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Obviously, most of you who know music and my guitar playing, know that I always lean toward electric guitar, and usually played with a band. But this time, especially in the interest of displaying what I can do in other guitar genres, I have decided to simultaneously release 2 new all-acoustic cds. Not that this is my first…I also released my all-acoustic "Drive it Home" back in 2003, which was a very personal album dedicated to my late wife and daughter. This is the cd many folks herald because of my acoustic solo instrumental of "Layla", that they all seem to like so much!
There have been many times where I needed to invoke the use of a pretty vast number of instruments for either a live gig or a recording session. It seems to never fail though, that I always bring too many instruments, but I feel it's always better to be over-prepared than under! After all, the worst thing is to be unable to produce be certain sound that you're looking for, and my way is always the "real" way, by using the right instrument, as opposed to an "effect" that simulates an instrument.
In coming weeks for example, I'll be finishing up a new instrumental album I am working on with Michael Garvin, and I want to truly be prepared for all kinds of overdubs. This means, I will likely bring a 6-string acoustic, a 12-string acoustic, a resonator guitar, lap steel, a baritone guitar, a mandolin, and a 12-string electric as well! It's a lot of stuff to bring, but I will have a certain sense of security that all the sounds I may need to call upon will be right there at my disposal. It also opens up so many possibilities, because just having all those guitars there will make me think more creatively, and it will help spawn new ideas that I can try, due to the fact that I have my "arsenal" on hand!
Usually, when doing a recording date for someone else, I try to feel them out as far as what kind of material it is we'll be playing, so I can make the right choices as far as which instruments to take with me. I usually "over-bring", but it's the worst feeling in the world when you don't have quite the right guitar there for a given approach that's needed. This is usually because I take the word of the producer or someone else truly to heart when they happen to improperly describe what the music is going to be like. That's another reason it's always better to "over-bring" too many guitars and other instruments to a given recording session!
On the other hand, I used to make the mistake of wanting too many guitars onstage, and therefore, ending up changing them too often during a show, which only serves to break the rhythm and the flow of a good set. So because of this, over the years I have really been cutting back on how many instruments I need to really have on the stage to do all I really want to do. These days it's basically come down to one electric guitar, and another set up for slide. There may be an acoustic thrown in if I want to play certain specific pieces during the set that call for it, but otherwise it's really just 2 guitars onstage. Oh yes, always a backup in case a string breaks, but I've been very lucky in that regard, and have literally never broken a string at a live show, even with all the bending I do!
So just remember, for the studio, bring as much as you can for as many sounds as possible, and for the stage, try to always boil it down to as few instruments as possible, so you can concentrate more on the flow of the show, instead of showing off how many guitars you have! Happy gigging and recording!
One thing I have found, particularly in this business, is that no matter what you may go through that is negative, you really never want to make any enemies. I know I am well-quoted as always saying that "one good thing leads to another" in music, and it has always certainly been true for me. Yet, there have been many "downs" as well as "ups" for me, and I have always tried to stay on an even keel with those who in the past may have been less than honest in their dealing with me. I have always taken the stance that it's better to end up in a neutral way with the folks who have hurt you, than to actually go on the offensive. This is because as big as the business may seem, it's really not, and you never know who you may need down the line, and for what reason. In the end, I have found that everyone I've really ever known in the business has really turned into an asset for me, as long as I treat it that way.
A perfect example is how things ended up with me in the film Crossroads. This was a situation that for me, was so positive, musical and exciting that I was never going to let the negative "aftershocks" adversely affect me, nor my career. And there was plenty of "negative" to deal with, such as having my proper songwriting and performance credits removed from the film, and being removed from the soundtrack to start off with! Still, I never let it deter me from using the positive publicity I was getting from my involvement in this movie to help my career and reputation. I was, at the time, able to use the publicity to my benefit for my Hot Licks products, my Guitar Player Columns, and many other things such as appearing twice on Entertainment Tonight while making the film. In the long run, I have been always associated with that film, even though certain parties involved in it were busy screwing me…which by the way, has to this day, always continued to stir up controversy!
I know it may sound corny and overplayed, but it's really critical that we always try to make "lemonade out of lemons" within this business. I have known too many very fine and talented musicians and songwriters who have let the rough stuff "get to them", and take the wind out of their sails. If they had only persevered a bit more through the adversity, they would've really made incredible contributions, and lived with a lot less regret in their lifetime's "resume' "!
You never really know where the next gig or great adventure is going to come from, and that has certainly always been the case for me! It's a wonderful thing, because when you put out the good stuff, it always seems to come back to you in the wildest ways, and sometimes the timing itself can seem downright mystical.
I've certainly learned over the years to have my ear to the ground just in case one of these occurrences happens, because this is what many times has really shaped my life in music, and otherwise. For example, one time I was walking down 57th Street in Manhattan, when I got called up to do a recording session upstairs! I had several times, while up in Woodstock the previous year, done some sessions and some informal rehearsals with the band, Looking Glass. They were basically "picking my brain" for ideas, something I learned folks have continued to do for my entire life, but then a few months later, there I am walking down the street in NYC, and this guy, I guess who may've been their manager, sees me and says, 'Hey, you're Arlen Roth, c'mon upstairs, the boys are recording now, and they can use you!" Well, next thing I know I'm in a recording session, and I end up playing on their hit song, "Brandy", along with the B side, which I can't remember the name of.
Other wild things have happened like that too, such as being in this studio called "Greene Street" in Manhattan, and cutting an all-Robert Johnson record called "Incarnation" that was slated to be the first
"Crossroads" before I did the actual fim by the same name 5 years later. That studio was at the time, where some of the first true "rap" records were being made, by an artist named Curtis Blow, who was sort of alternating sessions with us. Somehow, I met some players who were doing that recording there, and next thing I knew, I was working on a "parody" of a Rap record with them, along with the famous author George Plimpton, called "Doing the Preppy Step!"
Another crazy one at around the same time happened when I was up in Woodstock, rehearsing over at Eric Andersen's house. Suddenly, a guy comes to the door and says, "hey, you fellahs wanna make a record for The New York Mets? We're cutting a song for their pennant drive over at Bearsville Studios, and we need a band!" Well, number one, I'm a huge Mets fan, and was very excited, because this was their "Ya Gotta Believe" year 1973, thanks to their beloved pitcher, Tug McGraw (father of Tim McGraw) who coined the phrase, and number two, he was gonna sing it!! Well, when I showed up to the session, they were working it up as a Latin number, which made little sense to me, and I told them, "Hey, WHN is the Met's station isn't it, and it's the only country station in NYC, so let's play this song Country!" Well, we did, and it ended up becoming quite a sports collectible, thanks to the fact that the Mets lost the World Series to Oakland that fall, and Tug never did sing on it, instead it was Happy and Artie Traum! But if you want to look for it, it's called "Ya Gotta Believe", on Fun City Records, and we were called "The Amazins"! And by the way, when I showed up to record it, the song's writer turned out to be a kid I had graduated High School with back in '69, who never even seemed interested in music at the time!
I'm sure you've got some crazy stories like this of your own, from your own careers too….cherish them and appreciate them for all they're worth, because they are really worth a lot, forever!
Being someone who has never read music, and being totally self-taught, I have run into some pretty sticky situations when it comes to recording sessions. Not that I wasn't qualified mind you, but there were times when people heard me play, loved me, and then proceeded to book me on recording dates that I was not really "cut out" to do!
One of the most nightmarish ones I ever went through was a recording for a film called "Simon" starring Alan Arkin. They wanted me to play Hawaiian Lap Steel guitar on it (who in NY did that, except me?!), and there was about 2 arm's lengths of music to be read and played for this piece of music! Well, I figured I'd be extra prepared by getting the endless music the day before, and spending a night with it, studying it and transferring it to tablature to help me out. When they handed me the music, they said, "you know, it's gonna be some Hawaiian elevator Muzak, very simple!" So, taking that to heart, I confidently took the music home and worked on it. The initial melody was simple enough, (Lord knows I'll never forget it!) and I figured on it being a slow, swaying kind of Hawaiian piece that drifted along at a nice, "tradewind" pace, played by like 3 or 4 musicians. Well, I get to the studios the next day, carrying my little Gibson lap steel and a tweed amp, to see a room full of Philharmonic musicians, completing a strange take that involved the eerie sound of at least three bass fiddles together…..very interesting to witness.
Next up was "my" session, and I sit down, ready to record, and the first thing I notice is that there are going to be like 14 musicians following me, with me being of course, the lead instrument! I put on the headphones, and I heard this really fast tapping and clicking…I said, "does anybody hear that sound in their headphones?" And a voice from the control room says, "yes, those are quarter notes!" Well, much to my shock, this meant I was to be playing this piece at a breakneck pace that would've made the "Looney Tunes" theme seem like a dirge! I never heard such a fast tempo in my life! There was no way a Hawaiian guitar could actually be played this fast, even by an extreme expert! But anyway, not wanting to make too many "waves", I started in on recording…take after agonizing take, I'd get the theme right, of course at break neck speed, but then would completely fall apart when I started in to play the bulk of the piece, which must've had another 300 measures to go! In an effort to continue, I would always start at least jamming and improvising there, so I wouldn't just stop! So, we'd always have to "cut", and I had all these "Philharmonic" musicians staring at me with sad, sympathetic faces. Finally, the "Producer" came out, and we discussed what was going wrong…..when I told him it was impossible to play this piece at that kind of speed, he angrily replied "what, you brought the wrong INSTRUMENT!?" And I must admit, at that time I snapped back at him, "when was the last time you wrote a part for Hawaiian guitar!?" At this point I really didn't care, because the pressure had already taken 10 years off my life! Well, at this moment, out came running another big shot saying to me, "no, no, Arlen, it's fine…we LOVE what you're doing when you are improvising, we just thought no one could really play Lap Steel, so we figured we'd have to write everything out. What you're playing is perfect!!" Well, needless to say, the relief was unreal at that moment, and then the session only took one take to get through.
As a footnote, when the film finally came out, I went to see it with my mom and dad, and the moment that all this agony was about was actually the funny punch line to the film, and the Hawaiian "Muzak" part I played lasted literally 3 seconds! Never have I suffered so much for so little actual music! Session musicians, beware!
I am currently in the middle of working on a new album that was to be all-instrumental guitar. Now, even though this is something I've long been used to, especially when re-interpreting songs that normally have lyrics, I find that I exist very happily within the all-instrumental medium. This also carries over into my writing, as I often intend to write songs that have words, and are sung, but I find that I remain very happy with them as instrumentals, which is often how they are born, and remain for quite some time! In fact, many times, they simply remain as instrumentals permanently! The way I look at it, it's just like when I interpret songs with words, only NOW I am interpreting a song that may have had words, but simply doesn't. It still is a kind of interpretation, and also a kind of musical evolution to get to this instrumental juncture, and to feel satisfied with it.
If you are involved in writing, or preparing music for a recording, you will often find yourself at this critical juncture of is "is it instrumental, or is it vocal?" I know that most people tend to think that something is not a "song" unless it has words, but that couldn't be any further from the truth. Anything with a great melody, when played with the right feeling, can in many ways, say more than lyrics can. I feel that words "lock you in" to a specific meaning that is intended by the writer, while a note that is expressively played can say more than just mere words. It also leaves the interpretation of its meaning more up to the performer and the listener, and in fact, says something that lyrics can't even begin to express! This is what pure emotion is about, and that is why we are so drawn to what this wonderful 6-stringed instrument can do, and how well all its nuances can serve us.
Still, after all is said and done, you may record an instrumental, and then feel that it still has too much potential as a vocal song with lyrics, which of course, in most worlds, is considered more "commercial", and is likely to reach a larger audience. It's really all up to you…..it's important to always retain your artistic integrity, and to do what is right for you and your music as opposed to just thinking about what might be the most popular way to approach the song. Satisfy your musical needs first, and then you can really "step back" from the song, and decide whether or not it should be instrumental or vocal. Only you can ever really know!
The one year I was on the road with Phoebe was quite a wild ride, to say the least! We had a very friendly band, and we certainly all liked each other, but musically, it was an incredibly "mixed bag"! The keyboard player had been suddenly assigned to me (I was made musical director on the same day!) one day before our tour was to begin. Her management had the old keyboard player (musical director) come in all the way on a 2-hour train ride, just to tell him he was fired. Next thing you know, they have a keyboard player who the manager "once" heard in a Holiday Inn lounge, and they're thrusting him into this gig. So what happens? He parties so heavily the night before the tour, he falls down the stairs of his home and breaks his leg! So before you know it, there I am, carrying his luggage at the airport, he's on crutches, and I'm highly aggravated! I mean, he turned out to be a great guy, and even a great friend, but he was no talent at all.
To make matters worse, Phoebe never, ever came to any sound checks, so we used to have that hour a day or so to just kid around! Not only did I kid around a lot with the band during those "checks", but I also started singing and playing certain songs I loved, like "Treat Her Right", and many more. This turned into marathon rehearsals for what then actually became my next album, "Hot Pickups", which was my second release on Rounder. All along, during those rehearsal/joking around sessions, the guys in the band would say to me, "Hey Arlen, you know it really sounds cool, you should do something with that material!" Well, sure enough, that band, minus the keyboard player, became the group I used on my album, and we had a great time, and it was actually a very successful record! You just never know where the inspiration is going to come from, and also you never know when the opportunity will present itself in which you can maximize things such as rehearsal and playing time! Thanks to Phoebe never coming to a sound check or rehearsal, I ended up with a whole new album, fully worked out and well-inspired beforehand! On a more serious and personal note, I know that Phoebe has recently had a stroke, and I send her all my best wishes for a speedy and full recovery!
Now, one cannot always be fortunate enough to always make their gigs truly "count", but when a great opportunity knocks, you have to be able to make the most of it. To this point I am talking today about how I've been able to make some important gigs truly be at the "right time". There are literally ways to make one gig seem as if it's 100 gigs, and to be in the right place at the right time. In the early days of when I was starting to appear in Woodstock for example, I would jump up onstage and play with none other than Paul Butterfield, Harvey Brooks, Rick Danko, John Sebastian, John Simon and countless others. Also, there would be many luminaries in the audience who would hear me, and before I knew it the phone started really ringing, and the gigs were coming in!
Another example is to make the most of any radio or TV appearances you may get, because obviously, you are reaching a bigger audience, and folks have a way of never forgetting when they've really seen something that's affected them. These days, with the advent of great things such as YouTube, you can also reach thousands, if not millions, with a great performance. You just never know where something like that will lead to, and the opportunities these days are tremendous, provided you use them in the proper way.
Sitting in at gigs is still a great way to be heard by many, and to "mix it up" with other players who may want to call you for other gigs and perhaps start to spread the word more about you and your playing. I was just asked on a big NYC radio show to play the National Anthem at Yankee Stadium this summer, which once again, is a perfect way to take one gig, and even just one song, and make it really count! Obviously, that will make a great YouTube clip, and who knows what that performance can lead to for me!
So, the bottom line is always be on the lookout for the gigs you can do that would mean the most for you and your career. You never know when you may just be in the right place at the right time, and when playing for one person could turn into playing for thousands! Keep up the good work, and always be ready!
I received a request about this very question the other day from a Gibson student, and I realized this was a perfect subject to go into with some more depth. I had answered his question as best as I could, but I realized that it's really quite a broad subject, with many twists and turns.
The truth about being in a band, and when it is appropriate to do so, is that it's ALWAYS a good time to start! There will be many bands, at many levels throughout your life, and the early days experiencing these kinds of things with other musicians are critical to your development as a player, and couldn't happen soon enough, in my opinion. I know that I started very young, with my first band at the tender age of 11, but I was already the driving force behind the music at that point, even experimenting with many far out ideas in a creative vein. The truth is that all bands, at any level, need someone in the group who provides leadership and direction, both musically and emotionally, and this is something that all band members should embrace; provided that the "leader" is not just on an ego trip, but is someone who truly cares about the music most of all!
Kind of like in tennis, or other passions, it is often a good thing to join forces with players who are better than you. This helps you rise up to another level, and acts as a tremendous learning experience. I have done this with several students whom I've "mentored" into my band, who have turned out to be true professionals, once given that extra "push" one so needs in the early, formative days of one's career. The biggest disappointment for me in my early days, was to have had a real "taste" of the real musical life, by playing with many of the great players in Woodstock, only to have to then play with a terrible local band from the Bronx that was so beneath me, it wasn't funny! We would sometimes play 6 different gigs a week upstate New York, and walk away with $60 apiece for the entire week! Those were pretty dark days, and the only solace I could draw from that experience was that they at least let me play some of my original tunes from my earlier days with my all-original band, Steel, who played with me at the first Woodstock reunion in 1970! Of course, with the kind of band I was semi-forced to be in at that point, we were playing places that mostly demanded us to play "cover" tunes, something that I despised doing at that point in my career.
Still, all in all, sometimes you have to take "one step forward, two steps back" when you are in this developmental process, but in the end, it always moves forward in a positive manner. When are you really ready to be in the band? I'd say it's whenever you find the right group of folks to "fall in" with who at least have a similar vision to yours, and who want to develop right along with you. It's the best learning experience one can have in the course of one's career, period! More on this subject in future blog posts!
One of the biggest mistakes people make in the music business is the act of always being on the "chase" of a hit song, or a hit album. I have always been a very strong proponent of "sticking to my guns" when it came to style, and when it came to changing in order to "chase" a hit sound. It's really a very fine line we all must walk in this business; do we keep changing according to the times, or do we change the times!? I feel that if we have a strong belief in ourselves, and in our own music, we should always be true to our own path, and stick to our own goals when it comes to music, while at the same time, being "tuned in" to the changing times and tastes, and looking for good opportunities that may present themselves to us along the way. After all, no matter how "current" or how "retro" you may be, there will always be something out there that will be applicable to your playing, or to your writing and sound.
I am in the midst of doing a great new instrumental album with Michael Garvin, the Nashville songwriter, and we seem to generally agree that as long as we do what WE like on this record, we'll be making sounds that others will like and be drawn to. It's true that we feel the "time is right" for this kind of instrumental guitar album, but at the same time, we are not necessarily trying to "bend" the music to current tastes. I know that in my case, there are some pieces I'm bringing to this recording that I've had for decades, and they seem as valid now as they did way back then!
Another mistake is always chasing trends with your songwriting. Unless you are so "plugged in" to the business that you can write a song today, and have it recorded tomorrow, it's more than likely that your songwriting will always be at least one step, or many more steps, behind what people are looking for. This is especially true if you're a songwriter who is always trying to "tailor" your songs to particular artists, based on what that artist has done before. The truth is, that the artist has done that already, and is most likely ready to "move on" to other creative territory!
So, most of all, stay true to yourself. Keep aware of trends, but try to be a trend all your own. You'll be amazed at what will start to come your way if you put yourself out there in the business, and if you continue to develop your own distinct style, with wide open eyes and ears! Best of luck to you all!


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PETALING JAYA, Sept 11 (Bernama) -- The MIC will continue to lose the support of the Indian community if Datuk Seri S. Samy Vellu continues to lead the party, said former prime minister Tun Dr Mahathir Mohamad.
He said the MIC was getting weaker and it could not be restored as long as Samy continued to hold the reins.
"MIC is weak because of Samy Vellu, I heard many Indians talked about it, they are not supporting MIC now because of Samy Vellu.
"Actually before the 2008 general election a tv station had asked me what is going to happen to MIC, I said as long as Samy Vellu is there, MIC will lose. It is correct and he lost," Dr Mahathir told reporters after presenting Aidilfitri aid and the Perkim President Seri Cemerlang Award here today.
He was commenting on Samy''s disapproval of his (Dr Mahathir''s) remarks published by Makkal Osai, a Tamil newspaper, that former MIC deputy president Datuk S.Subramaniam would be a good leader to lead the MIC.
Subramaniam is vying for the MIC deputy presidency at the MIC 63rd general assembly tomorrow.
"When he (Makkal Osai) asked for my opinion, I did not realise the party''s elections is around the corner. I gave my opinion, if he (Samy) stays on, MIC cannot be revived. Now the Indian community is divided into eight parties.
"Previously, all of them supported MIC, not many are supporting MIC now and they gave the same reason - they are fed up of Samy Vellu, who wants to hold the reins until nobody else can take over from him. Whoever becomes his deputy, when they were getting popular, he finished them of," he said.
On Samy Vellu''s allegation that he (Dr Mahathir) had neglected the Indian community, he said it was not true as he had helped all communities and not only the Malays.
"A newspaper had quoted him as saying that I had never helped the Indian community. When I called him from Syria then, he denied it.
"When I came back, the newspaper played the tape for me. It was true he did say that I had never helped the Indian community," he added.
Any constructive criticism and comment that would contribute to fair, frank and informed discussion on this posting to help achieve our national objective will be most appreciated. We need to have more open exchange of ideas on this sensitive but important subject in the context of the national vision and security.
3 weeks ago


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CAPBRETON, France (Wednesday, September 25, 2013) - Sally Fitzgibbons (AUS) 22, has won the Roxy Pro France today in Seignosse Le Penon narrowly defeating fellow Australian Tyler Wright (AUS) 19, in clean 3-4Ft surf.
Penultimate event on the 2013 ASP Women's World Championship Tour, the Roxy Pro France marks Fitzgibbons's first event win this season. An absolute standout today, Fitzgibbons was the first surfer to net a perfect 10 in France, and holds three of the highest wave scores of the event.
It's been a long road this year and I wanted to finish strong - Sally Fitzgibbons
"I'm so stoked, it's been a long road this year and I wanted to finish strong," an ecstatic Fitzgibbons stated. "In that final we switched peaks and I was just sorting things out when she got that 10, and I couldn't hear anything after that. I got that last good one and I was hoping it would be enough. It's the most amazing feeling ! I've got my brother and my dad here and all my family watching online, they've been there for me every step of the way!"
A dominant surfer in previous heats where she comboed her opponents several times, Fitzgibbons had to fight through a tight back and forth battle in the final when Wright caught an inside righthander to score the only other perfect 10 point ride of the event.
"It was a tricky situation, I had priority and a sneaky right came in and I was looking for the lefts," Fitzgibbons continued. "She went for it and really stepped it up, I saw her do that little air out the back and I thought game on I got to do something big now! Patience and perseverance and just keeping your head down, I kept going and I'm just so happy!"
Tyler Wright (AUS) 19, consistently advanced through the rounds to earn her spot in the final. Off to a great start in the opening minutes of the exchange, Wright was chasing an excellent score when she found the little righthander that earned her a perfect 10 point ride. Suffering another assault from Fitzgibbons, she unfortunately couldn't find a last opportunity to ameliorate her backup of a 7.00 point and eventually placed runner-up.
"I didn't really have expectations, I've come here to surf, have fun and enjoy myself!" Wright said. "It was awesome to see Sally go out there and win her first event this year cause I know it means a lot to her, and she surfed awesome, definitely the standout of the event. She smashed it and that's great for our sport to have a surfer like her on tour."
Posting a third runner-up finish on the board, Wright consolidates her current second place on the rankings and sits an incredibly low 200 points behind current leader Carissa Moore, making for a spectacular finish next week in Portugal.
"I don't plan on doing anything special like that I just do it, it's the way I surf. That was a really entertaining final with Sally getting that last one too. The points and numbers don't really matter to me, they never have. I'm just here surfing and having fun that's what I do best. This year was never about that, I'm just happy to be on tour and living the life I live !"
Carissa Moore (HAW) 21, placed equal third today, adding yet another excellent result to her season tally, and will be looking to finish strong in Portugal to keep her dream of a second World Title alive. The powerful Hawaiian who earlier today defeated local surfer Pauline Ado (FRA), couldn't match Fitzgibbons's sizzling form in their semi-final matchup.
"Of course I'm bummed I wanted to make the final and have a strong performance, but that's competition I just have to stay happy and focused and get excited for Portugal," Moore stated. "I think the biggest key to winning in a place like this is being able to adapt very quickly cause it's always changing out here. I didn't find the waves that really built up and allowed for good surfing."
Lakey Peterson (USA) 19, reached the semi-finals for the second time this season, narrowly defeated by Tyler Wright. One of the most progressive surfers on the Women's World Championship Tour, Peterson put on a spectacular show for the French crowds and took things to the air in a promising preview of what the future of women's surfing holds.
"I'm just a little bummed the waves did not cooperate in that last heat, the tide got a little to low," Peterson said. "But I had fun, it's nice to get a good result it's been a little while. I love it here in France, now I can just enjoy it a little bit and head to Portugal for the last event of the year. I might stick around and surf a little more here, and watch the guys tomorrow, we'll see it's my birthday so I kind of want to hang out."
The Roxy Pro France will be webcast LIVE via http://roxylive.com/roxyprobiarritz/2013


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The poor parsnip is often lost as part of a mixed-veggie roast, but its flavours are far more complex than you'd think. Bite into it raw and you can taste hints of anise and fresh, spicy herbs.
This heady, moist cake celebrates these forgotten flavours by bringing out the best of the parsnip. I've paired this with the subtle, floral tones found in blossom water. I like using wild-willow water – which is a deeper, Persian alternative to rose water. You could also use popular orange-blossom water. Both will add a fresh, sweet kick.
This is a delicious, surprising example of how root vegetables and flowers can be used in sweet baking.
Spiced Parsnip and Willow Blossom Cake
What you'll need:
200g brown sugar
100g raw sugar
300ml grapeseed oil
3 eggs
1tbs willow-blossom water*
330g grated parsnips
½tbs fresh grated ginger
300g flour
1tsp baking powder
1tsp baking soda
½tsp salt
½tsp freshly ground coriander seed
½tsp freshly ground star anise
1tbs finely chopped coriander stalk
*substitute with ½tbs orange blossom water if needed
Preheat oven to 180 degrees. Combine sugars, blossom water, oil and eggs and beat until frothy and well combined. Combine dry ingredients in a separate bowl. Add to wet mixture in two batches. Stir in grated parsnips and ginger. Mix by hand to combine. Grease and line two 8-inch cake tins or a single, tall 9-inch cake tin. Bake for 30–40 mins or until golden brown.
Serving suggestions:
Eat warm from the oven with a serving of fresh whipped cream whisked with a few generous drops of blossom water. Or ice generously, as shown here, with a blossom cream-cheese frosting.


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Super fresh lines and tone Marius - and great explanations, love it!
Very nice lines. Good job
That's cool man!
Very useful lesson Marius!
Cool lesson Marius!!!
Nice solo!
awesome man, love your playin´. well done
NICE jazz chops!!! really good lesson Marius.
Thanks guys!
Part 3 coming soon
Very cool sounding, great!
Excellent lesson !!
Salut Marius , chiar zilele astea il intrebam pe Andrei ce mai stie de tine si uite ca te gasesc pe GMC.
buna treaba !
toate cele bune de la cluj!
Awesome lines!
Good lesson Marius!
Great lines Marius!
Amazing ideas, Marius!
Thanks again guys!
...si multumesc Andrei
Great lines!
very useful lesson!
Another groovy one
Great lesson
Hi Guys,
Welcome to Part 2 of my Blues Jazz Improvisation mini series!
In this lesson I will show you another cool mode that will help you make the transition from classic blues to a more jazzy aproach.
The backing track is the same as in Lesson 1 and follows a "standard" 1-4-5 blues progressin.
The lesson contains 3 new licks of medium complexity that I tabed and I published for you both as ASCII and GP file.
Learn the licks, use your imagination to create new ones and try to improvise.
Have fun!


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"Downton Abbey" creator Julian Fellowes appeared at a recent event at the Academy of Television Arts and Sciences and to hear him tell it, there won't be much mourning following one of the series' most shocking character deaths.
Here's the part where all "Downton Abbey" fans not completely caught up with the show should click over to some other post.
Fellowes was, of course, speaking of the death of Matthew Crawley (played by Dan Stevens), who died in a car crash at the end of season three. While fans may be sad over the loss of one of their favorite (and sensible) characters, Fellowes is expressing a surprising amount of happiness.
PHOTOS: Behind the scenes of 'Downton Abbey'
"Originally I thought we would kill Matthew at the beginning of the new series [season 4], but the way things worked out, we didn't have that option," Fellowes told the Comcast XfinityTV blog. "Actually, I am quite glad of it now because being away from it for six months, we don't have to do funerals and all that. [Lady Mary] has had six months to go through the first mourning period. She is still very much in mourning at the beginning of the show. One of the strands of the new series in a way is her learning to rejoin the land of the living."
Stevens also doesn't seem to be too dejected about leaving the show that shot him to fame. He's moved on to roles in high-profile Hollywood films, including a role in "A Walk Among the Tombstones" with Liam Neeson and Bill Condon's Wikileaks movie, "The Fifth Estate."
The fourth (Matthew-less) season of "Downton Abbey" will air in the U.S. in early 2014.
'Portlandia' gets two more seasons on IFC
MTV, VH1 and CMT to celebrate July 4th with music videos
Was 'Game of Thrones' racially insensitive in season finale?
PHOTOS: TV shows and their spinoffs
Overrated/Underrated 2014
PHOTOS: 101 best-written TV shows of all time


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Then, he went a step further. He followed the offender to Clark and Belmont and called 911 again to report where he and the offender were located.
No victims had called 911 in the interim. Police officers are slow to get involved if a victim is not present to sign a complaint.
When a dispatcher reported the witness and alleged offender's whereabouts, a police officer fired off an unfortunate response: Is the caller a victim, the officer asked, or "is he just some fruit who's following them?"
Thank you, neighbor, for getting involved. You did the right thing and we hope you will do the same thing should you ever encounter a similar situation.
As for the produce-popping po-po, he may be in the wrong district.
Image: We Blog NY


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All products featured on Girl in Albion have been bought by myself unless stated otherwise. Occasionally, a brand may have sent me a product to review, these posts will be marked with an asterisk (*) within the body of the post or stated at the end. I am always 100% honest about my views on products.
This site uses affiliate links where appropriate.
All photographs on Girl in Albion are taken by myself, unless stated otherwise. If you would like to use them, please contact me first.


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I am currently an AE at an independent agency on the Gulf Coast. Ever since I started my career in this field (about four years ago) I have been interested in being an underwriter. My overall question is what is the best way to become one? I have applied for a few asst. underwriter jobs and trainee positions but never heard anything back. All of my experience has been on the agency side. I understand I don't have underwriting experience, but I feel that my agency experience should translate. I have a four year degree but no professional designations as of yet. I am planning on working to get some designations but I don't feel that should be a requirement. Many of the underwriters I have worked with have none. I am primarily interested in commerical P&C but would certainly start in personal lines either for a carrier or for a wholesale/broker.
Any input into this would be very helpful, thank you.


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The MaidenPosted in Horror 2016
A desperate real estate agent is pushed to the edge as she tries to sell a mansion with a mysterious past. Who is her client and what do they really want? And when she starts to discover the truth, how far will she go to make the sale?9 minutes


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SER provides wetland services of all kinds. Our wetland ecologists have the experience to assist clients in navigating current environmental regulations and requirements.
SER provides a variety of forestry services including common stand exams, rare and endangered plant surveys, and vegetative community classification.
SER provides services for the aviation industry, including FAA Wildlife Hazard Assessments and Wildlife Hazard Management Plans.
Geographic Information Systems
SER provides GIS services using the latest technology to meet our clients' needs.


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QBCC immediately suspends licence of Contract Build Pty Ltd
The Queensland Building and Construction Commission (QBCC) has today immediately suspended the licence of Contract Build Pty Ltd.
QBCC Commissioner, Steve Griffin said the company's building licence was immediately suspended due to concerns about its financial position.
'The decision has been made to suspended the builder's licence to prevent the company from incurring further debt with subcontractors and suppliers and entering into contracts with customers for work they can not complete', Mr Griffin said.
Mr Griffin said QBCC has received numerous complaints from customers about Contract Build Pty Ltd which elevated concern and the need to take action.
'There is good news for customers who have entered into contracts with Contact Build', Mr Griffin said. 'Fortunately the home warranty insurance scheme, operated by the QBCC, enables individuals to have their case assessed and receive assistance if possible to get their deposits back and complete their homes with other builders'.
'The Commission has begun to contact affected consumers. However, we encourage homeowners who have concerns about incomplete or defective work performed by Contract Build Pty Ltd to contact the QBCC 24/7 on 139 333'.
'Similarly, sub-contractors and suppliers who believe they are owed money by Contract Build Pty Ltd should also contact QBCC.'
299 Montague Rd, WEST END, QLD 4101
POSTAL ADDRESS: GPO Box 5099, BRISBANE. QLD 4001
MEDIA CONTACT: Brian Bolton - 3225 2996, firstname.lastname@example.com


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|Characters on My Network TV's 'Fasion House' say things like: 'It's Maybelline New York Shiny-licious lip gloss. You know men can't resist shiny lips.'
Early sponsors, including Maybelline New York and Garnier Fructis, have landed airtime for their products and logos on the News Corp.-owned network that is unmatched in scripted programming anywhere on the U.S. dial. An upcoming deal with Wal-Mart will give the retailer major prime-time exposure for its Metro 7 clothing line.
Industry watchers wonder if the deals could become a template for TV integrations at a time when advertisers are demanding more bang for their buck and viewers are increasingly tough to reach with traditional spots.
In addition to the extensive integrations, My Network TV is considering content-wrap-style interstitials that would feature actors from the dramas touting sponsor brands. The network also uses footage of the integrations as on-air promotions, creating a commercial-within-a-commercial that airs frequently throughout the day.
"We're taking the product we have and making it enticing," said Bob Cook, president and chief operating officer of Twentieth Television and one of the executives heading the new network. "But we don't want it to look like Nascar, and neither do the advertisers."
Maybelline and Garnier Fructis, both owned by L'Oreal, have almost "Apprentice"-style placement in the soap "Fashion House," which stars Bo Derek and Morgan Fairchild.
Characters mention the brands by name and rave about product attributes. One storyline revolves around creating an ad campaign for Garnier Fructis, with models on the fictional show squaring off over who will get the job. For their tryout they have to wash their hair in front of two brand "executives." Distinctive green bottles of Garnier Fructis products are clearly visible, and the models remark on how good the shampoo smells, a key selling point for the brand.
The telenovelas draw a largely Hispanic audience, a growing demographic that's prized by many health and beauty advertisers.
Several "Fashion House" episodes include prominent mentions of Maybelline, which one character says gives her skin "that healthy glow." Ms. Derek's character stages a charity auction to raise money for the Maybelline scholarship fund, "a cause that's very dear to my heart," she says during the episode as she stands in front of a giant Maybelline logo.
The marketer is "thrilled about the partnership," said Cheryl Vitali, senior VP-marketing at Maybelline and Garnier. She said the deal "represents a new level of integration, especially given the receptivity to incorporating our brands" into the scripts.
The integrations, bartered by Zenith Media, help "reinforce the brand attributes in a way that passive placements don't," said Kris Magel, senior VP-national broadcast. "You want it to work like your advertising works, as opposed to a just a glam shot.
"The amount of integration was more significant than we expected," Mr. Magel said. "We think the show did a very good job of positioning the brands."
Marketers review the scenes before they air and have the chance to tweak the way their brands are shown, which is nearly unprecedented in scripted or reality shows on American TV.
"It does give us a leg up when we're talking to clients," said Dave Barrington, My Network TV's senior VP-general sales manager. "This is a collaborative process."
Newness could be an advantage for My Network TV, said Shari Anne Brill, VP-director of programming at Carat USA.
"Product integration is being built in from the beginning, rather than being wedged in by ad sales after the fact," Ms. Brill said. "If it works thematically, advertisers will want to be part of it."
Latin American telenovelas are somewhat legendary for their brand-integration deals, which include setting shows in ad agencies to make them more brand-friendly. A Mexican telenovela called "Rebelde" has packed in a paid integration every half-hour during its three seasons, amounting to some 200 advertisers.
My Network TV is unique among U.S. channels because it wholly owns its programming, while most major networks do not. Executives buy the scripts of successful Spanish-language shows and translate them into English. The network airs original episodes five nights a week for 13 weeks. It can shop brand-integration opportunities to marketers without having to work with an outside production company or studio that might not go along with the deals.
Mr. Barrington said his team works closely with the network's programming executives to see where marketers can fit into the shows organically. "We don't just do everything that's put in front of us," he said.
For Maybelline and Garnier Fructis, there's been some significant face time.
In a scene between two girlfriends, one puts lipstick on the other. "What color's that? It's cute," one says. "It's Maybelline New York Shiny-licious lip gloss. You know men can't resist shiny lips."
Another exchange has one character telling her friend that she's irresistible to her new boyfriend. "Maybe it's that great peach lip gloss you have on." The other answers: "It's yours. It's Maybelline New York."
A model on the show finds out a photographer friend has been chosen to shoot a Garnier Fructis ad campaign. "Why didn't you tell me?" she says. "You know I use their products all the time."
The photographer tells two models who are trying out for the ad campaign that Garnier Fructis' executives are looking for models with "strong, shiny, healthy hair for their new line of Sleek & Shine shampoo and conditioner." He then stages a shampoo-off.
Network executives declined to say how much the integrations cost, and they said there's no standard way the deals are structured. For Maybelline and Garnier, the integrations have been included in media buys on the network, with some interstitials during the ad breaks. Marketers have been paying between $20,000 and $35,000 for 30-second spots, though some media buyers have reported paying less because of the network's slow start.
The approach is all part of understanding the current climate, Mr. Barrington said.
"It's very apparent that the business has changed and it's now a joint effort," he said. "We're trying to make our clients' product move off the shelf."
The strategy has helped My Network TV draw in retail behemoth Wal-Mart, which will integrate its Metro 7 clothing line into the upcoming soap "Watch Over Me," launching in December. The new show hits at a pivotal time for holiday shopping.
Wal-Mart will promote "Watch Over Me" in its stores, online and in print. The retailer already had a relationship with model-actress Dayanara Torres, who stars in the show. She and other cast members will wear the clothing on air, and Ms. Torres will appear in Metro 7 promo spots on the network. Wal-Mart is in talks with My Network TV for media buys.
There are integration deals in the works for another new show, "Wicked, Wicked Games," starring Tatum O'Neal.
My Network TV, which launched about two months ago, has been struggling in the ratings but plans to boost its outdoor, online, cable, in-store and print marketing. Executives also may tone down some of the bodice-ripping adventures on the shows after getting feedback from female viewers who say they'd rather see more romance.


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Ready to research Fast Signs and discover 10,000 other top national sponsors?
Fast Signs signs deal with Ice Cowboys CARROLLTON, Texas, Aug. 24, 2016 /PRNewswire/ -- FASTSIGNS International, Inc., the leading sign, graphics and visual communications franchise, announced today it will be the title sponsor of a new pilot show called "Ice Cowboys," featuring the latest extreme sport -- skijoring. Intrigued by the fast-paced sport, which entails a skier maneuvering through snow obstacles and being pulled by a horse and rider, FASTSIGNS signed on to sponsor the new pilot, which will air on Altitude TV beginning Sep. 4 (4:30 p.m. MDT) with multiple showings throughout the month and through December. FASTSIGNS logo (PRNewsFoto/FASTSIGNS)More
Fast Signs partners with Coconut Grove Arts Festival The Coconut Grove Arts Festival would like to thank its loyal sponsors. Through the generous support of the following companies, media partners and community organizations, the Coconut Grove Arts Festival is able to continue its mission of impacting the cultural scene in South Florida.


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Free fashion week tickets give away (Beijing)
Dear all,
Anyone interested in following fashion show@ Banquet Hall, Beijing Hotel? I would like to go but have to work ;-)
Address: Banquet Hall, No. 33 East Changan Ave. Beijing
I have 4 tickets to give away for free:
2 tickets for Italy Cadini Protected content show - Mar. Protected content
2 tickets for Marc Cain A/W Protected content show - Mar. Protected content
I can be reached at Protected content or Protected content
Address to pickup tickets: No.237 Chaoyang Bei Lu, Chaoyang Dist. (Subway Hu Jia Lou, Near Jing Guang Centre or Dong Da Qiao)


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Barrow Fields
Barrow Fields is a location in Fable and Fable: The Lost Chapters. This location is basically what it's name suggests, it's a group of fields. You must travel through here on the main quest, by which you must travel through Darkwood to arrive. After completing the quest, you simply must go to Oakvale to speak with Maze.
Barrow Fields has a Demon Door, a Blue Mushroom, a Treasure Chest, a Fishing Spot, and the entrance to Grey House.


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An ousted trustee at Alabama State University is telling an accreditation agency his removal violates standards.
The Montgomery Advertiser reports that Marvin Wiggins has reported his own removal from the board to the Southern Association of Colleges and Schools.
Gov. Robert Bentley removed Wiggins as an Alabama State trustee citing a summer camp operated by Wiggins' wide on the campus.
But Wiggins says Bentley's influence over the trustees and the lack of a due-process hearing violate standards of the accreditation organization.
Bentley and Wiggins have been at odds over a review raising questions about the school's finances.
Alabama State has been in turmoil since late 2012, when Joseph Silver resigned as president after questioning some financial practices at the university.
Some leaders now oppose Silver's successor, Gwendolyn Boyd.


text:
2014 Knights of Columbus
Softball & Golf Tournament
Presented by Houghton Council 3905
July 18th, 19th, & 20th
Golf: Friday July 18, 2014. Located at Green Acres Golf Course in Donnellson, Iowa.
• 1:00 PM Shotgun Start
• 2-Man Best-Ball
Deadline for sign-up is July 11,2014. Call Kyle Kirchner to sign up your teams.
Golf prizes and trophy will be presented Friday July 18th at the Houghton KC Hall starting at 6:00 PM.Softball sign-up, food, and FREE KEG OF BEER will take place at this time.
If there is enough interest, we will have a Home Run Derby in Houghton after the presentation of the golf prizes.
Softball: Saturday & Sunday in Houghton.
• $125.00 per team.
• $3.00 a person.
• Valid KC card required.
• Traveling teams will have a later starting time.
Best Western
810 North Grand Avenue Mt. Pleasant, IA 52641 319-385-2102
RodeWay Inn
1100 North Grand Avenue Mt. Pleasant, IA 52641 319-385-2004
Comfort Inn & Suites 1200 East Baker
Mt. Pleasant, IA 52641 319-385-0571
Super 8
1000 North Grand
Mt. Pleasant, IA 52641 319-385-8888
If camping,give us a call. Contact I nformation
Kyle Kirchner: 319-561-1104
Marty Moeller: 319-931-1198
Joe Menke: 319-931-0018
Steve Stuecker: 319-371-5343
Views: 40
Welcome to
Iowa Knights of Columbus


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Robert L. Von Haden Sr.
Robert "Bob" Louis Von Haden Sr., 97, passed away on Nov. 10, 2017, in Wisconsin Rapids.
Bob was born Feb. 20, 1920, to Charles and Minnie (Schultz) Von Haden in Madison. He graduated from Suring High School and got a business degree from the Wausau Business College in 1940. He then married his high school sweetheart, Florence Virginia Lartz ("Ginni") on Aug. 2, 1941, in Hickory Corners, in Ginni's parents' yard.
After Naval service in Washington, D.C., and New York during World War II, Bob and Ginni returned to Wisconsin to raise their four children in Green Bay, where Bob was self-employed, owning many businesses — the most recent of which was Von Haden Supply Company Inc., distributors of home improvement products. Bob took his role of provider very seriously, and he conducted his business dealings uprightly. Among his favorite sayings was, "Plan your work, work your plan, and your plan will work for you."
Bob was active as a Mason in Green Bay, and kept his membership at the First United Methodist Church in Green Bay until his death. He was a huge Packers fan since the age of 15, when he hitchhiked from Suring to Green Bay to watch games under Curly Lambeau.
Bob enjoyed time with his children and grandchildren at his summer home on Kelly Lake, where he delighted in pulling people on water skis, playing cards and catching panfish. He and Ginni also enjoyed their winter home in Sun City, Arizona, where he picked oranges, lemons and grapefruits daily from their own trees. In 2007, Bob and Ginni moved to Wisconsin Rapids to be close to family. The past three years, Bob lived with his daughter Mari Beth and son-in-law Dan Peterson in Wisconsin Rapids, enjoying grandchildren up close, and spending time with his little companion and lap dog, Papi.
Bob became widowed shortly after celebrating 70 years of marriage to Ginni, his faithful wife and cheerleader. She left a void in his life that was never quite filled. But Bob is survived by his four children: Bob Jr. (Sue) of Mission Viejo, California; Carol (Hal) Wentzel of Niagara; Charles (Diane) of Green Bay; and Mari Beth (Dan) Peterson of Wisconsin Rapids. His legacy also included 12 grandchildren and 30 great-grandchildren. He always marveled at what a large family was created from his union with his wife, Ginni!
Visitation was at the Evangelical Free Church at 611 Cook Ave., Wisconsin Rapids, on Tuesday, Nov. 14, from 9:30 to 11 a.m., followed by a funeral there at 11 a.m. Military honors and a luncheon followed. Interment will take place on Wednesday, Nov. 15, at Woodlawn Cemetery in Allouez. Herman-Taylor Funeral Home, Wisconsin Rapids, is honored to be serving the family. Online condolences may be expressed at www.taylorfuneralhome.net.
A memorial will be established at a later date.


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Tyrone, Fermanagh and Derry were the big winners in tonight's third-round Dr McKenna Cup games.
All six scheduled matches proceeded despite the foggy conditions province-wide and holders Tyrone easily maintained their 100% record as they cantered into the semi-finals following a 2-22 to 0-7 mauling of Cavan at Breffni Park.
With Peter Harte calling the shots before departing the fray due to injury, the Red Hands led by 0-11 to 0-1 at the break and they were never troubled in any way as late goals from Niall Sludden and Mattie Donnelly put some icing on the cake.
Meanwhile, at Ballybofey, Seamus Quigley was Fermanagh's hero as he helped himself to 1-7 to give manager Rory Gallagher a satisfactory return to Donegal. The hosts had registered 1-5 without reply, including a Jamie Brennan major, to lead by five points after 25 minutes but the recalled Quigley took the game by the scruff of the neck to help the impressive Erne men through to the last four.
Derry also sealed their second win of the campaign from two outings when a last-gasp Niall Toner goal handed them a dramatic 1-14 to 2-10 win over Down in a thrilling encounter played in thick fog at Celtic Park. Kevin McKernan was a late inclusion in the Mourne County XV and first-half goals from him and Sean Dornan had the visitors 2-7 to 0-8 to the good at the break. The Oak Leaf County never gave up, though. and battled to another narrow victory, having edged out UUJ last week.
Derry's Niall Toner against Louth.
©INPHO/Presseye/Lorcan Doherty.
A Mark Bradley inspired Jordanstown side looked to be on course for victory in the Athletic Grounds tonight but the Orchard County finished strongly to earn a precious point, 0-12 to 1-9.
At Woodlands, Antrim were unable to build upon their surprise victory over Cavan last weekend as the concession of four goals saw them come unstuck against St Mary's, 4-8 to 0-15.
And Monaghan had no trouble securing their first win of the year as first-half goals from David Garland and Jack McCarron helped them to a comfortable 2-13 to 0-7 win over Queen's. Garland netted in the first minute and McCarron in the 37th as the Farney County established an unassailable 2-8 to 0-2 interval lead.
Tyrone - N Morgan; B Burns, P Hampsey, H P McGeary; M McKernan, T McCann, R McNabb; C McShane, P McNulty; M Donnelly (1-1), N Sludden (1-2), P Harte (0-7, 4f); L Brennan (0-5, 3f), F Burns, R O'Neill (0-6, 2f). Subs: C McCarron for P Hampsey, C McLaughlin for R McNabb, C McCann for C McShane, R McHugh (0-1) for P Harte, R Donnelly for P McNulty, M Cassidy for T McCann.
Cavan - J Farrelly; D Phillips, D Monahan, D Kennedy; Conor Brady (0-1), Ciaran Brady (0-1), O Kiernan (0-1); T Galligan, P Faulkner; J Wharton, E Flanagan, N Clerkin; C Bradley, N McKiernan (0-1), B Magee (0-2, 1f). Subs: D Brady for C Bradley, P Moore for J Wharton, C Moynagh for N Clerkin, D McIntyre (0-1) for Conor Brady, C Daly for E Flanagan (BC), P Gilchreest for T Galligan.
Referee - N Cullen.
Fermanagh - P Cadden; E McHugh, C Cullen, K Connor; P McCusker, L Cullen, D McCusker (0-2); E Donnelly (0-1), R Jones; B Mulrone (0-1), D Teague (0-1), A Breen (0-1); R Lyons, C Jones, Seamus Quigley (1-7, 0-5f, 0-1'45). Subs: R Corrigan for D Teague, C McManus for E McHugh, C McGee for R Lyons, Sean Quigley for Seamus Quigley, J McCann for C Jones (BC), E Courtney for A Breen.
Donegal - M A McGinley; P Brennan, E Doherty, S McMenamin; T McClenaghan, C Ward, M O'Reilly; H McFadden (0-1), N Mullins; C McGinley (0-1), O MacNiallais, M Carroll; S McBrearty (0-2), D O'Connor, N O'Donnell (0-4, 2f). Subs: J Brennan (1-2) for O MacNiallais (BC), E Ban Gallagher for S McMenamin (BC), C McGonagle for C McGinley, B McCole for P Brennan, L McLoone for D O'Connor, A Lyons for N Mullins.
Referee - P Hughes.
Derry - O Hartin; C McCluskey, L McGoldrick, R Mooney; P Coney, M McEvoy, J Curran; J Doherty, C McAtamney; C McFaul (0-1), C Doherty, E Lynn (0-6); N Toner (1-0), P Hagan (0-2f), M Lynch (0-3, 1f). Subs: M Bateson for J Curran, P Kearney (0-1) for C McCluskey, J Kielt (0-1f) for M Lynch, F Higgins for P Hagan.
Down - S Harrison; C Flanagan, G McGovern, B McArdle; A Doherty (0-1f), N McParland, C Mooney (0-1); A Morgan (0-1), C Poland; S Millar (0-3), K McKernan (1-2), C Francis; R Millar (0-1), S Dornan (1-0), J Guinness. Subs: B O'Hagan for C Francis, D O'Hanlon (0-1f) for J Guinness, C Harrison for S Dornan, S Murnin for C Mooney, S Murray for R Millar.
Referee - A Marron.
St Mary's - M Reid; K Mallon, G Walsh, M Rooney; C MacIomhair (2-0), C McConville, R Lundy; L Devlin (1-0), J Og Burns; A Duffy, D Kavanagh (0-2, 1f), A Boyle; P Gunning, J Colton, R McSherry. Subs: S McConville (1-3) for J Og Burns, C Convery (0-1f) for J Colton, P McAtamney (0-1) for A Duffy, J Hannigan for R McSherry, C Carr (0-1) for P Gunning.
Antrim - C Kerr; C Hamill, J Laverty, N Delargy; R McCann (0-2), S McVeigh, P McAleer (0-1); R Johnston, N McKeever; S Beatty, P McBride (0-2, 1f), P McNicholl; G Magee (0-1), C Duffin (0-1), R Murray (0-4f). Subs: C J McGourty (0-2) for G Magee, C Murray (0-1) for P McNicholl, P Brannigan for C Hamill, M Fitzpatrick (0-1) for S McVeigh, K O'Boyle for J Laverty, K Healy for C Duffin.
Referee - P Faloon.
Monaghan - R Beggan; R Wylie, C Boyle, C Lennon; K O'Connell (0-1), F Kelly, O Coyle (0-2); A Lynch (0-1), N Kearns (0-1); T Kerr, Jack McCarron (1-1), P McKenna (0-1); D Garland (1-4, 0-3f), D Hughes (0-1), D Connolly. Subs: S Garland for R Beggan, D Ward for Jack McCarron, J Mealiff (0-1) for K O'Connell, D McArdle for R Wylie, F Connolly for D Hughes, S Finnegan for F Kelly.
Queen's - J Deeney; N Keenan, P Murdock, K McDonnell; C Murphy (0-2), J McMahon, A Fegan (0-1); S Heffron, L Oliver; C O'Neill, C Donaghy, D McKeever; T Rushe, R Burns (0-2, 1f), C Harney (0-1). Subs: E Fyfe for T Rushe, A Hasson for J Deeney, P O'Hagan for C Donaghy, E Deane for P Murdock, B Heavron for N Keenan, E Mallon (0-1) for J McMahon.
Referee - P Clarke.


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Thursday's Child: Meet Joseph
Amarillo, TX —
Joseph is legally ready for adoption right now. From beginning to end, the licensure process to foster or adopt a child takes about three months to complete.
The first step is to attend a Child Protective Services (CPS) informational meeting at 7 p.m. on the second or last Tuesday of each month, at Amarillo's CPS office at 3521 SW 15th Street.
The second step involves six weeks of classroom training, followed by paperwork, background checks, and home inspections.
Once social workers believe a potential family can handle the task of caring for children, they'll write an in-depth report about the family's history.
The cost for the process is minimal. Home inspections run about $100; finger-printing runs $40 for each family member under the age of 14; and CPS pays up to $1200 in legal fees for the adoption of a child whose biological parents no longer have parental rights. Social workers say often times the legal fees do not exceed the amount of money the State is willing to pay.
For more information, call Amarillo's CPS office at 806-358-6211.


text:
Maria Sudibyo
Maria Sudibyo [pearl in pig] (280883 / parist van java)
» Click to list general statistics » OR, select a date :
Ache, Ache, Ache
Stay calm
Put your mask of indifferent
Stay in control
You have gone through the worse
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text:
Launching the Groupwise Linux Admin Install from SUSE Linux 10
Novell Cool Solutions: Tip
By Chad Israel
Digg This -
Slashdot This
Posted: 21 Feb 2006
You may be unable to launch the GroupWise Linux admin install from a SUSE Linux 10 workstation.
Here are the steps to follow to solve this problem:
1. Make a backup of your /etc/SUSE-release file.
2. Edit /etc/SUSE-release deleting all that there and paste one of the following two-line examples:
SUSE Linux Enterprise Server 9 (i586) VERSION = 9
SUSE Linux 9.3 (i586) VERSION = 9.3
3. Run through the install and then restore your orginal /etc/SUSE-release file.
Novell Cool Solutions (corporate web communities) are produced by WebWise Solutions. www.webwiseone.com


text:
DecoSlat can be used for fences, gates and privacy screens. The DecoSlat system is designed for DIY installation, and is easy enough even for beginners.
Read more about DecoSlat here and download your copy of the installation guide.
Any builder can also install DecoSlat for you. If you would like to go down this path, visit the Where to Buy to find an installer near you.
If you have any questions, please do not hesitate to contact our friendly and professional team on 02 9726 7726 or email firstname.lastname@example.com.
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Aluminium Windows and Doors from Decorative Imaging
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Le Bon Bol
9, Rue Paul Devaux
+ 32 (0) 25131688
Chinese noodles, traditionally prepared, floating in a tasty broth where coriander dances with soya, prawns, beef, spices; le Bon Bol, in English the Good Bowl, really lives up to its name!
Its not unusual to see a crowd in front of no. 9 rue Paul Devaux and with reason. Behind the window of this well-known Asian restaurant in the financial quarter, a Chinese chef is making noodle pasta by hand, stretching it, winding it, in keeping with tradition. Theres something about his assured, sweeping movements that arouses curiosity. Such proof of quality certainly gave me an appetite!
Whos never given in to the ease of a packet of freeze-dried noodles sold in bulk in the supermarket? Believe me, once youve tasted one of the noodle soups (my favourite is definitely the honey-glazed pork) or stir fried noodles at le Bon Bol, you will feel guilty for ever having brought such shame on Asian cuisine. Even more so when you know that, at lunchtime, the restaurant offers lunch for the reasonable price of 6.
I work as a fashion consultant, tear through the papers every morning, race off to concerts whenever I can and claim ""belgitude"" as a guarantee of original quality! My little extra: new shops, trendy concept-stores, organic restaurants and artists' workshops.


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Fruit trees are deciduous blooming trees. Most fruit trees are non-fastidious, requiring minimal attention during their years of fruit production. It's easy to care for fruit bearing trees but care must be provided regularly and diligently.
Prepare your fruit tree in early spring. Most fruit trees require the dormant winter periods to prepare for their avid growing season. Help your tree prepare by pruning away dead or dying branches, stems and leaves. Weak branches should also be removed; they will have a hard time bearing the weight of developing fruit. Trim the central leader to ensure the tree will have upright growth and strong structure.
Fertilize the tree during the early spring months through mid summer. The fertilizer applications will promote vigorous growth, longer blooms, larger fruit and an overall healthier tree. The fertilizer should contain a combination of micronutrients, phosphorous, nitrogen and potassium. The nitrogen levels should relatively higher than the other ingredients. A good combination is 30-10-10. Apply the fertilizer around the base of the tree. Fertilize every two to four weeks and stop during the second week of July.
Ensure that your tree has a good combination of water and direct sunlight to produce the nutrients it needs to bloom properly and develop its fruit. Fruit trees that are well watered produce sweeter, tastier fruit. Water your tree at least once a week during the spring. Increase the watering schedule during the summer months. Drier periods of summer will require watering two to three times each week. Fruit trees require 30 to 50 gallons of water each week, depending on the tree selection. Fruit trees also require at least eight hours of direct sunlight each day.
Inspect your fruit tree regularly for insects and disease. Insects are common predators of fruit trees. Avoid insect infestations by spraying your fruit tree with an insecticide during the spring. The insecticide should meet the needs of the infestation and the tree. If the tree has become fully infested, an additional application or multiple applications may be required. Speak with your local nursery or horticultural specialist for diagnosis assistance. Fungal diseases are very common in fruit trees. Check your tree regularly for symptoms. Inspect the tree's leaves, fruit, branches, stems, and trunk for signs of fungal disease. Symptoms such as curled leaves, chalky white leaves, scabs, cankers, saps, and decay should be addressed immediately. While most fungal diseases are curable, if not preventable, many can cause permanent damage if left untreated. Your specialist will also be able to assist you with selecting the appropriate product to counteract the disease.


text:
Swelling in the feet and ankles can be a symptom of kidney disease, which is a complication of diabetes, according to The New York Times. Known as edema, this swelling is caused by a buildup of fluids that is further aggravated by standing for long periods of time, reports Diabetes.co.uk. In people with kidney disease, edema can also be worsened by a high sodium diet.
Treating edema typically consists of regular physical activity combined with a lowered salt intake and a reduced amount of time spent standing, states Diabetes.co.uk. For overweight patients, weight loss can help reduce fluid retention. Diuretics are available to help flush water from the system and can be prescribed as a treatment.
Swelling in the feet may also be a symptom of Charcot foot, a disorder that appears in people with significant nerve damage, notes the American College of Foot and Ankle Surgeons. Diabetics are at an increased risk of developing Charcot foot due to the effect of diabetes on the nervous system. Other symptoms of Charcot foot include redness, soreness and elevated temperature in the affected foot. In some cases, the deformity may progress unchecked until amputation becomes necessary, making prevention and early diagnosis crucial. Treatment typically consists of immobilization, customized shoes or surgery.


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Thank you so much for joining me for Episode 58. I recorded this episode on Wednesday, July 13, 2016.
What We're Working On:
* Brianne is working on Hopeful Heather socks, Pure Joy shawl, Hermione's Everyday Handspun Socks, spinning some Spun Right Round BFL in the Beach colorway
I couldn't remember the name of the shawl that I was going to knit for The Loopy Ewe's Spring Fling in 2011. It was Pea Vines by Ann Hanson.
What We Finished:
* Brianne finished Cheer Socks, Cladonia shawl, Gourmet Stash puni (I don't think that she's selling anymore)
Are You Kidding Me?!:
* Brianne thinks she knows a pattern, but clearly doesn't which results in ripping back on a patterned sock. She also has issues with the neckline of a sweater
Gilding The Lily:
* Brianne purchased from Walnut Farm Designs a SW Merino Nylon blend in the Rhubarb colorway and decided to keep a skein of Fable Fibers Novel that she almost returned to The Loopy Ewe
Mama Linda and I love to share inspiring quotes, songs and verses with each other. Because who doesn't need encouragement?!
Share with us your favorite inspirational quote, song lyrics, verses, you get the idea. You get TWO entries with this contest!
The winner will be chosen on 8/1 by Random Number Generator, and will receive 4 skeins of Cascade Yarns Ultra Pima. 2 skeins of a beautiful sky blue and 2 skeins of white. That is 880 yards of fabulousness!


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Evaluation of Efficacy and Safety of Fostamatinib Monotherapy Compared With Adalimumab Monotherapy in Patients With Rheumatoid Arthritis (RA) (OSKIRA -4)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01264770
Recruitment Status : Terminated (AZ decision to discontinue fostamatinib development in RA; rights to fostamatinib returned to Rigel Pharmaceuticals.)
First Posted : December 22, 2010
Results First Posted : May 6, 2014
Last Update Posted : May 6, 2014
- Study Details
- Tabular View
- Study Results
- Disclaimer
- How to Read a Study Record
|Tracking Information
|First Submitted Date ICMJE
|December 17, 2010
|First Posted Date ICMJE
|December 22, 2010
|Results First Submitted Date
|November 22, 2013
|Results First Posted Date
|May 6, 2014
|Last Update Posted Date
|May 6, 2014
|Study Start Date ICMJE
|January 2011
|Actual Primary Completion Date
|October 2012 (Final data collection date for primary outcome measure)
|Current Primary Outcome Measures ICMJE
|Original Primary Outcome Measures ICMJE
|Change History
|Complete list of historical versions of study NCT01264770 on ClinicalTrials.gov Archive Site
|Current Secondary Outcome Measures ICMJE
|Original Secondary Outcome Measures ICMJE
|Current Other Outcome Measures ICMJE
|Not Provided
|Original Other Outcome Measures ICMJE
|Not Provided
|Descriptive Information
|Brief Title ICMJE
|Evaluation of Efficacy and Safety of Fostamatinib Monotherapy Compared With Adalimumab Monotherapy in Patients With Rheumatoid Arthritis (RA)
|Official Title ICMJE
|(OSKIRA-4): A Phase IIB, Multi-Centre, Randomised, Double-Blind, Placebo-Controlled, Parallel Group Study of the Efficacy and Safety of Fostamatinib Disodium Monotherapy Compared With Adalimumab Monotherapy in Patients With Active Rheumatoid Arthritis
|Brief Summary
|The purpose of the study is to evaluate the improvements in signs and symptoms of rheumatoid arthritis (RA) for fostamatinib compared to placebo or adalimumab in patients who are Disease-Modifying anti-rheumatic drug (DMARD) naïve, DMARD intolerant or have had an inadequate response to DMARDs. The study will last for approximately six months
|Detailed Description
Full title: Optional Genetic Research
Date: 10 September 2010
Version: 1
Objectives: To collect and store, with appropriate consent , DNA samples for future exploratory research into genes/genetic variation that may influence response (ie, absorption, distribution, metabolism and excretion, safety, tolerability and efficacy) to fostamatinib disodium and/or adalimumab; and/or susceptibility to, progression of and prognosis of RA
The main study recruitment is complete, and sub study recruitment will continue until the target is reached, estimated to be June 2013
Full title: (Sub-study to OSKIRA-4): A Phase IIB, Multi-Centre, Randomised, Double-Blind, Placebo-Controlled, Parallel Group Study of the Efficacy and Safety of Fostamatinib Disodium Monotherapy Compared with Placebo or Adalimumab Monotherapy in Patients with Active Rheumatoid Arthritis: Magnetic Resonance Imaging Sub-Study
Date: 21 March 2011
Version: 1
Primary objective: Assess the efficacy of fostamatinib in reducing joint synovial disease activity as measured by:
|Study Type ICMJE
|Study Phase
|Phase 2
|Study Design ICMJE
|Allocation: Randomized
Intervention Model: Parallel Assignment
Masking: Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
Primary Purpose: Treatment
|Condition ICMJE
|Rheumatoid Arthritis
|Intervention ICMJE
|Study Arms
|Publications *
|Taylor PC, Genovese MC, Greenwood M, Ho M, Nasonov E, Oemar B, Stoilov R, Vencovsky J, Weinblatt M. OSKIRA-4: a phase IIb randomised, placebo-controlled study of the efficacy and safety of fostamatinib monotherapy. Ann Rheum Dis. 2015 Dec;74(12):2123-9. doi: 10.1136/annrheumdis-2014-205361. Epub 2014 Jul 29.
* Includes publications given by the data provider as well as publications identified by ClinicalTrials.gov Identifier (NCT Number) in Medline.
|Recruitment Information
|Recruitment Status ICMJE
|Actual Enrollment ICMJE
|Original Estimated Enrollment ICMJE
|Actual Study Completion Date
|August 2013
|Actual Primary Completion Date
|October 2012 (Final data collection date for primary outcome measure)
|Eligibility Criteria ICMJE
Inclusion Criteria:
Exclusion Criteria:
|18 Years and older (Adult, Older Adult)
|Accepts Healthy Volunteers
|Contacts ICMJE
|Contact information is only displayed when the study is recruiting subjects
|Listed Location Countries ICMJE
|Bulgaria, Canada, Czech Republic, Germany, Hungary, Netherlands, Poland, Russian Federation, Slovakia, South Africa, Ukraine, United Kingdom, United States
|Removed Location Countries
|Administrative Information
|NCT Number ICMJE
|Other Study ID Numbers ICMJE
2010-023692-26 ( EudraCT Number )
|Has Data Monitoring Committee
|U.S. FDA-regulated Product
|Not Provided
|IPD Sharing Statement
|Not Provided
|Responsible Party
|Study Sponsor ICMJE
|Collaborators ICMJE
|Not Provided
|Investigators ICMJE
|PRS Account
|Verification Date
|April 2014
ICMJE Data element required by the International Committee of Medical Journal Editors and the World Health Organization ICTRP


text:
Angkor in the Monsoon: When it Rains, You Score
By Stephen Brookes • The Washington Post • November 4, 2007
Photos by Stephen BrookesRain was lashing against the side of the plane as we broke through the clouds. Below us, Cambodia stretched out like a perfect disaster: fields flooded to the horizon, palm trees whipped by the wind, a sky so dark and heavy it seemed about to collapse. As we dropped closer, we caught a glimpse of two people pushing a truck through knee-deep water, struggling to keep from being washed away.
"It's fantastic!" I said to my wife, whose hand was clamped on mine in a vise-like grip. "It looks like we timed this perfectly!"
We'd come to Cambodia to see the famous temples of Angkor, those magnificent ruins that make up one of the most extraordinary landscapes in Asia, if not the world. And we'd come in July -- in the heart of the monsoon, which sensible people had told us was pure madness. Wait until the dry season, they said, when the skies are clear and you're guaranteed as much sunshine as you can handle. Go during the long, wet summer -- when more than 50 inches of rain falls -- and you're certain to get stranded in your hotel, swatting at mosquitoes and hoping you don't come down with malaria.
But we were here to test the contrarian idea that the monsoon might, in fact, be the best time to see Cambodia. Because the truth is, even though it rains almost every day -- sometimes in torrents so thick you can barely see -- it rarely lasts more than an hour or two. And the effect is usually refreshing. The rain clears the air, washes away the dust and cools down everything. The landscape turns lush and fragrant, colors take on richer hues and, instead of scorching tropical sun, you get constantly changing light and spectacular sunsets. For photographers in particular, it's the only time to go.
Besides, prices for everything drop dramatically -- hotels typically charge half of their high-season rates -- and there's never a problem getting into a restaurant or booking a last-minute flight.
And best of all: The tourists stay away in droves.
"It's empty," groaned general manager Didier Lamoot, gesturing at the deserted lobby of the Sofitel Royal Angkor, one of the new hotels in Siem Reap, the town where all visitors to Angkor stay. "People are afraid of the monsoon," he said. "Germans, if they think there will be one second of rain, they don't come. And the French, if they hear about heat but no sea, then, non." He shrugged his shoulders in Gallic resignation.
Angkor Wat, after the rain Stephen BrookesBut in fact, "empty" was the reason we were there. Lost for centuries, the ruins of Angkor were rediscovered in the 19th century and until a few years ago were still well off the itineraries of most travelers. Decades of war and civil strife had kept the crowds away, and when I'd first visited in 1999 for a rushed, two-day trip, I had the place almost to myself. You could climb to the top of Angkor Wat (the most famous of the many temples at Angkor) and contemplate eternity, or lose yourself in the enigmatic stone faces of the Bayon, or privately indulge your Indiana Jones fantasies in the overgrown ruins of Ta Prohm.
But all that has changed -- with a vengeance. The political stability of the past decade has reassured travelers, and Angkor is now suffering a flood of tourists -- more than 1.7 million last year, up from 200,000 only three years before. And with a new airport open and roads being built to connect Angkor more easily with Thailand and Vietnam, officials expect that number to rise to more than 3 million by the end of the decade.
Not surprisingly, Angkor is a madhouse during the November-to-April high season. Buses cram the parking lots, spitting out diesel fumes and tour groups. Thousands of people clamber over the temples, turning them into human anthills, and at the peak viewing times, gridlock sets in; so many people are trying to climb the hilltop temple of Phnom Bakheng, famous for its view of the sunset over Angkor Wat, that officials are even thinking of installing an escalator. Forget trying to contemplate the timeless mystery of the place. The only mystery is how to avoid being trampled.
Horse at Angkor Stephen BrookesSo when we got up the next morning and set out for Angkor Wat, it was with crossed fingers, hoping our theory about the rainy season would, um, hold water. But we needn't have worried. The rains of the night before had given way to scattered clouds, the air was fresh, and as we walked out the long stone causeway to the temple, the biggest crowd we saw was a Cambodian wedding party having its picture taken.
We weren't completely alone, of course. Two elderly monks in saffron robes passed us, and a few Korean families peered intently at each other through digital cameras. But it was easy enough to avoid the tour groups as we made our way through the temple. We climbed higher and higher up the narrow stairways, over the wide stone terraces, past the churning friezes and delicately carved celestial dancers. It was eerily quiet -- the loudest sound was the cry of birds in the jungle -- and the huge temple spread out below us, infinitely ancient, evocative and remote. We sat in silence, letting the sweep of the centuries roll over us.
And for the rest of our six-day stay, things stayed virtually perfect. It rained now and then, and the weather was often steamy. But there were three full days of pure, glorious, uninterrupted sun (which we suffered through by the hotel pool), and when the rains finally returned, they came as a welcome break. We'd go out in the early morning, explore a temple or two, and then retreat for the day.
And as we soon discovered, that was the best way to take in Angkor: not in the standard two-day gulp, but one small bite at a time.
"Templing can be exhausting," John McDermott, an American photographer who has settled near Angkor, told me one afternoon over lunch. "You're climbing up and down stone steps in the sun and trying to absorb hundreds of years of history. It's best to stretch it out over a week; spend a morning in the temples, skip a day, then go back the next afternoon. Otherwise you just get burnt out."
Fortunately, there's a lot to balance out trips to the ruins. Siem Reap is no longer the scruffy, can-we-leave-now backwater of a decade ago. It has turned into a vibrant town with a slew of five-star hotels, lively new bars and restaurants, high-end art galleries and any number of chic boutiques. For the energetic, there's golf, mountain biking or flying around in ultra-light airplanes. For the sybaritic, there are massages and exotic spa treatments. There are restaurants for the epicures, museums for the studious, orphanage tours for the empathetic, and even a classical cello concert every Saturday night.
So once we'd notched a couple of temples on our belt, we hired a tuk-tuk -- one of those motorcycle rickshaws you find all over Southeast Asia -- and set out to explore the town.
And that's when we discovered the other benefit of the rainy season. Siem Reap may be changing fast, but it still has a small-town feel, and with only a few other tourists around it was possible to take it in at a relaxed, small-town pace.
Reservations for restaurants and spas (critical during the high season) were never necessary, and the lazy, off-season ambiance made it easy to meet Cambodians, an extraordinarily friendly and open people.
At the Butterfly Garden Stephen BrookesWe would spend our evenings exploring the lively streets of the French Quarter, where surprises awaited us at every turn: huge, black deep-fried spiders (a Cambodian delicacy) from street stalls, delicately hand-tinted photographs at art galleries, elegant silks from tiny boutiques, massages from blind masseuses at the Seeing Hands Spa, even a net-covered garden bistro where thousands of butterflies fluttered around us as we ate. And it all felt as if we were nearly the first people to discover it.
Frankly, though, it was sometimes hard just to leave the hotel, and not only because of our innate laziness. Dozens of new luxe hotels have been built, varying from the blandly elegant Sofitel (with its own golf course outside town) to the sleek, sexy Amansara, built in 1962 as a guesthouse of then-Prince Sihanouk. Recently renovated, it's one of the most striking examples of modernist architecture in Asia.
With off-season prices so ridiculously low, we tried several; our favorites were La Residence d'Angkor, an atmospheric place set on a quiet, leafy street near the river, and the amazing Hotel de la Paix, a cheerfully over-the-top art deco palace in the heart of town. With flaming sconces on the roof, hanging beds in the courtyard restaurant and Stolichnaya at the breakfast buffet, it's not for every taste. But we found it decadently luxurious, and my wife cried when we left. We both cried, a little.
In short, Angkor has grown up: It's no longer the gritty, suffer-for-culture experience it once was. In fact, it has become a luxury destination.
But if you've been putting off seeing it, don't wait too long. The Cambodian government seems determined to push tourism to the breaking point and is busily cooking up a marathon, a golf tournament, a huge light show extravaganza at Angkor Wat and even an international tourism expo in the next few months. By December, the place will be inundated once again with visitors -- until the rains return in May and scare them away, making it safe once again to visit.
But the secret may be starting to get out.
"We have guests who come in the dry season and say that they wouldn't recommend Angkor to their friends. There are just too many people at the temples. You can't see anything, and sometimes you can't even move," the manager of one luxury hotel told me. "So I tell them to come back in the rainy season, when everything is beautiful and you can drink it in. That's when you see Angkor at its best."
GETTING THERE: The quickest way to Siem Reap is the 22-hour fight from Dulles on Korean Air (connecting via Seoul); the round-trip fare is about $1,500, with restrictions. An alternate route is to fly to the capital of Phnom Penh (various airlines, from about $2,250), spend a day or two exploring the city, then catch a short domestic flight (about $80 one way) to Siem Reap on Phnom Penh Airways.
Or to see a bit of the countryside, hire a taxi for the four-hour drive from Phnom Penh; the road is good, the views are interesting and the price (about $70) is hard to beat. There are also daily flights from Bangkok to Siem Reap (about $195 each way) on Bangkok Airways.
Cambodia requires visas, which can be obtained on arrival or online for $25.
WHEN TO GO: Most tourists visit during the peak season of November to February, when skies are clear; avoid the brutally hot and dusty months of March and April. Start planning now if you want to visit in the rainy season (May-October), which is an excellent option to consider, especially if you don't plan to visit remote parts of the country.
WHERE TO STAY: All the hotels serving Angkor are in Siem Reap, just a few miles from the temples. It's easy to get a clean, comfortable room in a friendly guesthouse for less than $25 -- try the Villa Siem Reap (153 Taphul Rd., 011-855-63-761-036) -- but luxury rooms are so cheap in the rainy season that it's hard not to splurge.
The sleek, chic Amansara, in Siem Reap Stephen BrookesAt the very top end is the Amansara, where many of the private suites have their own pools. It's an architectural tour de force, and has the Amanresorts' trademark sophistication and attention to detail, but at $850 and up per night (no discount for off-season), you'd expect nothing less.
Five-stars geared toward mere mortals include the historic Raffles Grand Hotel d'Angkor (Vithei Charles de Gaulle, 800-768-9009; about $200 per night double in the off-season) and the Sofitel Royal Angkor (Vithei Charles de Gaulle, 011-855-63-964-600, about $130), set in a vast tropical garden.
But the best deals in town may be the airy, Asian-styled La Residence d'Angkor (River Road, 011-855-63-963-390,about $150), and the jazzy Hotel de la Paix (Sivutha Blvd., 011-855-63-966-000, about $190); the former is more subdued than the latter, but neither will disappoint. The hip-and-we-know-it Foreign Correspondents Club (Pokambor Avenue; 011-855-23-992-284) has contemporary-style rooms at about $120 per night but is well below the others in terms of comfort and privacy.
Note: Prices at most hotels will be at least twice as high in the dry season.
WHERE TO EAT: Khmer cuisine, which is similar to Thai but not as spicy, is coming back to life after decades of neglect. The best place to try it may be Meric, in the Hotel de la Paix, where chef Joannes Riviere is leading the revival. Try his theatrical seven-course Khmer sampler, served on pieces of slate, antique serving spoons, artfully broken pots -- everything except plates. At $30, it's pricey by Cambodian standards, but it was one of the most memorable meals we've ever had.
Khmer House Restaurant, Siem Reap Stephen BrookesDozens of great restaurants and open-air bistros are in the French Quarter; start at the main thoroughfare, nicknamed Pub Street, and explore the surrounding streets. Good bets include Khmer House (traditional Cambodian dishes for less than $5, in the alley behind Pub Street), kamasutra for Indian food and the charming Le Tigre du Papier (on Pub Street), with its free book exchange, (slow) Internet access, cooking classes in the upstairs kitchen and a grill offering everything from alligator to kangaroo ($4-$12).
If you're in the mood for "2001"-style futurism, head around the corner from Pub Street to the Blue Pumpkin, where you can lounge on bulbous white furniture and cool off with snacks and organic teas ($2-$12). And definitely try the Dead Fish Tower on Sivutha Boulevard, which has delicious Khmer and Chinese food ($2-$8), an eclectic art collection and six alligators in a tank.
WHAT TO DO: Well, temples, obviously. But skip the trip out to the "floating village" at the huge lake called Tonle Sap; it's cheesy, touristy and depressing. There are several museums; one of the most unusual is the Land Mine Museum (admission$1), on the road to the temple of Bantey Srei.
It's impossible to get out of Siem Reap without seeing some traditional Apsara dancing. This is exotic and beautiful stuff, as is the Khmer music that accompanies it. Many of the hotels host dinnertime performances, so call around to see what's available. And if you have a chance to see a traditional shadow puppet show, grab it.
For shopping, most people head to the tourist-oriented Artisans d'Angkor (Stung Thmey Street) or the huge Old Market in the heart of the French Quarter. Unless you're really into vegetables or cheap Cambodian underwear, though, skip the market and head into the warren of nameless streets and alleys that surround it. You'll find an amazing range of boutiques and art galleries; some of the best include kokoon for silks and Hagar Design for hip, fashionable stuff made of recycled rice bags. Siem Reap has started to attract a small international artist community, and there are sophisticated, affordable works at the McDermott Gallery (on the passageway behind Pub Street) and hand-tinted photographs at the Klick Gallery next door.
And when you're worn out from climbing temples all day, check into one of Siem Reap's ubiquitous spas. There are dozens of them, from Seeing Hands, whose masseurs are all blind (about $10), to our favorite, Bodia (in the French Quarter), where the organically Space Age architecture will unwind you even before the massage (about $26) begins.
To view these and other Angkor photos on The Washington Post website, please click here.
For a piece I did on the pleasures of Siem Reap for GoNOMAD, please click here.
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