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Bathing & Drying
Time and Pet Grooming Products
By Barbara Bird
Originally written June 2009 for her GroomWise.com Blog, and now archived here in Resources. Barbara's web site is
. Please visit her site today.
Copyright 2011 Barbara Bird All rights reserved
I enjoy reading groomers descriptions of their bathing rituals, what products they use, the sequence they employ, and how long they let various products set up on the coat or skin. These descriptions are shared in the sincere belief that the ritual and timing is as important to the result as the products themselves. Although I honor the value of ritual in giving us confidence in our results, some of these rituals are based on myth and fiction. Today we will look at some facts in the relationship between time and use of pet grooming products.
MYTH: Leaving a regular shampoo on longer will yield better cleaning.
FACT: The action of cleansing surfactants is instant.
FACT: Movement of the cleansing surfactant through the coat is more important to better cleaning than is additional contact time.
FACT: The possibility of skin irritation from the shampoo detergents (contact dermatitis) is increased with increased contact time. Some detergent cleansing ingredients, such as Sodium Lauryl Sulfate, that have been removed from many human bubble bath products, because of a high incidence of contact dermatitis following soaking in the products. These same ingredients are used in many pet shampoos.
FACT: Mechanical action, scrubbing or massaging product through the coat by hand or water pressure through a bathing system, is more important to thorough cleaning than increased contact time.
FACT: Most antibacterial and antifungal agents require 5-10 minutes of contact time with the skin to be effective. It is important to read and follow the manufacturers instructions on the label.
MYTH: Leaving a medicated shampoo on longer will give better results. Not true, although leaving it on less may compromise the desired results. Leaving a medicated product on longer may risk skin irritation from the detergent ingredients.
A very basic generalization is that agents that require penetration of the skin or hair cuticle need time to do this. Penetration is never instant. Conditioning ingredients that have been made cationic and simply attach to the hair surface, can do so quickly without set up time. Most conditioning agents are of this type. The best indication of what type of ingredients are in a conditioner are the instructions on the label. If the label says to leave the product on for 2-5 minutes (or more, as in a remoisturizer), it means that it requires that time for full effect. If the label does not suggest a time frame, most likely the product acts quickly.
Another way to tell if conditioning ingredients are cationic is to look for the suffix onium. This means that the ingredient has been quaternized or made cationic. This clue, of course, only works for products where the manufacturer discloses ingredients.
CONCLUSION: Many conditioning agents, especially more sophisticated ingredients, act instantly and do not require long set up time. Old-fashioned ingredients, and many less chemically sophisticated agents require time to work. For many regular conditioners, there is no benefit from greater contact time than is suggested on the label.
Texturizing is usually accomplished either by adding stiffening ingredients, or omitting ingredients that soften the coat. Texturizing products do not usually require extended contact time. Bodifiers may require penetration of the hair cuticle. An example of a bodifier that needs a few minutes of extra contact time would be Chris Christensen Thick N Thicker Foaming Protein. Spray-on products usually have instant effect. Again, the manufacturers instructions are your best clue. The best practice is to use a timer to be accurate in your set-up time.
Flea and tick products almost always require a few minutes of contact to be effective, especially the more natural ingredients. Leaving products on for longer than the manufacturers instructions, however, can lead to irritation or even toxicity. Putting pesticidal or medicated products on pets and leaving them sit in a cage while the groomer does other things risks overexposure to either the active ingredients or the detergent surfactants.
This is another group of products that requires careful timing and care in use. It is important to use color enhancing shampoos on thoroughly wet coat unless otherwise instructed, and for only the recommended contact time. If too much pigment is deposited under the hair cuticle lens, you will have a dye job instead of color enhancement.
There are very few products where lengthy contact time has better effects. In terms of shampoos, extended contact beyond that recommended on the label may risk contact dermatitis or toxicity. Color enhancing ingredients, bodifiers, and some deep conditioning ingredients may benefit from extended contact, but many ordinary shampoos and conditioners work very quickly and extra set-up time is wasted. Anionic cleansing surfactants and cationic conditioning ingredients work instantly, like magnets, and thorough application is more beneficial than more contact time. Always read and follow the instructions on the label. And remember, time equals money.
Salvage Work
Published on 01-09-11 02:32 PM
Salvage Work by Melissa Verplank, from her GroomWise Blog
As many of you know, I'm a big dog person. Working on these large furry dogs that have a huge shedding problem is one of my favorite things to do in a grooming salon. I know, I know, call me crazy -- but I just love seeing the transformation in this type of job. Over the years I've gotten really quick with the process and rarely cringe, no matter what the size of the dog, nor the condition -- I see it as a fun challenge!
My #1 rule is: Never work on a dirty dog. If water can penetrate the coat, let your products do the job.
Working on a dirty dog is not only unpleasant, but it also takes longer to do . Plus, there will be a lot of coat damage and breakage. A dirty coat is dry and brittle. The dirt and dander trapped within the fur makes it more difficult to brush out. Working on a clean coat will be easier for both you and the pet and much more pleasant.
If there are large chunks that water cannot penetrate, go ahead and break up the tangle using the tool that is safe for the pet. Don't worry about removing it completely, just break it apart so the water and shampoo can do its job.
Prepare your bathing area. If the dog is exceptionally dirty, use the shampoo especially designed for dirty dogs. Using a follow-up treatment of a skin and coat conditioner after bathing twice (or maybe three times in some areas) will assist with the brush out and dead coat removal during the drying process. Make sure you have all the tools you'll need to aid in getting the dog clean like rubber curries or scrub brushes. And make sure you have plenty of towels handy.
My favorite trick when working with this type of job is to bring my high velocity dryer right into the bathing area. With the dog fully lathered, blow the shampoo right off the pets while they are tethered in the tub. The slippery soap will allow the dirt, loose coat, and tangles slide out, being trapped in the shampoo and sticking to the back wall of the tub, minimizing the mess. Not all the shedding coat or mats will be removed but a lot will, making your job easier once you transfer to the drying table. Once you have blown out the pet, follow up with the rinsing process. Repeat this process as many times as necessary to get the dog squeaky clean.
Once the pet is clean and thoroughly rinsed, apply a skin and coat conditioning treatment before heading to the drying table. Read your directions: some conditioning treatments need to be rinsed out while others do not. Your high velocity dryer and a heavy slicker brush will be your best friends during the drying process.
Rule # 2: Be Methodical and Thorough
First, blow out as much moisture and loose coat at possible with the air flow. Use the highest power setting the pet is comfortable with, and a condenser cone. Once you have pushed as much water and loose fur from the pet, remove the condenser cone, and bring the air flow close to the pets skin. Boost any loose coat out of the dog by lightly patting the area where the air is striking the skin with a slicker brush.
Continue to work over the dog in a methodical manner until your brush glides through the coat easily and no more loose coat is trapped in the brush.
Rule #3 ENJOY!
When the dog is complete, it should smell clean and fresh. The coat should be glossy and float freely as the dog moves. There should be an irresistible desire to reach down and bury your hands in a freshly groomed pet.
Four Principles of Effective Drying
By Debi Hilley
Admin has published this article on behalf of
Debi Hilley, GroomWise Blogger
, aka Particentral.
For efficient drying of anything that is wet, you need four things.
Air Flow Volume
Controlled Heat
By understanding how these principals affect drying you can make your drying process faster and safer while saving yourself money on utility bills as well. I found a lot of really good research has been done on the topic by several manufacturers of water damage restoration equipment. If you think about it, drying a carpet or floor out uses the same types of equipment we use in drying dogs and to be honest, carpets and dog coats are similar in that they are all fibrous and when wet hold a lot of water that must be removed safely without damaged those fibers. By reading about how they train their people to do the work of water removal I learned a lot about drying that can be transferred over to dogs.
Let's begin with Extraction. Simply speaking that is the physical removal of water. In dog grooming that is the most important part of drying and it accomplished by two major steps of the drying process; towel drying and force drying. Proper extraction of the water can reduce your drying time drastically.
Towel drying is a critical part of the drying process for most dogs. There are many types of towels you can use. Regular bath towels, microfiber towels, moisture magnets or chamois and Water Absorbers are all available and effective. No matter which towel you choose to use, there are key steps to drying efficiently with a towel. Begin by squeezing excess water out of the coat with your hands while still in the tub. Then, using a squeezing motion again, absorb as much water as you can with your towel. Change towels as they get wet to maximize this step in the process.
From the tub, after drying I place dogs onto the drying table which in my case, has a flannel covering on it with two or three towels underneath it. This helps in the extraction process by absorbing the water from the feet, and the water that is going to be removed from the coat in the next step of the process. If you have a short coated dog, you can ruffle the hair while toweling but in longer coats it is a bad idea as it may tangle the coat.
Some people use towel warmers or towels right out of the dryer to dry dogs with. This does in fact speed up the drying process and it allows the towels to absorb more water. A warm towel makes you and the puppies more comfortable, so if possible, use one that is warmed up. Many places offer towel warmers for sale at a reasonable price. Simply search on the web and you will find ones available in many places, but make sure they will hold and heat the size of towels you are using. Some designed for human hair salons are designed to heat smaller towels.
If you are using something other than towels to dry, then a warmer is not an option. The Moisture magnet s and Absorber type towels work better when they are wet to begin with. Simply wring them out and they are ready to go back to work again.
Towel health tip: NEVER re-use towels from one dog to another. Always use a clean towel on each dog. The same is true of the other types of towels as well. Absorbers can be stored in a Chlorhexidine solution in between dogs and wrung out well, but otherwise, use a fresh towel and wash between uses.
The next step in the extraction process for us is force drying. By using a force dryer to remove water from the coat we can drastically reduce the drying time and as a result get a better finish, as well as getting the pet dryer faster for its own comfort. A good force dryer is essential to any pet groomer in my opinion. Most of them do not have added heat but pull air across the motors to cool the motor, so the air coming out of the nozzle is warm, generally 30-50 degrees above room temperature when it exits the hose. Once it comes out into the air, the temperature is drastically reduced. So while it feels hot in the hose the temperature at which it contacts the pets is much lower. Some dryers do not pull air across the motors. As a result you are getting room temperature air that uses force to dry dogs. You might, after a prolonged period of use, find that the air warms up slightly, but it does not get as hot as one that does. You must decided for yourself what you need in a dryer then choose one accordingly.
All of these dryers are great for removing large quantities of water, and which one you choose will depend largely on what types of dogs you groom and what your personal preference is. I like warmer air, so I chose my dryers accordingly. I find that I get a better fluff with heat, and that the dogs dry a bit faster when using a dryer that contains some heat, and I can explain why that is in the next section, but others feel like the added heat is a detriment and prefer the cooler air dryers. Whatever you choose, make sure you have enough power for the types of dogs you groom. If you do a lot of the big hairies, a larger, more powerful blower is for you. If you do mostly smaller dogs then you can get by with less force. For me, I do a variety of dogs and prefer a variable speed control, so I can adjust the airflow to the job at hand, and my dryers raise the temperature of the air as well for what I feel is a better fluff out.
Whatever type of force dryer you choose however, their principle purpose is water extraction, and they do a great job of it.
Air Flow is the second key point in drying dog coats. Air flow is critical to drying dogs because it allows for evaporation of water left over after and even assists DURING the extraction process. The more air that passes through a coat the faster the evaporation process will be. If you think about it, clothes hung on a clothesline on a day with no wind dry slower and stiffer than clothes hung out on days with lots of wind. The wind, through air flow evaporation techniques, dries the clothes faster and the fibers are moved by the wind as well preventing them from getting "stuck" together, and they are softer. The same principal applies to dog hair believe it or not. The more air flow you can get through the coat while it's drying, the better the coat will feel and the faster it will dry.
When choosing the right dryer, consider how fast the airflow is. If it is just a small amount of air, then the drying will be less efficient. Remember, air flow promotes evaporation. Air that is stagnant cannot do that.
Ambient air dryers are the best at moving large amounts of air. Box Fans, stand fans, vortex dryers, and carpet dryers, like the Sahara by Dri-Eaz are all great at drying dogs fast and safely. I k now some people think that a fan is only blowing cold air across a dog so it cannot dry well, but remember, we already extracted water from the coat and are now looking at air flow to remove the remaining dampness. The faster the airflow, the faster the dogs will completely dry. The ambient air dryers pull air across the motors to cool them, so the room air temperature can be raised dramatically by these dryers, even though they do not put out heat directly, so it is important to keep an eye on the temperature in the room. When used with open cages, like wire crates, these are by far the fastest and safest dryers available.
Cage selection is critical as well to the drying process. Closed cages like cage banks, or vari-kennels restrict airflow. Wire cages allow the air to move past and through the area, making them much more efficient. You can even use fans to direct the air in the direction you want to the coat to lay. Place one on top of a cage for a full coated dog, and underneath for fluffier coats. There is no end to their versatility.
If used correctly this drying technique (large volume air flow) offers you versatility, safety and speed.
Dehumidification is critical to drying dogs fast and easily. When you are removing the water from the coat it is going into the air. That water in the air must be removed to maintain the balance in the room. The more humid the air gets the harder it is to dry dogs in it. That makes sense as it is also true of carpets, laundry and even mud puddles. The drier the air, the faster they dry out. It is one reason carpet cleaners tell you to run your air conditioner after they clean your carpet. It is to reduce the relative humidity in your home. I run a secondary window air conditioner in my drying rooms to keep the humidity level and the temperature under control without making the rest of the shop cold. You can use a dehumidifier if you are in a colder climate and there are many to choose from. Dri-Eaz makes a great one that they sell to the pet industry but there are many to choose from.
Dry air also reduces the chance of heat stroke, because heat plus humidity are what usually lead to that occurring.
Temperature is the final step in the process. Warm air is thirstier than cool air. Warm air increases the rate of evaporation. As a result, in cooler climates, it may be necessary to use a heated dryer at some point to raise the temperature of the air that is being passed over the dog. This can happen by using a stand dryer, a warm air high velocity dryer or a cage dryer. Typically, most dehumidification equipment works best at temperatures between 70 and 90 so it is important that the area pets are being dried at not exceed or fall below those temperatures. That range is also a safe, comfortable temperature for most people and pets. Anything hotter results in high humidity and anything cooler results in lower evaporation rates. Mobile groomers can attest to the fact that when it's colder or hotter their drying times increase.
Since the optimum temperature seems to be relatively low I am at a loss to understand why dryer manufacturers make dryers that heat up to 155F. You can see how the relatively low airflow they offer coupled with the high heat in an enclosed area like a small cage can be devastating to the pet and unproductive for the groomer. The best drying scenario for groomers is high velocity removal of water from a well towel dried dog, at a temperature of 70-90F and a low relative humidity, using high volumes of air for evaporation.
If you follow the basic principles you will have a productive, efficient and safe drying program.
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Whatnots by
James Beach
Mindy's Ork
A girl, named here: Mindy, who had an Ork as big as the moon. Her Ork
began to grow when she was wee, sitting near the TV. The program, set
in Boulder, with Robin Williams as Mork, Pam Dawber as herself, worked
its way into her genes so ferociously that by puberty she was less
Mindy than her Ork appeared to be. She imagined a mystery Mork,
holding on, climbing up, hanging out, on the Ork as it ballooned into
(her) inner space. "Mork can get lost in my Ork," she thought, at 23;
"is that where my Ork has got to, is my Mork lost in the Ork that's
become me?" By 33 her quest became not one of mothering or career but
of entering Ork's fathoms to see what had become of the mystery Mork.
Inside, she found a dummy Mindy: a doll, a toy of who she could never
be. It was a bizarre pathology, brought on by her parents allowing her
to view too much TV.
"The Abominable Cyclops"
WHEN the teen removed his mittens to clean snowflakes from his specs,
the thin nylon string supporting the bottom of the left lens snapped;
the plastic disc slipped out of its frame and fell and sunk in the
powdery bank. By the time he retrieved the lens—it kept sinking
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finger stuck for a moment to the frigid bow—back on his face and slid
the runaway lens deep into a pocket. Now like a Cyclops, or how he
imagined one probably felt, the teen got back on the street, one eye
screwed shut against the driving flakes, one eye shielded and seeing.
"Was Backward"
IT started right up. She'd said, "Go on, I know what you intend to
do." By then he'd returned from the shed with the chainsaw, wiping off
wet dust with a rag. While his wife arranged the roses she'd hummed a
dirge, her aesthetics simple, alternating a rose with a stem so six of
each adorned each end of the oblong box. At that, he'd walked out into
the blizzard, found his key to open the shed. "The bin? They're going
to be excellent mulch!" she'd said, and retrieved them from the trash
bin. Theatrically, he'd tossed the florist roses in the kitchen trash.
A moment before, she had said, "Makes no difference to me," her eyes
an opaque indicator. Which had been in response to his: "What if I
threw them out, then?" Because she'd said, "Watch out; they have
thorns." Because he'd said: "What if I tore them apart with my bare
hands?" Looking at them in their box he'd wanted to take a chainsaw to
them, the flower buds scattering like confetti. He considered dredging
up the implement from the backyard shed. Because she'd said, "Nothing,
love." "What is going on with you?" he'd demanded before that. Most
days she acted like she wanted to cleave their life, or lives, or
lie—whatever—in two. "I don't want to fight anymore. I don't care
anymore. I give in." "Would you quit with the jokes?" "I bought them
for myself, to get you interested in me again." "Would you quit with
the clichés?" "I have no secrets from you!" "Why won't you tell me?"
he'd asked, irritated yet in control of his rage. And she'd mocked him
with a condescending sniggle. "Now you're lying in it," he'd said, but
only because she'd kept brushing off his question about who the dozen
roses in the satin box. "What's that supposed to mean?" she'd
retorted, face a blank. To begin, he'd said: "You've made your bed."
"Self-conscious Origins"
I am two, supine, agape at the bright room taking shape round me. The
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flaky, tight jeans and a kerchief tied over her thick hair. Her left
palm is out, as if she wants something. My father, about as messy, in
his faded fraternity shirt and jeans hands her the stiff brush, which
she puts to the wrinkled strip of wallpaper with vigor. Airpockets,
creases vanish under her skillful swipes. Meanwhile he adjusts the
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measures drywall, shakes loose blue chalk from the plum line. As they
toil, the wallpaper imprints itself on the smooth surface of my mind —
a thick, grey-orange grid, shadow-brown lines overlapping in
intervals; crêpe paper party streamers — a birthday plaid.
Fish in Hot Water
A young college graduate, with an actual bachelor's degree (not an
online one), had an interview for a job in a far off state; he got the
job and moved there. Being tall, bohemian, well- and soft- spoken, the
kid was instantly detested by the short plebian natives. Behind his
back they conspired to dose him with intestinal parasites until he
bloated and died from the things perforating his organs. Another
faction was determined to give the kid herpes, and set him up with
decoy-dates with complexes I & II. A third group fed him female
hormones, with a smile, in cakes on coffee breaks. The hormonal
blasts, not being administered by a doctor, upset the kid in an
intangible way, flushed his face on occasion with a feminine glow or
patch of acne, rather than giving him the intended "comically" useless
blobs of fat under his nipples. Group two knew not that herpes is
hereditary and is usually either triggered or not while still a child;
the kid had good genes, and so this lineage kept his face and genitals
clean. As for the job, he excelled—so much so that he was dismissed
(as too threatening of an outsider). This occurred after he began
using the company's health insurance to stop his guts from hatching
larvae into his system. He died within a few years, leaving behind his
broken dreams of finding a wife and raising a family. But he left a
handsome corpse when embalmed and painted. Sperm he'd donated, during
his college years, was lively and pure when thawed; he had three
children, with a mate he never met, in his hometown.
James Beach lives in Santa Fe, New Mexico. His byline has appeared in numerous local, regional, national and international publications, including Whistling Shade, Jivin' Ladybug and Wood Coin. As managing editor of AWAREing Press, his most recent project is the forthcoming anthology Light Years. He also publishes and edits Wood Coin: an online magazine of literature & liberal arts. Website.
Gene Tanta, Art Director. Gene Tanta was born in Timisoara, Romania and lived there until 1984, when his family immigrated to the United States. Since then, he has lived in DeKalb, Iowa City, New York, Oaxaca City, Iasi, Milwaukee, and Chicago. He is a poet, visual artist, and translator of contemporary Romanian poetry. His two poetry books are Unusual Woods and Pastoral Emergency. Tanta earned his MFA in Poetry from the Iowa's Writers' Workshop in 2000 and his PhD in English from the University of Wisconsin-Milwaukee in 2009 with literary specialization in twentieth-century American poetry and the European avant-garde. His journal publications include: EPOCH, Ploughshares, Circumference Magazine, Exquisite Corpse, Watchword, Columbia Poetry Review, and The Laurel Review. Tanta has had two collaborative poems with Reginald Shepherd anthologized in Saints of Hysteria: A Half-Century of Collaborative American Poetry. Most recently, he has chaired a panel at the 2010 AWP titled, "Immigrant Poetry: Aesthetics of Displacement". Currently, he is working on two anthologies while teaching post-graduate creative writing online for UC Berkeley Extension.
Suchoon Mo is a Korean War veteran and a retired academic living in the semiarid part of Colorado. He writes music and poetry and other useless things, regardless of weather, climate, or stock market changes.


text: Listing Details Previous Page Toddler Sense - Wembley Baby and Toddler Activities Where? Telethon Speech and Hearing, 36 Dodd Street, Wembley, Cambridge,WA, 6014. (view map) When? Thursday Contact class leader for details of class times and availability How Old? Newborn - 13 Months How Much? Please contact class leader for current pricing Description Toddler Sense is the new toddler programme from Baby Sensory and is a place where structured play goes hand in hand with imagination, the freedom to explore, and adventure! Each week has a unique theme, drawing you and your toddler into a whole new world of magical delights. Imagine zooming through space, partying like pirates or scuba diving in a magical sea. Or would you like to climb a snow mountain, boogie on down, hunt for dinosaurs or tame a fiery dragon? Our active sessions are jam-packed full of wonderful fun and interactive activities, action songs, games, puppets, instruments and so much more! In addition, Toddler Sense classes feature our fabulous free-play, exploratory adventure area. Full of giant foam modules, bouncy castles, tunnels, balancing beams, ball pools and more, it's the perfect place for a young child to explore. As with Baby Sensory, the Toddler Sense programme is based on decades of research into toddler learning and development so you can rest assured that everything we do, we do for a reason. Toddler Sense classes are suitable for children from 13 months - 4 years. Other Info Toddler Sense - a place where structured play goes hand in hand with imagination, the freedom to explore and adventure! Contact Name Jo Telephone 0415 400 323 Email Contact Advertiser Name: Email: Telephone: Message: refresh for a new codeN.B. This will delete all fields Website www.toddlersense.com.au Social Pages Visit page Facilities Click to watch Print this page Send to a friend Report as no longer running Please mention What's On 4 Little Ones if you contact this advertiser


text:
Adverse winds held their ship near England for 6 weeks, and seriously depleted their food reserves.Forty-five died on the voyage, but 101 men and 4 boys finally landed on a semi-island in May, 1607.
At first the climate seemed mild, the Indians friendly.
As John Smith wrote, "heaven and earth never agreed better to frame a place for man's habitations." Then came blistering heat, swarms of insects spawned in the nearby wetlands, unfit water supplies, typhus, starvation, fierce winters, Indian attacks, shiploads of inappropriately-prepared "Colonists" (sent from a changing England that had no other place for them), and even a period of tyrannical martial law when missing church 3 times was a capital offense.
The troubles were exacerbated by the colonists themselves.
Many of them we could call gentlemen-adventurers, "whose breeding," a contemporary said, "never knew what a day's labour meant." These were men, often lesser scions of nobility, with no future in overpopulated England, who were lured by the Virginia Company with promises of land and wealth--much as people were lured to California during the Gold Rush.
I may not forget the gentleman worthie of much commendations, which first tooke the pains to make triall thereof, his name Mr.
John Rolfe, Anno Domini 1612, partly for the love he hath a long time borne unto it, and partly to raise commodity to the adventurers...
--Ralph Hamor, then Secretary of Virginia Few realize that this seminal event in American history may well be why the lower half of the United States speaks English instead of Spanish today.By the dawn of the 17th century, despite several disastrous attempts, England still lacked a viable claim to some part of the New World.In 1606, James I tried once more to fruitfully impregnate the mythically rich, virgin land.He established 2 companies made up of merchant-adventurers eager to plumb the tantalizing riches of North America--these were the London Company and the Plymouth Company.The first to embark was the London Company, which sent forth three ships in December of 1606.James gave them three objectives: find gold, find a route to the South Seas, and find the Lost Colony of Roanoke.


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TAMA :When did you start playing drums?
Keith : Well, it will be 20 years this year. I started out playing drums in church in Chicago where I grew up, and have just been playing ever since.
TAMA : Did you have a drumset in the house?
Keith : Well, it started from playing in church. I always used to go to church early, or for choir rehearsals… anytime the church was open I would go there, because I didn't have a set at home. So I would just go there early and practice and practice and practice. And finally my grand-momma bought me a drum set out of the Sears catalog (laughs). My first Blackhawk drum set out of the Sears catalog.
TAMA : Did you ever take any lessons or have any formal training?
Keith : I didn't really have formal training until I went to college at Berklee College of Music in Boston. I took music, because I went to a performing arts high school… so we had music theory classes, drums, drumline and marching band. So it was music all the time, all day, all night. But no private classes, so that didn't come till Berklee.
TAMA : Have your Gospel roots influenced your drumming in other styles of music, and how is that background reflected in your playing today?
Keith : Oh, definitely. Yeah, it's definitely influenced my playing and everything. One thing that's present in Gospel music is the choir director. And the choir director is the center of everything. So pretty much, on my gig with the Black Eyed Peas, Will is kinda like the choir director. He navigates everything that goes on in the show. So playing Gospel music, and playing different styles, different tempos, really prepared me for the Black Eyed Peas gig, where Will freestyles things off the top of his head, and you've gotta be ready at a moment's notice… without a rehearsal, without a cue or anything like that. You just gotta be really attentive. And that's what Gospel music and playing in church taught me.
TAMA : Who were some of the drummers that influenced you growing up?
Keith : Let's see… all the Motown drummers, definitely Dennis Chambers, John Blackwell. Oh, there are so many people... Vinnie (Colaiuta), of course. Harvey Mason, and a lot of the old funk stuff… oh man, there's just so many people (laughs). And there are a lot of guys that a lot of people don't know about. One guy who taught me a lot of everything that I know as a drummer, who I came up under at my church, is Henry Jones, who was from Chicago as well. And that guy taught me a lot as far as discipline on the drumset, posture and how you're supposed to sit, and just being a well-rounded musician. Not just playing chops all over the place, but being a part of the music.
TAMA : How did you land the gig with the Black Eyed Peas?
Keith : I met the musical director of the BEP, Printz Board, in New York through a friend of mine from Berklee. I used to live in Brooklyn, so Printz called me up, and said he had a gig for me. He asked me to come do this gig with a group called Star 69, a 3-girl group from California that he was musical directing. So I met Printz, we did a rehearsal, then we did the show, and everything worked out… he liked the way I played. We kept in contact, and maybe a week or two later, he called me about the Black Eyed Peas gig.
So I got the call, and their manager Scott lives in New York, so I had to go to his office and pick up 3 CD's worth of music, and learn all the songs in like 2 days. They flew me to L.A… I had one rehearsal with the band the night that I flew in, and then one rehearsal with the MCs the next day. And the day after that was a gig in front of 20,000 people at Coachella Music Festival.
TAMA : So you didn't really have to audition per se… Printz knew your playing and knew that you were capable?
Keith : Yeah, pretty much that's how it went down, because those guys trust Printz's opinion. And from the Star 69 gig that we did, he was really impressed with how I learned the music for that gig, and just the groove and the discipline… so he was like, "man you'll be great for the Black Eyed Peas gig." They were a little unsure about him bringing me in so last minute, but they were impressed when I came in and had learned the music, and nailed it in one rehearsal.
TAMA : How was that first show for you? Was it pretty nerve-racking or did you feel well-prepared?
Keith : Well, it wasn't necessarily nerve-racking, but there were little things going on. Like… what I did is write lead sheets of all the songs because there were so many. So I had my hip-hop lead sheets, but of course on gigs like that, you don't have a music stand or anything, so I had my charts on the floor. And that's an outside gig, so the wind started picking up, and started blowing all my music away (laughs)… so I'm like, "Bobby, Bobby, catch the music man!" So my tech had to tape it to the floor so it wouldn't blow away, while I'm trying to watch the floor and watch the hits and the breaks, and then you have Will and other MCs doing crazy stuff and jumping off the stage and all types of craziness going on. I was like, "whoa, this is outrageous." But it was cool, man. And that's where that whole choir director thing came in, you just gotta watch.
TAMA : Had you ever played a gig of that magnitude before?
Keith : I think the biggest gig that I did before that was when I did a Gospel gig for the Catholic convention in Foxboro Stadium in Massachusetts, where the Patriots play. And I think that was about 30,000 Catholic fans… quite a different crowd than the Black Eyed Peas gig (laughs).
TAMA : After coming aboard, you toured relentlessly with BEP in support of Elephunk, including appearances at the 2004 Grammy Awards, the Democratic National Convention, Saturday Night Live, and the SuperBowl. And this was all part of your first tour… what was that experience like for you?
Keith : Yeah, it was my first tour, and it's funny because it was supposed to be 3 months… May through September, you know, through the summer. That was 2003. But we didn't get off the road till Christmas time last year (2005).
But I must say I was extremely blessed to be in that position, to be able to do that. All my friends had been touring, and I was like the last one to get on the road. And it seems like doing this gig has superseded so many gigs, because this band has really just taken off the last three years, with Elephunk and now, Monkey Business. We did over 500 shows in one year. And it was just rigorous, it was crazy, because we would do like a morning TV show, then we would do the stadium show with Justin Timberlake and Christina Aguilera, and then we would do our own club show after that.
And we were flying from here to there, to Paris, to Vegas, it was crazy. It was crazy. But it was definitely a blessing to be able to do that. This band has been phenomenal. And one thing I must say about the band is that, out of all of those shows, I never once got tired of it, because it's always fresh and it's always new… because of the energy of the crowds and the energy of the MCs performing.
TAMA : Is there a particular show or event that you guys have done that stands out above the rest as a personal favorite or highlight?
Keith : I would have to say the first time we did the Grammy's, because that was something I always wanted to do. As a musician, you always want to be with a Grammy Award-winning band, and you always want to play around the world. All my greatest wishes have come true on this tour, it's just crazy. But I would have to say the Grammy's… you know, seeing all my heroes and people I look up to, and they're like my peers now, and I'm like, "wow, I can't believe this."
TAMA : Has your drumming changed at all after such extensive touring and playing?
Keith : Yeah, I think it's affected my playing… in good ways and in bad ways. I'm just being honest. In the good ways, it keeps you on top of your chops because you're playing every night, and it gives you a good chance to really express yourself with different ideas. On the back end of things, since you're playing live you can get away with a lot of stuff, whereas when you're in the studio, you have to be really meticulous about what you play because you don't have anything to cover you up. So I know the difference between playing live and playing in the studio is a big one for me. And when I got off the road and started doing studio stuff, I thought, "wow, there's a whole different technique here, I gotta retrain myself to be cleaner and more precise in the studio. Live on the road you can get away with a lot of stuff, because it's all about the feeling and the energy that you bring on stage. So you can do little tricks and flashy stuff. But in the studio, it's your technique and your feel that has to come across on tape, instead of the visual aspects of it.
TAMA : What was the writing and recording process like for Monkey Business?
Keith : Well, how we did that record is we were living in London for the summer of 2005. And we all had houses out there – the band had a house, the MCs had a house – and we would all be in the studio every day. We had about 3 different studios going at one time. So, Will had a studio, Printz had a studio, and George had a studio, and we were all working on the record simultaneously. So that's how we knocked it out. And also, we did a lot of the songs on the John Lennon bus, which followed us on the first year of the Elephunk tour. We had a studio bus. And then also, we did a couple of tracks on our laptops, because we were traveling so much. I know Will did "Pump It" on the bullet train, so that's where that track came from… we didn't even do that one in the studio. Yeah, so we would just use every opportunity that we had.
TAMA : Can you outline the kit that you are using with the Black Eyed Peas?
Keith : The kit I have now is a Starclassic Maple in Diamond Dust finish, with the sound focus rings. I use 7x8, 7x10, 12x14, and 14x14 toms, with an 18x20 kick, and the snare I use is a 6x13 G Maple. And I also use the Iron Cobra Power Glide bass drum pedal, and the Iron Cobra Lever Glide hi-hat stand.
TAMA : Why do you prefer to use the sound focus rings on your toms?
Keith : Well, I use the sound focus rings because I think they help with the overall tone of the toms, and give them just a little more resonance. So I like them a lot. My boy Brian Frasier Moore turned me onto the sound focus rings.
TAMA : You seem to prefer fairly shallow depths for your toms, and use a 20" kick and 13" snare. Is there something about the sound of smaller drums that you like?
Keith : Yeah, that's totally it for me, man. I like the smaller drums because I think they're more versatile in sound. I can tune a 20" kick and make it sound like a 22", but I can't make a 22" sound like a 20"… it won't sound right. So I think I have more flexibility with the smaller toms. And I like the way they fit on the kit, too, because they give me a different way to set up the kit that's more comfortable to get around. Because I move so fast, I gotta have things really close, and with bigger toms I can't really get around the way I need to.
TAMA : What about your 13" snare?
Keith : Yeah, I fell in love with the 13". I'd never played a 13" until, once again, I heard Brian's 13" snare… and I was like, "wow." And it just fits perfectly within the setup. The 14" is definitely a beast as far as what I would use in the studio, or maybe for like a second side snare. But the 13" is a little more versatile, I can get it higher if need to, but also get the depth from it, almost like a 14".
TAMA : So you've been happy with your Tama drums and hardware, and they've held up with all the touring that you've done?
Keith : Yes, that's one thing I can say… I've never had a hardware issue or anything of that sort with Tama drums. They definitely get the Keith Harris seal-of-approval as far as road worthiness (laughs). Because after 500-600 shows in like two years, I've never had anything break or come apart. It's all been really, really sturdy and it's held up to the challenge.
TAMA : What other projects are you currently involved with, or do you have planned for the future?
Keith : Well, as of now, I've been doing a lot of production and writing. So, some recent things I've done that are out right now are… I co-produced a song called "Lovely People" on Earth, Wind & Fire's record Illumination that came out sometime last year… Tama drums are featured on that. I have a song co-written with Will called "About You" on Mary J. Blige's new record Breakthrough. I played drums on Ricky Martin's new record that came out recently; I think the song is called "It's All Right."
Also, on Macy Gray's new record that's due to be released sometime this year, I have co-production and writing credits, and also played Tama drums on that album. I have a song on Fergy's new record that's coming out sometime this year, and also a song on a new movie coming out called Psodien.
TAMA : It sounds like you've been extremely busy, between the Black Eyed Peas and all this session work. Do you have a preference between playing live versus in the studio?
Keith : Well, I always prefer doing live shows, because you feed off the energy of the crowd and all that good stuff. But I love the studio work as well… it's not as hard as live shows, because nowadays they just tell you to play 8 bars or something like that and chop you up and loop you, and it's a wrap! (laughs) So that's cool. But as of now and the future for me, I'm looking to get more into producing, and just getting my production and writing credits up. So that's something for everybody to look out for.
TAMA : Is there anything else you'd like to add?
Keith : Well, I just wanted to add this… I just want to thank you guys at Tama, especially Gene, for believing in me way back when I first got the gig with the Black Eyed Peas. They've done wonders and worked magic on getting me drums at the last minute. And I just thank everybody at Tama for giving me such a great product to represent on the road. I appreciate it.


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Media Releases Archive
Introducing This Page
This section contains media releases released a little while ago. Please note that due to the long time when some of these were released images have been removed and some links might no longer work.
September 30, 2011
Pertussis (Whooping Cough) Update (2)
Steps to protect young children and babies have been announced as part of the health sector approach to combat the current pertussis outbreak on the West Coast.
A free booster vaccine will be available to health care and early childhood education staff who work with this age group. Anyone living with a baby under the age of six months will also be able to access the free vaccine through their General Practice. This includes parents, other adults and siblings.
Dr Cheryl Brunton, the West Coast Medical Officer of Health, says the very young are the most vulnerable to the potentially severe outcomes of contracting pertussis (whooping cough) so we are asking those who most commonly come into contact with this vulnerable group to protect them by having the booster vaccine themselves.
Because pertussis immunity wanes with age, older people can contract pertussis and pass it on to others even if they have been immunised or had the disease as a child.
Between 1st May 2011 and 25 September 2011 there have been 175 notifications of suspected pertussis received by Community & Public Health's West Coast Office. To date, 84 have been confirmed as having the disease. This is an increase of a further 20 cases on the previous week. The outbreak continues to be centred in the Westland district with most cases occurring in children.
Parents are urged to keep children home from school or preschool and to stay at home from work themselves, if they develop a persistent cough. "The incubation period for pertussis ranges from 5-21 days. So if someone goes to work, school or pre-school with a persistent cough, by the time they find out they have pertussis the damage has probably been done as far as spreading it to other children and workmates.
"It's really important to see your doctor early if you are unwell with a persistent cough so that you can be assessed and treated with antibiotics if necessary, to help to prevent spread of this disease", Dr Brunton said.
Dr Brunton said," The best long-term protection against pertussis is still on-time childhood immunisation." Immunised children may still develop whooping cough but it is usually not so severe. Immunisation against pertussis is free as part of the National Childhood Immunisation Schedule.
The other steps people can take to help protect themselves and their families against pertussis and other respiratory diseases are:
- Covering coughs and sneezes
- Washing and drying hands thoroughly (20 seconds washing and 20 seconds drying) at times throughout the day particularly before eating and after being with someone who is coughing
- Staying away from school or work if they are unwell
For further information please contact
Bryan Jamieson
Community Liaison Officer
West Coast DHB
PO Box 387
Greymouth 7840
Phone (DDI): (03) 769-7665
Mobile: 027 245-9595


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Beds: 5Baths: 5
Price: EUR1800000
Category: Residential For Sale
Property Location: Lucca, Tuscany, ITA, Italy
Property Type: Villa
Full Description: ITALY, TUSCANY, LUCCA
This beautiful Villa near Lucca (only 8.7 km from the city centre) was originally built in the 16th century. Later on, many changes to the former structure have taken place, bringing this property to the Villa we are now glad to bring to your attention.
The building is surrounded by 6,500 Sq.m. of land, part of it is lawn, the other part is olive groves.
The front of the villa is south-facing. The property is on three floors and it comprises:
– Ground Floor: 365 Sq.m circa – Mostly cantines
– First Floor: 240 Sq.m circa – Main apartment
– Second Floor: 224 Sq.m – Habitable under roof
Although the ground floor, with its beautiful terracotta ceiling tiles and exposed beams, is mostly registered as cellars, permission may be granted by the local authorities to convert this floor from cellars to regular living space.
The first floor is the luxurious part of the villa, with stunning coffered ceilings and quality materials.
It comprises a very large living room, kitchen/diner with oven, fireplace, stone sink and cupboard, one master bedroom (double), two other double bedrooms, one single bedroom and one bathroom.
The living room opens onto the 37 Sq.m. loggia, the ideal place to admire the beautiful views of the garden.
The second floor needs a little renovation and could be either turned into an additional part of the house or into an independent apartment.
EPC: CLASS: G EPI: 110.782 kWh/m2 p.a.
Floor Size: 830sq meters
Plot Size: 6500sq meters
Year Built: 0
Bedrooms: 4
Full Bathrooms: 1
Half Bathrooms:
Swimming pool:
Garages: 0
Fitted Kitchen: Yes
Living Room
Updated on April 23, 2018 at 7:32 am
Beds: 5Baths: 5
Beds: 5Baths: 5
Beds: 3Baths: 3m²: 160
2 months ago
Beds: 3Baths: 3m²: 160
2 months ago
Beds: 4Baths: 4m²: 900
5 months ago
Beds: 4Baths: 4m²: 900
5 months ago
Beds: 3Baths: 3m²: 400
Beds: 3Baths: 3m²: 400
Beautiful Villa near Lucca - , Lucca, Tuscany, Italy
Beautiful Villa near Lucca - , Lucca, Tuscany, Italy


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sleeps 6
bedrooms 3
bathrooms 3
2 Adults 1 Child
Open to all destinations
Open to all dates
Home Exchange
This spacious townhouse is located on a small charming complex which has its own private pool and a private access to the beach, the house has a living room, spacious equipped kitchen, one small bathroom and a private patio on the ground floor, and 3 bedrooms and 2 bathrooms on the first floor. The house also has a nice solarium with great sea and mountain views. Sleeps 6 people. Literally 3 steps from the beach.
First line townhouse complex located in East Marbella within easy walking distance to 5 beach restaurants, 1 supermarkt, the world famous Nikki Beach and the 5 star hotels of Don Carlos and Marriots.
Setting: Apartment / Second home, Waterfront, Seaside
Entertainment: DVD, Internet access, TV, Wireless Internet (WiFi)
Amenities: Balcony / Deck, Cleaning service available, Dishwasher, Clothes Washer, Clothes Dryer, Microwave Oven, Peaceful Surroundings, View, Fireplace, Privacy / Seclusion, Garden, Parking included, Private Pool, Terrace / Patio
Extras: Use of bicycle(s), Use of second home, Corner Shop, Pharmacy, Supermarket
Leisure: Restaurants, Park / Playground
Cultural: Concerts, Galleries, Museums, Theatre
Transport: Bus, Car Necessary
Conditions: Smoking Not Allowed, Car Exchange is offered/negotiable


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Explanation of 144 Double Curtain Rod
Doubledou•ble (dub′əl),USA pronunciation adj., n., v., -bled, -bling, adv.
- twice as large, heavy, strong, etc.;
twofold in size, amount, number, extent, etc.: a double portion; a new house double the size of the old one.
- composed of two like parts or members;
twofold in form;
paired: double doors; a double sink.
- of, pertaining to, or suitable for two persons: a double room.
- twofold in character, meaning, or conduct;
dual or ambiguous: a double interpretation.
- deceitful;
- (of musical instruments) producing a tone an octave lower than the notes indicate.
- duple, as time or rhythm.
- folded in two;
having one half folded over the other.
- (of a bed or bedclothes) full-size: a double blanket.
- [Bot.](of flowers) having many more than the normal number of petals: double petunias; double hollyhocks.
- anything that is twofold in size or amount or twice the usual size, quantity, strength, etc.
- a duplicate or counterpart;
something exactly or closely resembling another: This dress is the double of that. He is the double of his cousin.
- Also called double room. a type of hotel accommodation with two beds, or sometimes a double bed, for occupancy by two persons. Cf. twin (def. 4).
- a fold or plait.
- an alcoholic drink containing twice the usual amount of alcohol.
- a sudden backward turn or bend, as of a fox on the run in fox hunting;
- a trick or artifice, as of argument in a formal debate.
- a substitute actor or singer ready to take another's place;
- [Motion Pictures, Television.]a substitute who performs feats or actions too hazardous or difficult for a star.
- [Baseball.]See two-base hit.
- [Mil.]double time.
- doubles, (used with a sing. v.) a game or match in which there are two players on each side, as in tennis.
- (in bridge or other card games)
- a challenge by an opponent that the declarer cannot fulfill the designated contract, increasing the points to be won or lost.
- a hand that warrants such a challenge.
- [Bridge.]a conventional bid informing one's partner that a player's hand is of a certain strength.
- [Bowling.]two strikes in succession: He needed a double in the tenth frame to win.
- See daily double.
- any of certain feasts in the Roman Catholic Church, marked by a doubled antiphon and taking precedence over lesser feasts.
- [Music. Rare.]a variation.
- a former coin of France, the sixth part of a sol, issued in silver in the 14th century, later made of copper.
- at the double, [Brit. Informal.]on the double.
- on the double, [Informal.]
- without delay;
rapidly: The fire engines came on the double.
- in double time, as marching troops.
- to make double or twice as great;
to add an equal amount to: The baby doubled its weight in a year.
- to bend or fold with or as with one part over another (often fol. by over, up, back, etc.): Double the edge over before sewing.
- to clench: He doubled his fists.
- to be or have twice as much as: Income doubled expenditure.
- [Naut.]
- to sail around (a projecting area of land): to double Cape Horn.
- to add a new layer of planking or ceiling to (an old wooden hull).
- to pair;
couple: The players were doubled for the tournament.
- [Music.]to reduplicate by means of a tone in another part, either at the unison or at an octave above or below.
- (in bridge and other card games)
- to challenge (the bid of an opponent) by making a call that increases the value of tricks to be won or lost.
- to challenge the bid of (an opponent): He doubled me into game.
- [Baseball.]
- to cause the advance of (a base runner) by a two-base hit: He doubled him to third.
- to cause (a run) to be scored by a two-base hit (often fol. by in): He doubled in the winning run.
- to put out (a base runner) as the second out of a double play (often fol. by up).
- to become double: My money doubled in three years.
- to bend or fold (often fol. by up or over): to double over with pain.
- to turn back on a course or reverse direction (often fol. by back): He doubled back by another road and surprised us.
- [Mil.]to march at the double-time pace.
- to serve in two capacities or in an additional capacity: She doubles as producer and director.
- to act as a double in a play, motion picture, or the like.
- [Music.]to play an instrument besides one's regular instrument (usually followed by on): The saxophonist doubles on drums.
- (in bridge and other card games) to double the bid of an opponent.
- [Baseball.]to make a two-base hit.
- to double-date.
- double in brass, [Informal.]to serve in two capacities;
be able to do work different from one's own: It is a small firm, and everyone doubles in brass when emergencies arise.
- double or nothing, a bet having as its outcome either the doubling of a previous loss or debt or the canceling of that loss or debt. Also, double or quits.
- double up:
- to share quarters planned for only one person or family: Because of the room shortage, we had to double up.
- to bend over, as from pain: He doubled up in agony.
dou′ble•ness, n.
- to twice the amount, number, extent, etc.;
- two together: There are only a few beds, so some of the children will have to sleep double for the night.
dou′bler, n.
Curtaincur•tain (kûr′tn),USA pronunciation n.
- a hanging piece of fabric used to shut out the light from a window, adorn a room, increase privacy, etc.
- a movable or folding screen used for similar purposes.
- [Chiefly New Eng.]a window shade.
- [Theat.]
- a set of hanging drapery for concealing all or part of the stage or set from the view of the audience.
- the act or time of raising or opening a curtain at the start of a performance: an 8:30 curtain.
- the end of a scene or act indicated by the closing or falling of a curtain: first-act curtain.
- an effect, line, or plot solution at the conclusion of a performance: a strong curtain; weak curtain.
- music signaling the end of a radio or television performance.
- (used as a direction in a script of a play to indicate that a scene or act is concluded.)
- anything that shuts off, covers, or conceals: a curtain of artillery fire.
- a relatively flat or featureless extent of wall between two pavilions or the like.
- [Fort.]the part of a wall or rampart connecting two bastions, towers, or the like.
- curtains, the end;
death, esp. by violence: It looked like curtains for another mobster.
- draw the curtain on or over:
- to bring to a close: to draw the curtain on a long career of public service.
- to keep secret.
- lift the curtain on:
- to commence;
- to make known or public;
disclose: to lift the curtain on a new scientific discovery.
cur′tain•less, adj.
- to provide, shut off, conceal, or adorn with, or as if with, a curtain.
Rodrod (rod),USA pronunciation n., v., rod•ded, rod•ding.
- a stick, wand, staff, or the like, of wood, metal, or other material.
- a straight, slender shoot or stem of any woody plant, whether still growing or cut from the plant.
- See fishing rod.
- (in plastering or mortaring) a straightedge moved along screeds to even the plaster between them.
- a stick used for measuring.
- a unit of linear measure, 51⁄2 yards or 161⁄2 feet (5.029 m);
linear perch or pole.
- a unit of square measure, 301⁄4 square yards (25.29 sq. m);
square perch or pole.
- a stick, or a bundle of sticks or switches bound together, used as an instrument of punishment.
- punishment or discipline: Not one to spare the rod, I sent him to bed without dinner.
- a wand, staff, or scepter carried as a symbol of office, authority, power, etc.
- authority, sway, or rule, esp. when tyrannical.
- See lightning rod.
- a slender bar or tube for draping towels over, suspending a shower curtain, etc.
- a branch of a family;
- a pattern, drawn on wood in full size, of one section of a piece of furniture.
- a pistol or revolver.
- [Vulgar.]the penis.
- one of the rodlike cells in the retina of the eye, sensitive to low intensities of light. Cf. cone (def. 5).
- [Bacteriol.]a rod-shaped microorganism.
- Also called leveling rod, stadia rod. a light pole, conspicuously marked with graduations, held upright and read through a surveying instrument in leveling or stadia surveying.
- round metal stock for drawing and cutting into slender bars.
rod′less, adj.
- to furnish or equip with a rod or rods, esp. lightning rods.
- to even (plaster or mortar) with a rod.
- to reinforce (the core of a mold) with metal rods.
rod′like′, adj.


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FSA Conversation Cafe: Identity – Do you think of yourself as a Carer? (September)
Mon 24 Sep
10:30 - 12:30
10:30 - 12:30
Event Navigation
Do you think of yourself as a Carer?
Duration: 1 week
Who is this cafe for?
For people who are caring for someone who is using drugs or alcohol.
Weekly Breakdown
This month we are discussing identity. Some people would describe those in relationships with or supporting someone using drugs or alcohol as 'carers'. How would you describe yourself and what difference do these labels make to your sense of self.
What carers will get from this cafe
- Peer support.
- Tips and hints.
- Time out from our caring role.
There is no need to book – just drop in and join us for a relaxing and stimulating morning.


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This site uses cookies. Some of the cookies we use are essential for parts of the site to operate and have already been set. We also use a Google Analytics script which uses cookies. By clicking the X in the top right corner you consent to our use of cookies by continuing to use this website.
Symbiotic provides digital identity and cyber security consultancy services to public and private sector organisations with business challenges and risks which may require the use of:
We draw on our expertise from over two decades advising organisations on their digital identification and cyber security risks. Our work has included involvement with the collaborative production of security standards for the International Standards Organisation (ISO), the British Standards Institute (BSI) and for financial and payment sector standards organisations.
We have developed our own methodology to help organisations evaluate their specific risks and project objectives. This methodology is technology-independent, so you can be confident in the impartiality of our advice.
Digital Identity Security Consultants
Identity & Access Management | Biometric Authentication & Identification | Data Encryption & Digital Signatures | Public Key Infrastructures & Directories
The contents of this website are copyright © 2017 Symbiotic Consulting Services Limited. All rights reserved.
Symbiotic Consulting Services Limited is a company registered in England and Wales, No: 5368511. Registered office: 22 Birch Grove, Welling, Kent, DA16 2JW, United Kingdom.


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JURY VERDICT: Lakeland man guilty of attempted murder, facing mandatory life
Derek Maude glanced over his shoulder and looked his shooter in the eyes.
"I saw his eyes lined up with the gun sight," Maude said as he testified from his wheelchair. "I was sure a shot was coming soon … Next thing I know, my head is ringing. I looked down and told myself to get up, and I couldn't."
Kaheem Bennett fired a single shot at 27-year-old Maude that hit his spinal cord and left him paralyzed from the waist down.
A jury convicted Bennett Feb. 22 of attempted first-degree murder, robbery with a firearm, and armed kidnapping. He is facing a mandatory life sentence, which will be imposed on April 5.
Assistant State Attorney Bonde Johnson told jurors that on Jan. 25, 2015 – Super Bowl Sunday – Maude and his friends pooled their money in order to buy an ounce of marijuana for their super bowl party. He agreed to locate and purchase the marijuana. That choice is one Maude would later refer to as the "stupidest decision he's ever made," as it cost him the use of his legs.
While Maude was looking for a place to buy marijuana on 5th Street in Lakeland, he ran into an old friend from high school named Deshaundre Roseboro. The two went back to Roseboro's house to catch up when a silver Dodge Charger pulled up to the curb.
In court, Maude testified that he approached the car because he thought they were going to sell him the marijuana he had been looking for earlier. He didn't know he was about to robbed at gun point.
He got into the rear driver's door of the vehicle occupied by three black males but left the door open with his foot out. When Maude sat down, the car swiftly left the driveway and sped down the road, forcing Maude to shut the car door.
The front seat passenger asked if Maude "wanted to see what it looked like." When Maude said yes, a bag was thrown into the back seat, which he assumed was marijuana.
But when Maude looked up, a Tech-9 pistol was pointed at his stomach.
He reached to open the door, but it was locked. Maude immediately began to fight the rear passenger – he grabbed the barrel of the gun and head-butted the rear passenger, causing him to loosen his grip on the weapon.
Maude aimed the firearm at the floorboard with the intent of discharging the rounds, but the front passenger began to fight him. Maude continued to throw punches at the two passengers until he had possession of the gun again.
He pulled the trigger, but the weapon did not shoot. Maude, who grew up in a military family and has experience handling firearms, disengaged the safety and ejected the magazine.
It fell to the floorboard of the car.
The passengers continued fighting Maude and took the nearly $1,000 in cash that was in his possession. With Maude outnumbered, they soon regained control of the gun.
One of the men told Maude to get out of the car and run. As soon as the door unlocked, the front passenger told the driver to "bust that cracker."
"I knew what was coming next," Maude said in court, adding that he began to run in a zigzag pattern. "I looked back and made eye contact with the driver. All I see is a firearm pointed at me … his eyes lined up with the gun sights."
Maude said he did not remember hearing a shot – just that he hit the ground and could not feel his legs.
"One moment I was running and the next I was laying on the ground," he said. "There was blood everywhere … and it felt like everything fell asleep and was tingling."
He was able to call 911 with his cell phone, but Maude testified that he began losing consciousness and said his memories of talking to police were hazy.
Officers who responded found a single 9 millimeter casing on the ground and got a description of the shooter and vehicle from Maude.
He was able to identify the front seat passenger from a photo pack as Gregory Dickens, who is a known associate of Bennett.
Maude chose two people from a photo pack to identify the driver. His first choice was Bennett, and his second was someone who looked like Bennett but was incarcerated at the time of the shooting.
Five days after the incident, police saw Bennett driving the silver Dodge Maude described, and he was arrested.
In interviews with law enforcement, Bennett said he was in Leesburg at the time of the shooting. His phone records refuted that statement and placed him in Lakeland days leading up to and during the shooting.
Bennett did not leave for Leesburg until after the shooting took place.
Further examination of the cell phone uncovered text messages linking Bennett to the crime. He texted friends and told them that the only witnesses from the shooting were Roseboro and Maude.
In court, the defense argued Bennet could not have been the shooter and that Maude's photo pack identifications were unreliable. Bennett's attorney said that two people did not shoot Maude, which meant he failed to make a proper identification and could not be trusted.
"Kaheem Bennett wasn't there," the defense said. "He didn't do the shooting, and he wasn't involved in the robbery."
But Dickens – the person Maude did correctly identify – was called as a defense witness and admitted to being in the car with Maude before he was shot.
"Their own witness admitted to what happened in the car," Johnson said, "and that supports Maude's testimony."
Johnson told jurors all of the evidence leads back to Bennett, meaning it was not a coincidence Maude chose his photo.
"How would Kaheem Bennett know who the only two witnesses were unless he was he driver of the car that pulled up to rob Derek Maude?" Johnson asked jurors.
"All the circumstantial evidence locks in Kaheem Bennett as the person who did this," Johnson told jurors in his closing arguments. "His phone put him at the location. He attempted to fabricate an alibi, and his conversations show that he had info he could only know if he was there."
"There is no reasonable doubt," he said.


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Holiday home Hemnes Digerneset is set in Vortungen. Guests staying at this holiday home have access to a fully equipped kitchen.
At the holiday home guests are welcome to take advantage of a sauna.
Lillestrøm is 41 km from Holiday home Hemnes Digerneset. The nearest airport is Oslo Airport, 59 km from the accommodation....


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I didn't know brunch was so big in Dubai. It wasn't until a couple of friends that have visited said that Friday's (weekends run Friday-Saturday in UAE) in Dubai are brunch days, as in a good few hours with an all-inclusive banquet and free flowing champagne. Sounded like my idea of heaven.
It was a bit overwhelming trying to decide where to book as there were so many restaurants to choose from. We decided to book brunch at Nobu, as we absolutely love Japanese food and the thought of unlimited sushi and champagne was definitely up our street.
Nobu in Dubai is located in Atlantis The Palm which is a well known 5 star hotel. The brunch ran from 12 midday until 16.00pm, we got there just after midday and the place was already buzzing. There was a choice of three brunches, the cheapest including all food and non-alcoholic beverages. Next tier brunch including alcoholic beverages such as wine, beer, cocktails and prosecco. Or top tier which is the brunch we went for, which includes unlimited champagne as well as the drinks mentioned before.
Once we sat down within a few seconds we were given some Perrier- Jouet champagne, which as you can see above we were very happy about. Now on to the food…
It began with a selection of canapes which included some spicy chicken tacos, edamame beans, miso glazed eggplant and come salmon and cream cheese. Everything tasted delicious! We were trying to plan it well so we wouldn't get full very quickly as with buffets I tend too. However it was nice because we could really take our time over a few hours.
Next up we made our way up to the live cooking stations where everything is prepared fresh from high trained sushi chefs. Serving an abundance of fresh sushi and sashimi, prawns, fresh oysters, tuna tartare, salads, wagyu beef, the list could go on.
The most delicious yellowtail.
Melt in your mouth short rib beef.
After a good amount of time enjoying the buffet, we were then able to choose an unlimited amount of dishes from the main course menu.
Miso marinated black cod, which is a signature Japanese dish. This was one of my favourite dishes.
Followed by beef teriyaki skewers..
Then on to the most delicious beef gyoza's. I was full at this point, however if you were still hungry you could choose other dishes off the menu as there were lots to choose from. Nobu had a really good, relaxed atmosphere, there were a mixture of people there, couples, groups of friends, families. This was the perfect brunch we were looking for, not to rowdy and all about the food.
For dessert we had a dessert platter of matcha french toast, blueberry and yuzu pancakes, chocolates and some mini magnum ice creams with a Happy Birthday message.
After a tummy full of food and champagne we went to have a look at the aquarium which is located opposite Nobu. We didn't have to pay to get in however if you wanted to see more behind the scenes or snorkel in the aquarium then you can book to do so. It was such an incredible day and we thoroughly enjoyed the brunch at Nobu, I would definitely recommend if you're after a chilled, relaxed, all about the food brunch.
You can read all about our Dubai trip here.


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Free Runners
Wijerama Junction, Sri Lanka
I am a management undergraduate of University of Sri Jayewardenepura and a Chartered Institute of Management Accountants ( CIMA-UK) passed finalist. An energetic individual who is passionate about entrepreneurship and work hard to make the world a better place.
Accounting and Financial Management.
Selling and marketing skills.
Communication skills.
Analytical skills.
Strategic thinking.
Proactive learning.