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'Spurred by the song's rhythm, my typing fingers flew' – Dianne Greenlay
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on November 10, 2014
My guest this week has a taste for the adventurous. Her novel is set in the pirate-infested waters of the West Indies in 1717, and her characters are unwittingly pulled into a hazardous sea journey. The music that sustained this imaginative voyage is epic and foreboding, but not without its lighter elements. My guest discovered in her research that sailors used dance to ward off boredom on the interminable days at sea, so she wrote a scene to the soundtrack of a reel. But it became more than dance; when the characters shrugged off their tensions they began to behave in unexpected and delightful ways. In case you're imagining it's all lace, beards and cutlasses, though, there's a distinctly modern note at the end: Moby makes an appearance (no, not the whale). The author is Dianne Greenlay (one of my co-conspirators at the League of Extraordinary Authors) and she'll be here on Wednesday with her Undercover Soundtrack.
adventure, adventure stories, authors, characters, Desert Island Discs, Dianne Greenlay, drama, entertainment, hazardous sea journey, high seas, historical fiction, League of Extraordinary Authors, Moby, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, pirates, playlist for writers, Roz Morris, The League of Extraordinary Authors, The Undercover Soundtrack, undercover soundtrack, West Indies, Women Writers, writers, writing, writing to music
The Undercover Soundtrack – JW Hicks
Posted by Roz Morris @Roz_Morris in Uncategorized on November 5, 2014
'A lyric; a tune; a fragment; a thrilling chord-run'
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is quirky speculative fiction and award-winning short story writer JW Hicks @TriskeleBooks
Soundtrack by Bedrich Smetana, Aaron Copland, Beth Nielsen Chapman, Tallis Scholars, Alison Krauss, Soggy Bottom Boys, Hans Zimmer, Lisa Gerrard
Most of my better ideas are sparked by music. I have a radio in every room – yes, every room, and a disc player close to where I write. I hear a lyric, a fragment of tune, a thrilling chord-run in a classical piece, and visualise a character, feeling him or her and knowing something of their lives. That exciting moment when ideas come is a buzz that never fails to thrill. My mind is filled with the promise of a story hovering within my grasp and just dying to be told, and I shoot to the moon on an adrenaline high. Who needs drugs if ideas can make you feel like that?
But those sparked ideas are will-o'-the wisps; here and gone in an instant. If they're not captured on paper or tape they'll fly away – into another writer's mind perhaps. I know what it's like to lose an idea and try in vain to recapture it. Lesson learned, I keep a notepad at hand at all times. I've even run soaking wet from the bathroom to scribble a few damp sentences on the pad kept on my bedside table. Crazy, I know, but once they take flight, those ideas are lost forever.
When I'm deep in writing mode and the seam runs out, I, like Worzel Gummidge, swap my writing head for a go-do-something-else head. I might clean the cooker, scrub the bathtub, or brush the cat's black-velvet fur: necessary but easily put-off-able chores. (Have you ever tried brushing an unwilling cat?) As I clean or brush I listen to music suited to the seam that ran dry, hoping it will oil my writing wheels. I look on it as an equation: a good match between music + writing = a satisfying flow of ideas/words. In my case, most often the ploy works, the seam opens and I see my way forward.
My debut novel Rats is a book of speculative fiction – SF, Fantasy, Dystopian? All three, if truth be told, but hopefully suitable for both YA and general readers. Rats is a journey from one world to the next – beginning in the future, ending in the past. In one world my protagonist is Bitch Singer – fighting a dictator – guerilla style. In another she is Dorrie Hart, housewife and mother – carer to a speech-impaired child. Which world is real – which life is true? And why does she wake each morning crying for a lost lover – a lover she is determined to find.
Bedrich Smetana's Vltava, a tone painting used to evoke the sounds of one of Bohemia's great rivers, is the music that most suits the Wilderness chapters in Rats. Bitch Singer of the Whip Tails dreams of escaping from the Ruins and the rat-hunting troopers. Sharing that dream of freedom, her clan heads for unoccupied territory, the Wilderness, where Dictator Templeton has no sway. For me, that yearning, that dream of freedom is encapsulated in Vltava. In the joy of the river's run and the surges of gathering strength as it flows through the forest, I am Bit, heading for the Wilderness with her clan. Hearing Vltava places me there, climbing the hills, sleeping in the forests; searching for a refuge where Rats can live free.
Music inspires, give impetus, gives insight, but it's the hard graft of putting words on a page that is the truth of writing. For that I need to be alone and in a quiet place.
Place is all-important. At present I write in a room with a good view of the sky. Living at the top of a hill, my sky is high, wide and handsome. Today it's cloudy but not flat-dull, just a patchwork of grey clouds ranging from dove to near charcoal. I watch as they thin to expose hazy blue streaks when just an hour ago they had thickened to an indigo frown. Day moods and stormy night moods are stored in my memory, ready to add texture to my prose.
Emotion runs strong in Rats, like the river Vltava.
Aaron Copland's Appalachian Spring is an inspiration for forging the clan's new life in the Wilderness. I love its peace and its joy – the sounds of a new beginning.
For deep emotion I listen to Beth Nielsen Chapman. Sand and Water got me in the mood to write a particularly harrowing scene in Rats, just as Allegri's soul-quivering Miserere saw Bit through her traumatic journey into the unknown.
It's not all gloom and sorrow in Rats, Alison Krauss singing Down to the River to Pray helped write the homely scenes where my freed Rats attempt to throw off the pall cast by Templeton. And let's not forget the Soggy Bottom Boys' Man of Constant Sorrow that jogged me through Bit's extraordinary new life.
Last but not least I depended on the music score of Gladiator composed by Hans Zimmer and Lisa Gerrard, to give life to certain action sequences in the novel. In fact the whole CD fits Rats perfectly – death and hunting, a Rat's life in just three words. I still watch Gladiator, and listen to my CD of the theme music, thinking of my rebellious freedom fighters and especially of Bit, sent unwillingly on a traumatic journey into the unknown.
JW Hicks, a long-time story teller and writer of quirky tales. Her first love is speculative fiction. Her mentors – John Wyndham, Robert A Heinlein and CJ Cherryh. A prize winning short story writer, with success at the Words With Jam 'first page' competition, with Rats, her debut novel, now found on Amazon Kindle and Smashwords. She can be found on the Triskele Books Blog.
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'A lyric, a tune fragment, a thrilling chord-run' – JW Hicks
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on November 4, 2014
My guest this week says that most of her better ideas are sparked by music. She keeps noise-making apparatus at the ready in every room in her house. When she's stuck she charges up her headphones with inspirational pieces and does a hand-occupying household activity until the ideas return, which usually isn't long. Quirky and speculative fiction is her milieu, and her short stories have won prizes. Now she's launching her debut dystopia novel, Rats, with the Triskele books collective. She is JW Hicks and she'll be here on Wednesday with her Undercover Soundtrack.
authors, CJ Cherryh, Desert Island Discs, drama, dystopia, entertainment, fantasy, inspirational pieces, Jane Hicks, John Wyndham, JW Hicks, literary fiction, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, playlist for writers, quirky fiction, Rats, Robert Heinlein, Roz Morris, speculative fiction, The Undercover Soundtrack, Triskele Books, undercover soundtrack, Women Writers, writers, writing, writing to music
The Undercover Soundtrack – Jessica Bell
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 29, 2014
'Five characters, five musical identities'
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is contemporary fiction author, poet, editor and singer-songwriter Jessica Bell @MsBessieBell
Soundtrack by Judy Garland, Magic Dirt, Hole, Lene Lovich, I Killed the Prom Queen, Metallica
White Lady is written from the perspective of five different characters, each in first person, so, in addition to my usual character-defining tactics, I decided to give three of them specific music tastes. These music tastes also really helped to mould the personalities of these characters, and made it easier for me to write in their different voices.
The musical soundtrack fan: Somewhere Over the Rainbow by Judy Garland
Sonia Shâd, an Australian/Turkish high school mathematics teacher and wife of Melbourne's leading drug lord, is addicted to slicing people's throats and admiring the blood cascade down her victims' chests.
Now the clichéd thing to do would have been to make her a fan of heavy metal. I didn't want to go the typical route. Instead, I thought it would be a little more creepy having a song associated with innocence and finding true bliss linked to Sonia finding her true bliss—the pleasure of a kill.
I've also used the rainbow as a metaphor for Sonia's passion for numbers:
It is seven a.m. and everyone's mailboxes are decorated with dew. When I was a child, I liked to think the dew meant fairies had been out to play during the night. Especially when the sun shone through dispersive prisms of condensation, creating a field of colour across my front lawn. It was the rainbow that first got me interested in mathematics and physics, and its ever-elusive pot of gold. It didn't take long for me to rationalize that the pot of gold was simply the bait to enrich my knowledge.
As an extra quirk, Sonia's doorbell plays this song when it's pressed.
The female rock goddess fan: Dirty Jeans by Magic Dirt; Skinny Little Bitch by Hole; Bird Song by Lene Lovich
Mia Weston is an insecure overweight high school student, who turns to drugs to lose weight, and experiments with her sexuality to manipulate her drug dealer. She falls for Sonia's son, Mick, and gets caught up in his family's criminal activities. She enjoys every minute of it, because it makes her feel beautiful. She experiences a tug of war with her conscience — good girl (who is insecure about her looks, and wants to be a good daughter for her single father) versus bad girl (a beauty queen in Mick's eyes, and bold and confident when engaging in illegal activities).
Mia is also an aspiring songwriter and turns to these female rock goddesses for inspiration.
I don't, however, just use these songs to represent Mia's personality. I make sure the songs appear in the story when the lyrics actually mean something to the scene.
For example, she turns Dirty Jeans up full blast when she realizes she might be falling for Mick. The first line of the song is about being attracted to an ordinary boy. Mick is far from an ordinary boy. Mia listening to this song is almost trying to convince herself that there is nothing to worry about, that Mick may be different than most, but deep down he is normal and she will be safe with him. At the same time, it also gives her a false
sense of self-esteem when she imagines the lyrics, about being beautiful, are being sung to her directly.
On the opposite end of the scale, when Mia is feeling guilty about her actions, she listens to Skinny Little Bitch, glorifying that fact that she is acting like one herself. Of course, she's still romanticising about being skinny. It's easier for her to be a 'skinny bitch' than an overweight one.
The Metal Head: Never Never Land by I Killed the Prom Queen; Creeping Death by Metallica
On the surface, Mick Shâd (Sonia's son) is an absolute thug. He's foul mouthed, exhibits violent and crude behaviour, and shows no respect to anyone whatsoever. Yet, deep down, he is a gentle sweetheart with a poetic soul, which readers witness through his scenes with Mia.
All his life he has been exposed to the illegal activities of his parents. The biggest thing that haunts him to this day is the blood stain on the back porch, along with the memory of Sonia tucking him in one night without having properly washed the streaks of blood off her skin.
Mick listens to hardcore music to escape his hardcore reality. It's a way for him to shut the world out when he needs to be alone. Readers also get the hint that he prays to Allah on his seccade (a Muslim Prayer mat in Turkish), when he's alone in his room too. He clearly has a conscience.
The songs I've mentioned above are not actually cited in the novel. Only the bands. This is because Mick isn't the type of guy to describe what he's listening to. He just turns his stereo on full blast — full stop. We also experience the loud music coming from his bedroom through Sonia's perspective, in which she recognises the bands, but can only make out the sound of roar roar roar.
Despite readers never knowing what songs Mick listens to, these are the songs I had in mind when writing the scenes these bands are mentioned in. If you look up the lyrics to these songs, you will glean a lot of meaning from them and how they relate to the story. Though I would have loved to explain all these details in the book, they just didn't fit. So I had to resolve myself to the fact that they would remain hidden (a true Undercover Soundtrack!")
If you ever decide to use music for writing inspiration, have a think about how you can create symbolic branches to your music of choice in your story. Not only does it provide a fabulously diverse platter of character food, but it's also nutrition for your plot. I don't think I have ever written a book which didn't incorporate music in one form or another. And now I don't think I could ever write without it.
Is your story lacking the nutrients it needs? Perhaps some music will help!
Jessica Bell, a thirty-something Australian-native contemporary fiction author, poet and singer/songwriter/guitarist, is the Publishing Editor of Vine Leaves Literary Journal and the director of the Homeric Writers' Retreat & Workshop on the Greek island of Ithaca. She makes a living as a writer/editor for English Language Teaching Publishers worldwide, such as Pearson Education, HarperCollins, MacMillan Education, Education First and Cengage Learning. Connect with Jessica online at her website, retreat & workshop, blog, the Vine Leaves Literary Journal, Facebook and Twitter
GIVEAWAY To celebrate the release of White Lady, Jessica is giving away an e-copy (mobi, ePub, or PDF) to a random commenter of this post.
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Five characters, five musical identities – Jessica Bell
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 28, 2014
My guest this week is an old hand at The Undercover Soundtrack. She made her first appearance here in 2012 with a soundtrack she had composed, sung and recorded herself – which earned my undying envy (in a good way). She's a singer-songwriter as well as a poet and novelist, so music is a natural way for her to understand her characters. In her latest novel, she writes from the perspective of five people, and used music to help her create their different voices and mentalities. Join me here on Wednesday to meet Jessica Bell (once again) and the Undercover Soundtrack to White Lady.
authors, contemporary fiction, crime, crime fiction, Desert Island Discs, drama, entertainment, first appearance, Jessica Bell, murder, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, playlist for writers, Roz Morris, The Undercover Soundtrack, undercover soundtrack, Vine Leaves Literary Journal, White Lady, Women Writers, writers, writing, writing to music
The Undercover Soundtrack – Marcus Sedgwick
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 22, 2014
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is multi-award-winning author Marcus Sedgwick @marcussedgwick
Soundtrack: folk ballads of Eastern Europe, Gustav Mahler
I've mentioned music quite a few times a while blogging over the years; and the gist of it all was this: I wish I'd been a musician. You often get asked what you would like to have been if you weren't a writer, and that's my answer. And when I say a musician, I mean of almost any kind. But since I'm not, I'm pretty happy being a writer instead, though that being the case, I use music a lot in my writing.
I mean that in two ways, at least. Firstly, like many writers, I prefer not to write in total silence. I can do that if I have to, but I prefer to have music playing while I write. This music isn't random, however; I choose it very carefully, and the general rule of thumb is that I choose music that creates the same atmosphere in my head that I am trying to create on paper. Music really can help put you in the mood, that's obvious, and I see it as another tool the writer can use to make life easier. Sometimes, I might choose music that is directly related to what I am writing; for example, when I wrote My Swordhand is Singing, I listened exclusively to Klezmer, the gypsy folk music of Eastern Europe, such as this. It's music that can be both incredibly joyful, and then, at other times, perhaps the most mournful thing you've ever heard.
Births and inspirations
I referred to an actual Romanian folk ballad in the book, and I listened to that over and over again too. It's called The Miorita ('The Lamb') and was inspiring both in terms of mood, but also for the story itself: it's the mystical tale of a lamb who warns a shepherd that his colleagues are going to murder him, and it's both beautiful but also right on the theme of the book I was writing, about the acceptance of death.
This is the second way in which I work with music in a text I'm writing. A piece of music may have led to the birth of some element of the book. Another example would be Mahler's Symphony No. 2, the Resurrection, which directly affected whole sections of White Crow. But this time, it wasn't the music itself, it was something that Mahler wrote in the program notes for the premiere, which was this:
The earth quakes, the graves burst open, the dead arise and stream on
in endless procession… the trumpets of the Apocalypse ring out; in the eerie silence that follows we can just catch the distant, barely audible song of a
nightingale, last tremulous echo of earthly life! A chorus of saints and
heavenly beings softly breaks forth:
"Thou shalt arise, surely thou shalt arise." Then appears the glory
of God! A wondrous, soft light penetrates us to the heart, all is holy
And behold, it is no judgment, there are no sinners, no just. None is
great, none is small. There is no punishment and no reward.
An overwhelming love lightens our being. We know and are.
That kind of thing brings shivers to my spine, and when I read a passage like that, I know that very often it will end up in a book.
Which brings me to my new book, The Ghosts of Heaven. This book doesn't have music in the story directly, and when I came to write it, nothing in my music collection seemed appropriate to play as I typed. So I took a pretty drastic step, which was to write to my own music. The book is made up of four novellas, effectively, four quarters, which are interlinked by an image – the form of the spiral. One part is set in prehistory, and is written in free verse. Another part is a straight narrative of a late witch-hunt in England. There's a section set in an insane asylum on Long Island in the 1920s, and there's a quarter that takes place in the far future, aboard the first ship from Earth travelling to colonise a new planet.
There's a short snippet of what I wrote as the soundtrack to this trailer for the book, and if you think listening to that for days must have put my head in a strange place, well, you can judge for yourself if you read it.
Marcus Sedgwick was born and raised in East Kent in the South East of England. He now divides his time between a small village near Cambridge and a remote house in the French Alps. Marcus is the winner of many prizes, most notably the Printz Award, the Booktrust Teenage Prize, and the Blue Peter Book Award. His books have been shortlisted for over thirty other awards, including the Carnegie Medal (five times), the Edgar Allan Poe Award (twice) and the Guardian Children's Fiction Prize (five times). In 2011 Revolver was awarded a Printz Honor. Marcus was Writer in Residence at Bath Spa University for three years, and has taught creative writing at Arvon and Ty Newydd. He is currently working on film and book projects with his brother, Julian, as well as a graphic novel with Thomas Taylor. He has judged numerous books awards, including the Guardian Children's Fiction Prize and the Costa Book Awards. Find him on Twitter as @MarcusSedgwick and at his website.
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'My sword hand is singing' – Marcus Sedgwick
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 21, 2014
There's a shelf chez Morris that holds a set of books with such exquisite titles as Midwinterblood, White Crow, Floodland and, of course, the one quoted in the catchline of this post. So shall I cut to the chase and state that I'm honoured that he's my guest this week? His novels blend folktales, myth and sometimes futuristic speculation, and music is a significant companion in the writing – from the mournful and joyous gypsy and folk ballads of Eastern European to the romantic compositions of Gustav Mahler. For his latest novel, The Ghosts of Heaven, no music would fit – so he composed his own. Do join me tomorrow for the Undercover Soundtrack of multi-award-winning author Marcus Sedgwick.
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The Undercover Soundtrack – Christina Banach
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 15, 2014
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is debut YA paranormal novelist Christina Banach @ChristinaBanach
Soundtrack by Iggy Pop, Evanescence, Cyndi Lauper, Robbie Williams, Samuel Barber
I find background noise somewhat distracting when I'm working, so my normal practice is to squirrel myself away in my study and write in silence. However this doesn't mean that music plays no part in my creative process – far from it. Even in the initial stages of brainstorming ideas and exploring characters I find lyrics and melodies filtering through my consciousness and seeping into the story I'm trying to tell. It's at that point that I compile the playlist that I will listen to, time and again, when I'm not actually writing, that is. Then, as I work through the revisions, shaping my manuscript, this music spools in my mind, helping to deepen character and clarify – and intensify – plot points. This was especially true when I was writing Minty.
Although the book is shot through with humour, Minty is undoubtedly an emotive read, a true emotional roller coaster according to its reviewers. It centres around one of life's big questions – is there life after death? – and deals with love, loss, friendship and redemption. Above all it is a book about hope. With such weighty themes it is no surprise that much of the music that informed the story is haunting, thought-provoking and stirring.
At the beginning of the book the protagonist, Minty, and her sister, Jess, are ordinary girls who are in love with life. As I grew familiar with their characters one song began to fill my head – Iggy Pop's Lust for Life.
However, these typical teenagers are also identical twins, girls who are bound by a steadfast bond, one that is jeopardised when Minty drowns during a family trip to the coast. Yet the sisters' connection isn't broken, for Minty finds herself trapped between life and death, forced to watch Jess's spiralling grief.
In the immediate aftermath of the accident Jess is desperate to catch Minty's last breath (the twins are fascinated with the customs of ancient Rome). My readers tell me this is an intensely emotional scene. It was certainly emotional to write and this is partly due to the song that ran through my mind as I crafted it – Evanescence's My Last Breath. It speaks to me of Jess's despair, and Minty's full appreciation of the situation she is now in.
Jess's lament
Indeed, Evanescence features highly in the Minty playlist, for it is their songs that influenced the development of Jess and Minty's character arcs. For instance, My Immortal could have been written specially for this book. It is this song that helped me drill down into Jess's core and uncover not only the pain she feels now that she has to live without her sister, but also the agony of Minty's presence still lingering in her mind. It's Jess's lament, if you like.
Then there is Bring Me To Life. I tend to think of this as the Minty anthem because, even although it is Minty who is deceased, the twins are both dead to some extent. In their separate, and very different, ways they need to be saved from themselves. Bring Me To Life helped me clarify this.
Why can't I grasp it? Cos I'm nothing – a shade, a ghost, whatever I want to call it. I am a big fat zero. I should be used to that by now – being in this world but not of it. The thought sickens me. This existence sickens me.
Which brings me to my final Evanescence song, the beautifully haunting, Missing. It is this song that helped me tap into Minty's pain and confusion at a particular juncture in the story, a plot point that is all the more poignant because it comes hard on the heels of an uplifting episode, featuring Jess and her friends. Cyndi Lauper's Girls Just Want To Have Fun was the musical inspiration for writing that light-hearted scene.
And yet writing Minty wasn't purely a full-on Evanescence fest, the music of other artists also wormed their way into my subconscious and aided the creative flow, and I don't only mean Cyndi Lauper although another of her songs, True Colours, assisted me greatly in pinning down Jess and Minty's characters.
Cue Robbie Williams and Angels. This well-known song is actually mentioned several times throughout the novel. In fact, it has a significant role in three of the pivotal moments in the narrative. One of these is Minty's funeral, a chapter that stood unchanged through drafts one to eight of the revision process. I reckon that this song helped me nail it first time. Another of Robbie's songs, Nan's Song, was the soundtrack to one of my favourite scenes in the book, a scene based on something rather mysterious and perplexing that had happened to me many years ago. Listening to the music playing out in my head allowed me to capture that moment and transplant it into Minty's story.
The ultimate fragment in the soundtrack puzzle is Samuel Barber's Adagio for Strings. Several people have told me that Minty is an extremely filmic book, which is interesting because as I wrote it I saw it played out before me as if I were watching a movie on the big screen. This was never truer than when writing the closing scene of the final chapter. For me, it's a moment of such poignancy, such beauty and high emotion – of hope. Perhaps Barber's Adagio unleashed something in my psyche that enabled me to create the scene that needed to be written. I don't know for sure, all I can tell you is that I cried each time I worked on it.
Christina Banach is an ex-head teacher who lives in Scotland, UK, with her husband and their two rescue dogs. Her debut novel, Minty, was the first acquisition of new publishing house Three Hares. She is currently working on her next book, a contemporary ghost story come psychological thriller set in and around the legendary village of Glencoe in the Scottish Highlands. Find her on Twitter @ChristinaBanach, or on her website, or Pinterest. Cover of Minty by Serafim.com
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'Is there life after death?' Christina Banach
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 14, 2014
My guest this week is releasing her debut novel, a tale of love, loss and friendship centring on a pair of twins. She says that music was her anchor while she was brainstorming ideas and exploring the characters, helping to deepen her characters and refine her plot points. Her soundtrack ranges from the mournful to the joyous, with tracks by Iggy Pop, Evanescence, Robbie Williams, Bette Midler, The Hollies and Samuel Barber. She is Christina Banach and she'll be here on Wednesday with her Undercover Soundtrack.
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The Undercover Soundtrack – Anjali Mitter Duva
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on October 8, 2014
'A hushed, whispered jingle mimicking a drizzle of rain'
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is historical novelist Anjali Mitter Duva @AnjaliMDuva
Soundtrack by George Ruckert, L Subramaniam, Nusrat Fateh Ali Khan, Chopin
Music is at the heart of Faint Promise of Rain. The setting for the story — 16th century Rajasthan in Northwest India — had already been laid down by multiple visits to that stunning part of the world, where temples and fortresses rise up from golden sand, where textiles are jewel-toned, and the sky is devastatingly blue. The next story layer came in a very different shape: a class in kathak dance, a classical storytelling art from North India.
I'd decided to try out kathak, and stepped timidly into the dance center where a class happened to be offered just down the street from my home. As I climbed the three stories of steps to the kathak studio, the sound of ankle bells grew louder. Then I discerned the slap, stomp and drumming of dozens of feet, and the glorious sound of voices singing in unison. In kathak, the dancer becomes an instrument. In addition to studying dance technique and compositions, the dancer must become intimately familiar with the cycles in which Indian classical music is structured—the 16 beat cycle (tintal), the 14 beat (dhammar), the 10 beat (jhaptal) and many others—and develop an awareness at all times of where in the cycle she finds herself. In addition, dancers memorise their compositions and recite them in a series of mesmerising syllables that roll off the tongue: kita taka tun tun na tete dha dha dhin dha kita dha dhin dha. The hundreds of small brass bells around their ankles lend music to every step, a hushed, whispered jingle mimicking a drizzle of rain, a deafening jangle indicating an exploding storm. And then there are the sounds of the feet, sharp slaps of entire soles coming down hard on the floor, deep drumming of heels, soft pats of tapping toes.
As I delved deeper into the dance, I learned of its early history, first among wandering minstrels bringing the Hindu epics, the Mahabharata and the Ramayana, from village to village, then as a devotional dance practiced in Hindu temples by devadasis, girls who were wedded to the temple's deity and served it through dance, while also serving wealthy patrons as sexual companions. Soon, it all began to coalesce into a story—the setting, the history, the dance itself.
Music and rhythm in writing
From the moment I started writing the book, I was aware of the power of rhythm in writing. Word choice, sentence length, the sounds of the syllables on the tongue all contribute to the experience of absorbing a story. When it came time, in the manuscript, to convey through words a moment of dance, I found myself dancing the piece in my dining room, or in my head if I was writing in a cafe, willing the feeling of the music and movement to flow out of my body through my finger tips and into the keyboard. I tried to hear the musicality in the raindrops of the city's first rain in five years, in the beat of hooves as a horse galloped over searing sand.
Music to transport me
I wrote the book in New England. There are some hot days, and many cold ones. Bundled up in a wool sweater as a Nor'easter rages outside, dumping two feet of snow and closing schools, it's hard to imagine being in the Thar desert of Rajasthan. So I often turned to music to pull me back to the right place. One of my favorites for this is L Subramaniam playing his violin, especially in Raga Kalyani. The strains of the Indian violin are haunting, rich and emotionally charged. They always give me goosebumps, and conjure up images of India right away. L. Subramaniam is from South India, and plays in a Carnatic style that is not the one found in Rajasthan, but his music is all I need to feel back in India. I get memories of playing among the rocks on the coast of the Arabian Sea in Mumbai with my friends while the sun set smoggily and the air filled with the smoky smell of kerosene fires. I see myself standing wrapped in a shawl on the ramparts of the fort in Jaisalmer, looking out over the grey-blue desert as the sun rises and colors it with warmth. I think of sitting on an elephant, plodding through foliage dripping with the night's condensation, listening for tigers at the break of day.
Once in an India frame of mind, I have some favorites that I put on while writing to elicit a certain mood, or to help with inhabiting a character's mind. For scenes depicting dancers and musicians, I love the creative and melodious music of George Ruckert, sarod player/composer and longtime disciple of the late Ustad Ali Akbar Khan, a true maestro. George Ruckert is the husband of my dance teacher, a professor, a mentor and a friend. His dedication to his art is inspiring, and so is having his music playing as I write. (He is also on the book trailer.) For energetic scenes, I enjoy the dynamic, celebratory qawwali (Sufi devotional) singing of Nusrat Fateh Ali Khan. It's hard to feel down when he sings. And for getting into the writing mood on a rainy day, I diverge to Frédéric Chopin's Nocturnes. The simple beauty of the piano playing, stripped of any distractions, is meditative, and reminds me of the necessity of getting to the essence of the story and the characters.
The daughter of an Indian father and an American mother, Anjali Mitter Duva grew up in Paris, France. After completing graduate studies in urban studies and civil engineering at MIT and launching a career in infrastructure planning, she found the call of storytelling too great to resist. A switch to freelance writing and project management allowed her more time for her own creative pursuits. Additionally, she is a co-founder of Chhandika, an organization that teaches and presents India's classical storytelling kathak dance. In delving into the dance's history, Anjali found in it, and in the dance itself, the seeds of a quartet of novels. Faint Promise of Rain is the first. Find Anjali on her website, Facebook, and on Twitter @AnjaliMDuva
16th century Rajasthan, Anjali Mitter Duva, authors, blue skies, Chopin, dance, Desert Island Discs, drama, entertainment, Faint Promise of Rain, George Ruckert, golden sand, Hindu temples, historical novel, historical novels, India, kathak, L Subramaniam, literary fiction, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, northwest India, Nusrat Fateh Ali Khan, oz Morris, playlist for writers, The Undercover Soundtrack, undercover soundtrack, Women Writers, writers, writing, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2019. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
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Mod Shortline Alpaca
The Mod shortline alpaca is a classic hand knitted sweater with a stylish design. This range of oversized sweater is made with 100% alpaca wool. It is perfect for personal daily use.
Details:100% alpaca wool, Oversized design
Model is 185cm and wearing a size XL.

subset: commoncrawl


text:
Item Number: OIC83202
Quantity in Stock: 85
Form holder opens like a book for convenient use. Inside right includes a handy steel clip to hold forms in place. Inside left includes snap-close plate to hold up to 30 extra forms or other materials in place. Flip-up plate provides firm, smooth writing surface for forms while protecting any forms or materials behind it.
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Prefix & Stock Number: OIC 83202
For three generations, the small family owned business has survived the Great Depression, world war, the emergence of the super-stores and transition to an online world by providing personal service and great products at reasonable prices. Haskell is also a member of the TriMega Purchasing Association and can quote specialty items like apparel and branded promotional items. Call for competitive quotes. Installation services available upon request.


text:
Push notifications for Android client apps are sent using Firebase Cloud Messaging (FCM). They are used for keeping your users informed with timely and relevant content, whether your client app is running in the background or a device is idle. They can also perform the types of user interactions such as alert, sound, or badge, and include custom data your app needs to respond to the notifications.
Our Android SDK enables you to build a client app which can receive push notifications. When a message is sent to SendBird server through the SDK, the server communicates with FCM regarding the message and then FCM delivers a push notification for the message to an Android device where your client app is installed.
Note: By default, when a user to receive messages is being disconnected from SendBird server, the server sends notification requests to FCM for the messages. The Android SDK automatically detects when a user's client app goes into the background, and updates the user's connection status to disconnected. Therefore, in normal cases, you don't need to call the
disconnect()method explicitly.
This page mainly describes how to obtain server key and sender ID for FCM from the Firebase console and how to setup your Android client app with the SDK to receive push notifications.
Note: Push notifications are supported in group channels only, and are not available in open channels.
In order to send notification requests to FCM on behalf of your server, SendBird server needs your own server key and sender ID which FCM requires to authorize HTTP requests. The server uses two credentials just to communicate with FCM.
Note: If you already have the server key and sender ID, skip this step and go directly to Step 2: Register server key and sender ID to SendBird Dashboard.
google-services.json file, move it into your Android app module root directory.
You can register your server key and sender ID to SendBird server through the dashboard, or by using the platform API's add a GCM push configuration action. The following shows the dashboard case.
Refer to Firebase's Set Up a Firebase Cloud Messaging client app on Android guide on adding configuration code to your Android project to handle FCM messages. The Google FCM sample project is another helpful reference as well.
Note: On initial startup of your app, the FCM SDK generates a registration token for the client app instance on your user's device. This registration token is a globally-unique and app-specific identifier of a client app instance, which FCM uses to determine which device to send push notifications to. Make sure that you check the Step 4 below on a registration token when referring to the guides above.
When FCM is requested to send push notifications to a specific client app on an Android device, FCM requires the app instance's registration token which has been issued by itself. Therefore, to send notification requests to FCM on behalf of your server, SendBird server needs every registration tokens of your client app instances.
If the FCM SDK generates a registration token successfully on initial startup of your app, this token is passed to the
onNewToken() callback. Like the following code, you should register a registration token to SendBird server by passing it as a parameter to the
registerPushTokenForCurrentUser() method.
public void onNewToken(String token) {
// ...
// Register a registration token to SendBird server.
SendBird.registerPushTokenForCurrentUser(token, new SendBird.RegisterPushTokenWithStatusHandler() {
public void onRegistered(SendBird.PushTokenRegistrationStatus ptrs, SendBirdException e) {
if (e != null) {
if (ptrs == SendBird.PushTokenRegistrationStatus.PENDING) {
// A token registration is pending.
// Retry the registration after a connection has been successfully established.
Note: If
SendBird.PushTokenRegistrationStatus.PENDINGis returned through the handler, this means that your user is not being connected to SendBird server when the
registerPushTokenForCurrentUser()is called. In this case, we recommend that you first get a pending registration token using the
getInstanceId(), and then register the token by calling the
registerPushTokenForCurrentUser()in the
onSuccess()callback when your user has been connected to the server afterward.
SendBird.connect(USER_ID, new SendBird.ConnectHandler() {
public void onConnected(User user, SendBirdException e) {
if (e != null) { // Error.
FirebaseInstanceId.getInstance().getInstanceId().addOnSuccessListener(MyActivity.this, new OnSuccessListener<InstanceIdResult>() {
public void onSuccess(InstanceIdResult instanceIdResult) {
SendBird.registerPushTokenForCurrentUser(instanceIdResult.getToken(), new SendBird.RegisterPushTokenWithStatusHandler() {
public void onRegistered(SendBird.PushTokenRegistrationStatus status, SendBirdException e) {
if (e != null) { // Error.
Refer to Firebase's Receive messages in an Android app guide on how to implement code to receive and parse FCM notification messages. The guide provides you with how notification messages are handled depending on the state of the receiving app (foreground/background), how to edit the app manifest, and how to override the
onMessageReceived method.
The following code shows how to parse a notification message payload which consists of two properties,
message and
sendbird. The
message property is a string that is generated based on a chosen notification template. The
sendbird property is a
JSON object which contains full information on the request. Within the
MyFirebaseMessagingService.java, you can display the parsed messages to users with your custom
sendNotification() method.
public void onMessageReceived(RemoteMessage remoteMessage) {
String message = remoteMessage.getData().get("message");
JsonElement payload = new JsonParser().parse(remoteMessage.getData().get("sendbird"));
sendNotification(message, payload);
private void sendNotification(String message, JsonElement payload) {
// Your own way to show notifications to users.
The following is a complete payload format of the
sendbird property, which contains a set of provided key-value items.
category: "messaging:offline_notification",
type: string, // Message type: 'User', 'File', or 'Admin'
message: string, // User input message
data: string, // Custom data field
custom_type: string, // Custom message type
message_id: long, // Message ID
created_at: long, // 13-digit timestamp
app_id : string, // Application's unique ID
unread_message_count : int, // Total unread count of the user
channel: {
channel_url: string, // Group channel URL
name: string, // Group channel name
custom_type: string // Group channel custom_type
channel_type: string, // Channel type: 'messaging', 'group_messaging', or 'chat'
sender: {
id: string, // Sender's unique ID
name: string, // Sender's nickname
profile_url: string // Sender's profile image URL
recipient: {
id: string, // Recipient's unique ID
name: string // Recipient's nickname
files: [], // If a message is a file link, this array represents files
translations: {}, // If a message has translations, this dict has locale:translation.
push_alert: string, // A customized alert push notification
push_sound: string, // The location of a sound file for push notifications
audience_type: string, // The type of audiences to receive push notifications
mentioned_users: {
user_id: string, // The ID of a mentioned user
total_unread_mention_count: int, // The number of messages which a user has been mentioned but has not read within the channels
channel_unread_mention_count: int, // The number of channels with messages which a user has been mentioned but has not read
is_hidden: boolean // Whether or not a mentioned user has hidden the channel from the list
The following shows how to register and unregister the current user's registration token to SendBird server to enable and disable push notifications in the user's client app.
Note: The registration/unregistration methods in the code below should be called after a user has established a connection with SendBird server by calling the
public void setPushNotification(boolean enable) {
if (enable) {
new SendBird.RegisterPushTokenWithStatusHandler() {
public void onRegistered(SendBird.PushTokenRegistrationStatus status, SendBirdException e) {
if (e != null) { // Error.
else {
// If you want to unregister the current device only, call this method.
new SendBird.UnregisterPushTokenHandler() {
public void onUnregistered(SendBirdException e) {
if (e != null) { // Error.
// If you want to unregister the all devices of the user, call this method.
SendBird.unregisterPushTokenAllForCurrentUser(new SendBird.UnregisterPushTokenHandler() {
public void onUnregistered(SendBirdException e) {
if (e != null) { // Error.
If needed, at the current user's client app, you can determine the type of push notification trigger to customize when to deliver notifications. For customization, the
SendBird.PushTriggerOption provides the following three options:
ALL: the user receives push notifications for all new messages while offline, including mentioned messages.
OFF: no push notifications are delivered to the user.
MENTION_ONLY: the user receives push notifications only for the mentioned messages while offline.
// If you want to trigger push notifications only when the current user is mentioned in messages.
SendBird.setPushTriggerOption(SendBird.PushTriggerOption.MENTION_ONLY, new SendBird.SetPushTriggerOptionHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
At the channel level, you can also determine the type of push notification trigger by individual channel, and turn on or off notifications for the channel. For this, the
GroupChannel.PushTriggerOption provides the following four options:
ALL: the user receives push notifications for all new messages in the channel while offline, including mentioned messages.
OFF: no push notifications are delivered to the channel.
MENTION_ONLY: the user receives push notifications only for the mentioned messages in the channel while offline.
DEFAULT: the user's push notification trigger setting automatically applies to the channel.
// If you want to automatically apply the user's push notification setting to the channel.
groupChannel.setMyPushTriggerOption(GroupChannel.PushTriggerOption.DEFAULT, new GroupChannel.GroupChannelSetMyPushTriggerOptionHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
// If you want to turn off push notifications for this channel, pass `false` as a parameter. By default, they are turned on for a channel (true).
groupChannel.setPushPreference(false, new GroupChannel.GroupChannelSetPushPreferenceHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
If you want to suppress push notifications on the current user's client app during specific time of every day, use our
Do Not Disturb feature like the following.
Note: You can also set a user's
Do Not Disturbwith the platform API's update push preferences action.
// The current user will not receive push notifications during the specified time of every day.
SendBird.setDoNotDisturb(true, START_HOUR, START_MIN, END_HOUR, END_MIN, TimeZone.getDefault().getID(), new SendBird.SetDoNotDisturbHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
If you want to snooze push notifications for a specific period of time, use our
snooze feature like the following.
Note: You can also
snoozethe notifications for a user with the platform API's update push preferences action.
// The current user will not receive push notifications during the specified period of time (from START_TS to END_TS).
SendBird.setSnoozePeriod(true, START_TS, END_TS, new SendBird.SetSnoozePeriodHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
Push notification templates are forms about how the notification content is displayed when the message arrives to a user's device. You can choose between the default template and alternative template, both of which are customizable.
|Text message
|File message
Default template
{sender_name}: {message} (ex. John: Hello!)
{filename} (ex. squirrel.jpg)
Alternative template
New message arrived
New file arrived
{message}, and
{filename} above represent the corresponding string values. Use these fields to customize notification templates from your dashboard's Settings > Application > Notifications tab. The option is under the Push Notification Message Templates part.
To determine what type of template applies to push notifications, use the
setPushTemplate() method. You can specify the name of a template with
SendBird.PUSH_TEMPLATE_DEFAULT or
SendBird.setPushTemplate(SendBird.PUSH_TEMPLATE_ALTERNATIVE, new SendBird.SetPushTemplateHandler() {
public void onResult(SendBirdException e) {
if (e != null) { // Error.
// Push template successfully set to SendBird.PUSH_TEMPLATE_ALTERNATIVE.
Note: By default, a push notification template is
You can check the current user's setting with
getPushTemplate() like the following:
SendBird.getPushTemplate(new SendBird.GetPushTemplateHandler() {
public void onResult(String s, SendBirdException e) {
if (e != null) { // Error.
if (s.equals(SendBird.PUSH_TEMPLATE_DEFAULT)) {
// Currently configured to use the default template.
} else if (s.equals(SendBird.PUSH_TEMPLATE_ALTERNATIVE)) {
// Currently configured to use the alternative template.
Push notification translation allows for your users to receive push notifications in their preferred languages. Users can set up to four preferred languages and if messages are sent in one of those languages, then push notifications won't be translated. If messages are sent in a language other than the preferred languages, push notifications will be translated to the language that's first in order from a user's language preference settings. In addition, the translated messages in other preferred languages will be provided in the
sendbird property of a push notification payload.
Note: You can also set the preferred languages of a specific user with the platform API's update a user action.
The following shows how to set the current user's preferred languages using the
updateCurrentUserInfo() method:
List<String> preferredLanguages = new ArrayList<>();
preferredLanguages.add("fr"); // French
preferredLanguages.add("de"); // German
preferredLanguages.add("es"); // Spanish
preferredLanguages.add("ko"); // Korean
SendBird.updateCurrentUserInfo(preferredLanguages, new SendBird.UserInfoUpdateHandler() {
public void onUpdated(SendBirdException e) {
if (e != null) { // Error.
boolean isUpdatedSuccessfully = true;
for (String language : SendBird.getCurrentUser().getPreferredLanguages()) { // The 'getPreferredLanguages()' returns a list of the current user's preferred languages.
if(!preferredLanguages.contains(language)) {
isUpdatedSuccessfully = false;
if (isUpdatedSuccessfully) {
// The current user's preferred languages have been updated successfully.
Then the following push notification payload will be delivered to the current user's device.
"message": {
"token": "ad3nNwPe3H0:ZI3k_HHwgRpoDKCIZvvRMExUdFQ3P1...",
"notification": {
"title": "Greeting!",
"body": "Bonjour comment allez vous" // A push notification translated to the first language listed in the preferred languages.
"sendbird": {
"category": "messaging:offline_notification",
"type": "User",
"message": "Hello, how are you?",
"translations": { // The translated messages in other preferred languages.
"fr": "Bonjour comment allez vous",
"de": "Hallo wie geht es dir",
"es": "Hola como estas",
"kr": "안녕하십니까?"


text:
62 Hetherington Road, Shepperton, TW17 0SW.
Windows Of Heaven is a double glazing company providing a range of double glazing solutions for different types of window. Windows Of Heaven is based in Hetherington Road, London - see map for location of Hetherington Road.
Telephone: 01932 787532
Windows Of Heaven are listed in the double glazing installer section here:
Building_and_Construction > Windows_and_Doors > Double_Glazing
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Windows Of Heaven is in Hetherington Road, London. You can view a list of neighbouring businesses by going to the Hetherington Road page.
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Note: the pin is positioned at the postcode centre, and may not correspond with the precise location of 62 Hetherington Road.


text:
The Whale, Buckingham - pub details
Address: 14 Market Hill, Buckingham, Buckinghamshire, MK18 1JX [map] [gmap]
Tel: 0871 951 1000 (ref 12276) - calls cost 10p per minute plus network extras
Brewery: Fullers
- Big screen
- Food served, Real ale
- Outside seating
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other pubs nearby:
Kings Head, Buckingham (0.0 miles), White Hart, Buckingham (0.1 miles), Three Cups, Buckingham (0.1 miles), Grand Junction, Buckingham (0.1 miles), New Inn, Buckingham (0.2 miles) - see more nearby pubs
user reviews of the Whale, Buckingham
please note - reviews on this site are purely the opinion of site visitors, so don't take them too seriously.
5 most recent reviews of 10 shown - see all reviews
|Now trading as the Buckingham Inn after a period as a steakhouse. It would have been better staying shut. £2.75 for half of London Pride (no real ale) is a total rip off even in Buckingham.
hollybush33 - 30 Mar 2019 19:44
|Used to never go near this pub,however the reinvention has friends and myself coming every Saturday night for food and drinks. Great lively atmosphere on weekend nights,however still is a cosy retreat during the week to do university work. Love it!
Ashleigh_xx - 21 Oct 2013 22:07
The Whale has long been a typical town centre pub catering mostly for locals, being busy mostly at week ends. The pub has been taken over recently by a couple of lads who have totally refurbished the place. Whereas before it at least had some character it is now just a shell with little or no atmosphere. There are some high bench type seats along one side s you go in, but very little in the way of comfortable seating. It appears that the new Whale is trying to cater for the 'young set' with music at weeks ends. Food is advertised, but on the occasion I ate there (one Friday Lunch time) my portion of barbequed ribs was poultry to say the least and my partners Lasagne, although quite large, was only luke warm in the middle. The chips were good.
I pass the Whale quite frequently in the daytime and evenings and almost without exception it is empty. I can't speak for late Fridays or Saturdays, but it is hard to see how they can make a success of this place. By all means cater for the young people of Buckingham, who don't have a lot of choice as far as entertainment is concerned, but also cater for the wider clientel. Most youngsters head for '13 The High Street' which is always packed on a weekend and the Whale has an uphill task trying to compete. It's a shame that Buckingham has effectively 'lost' another pub. My advice would be to head down Well Street to The Woolpack which is always busy with a good range of well priced meals.
Shytalk34 - 5 Sep 2013 16:26
|yet another fullers pub, thus good but unexciting beer. the pub itself is nice and quirky, with a split level feel. nothing wrong with this place, but hard to find anything exceptional about it.
CHELSEA_on_tour - 28 Jan 2013 09:23
|yet another fullers pub, thus good but unexciting beer. the pub itself is nice and quirky, with a split level feel. nothing wrong with this place, but hard to find anything exceptional about it.
CHELSEA_on_tour - 28 Jan 2013 09:23
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It wasn't long before a flat tire derailed everyone's fun, however. I was a little torn on the direction this storyline took. On one hand, it was fun to watch the guys resort to increasingly ridiculous measures to get that last, pesky lug-nut loose. The faux-educational approach as they demonstrated one scientific principle after another was a neat touch. On the other hand, it really seemed like the writers could have done more with this story than force the guys to deal with a flat tire. They Mexican setting wound up being entirely superfluous, and the whole ordeal could just as easily have played out a few miles from their apartment building rather than a hundred miles across the border. It's seems to be a tradition for road trips to go awry on this show, but sometimes it would be nice to see more episodes take advantage of the foreign setting. Show us what happens when Sheldon is set loose in Mexico and tries to drown his Amy-related sorrows in tequila.Back home, the girls featured in a storyline that was equally unambitious but amusing. Penny's bachelorette party (if it can even be called that) consisted of nothing more than sitting in her living room with Amy and Bernadette and drinking wine. Yet it worked. Their get-together started off on a real high note thanks to Amy's disturbingly anatomically correct penis cookies. Something about the way she proudly bragged about the veins being made from gummy worms was just hilarious.
And while this subplot remained fairly lighthearted, it did involve the girls working through some issues. Penny had to deal with the fact that she really hasn't told anyone outside her close circle of friends that she got married. This probably doesn't speak too highly of the state of said marriage, but there you go. This led to a nice little scene where actor Keith Carradine reprised his role as Penny's father, Wyatt, for the first time in about five years. In a fun little twist, rather than being distraught that he missed his daughter's big day, he was pleased that this faux pas bought him a free pass for accidentally killing Penny's pet pig so many months ago. Apparently Penny doesn't visit home very often. Penny and Leonard's odd sleeping arrangements were also brought up, with the implication that there's going to be a reckoning soon as far as dealing with Sheldon's clingy behavior. As long as the show has been building to this moment, I'm eager to see how it all plays out.
Amy also received some much-needed attention as she made her first baby steps toward moving on from her relationship with Sheldon. It was funny to see just how enthusiastic Penny and Bernie were about the thought of Amy finally getting a makeover, and then visibly crushed when Amy settled for getting her ears pierced. Along the way, plenty of allusions were made to Amy's Carrie-like upbringing. It was the usual partly disturbing, partly humorous approach to her world. I only wish actress Annie O'Donnell had put in a brief appearance alongside Carradine.
While neither storyline was particularly ambitious, this episode tied everything together nicely in the end as Leonard and Penny compered metaphorical battle scars in the hallway. Losing a pet pig and having to sentence Amy to closet time may not be pleasant, but Penny was probably right in that these are preferable to being trapped in the Mexican desert with Sheldon.
Despite the bachelor party premise, The Big Bang Theory played it pretty low-key this week. And for the most part, that approach worked. This episode delivered a steady dose of humor and entertainment while giving Amy some much-needed focus in the process. It's just a shame more wasn't done with the idea of Leonard and friends being marooned in Mexico.
In This Article
The Big Bang Theory: "The Bachelor Party Corrosion" Review
The Big Bang Theory took a low-key but entertaining approach to chronicling Leonard's bachelor party.


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Shoprite facilitates radical makeover of Plastic City preschool
Shoprite - May 31st, 11:28
As the world commemorates International Children's Day (1 June) with its focus on the protection of children, a Brakpan preschool has undergone a dramatic transformation following support from the Shoprite Group.
The Blessings Eco Preparatory School was founded by sisters Jessie and Hlengiwe Nkosi in 2015 in a shack made from material found on a nearby landfill. The Nkosi sisters were spurred into action after hearing the story of one-year-old Blessing, who almost died after drinking drain fluid. Blessing's parents, residents of the informal settlement Plastic City, had left her with a friend so they could collect litter for recycling at the landfill site - like so many of their neighbours.
"The community of Plastic City rallied and got her to the hospital in time for her life to be saved," says Jessie. "I heard this terrible story and decided to create a safe place in which I could take care of the preschoolers in Plastic City."
Jessie named the school Telitubbies Daycare and with Hlengiwe initially cared for 10 children up to five years old. Blessing, who lent her name to the school when it was later renamed, is still among the 29 children currently in the Nkosis' care.
When the Shoprite Group heard about the good work the Nkosi sisters were doing, it immediately jumped in to improve the school's conditions.
The retailer joined forces with The Early Care Foundation to provide early childhood development (ECD) training to the Nkosis as well as carers from five other preschools in the Brakpan area. The Lunchbox Fund is providing each learner with a nutritious daily meal for the next year, whilst Shoprite and its implementation partner Food and Trees for Africa work to establish a food garden at the school.
Through the Bright Kid Foundation, Shoprite provided the Blessings Eco Preparatory School with two new containers – one to serve as a classroom and the other as a kitchen and office - which has replaced their former structure.
"Watching everyone work together to ensure that these learners are taken care of in a safe, secure environment has been very gratifying. At Shoprite, we seek to empower and support women like Jessie and Hlengiwe Nkosi - women raising the next generation," says Lunga Schoeman, CSI spokesperson for the Shoprite Group.
"We still can't believe how generous Shoprite has been to us. We're very grateful for all the support we received and so happy that we are able to take better care of our children," concludes Jessie.
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Final Results
South Africa Remains in Medal Contention on Day 3 of VISSLA ISA World Junior Surfing Championship
South African remained in medal contention at the VISSLA ISA World Junior Surfing Championship when all six competitors in action yesterday the posted first or second place results to progress to the next round of their respective divisions at Oceanside in California.
Adin Masencamp got the team off to great start by winning his U16 boys' Round 2 matchup, delivering an assured performance that earned a heat tally of 14.0 points and relegated opening day standout Logan Bediamol (HAW) to second place as they both moved through to the last 32 in the division's Main Event stream. Read More…
Near Perfect Performance by South Africa on Day 1 of VISSLA ISA World Junior Surfing Championships
The South African Junior Surfing team posted a near perfect performance on the opening day of the VISSLA ISA World Junior Surfing Championship which got underway in excellent 1.0 to 1.5 metre waves and ideal weather conditions at Oceanside in California on Monday.
Team captain Shane Sykes led the way as seven of the eight SA team members in action on the day advanced directly to Round 2 of the Main Event in the world's biggest junior surfing event which ran through 30 heats in each of U18 and U16 boys' divisions.
Competing in the U18 boys' on the South side of the Oceanside Pier, Sykes set the bar for the team as early as the second heat of the event when he won his closely fought Round 1 heat. He progressed along with heat runner-up, Luis Perloiro from Portugal, as they relegated their third and fourth placed opponents from Belgium and Denmark to the grueling Repercharge Rounds. Red More…
Photos Day 1
Shane Sykes Named SA Captain as Action Starts at ISA World Junior Surfing Championships in California Today
Shane Sykes has been selected as the Captain of the 12-person South African Junior Team which gets its campaign underway for individual and team honours at the 2015 VISSLA ISA World Junior Surfing Championship at Oceanside in California today.
The team, managed by Isaac February and coached by Greg Emslie and David Malherbe, arrived in California late last week and has enjoyed excellent waves and conditions at the Oceanside Pier, venue for this year's event.
With over 320 competitors from 36 countries participating, this is the biggest edition of the annual contest since the ISA Junior Championship was inaugurated as a stand-alone event in Durban in 2002. After finishing eighth, sixth and seventh in the last three years, the SA team event will be going all-out to emulate the glory days of 2011 when they finished second to hosts Peru in the team standings and returned home with four medals. Read More…
Pre-Event Photos
Ntando Msibi at Oceanside in California.
South African Junior Surfing Team leaves for the 2015 ISA World Junior Championships
The South African Junior Surfing Team leaves for California later today (Wednesday) to join 34 other teams from all parts of the World in the annual ISA World Junior Surfing Championships. The event gets under way at Oceanside this weekend and ends on Sunday October 18th.
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National Wind Technology Center Begins First Validation of Wave Energy Conversion Device
The two-story-tall device is the largest ever tested at NREL
The National Wind Technology Center (NWTC) at the Energy Department's National Renewable Energy Laboratory (NREL) has begun validation work on the first water power technology ever tested in an NREL dynamometer facility.
NREL is working with Columbia Power Technologies' StingRAY wave energy converter. Designed to deliver electricity at a competitive cost while having a low environmental impact, its floats and generators convert the energy in ocean waves into electricity.
"We are testing the StingRAY at the NWTC because the core design is similar to a wind turbine-it is direct drive, but with a very large diameter," Columbia Power Technologies CEO Reenst Lesemann said. "The dynamometer can mimic the sea, with back-and-forth oscillation, and will put the generator through its paces to ensure it can withstand ocean forces."
Mechanical testing of the StingRAY generator, which is as tall as a two-story building and the largest generator ever tested in an NWTC dynamometer, is now under way. Over the next few months, the unit will be connected to the NWTC's Controllable Grid Interface for electrical performance characterization.
"We have one of the only facilities in the country with a dynamometer that can apply rotational torque at the speeds and forces required while also applying non-torque loads-which are side forces that simulate the action of a rogue wave hitting a wave energy converter in the ocean," said Mark McDade, NWTC project manager. "This matters because the structures of these energy conversion devices must be designed to handle the side forces without damage. The work is pioneering in the field of ocean energy conversion." This land-based validation effort, which is co-sponsored by Columbia Power Technologies and the Department of Energy's Water Power Technologies Office, will occur prior to an open-water demonstration of the system scheduled for 2017 at the U.S. Navy's Wave Energy Test Site in Hawaii.
NREL is the U.S. Department of Energy's primary national laboratory for renewable energy and energy efficiency research and development. NREL is operated for the Energy Department by The Alliance for Sustainable Energy, LLC.
Visit NREL online at www.nrel.gov
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Vulvas and vaginas: the perfect lips – and why they don't exist.
Long? Juicy? Small? Hairy? Put the word 'too' in front of these words and they become criticisms. Leave it out, though, and we see differences as things to celebrate. When it comes to vulvas and vaginas, we believe there's no room for passing negative judgement. Every single one (including yours) is wonderful.
So why do some women feel bad about their vulva? In 2016 there was a 45% year-on-year increase in labiaplasty operations (cosmetic surgery on the labia).
By looking at vulvas in a more real way, we want every woman to see that they are normal, and perfect. Because perfection is a perception, rather than a look, shape or smell.
By looking at vulvas in a more real way, we want every woman to see that they are normal, and perfect. Because perfection is a perception, rather than a look, shape or smell.
The lowdown on your down below
Face it: facts can be boring. Biology lessons might have taught you the correct names for the major sex organs, but do you ever remember being told that the clitoris is key to one of the best, cost-free thrills?
Nina Brochmann and Ellen Støkken are two medical students breathing new life into the oldest of subject matters. Having spent a lot of time working in sexual health clinics, they realised there was a serious lack of relatable knowledge about female genitals. There was a gap to fill, if you like, so they started writing their book The Wonder Down Under.
In it, they tackle everything from hymen myths (not every girl bleeds when she loses her virginity), discharge and blood (what certain smells can indicate) and 'typical' labia length (answer: there isn't one).
They talk about the Norwegian term 'discomus' - disco-fanny being the equally good English translation - to describe the crotch area after a busy day. Reading it is like sitting in a room with two wise friends who like a joke, but never make vaginas a laughing stock.
Straightforward talk like this encourages women to get to know the most intimate part of their body, from the pleasure of orgasm to the pain of PMS. It's books like this that help us see that 'perfect' and 'normal' come in all forms.
The perfect lips – and why they don't exist
If people have problems changing their perception of 'perfection' to include difference and imperfection, that's not surprising. Unless you're a gynaecologist or regularly hang out on nudist beaches, chances are you don't face a sea of vaginas on a daily basis. Add the fact that female genitalia is not up there on the list of hot dinner-party topics and you've got a problem - the fact that many women deal with vagina anxiety on their own.
Bad names (fishy, flappy, loose, for example) create shame, and women bear the brunt of this by feeling low, rather than good, about the wondrous place between their legs. Self-love comes with acceptance, so it's time we all re-examined the meaning of 'perfect' and 'normal' by looking at what's real.
So, who's got the best vulva of them all?
You, of course. Because it's yours and you'll only ever have one, so it's time to show it some love. Putting a mirror between your legs might not sound like the best use of a spare ten minutes, but it's the easiest way of getting familiar with all your bits.
Are your inner lips longer than your outer ones? Does your clitoris 'button' on the upper part of your vulva go harder when you touch it? Is the skin inside your inner lips sticky or slick?
There's no right or wrong when it comes to how you should look or feel. Getting to know your normal takes time, but it's a great way of growing more confident in your own skin. Once you can confidently judge that you're all right down there, you'll notice when something changes, and whether this is OK or needs checking out by the doctor.


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