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There are a variety of fab nail art designs out there that will make your nails a magnet for attention, so make sure you're the nail art queen at any event. If you're in need of some inspiration, take a peek at the following nail art designs and draw inspiration for your next fab nail art design!
Polished up nails have become a definite must have and there are
various ways you can make sure your nails are prepped up to
perfection. The amazing nail products out there enable you to
create various lovely nail art designs that will grab
everyone's attention, so if you've decided you're ready to
experience the power of nails, take a peek at the following
creative nail art designs and put your skills to the test.
From bold to pretty, simple nail art designs anything goes but because certain nail art designs manage to steal more compliments than others, we have put together some of the hottest nail art designs for the new season, designs which will not demand high artistic skills. Charming Nails blogger will be our guide to perfectly polished nails, so take a peek at her designs and pick your favorites.
Clash colors that create an eclectic look will definitely take your nails out on a parade, making them stand out, so pick your favorite nail polish hues and mix them to obtain various designs that suit your funky fresh personality. Go for brights, darks, glitter and even add-ons and your nails will definitely shine on their own without having to turn to a professional for a stylish mani. If however you're in a hurry, magnetic nail polish will surely make all the difference when it comes to your manicure. The gorgeous two tone effect created cannot be overlooked, so invest in a stylish magnetic polish that will make you proud of your nails every time.
Channel your inner diva and opt for party-ready nail art design
this season that scream for attention. Sophisticated nail art
designs don't necessarily have to be super difficult to create, all
you need is patience and the right tools. Dry flowers, glitter,
rhinestones, nail art stickers and lace are all must haves when
searching for a cool looking, party ready nail art design, so make
the best out of your nails by turning towards these fab
Animal print nails are a perfect choice if you want to underline your wild side, and there are various ways to incorporate a zebra, leopard or tiger print into your nail art design. Go simple all the way or opt to mix and match various styles to get a fab animal print design that seems to pop from under your monochrome varnish.
Floral nail art designs are timeless and will never fail, and
hence there are a myriad of flower species to draw inspiration
from, you'll never have to wear the same floral print nail art
design twice. If you're very skilled in arts, paint your own
flowers on your nails, but if you're looking for something that is
all about perfection or you're simply not skilled at doing
sophisticated nail art designs, turn towards stylish floral
stickers or Konad stamps that will make your nails look amazing.
Seal the design with a clear top coat and let your nails receive
the attention they deserve!
Photos courtesy of Charming Nails


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Ok, it's not even the end of the month yet, but I have already superceded last month by a nice margin.
Good things are slowly starting to happen and things are most certainly sinking in.
Let me tell you what I have been up to this week.
On Wednesday I went to visit the guy who built my driveway(and I later built him a website), and he paid for me to get his site ranking for 11 phrases over and above what he was already ranking for. I had underpriced the job originally due to my lack of experience several months ago.
Anyway, created 5 or 6 pages on his site and targeted 2 phrases per pages, carefully setting things out according to "the rules" of good SEO on-page and off-page.
Here I am just 4 days later and am blown away that 10 out of the 11 phrases are now on page 1 of Google, and 5 of those 10 are within the top 3 on page 1.
One happy client, one happy internet marketer. You know I think this marketing stuff actually works.
Here's what I did:
I took what I have been learning the past 11.5 months at WordPress Goldmine and developed 5 or 6 pages on the clients site, targeting 2 phrases per page.
I then did some initial primary promotion using Stumbleupon,clipmarks and onlywire.
I then added 10 backlinks to each phrase using Ezarticlelink.
That's is all I have done to date – I am going to watch the phrases for a few weeks to see what happens and work on them if needed.
In 4 days the phrases have hit fantastic positions – I am super excited!
Other news: As listed above, ezarticlelink is one of 2 very exciting things I am working with at the moment – and I do mean EXCITING.
The other one is making some REALLY exciting movements in my positionings, so I intend to write up on that very soon.
Thanks for reading,
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subset: commoncrawl


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Real Beauty Is More Than Skin Deep
It has never been harder for people to feel good about themselves. Ironically, we have more "things" to help us in the process—technologically advanced makeup, an abundance of expert advice about nutrition and exercise, and even drastic medical procedures such as elective cosmetic surgery. But still, many people in our society feel unattractive and unworthy.
Beauty is something that we all crave for – but what exactly is it? Beauty should not be able to be defined by the media. How can one say what beauty is? Beauty, on the outside, is different in every culture. Some may think pale skin is beautiful, or in contrast, tanned skin. Why does beautiful have to mean skinny or tall? What good comes from being a size-zero?
The truth is, real beauty is more than skin deep. You will see, in any culture around the world, a loving and caring person is always be favoured over a sour, vain person. Real beauty is seen the same way from every perspective and is not created by the media. Real beauty is what you are on the inside – how good a person you are. We should not be judged from how we look based on the idea the rich and famous people put into our heads through the media.
Too many people, especially young girls, are attacked by the self-consciousness they place upon themselves. The media gives us the wrong impression of beauty. We are all too absorbed in what we can't have. That is, to look like those airbrushed, stick-thin models on the cover of some magazine.
Do we all have an unhealthy obsession with beauty?
Think about it. We spend almost every minute of our day consuming some form of media; watching television, surfing the Internet, reading a magazine or newspaper, listening to the radio, or just reading billboards while we're in the car. In every form of media, we are exposed to advertisements of all sorts and...
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Chris Kaman wanted this. He lobbied for this (saying he deserved the nod more than Pau Gasol). And now he's got it.
The Clippers center was named to the West's All-Star lineup, replacing the injured Brandon Roy. It doesn't matter why you get invited, just that you get invited.
A Clipper in the All-Star game sounds like the seventh sign of the apocalypse, but it hasn't been all that long. Back in 2006, Elton Brand made the game, back when he was a player to be reckoned with in the league. Today, not so much.
Kaman deserves this. When Blake Griffin went down, Kaman stepped up. He has averaged 20 points and nearly 10 rebounds a game while shooting 50 percent on the season. When the Clippers went on a little hot streak last month, it was when they started running the offense through Kaman first. Even under the new run-and-fun Kim Hughes era (how much fun remains to be seen), the Clippers settled their wild ways in the second half against San Antonio and started getting the ball to Kaman. And that helped reduce the size of the blowout (hey, it is the Clippers).
Kaman's inclusion means basically the entire front court of the German national team will be playing for the West in a Dallas football stadium. Dirk Nowitzki is the best player Germany has ever produced. Kaman came to the NBA by way of Grand Rapids, Mich. Not exactly near Germany. But because of Kaman's family having moved from there within a couple generations, and because the German national team was desperate, Kaman was offered a spot on the team. And he took it.
There will be outcries from Utah that Carlos Boozer should have gotten in. Maybe. There will be outcries from myopic Lakers fans that Andrew Bynum should have gotten in. Not this year.
This year is Kaman's year.
Clippers' Chris Kaman is an All Star
A Clipper in the All-Star game sounds crazy, but he's earned this.
Chris Kaman wanted this. He lobbied for this (saying he deserved the nod more than Pau Gasol). And now he's got it.


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Welcome to NetCuras
Thank you for visiting NetCuras. NetCuras can help you support today's complex networking technologies. Focused on Cisco and other leading network vendor solutions, NetCuras will work with you to maximize your IT investment by providing network engineering and operational support that draws the full potential from those solutions. We are bridging the gap between a full time network engineer and nebulous managed network services.


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Lord Carlile, a Liberal Democrat peer, said decisions under the European Convention on Human Rights had hampered the deportation of people who put the public at risk.
And he warned European judges have put themselves on a "collision course" with the UK parliament over prisoner votes row.
He hit out in a report by Dominic Raab, the Tory MP, who said unelected and inexperienced European judges risk triggering a constitutional crisis by attacking the will of politicians here.
Mr Raab said judges at the European Court of Human Rights (ECHR) in Strasbourg were assuming a legislative function that was beyond their agreed powers.
The pair attacked the increasing influence of European human rights laws in a new report for the think tank Civitas, published today.
It comes as tensions intensify between Britain and Strasbourg after the ECHR ruled a blanket ban on prisoners voting was illegal.
The Coalition last week lost its final appeal to overturn the ruling despite MPs voting overwhelmingly against it in a parliamentary motion earlier this year.
In a foreword to the report, Strasbourg in the Dock, Lord Carlile said the European Convention is out of date with "reasonable public expectation" and should be modernised.
He echoed concerns that one knock on effect of European rulings has been to make it more difficult to deport potentially dangerous people.
He said: "A narrow interpretation of the Convention has had a chilling effect on deportation and thereby on public safety.
"This is an urgent matter."
The concern follows a series of high profile cases where criminals have prevented their deportation under human rights laws.
They include Aso Mohammed Ibrahim, an asylum seeker who killed a 12-year-old girl in a hit and run incident.
Lord Carlile, who recently stepped down as the independent reviewer of terror legislation, also warned on the prisoner vote issue.
"By its approach to this issue, the court of human rights has set itself on a collision course with our own jurisdiction and with Parliament," he said.
Mr Raab, the author of the report, said the court, in the prisoner vote case, had gone beyond its legitimate powers of interpretation on human rights and was effectively making law.
"This judicial coup represents a naked usurpation, by a judicial body, of the legislative power that properly belongs to democratically-elected law makers," the MP for Esher and Walton said.
The poor quality of the judges was also "undermining the credibility and value of the court", he added.
He said the Government could still refuse to implement the ECHR ruling "without sanction or significant repercussions", but added that the UK needed to "pursue broader reforms to address the fundamental threat posed by judicial legislation".
Last month the Government announced that the case for a British Bill of Rights will be considered by experts advising Ministers on ways to reform the ECHR.
In his report, Mr Raab also claimed that the court's human rights decisions were adding to the pressure on police and the security services.
"The massive expansion of human rights law threatens to frustrate Britain's ability to deport convicted criminals and terrorist suspects," he said.
"The goalposts keep shifting, because of unaccountable judicial legislation – especially the expansion of claims around the right to family life.
"Britain has lost a degree of control over its borders, which inevitably means we are importing more risk. This has contributed to the growing terrorist threat and pressure on MI5 and counter-terrorism police."
Mr Raab called for the ban on deportations that would disrupt family life to be scrapped and for the independence of the Supreme Court to be strengthened.
He added that the Human Rights Act should also be amended so that adverse ECHR rulings would be subject to a Commons debate and a political commitment from the main parties to permit free votes.


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Punjab holidays will take you to the land where five rivers that glows through this land. The main attraction is the Golden Temple which is pilgrim for the Sikhs. Punjab tour packages shows you the land with the amazing climate, rich water supply and productive soil, there is little marvel that the main occupation in Punjab is agriculture.
Punjab tours goes to visit the royal Punjabi castles, battle sites of historic importance, temples shrines and paradigms of Sikh architecture are famous attractions. Book your tour package for Punjab from oktoboad.com and from India, Mumbai, Chandigarh, Kerala, Ahmedabad, Kolkata, Jaipur, Coimbatore, Bangalore, Goa Chennai, Cochin, Hyderabad and Delhi.


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Edited by Nicholas Stanley Price, M. Kirby Talley Jr., and Alessandra Melucco Vaccaro
This premier volume of the GCI's Readings in Conservation series, Historical and Philosophical Issues in the Conservation of Cultural Heritage, is the first comprehensive collection of texts on the conservation of art and architecture to be published in the English language. Designed for students of art history as well as of conservation, the book consists of 46 texts, some never before translated into English and many originally published only in obscure or foreign journals. The 30 major art historians and scholars represented discuss questions such as when to restore, what to preserve, and how to maintain aesthetic character. Among the volume's selections are excerpts from the following books and essays: John Ruskin, The Seven Lamps of Architecture; Bernard Berenson, Aesthetics and History in the Visual Arts; Clive Bell, "The Aesthetic Hypothesis"; Cesare Brandi, Theory of Restoration; Kenneth Clark, Looking at Pictures; Erwin Panofsky, "The History of Art as a Humanistic Discipline"; E. H. Gombrich, Art and Illusion; Marie Cl. Berducou, "The Conservation of Archaeology"; and Paul Philippot, "Restoration from the Perspective of the Social Sciences." The fully illustrated book also contains an annotated bibliography and an index.
Nicholas Stanley Price is former Deputy Director of the Training Program at the Getty Conservation Institute. M. Kirby Talley Jr. is Project Coordinator for Conservation and Restoration at the Directorate for the Management of National Cultural Property in Amsterdam. Alessandra Melucco Vaccaro is affiliated with the Ministero per i Beni Culturali e Ambientali in Rome.
520 pages, 7 x 10 inches
57 color and 32 b/w illustrations
ISBN: 0-89236-250-2, cloth, $55.00
ISBN: 0-89236-398-3, paper, $39.95
This GCI book can be ordered online from this page.
M. Kirby Talley Jr., one of the editors of Historical and Philosophical Issues in the Conservation of Cultural Heritage, himself contributed two extraordinary essays to the anthology. These essays tie the volume's readings together by persuasively articulating the enrichment art provides and the role conservation should play in preserving that value. Here Dr. Talley talks about the philosophy and goals that prompted the creation of the book:
The thinking behind this volume is mirrored in the title of the book: Historical and Philosophical Issues in the Conservation of Cultural Heritage. The idea was to bring together very diverse readings to explore issues that have been insufficiently highlighted in recent times and to reexamine certain ways of looking at, appreciating, and conserving art that have more or less disappeared from general thinking.
What this book is really trying to do is put the conservation of the work of art into a much broader context, both from a philosophical and an aesthetic point of view. Even in the sections on intervention, the original intent of the artist and the broader issues of intervention—and what that really means—are the focus. These are matters that art historians, conservators, and conservation scientists should do a great deal of thinking about. In some ways there has not been enough thought given to the broad, basic issues of why we want to preserve something at all.
If you're a conservator, you have to look at, think about, and appreciate an object before you actually get involved in the technical side. Obviously a good conservator has to know all the treatments and be able to carry them out with the utmost ability and sensitivity. When you get into the area of sensitivity, a book like this can play a role because it makes one think.
Historical and Philosophical Issues contains ideas necessary not only to conservation but to art history as well. A lot of the way that art history is taught these days deals with documentary sources, materials, and the life and times of the artist—all of which are very legitimate and extraordinarily important. But these things are not the be-all and end-all in terms of art or its appreciation. The book attempts to balance this approach by opening up a whole realm of thinking by many writers who are today considered rather passé. How can anybody who's ever had anything sensible and wonderful to say be out of date? Somebody like John Ruskin, such a perceptive critic, had a very eloquent style of writing that's less fashionable than the kind of nuts-and-bolts writing popular these days. But his approach to these issues and his ebullient prose are, I think, very relevant to a society enraptured with technology and things that can be of 'proven practical benefit.' Of course, the most practical benefit of a work of art is its spiritual content, its pleasure content, what it gives in terms of refreshment. And it is the conservator's great role to protect these values through the conservation of the physical object.
Beyond art history students, I think the book is relevant to scientists who want to get into the field or who are already in the field. It would also be of interest to the public that goes to museums or exhibitions and is interested in such controversies as the one over the cleaning of Michelangelo's paintings in the Sistine Chapel. A book like this can give people some insight into the type of thinking relevant to the conservation issues raised by such projects.
Basically this book is designed to help people consider more subtly the direct relationship between historical and philosophical issues and practical and technical issues. It should sharpen thinking and open up discussion. It doesn't set out to tell what is right and wrong--that was never the intent. It has been put together to make people think.


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Class Hours:
Wednesday nights for 6 weeks, 7 pm-8 pm U.S. Eastern Time Zone, from January 6-February 10, 2010.
Course Description:
This course focuses on a key element of fiction writing. Knowing the differences between showing and telling, knowing the subtle degrees of showing and telling, knowing when to show and when to tell, knowing the various techniques for showing--all these are critical for strong writing. The skillful manipulation of showing and telling can make settings vivid, bring characters to life, put the reader in the middle of the action, and convey powerful emotions.
We will study examples of the successful and unsuccessful use of showing and telling. We'll also discuss the special necessity of showing in fantastic fiction, and the challenges of doing so. Students will practice showing and telling, will study works they love for examples of showing and telling, and will rewrite a section of their own work, putting these techniques into practice. Students will also comment on their classmates' work, and revise their work in response to feedback.
You must be ready to hear about the weaknesses in your writing and to work to strengthen them. You must also be ready to give feedback to your classmates that is both truthful and helpful.
Our goal as a class is to provide a supportive yet challenging, energizing environment that will help you improve your writing.
The course is intended for writers of fantastic fiction, which is an umbrella term I use to cover fantasy, science fiction, horror, magical realism, and anything in between. Many of the examples we discuss will be taken from fantastic fiction. Yet the issue of skillfully controlling showing and telling is important in all fiction writing, so fiction writers who focus on other genres could profit from this class and would be welcome.
Work will be assigned at each lecture session and must be completed and uploaded to the class Yahoogroup by the due dates. Any student who misses more than one deadline may be expelled from the class and will receive no refund.
All assignments should be in standard manuscript format and should be submitted as MS Word 2003 files, rich text files, or ascii files.
Assignments will include reading, writing exercises, critiquing, and revising your fiction. You should reserve a minimum of 3 hours per week to complete the assignments.
Students are expected to follow guidelines about postings to the Yahoogroup in the Odyssey Online Student Handbook.
Since we will have only 6 classes, attendance at every class is necessary for you to get the most out of this course.
You are expected to attend all classes, except in cases of emergency. In such cases, you should notify me.
Any student who misses more than one class may be expelled from the course and will receive no refund.
It is your responsibility to find out what happened in any classes you missed and to make up any work.
Two late arrivals will be counted as an absence.
Students are expected to follow the policies set out in the Odyssey Online Student Handbook.
Technical Requirements:
Technical requirements for all Odyssey Online Classes are covered on the Online Classes page.
Tentative Schedule:
Week 1
Introduction and orientation. Discussion of critiquing guidelines. What exactly is showing and what is telling? Why is this important?
Week 2
Discussion of homework. Choosing significant details. How much should you show and how much should you tell? Deciding when to show and when to tell. Degrees of showing.
Week 3
Discussion of homework. Techniques for showing. Similes and metaphors in showing and telling. The difficulties of showing in fantastic fiction.
Week 4
Discussion of homework. Different methods of showing characters' emotions.
Week 5
Discussion of homework. Designing a scene to show key aspects of your character or world.
Week 6
Discussion of homework. How you can tell the reader one thing and simultaneously show him something else. Assessing your progress and the challenges you still face concerning showing and telling. How to continue your progress.


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Airport Shuttle
This service is available for all students in need of a shuttle to/from the Houston airports. There are two airports within a 60 mile radius of campus. George Bush Intercontinental Airport is the closest at a distance of about 50 miles. William P. Hobby Airport is at a distance of about 60 miles from campus. To receive this service a Student Special Run Request Form must be submitted first, prior to payment. When filling out this form it is important to list your PVAMU departure time 4 hours prior to your flight departure time. The Student Special Run Request Form is a request only, it does not guarantee transportation. Payment for Airport Shuttles can be made on Panthers Market Place. Please do not make a payment before making a request for service.


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The Hoover Institution on War, Revolution and Peace, Stanford University
National Humanities Medal
"This place has always been about freedom," says John Raisian, director of the Hoover Institution at Stanford University. "It's about the idea of promoting a free society."
As a library and public policy research center, the Hoover Institution supports the study of politics, economics, and international affairs, focusing on the role of individual liberty safeguarded from government intrusion. It was founded by Herbert Hoover after the outbreak of World War I.
"Hoover was interested in gathering materials during times of war and revolution in order to find a way to promote peace," says Raisian. "He thought that scholars could work on these documents and look for solutions that could lead to peaceful coexistence."
Raisian has led the Hoover Institution for the past seventeen years and has seen the number of scholars using its collections grow to seven thousand last year. The collaboration of researchers has led to the creation of journals, research projects, and roles for advising governments. About one thousand opinion pieces are written yearly by Hoover scholars from forty countries, published by newspapers around the world such as the Wall Street Journal, the Washington Post, and the New York Times.
Among Hoover alumni are Secretary of State Condoleezza Rice, former Secretary of State George Schultz, Nobel Prize-winning economist Milton Friedman, and Newt Gingrich, former speaker of the House of Representatives.
"If you're looking at the community of think tanks, Hoover is unusual in at least one important respect, our vast archival collections," says Raisian. Twenty-five miles of shelf space hold decades of materials on war, revolution, and peace. The content of the library's one million volumes—including sixty million documents and one hundred thousand political posters-spans continents and details political and economic history from China to the United States to Russia.
"There are some real treasures," says Raisian, pointing out a collection of Soviet archives obtained shortly after the fall of the Berlin Wall. "This is the record of a long run of communism, from rise to fall. We wondered what was going to happen to all that documentation. Over time, we were able to get more than twelve million copies of documents out of the former Soviet archives." This immense collection helps scholars understand the politics and economics of the former Soviet Union. One volume illuminates early Soviet leadership during President Hoover's era.
"There's a document just beyond the turn of the Russian Revolution where a bureaucrat had written something about what do with this offer by Herbert Hoover for food relief in Russia," says Raisian. "Trotsky, Stalin, and Lenin all responded in some different way. These were handwritten, marginal comments on the very same document.
"We have to work hard at preserving what we have," says Raisian. "Revolutionaries didn't print on high quality paper." In 1990, a grant from the National Endowment for the Humanities supported the cataloging and preservation of almost one hundred thousand Russian émigré diplomatic, military, and political documents.
"We need to figure out a way to make this material more accessible so more people can get at it," says Raisian. "We're looking at least at putting it on the Internet so that it can be available to the broader group of scholars."
The ability of these scholars to collaborate, Raisian says, is essential to continuing the Hoover Institution's mission.
"One of the things I've enjoyed is to have the community of scholars. I try to find ways for us to work together toward a common interest," says Raisian. "What's great is figuring out ways that we can come together and work together with the principle that the total output of the group is greater than the sum of the individual parts."
By Sarah Klilff


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13 December 2007
mistletoe & wine
I know I'm not the only one feeling that the year went by faster than the previous one. However, I'm eternally grateful for 2007. Work, love and life, to sum it up in one word, fantastic! Looking forward to closing the year and ushering in the new one.
And yet, we live in a time of unrest, adding to the already strained society trying to find a comfortable balance. The fluffiest of fluff makes it to the cover of news, sometimes washing over the important stuff that matters.
So, where does that leave the individual? How can I claim what is right for me when I have to dismiss my dreams and join the unrested thousands and grab what is right for all?
These days, I feel we're not asking the proper questions. Questions that have answers. An acquaintance asked me what I thought about our recent government-tagged upheavals. I said we're thinking too literally. It's time to spread out and go lateral. And we forget we're not a western nation. We live in a region going through a materialistic phase. The rest of the world is in post. For us, it's all about gain and it's dirty.
My suggestion: Play the game but join it with intention to unlevel the playing field. Play fair and make it smart. Nobody likes to sprayed with acid.
Which brings me to this time of year. A season of giving. So give it your best shot.
6 comments:
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De-mystifying the Independent Metal Industry.Get straight answers on any Earache-related topic without the bullshit.Guaranteed 100% rumour-free.
Tuesday, March 09, 2010
Earache is not in the RIAA. We don't sue downloaders.
Question: I was browsing around the RIAA's website and I was rather alarmed to see that Earache is listed as a member of the RIAA. I'd hate to think that smaller independent record labels are joining them. Are you really an RIAA member? From:
Answer: I've never signed my label up to the RIAA because 1) Earache's main base and HQ is here in the UK and RIAA is a US-based Record Biz organisation, plus more importantly, I don't agree with the RIAA's stance on taking downloaders to court, and sueing ordinary people for millions of dollars. It's a legal farce and when people like Jammie Thomas are sued for $1.92 Million for down/uploading/sharing 24 songs, you can be certain it's not done in my name.
For the record though, I do agree with the concept of © Copyright in general and I have no problem protecting the label's catalogue of rights, for instance against the cheap bootleggers which plague the scene, or large companies which use our music without asking. In short, am I against individuals who download a few songs? No. Companies engaged in wholesale stealing? Absolutely.
I just checked and we're not on the list- See RIAA member shitlist HERE
The list of members is quite alarming, it seems to have grown tenfold since the last time I looked, and even includes many well known smallish Indie labels and even tons of bands so small, you would'nt expect them to even really care either way. Are Dropkick Murphys really that fussed? I doubt it.
I think I know what is happening- The 4 (or maybe 3 by the time you read this) major labels are the ones who founded the Recording Industry Association of America, this was an organisation which, quite naturally, was formed to protect their interests.
It seems to me like they have artifically boosted their membership numbers - presumably to lend weight and credence to their legal arguments in court- by including every sub-label, every partially owned label, every distributed label and maybe even every licensed band or track which has ever come their way, as "members".
Since the 1940's the original physical music industry has always been about 'lists'. Everything from the weekly charts to label catalogues have been dutifully collated and listed,because without such care and attention to detail, the industry would have collapsed long ago.
In recent years the whole industry has been digitised and now exists as millions of music files held in huge data werehouses, all tagged with artist, track name, writer, copyright info etc- this is known as the 'meta-data'. Many labels of a certain size and prominence are affiliated with one of the majors in some ways. Earache's meta-data exists within EMI's computers as they do our distro in USA, but crucially EMI don't own the recordings, or any part of this label, actually.
This new, database-driven Music industry 2.0 means that the major labels and the world's leading music websites, Apple, Amazon, Microsoft,Google, Napster, Spotify etc can and do exchange each others meta-data as a trivial exercise, in order to mine it for analytical purposes.
It's not sinister, its just the modern day version of what the industry has been naturally pre-disposed to, and doing for years. But I reckon its the ease of swapping such lists which means errors and exceptions can accumulate, without an actual human doing any checking of the facts. This explains how tiny bands can end up on an RIAA membership list.
People would be suprised how much of everyday modern life is now in the hands of these digital gatekeepers who control access to the golden databases. Your whole life and purchasing history is undoubtedly contained within one already. But they are not always accurate- that's how you get dead people being still sent voting cards making them eligible to vote or the absurd case of 8 year old Mickey Hicks appearing on the FBI Terrorist watch list.
3 comments:
Not exactly on topic, but I found it interesting you should mention the likelihood of there only being 3 majors soon - I've said for the last year that if it wasn't for The Beatles, Pink Floyd and NOW albums, EMI would've been sunk long ago (I presume you were referring to them anyway - I work as a buyer in the industry and find them to be the hardest to work with out of all the majors).
They've lost the rights to a lot of big artists recently (Peter Gabriel and Paul McCartney's back catalogues most recently I seem to remember), and now there's issues rights on downloading Pink Floyd stuff - they just seem to be completely shagged.
Anyway, trying to get it somewhat back ON topic, the RIAA is ridiculous. Illegal downloading will never be completely stamped out in this day and age - sure there can be new laws bought in and new regulations, but if people want to do it - they'll always find a way around it. Unfortunately, from my perspective at least, there's a large percentage of folk who wouldn't pay for any sort of entertainment media - be it music, DVDs, movies or games - why pay when you have it for free via broadband and a modded console? I think this is what needs to be addressed for the industries to keep on top of things - as for how... yeah - answers on a postcard.
- Brett said...
Earache's been put back on the list.
- Ryan Page said...
Just as a general rule, assume the RIAA lies. I had a post on a forum about how relapse was on there, but they aren't even associated with them, but one of their old distributers is. The problem is that the smaller labels can ask them to take their name of it, but the RIAA is a cartel of huge labels, and there's not a lot they can do. It's total bullshit.


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It's a new season of Grey's -- but it's Cristina's LAST one. There's got to be some smashing Cristina Time before Sandra Oh leaves the hospital for the last time. Ellen Pompeo (Meredith Grey) promises that this will be Oh's "best acting season." Now I'm wondering how many tissues Shonda Sunshine will make me go through to START Cristina's last season.
Opening with the storm - seems a lot like my life lately. Webber has the voice over talking about the intern's white coat ceremony and about life flashing before your eyes right before you die. Webber is saying that it's fitting that the white coat should be on him at the end.
Okay, Yang's first words - about Mer - "She had a baby. She doesn't know things." And Callie's first line; an answer to Yang's question "Who is Dr. Boswell." Callie says "She's the woman Arizona slept with last night."
Ambulances in the bay right after Owen says the ER can't open today --- a mudslide. And Webber is still missing, since last night, lying on the flooded floor with sparks flying. Oh, Richard -- no. Just no.
Yang tells Mer that she and Owen ended it - for real this time.
The interns are brushing off the command to find Webber. That tells you they don't know his as well as the others. Webber is not family to them. Wait, one of them goes looking - Webber's eyes are open but the intern steps right into the charged water and falls over. It's sad that I can't ID this one by name right away. We all know what that means, right? Yep, that Grey's Anatomy is the originals and the originals are Grey's -- but we're losing Cristina this year.
Funny, Webber and the intern are both lying on the floor near the generator but I keep imagining Cristina lying there....
And Callie and Arizona treating the patient together -- but not well. His pelvic injury might be less painful than the road Calzona must travel now.
They've got Webber and the intern. Both on stretchers. CPR on the girl - I found out her name is Heather. She's never stuck with me. But she's found by Shane, the bright young Doc who wants to be Shepherd's #1 assistant for neuro. Finding Webber and Heather may be Shane's best shot at that.
Mer makes Karev hold her newborn as therapy. He tells her about Webber & Heather. Yang is trying to place a balloon pump but Webber keeps coding. Yang makes Baily talk while she tries to insert a balloon pump in the ER without rupturing his aorta. B/C she is Yang, she does. Then she even hugs Bailey. It's Yang, but it's not Yang. It's a confused Yang. Or is it a new Yang? The old one would have told Bailey to forget it - if you're not a hugger you're not a hugger. Wonder if Shonda Sunshine will end up sending Cristina back to Johns Hopkins to grow into a warm fuzzy person. I hope not -- or maybe I don't. Not sure.......
Bailey wants to do more for Webber and orders Cristina, saying Cristina is a fellow. Yang tells her no. "I own this hospital," Yang says. Now that's the Yang we know and love. But Bailey doesn't give up. She pages Owen who asks what Webber's health care directive says. They go down to the basement to look. He's designated Meredith as his next of kin, giving her the power to make his medical decisions.
People, Meredith just had a baby - and abdominal surgery. How much stress can she stand?
Mer can't get over Webber not telling her that sh'e his next of kin. She keeps saying that as Bailey fights to debride Webber's wounds. Mer is thinking of her Mom. She says that means she is delusional and hormonal and can't make a rational decision so she relies on the labs. If the #s are above 6, they will do the surgery; below 6 and they won't.
Now Callie's in Mer's room. It's the spot for emotional discovery in this epi. Callie recounts a memory, pre-George, of Webber finding her dancing in her underwear. She is striken and tells Mer she doesn't dance in her underwear anymore. (Will that bode ill for any shot Calzona have to put it back together?)
Nos come back - the score is 9 - it's surgery for Richard. Yeah! Get well Dr. Webber. Losing Cristina this season is tough enough.
The interns hear that Heather is not doing well. Jo is freaking out and drags Karev into a supply room. Then Arizona comes in and is babbling about how she's a big slut. Karev can relate.
Uhh Ohh - one of the patients, one of the paramedics, has flesh eating bacteria.
The 1st part ends with another pithy Webber voice over saying this is the only life you have. Decide how you want to live it and then do it. If only...... sometimes reality gets in the way. Otherwise, I'd be typing on this keyboard full time.
The second epi opens with Karev wondering if Webber is Mer's father. They're teasing... but with Sunshine, who knows.
Heather dies - Jackson's Mom, Kathryn, arrives, runs to the OR and demands that Bailey close up Webber. She says Cristina was right, which she ususally is, of course.
April's fiancee figures out that Jackson was April's first. He apologizes for not giving her the opportunity to say no by turning the proposal into a spectacle.
And Arizona comes home to a quiet house -- no Callie. No baby.
Lord, Kathryn Avery throws a fit and reams out Bailey royally. She demands Richard's chart....... does everyone see a showdown between Kathryn and Meredith on the horizon.
Mer sends Callie and Sophie to stay at her house where Der comes home and finds them. Hope that doesn't go very, very wrong, given Callie's recent dancing in underwear revelation.
Oh, yum, Cristina and Owen do it again b/c the last time wasn't so great -- as an excuse, it works as well as anything.
And Callie's getting drunk while Derek is acting all McDreamy and nice. Arizona storms to the hospital demanding Callie be paged 911. And Otina has goodbye sex again while the interns can't come up with anything to say about Heather. Ohh, Cristina cries & says that ending things with Owen is not that easy for her. And as to the interns? I guess they didn't much remember that Heather was around either. That makes me feel better.
Mer gets a wheelchair and goes to Webber's room to ask Bailey what she thinks should be done. Bailey says she's certain Webber's still in there but if all the dead tissue isn't removed he'll die. Mer calls and books an OR -- and also books that big, nasty ole confrontation with Kathryn Avery that we knew was coming.
How funny - Der on the porch cuddling Zola and Sophia while Callie and Arizona scream at each other inside.
Then Heather's Mom arrives - after the interns are drunk and while one is doing cheers to prove that she went through college on a cheerleading scholarship. Now they have to tell Heather's mom that she's dead.
April drags the paramedic into the Chapel to accept his proposal, privately.
Callie tells Arizona she's staying away for a while but they will share custody of Sophie.
Oh, duck - riddled with guilt about Heather, Shane goes out to help with the mudslide. The other 3 go too. Pretty brave. Maybe I'll have to learn their names..... or maybe not.
And Arizona shows up at Derek's wanting to see Sophia. Callie snipes at her. Why do people always put kids in those battles?
Last scene -- Richard wakes up while Mer is proclaiming to Kathryn and Bailey that she's Richard's family. And his voice over is - he was right about that. Hmm, about that paternity thing.........
Thank you Shonda Rhimes, a/k/a Sunshine for having Richard live. A happy ending for the first epi!
Everything should have happy endings - all my books do! Give 'em a try, especially Griffin's Law - my tribute to Grey's Anatomy.


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Drug Profile
BBR 2550Alternative Names: BBR-2550; Na[trans RuCl4(DMSO)Im] . 2DMSO; NSC 637823-T/1
Latest Information Update: 15 Mar 2007
Price : $50 *
At a glance
- Originator Roche
- Class Antineoplastics
- Mechanism of Action Undefined mechanism
Orphan Drug Status
Orphan designation is assigned by a regulatory body to encourage companies to develop drugs for rare diseases.
Highest Development Phases
- Discontinued Cancer metastases
Most Recent Events
- 15 Mar 2007 Discontinued - Preclinical for Cancer metastases in Italy (unspecified route)
- 21 Sep 1999 No-Development-Reported for Cancer metastases in Italy (Unknown route)
- 21 Mar 1997 Preclinical development for Cancer metastases in Italy (Unknown route)


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What happens when your game spills over into the real world? This thriller will leave you wanting to play such an exciting game but also terrified at how the game begins to take over the lives of the kids who play it.
One of the perks of teaching secondary students is having a good excuse to read lots of young adult fiction. This one was an interesting one and I could see it being productive to use in the classroom, which I suspect was part of its rationale (but maybe I'm cynical).
So, Erebos. All of the kids at school are whispering in corners about this new game. Nick can see that there is something going on but until someone actually hands him a disc he does not realise how huge it is. The game is the most amazing thing he's ever played. From the moment he inserts the disc and it communicates directly to him, he begins to be obsessed. Eventually though, it begins to be much more sinister than that.
Nick is a normal teenager concerned about fitting in and with his own group of friends. What happens rips apart the normality of his life and the life of his school friends. The plot is fast paced and the descriptions certainly keep you reading. Like most thrillers, the reader wants to read on to find out what is going to happen and the plot definitely keeps you guessing. I did not guess the ending and it was certainly cleverly controlled. This is a great book for kids who love computer games and reading thrillers. I was interested in the whole idea of the contagion of the game. Even as it begins to be apparent that it is dangerous and people are doing things in the real world that the game tells them to do, other people still want so much to belong that they want in too.
There's a nice link to lots of Ancient History, as is sometimes the case with computer games too, so another reason for considering it as a teachable book.
But don't just take my word for it. Here's a much more comprehensive blog post about it. http://weartheoldcoat.com/2012/03/10/erebos-ursula-poznanski/


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The Secret River by Kate Grenville came via Bookcrossing and anglersrest as a book ring. I'm so glad I decided to join this one as the book really is a good read. It's about the Thornfield family, their life of grinding poverty in London in the late 1700s and their transportation to Australia in the early 1800s. Anyone interested in the founding of modern Australia or the London of Georgian times would like this I would think, but it is quite sad in places and even tragic in parts. Glad to have read it though.
Current read: Gripping Yarns - Tales of Birds and Birding by Bill Oddie. This is a republishing in book form of his monthly column of 5 years from Birdwatch magazine and as I don't get that magazine all the stories are new to me. Great fun so far.


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How to improve your performance (and save some money!)
Although there are certainly other sports that are far more costly (we're looking at you Polo!), the truth is that swimming is a time consuming discipline that takes hundreds of hours of dedication to improve at.
Many of our students have the commitment to improve their swimming skills, but don't think they have the money to make the progress that they want. Here at the NDCASA we try our very hardest to keep our tuition costs low, but unfortunately this isn't always possible, especially when the prices of hiring lanes at swimming pools across the country continue to rise each year. With this in mind we've put together a series of tips that should go a long way to helping our students make the most of their money and get the kind of results that they've been dreaming of.
The following tips are intended as a guide only, if you'd like to find out more about improving your performance then please feel free to get in touch with us using the Contact page:
Train early in the morning
If you're a busy person with a job and places to go, then making time to train can be difficult. Whilst it might be tempting to leave your swimming training to the weekend or the hours after work, in reality it's a smarter play to head to the pool before work.
Most swimming pools schedule Early Bird sessions in the morning that offer you the chance of making use of the pool whilst it's quieter – usually at a cut rate price.
Fuel yourself up for less
You are what you eat – but that doesn't have to mean that your cheap diet can't be nutritious! As with many things in life, a little preparation goes a long way and the same can be said about nutrition.
Whilst some swimmers might swear by their protein formulas and glucose sachets, in reality these are shortcuts to getting the nutrition you need. If you plan ahead and buy your ingredients in bulk you can load yourself up with the nutrients that you need to perform without burning a hole in your pocket.
Buy end of line swimming gear
Most of our swimmers like to buy new gear at the start of each season. For some this is a ritual that should be respected, regardless of the cost, but for many of our students it's simply not affordable.
Understandably no one wants to buy a used swimming costume, so thankfully there are alternative methods of getting hold of new swimming gear that won't break the bank. Buying end of line stock like wholesale nike trainers from sports wholesalers is a great way of getting hold of new equipment at a cut price and whilst you might be wearing last year's gear the difference in performance will be negligible.
Exercise for free!
Training in the pool is obviously crucial to improving your performance but you can save money by taking your training outside instead. Jogging around your local area is absolutely free and will serve to give your body the variation that it needs to strengthen for your next pool session.
Similarly, investing in weights and other low-cost home gym equipment will allow you to keep your exercise varied and your body primed for performance.


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REALITY: CHECK After a series of initial successes between being prepared (Part 1), getting a great hotel and parking spot (Part 2) and surviving our […] Read More
Category: How-To
PUTTING IT ALL TOGETHER After all the research (Part 1), and all the travel decisions (Part 2), it's finally time to head down to San […] Read More
Hotel, Parking & Passes, oh my! Finally, Part 2! It's been a busy couple of months for me, and my planning sensibilities have been on […] Read More
We survived our first Comic Con! Mr. P² and I were down in San Diego this past weekend from Thursday to Sunday for one purpose – […] Read More


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Topic Page: Richler, Mordecai, 1931-2001
1931–2001, Canadian novelist, b. Montreal. He fled his native city in the early 1950s and lived mainly in London, returning to Canada in 1972 and from then on spending part of his year in London and part in Montreal. Reflecting his youth in that city, Richler's novels are often set within the Canadian Jewish community. Typically, his works skewer provincialism, combining fantastic and wildly comic elements with realistic themes and mingling street-smart sarcasm and ribald wit. The Apprenticeship of Duddy Kravitz (1959, film 1974), his best-known work, chronicles the ascent to wealth of a poor and fiercely ambitious Jewish youth. His other works include The Acrobats (1954), Cocksure (1968), St. Urbain's Horseman (1971), Joshua Then and Now (1980), Solomon Gursky Was Here (1989), and Barney's Version (1997).
Richler also wrote numerous screenplays, including No Love for Johnnie (1959) and movie versions of his own works. A number of his essays were collected in Notes on an Endangered Species (1974); This Year in Jerusalem (1994) discusses his personal reactions and relationship to Israel. Richler also was a spokesman for the English-speaking population of Quebec, strongly opposing the separatist movement; this position was reflected in his Oh Canada, Oh Quebec (1992). He also wrote several children's books. Winning all of his native country's important literary awards, Richler succeeded in being both an enormously successful icon of Canadian culture and one of its most influential critics.
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Full text Article Mordecai Richler (1931-2001)
Mordecai Richler was born 27 July 1931 in Montreal, Quebec, Canada, to Leah (née Rosenberg) and Moses Isaac Richler. From 1944 through 1949 he...
Full text Article Richler, Mordecai (1931-2001)
Canadian novelist, short-story writer, essayist Born and brought up in Montreal, Canada, where his grandfather settled after emigrating to...
Full text Article Richler, Mordecai (1931 - )
Born into a working-class Jewish milieu in Montreal, he attended the well-known predominantly Jewish Baron Byng High School....


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-Tokafi interviews Son of Rose + reviews "All In"
There's a nice paradox behind Kamran Sadeghi's new album under the moniker of Son of Rose: It may actually feature his oldest material to date. Over the past four to five years, Sadeghi has virtually immersed himself in sound, churned out three full-lengths (one of which under his civilian name) and become a mainstay on both the experimental music- and the visual arts scene. While predecessors "Top Flight" and "Divisions in Parallel" were more or less clearly delineated snapshots of particular periods, "All In" can be understood as an integral summary of a process which dates all the way back to 1999. Even though, as Sadeghi claims, time has virtually raced by, a lot has happened in these years: He has refined his technique of making use of the natural resonances of acoustic instruments. He has equally made a name for himself as a producer and recording/mastering engineer. He has intensified the dialogue between music and video. And finally, he has found ways of translating his intricate and minimal soundscapes to the stage and is now a regular guest at international festivals. All of these developments are somehow palpable on "All In". Sensual opener "Falling Forward" floats both with with yearning grace and bittersweet elegance and "Toward Sensation" is all shimmering texture, like a musical still life of a red-hot corona. "Radii", meanwhile, creates a bewildering sense of tenderness from seemingly disparate and nervously twitching elements. On other cuts, Sadeghi allows in harsher timbres and a certain edginess, even though the surface of his poignant pieces always retains its composure. Some of these tracks may not be his most recent compositions - but they sure sound as up-to-date as anything he's done.
In which way do you see installations, visual arts and site-specific work as complementary to your audio work?
All of my creative directions rely heavily on my interest and explorations in sound and music. I see it less as complementary, or a simple accompaniment but as a way of re-imagining the medium and my process. I like the idea of completely exhausting the potential of a medium, allowing for it to inform itself rather than having to search for some meaning to attach to it in order for it to have integrity.
Would it be correct to say that "All In" constitutes a sort of retrospective of your work as a Sound Artist?
You could see it that way. All In consists of at least four years worth of recordings made in my old studio. I spent a lot of time there, actually I practically lived there... We had all kinds of instruments and a very fun "live room" for multi track recording. Microphones were taped to the walls, hanging from the ceiling, under blankets, you name it! All In captures this time when I was able to be extremely tactile with composing and recording.
Five years is a long time. What, to you, are constant themes running through your work?
The years seem to be flying by, but yes, 5 "recording years" is a long time! This is a really hard question for me... I guess the obvious ones would be resonance, texture, timbre, experimentation, patterns, technology, reduction, abstraction, minimalism and maximalism.
In which way have your technique and aesthetics changed over these years?
I don't think they've changed necessarily, for better or worse. I am torn between being a creature of habit and never wanting to do the same thing twice! This being said, I do feel that I am maturing as an artist and composer and in constant refinement of my technique. I hope this never ends! What I did 10 years ago is very different from what I do now but this could be the result of the process...
Have there been artists that you worked for as an engineer or producer influenced your own work on "All In"?
Not specifically, maybe in a very indirect way. Actually, I can say that Zachary Watkins sparked my initial interest with the piano and various resonating techniques. Furthermore It's crucial for me to maintain a steady flow of work regardless of who and what I am work with. It's an act of exercising my skills, it keeps the blood flowing. I recently mastered a beautiful record for Ryonkt and I used a lot of the same techniques I used for All In.
"Falling Forward" is one of my favorite tracks this year. How did it come about?
Thank you, that makes me smile! Falling Forward was actually a track that I've been working on for some time. The title came first - I was thinking of weightlessness, I wanted to interpret this feeling of weightlessness with sound. It sounds like an Organ but it's actually just the resonant frequencies of a Grand Piano processed in real-time. I actually had an entire record under this title, it never got picked up.
Your press releases freely admits that the original source of a lot of your instruments is no longer recognizable after the transformation process – why are you nonetheless relying on them in the first place, then?
Ah... good one! It's the tactile nature of drawing sound from an acoustic instrument that I was attracted to (less so know). I also like drawing parallels with synthetic sounds and acoustic sounds. I have had my hands in all sorts of instruments over the years, I was collecting them like someone would collect records or books. My first instrument was a Trumpet, the person I bought it from asked if I knew how to play or if I was going to take a class, they were a bit shocked when I told them " I just want to use it to resonate a room and record it". I laugh now, but I was dead serious then!
Son of Rose seems a very personal project. How do you decide, what material is released under your own name and what as Son of Rose?
Son of Rose is a very personal project and I am glad you sense that. Although I only have recordings dating from 2004 I have been developing this project since 1999. The work I release under Son of Rose is, in my opinion, more musical and deals with more musical theories and techniques, explorations with a dash of how I may be resonating at that moment in time. What I am doing under my own name can go any direction at anytime and has no limitations what so ever. Very liberating actually!
-nice review of Son of Rose's "All In" on Italian blog Libero
" Il mare dei computers non si sfalda facilmente. Queste onde propongono battiti lenti che colpiscono, delicatamente, il cervello umano. Le vibrazioni electroniche che fuoriescono da "All In" sono ansiose e delicate. Son Of Rose è lo pseudonimo dietro il quale si cela l'artista Kamran Sadeghi. La sua proposta sonica è salda e tentatrice, in un certo senso questa è la pop music del nuovo millennio. Microsuoni che sfrecciano dentro un sogno lungo una vita. "All In" è, sotto certi aspetti, un sogno libero che si sviluppa all'interno di una grande bolla. Una bolla di sapone che non si vuole staccare dal suo cordone ombelicale. Il sound di questo cd è rarefatto e permette di ammirare aspetti della natura veramente sconosciuti. Un album da memorizzare nella vostra discografia e ricordare negli anni."
-july 21.09 | ALL IN by Son of Rose review by Alan Lockett at Igloo Magazine
(July 2009) It seems like only yesterday that NY-based Iranian-born Kamran Sadeghi's 2007 Dragon's Eye debut as Son of Rose was sat on the review pile. Divisions In Parallel gave notice of an experimental artist who shepherded sounds towards finding structure and harmonics without overdetermining their route, allowing access to interesting pathways and odd tangents along the way. Now on his own label, just a couple of years on, here's his fourth full-length, All In, finding him still engrossed in exploring prepared piano through digital processing. Sadeghi this time sets out "to capture the holistic immediacy of each composition" by deploying live takes and minimal post-production interventions, and the approach does in fact feel more tactile this time, as piano strings are manipulated with various objects, DSPedal less indiscriminately to the metal.
Initially, static spray and synth-shimmer conspire on the tone-tides of "Falling Forward," pristine pads and ethereal chimings coming on like Dragon's Eye doing Kompakt Pop Ambient, albeit with signature cracks and fissures showing through. "Row" makes good use of the lulling swell-relent dynamics of the e-bow and its glassine corridors of gauze, bringing to mind the late-period guitar-wrung tone-poems of Paul Bradley, lyrical drift skirting the fizzing periphery of digital noise-mongering. On "Movement Transposed" the dark end of the piano's innards - strummed and reverbed strings - is trailed across the soundstage in a fog of thrumming and trilling timbral motion. There are more challenging, even grim, explorations, such as "Nineteen Sixty Five," with its sharp metallic soundmasses in abraded heavings, or the final "Fragrant," in which the listener is placed in an odd suspension of scrapes and bows and strange resonances. But the most effective Son of Rose territory is in the inbetween, as on "Toward Sensation," which hovers ambiguously in an intermediate nonplace between edgy nerve-scrape and delightful frisson, gesturing toward harmonic consonance, then choosing nuanced dissonance; or "RADii," with its spray of fibrillating droplets over thin liquid drones in aqueous tintinnabulations, resolving into tides of low-end well-up and slow 'copter-blade pulses of Reichian keyboard clusters.
There are times when Son of Rose's silvery and slivery ambience hints at something of the lyrical sound-collage spirit of Gas. But mostly its alignment is toward the 12k - and/OAR - Sirr side of accessible experimental things, and a predilection for cold-warm communings of glimmering sine-tones. All in all, All In plays out a kind of Pop Microsound, one shaken loose from the stuffier end of lowercase minimalism, and choroegraphed in elegant tonal balletics through a veil of smears.
-june 24 | ALL IN album review by Cyclic Defrost Magazine | read review |
-may 27.09 | ALL IN album review by Dave Segal | full article |
"Falling Forward" starts the album with beatific shimmering drones and what sounds like pitched-up wind chimes. It's understatedly gorgeous and calming, conjuring a mystical healing-music sensation. "Movement Transposed" sounds like an altered dulcimer or harp riff ka-chinging amid steel-wool whorls, while "Toward Sensation" is a stellar, metallic drone, akin to Charlemagne Palestine's Bösendorfer organ, honed to a needle-sharp tone. "RADii" is quite possibly the sound of Saturn's rings forming. "Fragrant" evokes Xenakis's oblique atonal thrusts and corkscrewing diminuendos; it's a kind of a skeletal, electroacoustic dub and a disturbing anomaly from the rest of the disc........ more
Max Schaefer | dec. 08
In veering away from the saturated noise savagery of previous works, Seattle-based composer Kamran Sadeghi third full-length is an example of immaculately engineered sonic sophistication. A sense of musicianship and an applied intelligence of the sound and feel for the piano is rendered apparent, as Sadeghi splits its sharp report, adjusts its frequency and pans it across the stereo field. Along the way, drastically panned E-bow leave fluttery trails of sonic after-images, which form a network of cross-connections with the ghostly, sub aquatic assemblage of crackles and delicate chimes.
Asides from the virtuosity in the interweaving of these forms with considerable subtlety, certain tenderness is shown in the due attention paid to the spectrum of possibilities inherent to this area of minimal electro acoustic experimentation. Sadeghi considers a wide variety of them, both in-themselves and in the respective manners in which they fit into or expand upon the forgoing developments.
The album thereby oscillates from works such as From The Well, with its slow motion electronics and soft hum that concentrate on nuance and subtlety to pieces of fuller, to others of more disruptive tendencies in a convincing manner. As such, the powerful sense of focus that seems at first predominant is more fully fleshed out, rendered malleable, and informed by other concerns. Rather than being compromised, though, this fact makes for stronger, more characterful compositions.
Richie Ruchpaul
The Wire #284
Iranian born, Seattle based musician Kamran Sadeghi, aka Son of Rose, has carved a niche over the last couple years sculpting tinkling drapes of simmering sound from elemental minutiae. Divisions In Parallel moves away from the concentric circles of noise on his self-titled debut and last years Top Flight into more adventurous instrumental realms.
Making use of the strings of a grand piano and a playful E-bow, it creates an arresting opening trilogy of tracks. Familiar grainy static drops into the watery textures and angelic chimes of "Triple II" before settling into a vegetative tonal din in the concluding "Triple III". For a sound artist who veers so close to cinematic, it's perplexing as to why Sadeghi hasn't scored any movies to date. Midway, he switches to his trademark cyclic textures in the tantric bells of "Passage", which carries an airy, weightless feel that would benefit Larry Clark's or Harmony Korine's probing verité style of film making. The ensuing 15-minute "From The Well" edges between nervy and tingling Ambience, Sadeghi's use of the slow-swelling properties of the E-bow filtering through subterranean museums of opaque, glassy dreamscapes like a less oppressive virsion of Halo Manash's Isolationist Ambience. Disarming Stuff.
Guillermo Escudero
Kamran Sadeghi aka Son Of Rose es un músico, compositor e ingeniero de audio residente en Seattle quien ha estado trabajando en el campo de la electrónica desde 2000 y ha editado tres álbumes, su debut homónimo en 2005, "Top Flight" [Dragons Fly Recordings, 2005] y "Divisions in Parallel".
En este disco entrega una composición minimal con sutiles armonías, drones, brillantes tonalidades obtenidas del piano y cuerdas y abstractas texturas hechas a partir de sonidos análogos y digitales.
Sus composiciones van desde los timbres, clicks y la quietud hasta un espacoio intenso llenos de drones y una amplia gana de tonalidades.s.
Mike Olliver
This second release from Seattle's excellent Dragon's Eye Recordings comes from Kamran Sadeghi working under the name Son Of Rose. Once again the aesthetics of the artwork and music are of the highest quality and the packaging really is lovely... simple use of classic typography, lovely photography... very much the less is more approach that I find so appealing. The 7 tracks that make up 'Divisions in Parallel' are constructed using grand piano strings, Ebow and computer and the diverse range of tracks really brings to mind the best of labels such as 12k, and/OAR or Sirr-ecords. Yes, really, it's that good. Beautifully deep and sculptural sound design is combined with a deft touch on the arrangements to give you a sense of intimacy with the work that's instantly accessible and surprisingly warm sounding. The work of Taylor Deupree certainly springs to mind and there's something incredibly pleasing when you discover that the whole CD is based on improvisations with no studio trickery... just live manipulationsof beautiful sounds. For fans of the aformentioned labels this really is a release to savour and, yes you've guessed it, it comes *highly* recommended. Absolutely superb.
Alan Lockett
e/i magazine
Kamran Sadeghi is more a dealer in shimmering and sustaining micro-tones, and his latest recording Divisions in Parallel seems to document sounds in transit towards, but staying shy of becoming, full-blown music. In this respect, Sadeghi's Son of Rose is less a musical enterprise and more of a sonic travel operator, vaguely shepherding his sounds towards finding design and harmony, but without spelling the route out too clearly so they can stray interestingly along their chosen pathways and find interesting tangents and by-roads. He engineers a felicitous encounter of grand piano strings and E-bow via DSP intermediation which finds articulation in contours evoking terrain in an experimental ambient expanse roughly mapped out between Sirr and Kranky, or and/OAR and 12k. Opening in sparse tinkles, the sound stage gradually builds into a thin liquid drone infused with fibrillating droplets and aqueous timbres like minute bells in melting motion ("Triple II") before a microsonic bio-mechanic sine-drone takes over for the lowercase minimalism of "Triple III". The 18-minute "From The Well" shifts from slow sustain-swells in a gauzy rotation, choreographed into tonal balletics glimpsed as if through a smeared glass darkly. Engrossing. Compositions suggest the secret inner life of sounding objects aspiring towards a cryptic melodicity in quiet and drifting soundstreams. These eventually find satisfying semi-static consonance on the closing "Eleven Eleven".
Sean Molnar
Signal to Noise
The Experimental Showcase was an oasis of minimalism. All four artists, Yann novak, Son of Rose, Richard Chartier and Taylor Deupree, opted to perform without visual displays, and the calm of the darkened theater forced the audience to focus completely on the sound emanating from the speakers on both sides of the stage. It brought to mind Stan Brakhage's approach to exhibiting his films. He said simply the he is a filmmaker. If you want narrative, read a book. If you want sound, listen to music. If you want to watch film, watch film. he forced audiences to appreciate his art for what it was, not what they wanted it to be.
Taylor Deupree's set was a hauntingly beautiful minimal soundscape that would have been equally at home at the Ambient Showcase.Yann Novak took a field recording of a machine noise and programed it into a long series of seamless permutations. Son of Rose's set stood out in that it was distinctly tactile amidst sea of computers. Using ebows on the strings of a grand piano, he manipulated the vibrations electronically or used them to trigger synth sounds that were in turn manipulated - a sort of electronically prepared piano performance that was truly experimental instead of impenetrably weird.
Michaelangelo Matos
Paper Thin Walls
Of course a city with as many tech programmers as Seattle is going to have loads of terrific electronic musicians. 2006 was a damn good year for them, too, from tech-house producer Bruno Pronsato's tongue-in-cheek sensuality to the warmly cockeyed techno of Jeff Samuel (recently relocated to Cleveland, alas, though his Step was recorded in the Emerald City) to the 13 artists on Memex's Cumulous compilation, a smart overview of the dronier, more experimental end of the city's circuit-bending activity. "Crossings" leads off the comp and pretty much delivers everything you might want from it—shifting layers of aqueous drone that evokes, in no particular order, looming sunrises, long overhead shots of a church organ in a field, Tron scored by Boards Of Canada, ladybugs running through a maze, Terry Riley's preferences in stereo panning, the mouth-feel of frozen margaritas and dozens of records with the same basic idea only not done this well. Which is, might as well be basic about it, an amazingly rich and pretty drone. Which is enough.
Kamran Sadeghi (a.k.a. Son Of Rose) on "Crossings"
Your bio states that you "actively [explore] the use of electronics and recording techniques in contemporary music, with an emphasis on computer synthesis as a live instrument." To what extent is a track like "Crossings" "live," per se. Was much of what we hear spontaneous, or did you try a lot of things and utilize the best of them?
Spontaneous. Of course I sometimes have a palate of prerecorded or synthesized sounds to choose from when I'm not processing a "live" instrument, but the actual composition or placement of sound was, and is in most cases, spontaneous.
You do a fair amount of live performing. What role would "Crossings" play in a situation like that? Is a performance for you more about improvising with elements of finished work, or do you present things more straightforwardly?
I try not to mix up my live performances with my recordings—I try and keep it seamless. I try and only record what I can do live. I need to be able to build a piece from scratch while in a live setting. If it is strictly synthesis then I try and have all of my synths at a value of 0 and build the composition from that value based on my reaction to the P.A. during sound-check, the room and my state of mind. If it is using an acoustic instrument then I try and allow the source sound that I'm pulling out of that instrument manually to be present in the piece at one time or another so that the audience—if willing—can hear the source sound before it is colored with computer processing.
"Crossings" is the opening track of a compilation. Was it something you had been working on or something you created specifically for this project?
Both. I had played with this piece previous to the request but hadn't really given it much attention until the project was presented to me. It wasn't specific to the project, but if it wasn't for the project then the piece wouldn't exist. This was also one of the inspirations for the title.
Darren Bergstein
e/i magazine
Son of Rose (aka Kamran Sadeghi) tickles the auditory senses much in the same way as Carsten Nicolai and the whole Raster-Noton crew. Waves of hyperactive pinprick dances, interruptive dialtones, and banks of computerized stratocumulus clouds inform the nine 'ware-housed tone poems comprising Top Flight. Adapting the meaning of his artistic guise, Rose's tracks are thorny bits of agitated flotsam, the types of clean yet visceral noises Ryoji Ikeda, PanSonic and Alva Noto bathe in on a regular basis. Unlike those chaps, Rose's tracks eschew rhythm and opt for a more sedentary posture; his thick drones, when not disinterred by walls of digital brillo, scatter laterally across the spectrum in carefully sculpted wedges of triumphant noise. A Rose by any other name surely won't sound as sweet, evidenced further by Sadeghi's atomizing contribution to the label's Paper com, "Reunion," which finds the composer's strangulated noise loops spiralling ever upward in angelic, concentric circles.
Dave Segal
The Stranger
As the news of the world worsens (as it reliably does), one yearns for psychic consolation, for mental balm. One of the most effective means to those ends is through minimalist music (no, really). Granted, it's tough to achieve inner peace when tools like Rove, Rumsfeld, Robertson, Cheney, Bush, and their media apologists stalk your consciousness, but some producers are up to the challenge presented by our misleaders. Two who dwell in Seattle—Son of Rose and Yann Novak—achieve the desired effect with admirable economy.
Both laptop prodigies have been featured before in Data Breaker; they're back in the column now to mark the simultaneous release of their sophomore albums for Novak's burgeoning Dragon's Eye label, whose output's been receiving strong reviews in UK experimental-music bellwether The Wire.
Speaking of which, Son of Rose (Iranian-American laptop composer Kamran Sadeghi) had the daunting task of trying to better his phenomenal debut, Son of Rose; with Top Flight, he succeeds.
Whereas Son of Rose was more bass-heavy and dubby, Top Flight hovers in more ethereal realms. The disc's opening cut, the aptly titled "Spectral Spectacle," encapsulates Son of Rose's ability to conjure vast, astral depths through densely layered tones and granulated textures. On "Eventide," Son of Rose creates a brilliant constellation of silvery ambience that recalls early Orb and Wolfgang Voigt's Gas project. It's a shame that Carl Sagan's Cosmos TV series was made too early to have this grace its soundtrack. "Top Flight" could be a UFO's engine idling in the Milky Way Galaxy's furthest outpost. This is gravityless sound design of meticulous craftsmanship.
Top Flight ends with an excerpt from Son of Rose's triumphant set at Broadway Performance Hall during 2005's Decibel festival. Titled "Sudden Departures," the 25-minute piece demonstrates the multidimensional magnitude of Son of Rose's sonic arsenal. Reminiscent of work by electronic-music innovators such as Conrad Schnitzler, Gil Melle, and Morton Subotnick, "Sudden Departures" facilitates just that from grim reality. Rarely does escapist music sound so intoxicatingly cerebral.
Kathy F. Mahdoubi
The Stranger
Laptop composer Kamran Sadeghi's newest release, Top Flight, appeared in Data Breaker here, but I'd like to put in a word, because Son of Rose creates some of my most beloved local music.
Sadeghi's self-titled debut made him something of a Seattle monarch of minimalist electronic music, but minimal doesn't seem like an appropriate description. At first listen, the components of his sound may seem delicate and sparse—arranged from the confines of a computer, but don't be deceived. All command of faculties is soon lost to the music's omniscient effect.
I loved the first album, but I'm finding myself more attuned to Top Flight, which sounds far more conceptual than the former. It's like an algorithmic allegory of flight.
It seems strange that something so futuristic could provoke nostalgia, but I lived on or around air-force bases from the time I was born until I was 12, and during that whole period I was immersed in the hum of jet engines. There are aeronautic nuances captured on Top Flight that pretty much take me back to suspension in amniotic fluid.
Audio-aerodynamics are patterned throughout, like the hiss of rocket propulsion, the hypnotic revolutions of propellers, hollow metallic sounds, like pinging and riveting upon fuselages and other emanations from the gaping maws of airplane hangars. The evolution is full-spectrum, spanning from tremulous insectiform winging and the ephemeral whirring of cicadas to deep-space, nebular permutations and otherworldly hovering and pulsing.
All of these tones and textures are deftly synthesized and set on a trajectory toward the end track, "Sudden Departures," the live, 25-minute odyssey that was Son of Rose's 2005 Decibel Festival performance. Listen to it, and understand why Sadeghi has such a devoted local following.
Maxwill Oz
e/i Magazine
Seattle's own Dragon's Eye Recordings is not only that city's best kept secret, they provide one of the better arguments in recent memory for the legitimacy of the CDR as recording format. Skinny clear jewel boxes shorn of tray card and booklet immediately bring Raster-Noton to mind, but Yann Novak's label isn't strictly an exercise in glitch politics as usual. In fact, Wyndel Hunt strikes me as a chap who's yet to dump his Belgium EBM/Play It Again Sam stock. Fascillations fairly reeks of the swanky Euro bump 'n' grind so popular in those late 80s days pre-techno, slowed down and emasculated, but there all the same. It's also shot through with test-card frequency phases and some good 'ol fashioned U.S. grade-A prime noise for comfort, straight outta the RRR catalog. I'm there. Yann Novak himself could be any one of a dozen phonographers/field recordists, and, well, he is, thank you. He's also got more ideas in his pinky than some of his colleagues have in all their DATs. Fade Dis/appearances just about defies easy categorization, if not criticism. A work such as "Julia With Flanking," with its obtuse pulses, insectile thrush and burnished surfaces, puts to shame most sweathogs who labor intensely over the latest plug-in without finding a suitable plug to stick it in to; truth is, Mille Plateaux in its heyday would've killed for this (are you listening, dear Sirr?). Son Of Rose hath slayed me as well, his self-titled debut corrugated ambient/dronestuff that actually plays too coarse on the tongue to be, as goes the trad "ambient" definition, ignored. But it should be admired. "Baltic" goes from imperceptible blackness to snap, crackle 'n' pop so subtly, effectively and exuberantly your head'll be days catching up. Then there's Family Affair, the requisite label compilation, featuring all the above in addition to other comparés. This lot mandates Seattle be embossed on the proverbial map.
Ken Hollings
The Wire
Although Seattle producer Kamran Sageghi's parents first moved with him from Iran to America shortly after the country's Islamic Revolution, He still grew up in a home constantly filled with the sounds of Persian folk and pop music rather than the culturally benumbing white noise of broadcast TV. The music he creates as Son of Rose may owe more to 'numerically specific frequencies' than rhythms and melodies, there's a unique delicacy and poise his compositions. More like digital scrims made up of fluctuating groupings of microscopic events, all six tracks on this limited edition debut EP manage to establish precise boundaries and parameters, so that forms gently manifest themselves through the accumulated flow of minute activities.
Dave Segal
The Stranger
Son of Rose (Seattle producer Kamran Sadeghi) is big on sonic minutiae. Microscopic sounds loom large in his art. For Sadeghi, the subliminal is sublime. Shhh. Hear that? It's the intimate immensity of this extravagantly subtle electronic music.
The emergence of Son of Rose as a live performer in 2004 was one of our laptop scene's most exciting developments. Not since Bobby Karate has Seattle had such a compelling, inventive creator of microsound. Now Son of Rose is poised to drop his excellent eponymous debut CD on Yann Novak's Dragon's Eye label.
Sadeghi stands out not only for his intelligently designed tones and drones, but also for his Iranian background. His parents moved to America to attend college around the time of Iran's 1979 Islamic Revolution. "I don't think [my ethnicity] influences the type of music I make, but perhaps it influences the fact that I make music at all," Sadeghi says. "Music was always in the house and in the mood of the culture. So in that aspect, I guess it did. Instead of televisions being on, I was forced to listen to either Persian folk or pop music."
You won't hear Persian folk or pop in Son of Rose's music. However, Sadeghi was influenced by Harold Budd's 1984 ambient classic The Pearl, "for direction, but not necessarily for sound," Sadeghi observes. "Subtlety... the kind of music I make comes from fixations and the between parts of music, [not] from any kind of schooling. It comes from clearing or cleaning distractions."
You can notice the bracing results of Sadeghi's quest for clarifying purity in Son of Rose. The disc begins with "Distance," with watery, Doppler-effected drones accompanied by spectral shivers of Cocteau Twins–like guitar. The Pole-like "Velo I" is true 21st-century dub, with killer depth-charge bass and reverbed aquatic ambience. "Shadow Us" is a stunning recreation of tidal, oceanic phenomena. "Velo II" evokes perpetually blooming flower petals of gorgeous digital tonalities. So it's funny that this music derives from "numerically specific frequencies."
"I'm not doing algorithmic equations," Sadeghi explains. "I spend a lot of time listening to frequencies generated by sine waves that I apply certain values to. In a sense these numbers translate into sounds. It's like I am more of an audiophile, someone [who's] interested in how things sound through speakers. I spend a lot of time listening to different frequencies, and these frequencies are mainly generated by sine waves."
Son of Rose's frequencies have carved out a special niche in Seattle's burgeoning electronic movement. "Seattle has motivated me to continue and develop my work with its constant musical growth," Sadeghi enthuses. Good work, Seattle.


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*Best credit card for overseas travel
Spend with ease using a travel credit card on your next overseas trip.
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Travelling overseas requires a lot of planning and there's almost nothing more important than getting your finances sorted before your trip. You don't want to be caught out paying excessive conversion fees when travelling, so it's best to find a credit card that suits your needs and will help you avoid financial hassles on your next holiday.
Although there is no such thing as one best card, you can now use credit cards designed specifically for travelling overseas. This is great news for travellers who want to get more from their credit card when travelling. Travel credit cards usually offer:
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Travel credit cards are suitable for those who frequently travel overseas or for those who want the option of using credit overseas.
Comparison of credit cards for overseas travel
How do the *best credit cards for overseas travel work?
It's important to note that the best card is subjective and will depend on your travelling preferences, and what you want out of your card. The best cards work by helping you save money and receive rewards while using your card overseas. Travel credit cards can help you avoid fees and charges such as currency conversion fees and ATM fees. They can also provide additional value beyond a normal credit card through complimentary travel insurance and reward programs. However, these additional features usually come at the cost of a higher annual fee than your standard credit card.
They can also provide additional value beyond a normal credit card through complimentary travel insurance and reward programs. However, these additional features usually come at the cost of a higher annual fee than your standard credit card.
What are the *best types of credit cards for travelling?
- Frequent Flyer credit cards - Frequent Flyer credit cards are linked to frequent flyer programs such as Velocity and Qantas Frequent Flyer. When you use your card overseas, you accumulate points that you can use on flights, upgrades and gifts. Great for those who are constantly travelling.
- Rewards credit cards - Reward credit cards are just what the name implies, they reward you for your use. Using your card, especially overseas, will gain points that you can use in various reward programs. Overseas transactions tend to be worth more points than regular domestic transactions.
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- Platinum credit cards - Platinum credit cards also include Black and Gold cards. They have more features and service than a regular credit card. For this reason, the annual fee is much higher. Platinum cards reward you for travelling overseas and often provide complimentary travel insurance and support while travelling.
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- No currency conversion fees - Converting funds to your desired currency typically attracts a fee. The most effective credit cards for overseas travel won't involve a currency conversion fee and can help you save in additional fees. You can't avoid converting money overseas so it's crucial you compare this feature.
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- Complimentary travel insurance - When you're travelling overseas, travel insurance is crucial protection. Complimentary travel insurance can help you save significantly in insurance cover and can protect you against unexpected setbacks and emergencies. The travel card for you could be based on complimentary travel insurance and whether your needs are met by this service.
- Linked to a frequent flyer program - With some overseas travel credit cards, using your card can help you gain frequent flyer points. You can earn these points while travelling and then use these points for flights, upgrades and gifts. Each credit card will be linked to different reward programs so compare and find one that suits you.
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- Be rewarded for travelling - Credit cards for overseas travel will reward you just for travelling. You can be rewarded for making purchases overseas and earn points for loyalty or reward programs. Simply using your credit card overseas will give you more from your credit card.
- Save money - Credit cards can also help you save money. You can save money by avoiding conversion and ATM withdrawals fees, along with complimentary travel insurance. All of these things can help you save hundreds.
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- Fees - Depending on what type of credit card you have, you may be charged with fees and surcharges in certain locations for using your card.
- Higher annual fees - If your card comes with premium features, such as complimentary travel insurance or concierge services, they will likely come at a cost of higher annual fees.
- High interest rates - Overseas travel credit cards tend to attract much higher rates than regular credit cards.
- Excess interest - If you don't pay off your balance on time, you can incur excessive interest.
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What are Jeggings?
Aastha Dogra
Apr 14, 2019
Jeggings are leggings that resemble tight denim jeans. Learn more about these stylish pants and what complements them the most.
Touted as the biggest fashion creation of the 21st century, jeggings are a hot favorite of celebrities and commoners, alike. They are all over the place! Pick up any celebrity magazine and you are sure to spot some of your favorite stars revealing their sexy selves in this latest fashion trendsetter.
As the name suggests, jeggings are a combination of leggings and jeans. They are made from the same material as leggings, but are fashioned to look like denim jeans. So, by wearing them, you get the comfort of leggings without compromising on your overall appearance. They look as stylish as denim jeans.
Women who are on the curvy side usually avoid wearing hip-hugging pants, as they can make them look curvier. But now, they no longer have to kill their desire to wear such pants, as this piece of attire fits snugly, making the curviest of women look hot and happening.
Before moving on to tell you about the various looks that you can create with jeggings, we want to point out one drawback of wearing jeggings. Although it is comfortable to wear, it can make you feel quite warm in the summer, as the material it is made of has more lycra and spandex, than regular jeans. So, avoid wearing them when the weather is very warm.
What to Wear with Jeggings
If you have decided to add this unique piece of clothing to your wardrobe, our advice to you is not to go for designer labels initially. You never know whether this fashion trend will last long or not.
So stick to buying one from a thrift store and in neutral colors such as black, blue, or brown. There are different kind of looks that you can create with a pair of jeggings, by teaming it with different types of tops, bags, footwear, and fashion accessories.
The Cool Look
If you want to sport a cool, casual look, wear it with a loose, long top. Wear a beaded necklace, flat sandals, and carry a large cloth bag. You can wear this look while going to college or on your next trip to the market.
The Hot Look
If you are blessed with a good figure, wear your jeggings with high-heeled stilettos, a leather purse and a short, sleeveless top tucked in. If you are on the heavier side, wear an empire-waistline top that will create an illusion of a thin waist.
The Trendy Look
If you want to go by summer fashion trends, pair your jeggings with knee-high boots.
Wear a long body-hugging T-shirt that falls midway past your thighs. On top of this T-shirt, wear a short, full-sleeved, loose top. This layered look along with the knee-high boots will definitely make many heads turn in your direction.
The Sporty Look
For those of you who want a casual, sporty look, pairing jeggings with sneakers and a loose, long T-shirt or a cute sweatshirt, is a good idea. Of course, you can always enhance this look by wearing trendy sneakers in unique colors and T-shirts with unusual quotes.
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Associated Domain: War.
Replacement Power: The following granted power replaces the battle rage power of the War domain.
Seize the Initiative (Su): Whenever you and your allies roll for initiative, you can grant one ally within 30 feet the ability to roll twice and take either result. This decision is made before results are revealed. You can use this ability a number of times per day equal to 3 + your Wisdom modifier.
Replacement Domain Spells: 2nd—aid, 5th—command (greater), 8th—planar ally (greater).
Advanced Player's Guide. Copyright 2010, Paizo Publishing, LLC; Author: Jason Bulmahn.


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Permalinks were invented to make the URLs permanent and also more easier to remember.
WordPress blogs by default use dynamic URL structure, in the form of http://mysite.com/?p=344. This is dynamic as the page is retrieved using the number parameter which changes for every page.
Using permalinks, the previous URL becomes something like http://mysite.com/cooking-tips-tricks.
Why use permalinks?
Besides being easier to remember and use, permalinks can have positive impact on your search engine rankings.
It is believed that Google ranks pages based on appearance of keywords in the URL, among other factors. You can see a hint confirming the theory in the actual search results page, as all keywords appearing in the URL will be highlighted as well.
Setting up Permalink structure
Permalinks are edited in Settings->Permalinks screen, and best results are made if you enable "Custom structure". Custom means you can define permalink structure by using one of many permalink tags. Most useful are %postname% (title of the post), %post_id% (id of the post) and %category% (post category, if in multiple categories first created category will be used).
Most basic usage is only having %postname% tag and as an example you can see urls on my site which are using this structure.
Recently I am more inclined to think that using %category%/%postname% may yield you better results if category names contain keywords you want to rank for.
Setting permalinks for Google News
If you want to list your site in Google News, one of the requirements is to have at least three digit identifier at the end of every URL.
This is easily accomplished using %postname%-%post_id% structure, which will append post ID to the end of url so it becomes http://mysite.com/cooking-tips-tricks-344. You only have to create at least 100 pages first in order to have three digits at the end :)
Since permalinks cost you nothing to set up, there is no reason not to use them. This should be the first step you do when you install a WordPress blog as changing permalinks at a later time requires more work (you will have all incoming links to your old urls).
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