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No Healthcare for the Poor (allAfrica.com)
Public health facilities are wretched and private care, insurance, are unaffordable
Edward Mubiru sits in the waiting area at International Hospital Kampala (IHK) located in Namuwongo, a suburb of Kampala. He continuously scrolls through his smart phone while his 50-year old mother is inside being reviewed by a doctor.
Nurses, doctors, and world-class consultants in their neatly starched green or blue uniforms or white lab coats hurry up and down the corridors within the cream-and-apple green painted walls and disinfected tiled floors. The waiting area has a comfy corporate-look with pine-wood and green metallic benches. Waiting patients can watch TV on over-hanging wall-mounted flat-screens.
The scene at IHK is similar to many private health facilities in Kampala. IHK is one of the most expensive private health facilities in Uganda and it is out of reach for most people. But Mubiru's mother has been coming to IHK routinely since she was first diagnosed with a chronic heart disease in 2004.
Mubiru says he can afford it because his employer, MK Publishers Ltd, provides him with private medical insurance which also covers his family. He says before he was insured, his family went through tough times finding money to cater for his mother's biweekly medical checkups. Many times they skipped doctor's appointments because they did not have money.
Making sense of the cost of medical care in Uganda can sometimes prove confusing. Since IHK is billed as the top private hospital in Uganda, Mubiru expects its high rates.
Generally, they charge hefty consultation fees depending on the specialty of the medical personnel one wants to see. Tests and drugs prices vary with the disease, doses, and the drug manufacturing country. Most patients do not pay out of pocket. Many are insured, others run corporate accounts.
But even with the insurance cover, Mubiru sometimes has to pay for some services. This is because he does not have comprehensive insurance cover. Recently his wife was charged Shs 40,000 as consultation fees to see a gynecologist. There after she was billed Shs120, 000 for drugs for a bacterial infection. They could have gone to a middle-of-the way clinic, but it would not have made a difference really.
For example, about 300 meters from IHK is Mother Teresa Clinic and Laboratory. It is tiny, with bare equipment, and no reputation. Yet, for the same infection, it charges Shs 80,000 – just a fee 30% shy of the cost at the high end IHK. The question is why?
Paying for paper at Mulago
In search of answers, one must also visit the top public health facility in Uganda; the Mulago National Referral and Teaching Hospital also in Kampala but across town from IHK. The 53-year old facility is fully owned by the government and all its services are free – at least on paper. In reality, one has to pay for almost everything, including the paper on which the disease diagnosis and prescription is written.
The hospital handles about 6000 out-patients every day in addition to the 3000 in-patients. Ward 3B which houses the trauma unit epitomizes the challenges of coping with the large numbers. Everything seems desperate. Often, the beds run out and patients lie on the dirty-looking plain terrazzo floor.
Ismail Mbaziira was at Mulago. When I met him he was squatting besides a frail girl lying on a piece of cloth in the compound just in front of the pediatric ward. She is 3-years old and suffers from sickle-cell disease, a painful incurable hereditary condition. She had just suffered a severe episode but Mulago did not have medicine. Instead, her uncle had taken a prescription from the doctor and gone to a nearby pharmacy to buy the medicine.
Buying medicine outside the facility is not a surprise as Mbaziira says this happens all the time. He went through the same in 2011 when his brother was struck on the head by shrapnel from a landmine. He required a head operation and the neurosurgeon told them that they needed a specific drug that the hospital did not have at the time. It was an expensive drug. By the time the found the money to buy it, the patient had died.
The high cost of medical care; from the top private facilities to the low-class roadside clinics, and government-owned hospitals, has become a major concern.
Rich man's healthcare
Uganda's health system is structured in such a way that the rich go to exclusive private hospitals and clinics whereas the poor, who are the majority, have no choice but put up with the wretched government facilities.
According to Health Monitoring Unit (HMU) statistics, the Private sector delivers 50% of health care and medical products and also contributes 50% of health sector outputs. IHK alone handles between 300 and 500 outpatients per day whereas the In-patient beds are 100 yet the International Medical Group (IMG) to which IHK belongs has facilities across the country.
Grace Kiwanuka, the Executive Director of Uganda HealthCare Federation, an umbrella organization for private health facilities agrees that for the last five years, the cost of health care has been going up.
She says this is basically because private facilities do not receive any kind of support or funding from government. They have to depend on the market conditions to determine their charges.
"The cost of doing business has been going up. Until recently, banks have not been issuing loans to private hospitals to acquire equipment. We have to look for every single coin to ensure that workers are motivated and we have the right infrastructure," she told The Independent. Then, she said, although imported medicinal drugs are not taxed, all equipment and drugs are priced in dollars, and so with the increase in the dollar, hospitals have to pass on these costs to patients.
Dr. Ian Clarke, who founded IHK and remains a director after selling majority shares to a Malaysian-based medical group, says top-class healthcare is costly because it relies on top specialists who are in short supply. He says doctors must charge a premium for their services. He says the government has failed to facilitate specialist doctors to remain in the country.
Dr. Abubakar Bugembe, an Ear, Nose and Throat (ENT) surgeon who runs a private clinic – Pan Health and also works at Mulago hospital says small private hospitals and clinics like his have come up to provide a choice to those people who cannot afford the expensive big private hospitals and yet cannot find treatment at the public hospitals.
At Bugembe's clinic, consultation fees are Shs30, 000 – almost the same as IHK. But his clinic is at times crowded that people queue for the services. At facilities like these, the specialist professionals like Bugembe put a price on their skill. There is no government control on the cost.
So what happens to those who cannot afford high-end or low -end private healthcare, and yet fail to get free care from public facilities?
As it is now, apart from public facilities which offer free services, health expenditure mostly comes from out-of-pocket payments where the patient pays over the counter. This has pushed millions of people into a poverty trap especially when a sudden health crisis hits. Those who come out to offer cheaper services are at times quack medical personnel who end up feeding people on counterfeit medicines.
Cutting costs for the poor
Kiwanuka of the Uganda HealthCare Federation offers a practical solution to cutting costs. She says private health providers could unite and order drugs and equipment in bulk to keep the costs down other than each medical facility procuring the drugs on their own at a higher price.
From the government perspective, Dr. Asuman Lukwago, the Permanent Secretary in the Ministry of Health, says the government is now ready to give monetary support to some private facilities to enable them to subsidize their services. Apart from that, he says, there is nothing much the government can do since these facilities are set up by entrepreneurs to maximize profit.
Lukwago says the government is aware of the poor quality and access issues in public facilities, in addition to over worked medical personnel and his ministry is battling to ensure that the population gets decent medical services. Meanwhile, the public should bear with the government.
But Ian Clarke has what he calls 'the only sensible way out' – universal medical insurance.
"People budget for school fees on a regular basis, they should also budget for health expenses, rather than gambling that they will not get sick or have an accident," he says, "they should take out health insurance."
He says the beauty with insurance is that premiums have not risen in real terms for over a decade like they have in other countries in the region.
Clarke says, for the poor, if the Ministry of Health was organised there are schemes such as Voucher Schemes and Community Capitation Schemes which are very good value for money. He says a good example of such a scheme is at Kagando hospital where the community members pay a membership fee to the hospital and then get subsidized medical fees whenever they fall sick.
However, according to Lukwago, currently the government cannot afford an insurance system that covers everyone. He says, in fact, insurance is no bed of roses it is made out to be. He said there is need for the government to scrutinize the challenges associated with it before unleashing it on the general population.
Dr. Medard Bitekyerezo, a member of the Health Committee of parliament is more concerned with cost -even of insurance. He worries that it may be harder to see how people can pay for health insurance, especially since few Ugandans work in the formal sector where they might build up a fund.
For him, the solution lies in ensuring that private facilities do not take advantage of poor facilities in government hospitals to overcharge the patients.
"If public facilities are improved, the private charges will be made reasonable when the entrepreneurs do not find customers".


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Paradip Port to have iron ore terminal
New Delhi, July 1 (ANI): An agreement has been signed between Paradip Port Trust and Blue Water Iron Ore Terminal Pvt. Ltd for construction of a deep draught iron ore terminal.
K. Raghuramaiah, Chairman, Paradip Port Trust signed the concession agreement on behalf of the Port and Harindar Pal Singh Banga, Vice-Chairman, Nobel Group signed on behalf of Special Purpose Vehicle (SPV) here today.
Union Cabinet Minister of Shipping G.K. Vasan and other senior officers including Secretary (Shipping) A.P.V.N. Sarma, Additional Secretary and Financial Advisor and Joint Secretary (Ports) were present on the occasion.
Under the agreement, the iron ore terminal will be developed by the concessionaire at an estimated cost of Rs. 506.30 crores.
Paradip Port will provide supporting facilities like dredging of channel and berth, railway lines and back-up area at an estimated cost of Rs. 85.05 crores.
Besides this, the Port will also incur an expenditure of Rs. 20 crores towards shifting of the CISF complex and Rs. 15 crores towards upgradation of electrical reception facilities in order to facilitate implementation of the project.
On completion of the iron ore terminal, capacity addition to the Port will be ten MTPA. Since the dredging of the channel is in progress and the depths at the proposed channel and berth will be 17.1meters, it will facilitate handling of cape size vessels upto 1, 25, 000 DWT.
The concessionaire, Blue Water Iron Ore Terminal Pvt. Ltd. have offered a revenue share of 36.802 per cent to the port during the concession period of 30 years.
The concessionaire will complete the construction of the project facilities within 36 months from the date of award of concession.
This is the first project under the Public Private Partnership (PPP) to be implemented in the port sector as per the new Model Concession Agreement approved by the Cabinet and the tariff has been fixed up front by the TAMP.
As part of the PPP scheme of Government of India, Paradip Port Trust floated global tenders for construction of deep draught Iron ore berth on BOT basis.
Five bidders were short listed including the successful bidder, the consortium of Noble Group Ltd., Gammon Infrastructure Projects Ltd. and MMTC for this port sector BOT project.
The consortium has formed a SPV, Blue Water Iron Ore Terminal Pvt. Ltd. under the companies act to implement the project. (ANI)

subset: commoncrawl


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OPFOR Solutions, Inc
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Cultural Apparel & Foreign Military Uniforms; we've been providing cultural apparel to the U.S. Military for over 7 years now.
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Walk Towards Easter . 29.
' And the curtain in the Temple was torn in two, from top to bottom. When the Roman officer who stood facing him saw how he died, he exclaimed, " Truly, this was the Son of God!" Mark 15:338-39
Q. What was the significance of the tearing of the curtain? What do learn about Jesus death from the Roman Officer ?
' It is finished '…….What was it that so moved the Roman Soldier ,as Jesus took His last breath, to exclaim , " Truly He was the Son of God!" I'm sure this soldier must have officiated at many crucifixions and witnessed many deaths on the cross, but this one was different. Maybe he saw the enormous load , the burden that Jesus bore, the pain He suffered and the darkness that overshadowed Him. Maybe it was the compassion and forgiveness he showed , regardless of His own suffering , to the criminal placed next to Him. Or did he sense a supernatural peace as Jesus commended His Spirit to His Father. It was the incredible changing power of Grace! , the Roman Soldier praised God !
When the curtain was torn in two, Jesus sacrifice ushered in The New Covenant. No longer was there a separation of the Holy and Most Holy Place in The Temple, no longer do we need the earthly priest to intercede on our behalf. Now we can boldly enter into The Throne Room of Grace
' So let us come boldly to the throne of our gracious God. There we will receive his mercy, and we will find grace to help us when we need it ' Ephesians 4:16


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Catalan Modernism Walking tour
- 3 H1 - 10Offered in English, Russian, Spanish
Catalan Modernism Walking tour
- 3 H1 - 10Offered in English, Russian, Spanish
- Offered in English, Russian, Spanish
Meet your host, Natalia D
Hi! My name is Natasha. I´m from Russia from St. Petersburg. I came to Barcelona three years ago and first it seemed to me very noisy, crowded and chaotic. Step by step I was discovering the treasures that it hides and finally it won my heart and my mind :) Barcelona is a special place that cannot be captured with a single look, it needs a kaleidoscopic vision, a multiple observation, to comprehend the complexity it contains, like a mosaic - trencadis - that became one of the symbols of the city. Look forward to sharing my experience, knowledge and conception with other people who are interested in!
What you will see and do
Barcelona is a city that actually could be named as a museum of modernist masterpieces under the sky! Explore the walking tour around the "golden square" - famous part of the Eixample district where are located the first palaces of privileged bureaucrats. You will grasp the opportunity to learn about the structure of the new Barcelona, three main Catalan architects and discover the hidden gardens inside the living quarters.
Cancellation policy
Plazade Catalunya
- Barcelona » City tours


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The Marsh is proud to offer quality services to youth and families in need. We are proud to work with youth and families from Van Wert County and around the state of Ohio. Our staff is dedicated and goes above and beyond to ensure the success of our youth.
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Non-profit Children's Services Agency
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*All information was submitted by the company.


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July 4 2008. As this is written -before break for prayer – the men and women of the FRU camp in cheras are training for Sunday morning's riot control at the Protes gathering at PJ. In two hours many of them will be on prayer mats in mosques, probably sitting next to someone who might be there on Sunday as a protestor.
How surreal.The cheeky question for the Home Minister, Hamid Albar is why are you spending so much time, energy and gas cannisters to worry Malaysians who have been unbelievably restrained despite so much police intimidation and violence.
It is violence when you chuck gas cans into peaceful protestors and then charge them down with chemical shooting cannons accompanied by henchmen with truncheons and shields. Are we just bowling pins for these people, to pick up – lying in the gutter – once they have had their fun with us?
Freedom this Sunday?
I fear that the plot might repeat itself this Sunday as the numbers expected would swell beyond the compound designated for the event. So what? Protest is a democratic right. The oil subsidy is justified or not, depending on which side of the analysis you belong to.
The concept of constant disagreement is seen as subversive by those in power, invoking the hackneyed notion of Asian values excludes strong expression against authority. And that is where the principle of police intervention germinates.
The peasants of Russia in 1905 (which means everyone not linked to the Tsar) were in great torment and gradually expressed their general disagreement, primarily the hunger experienced by themselves and their families. This was considered too disdainful that the Tsar sent out his troops pacify the crowd. 100 dead and 300 injured later, the crowd were adequately pacified.
I know, I know, Umno logic would have a response to this.
They'd say their policy of tear-gassing people even before they can start the protesting has avoided so many deaths and injuries. Pre-crime is best.
Police, Rela and now the Army
The build up of public resentment is seen with great suspicion by the police – and plus the ever ready and mostly illiterate Rela – they want to rope in the military.
Mind you, compared to the Thais, Indonesians and Filipinos, our army has been having a 50 year long picnic. The only active component of the army would be the procurement and false parts divisions. The rest of the time, they are divvying up army surplus stock for the coming winter (that was intended as a pun).
So the cynic would say, ah something for them to do. But I rather have them building bridges and issuing parking tickets than pointing guns at civilians.
In the Philippine Military Academy – their West Point – every trainee will every salute civilian, to indicate civilian authority. To them the military serves the civilian.
How about that eh? They fight communists in the hills still and insurgents in the souths, with bombs and body counts, and still back down to the power of the unarmed man on the street. The taxpayer.
So I am stuck, not sure if our police and all armed authorities are righteous or just riotous.


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The Golden Globe award of Marilyn Monroe that she received way back in 1961 has been sold for a record-breaking $250,000 (£195,000) at an auction that was held in California, USA.
The award of the actress for world film favourite female became the highest selling Golden Globe award ever recorded in history when it was able to fetch a quarter of a million dollars at Julien's Auction that was held in Beverly Hills last Saturday.
The 1956 Raven Black Ford Thunderbird of the late starlet was also sold for the first time in history for $490,000. Other iconic items that were connected to Monroe that went under the hammer during the auction this weekend included the black satin blouse that has a matching necktie that Monroe wore during a press conference at Los Angeles Airport on the 26th of February 1956. that was sold for $43,750; her copy of the first ever issue of Playboy Magazine that has Monroe on the cover that was signed by Hugh Hefner, its publisher, that was sold for $32,000; the iconic black-and-white checkered pants of Monroe that was sold for $31,250; and many others.
Also, a pair of her earrings went for $10,240 during the Icons & Idols Hollywood two-day auction. It also included some items from other celebrities, such as Cher and Tina Turner.
A collection from fashion and costume designer Bob Mackie hit the auction runway with a selection of the nine-time ensembles of Emmy-winning icons that were worn by Cher on The Sonny and Cher Show and Cher. The wedding dress of Sharon Tate— an ivory silk moire mini ($25,000-$50,000) that was worn to her marriage to Roman Polanski in London way back 1968— was also present.
Monroe was famously portrayed driving in the car with Arthur Miller, her playwright husband, shortly after their wedding way back in June 1956.
The president of Julien's Auctions, Darren Julien, said that the car was "not only part of automotive history but comes with an aura of glamour, romance and tragedy of a true Hollywood legend."
The owner of the car tracked it down through registration and some other documents prior to restoring it ahead of the said auction.


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I was sitting in the parking lot outside of Modells today keeping up on the blogs. I came across a post by Queens Teacher which I found really profound, which can be read here. QT is lamenting the end of teaching as we know it, but something else, at least it is my interpretation. That the deformers are looking for the easy way to solve problems.
In fact these two words of wisdom from QT resonated with me;
"Why do we need to wait 10 or 20 years to finally figure out this will not work"
" I personally am telling any young person I meet to not even THINK about being a teacher. I mean, why spend all that time, money and energy in a degree that is considered useless"Which got me to thinking about "Wrath of Khan." No, not Khan himself, but Dr Carol Marcus and the Genesis project.
But what the video doesn't show is this exchange with Dr McCoy and Spock immediately after watching the video.
McCoy: Dear Lord. You think we're intelligent enough to... suppose... what if this thing were used where life already exists?
Spock: It would destroy such life in favor of its new matrix.
McCoy: Its "new matrix"? Do you have any idea what you're saying?
Spock: I was not attempting to evaluate its moral implications, Doctor. As a matter of cosmic history, it has always been easier to destroy than to create.
McCoy: Not anymore; now we can do both at the same time! According to myth, the Earth was created in six days. Now, watch out! Here comes Genesis! We'll do it for you in six minutes!
See? The teachers and education, "life," are being destroyed by Genesis, the new matrix. And what Spock is saying is true. It is always easier to destroy than create. And that is what is being done with education by the deformers. Destruction, because it is so much easier. Why bother to create and have to deal with hard work?
What happened to Genesis? Khan let the device explode and it created a new planet. Spock's body was left on the new planet and as we saw in Star Trek III "The Search For Spock" he was rejuvenated, and the Genesis planet destroyed itself due to its instability and in my opinion, artificialness.
What the deformers are attempting to do is create something easily which is impossible. They all need a few viewings of Wrath of Khan.


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Harry Pane
Fletcher Bay
Fletcher Bay is available at:
Folk; Alternative
London, U.K.
22nd March, 2017
The E.P., The Wild Winds, is available at:
ONE of the reasons I have been so busy lately…
is because I'm putting together a body of work I can use, I hope, in order to seek employment among some reputable music publication. The same work ethic can be applied to Harry Pane. I will talk about touring and those who gig relentlessly; a bit about Northamptonshire's (where he is from) music and various ways of funding recording; getting that producer/location down and music that brings the listener into the songs – a little bit on hitting a wide appeal and getting reputable stations under your belt. Let's begin with that first point and the nature of touring. I have written articles recently that talks about mainstream artists and the promotion 'game' that is played: another looked at artists who suffer anxiety and whether touring demands are responsible. In terms of those big artists; there is a real need to fit into a certain way of working. When an album or single is on the horizon, there begins a meticulous and structured campaign that sees every media source hit and this bit-by-bit drip-feed or a promotional release. You have the social media revelations and, before you know it, a huge amount of gigs. I wonder whether there is a lot of pressure put on mainstream artists to promote harder than ever. One can apply this to new artists: the competition so fierce, there is that need to perform as much as possible. These long hours and brutal demands are taking a toll on a lot of artists. Anxiety levels are rising and the desperation for revenue – gig money is the only many artists will receive – is pushing our artists to the limit. It is quite a brutal and unforgiving scene, so I wonder whether there needs to be some form of mediation and restructuring. To me, there are the same amount of venues (or fewer) but the number of artists is climbing ever-higher. One wonders whether that compression and compaction is causing a squeeze on the music scene. It all sounds rather negative but I wanted to address one side of touring and what a new musician faces.
In terms of Harry Pane; he is someone whose music plays on the softer side: it has captured many hearts but has a broadness and sonic diversity that has seen it appeal to a wide range of sources. Because of that, Pane is in demand and has been performing around London quite a lot. He is based down here now and revelling in the opportunities and unique, characterful venues we have in the capital. Whilst many artists are pushing themselves hard – and finding anxiety and stress follows – Pane seems to have a good balance. Yes, he is much-demanded but is able to perform regularly whilst affording himself some off-time. I have mentioned how Pane's music has a gentleness and passion to it. Does my concerns, and the fact some artists are burning out, apply to those who play harder, more energised music? Maybe the sheer energy and strain exerted per gig, carried across a year of dozens, is too much for their bodies and minds. Is it easier for an acoustic/Folk artists, say, to sustain a jam-packed gig calendar and have a real sense of optimism? Maybe so but, in Pane's case, there is that natural love of the road. That is why I wanted to address touring and gigs. Whilst many feel a bond with the studio and prefer it there – if I were a musician, I think I would – there are many who yearn for the buzz and love one can only get in the live arena. Even if your audience is quite intimate; there is something inexplicable magic and transcendent about holding court and connecting with the people. I think THAT is what many, and Harry Pane, vibe from. You have that closeness with the crowd and are able to see the reactions first-hand. I have read live reviews from Harry Pane's recent shows there is that consensus: he is someone who can captivate an audience and get a very raw and pure emotion from every patron. It is not a shock, because of that, he is pretty active right now.
I have this by-proxy/second-hand paternalism with Pane and hope, like the best new artists out there, he is taking time to recharge and chill between gigs. I can understand the need to get the music out there and build the fanbase but, at the end of the day, he needs time to decompress and reflect. There are a lot of pressures on new artists so, dealing with them, is quite a hard struggle. One thing that impresses me about Harry Pane's gigs is how comfortable and assured he appears. A young man he may be but he is someone who has the skills and affinity of an older musician – completely natural and connected with the stage. I will come to look at his new E.P., The Wild Winds, but can only imagine, in light of its release, there will be many new fans who will want to see Harry Pane in the flesh. Whilst there are concerns about the health of our musicians and how much is on their shoulders; it is possible to get regular gigs and not push things too hard. Pane has been performing around London and the U.K. but one suspects he would welcome a broader, more ambitious itinerary. It seems, listening to the depth and richness of his music, it is translatable and utilitarian. One does not have to be accustomed to a genre or style in order to bond with Pane's music. I could envisage him tackling the American market and finding success in states like New York and Los Angeles. Of course, we often associate America with the big cities and states but forget all the other great areas in the country – Nashville and Seattle among them. I hope Pane, in months to come, is allowed access to explore America, Europe and other areas. I can see him gaining big international acclaim – whether he wants to remain local at the moment, and carve out a niche here, is up to him. There is a lot of excitement around Harry Pane and that, in time, will see him becoming a big proposition abroad.
Harry Pane has sold out London's The Bedford and established himself as one of London's brightest new hopes. As music becomes larger and more expansive; counties and areas outside the big cities are becoming less attractive and more anonymous. It is great living in the environs of London or Manchester (or Glasgow) but does that proximity pose any benefits to an ambitious musician? Whilst one has a greater chance of success in the cities, I would argue it is pretty hit-and-miss whether one could gain any exposure in smaller areas. I have featured artists from Reading who have been able to survive here without relying on London but that is a rare exception. So many artists tell me the same thing: there is no active scene where they are and feel the need to have to go to the big cities. I have been looking at Harry Pane's home county, Northamptonshire, and whether, in practical terms, there is any sort of music base. I know there are some larger towns/cities (away from London) that provides a platform for musicians but, in terms of Northamptonshire, there is a limit. Foundrymans Arms offers live music and chances for bands down in Northampton – it is as popular destination but quite limited in terms of space and music variation. O'Neills, (Northampton) in The Drapery, is more reputable and hand-picks the best bands around – making sure local punters are treated to a discerning collection of acts. Whilst its online reviews might suggest there are better pubs/venues around – one suspects the food service and ambience is more culpable than the quality of music – the Irish bar provides a range of genres and sounds for people to enjoy. Roadmender, down in Lady's Lane, Northampton, brings together the best Indie D.J.s around and hosts its world-famous (one wonders whether that claim is rather ambitious; their definition of 'world' might not extend beyond the county) Propaganda club night and caters to those who prefers their music bass-heavy and banging.
Rose and Crown Bistro, by contrast, is as austere and dignified as its name might suggest. It prides itself on British cuisine but had a worldly flair: this is reflected in the eclectic selection of music they provide. From Jazz and Rock to Blues; there is something for everyone to enjoy. Royal & Derngate – another quintessentially English-sounding boozer – reopened in 2006 after a multi-million-pound redevelopment. The venue is more family-friendly than most venues – translation: not quite as cutting-edge and happening as you'd hope – but, because of that, is a more broad-minded and accessible venue than many in Northampton. Rushden Con Club is one of few venues outside Northampton that hosts the best acoustic and electric artists from around the county – sourcing its talent from surrounding areas, too. One can enjoy a friendly environment, cheap drinks and exceptional music. The British Arms – one imagines Northamptonshire to be quite Brexit, given its patriotic pub names! – offers some world-class banter and a top-notch selection of real ale. Navigate the classic bants and bearded-men-tasting-ale-visions and one can access some great live music down in Wellingborough. The Deco, nestled in Abington Street, Northampton, is a restored 1930s cinema and a beautifully-appointed site. Whilst its beautiful auditorium is more suited for theatrical events; it does showcase musicians and is one of the most striking venues in Northamptonshire. The Castle Theatre and Arts Centre showcases mighty Blues and smooth Soul music; brilliant Folk and Rock 'n' Roll spark. It is another great site in Wellingborough that shows what an impressive scene the town has. Whilst Northamptonshire does a music scene, it is rather sporadic and not quite as consistent as somewhere like London. Northampton, especially, is quite a strong centre and, if an artist can get some local gigs and enjoy the convenience of London, that is quite a nice blend. I feel Pane is situated in London because he has a talent and ambition that cannot be satisfied by a few local bars. That unslakable thirst is best left to London and its vast array of venues. That said, one cannot understate the importance of the local scene and preserving those all-important venues. Without them, talent like Pane would not be able to campaign and expose his music – he would be forced to make costly visits to London and might not get the experience he requires. Now he is based in the capital, he is starting to build up a solid and loyal fanbase – and get gigs in other parts areas the country.
Not only has Harry Pane got that desire to perform and wonderful critical acclaim but the backing of record labels and the public. In terms of finding finance for music; many musicians are struggling to put together the necessary fees. I have seen many go down the crowd-funding route: not only to get fans involved in the production and process but because they have no other options. In Pane's case, he got funding from Island Records – the Great Britain of the record labels; no small fish – after prospering at Meet & Jam and PRS Music's 'Road to the 100 Club' competition last year. It was a great competition with a lucrative prize. Having a big label like Island Records funding an E.P. is an invaluable prize. I know Pane warranted the victory and earned that accolade but, as an artist, had a lot of pressure turned off. He did not need to stress about where the funding would come through and limit his horizons too much. I worry, even if one goes down the crowd-sourcing route, they are producing music how a recently-bankrupted millionaire would plan their trip to the supermarket. The calculator is out and they would be working out the cost of each instrument/studio day/song. Because of that, a lot of music's potential is being strangled and artists are having to take less-expensive routes around. I understand how technology can compensate – apps. and software that can make recording and compositions more affordable – but they cannot replicate and replace the natural sound and potential of real instruments. How to find sufficient funds for new musicians might see me straying off-topic – no change there, then! – but it ties in with Harry Pane. Consider what The Wild Winds would sound like were he to have to self-fund one go down the crowd-funding route. I know there would be willing backers but there is that inherent stress: can he hit targets in time and will he generate enough?! As it is, he was not asking for a massive budget but has that comfort-blanket of Island Records. The likes of U2, Amy Winehouse and Elton John are/have been on that label so, not only will Pane get the finance from them but a wealth of experience and knowledge.
The nature of funding and production is something that is on my mind a lot and keeps many artists awake. One wonders whether having a sense of financial uncertainty is good for an artist – they work harder and provide more gigs; find economic ways to get their music produced – but I feel there are far more detrimental and negative aspects. I am pleased for Pane as he earned that honour and has been allowed a certain freedom and elasticity. Listen to his E.P. and it is not crammed with needless instruments and effects. What one hears is something natural and pure: an artist stretching his imagination but displaying a keen ear (and eye) for concision and focus. Not to hark on about Island Records but that is quite a coup for someone so young. It would be nice to see that association continue in the future. Having Pane on their books would be a bonus for them and he, I think, would fit perfectly into their stable. Right now, I am looking ahead and where Harry Pane will go now. Another E.P./album seems certain but one thinks, when that arrives, how it will be funded. I would like to see him go down the crowd-funding route. Some artists can be sniffy when you bring up that area. To me, as long as you give the supporters proper recompense and reward, it is a mutually-beneficial cohabitating that means a musician need not sweat fiduciary nightmares – the fan gets something and knows they have helped make an album/E.P. If a musician has enough money, and goes down this path to save themselves spending a bit of cash, there are some ethical qualms. For Pane, he is not Scrooge McDuck – diving into a huge vault of coins at the end of each day. It would allow Pane's fans to back a wonderful project and the artist an opportunity to conserve some finance for other considerations – maybe pouring it into a great music video or funding vinyl releases of the album/E.P.
Looking at the credits for The Wild Winds and one cannot help but be impressed by its producer and location: Dani Castelar and Valencia. The fact Pane got to go to Spain and record in such a Paradise. Down in the port-city; he got to enjoy the southeastern coast – where the Turia River entangles the Mediterranean Sea – and surrounded by futuristic structures, planetarium and interactive musicians; the wonderful vistas and gorgeous views. I am all for keeping things basic and making recording simple and affordable but, in this case, one can see the case for going to Valencia. Not only, whilst there, could Pane get inspiration for songs but have a perfect place to relax. One thinks of the modern artists sweating in a high-tech studio and it being a rather robotic and unremarkable procedure. That is true in a lot of cases but, if one can achieve it, going somewhere inspiring like Valencia not only creates a better working environment but an all-in-one holiday/retreat where an artist can get ideas for music and chill at the same time. Kudos to Pane who, one suspects, was not there for a jolly – it was a considered choice and has, as a result, led to some atmospheric, scenic and beautiful music. One hears the E.P. and looks at Valencia: its coast and age-old geography; that clash of modern and historic and the diverse population there. Even if you are British, and do not have a lot of cash, France is on our doorstep – as is Scotland (if you are English). Do your research and investigate those studios that provide a sense of the inspirational but affordable at the same time. One imagines a jaunt to Paris, say, would not be that expensive. The studio costs are not as steep as they are here and, whilst in the city, you get access to romantic and heart-melting images. It is a romantic, perfect city that can make the heart beat faster and compel every musician – not only those who make tender, touching sounds.
The Wild Winds has the distinction of Dani Castelar in the producing chair. He (one would imagine a woman with that forename spelling) has produced work for the likes of R.E.M. and Paolo Nutini. That is an impressive couple of names that makes me wonder where Nutini has got to – I am desperate for an album that follows Caustic Love. He is one of those artists that can release an immense and mind-boggling record like that then bugger off for a while. I digress, sorry, but, with those names under his belt, Castelar knows what he is doing. If one reads Castelar's bio,. you get an idea of why he is such a sought-after producer:
"Co-Producer of Paolo Nutini's No 1 album Caustic Love, Dani is an engineer/co-producer of several years experience. Originally Chief Engineer of Grouse Lodge Studios in Ireland (Co.Westmeath)where he worked with a wide variety of artists with a range of musical styles. Highlights of those years would be sessions with The Waterboys, Jacknife Lee(Snow Patrol, REM and Bloc Party) Michael Jackson and the producers who worked with him including Will.I.Am, Rodney Jerkins and Babyface and then working as engineer with Paolo Nutini, recording the album Sunny Side Up.
Leaving Grouse Lodge, Dani worked as an engineer in various London studios and frequently worked with Jim Duguid, co-writer of Paolo Nutini's first album These Streets. During this period he was offered a residency in Sonic Vista Studios in Ibiza, working with Swedish House Mafia and everyone else in the club business and the artists who wanted to record while they were playing in the clubs".
That information is taken from his official website and you can have a look at that at your own leisure. Castelar has worked with eclectic artists and a mixture of bands and solo artists. Working with samples, computers and creative tools: one gets a musical equivalent of Valencia in the studio. There is the traditional and older methods of recording but those ultra-modern comforts.
Harry Pane, not only gets that perfect backdrop but a studio/producer who has worked with some of music's best artists. So many of today's artists do not credit their producer or overlook it – they are an integral part of the machine. Without their guidance, input and discipline; you would not get the same sound and quality. The producer is not only there to get the sounds recorded and make sure it all runs smoothly. They provide notes and ideas; urge the artist to try new things and expand their horizon. Pane is a new artist but not a stranger to music. Going to Valencia, he would have had his own ideas for the E.P. and what he wanted to achieve. I imagine there would have been conversations in the studio between the two. Castelar, having worked on an album like Caustic Love, would be urging a rawness and nakedness from Pane. He would have been putting forward ideas of calm and introspection. What one gets is a meeting of different minds finding a common compromise. You get to hear strength and power but plenty of tenderness and gentility. Overlooking the unique beauty of Valencia; all these combinations would have augmented the music to rare heights. I hope Pane and Castelar work together again as they seem like a great partnership. The producer does not have too big a say but is not exactly in the background. I can see the duo conspiring again down the line – The Wild Winds is a wonderful creation that benefits from two minds and one man's personal backstory.
I try not to sample from the buffet of fellow reviews – because that clouds your own ideas – but there is a common thread. Most journalists note how Pane's music is physical and emotive. One is drawn into the songs and walking alongside the hero. I refrain from using the word 'journey' – I will only start pistol-whipping musicians that use this word; it is a trope that does my nut in – but there is something curious and progressive. The songs are episodic in a way they seem to point at different times of Pane's life. Not that The Wild Winds is conceptual and a single narrative. What I mean is the songs sample from various scenarios and years of the hero's life. There is, in a strange way, the seven stages of grief. The title of the E.P. would suggest something turbulent and capricious. I feel there is disbelief and denial – emotional events the hero feels are unwarranted and too hard to handle – whilst one senses bargaining and guilt contrasting. Pane has anger and depression at heart – but that hope and defiance above it – and, finally, there is that bargaining/acceptance. What that 'spark' was exactly – the trigger for this emotional complexity – one is unsure. As much as I detest certain words being thrown around needlessly; one cannot quibble (The Wild Winds) is a man looking in himself and looking for answers. The listener can either remain passive and the architect of the bystander effect – seeing someone in peril but choosing to ignore it – or involve themselves in the experience. The E.P. is a five-song presentation that demands interaction and interaction. Once there, one finds something emotive but not too heavy. It is not a tough listen in the sense it is overly-vulnerable but there are some splintered stables one must navigate. More than that, there are certain points where you are staring directly into the creator's eyes. It is a solid and fragile stare that says so much and asks for support. Like connecting with a troubled stranger: there is that temptation to walk away but you become engrossed; struck by a sense of civic duty to assist. That is not to say Harry Pane is an emotional wreck flailing in a sea of depression – he is a tough individual but wears his heart on sleeve. I will go into more detail about the E.P.'s origins and stories but wanted to focus on Fletcher Bay. It is the latest single and a perfect introduction to a rare talent.
I shall ease towards the conclusion but, before I do, wanted to remark on radio patronage and how important a diverse support group is. Again, I am making Pane sound like a destitute waster – my lexicon and vocabulary could use an M.O.T. – but I mean he has a vast and varied backing that sees his music put into a range of different hands. Fletcher Bay has been added to various playlists – including Spotify – and championed by the BBC. Pane has been lauded by BBC Introducing in London, Northampton and Oxford. Not only does he have that home support (new and old) but reached into Oxfordshire. Those counties are important but go beyond that. Kerrang!, of all people, have connected with his music – showing there is something in the music that speaks to those who prefer something quite direct and hard. Tracks like Old Friend have a Rock edge; small wonder it should appeal to Kerrang! The five-track E.P. does not rest in one genres and casts its net pretty wide. Because of that, Pane has managed to appeal to a number of different radio stations and sources. A smart and wide-ranging artist who, one suspects, grew up with a diversity of genres and artists – all reflected and distilled into The Wild Winds. Given the hefty emotional weight one hears; it would be foolhardy to represent that with acoustic strings alone. That would lead to a rather flimsy and threadbare album. One needs to hear the authoritative fist of the electric guitar do its work. That is not to say Harry Pane fires off seven-minute solos and two-handed arpeggios. He keeps it restrained and dignified but is not afraid to indulge the lash of the electric guitar when needed. I have heard a lot of Folk/finger-picking artists who produces E.P.s that do not stray far in terms of sounds and instrumentation. Pane is someone who can keep Folk authenticity intact but step into Rock and Alternative realms. Not only has his music managed to cross counties and radio stations: one knows, when it gets more exposure, it will; cross oceans and see gig demands coming in from abroad.
The opening strings of Fletcher Bay have that classic, far-away dreaminess of the greatest Folk records possesses. A streaming and delightful arpeggio; one is floating down the river warmed by the midday sun. It is a gentle coda that prepares you for the song and gets the imagination working. I was thinking about the song's title: going to Fletcher Bay and what it might look like. The guitar is soft and romantic but, underneath, has a strength and passion that gets you standing to attention and ready. When Pane approaches the microphone, he talks about a time when he "felt alive"; memories and the mind colliding, one presumes, at this favourite haunt. In the early stages, one gets hints of Bon Iver's earliest work and the sort of intimate, gorgeous songs one could hear on For Emma, Forever Ago. Pane's voice has a definite lust and urgency but, accompanying the guitar, a sense of wistfulness and contemplation. One imagines the song, in the first stages, is about that rare and treasured "discovery" the hero will remember into his winter days. It is a vivid and evocative start that gets you cast in the song; watching Pane wander down to the bay and looking around. Maybe it is that sense of quiet and calm that attracts him: there seems to be something mystical and safe in that place. Why he has chosen to come back here is left a mystery. Maybe there is a need to cast away the stresses of life and go somewhere that has always proven to be secure and restful. Perhaps Pane has gone through a tough run of days and, simply, requires some down-time. Listening to the meaning and depth in the voice; I get the impression there are bigger things unfolding and a determination to make sense of things. He has, I feel, had some bad news – or gone through a breakup – and is reverting back to a childhood state. Maybe there is a sense of transference. He is seeking a bosom and warming womb that acts as an artificial love and, maybe, degree of material warmth.
In that moment – when the songs really starts to delve deep – one is still inside the song but standing back and allowing the hero to roam freely. He has a great love and knowledge of Fletcher Bay so is gravitating towards there once more. Soon enough, we hear about a second party. There is that need to be taken there by another person – whether that is a lover or friend, I am not too sure. Maybe it is an indirect plea for someone to accompany him there and experience the landscape with him. Hearing that makes me wonder whether there is a general wanderlust and determination – reconnecting with a place he has not been for a bit; merely visiting a great place – or there is a more serious reason behind it. I guess there needs to be little reason to come to Fletcher Bay but the song seems to have a secret it is holding back. Maybe Pane has a lot going on and needs to make sense of it all: his voice holds ghosts and truths but overshadows that with an intoxicating strength and determination. We hear a wordless coo and layered vocals: the hero more entranced and compelled at this moment; right in the middle of Fletcher Bay as he watches nature unfold. Pane looks at the birds and the stillness of the water. Whoever his travelling companion is, one gets the sense of a man trying to connect with the past but showing a stunning place to another human – it is as simple as that. There are few who will be unmoved by the purity and affection one discovers throughout the song. The hero paints so many scenes and strong images throughout the song – one feels like they are there alongside him. There are few, also, who will not connect with the talents and abilities of Harry Pane. His finger-picking sounds simple but is so intricate and full. One swims inside the notes and hears different things each time you discover them. That is the mark of a great musician: someone who can create something easy and relatable but fool you with complexity and intelligence – you are struck by the notes and the colour and possibilities that linger within.
As the song progresses, we learn it has been nine years since Pane visited Fletcher Bay. He cannot believe it has been so long – one is curious as to the reason behind it – but there is that definite ambition to make this visit special. More curiously, it seems Pane's heroine/friend is going to remain there – he is going to leave. I was wondering why he was going to go back home and his compatriot was remaining there. Perhaps this visit is a pilgrimage and commemorative occasion. It seems like Pane is putting something to bed and going there for one last, special visit. Maybe Pane is passing the legacy and magic of the place down to someone else – a new generation, perhaps – or sad to say goodbye to somewhere that is very special and treasured. Nobody can deny there are some mixed feelings and hard emotions at work but there is a lot of love and relief. The song changes course and meaning as it goes along. At the start, one assumes it is a simple trip to Fletcher Bay and a chance to reflect and relax. As it gets longer, you change your mind and see the song in a new light. It becomes much more emotional and personal: that travelogue/religious experience unfolds; handing down the secrets of Fletcher Bay to his accomplice. There is an inscrutability and enigma to the song that never really unfurls and speaks its mind. That is good because one gets a real, fully-rounded song that you can interpret however you feel. There is no obviousness and easy tangibility: there is not an infuriating detachment and obliqueness either. However you view it; it is a song that is dear to Harry Pane and, to me, the standout cut from The Wild Winds. There are few songwriters who can inspire the mind and provoke so many reactions and possibilities – almost conspiracies, in a way. It is a song you will return to – like Fletcher Bay itself – and try to get to the bottom of the song's meanings.
I will wrap this up by looking at the themes I introduced earlier – touring and its demands; music from counties like Northampton; funding from fans/record labels and that right producer/location – and bring in a new theme, the nature of 'Englishness' and being unafraid to look into their soul. Before all of that, I want to look at gigs upcoming for the London-based musician. Like his near-name-sake Harry Kane; Pane is a busy man and someone who is enrapturing the home crowds – it is a lazy parable but one I had to do! Consider the next month and Pane has some really interesting gigs. He plays Osterley's Hare & Hounds tonight and, after leaving the affluent postcode in Isleworth, will look forward to the Vintage Nostalgia Fair (seems like needless tautology, there) in Wiltshire next week. That will be quite an experience: playing at a location, one suspects, will see its share of bygone relics and gloriously evocative nods to the past. In the way Valencia's modernity and climate compelled E.P. imagination: a fair like that is sure to have Pane looking back and, perhaps, playing a more acoustic set. The Old Blue Last arrives on 8th June and is a great part of Shoreditch. It is in the inconspicuous Great Eastern St. and is a refurbished East End-style boozer that appeals to a trendy young crowd – indicative of the demographic and dichotomy one witnesses in an ultra-cool hipster nirvana. Putney's Half Moon comes a few days later and there will be a visit to another super-cool hang: Mahiki Bar, Mayfair (on 28th June). To be fair, some of the reviews for the place are not staggering but you cannot fault the décor. It is a proper recreation of the East. There are hints to Hawaii and is the ultimate party destination for those who want exotic, beautiful flowers; some fresh fruit cocktails and toilets where you're unlikely to find toilet paper stuck to the sinks and a disused condom machine sporting suspicious dents – it is a lot more palatial, graceful and clean. That will be a good gig and a really interesting space to perform. I am not sure whether, like Shoreditch's crowd, it is young and hip and what you will get in Mayfair. Given the reputation and wealth of the area; it is likely to be predominantly young, cool/well-oiled crowd. Pane is not only reserving his talents for the fashionable elite of London but playing niche areas and broader, for-all-the-people areas. I am not sure whether there is more recording foot but assumes touring will form a big part of Pane's summer/autumn.
Before I come to those introduction points (again); listening to The Wild Winds offers emotional honesty but projects, in the softer numbers, a sense of Englishness and heritage. It might sound off from an E.P. which, for the most part, wrestles demons and issues of acceptance. I often review Folk artists whose palette contains a lot of greens and yellows. It is quite a soft and autumnal sound that provides glimmers of sunshine. With Pane, one gets a multitude of shades but, more than that, a link to the ancestral albums that would have inspired the young songwriter. I listen to songs like Fletcher Bay, The Wild Winds and Real Souls and get a sense of something older, compelling and evocative. Against the more spirited numbers, I listen to these songs and plant myself somewhere riparian, dreamy and peaceful. In terms of 'Britishness' one imagines stately homes, National Trust parks and beautiful gardens. Perhaps there will be a stunning riverside retreat or a London park teeming with wildlife, nature and diverse faces. That is what is conjured up in many of The Wild Winds' songs. One can hear comparisons to some of Folk's innovators but a sense of a young man looking for something safe, comforting and relaxing. Against the harsh un-predictableness of life and that need for confession – the hero wants to find sanctuary and a sun-kissed intimacy. The deeper, more intense songs/lyrics take you somewhere else and portray a man who has made mistakes – others have made them too – and is trying to make a better life. Perhaps there have been bad days and bleak moments but there's a need for acceptance, evaluation and redemption. In an age where many concentrate on love (solely) and keep their deepest emotions subdued and invisible – Harry Pane uses his transgressions and pains, not to sermonise and seek sympathy, but let the listener into an honest and transparent heart that tells no lies and warrants empathy and understanding. Of course, the E.P. is more complex than that – but am not here to review the entire thing – but Fletcher Bay is a perfect insight into Pane's incredible songwriting talent and unique story.
I opened by opinioning many new artists are relentlessly touring because that is the way to make money and get their music heard. It is true you need to be visible in order to gain success and attention but it seems (the new musician) goes to extreme lengths merely to turn a profit – small and modest as it is. Because of this, tied to social media usage and the amount of time spent online, they are becoming exhausted and anxious. This is not the case with everyone – and there are many artists that love touring as much as possible – but few checks to safeguard those who are becoming overwhelmed by the demands. Maybe it is me being overprotective but in the case of Harry Pane, he seems to gain strength and determination from the array of venues he performs at. As I have detailed, he has a broad and fascinated next few weeks and, after that, will have various options. If there is the possibility of performing further up north, I would see cities like Manchester and Glasgow as perfect areas – maybe the latter is a little far away. Yorkshire, again, is a valuable market he could enjoy plenty of memorable nights in. One hopes, as he becomes more successful, he will take some time to breath and enjoy what is around him. Every passionate musician needs to commit and work hard but also need to realise they are human – get out of that 'work head' and enjoy some days off to escape to the country or explore the depths of the city. Pane is in London but started out in Northampton. He still gets back but is finding so many different options in the capital. I have mentioned a few great Northamptonshire venues: the county has a music scene but not as active as, say, Berkshire or Hampshire, perhaps. I opened by stating Northampton is close to London – a sixty-one-mile drive – but, if you look at a map, it is situated at the top of the triangle alongside Oxford and Cambridge. The intimidator between the two rival university cities: a Northampton artist almost equidistance between the two – forty-one miles to Cambridge; maybe a dozen more to Oxford. There is a good local scene in all three counties and, seeing as it is a short distance to London, perfect for anyone who wants to emigrate but be close enough to home. Northamptonshire is where Pane started and cut his teeth – without it, one argues how far along he would be now.
I'll bring this to a close to and mention Island Records, who helped finance The Wild Winds, and the unique creation of the E.P. That legendary label, following Pane's competition victory, offered the money so he could record the five songs. I hope, as I posed, Pane does affiliate with Island Records as, not only do they have that stellar roster of artists, they are they based in London but are a huge contemporary force. Not only representing hot new acts like Oh Wonder but showcasing quite a few acts at this year's Great Escape. Sigrid, Joe Fox and Sigima were there; Dagny, Picture This and Tired Lion performed memorable sets. It cannot be long until Harry Pane performs at the Brighton festival and, with some guidance by Island Records, have a supportive network of label-mates and industry heavyweights. Whilst some artists find label-funded/crowd-sourced records ethically and morally suspect; I, like the majority, feel it is a great incentive and much-needed in an era where money is tight and competition high. It is not an easy route for artists: one gets the chance to have a direct hand in an artist's work and, in many cases, gain rewards for their faith and contribution. I wondered whether, on future records, Pane would go through PledgeMusic or a similar site. It would allow him to involve the fans and not have to sweat over finances. If he were to, for example, allow backers to be in a video or get into a gig for free, that would be a huge incentive for donations. It is a cooperative that has mutual benefits and guarantees – if successful, anyway – a record gets made.
I shall leave this piece returning to Valencia and a recording location few could match. The Spanish coastal city has modernity and contemporary vibrancy but pairs that with centuries-old views and a sense of tradition. It is a popular because of its cathedral, central squares and busy market – a compartmentalised market that offers a range of foods and delicacies; an opportunity to run shoulders with tourists and Valencianos alike. The perfect and popular beach of La Malvarrosa is great to luxuriate in whilst, by contrast, The Fallas festival – where each area of the city, and some outlying towns, spend a whole year constructing large and exuberant statues; then exhibit these statues on the streets for a whole week, throwing fireworks at each other – twenty-four-hours hours a days – with street parties and plenty of dressing up and parading – which is a unique experience that needs to be top of anyone's plans. Away from the old Turia riverbed and the soul-lifting views is the modern side of Valencia. The futuristic buildings in the City of Arts and Sciences boasts, among many other things, the L'Hemisferic. It is, in a nutshell, a building shaped like a human eye – or a slightly deflated equivalent of the Sydney Opera House and harbour. Not only do all of these varied and spectacular sights/experiences exist in a single city but a whole other world – one where Harry Pane found a natural confidante and brother in Dani Castelar. The legendary producer has helped guide huge artists like R.E.M. and Paolo Nutini and, in Harry Pane, has found a promising artist who has the same potential as those artists. One gets saw of the Alternative Athens (Georgia, U.S.) sound of R.E.M. – their cerebral, provocative rhythms and melodies – with the incredible honesty and rawness of Palo Nutini. Having produced Caustic Love – songs like Iron Sky are as bracing and jaw-dropping as they come; Scream (Funk My Life Up)'s sauciness and provocativeness – some of that heritage and experience goes into The Wild Winds. Pane has a sexier, rockier side that, like Nutini, is willing to open the heart and soul and let the listener in. That perfect city and natural producer-songwriter bond has gone into an E.P. that has few equals this year. If artists are looking for inspiration and a new working methodology, they might consider a sojourn abroad – European cities are especially compelling and convenient. Fletcher Bay – which sounds like a super-cool U.S. detective – has been celebrated and highlighted by many, and rightfully so. It is a moment of brilliance in an E.P. that contains four others. If Harry Pane continues with the same level of quality and originality it will be…
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The Data
Only 19% of organisations have successfully used people analytics tools to forecast future talent needs despite increasing their use of analytics and tools by 70%. This success rate is down 4% from 3 years ago! This, and other surprising results, from the People Analytics section of the Global Leadership Forecast report for 2018 by Evan Sinar.
"Pressure on the HR function to adopt and excel in people analytics—defined as "the systematic identification and qualification of the people drivers of business outcomes, with the purpose of making better decisions"*—has been intense for several years. Analytics are viewed as a prime route to greater strategic influence, and the thirst for deeper analytics know-how has spawned a five-fold spike in interest over the past five years. Hundreds of articles have been written in HR publications, dozens of conferences dedicated, and entire academic programs in HR analytics offered at universities such as Cornell, Texas A&M, and New York University. With this steady drumbeat of exhortation and energy, surely HR has grown its proficiency in analytics methods since Global Leadership Forecast 2014|2015, right? This current Forecast took a detailed view of analytics progress and practices across more than 2,500 global organizations to ask: What's the status? What's emerging? and What works to drive HR—and the enterprise—forward?
Instead of an expected increase in analytics effectiveness, we found that success rates declined over the past three years for every type of analytics we compared (shown in the figure above). Though companies attempted analytics more often than in 2014, these efforts were more likely to fail than to succeed.
These struggles were common for more traditional types of analytics (internal benchmarking and gathering efficiency, reactions, or results metrics). On average, only 21 percent of companies were succeeding in these. The picture is even more bleak for emerging forms of analytics, such as creating growth-centric leadership planning models, using "what if" scenarios to forecast future talent needs, and data visualization and storytelling to compel the audience. On average, only 18 percent of organizations succeed here."
Continue reading Evan Sinar's article.


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Black wood chip provides a stunning contrast to plants of all types and is particularly popular in contemporary gardens. Wood chip is an inexpensive mulch that is slower to break down than other mulches and the colour comes from environmentally friendly dyes.
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Name: Rianne
Age: 19
Gender: Female
Location:The Netherlands
Contact: http://miserable-miracle.tumblr.com/
I'm looking for someone to talk to via email or text.
What I like:
I love to read, listen to music (and making music), art, drawing, painting and traveling.
Favourite books: A few of my favorite books include Pride and Prejudice, The Book Thief, The boy in the striped pyjamas, Extremely loud and incredibly close and How to kill a mockingbird.
My favorite tv shows are The Blacklist, Pretty Little Liars and Game of Thrones.
What I dislike: Close minded people, racism,
I'm open to anyone between the ages of 17-24.
Gender: either
I'm willing to email anyone, though! I love learning about new things, and about people's lives, so I'd love to talk to you (:
You can send me a message on here: http://miserable-miracle.tumblr.com/
I'll answer as soon as I see it!


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Julian Critchley shares this latest news on behalf of Island Labour.
It appears that Isle of Wight Council has significantly increased the amount it's spending with Amazon. In a previous OnTheWight investigation with local Tech wizard Wight Geek, we found IWC officers had spent £42k on credit cards, but over four years.
OnTheWight has approached the council over the issue and will update once we hear back. Ed
The Isle of Wight Council is being urged to do more to support local businesses after the extent of the authority's retail spend with US retail giant Amazon was revealed by the Island Labour Party.
Labour says the council's spending with online retailers needs to be reviewed after the party discovered over £41,000 has been spent by the Isle of Wight council with Amazon alone during the last year.
Labour says the council also routinely spends with other major online retailers at a time when many small local businesses are struggling. The party has called on the council to review its procurement protocols to see if more trade can be given to local retailers.
Critchley: Island businesses need support
Island Labour Chair, Julian Critchley, said,
"We all accept that buying goods online can be quick and cost-effective and we all know that the council needs to save money given the austerity inflicted upon it by Conservative Government.
"But at a time when it is purporting to be supporting local business it seems that it is spending tens of thousands of pounds off-Island with companies renowned for destroying jobs and avoiding fair taxation.
"If our council is habitually taking the lazy option and spending money off-Island with online retailers then it needs to take stock and not just put its money where its mouse is."
Critchley: "Difference between local businesses thriving or dying"
Mr Critchley said that in 2015 the council signed an accord with the Island Federation of Small Businesses which pledged to, where possible, use small businesses to provide goods and services.
"But it seems clear that significant amounts of money that could be kept on the Island and might even be the difference between local businesses thriving or dying are routinely being spent on companies like Amazon.
"The council should be leading by example by spending locally whenever it can. And don't forget, successful local businesses contribute businesses rates to the council which can be used to protect and improve local services.
"We simply call on the council to look at its buying policy and ensure that all money that could be spent with local traders is being spent in this way.
"For its part, Labour has reminded its members of the importance of supporting local businesses and I am sure they will be doing their bit to support the local economy."
Image: Alvaro Ibanez under CC BY 2.0
Saturday, 8th December, 2018 11:09am
By Simon Perry
ShortURL: http://wig.ht/2lWX
Filed under: Budget Cuts, Business, Island-wide, Isle of Wight Council, Isle of Wight News, Retail, Top story


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Daily news reports on unmanned aerial drones are hard to miss. Since Obama stepped into the White House in 2009, his administration, spearheaded by the CIA, has intensified drone strikes in the Federally Administered Tribal Areas (FATA) of Pakistan. The headlines are unmistakable, sticking to now familiar scripts: 'surgical strike kills militants'; 'drones assassinate top Taliban leader'; 'Predators take out al-Qaeda haven with pinpoint precision'. It seems the U.S. military has invented a technology able to kill terrorists and only terrorists.
Despite officially denying the U.S. even strikes Pakistan, John Brenan, President Obama's chief counterterrorism adviser, goes so far as to claim that: 'One of the things President Obama has insisted on is that we're exceptionally precise and surgical in terms of addressing the terrorist threat…we do not take such action that might put those innocent men, women and children in danger', adding 'that nearly for the past year that hasn't been a single collateral death because of the exceptional proficiency, precision of the capabilities that we've been able to develop'. Unfortunately the official lines are downright false. Extrajudicial drone killings are not only responsible for claiming hundreds of innocent lives in Pakistan; they portend a changing geopolitical zeitgeist on a magnitude difficult to comprehend.
A drone is a remotely-controlled aircraft used for surveillance and airstrikes. They resemble regular planes, only stripped of the glass cockpit previously housing a human pilot. One of the most popular of these is the aptly named 'Predator', manufactured by General Atomics Aeronautical Systems. The 27 foot, 1,130 pound drones made their debut in the Balkans back in the 1990s, and today the U.S. Air Force operates well over 100 of them from locations across the Western United States (mostly at Creech Air Force Base in Nevada, with the CIA piloting theirs from Langley, Virginia). Including the pilot, they are operated by three people, with further 'intelligence analysts' studying the live video feed. Their procurement was driven by a 2001 Congressional mandate that by 2010 one third of aircraft used in combat should be unmanned. Today, the Department of Defense has a $6 billion dollar budget to expand its current arsenal of around 7,000 drones.
Predator drones have gained notoriety in Pakistan's FATA, where they are deployed by the CIA and U.S. Special Forces to carry out covert aerial bombings on suspected terrorist targets. FATA has been subject to bombardments since 2004, which are concentrated in the agencies of North and South Waziristan. Spanning 27,244 square kilometres, the mountainous area is home to over three million people, most of whom are tribal Pashtuns. FATA was born as a 'buffer state' in the 19th century's 'Great Game' between Britain and Russia. This peculiar geopolitical creation was bound by the draconian 'Frontier Crimes Regulations' (FCR) of 1901. The act gave the federal government the right to appoint a 'Political Agent' for each agency, who is invested with considerable and unaccountable power, which is often abused. Upon independence in 1947, Pakistan constitutionally enshrined the British colonial policy of isolating FATA from the rest of the country's laws. The resulting inhabitants of FATA are rendered as second-class legal subjects, living alongside a number of inter-connected militant groups, including al-Qaeda, the Haqqani Network and the Tehrik-i-Taliban (TTP). Overarching conflict between the Pakistani state and militant groups has so far led to the displacement of two million people.
In what can only be described as a bizarre geopolitical situation, the U.S. government does not recognize that it carries out the 'secret' drone strikes, nor does the Pakistani government recognize it consents to the strikes (publically denouncing them), despite some of the attacks being launched from bases inside the country. CIA spokesman Paul Gimigliano defended the drone program (without of course acknowledging its existence). He said 'While the C.I.A. does not comment on reports of Predator operations, the tools we use in the fight against Al Qaeda and its violent allies are exceptionally accurate, precise and effective', adding 'Press reports suggesting that hundreds of Pakistani civilians have somehow been killed as a result of alleged or supposed U.S. activities are — to state what should be obvious under any circumstances — flat-out false'.
Yet the official line that there has been no 'collateral damage' in FATA for over a year is absurd. One of the frequently used sources to assess the scale of attacks is The New America Foundation's 'The Year of The Drone'. According to their study, which pools together credible news reports, there have been 258 drone attacks in northwest Pakistan (most after Obama), with have killed between approximately 1,579 and 2,490 individuals, of whom 1,286 to 2,019 were described as 'militants' in the press. Neither the U.S. Department of Defense nor the Pakistani government compile any information on civilian deaths, so any kind of figure is likely to be a vast underestimate. The New America Foundation report shows that over 800 people died from drone attacks in 2010, 46 of which were 'civilian'. This binary between 'militant' and 'civilian' is of course extremely problematic. After all, there is no due process for these people killed – and no known legal guidelines for what a 'combatant' is, leaving the entire process completely discretionary to the American drone crew. As the American Civil Liberties Union stated 'It is absurd that senior US government officials would state that there have been no civilian casualties in drone strikes in Pakistan, and at the same time refuse to confirm or deny the existence of civilian casualty data'.
These shadow wars are spreading, with Yemen the latest country to become embroiled in drone bombardments. In May of 2011, drones operated by CIA and U.S. Joint Special Forces Command (JSOC) fired Hellfire missiles at Anwar al-Awlaki, the American-born cleric, but failed to kill him. The attack was part of a wider set of strikes against the group 'al-Qaeda in the Arabian Peninsula' (AQAP). As a result, up to 40,000 people have fled the Abyan province. U.S. military involvement in Yemen has been one of the Obama administration's most closely guarded secrets, as unilateral intervention could undermine Saleh's already tenuous grip on power. In Somali there is a similar pattern: drones targeting Al Shabab, another Islamist group linked to al-Qaeda. Indeed, this pattern is a hallmark of Obama's new counterterrorism policy: The President's 2011 'National Strategy for Counterterrorism' casts al-Qaeda's 'allies' and 'affiliates' as the main threats to U.S. safety, and since many of these groups exist in so-called 'failed states' around the world, the document paves the way for drone intervention in any place on earth that is 'affiliated' or 'allied' with al-Qaeda: vast and ambiguous swathes of the planet such as North Africa and the Arabian Peninsula, as well as Central, Western, and South Asia.
The project of 'nation building' and 'winning hearts and minds' is clearly no longer a priority for the Predator Empire. Take Afghanistan. One U.S. military source was quoted as saying 'Afghanistan is a staging area for drone and other aerial strikes in western Pakistan … Nothing more, nothing less'. Yet who exactly decides whether or not a 'target' is a militant? After all, the CIA is nominally a 'civilian' entity. The answer is the CIA has a team of up to ten lawyers in Northern Virginia, all consulting five-page requests to kill another human being. Although the U.S. government does not release the criteria of these documents, the targeted killings are criticized for using an overly-broad definition of who a 'target' is. U.S. officials argue that drone attacks are justified by 'The Authorization for Use of Military Force Against Terrorists', Public Law 107-40', a Congressional law granting the President the ability to use all necessary force against persons he determines planned, authorized, committed, or aided the attacks of 9/11. The fact that Pakistan was not a part of that terror attack reveals the ease through which the U.S. military links and delininks terrorism and territory. But what really gives the U.S. military the license to kill is widespread secrecy. As the UN Special Rapporteur (on extrajudicial, summary or arbitrary executions) Phillip Alston writes, 'Transparency is required by both [international humanitarian law] and human rights law. A lack of disclosure gives States a virtual and impermissible license to kill'.
This impermissible license to kill is the sad sun rising across any nation the U.S. deems necessary. Such a large horizon stretches before a shadowy Predator Empire, no longer contained, and no longer forced to engage with a single nation state, enemy, or territory. Drones are technologies that allow the U.S. military to kill more people in more places, without the traditional 'hassle' of logistics, supply lines, and public debates. America's new empire is the Predator Empire, both a weapon and a geopolitical strategy for a post-Cold War world of globalization, where the territorial integrity and sovereignty of nation states are increasingly rendered contingent by aerial intervention. In this sense, drones militarize and securitize global space in a manner previously thought impossible, with very little cost. That Predator Empire signals the end of ground war is perhaps premature. What it does augur is something altogether more frightening: extrajudicial assassinations, instantly available, anytime, anywhere.


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"Nice Work If You Can Get It" Broadway Poster
I saw last night's performance of "Nice Work If You Can Get It" at the Imperial Theatre. Like the memorable "My One and Only" from a few decades back, the show is not an old Gershwin musical but rather a new concoction with classic Gershwin songs that are, for the most part, still very well known. The book is by Joe DiPietro inspired by material by Guy Bolton and P. G. Wodehouse. Okay, I'm in!
Matthew Broderick is very funny as Jimmy Winter, an independently-wealthy, likeable lout who was kicked out of three schools, has never worked a day in his life, and has been through three unsuccessful marriages. Broderick is a serviceable song-and-dance man who can hold his own on the stage and has been in more than his fair share of hit musicals. No doubt he's the show's main box office attraction. His decision to devote so much of his career to the theater has been a very happy one for the Broadway scene. Here you can see how hard the poor guy has to work every night:
"Nice Work If You Can Get It" on Broadwayhttp://niceworkonbroadway.com/
|"Nice Work If You Can Get It" Broadway Poster
The other principals in the cast all turned in very good comic performances. They include Judy Kaye, Blythe Danner, Jennifer Laura Thompson, Brad Oscar, Robyn Hurder, Chris Sullivan, Stanley Wayne Mathis, and Terry Beaver. I last saw Blythe Danner in Harold Pinter's "Betrayal" over thirty years ago. Hmm. I'm starting to sound just a little like an old-timer.
Last night every member of my family had a very good time at the performance. It's been a while since I last got to say that!
Here's the supposed Playbill cover, but it's not strictly correct. Ours were printed in black and white.
"Nice Work If You Can Get It"
Broadway Clips
"Nice Work If You Can Get It"
Broadway Medley
2012 Tony Awards
March 30, 2013 Update: The role of Billie Bendix is now being played by Jessie Mueller.
Jessie Mueller
"Ev'ry Night at Seven" ["Royal Wedding," 1951, MGM]
As Performed in the 2011 "Revisal"
of "On a Clear Day You Can See Forever"
Lyrics by Alan Jay Lerner
Music by Burton Lane
April 30, 2013 Update: The final performance will be June 15.


text: A Alias Member May 28, 2019 #1 Posts 65 May 28, 2019 #1 Trying to turn off the Firewall to run a test. I can't access the page I need. I've attached 2 screenshots - one of the 'Turn Firewall on/Off' and one for 'advanced Settings' How do I access the Firewall Attachments fw1.jpg 6 MB Views: 3 fw2.jpg 4.8 MB Views: 3 My Computer System One OS Windows 8 Computer type PC/Desktop System Manufacturer/Model HP


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Level: Introductory
Date/s: 29/10/2020
Time: (Registered from 9.15am) Course start at 9.30 am to 4.00 pm
Venue: Luther King House, Brighton Grove, Manchester, M14 5JP View on Map
Requires Introduction to Safeguarding : N
Cut Off Date For Applications: 18/09/2020
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This is a one-day course delivered by multi agency professionals and aimed at those who work with or provide a service to Manchester children, adults or their families. This course will include Manchester levels of need, our early help services and pathways. Please apply for this course if you are currently working with a Manchester child or family (eg within the local authority area of Manchester).
This course covers the mandatory requirements of basic awareness training required for all those working with children and young people.


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Beach Holidays in Tanzania Africa
When making an excursion to Beach Holidays in Africa, you have the option of visiting a shoreline on the landscape or rush toward one of the islands essentially off the drift, as Pemba and Mafia. There's an inn to suit each budgetary arrangement. Zanzibar, which lies off the drift from Tanzania, is maybe a champion among the most under-evaluated of all shoreline objectives in Africa.
Tanzania has likely the most prominent shorelines in Africa. The domain resorts offer a wealth of activities and the most flawlessly awesome Scuba jumping spots on the planet. The islands off the shore of Tanzania are something phenomenal too. It's possible to feel like you are the fundamental individual for some miles while loosening up on these impeccable white shorelines, with the warm Indian Ocean lapping at your feet.
You can go for an exciting experience like parasailing, remote ocean angling, kite surfing. Furthermore, in the event that you are progressively inspired naturally trails you can go for Spice Plantation Tours, Jozani Forest Tour, Pemba Flying Fox Tour. What's more, in the event that you are keen on history, Stone Town Tour, Prison Island Tour is the ideal gateway for you. We offer tours to Zanzibar, Pemba and Mafia Island for a relax and unwind gateway after a tiring and thrilling adventure.
Mafia Island
Mafia Island is Tanzania's first Marine Park. The Mafia Archipelago comprises of one extensive island and a few littler islets. The archipelago is dissipated over the Indian Ocean. Found 120 km south of Dar Es Salaam, is one of the energizing jumping and angling territories on the planet. It is known for its unblemished, pristine shorelines with lovely straightforward water.
Practically 50% of Mafia's coastline, around 822km², has been gazetted by the Government as a marine park. Around 50 types of corals, in excess of 460 sorts of fish and five distinct types of turtles have been recorded in the waters around Chole Bay. The straight is perfect for windsurfing and laser cruising. Birdlife is remarkable and altogether different from the terrain parks.
Mafia's vegetation ranges from inadequate waterfront moorlands and tidal mangrove bushes to marsh rainforest and palm-wooden prairie. Brilliant baobabs alongside the local Albizia are the conspicuous element of Mafia. A standout amongst the most pleasant scenes of Mafia, is the Chunguruma Forest, which is a thick tree covering entwined with palms, lianes, and epiphytes and has an abundant floor covering of plants.
Mafia is the ideal spot to unwind and loosen up after an incredible African Safari. Detached islets and shorelines, tidal ponds and channels give numerous private swimming and picnicking hideaways. You can likewise spot old chronicled landmarks going back to the eighth century. Island fauna incorporates few hippos living in the reed-lined lakes, flying foxes, different types of bushbabies, dwarf vixen and kenge, a sort of screen reptile. Monkeys and squirrels are regular to the Mafia.
The birdlife of Mafia Island is additionally very rich. Around 120 fowl species have been recorded on the island including five unique sorts of Sunbird. Aside from the fowls, numerous butterflies species are additionally found with five species endemic to Mafia as it were.
Pemba Island
Pemba Island set off Zanzibar Beach Holidays and lapped by the sparkling waters of the Indian Ocean is a place of genuine barefoot luxury that doesn't disappoint. This rich tropical escape is new and totally a more settled decision diverged from its remarkable neighbor, Zanzibar.
Funzi and Fundo shorelines on the island are known for their perfect surroundings with white sand. The tropical slopes and timberlands inland on Pemba are in like manner fundamental and reminiscent of any castaway imagery you can infer.
Pemba is enveloped by staggering tidal ponds (Fundu Lagoon is one of the island's optimal) and striking coral reefs, which are home to incalculable sea life, including some greater tenants, for instance, shark, and now and again whales.
In the event that you are an enthusiastic jumper the, Pemba is the place for you with the waters enveloping the island holding most likely the best dive spots in Tanzania. While swimming is another water-based enthusiasm to acknowledge, diving is the best way to deal with find the Pemba Channel, which is known to drop to profundities of 2000m.
Zanzibar Beach Holidays
Reflecting just off landscape Tanzania in the turquoise-blue Indian Ocean, the island of Zanzibar summons pictures of faultless, palm-bordered shorelines, white sand, flooding cruising vessels and smiling neighborhood locals.
The jewel of Africa's 3,500km Swahili Coast, Zanzibar Beach Holidays was long a key fixate on obsolete trade courses: slaves, flavors, ivory and even more all experienced Zanzibar, bound from the landmass for Arabia and past. This leads to Zanzibar transforming into a social mix – still in confirmation today, in the Omani-style structures, in the bilingual Kiswahili tongue and the different dishes on the restaurant menus.
A fundamental trading point of convergence of the Indian Ocean region in the nineteenth century the island ended up surely understood for flavors and fresh make, and to the extent anybody knows displays the best pineapple on earth. The island is portrayed by the charm of striking Stone Town and awesome sandy shorelines flanked with coral reefs.
Around the north and east of Zanzibar Island lie the island's awesome, confined shorelines with sparkling blue waters and splendid sands circumscribed with palm trees. There are a great deal of activity options for you at the shorelines. You can go plunging, swimming, swimming with dolphins or basically loosen up and unwind with a back rub.
Any visit to Zanzibar for Beach Holidays would not be done without a visit to a zest estate to daze the guests with fresh cloves, nutmeg, cinnamon, and pepper. The sheer number of flavors conveyed and their created and their staggering an incentive for some, sicknesses will intrigue you.
Explore our 8days Tanzania safari with beach in Zanzibar