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This year, we continued on our three year journey of transformation to become the clear choice. We stimulated growth in our business, turned the spotlight back up on our Values and reflected on and communicated our Purpose
Tech Monitor UK is a joint report released by KPMG and Markit which looks at the health of the UK technology sector.
Explore why technology firms should choose to invest in the UK. We consider what the UK currently has in its favour as it battles for technology investment.
KPMG has recently published the 2014 Guide to Directors' Remuneration, a survey which analyses trends in FTSE 350 directors' pay.
We help our clients understand current issues and future trends in the world of work, and identify how they can enhance organisational performance through their people.
Explore the opportunities available for school and college leavers at KPMG.
Find out about careers for graduates from all degree disciplines in Audit, Tax, Advisory, Technology, Marketing and HR.
Keep up to date with the latest news and views from KPMG in the UK by following our twitter feed.
KPMG's leadership blogs brings you insight, opinion and debate from our senior partners and industry experts.
Failure to consider environmental, social and governance related issues and opportunities during the transaction process could impact value and successful execution of the deal.
Issues such as contaminated land liabilities, environmental compliance expenditure, rising energy prices and waste landfill costs can affect value if managed inappropriately. More recently, high-profile food safety and child labour cases have illustrated the broader nature and importance of 'non-financial' sustainability factors. They require a deeper and wider assessment across the entire value and supply chain.
Before the financial crisis, investors typically saw environmental due diligence as a risk management tick-box exercise to secure financial institution funding. However, post-credit crunch, there appears to be a greater focus on responsible investment. We are seeing an increased appetite for the potential upsides (e.g. cost savings, additional revenue streams) of the sustainability agenda, in a transactional context. Strategies to manage energy (buy better, use less and self-generate) and waste (convert waste to an asset) is transforming the environmental due diligence process.
Investors should take stock of these issues during due diligence, to ensure they can clearly articulate the opportunities and risks that could affect value.
Examples of the financial implications associated with the sustainability agenda that KPMG has identified on recent projects include:
Clients use our services to:
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August 4, 2013
Don Butler of the Tri-Lakes Business Alliance poses in his 1920 Model T, which is to be featured in several of the events planned for Rum Runners Weekend, which the Alliance is planning for September 13 through 15 in Chestertown and Pottersville. The festival is to showcase northern Warren County's role as a stopover during Prohibition for smugglers transporting rum to Manhattan from Canada. The weekend includes a staged rum-runner car chase, a burlesque/vaudeville show, silent movies at the historic Carol Theater, a batting contest and a speakeasy costume ball at the Panther Mountain Inn.
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'Rum-Runners Weekend' starts Friday Sept. 13 in Chestertown
This weekend's Rum-Runners' Weekend celebrates the exploits of the Roaring Twenties, while drawing attention to the Prohibition-era heritage of local communities. Historians say that rum-runners stopped over in Pottersville and Chestertown when they were smuggling alcoholic beverages into the U.S. from Canada — transporting them down Rte. 9, the main route to New York City.
Rum-Runners Weekend to celebrate area's Prohibition-era heritage
The Roaring 1920s featured speakeasies, flapper girls, and the popularization of the first automobiles. The Rum-Runners Weekend planned for next month in Chestertown celebrates the style and spirit of the era.
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Manufacturing Area
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I think limiting characters slots to less than the amount of professions there are is silly. Obviously we don't want to have people making 50 characters, but if it's limited to 4 slots, then we can only experience half of the game's mechanics from our own point of view. Then we'd have to delete those characters to have one of the professions we haven't played, which would make people angry/not want to play. I don't see why they would do this. I think that having 5-8 slots would be good: 5 still meets the amount of races (one of every race at least), and 8 meets the amount of professions.
I'd still prefer at least 8, but who knows; with the amount of content they have, who's to say we'll even need 8 slots?


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Snappy Advice
"Not every idea is going to be entirely unique. It's your job as an entrepreneur to make sure you execute yours the best." – Chris Dahlander, founder of Snappy Salads
Shark Tank
Corey Egan and Swapnil Bora, ilumi co-founders and former business Idea Competition winners, took their idea to "Shark Tank" where Mark Cuban offered a $350,000 investment.
E Club
Entrepreneurship Club Membership Drive
Team Rollout
Team Rollout Alejandro Jacobo (left) Matt Hinson (third from left) from UT Dallas' Entrepreneurship Program takes home third place out of 88 national teams and $5,000 at Baylor's New Venture Competition
BIC Workshop
Chris Westfall IIE Advisory Board Member during the Business Idea Competition workshop
Campus Favorites
Kelsey Drake, Zac Evans, Addison Kim, Michelle Abuda, won the video voting blitz for the Campus Favorite in the Business Idea Competition.
CEO Dinner
E Club and IIE sponsored CEO Dinner connecting CEO's and venture capitalist with the Entrepreneurs of the future
The Institute for Innovation and Entrepreneurship (IIE) is a specialized center within UT Dallas that promotes cross-disciplinary academic and outreach programs for the students, faculty and business community. We bring together the power of ideas and technology to create new ventures and support the growth of all companies, small and large.
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Executive Director - Institute for Innovation & Entrepreneurship
Director's Message
Please contact us for additional information on any of our initiatives.


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"Kingsman: The Secret Service" (2015) – Video Review Roundup
The We Live Film Video Review Roundup returns with Matthew Vaughn's spy action-adventure "Kingsman: The Secret Service.
Check out all the latest video reviews from all of your favorite filmsters all in one place
The We Live Film Video Review Roundup returns with Matthew Vaughn's spy action-adventure "Kingsman: The Secret Service.
Our crew of critics review Christopher Nolan's ambitious science fiction drama "Interstellar".
Our critics reviews David Ayer's WWII epic "Fury", starring Brad Pitt.
The WeLiveFilm critics give their video reviews of the comedy-drama "Birdman," starring Michael Keaton and Edward Norton.
The critics of We Live Film review David Fincher's latest thriller, "Gone Girl", based on the novel by Gillian Flynn.
Our critics review the film adaptation of the Young Adult sci-fi novel "The Maze Runner".
Our critics share their thoughts on the latest found footage horror film "As Above, So Below".
Our critics review the 2014 reboot of "Teenage Mutant Ninja Turtles" starring Megan Fox.
The We Live Film team reviews Marvel's latest sci-fi adventure "Guardians of the Galaxy", directed by James Gunn.
Here are some early video reviews for the comedy "Let's Be Cops", which opens Aug. 13th.


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Absolut, "silverpoint", Punchdrunk, Somethin' Else
Rating: 5.0
By by Noel Bussey, campaignlive.co.uk, Thursday, 25 May 2006 12:00PM
CHI picked up the business, which was previously held by Miles Calcraft Briginshaw Duffy, without a pitch.
MCBD parted company with the directories business earlier this month.
CHI was handed the account by Thomson Directories' newly appointed chief executive, Max Alexander.
Alexander joined Thomson in March this year, replacing Linda Pancratz.
He was previously the managing director of Talk Talk, an account that CHI also holds.
He said: "I had a great experience working with CHI at Talk Talk, where we grew our customer base from 100,000 to two million. So it was an easy choice to work with the agency again on the Thomson Local brand."
MCBD had handled the Thomson business since 2004. The agency is now involved in the pitch for the £20m Yell account, a direct rival to Thomson. The Yell business moved out of Abbott Mead Vickers BBDO in April.
Thomson's media account is handled by The Media Shop, while Dare handles its digital account.
If you have an opinion on this or any other issue raised on Brand Republic, join the debate in the Forum.
This article was first published on campaignlive.co.uk
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Rating: 5.0
Agency: Wieden & Kennedy
Rating: 5.0


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Back from a visit to China, Karnataka Chief Minister B. S. Yeddyurappa favoured a two-child norm suggesting that benefits of government schemes should be denied to parents opting for more—much on the lines of the Chinese model, he said on Wednesday.
Mr. Yeddyurappa called for a debate on implementing such a measure back home.
"There should be a debate to see if one adopted the two-child norm, it helps in more development and population control," he said in the assembly. The visit to China was an "awakening," he said.
Farmers appeared very happy in China and the people there were never seen whiling away their time. China did not waste a single drop of water, he said.
Elderly Chinese were active and India has lessons to learn from its neighbour, added Mr. Yeddyurappa. China has adopted a one child norm policy since 1979 to limit its booming population but people in the countryside are allowed to have two.
Keywords: B.S. Yeddyurappa, two-child norm, China,


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Exposure Lifestyles – Woolshed Edition
Exposure Lifestyles sets itself apart in content and production as one of the most polished street press publications in Aotearoa. Focusing on creative and inspiring people, this issue celebrates the individuals who created the incredible album that is the Woolshed Sessions.
n about and we follow, lear ans; the ones ci place when of a time and favourite musi e all have our ack memories how b W es. I remember r music brings tant in our liv ect with. Thei y favourite conn mething impor from one of m ngs signified so and a new album at those so home in Scotl hen I heard th rd stores back used to get w excited I e of the reco would be, for release. Som e release date and there we tists was due ar t on th py. en at midnigh hands on a co would even op could get our and ld, so we e co e atmosphere queuing in th es slip into th , new releas er of media often than not wed by a flutt ems like more e shelves, follo and the It se the record stor hed Sessions formlessly into out The Wools and blend hen I heard ab of excitement the old sense and reviews. W issue of felt releases the project, I savoured. This talent behind eserves to be ted incredible release that d eautifully craf 's edition � a b heralding a new a collector is edition anticipation is designed as ose to make th ure Lifestyles music. We ch e d the Expos recognised an ories behind th e value of it is to share the st vehicle aper. It is an make sure th captured on p as we want to s is somehow a koha affair, on r hearts and oolshed Sessi play with thei those that sence of The W dividuals who es in de goes out to se such gifted ount of gratitu our to showca am Firefly hon immeasurable er. As Justin e issue togeth our souls. An which th give to vironment in to help bring self from the en r time and love of a it gave thei art manifests ture the spirit his interview, small way cap ope you do. points out in can in some rdingly. We h ted, and if you treasure it acco found or crea it is should t, an idea, you place, a momen PAT hepherd Editor: Pat S : Amie Mills udia.com) or and Proofer Mackey ell ww.riedelcla Sub-edit Hall, Stephen Campbell (w : Peter Campb ndy Morleyl and Peter Illustration b, A Cover ia Riede ia Handscom graphy: Claud an, pherd, Amel Heading Typo e, Jason Nar hers: Pat She Milne-Home acobina Photograp Firefly Clark Campbell, J Contributing ston, Justin eter Pre ng, Gaylene Illustrators: P Contributing ills, Toby Lai ters: Amie M Wri Contributing at Shepherd es.com uy Capper, P G posurelifestyl orner tshepherd@ex n: Stephen H pa Web Desig m elifestyles.co www.exposur ily those of e not necessar oduced publication ar is n may be repr pressed in th . this publicatio The views ex the publisher r. No part of or edito rmission of the publisher ess written pe pr entirety. Printed by: ithout the ex pyright in its in any form w erved. is subject to co styles ights Res Exposure Life S 2008 All R LIFESTYLE EXPOSURE � Thanks for th e shout outs! YOU CAN HEAR THE LANDSCAPE IN THESE SONGS. THE BALMY SIMPLE GOLDEN BAY SURFACE FLOWS OVER DARK SECRET UNDERGROUND CAVES. LIFE IS SWEET WITH UNFATHOMABLE DARKNESS LURKING. Photography by Andy Morley-Hall I was sitting on my veranda hunched over my new Mac Classic writing a draft of some film of mine that hasn't happened yet, when a van stopped at the top of the drive and fourteen people tumbled out. Toby Laing had arrived with "a couple of friends". He came down with seven of them. Lovely kids. Once they had ascertained friendly territory, the rest ambled down and moved in. I knew their mothers. The Woolshed nearly had walls then � plenty of that lanolin smell and open pens at one end. It was a hot summer. They all hung out with us. Age, Fiona, Loren, Han, Brett, Jacqui, Gentian, Sam Broad, Ben, Peter, Justin and more. Wastrels. Lounging around. Swimming in the waterhole, laughing, drinking water from the springs and other things. A big river stone they carried back to the Woolshed still sits there. A couple of Vespas materialised and broke down upon arrival. Layabouts singing silly words to '80s hits, lying about entertaining one another while doing nothing. A parent's nightmare. Since that first summer, most year various combinations come back. The vans have got better. We had a memorial soccer game one year. Ten years later they are still almost without exception, doing the same things they were doing then only now they've gone professional. The world is their oyster. That first year, when the Vespas had sputtered off up the drive and they had all cleaned up leaving not a trace, and as suddenly as they had arrived, they had dematerialised, on the table in the house diary, Age had left a long song in rhyming couplets. Everyone was in it. Since then, every time they have come, Age has left a song on the table. This time, they've left a fitting record that will travel well beyond the house diary. "Wheels of motion ... Black stars are blinkin, The sea is wide, That empty sky Wants me tonight ... I'd take you with me if you'd let me." � Gaylene Preston. August '08 Filmmaker and owner of the Takaka Woolshed PHOTO ESSAY BY ANDY MORLEY-HALL Age Pryor's songs enter your eardrums, head North to the core of your nervous system, and play on your mind for days. The Wellington musician released his second solo album Shanks' Pony last year and promptly ventured abroad to get some perspective back. Toby Laing conducts a dictaphone interrogation of Pryor while taking a break from digging tons of clay in South Wellington. TL: Shanks' Pony, Jess Chambers' album, and The Woolshed Sessions sound to me like a family of albums. Obviously they have a lot in common in terms of the people involved, but they seem to complement each other by being quite different and having their own approach. How do you think Shanks' Pony and Woolshed relate to each other? AP: For me, they're opposites and that was on purpose! Shanks' Pony was me ferreting away on my own, using very limited resources and working out this vision that I held personally. I tweaked it for a long time, as people do on Protools and after a year I put it out and then I was kind of happy with it and not happy with it at the same time ... feeling like it was really a construct. The Woolshed Sessions was a strong reaction against that; just playing and recording live. I didn't want to be mucking around with recording equipment, or trying to be an engineer at the same time as being a musician. TL: There's a nice amount of `roughness' in the performances and it doesn't sound like there's a lot of micro-editing happening. The sound of the old shed is beautiful. The character of the room really stands out. AP: Like there's spirit in music, there's spirit in the places and the Woolshed is a magic space. We've played in some wonderful rooms since our first loose jams in the Paekakariki Hall and the gigs at The Moorings. I think Justin and I had a feeling that the Woolshed would be one of those rooms. TL: You've just got back from four months in some far flung places: Lebanon, Spain, Morocco and Japan. That's why you've got a tan right? AP: Yeah, I really needed that. The work I did for The Woolshed Sessions was the last serious writing I've done and it really felt like I was getting to the end of the material I had in me. Not all writers have this but I have a feeling of not wanting to write about things that I don't know about. I have to write from my own experience. I really had to get out of New Zealand and see what else is out there. TL: What is it? Seeing other places? Seeing other peoples? AP: Well, when I'm writing I'm depicting my own experience or my view of other people's experiences. After a while you settle into a way of life, a certain pattern. Going overseas breaks it up; it pushes your imagination, challenges what you know about New Zealand and about the world. In my music I had reached a comfortable place, almost like I'd found the solution. When you find a formula that works, on the one hand it's satisfying but it's also a scary thought. Going overseas is a way of breaking that up and also humbling yourself and putting to rest the idea that you've found something that will always work, reminding yourself that there are so many other things to tackle in your writing and reminding yourself of your own place in New Zealand in the context of a huge world. Something I've started to look for is the genuine feeling of something being unreal, out of this world, or magic, without being unnaturally induced. Visiting other countries is a way of encountering different realities. I'm seeing that each time you alter your approach to writing, you actually have to lay a foundation in that new area and find your way upwards, but at the same time you start bridging between the new thing and what you've done previously. TL: `Waterfall' definitely sounds like a bridge to somewhere... It sounds like a few songs rolled carefully into one. I see what you mean about music being a formula because `Waterfall' is one serious fractal! AP: `Waterfall' is one of my best songs. I'm really pleased with it. Having done `Waterfall' in response to Shanks' Pony and then having traveled, the next thing I would like to do is totally different. I want to get back to my electric guitar and play some music with physical power in a loud band. TL: That sounds like something I'd like to listen to on the Foxton Straights. The ultimate test for good music! AP: If I think about what I'd like to listen to on the Foxton Straights, it'd be something that has depth and a feeling of genuineness. The Woolshed group and the Ukulele Orchestra have something in common in that all the musicians play with true heart. I credit Justin Firefly with creating that atmosphere in The Woolshed Sessions. The way that Justin approaches his music is consistently connected to the heart of what he's doing. It's something that I aspire to and all of us really respect. The great thing about playing with him is that that pervades the group's performance. www.myspace.com/agepryor Photography by Amelia Hands comb Photograph y by Pat Sh epherd Justin Firefly Clarke can sniff subcultures a mile off and imbed himself within them quicker than his fingers can slide across guitar strings. Having lived for seven years in Berlin with a melting pot of world music at his fingertips, he has returned home to folk roots with The Firefly Orchestra. Toby Laing talks to Clarke about the philosophy of flies, eleven beat rhythms, and musical spirits. TL: Who are The Firefly Orchestra? JF: It started in Berlin, playing with The Firefly Orchestra. Originally it was intended to play Balkan music: Bulgarian, Macedonian... TL: Was that group known as Fried Flies? JF: It did get that name inside the band, but then I decided that was discriminating against flies and I actually quite like flies. It seems to me that flies not only have a role in the organic breakdown of matter, they also congregate in places where the energy is bad and clean it out. Frying them didn't seem right. TL: No it doesn't! JF: It was a group involving anyone I could find playing Balkan music in Berlin, who had time to do a project with me. I got them all together: accordion, cello, double bass, trumpet. Depending on who was around, it was a quintet, or sextet and we recorded a couple of albums together. I realised when I was back in Wellington and we were recording Jess' album, that The Firefly Orchestra is the arranging and orchestrating side of myself. In any project that I have arranged, I'll use that name. Especially if it's got cello in it. I think we inherently bring our personalities to the sounds that we make. And so one cellist is different to another cellist ... I like putting these sound personalities together. With Jess' album it was all based around Jess' songs and the value of her songs. I had to be able to listen carefully to be able to write it. Her songs have such inherent power that nothing needed to be done to push that. With Jess' demos, I'd listen to them and I could hear something, I'd hear that it needed a particular pitch or frequency. TL: Are you back in New Zealand to stay? JF: I'm living here permanently yeah, after seven years in Berlin. TL: Why Berlin? JF: Berlin is just awesome! Where I was living in Prenzlauberg is so conducive to being an artist. So many educated and creative people and freaks, it feels really comfortable. It's always been a place of great thinkers, musicians and writers. Nowadays in Berlin, the dynamic underground culture of the city is developing constantly in new directions. It's always bubbling, becoming more and more unique, while at the same time the more mainstream European culture is closing in and there's a real tension between the two. Like oil and water. Being in Berlin gave me the opportunity to collaborate with a great range of musicians practicing traditions from all over Europe and the world. We would play world music festivals and then I'd encounter more incredible music. What I'm trying to do now I'm back in New Zealand is maintain the influence of the world music that I've been exposed to and played in Europe. I want to express these other traditions that I've explored overseas, through the music I'm involved in here. But also I'd like to see some really hot Balkan parties. I want to see Kiwis dancing to eleven beat rhythms and to seventeen beat rhythms. Spice it up a bit. TL: How did these adventures in far away lands bring you to The Woolshed Sessions? JF: Age and I conceptualised it together and we produced it together. For me it's the same thing I've being doing for the last few years � getting involved in one of the local musical subcultures wherever I happen to be. In this case it's the folk subculture of Wellington. I feel like I'm tapping into a bubble-like atmosphere. It makes perfect sense to play Balkan music in Berlin and it makes perfect sense to play folk music in Wellington. TL: Folk music? You mean folks are playing it? It's happening at a folk level? JF: It's indigenous music. For example, the way The Woolshed Sessions happened was a natural process. There was very little resistance to what small amount of planning went into it. We wrote a lot of the songs down there, during the three weeks prior to recording. We had a whole song-writing hoedown. These songs manifest the environment they come from and the sound and atmosphere of the recordings does the same. It seems to me that the art of producing, or rather the art of making great recordings is the art of atmosphere and respecting the importance of atmosphere. It's a fine line. You've got to wait for the spirit to be there ... and the spirit often doesn't want to be captured on a recording. www.myspace.com/jazzfirefly Brett Skinner was a relative newcomer to the business of making music until one particular potluck where he was enticed into a bongo-drumming jam session that turned into a series of fruitful musical collaborations. Jason Naran talks to Skinner about drumming for Jess Chambers' live band and working his heart out at Weta. Photography by Pat Shepherd JN: You're originally from the United States. What was it that lured you to the green grass of Aotearoa? BS: The short answer was to work on Lord of the Rings. Though it wasn't me that was asked to work on the film originally ... it was my girlfriend at the time. I was working in film as a focus puller and thought it would be wicked to come to New Zealand so we made the extremely big jump to your fine shores. I ended up meeting (through a friend I knew from England) an Assistant Editor for Rings. They were looking for an apprentice and I got the job. That's why I came here. I'm staying here because Wellington is a fucking brilliant city! JN: Since Lord of the Rings, you have set yourself up well professionally. Have you found a place here for your creative life to also flow? BS: I do feel lucky the way things have worked out so far. The creative life has had to take a back seat to larger film productions over the past few years but since meeting people like yourself and Gareth at Nektar, I've been able to start moving towards doing more creative endeavours. Due to deadlines at Weta, it's hardly a `flow' but I'm really making an effort at the moment to get some ideas down ... and hopefully out. JN: Weta is a big system these days. Does dealing with those parameters make you dream bigger about your creative ambitions for the future? BS: Not really. I think I would be dreaming the same regardless of whether or not I was working at Weta. It's great to see how these things are put together, it's great to see the new technology and all that, but I can't honestly see myself running a show as colossal as Avatar or Tintin. Perhaps working at Weta has made me think more about simplicity. JN: Tell us a bit about fatherhood. Does it take up creative time or does it add a new world of inspiration? BS: There is an amazing mix of emotions for me on a couple of levels with regard to fatherhood. My son, Wynn, is an incredible human being and I'm so proud to be his father. He is constantly amazing me with his adaptability and interests. He's four years old and riding a bike for f@rqs sake! I was seven or eight or something before I lost the training wheels! Wynn helps me to take time out and investigate things ... definitely conducive to creativity. Today we went for a ride around his kindy to check out the rocks and go to our favourite lookout to watch ferries. JN: So you've found yourself currently contributing to a number of musical projects. Can you tell us about them? BS: Yeah ... all this music stuff just came to me. Since I moved back to New Zealand from London in 2005 I was thinking it would be nice to get back into music and then last year it came together. I met Jess Chambers at a potluck that Justin Clarke had. Soon after dinner everyone got out their respective instruments and I grabbed some bongos and we jammed. This was the first time I heard Jess' music and I was completely blown away. After that, Jess and Justin invited me to play drums with them. I was so honoured to be invited to play in her live band. We organised to have a jam up in Paekakariki to see how it all felt playing together. We invited other folks and what was meant to be a jam with Jess turned into what is now The Woolshed Sessions. A lot came from that dinner party! It's all happened pretty fast if I think about it. My second live gig ever was playing in front of two thousand people at WOMAD 2008. JN: How does holding together a rhythm section make you feel? BS: I was just thinking about this last night at rehearsal actually. There is a calm yet focused feeling when things really lock in. Pete is a legend. Let me just tell you this now. He is such a great bass player. It's perfect for me working with him, as it's been a while since I really played music. I remember the first practice with Woolshed, that time in St Peter's Community Hall in Paekakariki. I had a complete feeling of bliss sitting amongst all this beautiful music and all these talented/loving people. I'm serious ... real moments of excitement to Continues on page 24... With a voice that reaches to the rafters, Jess Chambers' years of hard work and exquisite harmonies culminated in the 2008 release of her debut solo album, Island. Pat Shepherd finds out why Chambers was considering releasing her album with a very different price tag and how a trip to Africa changed her way of thinking. Photography by Amelia Handscomb PS: It was almost three years ago that we first caught up and talked about your album plans and you released your debut album this year. Did it feel like a long journey? JC: It felt like forever! It took a lot of trial and error on my part to envisage the sound that best complemented my songs, and to come up with the funds to record. I didn't want to sign to a record label. Justin Firefly was living in Berlin and it wasn't until he came back to Wellington in 2006 and suggested we work together that everything started to fall in place for the album to be recorded. Justin had a beautiful feel for orchestrating my songs without taking away from the delicacy of them. PS: The album was recorded in eight days at the studio. Talk us through the process of condensing years worth of material into a short time frame? JC: It was unbelievably effortless on one hand, and on the other, one of the hardest things I have done. I laid down all the main vocal and acoustic guitar tracks with just a few takes for each song and then we layered the strings and bv's etc. all on top. I went into the studio knowing how limited my time was and decided right from the start that I wasn't aiming for `perfection'. My goal was to capture the essence of the songs in the most honest way I could. I tried to listen to my intuition rather than my intellect to create the album. I write music very intuitively, almost unconsciously, it's a weird and wonderful thing. It was also effortless in the way that all the players just kind of drifted in and drifted out. I wanted each musician to do what came naturally for them with their voices and instruments, and it all came together easily. I invited my friends to be on the album and whoever could make it at the time was who we had. It worked out better than I'd imagined and I'm really happy with it. The reason it was hard on the other hand, was because it was very daunting to think I had to represent these songs in just eight days and then put them out into the world. PS: It's a stunning album with years of hard work behind it but I heard you had thoughts of giving it away. What were your ideas behind this? JC: I initially didn't want to become involved in the music industry. It felt weird to divide and break down creativity into percentages and dollars ... among all the other things that go on when music is turned into income and business. It was strange mixing music and money at first. I also felt anxious putting out a piece of work and making a musical statement about myself. The songs are very personal and there's not much separation between me and my music. I felt a little vulnerable thinking about how it might be received. PS: So was your trip to Africa an escape from the music world after recording the album? JC: Going to East Africa (Kenya, Tanzania and Uganda) with my bro the following month was crazy; simultaneously amazing and traumatising. I saw a lot of people who are just getting by, working to live and feed their families without the opportunities that we have here in New Zealand. Yet they had big smiles ... it was bizarre. To me, the situation looks pretty hopeless, and the aid organisations are only treating the symptoms of the problems. There are massive problems, inefficient health care, corruption, lack of education and so much poverty. It seems like it suits the political leaders and business men of the world to exploit the people and resources of Africa. It was a very heavy experience and I saw first hand how my lifestyle as a citizen of a First World country is to a large extent built on exploiting Third World countries. I felt lucky I had been born in New Zealand and that recording albums with my friends is part of my reality. PS: Your vocals have featured on lots of dance and electronica tunes. Have you ever worked on music with your brother? JC: I have collaborated with my bro AKA The Limit Pusher/Million Bucks/Psyzak and the Freakin Dukka Durr... He has a few different aliases. I'm not sure when or if those tracks will be released. I know he's dropped them on some feral hippies in Golden Bay. I witnessed the mayhem last New Year at Canaan Downes. It was a buzz, hearing my voice coming out of a humungous sound system and hundreds of extremely happy peoples going crazy under the stars. So fun! www.myspace.com/jesschambersproject Photography by Pat Shepherd The Surgery is a Wellington recordin g studio where artists such as The Bla ck Seeds, Trinity Roots, The Phoenix Founda tion, Fly My Pretties, Dave Dobbyn , Hollie Smith, Jess Chambers, Kora, and many mor e have cut their albums. Justin Firefly and Guy Capper interview the man behind the studio, Lee Prebble AKA `Doctor Lee' . which is invaluable. It would be great if my older brother Greg moved down here as well. JF: Does your family have a secret DNA for making music? LP: Nope, unless farming has something to do with it. GC: Baaaa! JF: It seems you become part of the bands you work with during the recording process. Is that a philosophy of yours or an accident? LP: Well, it is something that I do try and do and that's why I only take on projects that I believe in. I find it really hard to just sit there and be told what to do and press buttons. I have to see the artists' visions to follow what they're seeing. To do that, you have to get really emotionally involved. GC/JF: Do you have any analogies for making an album? For example, is it like cooking a fish? LP: Nah! [laughs] I like to think that making a record is like a tree or a flower. The public gets to see this beautiful tree or flower above the surface and underneath are all these roots that are three or four times bigger than the actual tree, that go off in all directions and crazy paths and dead ends and that sort of thing. That's what making an album's like. There are all these roots underneath. GC: Are there any other art mediums in your life that affect your sound work? LP: I like building things and fixing things and taking things apart. Maybe it's similar to recording in that you get a whole lot of material and put it together to create something? GC: Do you have a favourite album you've recorded? LP: The Phoenix Foundation's Horse Power. We were so naive that we'll never make those great mistakes again! GC: By great mistakes, you mean they had greatness to them? LP: That's what I mean! It's a really cool record. It's riddled with faults if you analyse it but it's almost those faults that make it so cool! The whole thing has this naivety and this experimentation about it. JF: Can you please explain the relationship between Trinity Roots and how the studio came into being? LP: They found this space and asked me to kinda help them out with their album. Once the album was finished we said, "Why don't we just keep it set up as a studio?" The plan was to have it set up as a koha studio but it didn't really work cos no one really gave anything, [laughs] so we had to start setting rates and it just kind of grew as a studio. It started out as a hobby, and in a sense, I still like to think of it as a hobby. I've seen how other studios run by the hour but I just like to keep it as a relaxed environment cos I think that's how music gets made! As Guy and I enter The Surgery, there's a hum of activity. The Black Seeds are all milling about, talking, using the Internet, and cellphones are ringing. Rio Hemopo walks in to use the microwave. An unfamiliar face is picking up a recording. The kettle boils and by the time a coffee is brewed, the crowd has subsided. A quiet distant drumfill starts up and the sound of reggae skanking through far away corridors. An active hush remains. GC: Where are you from originally? LP: I'm from a small town named Waipawa in central Hawkes Bay. It's a town of 1800 people. It was a good place to grow up but I'm pleased I don't live there anymore. My brother got me into music. The first tape he brought home was Guns `n' Roses' Appetite for Destruction. Growing up in a small town, there wasn't a lot to do and so all my brothers and I latched onto music and it became a huge part of our lives. I guess we were bored and it inspired us. JF: Two of your brothers, Tim and Ryan, are strongly involved in the Welly music scene. What's it like having them roaming around? LP: It's great! Really awesome. They're both great musicians and Tim helps me fix a lot of things around the studio, GC: If you were to rebirth into a musical era or explosion of this planet, what would it be? LP: I'd love to be working in music in the '70s. Technology was really getting somewhere then. It was at the peak of analogue! JF: Your studio is obviously very analogue-orientated. Do you have an animosity towards digital? LP: Not at all! I think they work really well together. I don't think I'd be working as an engineer if I had to work just with analogue. I don't think I've got the patience for it. The thing I like about analogue is the unreliability of it, the little quirks and things. JF: I really like your approach playing the slide guitar. How did you get into slide playing? LP: Actually, it was just that I saw it and it looked like a beautiful instrument. I bought it in an antique shop as a birthday present to myself. I kind of think of myself as an atmospheric mood slide guitarist. GC: Here's a serious question: if you could have a really well trained animal in your band that was seriously good (and there'd be towels in case it was a mammal or a fish), what would it be? LP: I think probably a simple old dog cos I just love dogs! Continues on page 24... Andy Hummel is a bloke who writes and sings songs with a guitar. He is one half of contemporary folk duo Rosy Tin Teacaddy and a presence in myriad musical ventures coming out of Wellington. Hummel is a cryptic crossworder as opposed to a sudokuer and his name is a somewhat apt anagram for hum, lay, mend. Pat Shepherd asks Hummel about his musical meanderings. Photography by Pat Shepherd of electronic computer music. My main project and focus is Rosy Tin Teacaddy. Rosy Tin Teacaddy is my bestest oldest friend and I, essentially a contemporary folk duo � male and female vocals and guitars. There's a certain freedom and whimsy and lyrical fun going on in this project that really appeals to me. Since beginning, the band has grown to include a cellist, a bass player and other instruments for a more lush sound. Plus we dress up, play make-believe and put on a show. We've just finished recording a new album and is this where I say we're really excited about it and it's coming out soon? I hope so, because we are, and it is. I'm not sure if any of this is very adventurous, but I'm certainly enjoying the wandering. PS: Do you find it hard putting a value on your time and music and do you think musicians often undervalue their preparation and writing time? AH: It depends what you mean by value really � do you mean money, or contentment and satisfaction? There's never enough time. But that's everyone's problem. Aren't we all struggling with work/life balance? I don't know about others but when I write songs it's a pleasurable yet sometimes laborious process. What audiences see and hear at a gig is the result of hours and hours of writing and rehearsal. PS: During the two years you lived in the UK, what were the experiences that affected you the most? Have they shaped your life since returning home? AH: Songwriting for me took a hiatus during that time � I didn't play my guitar much, and I didn't see as many shows as perhaps I should have, but I did go to some nice festivals. And I learnt a new piece of audio computer software. I also hung out with some guys who saw sound as art, something I realised that I already knew, but hadn't formalised in my head. I like PS: It takes a particular mind to successfully wordsmith one's way through a crossword. What do you enjoy most about doing them? AH: I do cryptic crosswords mainly. I'm not consistently good at them but I enjoy the fact that they're a puzzle, which is obvious, but I don't have the sort of mind that can do sudoku. I like them because of the wordplay and puns and fragments to be gathered together. It's a good exercise for keeping a lateral mind I guess. They're also a way of exposing yourself to the components of language and how we use it, new words. They're a great excuse for reading the dictionary. I find cryptics are often more fun done with someone else, working out the problem together, there's usually a little slither of thought that makes it all fall into place. It helps that I'm good at anagrams, and the people I usually do crosswords with are better at the other bits. My mum is the queen of cryptic crosswords. PS: Your musical journey must have taken you on some fascinating adventures thus far. Can you tell us a bit about what you have done along the way? AH: I would describe it as more of a meander than a journey. One that has seen me sometimes bowling down clear paths and sometimes distracted and looking under rocks. So far I have been a long-haired sweating singer in a rock band, a Crosby Stills and Nash folksy wannabe, a faceless electronic computer noodler, and feel that I've only just hit my stride. There seems to be some kind of refinement process going on, one that tries to bring together acoustic guitar song based elements and the more glitchy end stretching out to that field. But when I got back all I wanted to do was make songs. I had stuff to write about and so I did. Suddenly it seemed okay. The cringe factor of the `singer songwriter' label had died a bit. Actually, I'm a bit uncomfortable with the term still. Can't you just be a bloke that writes and sings songs with a guitar? Or is that the same thing? PS: Some of your songs have a wonderfully dark merriment woven into them that makes the listener feel like you're occasionally poking fun. Do you think as a general rule, we take ourselves too seriously? AH: I definitely take myself too seriously. Which is why there has to be an aspect of humour to my songs, or else it's too cloying, heart-on-your-sleeve rubbish. I have a certain self-awareness that I'm a bit contradictory. I can be quite flippant, some would say inappropriate, but I can also be sincere. I wouldn't want my music to be a downer for people. I hope they feel a sense of playfulness in it, or confusion even. We just need to know when we're taking ourselves too seriously, and if it's not the right time, to snap out of it. There's nothing wrong with a bout of serious if you're prepared to have a good giggle afterwards. PS: What do your tattoos mean to you? AH: Tattoos are quite a personal thing despite their visibility. Maybe the body can be considered a totem pole, a record of events and thoughts. I like the permanence. Rarely in life do you get to make a decision where the outcome is fixed. www.myspace.com/hummelmusic 16 Like many Wellington musos, Al Fraser has his melodic fingers in all sorts of interesting pies. Not only has he learned the art of playing traditional Maori instruments but he also constructs and carves them himself. Pat Shepherd asks the talented Fraser about impending fatherhood and how he came to love so many different instruments. Photography by Stephen Mackey PS: You're originally from Dunedin. When did you make the move to Wellington? AF: I moved up to Wellington in 1994 to start a cafe with my brother, Tim. I guess you could say I'm a Wellingtonian by now but I still feel a strong affinity to Dunners and the South. You can take the boy out of the South but you can't take the South out of the boy ... or something like that. PS: Did you start Jazz School while running the cafe? AF: I was working a cafe job by the time I went to Jazz School in 1995. Our cafe was what I now see as valuable (expensive) life experience. It went down the gurgler due to various shenanigans out of our control. Them's the breaks. I did the long haul at Jazz School. It was great to have my ears open up to lots of different sounds and approaches to playing music but I think the people I met were the best thing about that place. Good dudes. It had a real family buzz about it. PS: Do you still play music with any of those people? AF: Yep, sure do. Justin and Age were the big kids a couple of years ahead of me. Choice to be jamming with the big kids now! I also play in Tahu with Mike Hogan who I met at Music School. I will hopefully still get to play music with the people I met there for the rest of my days ... some wicked musicians have and still do come out of there. PS: Did your love for particular instruments change during your time there? AF: I started on guitar, which I finished my qualification on, but I also dabbled in a bit of trumpet, which I auditioned on for the first year. They teach everyone a bit of drums and piano. I also heard and saw taonga puoro being played for the first time at Music School. So yep, my passion for instruments changed heaps in that time. As did my musical focus, from finger-twisting, super-locrian scales to playing one note on a bone you've found on the beach. The latter is way more of a challenge in my books. Less is more, and all that. PS: I read that taonga puoro were used to portray different aspects of the environment. Does nature inspire you when learning these instruments? AF: The family of instruments we call taonga puoro had many uses. There are some taonga puoro which had practical food gathering purposes such as the karanga manu and poiawhiowhio, which are both bird lures, so they had to mimic the birds' local dialect as well as possible in order to work and put kai on the table. In this way, some taonga puoro portray different aspects of the environment. These instruments are so intrinsically linked with the natural environment culturally, materially and spiritually, that the best way for me to learn how to play them is to be immersed as much as possible in all of these things. Soak it up. PS: Your instruments are works of art. Did you teach yourself the crafting? AF: I learned the basics of taonga puoro instrument construction at first by bugging Brian Flintoff, Hirini Melbourne and Richard Nunns for pointers when I was stuck, and then by attending a few of the workshops they used to run at Hei Tiki Gallery in Rotorua. I nutted out the fiddly whakairo bits by watching Brian and then by looking at the instruments and carvings in the museums and books. I was also taught basic chisel carving techniques by Davey McGhee at Vincents Art Workshop. I'm going to be nutting this carving thing out for a long time yet, that's for sure. There is way more to taonga puoro than I first thought! PS: What projects are you currently incorporating your taonga puoro or guitar flavour to? AF: My main taonga puoro project is Tahu, which also has Henare Walmsley on taonga puoro and korero and Mike Hogan on classical guitar. I've been playing taonga puoro and doing backing vocals with Jess Chambers and The Firefly Orchestra quite a lot and I play bass once and a while for Rosy Tin Teacaddy. I play with Grove Roots on guitar and taonga puoro and contributed some puoro to Hannah Howes' new album as well as Astrid Nielsch's medieval harp album. I'm playing at Bats in a contemporary dance theatre performance called Tuawhenua starting mid-September. I'm also doing backing vocals, gats and taonga puoro on The Woolshed Sessions. Continues on page 24... Photography by Amelia Hands comb JF: Which of Luke Skywalker's defining qualities would you like to integrate into your musical productions and bass playing? PH: I like the schwing of his swings. I'm talking about his haircut. He's got the `wing schwing' going on. He's got style. When I lived in Japan I didn't have the Japanese to explain what kind of haircut I wanted so I took a photo of Luke Skywalker and they were like, "Ahh! Soo desu ne!" [laughs] At that time, there was a kind of disco Luke Skywalker look going on in Japan. JF: You were producing a lot of dub-orientated music when you lived in Korea a few years back. What has changed in your productions since then? PH: The sonic side has changed a lot since the Korean days. It's much more ambient. It's not just a heavy beat; it's much more melodic. JF: You program computer beats and produce groovebased albums, you play keyboards, bass and guitar. Do you have a preferred medium? PH: Not really. I really like the different roles the instruments have in a band. JF: How long has your band Safari been around? PH: That goes back quite a long time to Dunedin. It was around 2002 when I met Jarney Murphy for the first time. We used to do this thing at sound checks where we would just play heavy dub beats stripped back with a raw Peter Hill AKA `the Octopus', is a multi-talented, Wellingtonbased musician who has lived in Europe, Asia and the Middle East. He currently plays with Rhombus, Safari, The Woolshed Sessions and other local projects. As well as gigging and producing, he is also an in-demand guitar teacher. Justin Firefly visited Hill to discuss Luke Skywalker, musical visions, and the art of relaxation. kind of style; really simple but it worked. We clicked together. When I play with him I don't have to do anything or think, I can just play. That's when Safari really started. We were like, "One day we should start a band � we should do this!" So we got Safari going and it's awesome. We just love it. When we're on stage playing it's hilarious! People in the band have fits of laughter cos we can't believe what we're doing! [laughs] JF: If the SPCA said that you had to have an animal in your band, what sort of animal would you have? PH: I'd like a Macaw! It's an Amazonian parrot with a big long beak. There's a runt of the litter and then there's a stronger one. The stronger one is the one that can climb the tree and exercise its wings before it has to fly over the river where the crocs are waiting. They know there're a couple of weaker ones in there and there's gonna be dinner for them ... Amazonian McNuggets! [laughs] It'll play vibes with its beak. JF: What are your musical visions? PH: I'd like to do my beats and really push that side and do it as my main thing. It's always about preparation for me; like building a house or something. I want to build something that is beautiful and long lasting. So my short-term vision is to build up the materials to build a really good house. Getting good wood, rich Californian cedar; it's got a nice fine grain, is hard and it's long lasting. Building that up and still being involved in projects: Safari, The Woolshed Sessions, Rhombus and traveling around with music! My dream has always been to travel around with music. I've always thought that was the ultimate lifestyle! Cruising around different countries with your friends, playing music to people, and experiencing different countries and cultures. JF: You do seem to have quite itchy feet! You've lived in quite a few countries over recent years. PH: It's good! Even as a kid I wanted to do that. Growing up in a small town I guess you get that, aye? JF: If Darth Vader was to play an instrument what would he play? PH: He's not such a bad character you know. He's got his dark side but he's actually kind of redemptive as well ... balalaika maybe. JF: You enjoy teaching guitar and you're a good teacher. It seems you've earned valuable skills from your experience teaching English in Korea and Japan. PH: That really got me off to a good start. A lot of things I learnt there were good: like how to organise. There are so many levels going on when you're teaching that you really need some systems and organisation to unclutter your mind so that it's creative as well. JF: You're one of the most laid back people I know. How do you stay so laid back? PH: [laughs] What do you want me to say? [Italian accent, waves arms around] JF: How would you teach a really uptight politician to relax? PH: Appreciate your life! Just appreciate! All of us are special, we just don't realise it. When you appreciate your life you can just relax. You are this creation; you're a part of creation! This fact for me is quite enough a lot of the time! I'm just walking around going, `Wow! I can't believe it! This is fantastic that I got here! [laughs] JF: Do you think before this life you were maybe a mosquito or something? PH: Maybe an Amazonian parrot! JF: The Ewoks seemed to have tuned into the good vibrations too... PH: Singing and dancing, building little swing bridges between their little tree huts. Good times! Photography by Pat Shepherd a lot of street photography, to light it, because it cost however much it PS: Considering that you do this arranged setting, was, for a roll of film and I really took that was there a big difference in s? Woolshed Session on board. I do like the idea that it means raphing your friends for The photog ere a street photographer but wh something; when you push a button, you AMH: Well, that's like being h n you permission to photograp are actually spending money. everyone on the street has give s me to it. Occasionally a friend ask So, that kind of contradicts what I said them and they're all complic they're etimes when they ask before but if you've reached that peak raph their wedding and som photog actually st thing I can ask Andy', but � this could apply to analogue or digital thinking, `Oh this is the wor it's like a street scene and then as � when you feel like you've honed in on I don't mind doing it every now gs One of the great yet hard thin something and you're really on fire, you where everyone is dressed up. so that want to be invisible photograph as much as you want and then street photography is that you about you ly and photograph people but I don't feel restrained by it. you can roam around random t to recognise you. You just wan don't actually want anyone to PS: Did you run out of film on The it's not dissimilar. observe and photograph. So don Woolshed Sessions? ary postgrad diploma in Lon When I was doing a document of the course AMH: I didn't run out. I made sure urnalism course but as part in 2000, it was a photojo while I thought, when I was getting low towards the end ut street photography. For a we were taught abo with documentary?' I just shot less. Which means I put really street photography have to do `What does an dark glasses on and pretended not to see e you are observing the hum aus But of course it's similar bec We got sent anything: "Andy, Andy, there's a really a war or a famine situation. condition, it's just not in play and we got good shot over here..." "Sorry, I'm busy." tograph people at work or at on projects to pho like, `Hallelujah! This is I was aware all the way through of how street photography and I was exposed to the much I had. Ultimately, you want to go on g I like more than standing on just my thing!' There's nothin ld go by. Just a job with 100 rolls � you might only use of tea, watching the wor street corner with a cup rything. I love 20 but you know you can use as much as ching nothing really but eve standing there, wat k that they can look you want. e people traveling on buses thin buses becaus look at if you're on the street and you at everyone on the street but supposed to be PS: As well as playing in the Wellington you like, `You're not a bus passenger, they look at International Ukulele Orchestra, do you a funny thing. 're allowed to look at you.' It's looking at us. We also write your own music? AMH: Funny you should ask that. Since t you take as film gets sho PS: Do you question every being in the Ukuleles for the past two more expensive? shot each time I years, it's actually inspired me to start Well, I don't question every AMH: No, I don't. with writing my own stuff. The Ukes have olshed Sessions, I only went push the button. On The Wo I was recently done a series of ads for Whitcoulls. w I had a finite amount and a certain amount of film. I kne n the They requested four of the songs that we so I knew I couldn't pop dow in a valley in remote Takaka y constraint. If I had cover and an original instrumental to use e more. That was the onl shop and get som there is a restraint like as the radio version of the ad. I had been would have shot more. I'm glad had more I work messing around with the instrumental, stop and consider. I used to that because it does make you in England. some of the orchestra knew about it and I umentary cameraman as a camera assistant to a doc cameras, but he took it to practice one day and we worked and mainly did jobs on digital He had a great eye m film. I learn to mag load it into an instrumental with some `doos on 16m also did the odd documentarie gorgeous cameras. I noticed wop-shoo-wops'. It was amazing for me to as things, they were the most and, oot get all the Ukes input and for us to arrange ld say to the cameraman, "Sh directors on digital shoots wou lly didn't have any skill and for it to become this thing, which it g" and they rea this, shoot that, keep shootin and at the other end has now been recorded. I find words really . They had a good cameraman as a director person hard to come up with though! They were actually just this of the process, a good editor. we worked on film ". Whereas when Continues over the page... who pointed and said, "Shoot to shoot and how spend an hour deciding what shoots, we would Andy M watch orley-Ha ll is a er. A tea-d peop corne rink r-loit ing, s le ering the h treet obs um arme an condi erver of tion. d wit Often hh and c amer is trusty ukul a, throu ele gh W he strum s his ellin captu gton's way rin str Pat S g the wo rld a eets, heph roun erd t Hall d him alks abou . to M t stre song orley et -writ ing, a photogra proce p nd cr sses. eativ hy, e CONTINUED INTERVIEWS... PS: Do you think that comes from being more of a visual person? AMH: Possibly. I do like writing letters and I like reading. I think it might just take time because I can't bear the idea of writing stuff that everyone else writes. I was listening to Ian Dury and the Blockheads the other day, who I think are great and I like the idea of writing nonsense. Everyone else thinks about all the important stuff like love and telling people how to do things. PS: At a time when hightech digital technology and production are often favoured in the music industry, do you see The Woolshed Sessions as a fresh return to strippedback and collaborative music making? AMH: I think my attitude towards that and anything creative is that I don't care how it's made or what the photo's taken on. Show me a photograph; if I like it, I like it. If I don't, I don't. I think technology is great. It's good and bad and there was good and bad stuff in the old days too. It's the end product that matters. I feel really strongly about that. I think people can get preoccupied with the technology. You can have all the technology in the world, or you can be Taika and do an amazing short film [shot in camera across one day of filming] in the 48-hour film fest, and it's brilliant. It could have been off Blue Peter or something. It was just great, it won and I'm not surprised. www.myspace.com/ wellingtoninternationalukuleleorchestra just be contributing to the feel of the music. Calm yet focused ... not sure how else to describe that. I guess all else just falls away... I found myself staring at Pete's amp for ages. JN: I know for me, music provides an element of uplifting therapy. Do you have your own form of musical therapy? BS: Ever since I can remember, music has had a positive effect on me. I gain so much from playing music and listening to music. In a way it's therapeutic as it takes me away from my analytical mind. I remember as a child thinking that music gave me powers! I would get so into the album that I would think of myself as some kind of superhero! The first album I got was a KISS album and I can still remember air guitaring to the whole album in our living room. JN: Haha, times have changed since our childhood dreams of being superheroes! All media � photography, film and music, face the same dilemma. What are your thoughts � analogue or digital? BS: What about coexistence?! I've recently pulled out my Lomo (camera) again and am getting such great images from that. I can't imagine giving that up! I'm into using digital images for sure... I shoot lots of video/digi because the workflow is easier but if I had to choose any format it would be Polaroid! Creating a film from millions of Polaroid's? It must happen. You keen to help Jase? JN: True ... Let's hook up! I'm free Friday. www.myspace.com/brett_skinner GC: What would it play? LP: Well, I'm thinking drums actually. GC: So a Labrador? Oops, that's me pushing my dog! What sort of dog would you want on drums? LP: I wouldn't be too fussy actually. It would be down to me meeting them as opposed to looking for a special type of dog. GC: But a Chihuahua, visually, for fans might look a bit odd... LP: Yeah, you see it would have to be a reasonably sized dog with a big tail cos I think the tail could hit the kick drum and then the dog could use the four limbs to do the rest of it. JF: I've noticed you might have some squirrel-like tendencies... LP: Yeah, I'm a hoarder and my dad was a hoarder. I used to think if I just got this one more microphone that'd be me set. But I've realised that you can never have enough! It's a never-ending addiction and there's no cure. GC: ... and you're okay with that? It's not a problem is it? LP: I've come to grips with it, and so have the people around me. [laughs] www.surgerystudios.co.nz PS: Does that busyness mean you are able to make a living doing music in New Zealand? AF: It's definitely possible to make a modest living from music in New Zealand, even though we have a small population and the opportunities for touring are limited. I think there are probably only a small number of people doing this from just playing music though. Most people I know playing music full-time also have another source of income such as teaching music or some sort of day job, so they end up working harder than your average nine-to-fiver. This is what I've opted for by working part-time at the Wellington Public Library, which then gives me the time (and money) at the end of the day to get into my workshop or music studio and to be a bit more picky about what gigs I play (no more covers band!) Having limited time to spend on my passions means I am more focused when I'm carving or making music and I really try to make the most of my time and not mess around too much. PS: With fatherhood fast approaching, how is your headspace? AF: My head is good. I think I'm the happiest I've ever been actually. Fatherhood is gonna be a crazy ride and I'm feeling well up for it. Bring it on, I say. www.myspace.com/alistairfraser WILLIS YORK HAIR LeveL 3 119 Taranaki sT WeLLingTon 803 3492 Two new locations! Now in Garrett Street, off Cuba. Or get your take-home coffee at the Victoria Street veggie market on a Sunday. Light Life this Summer PHONE: 04 384 6107


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Luke Ouellette
The agony of defeat, Tory edition.Ty Lund, MLA 1989-2012. Lost in Rimbey-Rocky Mountain House-Sundre, from Ponoka News The mood was sober at Ty Lund's campaign headquarters in downtown Rocky Mountain House.
It was a hard-fought, nasty campaign, says defeated Tory Ray Danyluk in St. PaulIt was a hard-fought, nasty campaign that has left some of the candidates bruised and shaken. In rural Alberta, the former Tory bastion of support, it got personal, according to Lac La Biche-St.
Lloyd Snelgrove says he'll bow outThe news from Lloydminster on Tuesday was that former cabinet minister Lloyd Snelgrove will not run again in the next election. He wasn't available for comment but the former treasury board president and


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Acetazolamide for the Prevention of High Altitude Illness: a Comparison of Dosing
This study is currently recruiting participants. (see Contacts and Locations)
Verified December 2013 by University of Utah
University of Utah
Information provided by (Responsible Party):
Scott McIntosh, University of Utah
ClinicalTrials.gov Identifier:
First received: November 12, 2013
Last updated: December 3, 2013
Last verified: December 2013
- Full Text View
- Tabular View
- No Study Results Posted
- Disclaimer
- How to Read a Study Record
No Study Results Posted on ClinicalTrials.gov for this Study
|Study Status:
|This study is currently recruiting participants.
|Estimated Study Completion Date:
|No date given
|Estimated Primary Completion Date:
|December 2014 (Final data collection date for primary outcome measure)


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To embed, copy and paste the code into your website or blog:
The Supreme Court of the United States has ruled that pharmaceutical sales representatives ("PSRs") are "outside salesmen" who are not entitled to overtime under the Fair Labor Standards Act ("FLSA"). The high court's ruling was predicated on its finding that, in the pharmaceutical industry's "unique regulatory environment," the commitments obtained by PSRs equate to traditional sales. Furthermore, the Supreme Court rebuked the U.S. Department of Labor ("DOL") for "unfairly surprising" the industry by filing amicus briefs arguing that PSRs were not exempt from the FLSA's overtime requirements.
PSRs provide physicians with information about the efficacy and benefits of their company's products but cannot "close" sales. Rather, within the regulatory scheme governing pharmaceuticals, PSRs attempt to convince doctors to make nonbinding promises to prescribe their products. For that reason, the DOL (along with plaintiffs and some federal courts) has contended that PSRs do not make "sales" and thus are not covered by the "outside sales" exemption.
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tom in Illinois
tire is not a 140 only measures 5 in in with my 130 front is wider dot was 2712almost 3 years oldRead All Reviews
Andrew in UT
These improved the performance of My BMW F800GS exponentially. The stock tires were junk. While in Germany I noticed most BMWs used these so I decided to give them a try. They ride well on the road and have little vibration or noise. I've noticed absolutely no slippage or lack of traction over the stock Anakee tires. They perform quite well off road as well.Read All Reviews
Ryan in CA
Riding 2 up at max gross weight of 950 lbs this front tire grips the road at full lean. Less than 1/4 inch chicken strip.... it's good.Read All Reviews
Caleb in WA
Best tire ever. Works perfect all the way to the cords!Read All Reviews
Nick in CA
These grip as well as expected. They need about a mile or so to warm up. Mind you, I leave about 7 a.m. in 50 degree weather so take that into account. My ZX9R has 130 hp and when the tire is cold, they will slip around a bit. I didn't take these in the rain, but when I hit a puddle, they would initial let go. When they get rid of most of the water (ten or twenty feet) they grip again. So take it easy in the wet. Sold the bike, so not sure about longevity.Read All Reviews
Michael in AKL
I was going to buy the Karoo 3 three but was recommended this tire as I also use my bike to commute on the highway to work and it should have longer life. I've had it a week and have just returned from a 9 hour day on the bike incorporating loose gravel roads, highway, singe track and clay. The only things this tire struggled with were a steep, wet clay hill with multiple switchbacks (it made it up reasonably easily but with a lot of sliding), and a steep, wet, grassy paddock hill. For a less than 50/50 tire this sure can handle plenty of off-road elements, if you don't mind your rear sliding if its wet. I have this matched with a TKC80 on the front.Read All Reviews


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4:43 pm
Thu April 10, 2014
Lil Buck Sinegal: 'With the Blues, You Can Express Yourself'
By Amy Jeffries
Originally published on Sun April 13, 2014 9:35 am
Lil Buck Sinegal, a Louisiana Music Hall of Famer, started playing as a kid in Lafayette on a Harmony box guitar before his father, a cement finisher, bought him an electric guitar -- paid for in installments of $10 a week.
Buck played in zydeco legend Clifton Chenier's band for 17 years, and he says it was Chenier who taught him the blues.
Lil Buck Sinegal plays on the Swamp Blues Stage at 12:45 p.m. Saturday, April 12, at the Blues Festival in downtown Baton Rouge. He talks with WRKF's Amy Jeffries, Back Stage at Blues Fest, at 2:30 p.m.
A full line-up and more details on the Baton Rouge Blues Festival are at www.batonrougebluesfestival.org.
Copyright 2014 WRKF-FM. To see more, visit http://www.wrkf.org.
Related Content:
Inside the Arts
Music Inside Out with Gwen Thompkins


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A NATION CHALLENGED: SECURITY; U.N. Official Calls for a Much Larger International Force in Afghanistan
By ELIZABETH OLSON
Published: March 28, 2002
GENEVA, March 27— A United Nations investigator urged a significant expansion of the international security force in Afghanistan, warning that failing to do this could torpedo efforts to create democratic institutions in the war-devastated country.
''The first priority in restoring human rights is security,'' said Kamel Hossain, the United Nations's special representative on human rights in Afghanistan. ''How do you start the rule of law after the rule of the gun for so many years?''
Mr. Hossain, a lawyer from Bangladesh, recommended increasing the international force by between 10,000 and 20,000 troops. He made his remarks after presenting his report on Afghanistan to the annual meeting here of the United Nations Commission on Human Rights.
His recommendation runs counter to the view of the United States and France, which have expressed opposition to expanding the 4,800-member International Security Assistance Force. The force is led by Britain and made up of soldiers from European countries and New Zealand, who help guarantee security in and around Kabul, the Afghan capital.
In January, Afghanistan's interim leader, Hamid Karzai, asked the United Nations to extend the force beyond Kabul to other parts of the country where rival warlords are vying for territory and control.
''This is an absolutely urgent need,'' said Mr. Hossain, who also wants the troops to be deployed across Afghanistan. ''Security lapses could jeopardize the whole transition process. Never has so much been at stake if a modest request for 10,000 to 20,000 international security forces is not urgently and immediately made available.''
Mr. Hossain, who has held his post for three years, has made a number of trips to Afghanistan, most recently in February. He said that many Afghans had been killed during the autumn, noting that ''whenever territory changes hands, there tend to be reprisal killings.''
He said he supported creating a national Afghan army -- a key United States priority -- and especially a national police force, but cautioned that ''you can't wish it into existence overnight.''
In his report, he told the 53-nation human rights commission that Afghans considered a national police force the ''No. 1 priority.'' The absence of nationwide law enforcement, he said, means ''violent crimes are taking place, some of which are reported to be ethnically motivated, resulting in cross-border refugee flows, and a number of them are reported to be directed against women.''
He also urged Afghanistan to confront past wrongdoing during the country's 23 years of war. The Afghan people, he said, need to ''take a critical policy decision'' on whether to prosecute perpetrators of atrocities, or to set up a truth commission, modeled after South Africa's, or some combination to create conditions for national reconciliation.
Wrongdoers can also be excluded from public office, he said, adding, ''If you have a structure based on the will of the people, these warlords will become irrelevant.''
Mr. Hossain also said he was concerned about the conditions under which captured Afghan fighters were being detained inside the country, and urged that they be treated in keeping with Geneva Convention requirements. ''Prisoners must be treated humanely,'' he said, advocating urgent attention to harsh conditions and the outbreaks of disease in Shirbarghan prison, situated near Mazar-i-Sharif in the northern Afghanistan.
He also said the prisoners' status much be determined by ''a competent tribunal,'' as required by the 1949 rules for treatment for prisoners of war.


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Does this product work in the Dominican Republic?
I know I need some type of GSM or 2-3G coverage.
Their web site state d it work in the ""caribbean" but I need to know if it work in the Dominican Republic. If it is possible, I need to know if it works in the city of La Romana
- Asked by Andres M from Mississauga
PocketFinder Personal GPS Locator (Powered by LBT)
Product No Longer Available
1 Answer from the Community
The devices are designed to work most everywhere in the world there is GSM wireless signal. Unfortunately, the devices sold here in the US are limited to certain global countries and Dominican Republic is not a roaming covered country. The PocketFinder website has a list of the covered countries.
- Answered by David M from Mission Viejo


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called me 4 times (every 2 hours) no message
All Comments (54)
calls 10 times a day. no one on the line.
They keep calling me at 8pm every night for the last three days and don't leave a voice mail. I tried calling back but got an automated notice that I have an overdraft fee with Wells Fargo...I don't even have an account with them. I looked then up online and they are trying to get SSN and bank acct numbers...I wish I could make them stop!
Caller: Oregon
They are pretending to be Wells Fargo. I do not even have a Wells Fargo account. They never leave a message
Fake Wells Fargo. I don't even have wells fargo
You might be interested in checking reports for numbers
Other phone numbers in the +1 503 area code


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Worry about anything Hartz
posted 7 years ago
I just dont trust them to make a good product, they have has so many problems in the past
Pros: cost
Cons: quality
6 of 6 people found this review helpful.
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Thai PM Yingluck rules out resigning as bombs, gunfire punctuate unrest
Published on Feb 24, 2014 6:00 PM
BANGKOK (REUTERS) - Thai Prime Minister Yingluck Shinawatra, the target of anti-government protests in Bangkok, has been staying outside the city and on Monday ruled out resigning despite a series of deadly attacks heaping pressure on her administration.
Ms Yingluck, who attended a trade show in Saraburi province, 100 km north of Bangkok, called for dialogue to resolve a crisis that has dragged on for months, with key intersections in the capital blocked by protest camps.
"It's time all sides turned to talk to each other," Ms Yingluck told reporters. "Many people have asked me to resign but I ask: is resignation the answer? What if it creates a power vacuum?"
The protests have been punctuated by gunfire and bomb blasts, including one on Sunday that killed a woman and a young brother and sister.
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Laguna Niguel, Gordon Wilson: It is not hard to spread the blame for the pot mess in which we find ourselves ["A heyday for pot," Opinion, July 16].
A certain amount of it is due, of course, to a lack of personal responsibility. But the issue goes deeper.
Personal responsibility usually evolves best in a society which relishes real freedom – as opposed to one which worships its plastic clone, which our politicians use so successfully to hoodwink the public.
Countries that engage in numerous "wars" on various peoples and substances tend to produce citizens quite helpless when real liberty comes along.
The United States, despite all its fancy gushy rhetoric and hoopla, actually tends, ironically, to fare much better in the prison industry, in which it has the dubious distinction being the world's largest jailor. It will take some time for many of us in this so-called "land of the free" to get used to the real stuff – the genuinely uncontrolled substance.
That having been said, it does my heart good to see the incredibly repressive mythology of the "drug war" finally beginning to dissolve and lose its fangs.
Sure, it may take us some time to fully come to our senses. We may even continue to refer to "legalizing" the stuff even though we would never dream of legalizing the water we drink or the air we breathe. But, quoting the majestic words of one of our national anthems, we can once more try to "Let freedom ring!"
House's misplaced concern
Huntington Beach, Tom Hamman: So, the GOP-controlled House is proposing that District of Columbia residents not be allowed to walk the streets with a joint in their pocket, but they will be allowed to carry a semi-automatic rifle.
I mean, just how many people can someone kill with a joint as opposed to a semi-automatic weapon? This, like so many other incredulous decisions by the current Congress, is a major reason why our country has become increasingly past its best.
No more bond money for senseless repairs
Anaheim, Amin David: The Anaheim Union High School District Board of Trustees is about to pass a request for the voters to approve another multi-million dollar school bond issue. I'm in favor of long-term commitments to education.
We must continue to prepare our youth for the challenges ahead. However, it appears that a significant portion of the money raised will be ear-marked for much-needed repairs to facilities. What bothers me, is that a significant portion of the money raised would be spent on deferred maintenance.
At a board meeting, a slide presentation demonstrated the extensive wear and tear that has occurred at most of Anaheim Union's schools. Most of these repairs, such as painting and grounds-keeping will have a useful life of 10 years or less.
Why then, should the taxpayers take on a 30-year debt for repairs that will last only 10 years?


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Children Keith Getty Choir Sheet Music: 1 items found
Jesus, Joy of the Highest Heaven
((The Children's Carol)). Composed by Keith Getty and Kristyn Getty. Arranged by James Koerts. For Choral (SATB AND OBOE). Glory Sound Christmas. 12 pages. Published by Glory Sound (HL.35028345)
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Raymond Alikpala, legal counsel for Ladlad (the world's only LGBT political party) explained the Yogyakarta Principles (international human rights precepts around sogi) and gave examples of groundbreaking judicial decisions from the US and India.
The group discussed recent landmark rulings in the Philippines including the 2010 decision to overturn the Commission on Election's non-acreditation of Ladlad and the legal gender change of an intersex person.
'This is a historic initiative of the judicial branch and completes the contributions of the other two branches – Congress and executive – towards making the Philippines at least legally able to provide some equality and justice for LGBTs,' said Oscar Atadero of Progay Philippines, who also presented at the seminar.
Read the full story.


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"Our school is a beautiful, dynamic, student-centered, success-oriented campus that will facilitate our efforts to prepare our students to enter the college and career of their choice."
-- Principal Steve Miracle
The Pleasant Grove Elementary School Student Technology Leadership Program (STLP) earned First Place – Elementary Division in Cinemania and Kentucky Tourism categories during STLP State Championships last month at Rupp Arena in Lexington.
Bullitt Lick, Eastside and Hebron Middle School students participated in the Kentucky United Nations Assembly March 19-21 at the Galt House in Louisville.
Bullitt County Public Schools Technology Integration Specialist Susan Vincentz was elected Vice President of the Kentucky Society for Technology in Education (KySTE) at its annual conference in Louisville earlier this month.
The winter storm that hit Presidents' Day and closed many school districts for a week became the setting for a student photo contest.
Two School Food Service workers have become the first district employees to earn their Level 1 Certification through the School Nutrition Association (SNA).
There are 23 school facilities in Bullitt County and 17 of them are ENERGY STAR certified putting the district number three in Kentucky.
New data based on 2014-15 salary scales reveal Bullitt County Public School teachers rank 8th highest in pay out of 174 districts in Kentucky
Discovery School is planning an amazing field trip to Costa Rica! They will be going during Spring Break of the 2015-2016 school year, so they have plenty of time to stock up on sunblock and practice their Spanish! More information will be posted to the website as it comes.
Huge panther shout out to our archery team, coached by Kim Rasner. We placed second at the tournament at St. Gabriel on December 20th. Way to go, panthers!


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Chances are, if you've bought a video camera in the last few years, it doesn't record to... ...professional world, examples include Compact Flash, P2 cards (usually found in Panasonic models), SxS cards (many Sony...
HEVC intra coding acceleration based on tree inter-level mode correlation
...the experiments presented in Kim et al. [9] did not use high-resolution video sequences (2560x1600 pixels). ...in [17] analyzes only the similarities between adjacent tree level PU orientation for SxS and 32x32 PUs...
Placebo controlled evaluation of Xilei San, a herbal preparation in patients with intractable ulcerative proctitis
An initial analysis was set at day 14 for evaluating the remission induction efficacy of SXS . Endoscopic evaluations were done by using a video scope (CF260AI; Olympus Optics, Tokyo, Japan).
Design, implementation and verification methodology of H.324-compliant video conferencing system
Moreover, more over, ITU-T recommendations for video conferencing on LAN and WAN use the same interoperable... Intel, Corp, SXS ,Inc, Smith Micro and VDOnet etc. begin to sale their product at the middle...
Stacked organic light-emitting devices for full-color flat panel displays
...same number of electrodes as (but three times the resolution of) a 3mxn full color SxS array. ...gate capacitance or a separate thin film capacitor is used to retain the video information for a...