliantly bizarre choreography. The same year, Lady Gaga came along doing what appeared to be something very similar.
KM: [Deep breath] Well, I think most acts reference what's gone before, and... I don't know how much she knows about my shows, or anything about me for that matter. But a lot of it depends on technically what's available, you know, I like to know what's the latest geeky stuff out there that you can use in a show. But I think each show I've done has taken the experience to another level. It gets increasingly hard to come up with something new. But... it's not the first time someone's said that to me. And, if there was any influence, I think that's great! As much as other people influence me, I'd be thrilled to know that I'd done that for someone else.
As the Manic Street Preachers' biographer, I have to ask the 'Little Baby Nothing' question. Originally, the band wanted you to duet on that song (but former porn actress Traci Lords ended up doing the guest vocal).
KM: I knew nothing about it! It never reached me. Do you know what year that was?
Well, the album came out in 1992.
KM: Ah. Yeah, in my PWL days, no way would that call have come anywhere near me. And hey, I'm trying to cast my mind back to how I was at that time. I think I was dating Michael [Hutchence] around then. If the album came out in '92, they probably started work on it in 1991. Perhaps I would have been open to it, because I was trying to branch out a bit. But I was in the PWL fold, so it wouldn't have reached me.
But eventually you did sing it with them, live, at Shepherds Bush Empire. By which time you were working with them on a couple of songs for the Impossible Princess album (renamed Kylie Minogue). I'm guessing James Dean Bradfield just asked you in person that time around?
KM: I think it was as simple as that, yeah. They were good to me. I had to learn the song, and it's cool, and I'd love to sing it with them again...
Of course, you have Welsh heritage yourself, and Australia currently has a Welsh Prime Minister (Julia Gillard), who was born in my home town of Barry.
KM: Uh-huh, yes I do. Ah, you've made a triangle there!
One of the most extraordinarily emotional atmospheres I've ever experienced at a concert was that of Kylie's resumed Showgirl tour at Wembley Arena in January 2007, following your recovery from an 18-month battle with cancer. What did that feel like, from the stage?
KM: It was an emotional tour, all over. How do I begin to tell that story? I was really just, head down, trying to get through it. Obviously I sensed something different in the audience, and Wembley being the first time I'd come back to England, that would have been the first time they really knew I was back. Particularly with the first couple of shows in Australia - that's where I reopened and restarted that tour - I felt like people couldn't fully let go, in the crowd, cos it seemed like they were worried. Like, 'Is she gonna fall over, is she gonna make it through, what's gonna happen?' So there was a whole other thing happening throughout the show. So it was... I don't wanna say 'fun', I'm trying to find what I'm trying to say... It was important for me to do, because that's what I'd been aiming to do, as I went through everything. And to, I dunno, to share what was looking like a good result, from the ordeal. And yeah, I wouldn't have minded being in that crowd, to experience it, because I bet it was different!
We've mentioned Nick Cave's novel, but you also feature in Paul Morley's Words And Music as his companion on an imaginary car journey through pop.
KM: I haven't read it, but I have it. And I've met with him. Should it be next, on my bedside?
Honestly, yes it should. Morley's starting point is 'Can't Get You Out Of My Head'. I'll never forget staring at the radio in disbelief when I first heard that song, thinking, 'This song is immortal. This song will take over the world.' (It went to No.1 in over 40 countries.) Did you feel the same way, when the Cathy Dennis/Rob Davis demo was presented to you?
KM: Absolutely. My A&R at the time, Miles Leonard and Jamie Nelson, said, 'We've got something. Come into the office. We've got to play you something.' So I went to the EMI office, and I had the same reaction you did, about 20 seconds in. I couldn't even fathom what I was hearing. It just... did something. I was beside myself. Then at the end of the song, panic set in. I was saying 'Are you sure we've got this song? Don't tell me that we don't! Is it secured? Can we have it?' And we did! And that kick-started a whole different phase in my career.
You've been in the papers a lot recently because you've filmed a lesbian love scene (in Jack And Diane with Riley Keough, Elvis Presley's granddaughter). Again, like the Nick Cave duet, quite a daring move which might challenge some people's perceptions of you.
KM: Yeah, but in my head it doesn't seem daring. It's like a breath of fresh air to be able to do something different, to go off the tracks a little bit. I don't really stop to think too much about what the result is gonna be, I just go, 'That's great, something different to do!' When I saw the script, I was totally fine with it. And she's a lovely girl...
You've also been in Holy Motors this year (a surrealist fantasy by Leos Carax). Is acting becoming a priority for you again?
KM: I would definitely love to give it more space in my brain, which should lead to more space in my life, which should lead to more opportunities. Obviously if you're promoting an album full-on, and doing a six-month tour around the world, there is no space to do anything else. But the very small part I have in Jack And Diane, and then the role in Holy Motors, has just reignited that desire that's always been hanging around. It's always been present. It was so rewarding to do Holy Motors, and the response seems to be something that's gaining momentum around the world. And to work with someone so inspiring like Leos Carax, and to try and get inside his brain a little bit, is really compelling. And that's exciting.
A nerdy trivia question to finish. Is it true that you recently wore a Sigue Sigue Sputnik T-shirt onstage?
KM: I might have, yeah! Did I? Probably on the Anti tour.
Another former PWL act, briefly, of course.
KM: Ah! That's a happy coincidence. My god, you are a music buff! I'll have to call you with any of my questions...
Kind of tragic, isn't it? At my age - at our age - still obsessing, still caring about this stuff.
KM: It's not tragic! It's amazing.
The Abbey Road Sessions is released on Parlophone on October 29Full details here