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Blogs - RadioMD Latest Blogs
How Women Who Grow Up without a Father Are Different
Written by
Denna Babul, RN & Karin Luise, PhD
on Thursday, 16 June 2016
With Father's Day upon us, daughters of all ages are preparing to celebrate their fathers and all they have done to positively impact their lives.
But what about the daughters who do not have fathers present in their lives?
How does life play out when paternal protection, support and resources are missing from her life?
Is she significantly impacted?
We believe she is.
Read more...
3 Powerful Foods for Pre- and Post-Workout
Written by
Carolina Lima Jantac, MS, RD, LD
on Friday, 10 June 2016
The balance for physical fitness is 80% nutrition and 20% exercise.
Well, that's what most health professionals agree on. There are slight variations in those figures, but they all agree that what you eat has the largest impact on your health and fitness. Nutrition plays an integral part in your health, and there is no question that staying active is also important.
As a matter of fact, while some nutrients tend to gain endorsements (vitamin D, for example), others fall short of their promised values (such as excessive amounts of protein). Controversial food groups are added or eliminated from diets often. However, exercise continues to be a constant in all plans for healthier living.
Doctors and nutritionists agree that increasing your heart rate via exercise at least five times weekly is one of the best ways to prevent serious chronic diseases. Along with an exercise routine, it is crucial to have the adequate nutrients to support your body throughout the process. Each time you exercise, your body will have some muscle breakdown which requires fuel to rebuild.
Read more...
Is Your Workout Not Working Out?
Written by
Harshith Joseph
on Wednesday, 08 June 2016
Any workout routine requires ample amount of dedication and sacrifice to see positive results. Many people fuss that in spite of their four months of effort, they have seen absolutely no change and wonder where they went wrong.
Each individual is unique. While some can lose weight quite quickly, others won't see the same results with a similar routine and diet plan. Even if you can lift over 250 pounds or run miles upon miles effortlessly, you will not necessarily get shredded.
Every ineffective workout can be a result of multiple reasons. Keeping a good check on those factors can get you back on track and allow you to see the results you've been desiring.
Keep reading for the six reasons why your workout might not be working out.
Read more...
Natural Weight Loss Boosters with No Side Effects
Written by
Vineetha Reddy
on Thursday, 02 June 2016
Despite exercising regularly and eating healthy foods, many of us experience difficulty in losing weight.
The reason for reaching this plateau, most of the time, is the slowing down of metabolism. When you have had the same workout regimen for a while, your body gets used to it, and despite working out and eating healthy, you start gaining weight or find it hard to lose any more weight.
In such situations, it's helpful to use natural supplements that boost your metabolism.
Before using natural weight loss boosters, it is important to know what they are and what to expect of them. Natural boosters are not a magic weight loss potion; rather, they help to enhance the effects of your exercise and diet. They aid in losing weight but are not a cause for weight loss by themselves. That being said, there are many boosters that can help you maintain or lose weight.
Keep reading for a list of some natural weight loss boosters...
Read more...
Oats & Oat Flour: Gluten-Free or Not? PLUS Oatmeal Brownie Recipe
Written by
Carolina Lima Jantac, MS, RD, LD
on Wednesday, 25 May 2016
Oat flour is something I use very often in my recipes.
It's one of my favorite ways to adapt a conventional recipe to a gluten-free version by substituting oat flour for the wheat version.
If you haven't tried oat flour yet, keep reading for some ways you can easily swap it in your recipes at home (and why you should!).
Read more...
Sun & Sweat: Exercising in the Summer Heat
Written by
John Gallucci, Jr., MS, ATC, DPT
on Monday, 23 May 2016
As May turns into June and the temperature steadily increases, we start finding any reason to get outside and get moving.
After spending the long, cold winter cooped up indoors (where we may have packed on those few extra pounds we like to call winter weight), the arrival of shorts, tank tops and bathing suits has managed to sneak up on us and is inspiring us all to knock off those pounds.
I know I can speak for myself, and I am sure for a few of you, when I say that I am sick of looking at that wall in front of my treadmill and exercise bike and I now want to take my exercise outside!
There are many added benefits to an outdoor workout to include production of vitamin D3 when the sunlight hits one's skin, which is important to bone health and metabolic function, decreased depression, anger, and tension due to enjoying ones workout outside and saving money on those monthly gym memberships.
On the other hand, it is important to remember that exercising in the heat can be dangerous if you're not prepared. Here are some tips to remember to ensure a safe workout when exercising outside this summer...
Read more...
7 Signs & Symptoms to Never Ignore
Written by
Jennifer Haythe, MD
on Wednesday, 18 May 2016
We all live busy lives and ailments come and go.
Nobody feels perfect all of the time.
But, in certain instances your body may be trying to tell you something important. Pay attention to these signs and symptoms and know when to get yourself checked by a doctor.
Here are the seven symptoms you should never ignore...
Read more...
Convenient Foods for Inconvenience Haters
Written by
Pamela Moore
on Thursday, 05 May 2016
My husband and I are always busy. We enjoy cooking, but we have so many projects going that sometimes it's tough to prepare a healthy meal in a hurry.
Both of us have daytime careers. We also have after-hours activities; I dance and sew while he writes.
Fortunately, we only have dogs to depend on us when we're not meeting deadlines. Over the years, we've eaten many ready-made meals from Trader Joe's and freezer pizzas. But, we haven't owned a microwave since 2005, which drastically cuts back on our convenience food options.
With my health scare at the beginning of the year, it was time to make some dietary changes… fewer preservatives, less processed food, even more produce. But, we're busy people and it is hard as hell to cook every meal from scratch without losing valuable production time.
I know many of you feel me on this one. How the devil can we eat healthy when it takes so long to make meals?
Here are the four solutions in our household.
Read more...
How to Find the Right Plastic Surgeon for You
Written by
Robert Cohen, MD, FACS
on Thursday, 28 April 2016
Finding a good aesthetic plastic surgeon can be a daunting challenge for many patients.
Thankfully, there are some relatively easy first steps that can be done to narrow the field down.
There are many excellent surgeons, and most patients will end up visiting with a few surgeons that they like and trust. The following information represents a guideline to make your search easier, and is essentially the process by which I would personally find a plastic surgeon.
Read more...
Life is Just a Party, and Parties Weren't Meant to Last
Written by
Sylvia Anderson
on Thursday, 21 April 2016
"Dearly beloved, we are gathered here today, to get through this thing called life."
Music shapes our lives.
Almost everyone has a favorite song, or a song that brings you back to a memorable time in your life.
There might be a handful of songs you'll never forget the lyrics to, no matter how long it's been since you heard them.
You may have a favorite soundtrack (I have many) or immediately think of a movie when you hear a certain tune. For me, the movie
Pretty Woman
always comes to mind when I hear Prince's song, Kiss… you know, that scene where Julia Roberts is in the big bathtub, headphones on, oblivious to Richard Gere watching her rock out in the bubbles.
There are also iconic artists.
We lost David Bowie earlier this year, Merle Haggard, Phife Dawg, Joey Feek, Maurice White, Glenn Frey, just to name a few.
Yesterday, we lost another.
Read more...
Your Brain on Exercise
Written by
Lorne David Opler, MEd, CSCS
on Friday, 15 April 2016
It's a fact. Approximately 1 in 5 adults in the U.S. (43.8 million, or 18.5%) experiences mental illness in a given year, according to the National Institutes of Mental Health.
We also know how exercise is one of the best drug-free ways to improve mental health and wellbeing, and not just in the short term. Research has shown that exercise can alleviate depression for the long run as well.
But, just why is exercise so beneficial for alleviating depression, anxiety and other mental illnesses? What is it about exercise that makes it such an effective all natural anti-depressant?
The answer lies within us.
Read more...
Well, Hello Anxiety... Long Time No See
Written by
Sylvia Anderson
on Thursday, 07 April 2016
I see that homeless woman walking the streets near my home. She's forever clutching her purse close to her breast, like it is the last semblance of who she once was.
Her jeans, dirtied by months -- probably years -- of wear with no washing, hang from her skin-and-bones body. Her hair, gray, frizzy and snarled, is in stark contrast of the past I envision… someone who never missed that appointment for touch-ups. Someone who left the salon feeling beautiful and refreshed.
She talks to herself, too. Not that we all don't do that from time to time. But hers is a concerted conversation with who knows who. Maybe her previous self?
I have wondered how she got to this place. How she was a woman who had a full life, perhaps a family, possibly a career, and now she is just…
I think I might now know. Not necessarily her story, but stories of countless others who suffer from debilitating anxiety.
Read more...
Page 29 of 41
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We were fortunate recently to have Dean Mannix with us at Sales Syndicate who challenged us to think about 'McDonald-ising' our sales team.
From generation to generation McDonald's keeps outperforming the competitors by running consistent processes that means a Big Mac is the same in Auckland as it is in Cairo, they ask us if we want fries with that in 119 countries and over 34,000 stores.
They have built a sales machine that has enabled them to scale.
Is your company a sales machine? Do you have a set of systems and processes that allow your company to be better than your competitors and to create scalable and repeatable sales? Or, are you leaving your success to chance?If I am the prospect will I receive the same great experience from dealing with all of your sales team? Or as is the case with many different companies are each of your sales team approaching the sales process in their own individual way. Imagine the chaos in 34,000 McDonald's stores if everyone had their own way to make a Big Mac or serve a customer?
There are typically 15 questions that we ask to understand how a company is performing in sales but for the purpose of this article, we have chosen 6.
If you have built a sales machine, then everyone in your sales team should be able to answer all 6 of the following questions.
So here we go:
- Can you clearly articulate your Ideal Customer Profile (ICP)?
- Is there a consistent sales process in place that is a proven, systematic, measurable, step by step way to guide a lead and turn it into a sale?
- Is there a strong focus on opportunity management inside of your company and each sales person's pipeline is being monitored?
- Are your top customers treated differently based on a clear set of customer criteria so that your best clients are retained and developed?
- Are the business functions of your company aligned to support sales? How well does marketing, operations, customer service and finance support the overall sales effort?
- Can each member of your sales team explain clearly and consistently what your company does, what is your unique selling proposition (USP) and why that should be of value to the customer?
If each of your sales team can answer yes to all the questions above, congratulations you should be receiving the following benefits:
- Your sales team are focusing on the right accounts and developing important relationships.
- You are reducing the time it takes new or poor performing sales people to get up to speed
- You are reducing your sales cycles by making sure your sales team are not missing stages and treating prospects more professionally
- By reducing the sales cycle, you have now freed up extra time for sales people to bring on more sales
- You are eliminating waste and therefore reducing cost
- You are now building better and longer relationships with clients
- You should now be experiencing an extra 15% growth rate for companies that effectively manage pipelines versus those that don't
- You are building a genuine sales culture within your company
- Chances are you are now better in sales than your competitors
Put simply, do all of this and you will be making more sales!
At Indicator, we have created and developed a unique set of diagnostics tools. If you would like to understand how your company measures up to best practice and to understand where your biggest need is to develop then be in touch and click here to book a time to chat. .
Kind Regards,
Mike Stokes

subset: commoncrawl


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The Source Magazine Celebrates Sean Price (R.I.P.) on His 47th Birthday!
On this date in 1972, Sean Price, the honorary Boot Camp general, was born in Brooklyn, New York and went on to become one of NYC's most prolific MCs to date. Tragically, Price, who is known affectionately t... Read Article


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Ilhwa Chunma 1994 player shirt by Adidas believed to have been issued or match worn in the 1994 season.
The side retained the K League title this year wearing this superb Adidas design shirt.
Ilhwa Chunm were the dominant force in South Korea at this time and went on to make it three titles in a row the following year. The club was forced to move out of Seoul in '96 though and in 2000 relocated to Seongnam, they are now known as Seongnam FC.
Correct player size print professionally heat pressed, flock crest, plastic transfer logos to front, sleeve and upper back, Adidas logo on chest is screen printed, size expressed as Special 100 on label, design not commercially available, comes from the personal collection of a former club kit man - a signed letter verifying this will be provided.


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Teen bracelet fads are a bona fide rite of passage for youths. In particular middle school circles, they act as wearable social currency. Just as big game hunters have their taxidermied conquests, awkward teenagers keep friendship bracelets.
While bracelets are an essential accessory for any teen's outfit, not all teen bracelets are equal. Some bracelets became popular enough to incite a movement, with a couple becoming banned from certain US states.
Teenage jewelry trends are in a constant state of flux, but a few fads irrevocably impact the national dialogue. From Silly Bandz to yellow Livestrong bracelets, numerous crazy bracelet fads garnered attention from adults, which, of course, made them instantly uncool.
1983: Jelly Bracelets Created A Scandal
After Madonna sported several black jelly bracelets, the accessory became an all-out craze. People could wear these plastic bracelets in bulk, but unfortunately, gossipy adults ruined them for teenagers everywhere.
In what was most likely the product of a PTA meeting gone awry, a myth spread about how jellies were "sex bracelets" used by teens at "rainbow parties." Allegedly, each color symbolized a different sex act performed by the wearer. The media's moral panic led to jelly bracelets becoming banned in certain middle and high schools, so, of course, the accessories saw increased sales and popularity.
1985: Friendship Bracelets Reigned Supreme
Artistic knot-tying has roots dating back to ancient China, but the friendship bracelets '80s babies know and love got their start in Central America. The macramé designs comprise tied knots with colorful bits of string. An urban legend states anyone who receives a friendship bracelet must wear it until the threads wear thin and come apart.
Friendship bracelets ruled the early '80s. In an age of increasing cynicism and the credibility gap inspired by Nixon's Watergate, they served as a bastion of sincere bonhomie.
The bracelets spread like wildfire at a sleep-away camp, and every craft-savvy babysitter eventually learned how to weave them. Generally, they were symbolic of the undying friendship shared by fashionable tweens.
1988: Slap Bracelets Became Popular, Then Children Got Hurt
Slap bracelets are arguably the cheapest accessory to inspire knock-offs. Created by Stuart Anders, a high school shop teacher from Wisconsin, this million-dollar idea came in 1983 when he was playing with a steel ribbon and realized the metal could curl around his wrist.
The manufactured version featured thin steel covered in fabric (as thick steel could cut through cloth and skin). When Main Street Toy Co. began to sell the bracelet in 1988, Slap Wraps were suddenly everywhere, with cheap replicas abounding.
Unfortunately, some of the more slapdash rip-offs ruined this tween bracelet fad. In 1990, 4-year-old Nicole Tomaso cut her finger on the sharp edges of an imitation slap bracelet, and the Connecticut Department of Consumer Protection recalled all knock-off Slap Wraps, prompting officials in Pennsylvania, New Jersey, New York, and Minnesota to consider similar embargoes.
1995: Lanyards Gave New Life To Bracelet-Making Trends
Fashioned from PVC tubes 80 centimeters in length, lanyards traded in thread for plastic and doubled down on neon color schemes. The trend kicked off in mid-20th century France, where scoubidou or gimp bracelets were synonymous with lanyards.
In America, lanyard culture had a renaissance during the 1990s. Riding the summer camp waves inspired by friendship bracelets of the '80s, lanyards quickly became a popular craft.
1996: Hemp Bracelets Were Everywhere, Despite Being Sort Of Illegal
A perfect complement to The Grateful Dead's mass resurgence in popularity, hemp bracelets marked '90s teens' return to hippy-dippy greatness. Made from twisted hemp rope adorned with one or more stone beads, people traditionally wore the pieces on their wrists and ankles.
In the '90s, the US government classified hemp as a Schedule I drug on par with LSD and heroin (based on a ruling made in 1970). While it was illegal to cultivate hemp on US soil, laws regulating the import of hemp and hemp products were more lax, and before long, the market overflowed with these free-spirited accessories.
While hemp's renegade status may have propelled it into the spotlight, it's now legal to grow hemp in most US states because of the Farm Bill enacted by President Obama in 2014.
1998: Power Bracelets Were Generically Mystical
In the late '90s, power bracelets (AKA karma beads) were a physical, wearable representation of the public's spiritual quest. Allegedly, the beads emanated magical powers which would bestow good luck upon the wearer.
Though many cultures use beads for spiritual purposes, '90s commercialism synthesized several groups' beliefs (as evidenced by the variety of Native American, Celtic, East-Asian, and African symbols appearing on the bracelets) into a singular, nondescript mysticism.
Despite its apparent disingenuity, the public flocked to buy power bracelets. In 2000, the The New York Times reported H&M – described as a "cheap-chic emporium" – was selling boatloads of $2 power bracelets promising to protect buyers from evil.
2003: Studded Bracelets Rocked The World
In the early 2000s, to master the grunge aesthetic, any middle-schooler could sport a black t-shirt, their dad's striped tie, and a couple studded bracelets.
Was this trend birthed from an ephemeral S&M fantasy, or via the overpowering presence of angry metal-heads? Most likely, it was due to Avril Lavigne and her horde of pubescent pop-punk fans.
While the "Sk8r Boi" star may have brought studded bracelets into the 21st century, the accessories date back all the way to ancient Greece and Rome. Historically, dogs wore spiked collars to fend off wolves, a trend continuing through the Dark Ages.
Today, spiked collars' association with violence remains. In Massachusetts, for example, the law considers them an illegal weapon.
2004: Livestrong Bracelets Were The Physical Embodiment Of Good Deeds
Livestrong bracelets rose and fell with their creator, Lance Armstrong, a cancer survivor and disgraced cyclist who lost all of his Tour de France distinctions. After the public learned Armstrong cheated by using performance-enhancing drugs, many felt the golden bracelets were misrepresentations of honor and perseverance.
Armstrong launched his nonprofit in 1997, but the eponymous bracelets didn't become trendy until 2004. Thanks to a partnership with Nike, the funds from selling over 80 million bands went toward supporting cancer research.
Goodwill aside, the waterproof Livestrong bracelets were a favorite among middle and high school swim teams.
2010: Kandi Bracelets Briefly Took Over
The electronic dance music (EDM) explosion of the early 2010s coincided with the prominent reappearance of a fashion trend once strictly associated with '90s ravers. For a brief period, every teenager seemed at least mildly interested in EDM, prompting an explosion of tie-dyed bandanas; fuzzy, ankle-length boots; and neon children's bead bracelets known colloquially as kandi.
Seemingly overnight, kandi was everywhere. Anyone who lived near a Wal-Mart had all the materials needed to craft these bracelets, and it was custom to trade kandi with friends and strangers in the name of fostering memories. Bracelets often featured positive messages relating to rave culture or self-care. Moreover, devout kandi kids enjoyed stringing multiple rows of beads together to create kandi cuffs.
As of 2018, EDM still has a prominent presence at music festivals, but many attendees have cooled out on the classic rave aesthetic.
2011: Silly Bandz Got Banned
Tweens were obsessed with Sally Bandz – most of them rocked curated collections daily. The bracelets were essentially rubber bands reshaped to look like recognizable creatures or objects; teens traded them like baseball cards. Many coveted the animal packs, and it wasn't unusual to see parents and children donning matching bracelets.
In 2003, entrepreneur Robert Croak founded Brainchild Products. Three years later, he came across shaped rubber bands while visiting a trade show in China. The concept stuck with Croak, and before the year ended, Brainchild Products set their sights on Silly Bandz.
At their peak in 2008, Brainchild was selling more than a million packs of Silly Bandz a week. Since collecting rare bracelets was a key part of the appeal, tempers ran hot in lunchroom trade circles. Before long, reports began rolling in about Silly Bandz-related fights and theft. This prompted many school systems across the country to ban the eccentric rubber bands.
2013: Rainbow Loom Took The Spotlight
Rainbow Loom kits include a specially designed tool used to weave colorful rubber bands into bracelets. It's an ingenious product with a personalized, DIY appeal.
Rainbow Loom emerged in 2010, thanks to Cheong Choon Ng in Novi, MI. At first, toy shops were reluctant to stock the product, but Learning Toys Express took a chance in 2012 and ordered 24 Loom kits from Choon Ng. Their gamble paid off, as the kits sold out almost instantly.
By 2014, Choon Ng had sold over 8 million units worldwide, along with 40 million packets of extra rubber bands.


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The Iron face a trip to Notts County on Saturday and will be hoping they can bounce back and get all three points.Mark Robins' side fell to a 4-0 defeat at Sheffield United on Tuesday, but have a swift opportunity to bounce back at County on Saturday.
The Magpies recently sacked manager Shaun Derry following a poor run of results, and ex-Nottingham Forest boss Paul Hart has been put in interim charge of the club.
County have the worst home record in League One and only Yeovil have scored fewer goals at their own ground this campaign, with only goal difference separating them and a place in the bottom four.
They have been boosted by the loan signing of Leroy Lita though, adding depth and experience to their side following Ronan Murray's injury, and will hope Garry Thompson can add to his 10 league goals.
Mark Robins will have to rotate his side for Saturday's trip, with defender Miguel Llera suspended after his dismissal at Sheffield United on Tuesday.
Conor Townsend will be available for the Iron as his loan move from Hull was extended until the end of the campaign. The defender also played for the side on Tuesday.
Deadline day signing, Theo Robinson will be able to play for the Iron, following his move from fellow League One side Doncaster Rovers.
Midfielder Dave Syers netted a brace for the reserves on Wednesday in his first game since his injury sustained on the opening day, but Saturday will be too early for a first team return.
The previous meeting between the sides this season was won by County as Zeli Ismail's late penalty ensured they left Glanford Park with three points.
The Iron's last trip to Meadow Lane in 2012/13 ended in a 1-0 defeat, with Dean Leacock's goal nine minutes from time secure the win for County.
Out of a total of 25 matches played between the two sides, Notts County have a better record than the Iron, winning 18 compared to Scunthorpe's four, with three draws between the two sides.
Ahead of the game, see our article on the matchday officials, as well as the betting preview, picking the best odds from the league's official sponsor, Sky Bet.
If you cannot make it to Nottingham to see if the Iron can claim all three points and pull clear of the bottom four, keep track of the action by tuning into the club's official social media channels or the official website, with live updates available from kick-off.


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BRAND NEW & SEALED. ZTE SPRO2 SMART PROJECTOR (ALL IN ONE). 4G LTE UMTS: 900/2100MHZ, LTE FDD: B1/B3/B7/B8/B20. The item "ZTE Spro 2 Smart Projector MF97E Factory UNLOCKED with ATT, T-Mobile, Verizon" is in sale since Thursday, August 1, 2019. This item is in the category "Consumer Electronics\TV, Video & Home Audio\TV & Video\Home Theater Projectors". The seller is "electronic_pros" and is located in Voorhees, New Jersey. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Costa rica, Antigua and barbuda, Aruba, Belize, Dominica, Grenada, Saint kitts and nevis, Montserrat, Turks and caicos islands, Barbados, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Ecuador, Egypt, French guiana, Gibraltar, Guadeloupe, Iceland, Jordan, Cambodia, Cayman islands, Liechtenstein, Luxembourg, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Viet nam, Uruguay.
- Modified Item: No
- Custom Bundle: No
- Brand: ZTE
- Model: MF97B
- Video Inputs: USB
- Image Aspect Ratio: 16:9
- Features: Built-In Speakers
- Controller: Home Automation Control System
- Contrast Ratio: 5000:1
- Audio Outputs: Headphone Jack
- Connections: HDMI
- Compatible Operating System: Android
- Connectivity: Wireless
- 3D Capability: 2D Only
- Image Brightness: 200 ANSI Lumens
- Resolution: 720p
- Display Technology: LED
- Native Resolution: 1280×720


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All-female short, directed by Leonora Lonsdale, highlights inequality of literacy among girls, through flight of magic and imagination, and was conceived by Lonsdale with Lief's founder Margo Mars.
Released by Lief on World Book Day [1st March 2018], and proudly supported by the National Literacy Trust, 'A girl who reads..' is a moving, fantastical tale of female empowerment through literacy: a two-minute film with a powerful message.
Written and directed by director Lonsdale, the film follows the ever-wild journey of two young sisters, bold and brave. Focusing on the power of books to harness a child's imagination, the film brings a positive message to the statistic that 493 million women worldwide still can't read.
Made for girls, by girls, the film was created with an all-female crew, from storyboards to the final sound mix. In its creation alone, 'A Girl Who Reads...Can Dream' emphatically communicates the significance of empowering women worldwide – in all roles of filmmaking.
Lonsdale comments: "The books I've read have helped shape the person I am. The worlds I visited, the adventures I witnessed became just as real as my friends and family. I found stories that helped me; books that inspired me to see what could be - lives, careers, loves. Reading allows a child to see they can be anything, anyone. How remarkable. And yet there are still so many women around the world who can't read, whose opportunities are limited by their circumstance."
Jonathan Douglas, Director of the National Literacy Trust, said: "At the National Literacy Trust, we know that a love of reading can dramatically change a child's life story. We're delighted that 'A Girl Who Reads... Can Dream' highlights the powerful impact that books and stories can have on a child's life. Our research shows that 1 in 8 disadvantaged children in the UK don't have a single book of their own at home – but by shining a light on this issue and raising money for our work, we can help transform the future for these children."
Title Design By Jamaica Dyer of #LOVELIEF


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Out / Jazz Bass Baroque (Wave CD 111)
"..Ind gets top billing on this intriguing glance over 40 years…he
plunged into experiments with overdubbing, tape speeds to produce some
startling effects. A handful are on this beguiling scrapbook of a record…"
Clive Davis Sunday Times April
25th 1999
Triple Libra - Peter Ind
and Martin Taylor (Wave CD 24)
"Ind bringing an almost hypnotic, mystical air to his playing, perfectly
complementing Taylor's challenging, sometimes ethereal, guitar work in
an adventurous repertoire."
Chris Lee Manchester Evening
News Oct 13th 2000
The London Sessions - Tony Barnard Trio
(Wave CD 30)
"Two guitars and bass make a lovely sound when they are as well matched
as this. The trick is to keep the texture light and the lines clear, easy
to say, difficult to achieve but they bring it off to perfection"
Dave Gelly, Observer 24th May
The Real Lee Konitz (Vinyl
"What security the
bassist (Peter Ind) gives to Konitz on PENNIES IN MINOR and what a strong
noble solo he takes in FOOLIN' MYSELF - which leads to an Ind-Konitz "conversation
(it's not quite public enough to be called a duet) that is one of jazz's
unacknowledged and most touchingly humane masterworks"
Larry Karl April 1997 review as part
of The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz and
Warne Marsh, Mosaic records, limited edition
The Artistry of Kenny Barron - Kenny Barron
(Wave CD 34)
Kenny Barron(piano) Peter Ind (bass), Mark Taylor (drums) London March
21st 1990
"This superb album has been provided by Peter Ind… Body and
Soul …is gorgeous ballad playing…I doubt that we shall get
a better, more exciting jazz piano album this year (or any year). Outstanding
and totally recommended. A certain nomination from me for a record of
the year"
Pat Hawes, Jazz Journal Dec 1998
Alone Together – Peter Ind and
Rufus Reid (Wave CD 36)
"This is the CD to play to those who still argue that the double
bass is purely a jazz rhythm instrument. Here, two virtuosic players embark
on a series of remarkable duets in which melody, lyrical improvisation
and a propulsive rhythmic pulse are given equal weight, producing entrancing
performances which must make this issue a contender for CD of the year.
The duo complement each other wonderfully, with Ind, perhaps the more
cerebral, balanced perfectly by the more earthy Reid."
Chris Lee: Manchester Evening
News March 31st 2000


text:
The Adaptive Value of Aggregation Among Juvenile Caribbean Spiny Lobster: An Evaluation Using Individual-Based Modeling
Document Type
Publication Date
Publication Title
Journal of Crustacean Biology
Ontogenetic changes in gregariousness by pre-reproductive animals, like that observed in juvenile Caribbean spiny lobsters (Panulirus argus), may be adaptive and reflect size-specific changes in the effectiveness of aggregation in promoting survival. Alternatively, aggregation may simply result from changes in the distribution or availability of suitable habitat structure, or from other behaviors that enhance survival. There are currently two hypotheses explaining the potential benefits of gregarious behavior in juvenile spiny lobsters, both of which focus on increasing survivorship by reducing predation pressure: the group benefit hypothesis and the guide hypothesis. The group benefit hypothesis argues that aggregations of juvenile lobsters reduce individual susceptibility to predators because groups are better able to fend off attackers or benefit by dilution of risk. The guide hypothesis suggests that aggregation is a consequence of shelter seeking behavior, in which individuals searching for shelter follow conspecific odors, thus reducing the time they spend in the open exposed to higher predation rates. The guide mechanism should be most effective in areas of low shelter density. We used an individual-based, spatially-explicit model describing recruitment of juvenile spiny lobster in the Florida Keys to compare behavioral models incorporating a guide effect and group benefit under conditions of high and low shelter densities. We found that the guide effect significantly enhanced survival only under the most extreme circumstances where shelter was scarce, the risk of predation highest, and the effective distance of the guide effect strongest. In contrast, small increases in direct group benefit led to significantly higher population abundances under a wide range of conditions.
Web of Science: "Free full-text from publisher."
Original Publication Citation
Dolan, T. W., & Butler, M. J. (2006). The adaptive value of aggregation among juvenile Caribbean spiny lobster: An evaluation using individual-based modeling. Journal of Crustacean Biology, 26(4), 565-578. doi:10.1651/s-2742.1
Repository Citation
Dolan, Thomas W. III and Butler, Mark J. IV, "The Adaptive Value of Aggregation Among Juvenile Caribbean Spiny Lobster: An Evaluation Using Individual-Based Modeling" (2006). Biological Sciences Faculty Publications. 280.
0000-0002-4014-1612 (Dolan), 0000-0002-6052-6659 (Butler)


text:
From the Archive: Christine McVie
[This interview originally appeared in the October 1980 issue of Contemporary Keyboard magazine.]
FINALLY THE DUST has settled, but it took a long time. Already it's hard to believe that there was such a stir a year ago, when what many had hoped to see as the musical millennium of Top Fortydom was ushered in with the release of Tusk.
The balloon-budgeted double album that Fleetwood Mac fans had been anticipating for nearly three years set off a field day for rock critics. Words like "daring," "eccentric," "svelte," "compelling," "adventurous," even "a safe, enjoyable buy," were bandied across newspaper and music magazine pages for a couple of weeks. Interviews were granted, press conferences staged, concerts announced. The City of Los Angeles joined in the fun, proclaiming October 10, 1979 — the day of the LP's unveiling — Fleetwood Mac Day, and immortalizing the event with a gold star in front of Frederick's on Hollywood Boulevard.
Expectations were running high. After all, the band's previous, and much less expensive, endeavor, Rumours, had jarred the industry by appropriating the Number One slot in the charts for six months back in '77, selling well over 12 million copies, chalking up a Grammy award, and finally catapulting the long-lived group into the semi-legendary status reserved for those select few in rock who can captivate the public imagination without resorting to martyrdom.
But the peculiar thing was that, for all of its polish and craftsmanship, Rumours was hardly a musical milestone. It was no Sgt. Pepper, no Highway 61, no Tommy. Lyrically, it made no profound statements. If it blazed any new trails, they were mellow, placid pathways rather than exciting new avenues. With Rumours, the era of the armchair rocker seemed at hand.
In truth, the essence of the FM legend lay more in the whispered stories of Fleetwood Mac's private lives — the rumours — than in the music. For some reason, gossip about who was married to whom among the band's personnel and alumni, who had split up, who had lost his mind, who had become a religious cult zombie, seemed to intrigue many people more than the music. Clearly, if they were to build artistic reputations equal in magnitude to their commercial success, they had to come out with a killer album. And so came Tusk, elaborately packaged, digitally mixed, augmented by the 112-piece USC Trojan Marching Band, all to the tune of more than a million dollars.
We can look back on all the hooplah now, one year later, and the judgment from this longer perspective must be mixed. On the one hand, the album was undoubtedly a hit; within four weeks of its appearance it had clambered up to Number Two on the Cashbox list, and to date it has sold more than four million copies. But when measured against the long shadow of Rumours, these figures pale a bit. By June 1980, Tusk was off the Top 200 tabulations in Billboard, but only two months earlier, more than two years after its release, Rumours was still being listed. Indeed, nearly a year after Rumours hit the stores; it was still selling about 200,000 copies each week.
If there are any morals to be drawn from this, one might be: You Can't Win 'Em All, At Least With Equal Impact. But perhaps the grander lesson is: You Can't Measure The Stature Of The Band By Sales Alone, or maybe even by the music it makes. If drummer Mick Fleetwood, bassist John McVie, guitarist Lindsey Buckingham, singer Stevie Nicks, and keyboardist/singer Christine McVie are massive figures on the rock horizon, there is a reason for it, and at least in the case of Fleetwood Mac, it doesn't boil down to mere hype. There is a chemistry, a sense of history and dedication, and a complicated intermingling of talents that helped make this band the great success it is today.
Christine McVie has not been with the group from the beginning but, along with Fleetwood and ex-husband John McVie, she is an important part of the foundation from which the present character of the quintet has grown. She penned many of their most popular tunes — "Over My Head," "Say You Love Me," "Don't Stop" and "You Make Loving Fun," among others — and established herself as one of the most distinctive singers on the scene; her milky smooth style, reminiscent of neither the harsh Janis Joplin school nor the folky Joni Mitchell approach, gave her an instantly identifiable sound.
In addition to all this, though, she plays all the band's keyboard parts, a role that is often overshadowed by her singing and composing. Never a flashy soloist, she nevertheless has developed a repertoire of tonal shadings on organ and electric piano, and is one of the more tasteful accompanists in the world of concert rock. Occasionally a perceptive reviewer may get past clichéd commentaries on her image as "this woeful woman-child who's in perpetual pursuit of 'daddy'," and notice that her keyboard playing can have substance. "Even Christine McVie's rhythmical electric keyboard chords add a throbbing pulse to the proceedings," one apparently surprised critic wrote.
The three senior members of Fleetwood Mac have a common background in the British blues underground of the '60s, a heritage that is obscured by the group's current sound, but which shaped its early style and continues to affect McVie today. Her family's musical tastes were somewhat more formal, however. Born in Birmingham with the unlikely surname of Perfect, Christine could trace her talent back to her grandfather, an organist who had performed at Westminster Abbey, and her father, a classical violinist on the faculty of the local university.
In the living room of her Beverly Hills home, McVie talked with CK about those early years. "I was trained classically. I started taking piano lessons when I was about that big," she indicates with her hand a few feet above the floor. "I played the 'cello for a while too, in the school orchestra. But then my brother, who was four years older than I, got into traditional jazz. He brought home some music by Fats Domino, and one day I found some of it lying around the piano stool, so I started reading it and playing it. I just developed a liking for it, and soon I was getting records by Fats Domino, Otis Spann, [guitarist] Freddie King, and people like that. I guess you could say that a lot of my training has been pretty much in the experience of playing this kind of music."
By age 12 young Christine had lost most of her interest in formal piano studies, so she embarked on a five-year program at art school, where she specialized in sculpting. She never lost her interest in the blues, though, and this led to her involvement with Chicken Shack, one of the pioneering English blues bands.
"When I was at college working on my degree I got to know several members of this band called the Sounds Of Blue," she recalls. "The bass player was Andy Sylvester, and after the Sounds Of Blue dissolved he became the bass player for Chicken Shack. Well, Mike Vernon, who worked for CBS in London, was interested in having Chicken Shack make a record, but he suggested that they needed a keyboard player, so they got in touch with me and asked me if I wanted to do it."
By this time, Christine had left school in search of a more satisfying routine. "I went to London, where I became a window dresser for an exclusive store," she explains. "I was actually qualified to be an art teacher, but I didn't want to teach. Anyway, when Chicken Shack called me up I was so bored with being around the store that I said, 'Yeah, I'll join.' We made our debut at the Windsor Jazz Festival, which was this massive series of concerts. There were bands playing on different stages all over the place.
"That was also the place where Fleetwood Mac made their debut," McVie adds. "They were on the bigger stages, and our gig was to support them; we were like their opening act. That's how I got to know John."
The magnitude of the Windsor Festival reflected the interest in blues that was growing among young Britons. T.S. McPhee And The Groundhogs, John Mayall's Blues breakers, singer JoAnn Kelly, and the first incarnation of Fleetwood Mac were among those who generated this interest, but there were also a number of American expatriate blues artists in England, and they found many eager listeners, including McVie. "They were coming in by the truckload, because the kids in England just couldn't get enough," she notes. "They opened my ears to lots of different blues piano styles. I wasn't a wild, honky-tonk piano player by any means. That's why I used to like listening to people like Freddie King, who was pretty restrained, and [guitarist] B. B. King, who played a very sophisticated blues. It wasn't the Champion Jack Dupree barrelhouse stuff that I was so influenced by."
The main focus of Chicken Shack was guitarist Stan Webb; Christine concentrated on backing him up on vocals and keyboard, although even then she was attracting attention from such notables as Peter Green, the highly-regarded lead guitarist in the original Fleetwood Mac. In his Authorized Biography Of Fleetwood Mac [now out of print], Samuel Graham assessed her impact with Chicken Shack: "They were not much of an outfit. Webb was no Peter Green, and the torpid Chicken Shack records were unfortunately much more typical of British blues than early Fleetwood Mac had been. Nevertheless, it was with that band that McVie earned the respect of the likes of Peter Green as a player of taste and integrity."
Christine did take the spotlight on the band's most popular record, "I'd Rather Be Blind," a cover of an earlier single by singer Etta James. Released during the summer of 1969, this performance earned McVie the Best Vocalist award from Melody Maker magazine that year. "That was our one big hit, I think," she muses. "We were fairly authentic for a mediocre sort of white blues band. The old Fleetwood Mac was much better; they did some beautiful and, to my mind, very authentic blues. Chicken Shack did pretty well in Europe, but after I left, it was over."
The Best Vocalist award naturally gave Christine's career a sudden boost, and the immediate result was a project that now, looking back, she regrets. "After I'd won the Melody Maker award, things were sort of confused," she states. "I was already with John, he was with Fleetwood Mac, and I was with Chicken Shack. We never saw anything of one another, so I left the band. Then one day my manager called me up and said to me, rather frantically, 'You've got to do a solo!' And so I made my big solo album, which I'm very embarrassed about."
She stops and, with a slight tinge of sarcasm, remembers the name of the LP: "The Legendary Christine Perfect Album. I think they re-released it around the time that Rumours was out. It had a big sticker on the front saying, 'Featuring Fleetwood Mac's Superstar Vocalist,' capitalizing on the fact that Fleetwood Mac had become so successful." A laugh, and then a resigned shrug: "Well, at least it sold me a few more copies."
Her reservations about that record are based on a feeling that she was still far from the artistic maturity she has come to display in recent years. When first released in England, the solo disc was respected enough to chalk up a second Melody Maker Best Vocalist prize in 1970, but in retrospect it does display McVie in a much more rudimentary stage of development than her audiences are used to today.
"When I made that record, I wasn't really sure about my talent, or about what direction I wanted to go in musically," she points out.
"There were people all around who were trying to make me into this kind of a singer or that kind of a singer. Mike Vernon [who co-produced the album with her] was a great help in many ways — I'm playing music now partly because of what he did to get me started — but even he was pushing me into becoming sort of a black-style English singer.
I didn't really feel artistically together until I joined Fleetwood Mac."
Christine's formal association with FM began in 1970, when she contributed background piano and vocals to their LP Kiln House and painted the picture that adorns its cover. This record and the subsequent one, Future Games (1971), which featured her for the first time as a full member, both sold respectably, making it into the lower levels of the American Top 100. Two later albums, Bare Trees (1972) and Mystery To Me (1973), were able to reach the gold record status with more than 250,000 sales, but with the release of Fleetwood Mac in 1975, the pace picked up to platinum. Buoyed by a $25,000 AM radio campaign that used McVie's song "Over My Head" as a signature theme, Fleet-wood Mac lodged itself in the charts for more than 70 weeks and set the stage for Rumours.
There are now four keyboards in Christine's setup: a Hammond B-3 organ, a Yamaha CP-30 electronic piano, and two acoustic Yamaha pianos, a console and a grand. Various other instruments have passed through her collection over the last few years, however. "I was in essence boxed in completely by keyboards," she laughs. "That's what was wrong; I was so stacked in with keyboards I never used that no one could ever see me. It was like being in a prison. People would look and say, 'Christine is back in her cave.' Mick and I would laugh about it, because he had the same sensation, being stuck behind his drums all night."
Among the instruments that were cut as McVie streamlined her setup were a Rhodes electric piano and an ARP String Ensemble. "The ARP was taking up space on the stage, and anyway I hardly ever used it," she explains. "In the old days we mainly used it to do 'Sunny Side Of Heaven' [from Bare Trees]. I only used the Rhodes on one song too. But it was too soft. The Rhodes was great to play on something like `Rhiannon' [from Fleetwood Mac] because it's so bell-like, but on anything else it would kind of get lost among the electric guitars."
When looking for a harder sound, McVie used to rely on a Hohner Pianet. "I liked the old Hohners, but they don't make them anymore," she sighs. "Before they went off the market I bought about six of them to use for replacement parts, but now that a transistor blew out of one of them, I'm down to my last one. They would break down a lot onstage too, I'm telling you. It would make the most awful, atrocious noise, this crackling hiss and farting all over. It would sound like some sort of alien parrot trying to get through to you. I never used a Wurlitzer instead, though, because in essence the Wurlitzer was like the Rhodes. I never much liked its sound — too soft for me."
The Yamaha CP-30 now satisfies McVie as a replacement for the Pianet. She recorded with it for the first time on Tusk, and approximates the Pianet sound live by engaging the first three stops on both groups of stops and using more bass than treble. Her model was modified to eliminate a loud hum that occurred when the volume pedal was opened all the way, but otherwise she has had no complaints about it.
"It can sound a lot like the Hohner," she says, "and it can sound like a Rhodes, really pretty and clean. It has great variety, a volume pedal, a nice sustain, and a dual pitch control where you can tune it just a little out of phase with itself to get a fatter sound, which I like to do. You can use it for so many things I used to have; where I needed three keyboards in the past, I only need this one now. Besides, I think it would be pretentious of me to have a huge stack of keyboards, since I'm not a brilliant keyboard player. I get by, but I'm by no means a genius, and I don't pretend to be. I don't want to come off like Keith Emerson. So long as I can get the sound I need, I'm happy to just stay with the keyboards I have onstage now."
The B-3, the instrument she most frequently plays, has been parabolized by Keyboard Products. Christine has no settings that she regularly favors. "I use the drawbars a lot; in fact, I don't think I've ever used anything else but the drawbars," she admits. "Sometimes I perk it up with a bit of percussion too. But I don't think there's any particular sound I go for every night. I try to get whatever sound suits the track best when we're recording, and I just look for something that sounds good when we're playing live."
The group has used synthesizers onstage and in the studio, but Christine prefers to work without them whenever possible, or even to leave the synth lines to someone else. "Dennis [Wilson, drummer for the Beach Boys and McVie's fiancé] tried to get me interested in the Moogs, but I'm just not interested in electronics. Obviously I'm more fascinated by organic-sounding things, like plain ordinary pianos.
"But we have recorded with some synthesizers — we've used a Minimoog and an Oberheim. And I remember using a Multimoog on 'Crystal' [from Fleetwood Mac]. It wasn't even mine, though. There was some mad little professor guy running around, twiddling all the knobs for me while I played it. I think he slept with the damn thing," she adds with a laugh. "But we don't really need them too much. I cover most of the sound that we use on records with what I have. And people tell us that we still sound pretty big for a band with four instrumentalists."
A synthesizer can nonetheless be heard at a Fleetwood Mac concert, being played off-stage during the song "Tusk" by Jeff Soya, the band's keyboard roadie. At one point, Jeff relates in a telephone conversation with CK, the group was thinking of expanding his per-forming role even more: "We had some rehearsals where I was playing on four songs—one of them was 'Not That Funny' [from Tusk] — but we dropped them from the set because it was interfering with my stage work, and I guess it wasn't that necessary. But on "Tusk" I'm using an old Oberheim Four-Voice to play the part of the USC Marching Band. That's the only synthesizer you'll hear in the show now." In case the Four-Voice breaks down, the band keeps an OB-X, with a cassette interface to duplicate the programs, standing by.
During one earlier tour, Fleetwood Mac did carry an additional keyboardist, Doug Graves, but that idea was soon abandoned. "He was there to back me up," McVie says, "but I think it was decided after the first two or three concerts that I was better off without him. The band wanted me to expand my role and have a little more freedom, so he played some organ behind me, but he didn't play the same way I did. I may not play very well, but I play it the way it suits the band."
Perhaps the most unusual feature of Christine's instrumental array is her pair of acoustic pianos. The console, a Yamaha, is used during two songs in the concert set, "Sara" and "Not That Funny " (both from Tusk). During the former tune, a metal bar on a rail is moved against the strings to produce a honky-tonk effect. The console is set on a stand that raises it a foot and a half above the platform so Christine can stand while playing. A microphone has also been mounted on it to allow Lindsey Buckingham to sing harmony by her side on "Sara."
Grand pianos have been used by Fleetwood Mac in past live shows. Several years ago they took a 4'6" Hamilton on tour, but because the sound never satisfied them, the instrument was replaced by their current stage piano, a six-foot Yamaha C-3. The grand is also used on only two tunes, "Song-bird" and "Don't Stop" (both from Rumours). After being played, it is removed from the stage by a scissors lift on a dolly. "When the piano disappears, it's kind of a nice effect," Jeff observes. "The kids in the front row get a kick out of it. All of a sudden, this big piano is gone and they're saying, 'What happened?' But it's showbiz."
"I've had a Steinway in my home for about three years now," Christine reveals, "but I suppose the Yamahas have always been my favorites. We had a huge one when we did Tusk. We even had the boss of Yamaha — I forgot his name, but it was like Mr. Yamaha himself — come by to tune it up and adjust the sound for me. It sounded like a Bösendorfer. It was just incredible. I'm still trying to wangle a deal to get that piano over to the studio once a month for me to play on."
Once upon a time, though, Fleetwood Mac travelled without the luxury of having its own grand piano in tow. "That's why I started carrying mine around," McVie affirms. "The instruments we were given to use were all so unpredictable. Most of them were bad, and since we didn't carry a piano tuner around with us either, we had to rely on the tuner they provided us while our equipment was being set up or during the sound check. Often we found broken hammers or twangy strings, and even if there were good pianos available they wouldn't let us use them most of the time because we were a rock and roll band. I guess they thought we were going to start jumping up and down on the keys or setting fire to them."
Both the grand and the console are amplified through Helpinstill pickups. On the grand the pickup has been modified by replacing the passive preamplifier with a Claire Brothers AC power preamp; a Sennheiser 451 mike is also used with the larger piano. The upright pickup was also augmented once by a microphone, a Sony ECM-50, and the feed from it and the Helpinstill were blended by the engineer, Trip Khalef, at his Claire Brothers board.
The organ signal is sent through three Leslie speakers, one positioned near Chris-tine, one near John McVie, and the third near Lindsey Buckingham. Each one has been boosted to 180 watts by Keyboard Products and fitted with JBL speakers. Three amp racks, each with two Yamaha TM-2200s at 250 watts and a Yamaha F1030 crossover unit, amplify the CP-30 via three Mitchell cabinets. The bottom cabinet contains a 15" JBL speaker, and there are two 12s in the middle cabinet and four 10s on top.
There are no effects pedals in the McVie setup, but there is one other keyboard — an accordion. She comes out to the front of the stage when the band performs the song "Tusk" and lends a hand on the instrument. "I never planned on learning accordion," she insists. "I didn't even intend to play it. It was just laying around the stage one day. I wasn't sure what I was going to play on `Tusk.' I thought I might wind up playing some kind of percussion, but I just picked it up and started doing the riff. It's very easy to play if you can play the piano. Coordinating the bellows can get dodgy sometimes; you just have to get one end in and the other end out, then bring the bottom out and the top in. It's kind of like a stomach action. I'm still learning about the chord buttons, though. I've figured out the theory of them, but I'm still practicing; I don't use them onstage yet."
Away from the stage and the studio, Christine uses her various keyboards to help her in writing new material. She has no set formula for composing — sometimes the words come first, sometimes the music; often the lyrics are written at the keyboard, but occasionally not. She acknowledges that the instrument she happens to be writing at can have an effect on how the song evolves. "If you're playing on a soft-sounding instrument like a Rhodes," she states, "you're not going to write honky-tonk raucous rock and roll. The character of the instrument will be imbedded in whatever you write."
Despite the fact that she has authored a number of hit tunes, Christine avers that she has never geared her material toward a pre-conceived commercial idea. "I've never written with the intention of writing hits," she says. "I guess I'm a commercial writer, though. My songs do tend to come out two verses, bridge, guitar solo, last verse, and tag. When I've finished a piece I do have my opinion about whether it will sell, of course, but I'm not always right. 'Over My Head' was a very unpredictable hit, as far as I'm concerned. The fact that it was bigger than 'Say You Love Me' [from Fleetwood Mac] surprised everyone."
(Note to Fleetwood Mac fans: "Over My Head" was originally recorded with only vocals, dobro, and drums. The decision was made later to augment the basic tracks with, among other features, Christine on Vox Continental organ, but even so it was literally considered the least likely track on Fleetwood Mac to be released as a single.)
Songs are learned on an informal basis in Fleetwood Mac. There are no charts, not even organized head arrangements. "They come together pretty easily, since we spend X number of months together in the studio, either listening to each other or jamming," Christine says. "We know pretty much how they all go after a while, what kind of guitar Lindsey should play and what kind of keyboard I should play to get the full effect of the song."
Much of Christine's work involves figuring out keyboard parts for tunes written by other members of the band. Her experience at devising arrangements has made her aware of certain qualities that characterize their work. "Well, normally there's a characteristic, isn't there, in each song, either a riff or an underlying musical theme, that makes the keyboard part clear if you look for it," she notes. "Take 'Dreams' or 'Sara' [both written by Stevie Nicks], for example. There's a particular piano part in both songs beneath the basic structure, and it stems from the way Stevie approaches the piano itself. She isn't a great player, but what she plays you can elaborate on. Still, I think she should play onstage. She's getting better all the time, and if she would play piano on one song, it'd be fuckin' great! Then she'd be known as a musician as well as just a singer."
The songs of Lindsey Buckingham make different demands, especially since his recent explorations of the harder new wave style. "'What Makes You Think You're The One,' from Tusk, is especially tough to play," Christine admits. "You have to keep crashing away at chords through the whole thing. By the time it's finished my wrists are like spaghetti. I really have to hammer the acoustic piano on some of his songs. That's one reason why I like a light touch, a sensitive piano. My wrists aren't that strong, and if I have to hack too hard they start breaking down. Fortunately, after playing something like that I take a break and have a drink, or move over to the accordion, or just stagger off the stage until my arms recover."
This unusual gathering of songwriters and singers, with diverse ranges and styles, may also occasionally force McVie to play in unusual keys, but transposition is usually not a problem for her. As a keyboardist, she finds it easiest to play in D, Bb, A, and F. Once in a while a key has to be changed as a result of someone's shifting vocal range. "My range seems to have been getting higher," Christine observes. "I just can't sing as low as I used to. I don't know how I ever recorded some of the old songs in such low keys. Lindsey often changes his songs too. He records a song in E, then changes it to F. That can affect the vocal blend a lot."
In concert most of Christine's work involves background playing; she takes relatively few solos. She has discussed expanding her role as a soloist with the rest of the band, and would welcome some more opportunities for taking leads on the piano. One thing she isn't interested in doing is hiring another keyboardist to play impressive display solos. "I'd never want a studio guy," she declares. "I wouldn't mind working with another keyboard player, but not a studio guy. It sounds very odd, but we're really snobbish about doing everything ourselves whenever possible, so I'd rather just play the piano lines myself."
Even with more time in the keyboard spotlight, McVie doesn't harbor illusions about her performance. The success of the band hasn't altered her perspective on her own playing. At heart, Christine still sees herself as the same pianist who looked through her brother's Fats Domino books for inspiration.
"I'm not a connoisseur of great keyboard ideas," she laughs. "I am a sensitive keyboardist. I play well within the framework of the band, I listen well to what the others are doing, and I don't just bash out regardless and soar over everybody. I'm very good at jelling musically, and I think I'm using more chords than I used to, but I'm not adventurous enough. Let's face it; I'm an adequate amateur at best. At heart, I still like to play the blues more than anything else."


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Veggie Rolls – So.. If anyone tells my kids these are veggie I will freak!
These are a perfect dinner on the run or great for fusspots that won't eat their veggies.
I used a gluten free pasty, but just regular puff is perfect!
Yield: 16
Veggie Rolls
Prep Time 15 minutes
Cook Time 30 minutes
Total Time 45 minutes
- 3 sheets puff pastry - gluten free if needed
- 2 slices of bread - gluten free if needed
- 1 tin of brown lentils, drained OR 250g chicken mince
- Olive oil spray
- 1 medium onion, finely diced
- 1 medium zucchini, grated
- 1 medium carrot, grated
- 100 g mushrooms, grated/finely diced
- 2 tablespoons pesto
- 1 cup grated cheese
- Sea salt & pepper to taste
- Heat your oven to 180C. Begin to thaw puff pastry.
- In a food processor blitz your bread into crumbs.
- Heat a pan and spray it with olive oil, place all cut veggies in the pan and cook to soften.
- In a bowl and mix in lentils/mince, bread, veggies, cheese & pesto well, season with salt and pepper.
- Slice the puff pastry down the middle lengthwise, make a sausage shape down the length ensuring you have enough space to wrap it fully in the pastry.
- Spray a baking tray with olive oil, and spray the rolls also. Cut the long logs into smaller pieces to your liking. Bake for 25-30 mins till golden brown.


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The landmark goods and services tax (GST) is set to come into effect on July 1. For all the complexities in moving to the new framework, the application of a single tax regime is seen as a boon for economic growth and fiscal transparency.
GST will subsume indirect taxes currently imposed by the Centre, such as central excise duty, customs duties, service tax and certain cesses and surcharges.
At the state level, GST will absorb value-added tax (VAT), central sales tax, luxury tax, entry tax and entertainment tax, among others. Instead, central GST and state GST will replace these myriad indirect taxes.
Exports will remain zero-rated under GST's five slabs. However, the export sector, especially small- and medium-sized firms, worries about what might come with this uncharted territory. In particular, they fear the new GST regime may limit the upfront exemptions that they have come to expect on export duties.
These incentives have helped Indian products remain competitive in foreign markets and subsequently contributed to economic growth. The Export Promotion Capital Goods scheme, for example, is for duty-free sourcing of machinery for export purposes, and the Advance Authorization Scheme allows duty-free sourcing of raw material.
GST latest news indicates that the GST Council has included a provision to keep the duty drawback on goods manufactured in India for export. It's essentially a rebate on the tax charged on imported and domestic materials or services used to produce such goods.
If enacted, the effect of the duty drawback on export-dependent sectors, such as handicrafts, would be positive. Exporters who have paid tax on the inputs mentioned above, but whose products have no tax against them, will now be able to adjust these duties so their goods don't become uncompetitive in global markets.
According to Commerce Minister Nirmala Sitharaman, the finance ministry will refund 90% of export duties paid during the manufacture of items for export. This will be done in a seven-day period under the new GST regime through an online portal. If for some reason, this seven-day deadline is not met, the government will pay interest to exporters at a rate of 6%.
In this sense, GST will be a boon for exporters. Duties must be paid at the time of the transaction, and refunds processed after export. The intervening gap had worried exporters because of the impact on their cash flow and working capital, and since tax authorities might take months to process refunds. Smaller export firms had demanding an exemption from paying any tax under GST on account of this delay.
Now, the process of claiming these drawbacks and refunds is easier through the high-tech, fast-track mode available online. Furthermore, once the GST IT network is integrated with the customs infrastructure, accessing drawbacks may become even more efficient.
On the downside, the government is reviewing the Foreign Trade Policy, which means some export incentives may be eliminated.
Industry experts also say GST implementation for the export sector could increase costs by 1.25%
For more legal news in India, visit BloombergQuint.
Thanks for reading this article. I'd love to hear your opinion. Please use the comments section below to share your thoughts. I frequently write new articles that also cover several other aspects of personal finance including credit cards, financial goals, health insurance, income tax, life insurance, mutual funds, retirement planning, and much more. You can Subscribe through Email and receive new articles directly in your Inbox or you can Subscribe through the RSS Feed and receive new articles in your feed reader.


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A reader just emailed us a link to this video, and we have already rewatched it half a dozen times. The footage comes from an open track session at Willow Springs Raceway in California back in March, and it was filmed by a GoPro HERO4 attached to the windshield of driver Tim Bucklin's Audi RS 4. Things seem to be going well enough… until disaster strikes.
From The Driver: Tim Bucklin
So, before the internet tells me how much I did wrong – let me tell you that I know I messed up. I've been tracking for eight years, have been to this track numerous times in a number of cars and know T9 is a very late apex, decreasing radius turn.
Here's my take.
In this case, I turned in too early and too sharply. It was early in the day and early in the session, so I wasn't up to full speed and felt I had enough track to recover. The car tracked out and I maintained the steering angle I normally would for track out, pointing me down the track toward the right side to set up for T1.
Though, in this case, the angle was too steep and the grip too low, so the car tracked out a foot too wide. I know the protocol is to just go straight off with two feet in, and in hindsight I should have done that. However, in the moment, it wasn't apparent the car was going to go wide until the very last instant, leaving me no chance.
While I don't think I over-corrected, the steering wheel was definitely turned to the right some degree to get the nose pointed back down the straight. Once the left side dropped, the car shot back across the track and I tried to get the car to go off straight, but it was too late and there was no grip for steering or braking inputs to have any effect.
I had a chance to save it mid-corner, too. I had lifted mid-corner to get the car tucked back in toward the apex, but I got on the throttle too quickly and too aggressively, also forcing the car to push wider on exit. Had I laid off the throttle longer, or even tapped the brakes to help with front-end grip, and got the car pointing down the track before getting on throttle, I could have saved the corner — and the car — that way too.
Yes, I made an error. It's not my first and it won't be my last. In the grand scheme, dropping two off isn't an egregious mistake, but here at Willow Springs in turn 9, it's one with grave consequences.
Thanks for watching. Be careful out there! Hope you can learn from this mistake as I have.
For those curious, captured with a GoPro HERO4 Silver, mounted on the outside of the front windshield. Camera survived unscathed and still attached, though it stopped recording when the car landed on the roof, probably hitting the shutter button.
Original Source: https://www.youtube.com/watch?v=vcnXsfUiCDY


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Just 150 meters from Gambrinus Hotel, easily reachable on foot, you can find a long, safe and clean golden beach, where you can bask in the sun, practice sports, have a walk, swim and make new friends in absolute tranquillity.
As per Romagna tradition, you will be welcomed by a professional team of nice lifeguards. If you love being on the move, you can spend your time at the gym situated directly on the beach and water aerobics at the sea or with soccer tournaments, table tennis and table football.
We focus our attention especially to our young guests: a specific playground is dedicated to them just next to the beach umbrellas where mom and dad can keep an eye on them, and the new mothers can use the baby-toilet with changing table.
Every day in the morning and in the afternoon the entertainers organize games and activities for children of all ages and there is one particularly greedy: the Nutella Party! Even in the evening, during the parties organized by the baths, we don't forget to entertain the children with baby dance and make-up.
Amazing and fun water parks right on the beach, the ideal solution for the whole family! The entrance to the Riccione Beach Village – served by a free shuttle – and the Marebello Aquapark is free for all our guests! Once arrived at Riccione Beach Village you will find many attractions, breath-taking slides, swimming pools for all tastes and an professional staff that will keep you company with activities and dances throughout the day! In Rimini, a few steps from the hotel, you can find the new Splash park with funny inflatable floats, the perfect entertainment to challenge all your friends!


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Human charisma is primarily defined by the body and is therefore always in focus. Be it in a professional conversation or in a private environment. Not only the person himself but also the personality is defined by the body.
Please watch out: Since there were always dangerous counterfeits in the past, you must be careful to buy only from the original manufacturer's links we reviewed:
Click here to buy the originalBut exactly this is a problem for many people.
Please note: For safety reasons, you should only purchase the product from the original manufacturer. Otherwise, the danger of receiving a counterfeit product is too great.
Watch now!If the body is not defined in the way one imagines it to be, this situation can quickly lead to a situation in which one sees oneself at a disadvantage compared to other people. Of course, this also has an effect on our reactions in everyday life. A lower self-confidence is usually the result here, which makes everyday life extremely difficult for us. But there is a way to redefine the body quickly and precisely. Probolan 50!
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The effect of Probolan 50The effect von Probolan 50 refers directly to the body and the metabolism of humans. In this situation not only muscles are rebuilt but also excess fat is burned. This is done by stimulating the metabolism achieved with Probolan 50.
What is Probolan 50 - for whom is it suitable?Probolan 50 is a supplement that supports the body in different ways in defining body parts. In principle, the product is suitable for all people, but is increasingly used by men. The product is rather unsuitable for children, as the body is growing here and this does not have to be promoted additionally. Probolan 50 should only be used after this period.
The ingredients of Probolan 50The ingredients consist of 3 main substances, Epihydroxetiolan-17-ester matrix700, earth thorn and caffeine. These substances are supported by so-called auxiliary substances such as magnesium stearate. This composition is of course in a very specific proportion, which is optimally tailored to the human body.
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The income - it's that simpleThe use of the product explained quite simply. Take the capsules to the body during or before a meal. This should be done with plenty of water to facilitate swallowing. The quantity depends on the manufacturer's specifications. Probolan 50 is a supplement, which means that the daily intake of food cannot be replaced by this product. It only serves as an additional aid and only works this way.
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Really working - Probolan 50 in practical testThe practical reviews or short practical test shows the Probolan 50 really keeps what it promises. This is shown by the numerous positive reviews from individual customers alone. But also in reviews the product can achieve an optimal result. So you can easily answer the question here. Probolan 50 really works.
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What is discussed about Probolan 50 in the forum?In the forum you will find a lot of different discussions about Probolan 50. Be it about the use or also the effectiveness of the product. Almost all areas that the product could encompass can be found here. A look into the threads can therefore be very informative if you want to inform yourself about the product.
Which products are being discussed besides Probolan 50?In addition to Probolan 50, other very interesting products are also discussed in the individual threads. Examples are ChinUp Maskrdi, ChinUp Mask, Prostate Plus, Garcinia Cambogia Plus or Raspberry Ketone Plus. The product range is therefore broad.
Where can you get buy Probolan 50?Of course, there are vendors, such as amazon, where you could find such a product buy. But also at amazon fake products have appeared from time to time, which were offered by third party providers via this site. To avoid this risk, the direct link to a reputable provider can be used. The link is: />
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Can Probolan 50 also be purchased at pharmacy?Probolan 50 cannot be ordered in the pharmacy at the moment. Only the order online is available.
Does a price comparison make sense?A price comparison always makes sense for customers. However, one should primarily pay attention to the seriousness of the provider and not to the price. Only then can you drive a safe rail, as the experience of our customers has shown.
Please note: For safety reasons, you should only purchase the product from the original manufacturer. Otherwise, the danger of receiving a counterfeit product is too great.
Watch now!You find Probolan 50 is the right product for you and you would like this order? Then don't waste money on fake products and buy Probolan 50 from a reputable supplier. You can find the direct link at the top of the text.See in other language:de en es fr it nl pl cs sk ro bg sr hu pt sv lt fi el da no
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Still, I have so many unanswered questions, and I know there are more possibilities out there that I haven't even imagined that will provide me with more blogging fun.
My question for this post: How did you decide "the look" of your blog background and template?
Actually, I have more questions.
And: HOW DID YOU GET THE THOUGHT FROM YOUR HEAD TO THE BLOG ? ? ?
I Googled "blog backgrounds" and "blog templates" and now I have a slight headache. And, my REALLY slow computer is not helping.
Let's see…I found "The Cutest Blog on the Block."
I found a "Photoshop" tutorial.
I found "Hot Bliggity Blog."
I found "Scrap My Blog."
I found "Blogger Templates."
How do I decide?
Is it all safe to use?
And, how do you all get those big, beautiful photos on your home page?
I'd been thinking about a possible background change for a while, when one day, I pop in to visit my blogging pal, Menopausal New Mom, and there's her new colorful caricature blog expressing a piece of her life. It made me smile.
I wondered, "Is it time for me to make a change?"
So, I asked her (blogged her) to find out how she'd done it. She replied, "Look for Mary's button on my page."
"What's that?"
After scanning "her page" for two minutes, I see it – right there in front of my face. It's "Blog Rock by Mary."
I head over to her sight.
But what do I ask for? Hmmmm…
So, until I make up my mind, I've decided to change to plain ol' Blogger supplied Minima Lefty. Oddly, I like it.
How does a blog design impact your decision to visit and read the blog?