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The Grover Museum will be opening a new exhibit this spring, "May Fest, A Shelbyville Tradition," and is calling on the community to round out the exhibit. In 1924, Shelbyville Senior High School celebrated the graduating class by holding an event called May Fest on the first Thursday in May. The May Court, elected by the senior class, along with the Lord Mayor, the highest ranking male student, were honored with traditional dances from underclassmen. These traditional dances included the candle, May pole and arch dances, and were accompanied by musical performances. The event has changed in many ways since its inception, but has remained a unique tradition that honors the talents of the student body at its core.
The museum's exhibit will highlight the pageantry of the annual event through pictures, vintage dresses worn by members of the past May Courts and more. To fill this exhibit, museum staff are seeking loans from the community, particularly of items pre-2010. Although not a requirement for being a part of the exhibit, the museum staff are also seeking $30 donations for preservation and display costs. A donation of any amount would be greatly appreciated. If you would like to loan a dress, pictures, or other items related to the event, or make a monetary donation, please contact Sarah Newkirk, assistant director at 317-392-4634 or email@example.com. Monetary donations can be dropped off or sent to the Shelby County Historical Society at 52 W. Broadway, Shelbyville, IN 4616.
All exhibit pieces must be delivered to the museum by Tuesday, March 6, 2018.


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10 Gifts for Coffee Lovers
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A Recorded Interview With Founder and Guitarist Andrew Latimer Talking to Mal Reding
MR – Camel celebrate their 10th anniversary this year. They were formed in 1971. The original members were Andrew Latimer – guitar, Peter Bardens – keyboards, Doug Ferguson – bass, and Andy Ward – drums.
Camel were formed at a time when British rock music was going through the greatest period of experimentation; the years of the psychedelic 60's and early seventies.
Peter Bardens had served his apprenticeship with Van Morrison in Them, whilst Latimer Ferguson and Ward had been together playing in the Guildford area, first in a band called Brew and then later as a backing band for Philip Goodhand-Tait.
In the next hour or so we'll be looking back at Camel – The First Ten Years, with founder member and guitarist Andrew Latimer.
Then still in his late teens Latimer formed The Phantom Four, and played pubs and clubs in the Surrey area.
AL – I think, you know, with being in The Phantom Four, which was basically doing cover versions of all the local hits, you know, the latest hits rather, and we were doing sort of Beatles and Beach Boys and instrumental stuff. And then I started getting into the blues. I'd been to see, or I'd heard Eric Clapton on the Bluesbreakers album and it really did turn my head sideways a bit, from a guitar point of view. I thought God-what's going on here? So then I went along to see John Mayall, and Peter Green was with him then, and he burned me away. I thought hey this is it. And I just started getting into the blues, and started practicing you know, to play good vibrato…and…it took me ages really, but I really am an old blueser now. I love the blues and always have done, and that's probably what I do best, which is strange, 'cos it doesn't particularly come out, I know, in my writing.
MR – The Phantom Four continued to play around the Guildford area. Andy Latimer's brother had left the band, and they decided to recruit a keyboard player. They put an ad in the paper, and found Peter Bardens.
AL – Well, we were very excited when he actually phoned, because we'd had about five other keyboard players that phoned-in from the ad, and they said they had the gear and things. And Peter phoned-up and said he was really interested. It was because the way the ad was worded for some reason – I can't quite remember how we worded the ad. But he'd already done two solo albums, which impressed us for a start. It was like "'cor great, he must be good if he's done two solo albums". I hadn't heard anything. And then we actually arranged to jam together, up in London, and it just clicked. It was very strange – we all got together and just played a few blues, and did one of Peter's numbers and did one of my numbers, and it sounded really good to us, and we had nothing – I mean Peter didn't have any keyboards for a start, which was really funny. So we had to hire a Hammond for the jam. And we didn't have any PA, no management, no publishers, no record deal, nothing you know. It was great. But we had all this enthusiasm and it was great. Pete had a couple of gigs in Ireland with the band he was with previously called On, and we sort of agreed to honour those dates. So we went over as On I suppose – we didn't have a name and that was a really good short tour. We did about five dates in Ireland and it was great, because the Irish audiences are pretty starved musically over there, and so they were really enthusiastic. We were doing a real mish-mash of material – we doing were doing blues, Santana things and all…country things, it was a really strange mixture. It went down a storm.
So we said we must decide on a name, before we come back to England. But we never did. I remember us sitting around numerous hours in pubs and that, gibbering like jelloids trying to think of a name, and eventually Peter I think, came up with the name Camel – when we came back that was. So we said "um. Yeah, we'll think about it", and next day, "yeah", and then the next day it was "yeah we like this". It was sort of strange, and that was how the name Camel came about.
MR- Camel's first record deal was with MCA Records, a label keen to see the band. But it took ten visits from the record company before they finally decided to sign Camel to a recording deal.
AL – We were really excited about the first album, but it turned-out to be a little bit of a nightmare, because it was our first album together and we hadn't really worked together in a studio before. And from the word go Peter and I were at somewhat different angles, in the studio. It was very amusing, a lot of stages I'm sure many bands have the same thing where, you know, the guitarist and the keyboard player are hanging onto the faders, trying to push their parts up. It was that sort of job. And it was also a bit of a mixture of material, because it was material we'd been playing for like a year, and we wanted to get it out on record, get it out of our system. So there was a bit of diversity of material on there, you know. It wasn't…we didn't really…we worried about it for quite some time, about direction. And we were saying "well where are we going?" And "what sort of musical direction do we want to go in?" And then, obviously like all things, the longer you stay together it sort of just comes anyway – you don't really need to ask yourself that question.
(Extract played from "Camel")
MR – After the first Camel album with MCA, the band were to change labels. They became part of Decca Records new label, Gama, an association that continues to the present day. That first album for Decca was called Mirage.
AL – Mirage was…well first of all it was a reaction against the first album, because the first album – because it was our first was very heavily arranged, and we worked-out all our parts, kept solos to minimum. I think Mirage was a slight reaction against it because when we played live everything was much longer and our solos were much more extended things. So maybe it was a little bit of self-indulgence. I mean we went in and kept things as we did them on stage. And so there were a lot of lengthy passages, so long, which was reaction against, as I say the first album. Also we were starting to get into other areas of our writing – I started writing about certain areas, like books. I was reading Lord Of The Rings at the time, which you know everyone in the band was reading at the same time – it's a great book. And I wrote a piece called The White Rider, about Gandalf. And I think that all started the idea of doing a concept album then.
But Mirage was quite a successful album in as much as it did hang together quite well, all the material seemed to flow together quite well and it did have some sort of direction, which was, you know, something to be said about it. It does hang together really well, as an album. But I think the pieces were too long, and then again as I say, every album we do is a kind of reaction against the last thing you did. You sort of want to break new ground every time, and we always wanted to break new ground overtime we went into the studio.
MR – Well you toured America, and you did a three-month tour…
AL – (Yeah)
MR – …that's along time for a band that had no reputation upto that point really.
AL – Yeah. I don't know how much good it did us actually. We actually went over there for a seven-week your, supporting Wishbone Ash, and as soon as we got over there – we arrived in New York, and the manager said "the record company and the agency want you to stay for the whole tour." And we said "how longs that?" And they said "three months." And it went right over Christmas and everything. We said "ooh-er…ok." So we actually did this tour and we were supporting everybody really. We only did a half-an-hour to forty-five minute set, and we were supporting bands like Kiss and Steppenwolf and Climax Chicago Blues Band and all sorts of odd people playing, as well as Wishbone Ash. We really did cater to the tour, rather than try and educate people to what Camel were really about. The set, as I say, was half-an-hour to forty-five minutes and nobody was interested in the support band, and you were playing to 5000 people a night minimum.
(Extract from "Lady Fantasy" from "Mirage")
MR – Following the release of Mirage and an American tour, Camel returned to Britain. Peter Bardens and Andrew Latimer went to Devon to prepare for the their third album; the highly successful concept recording Snow Goose.
AL – We hadn't really got the idea of doing a concept album, when we went down there. We went down there, we had a few bits and pieces we'd written, but we had no real direction for the album. We didn't really fall on the conceptual idea until about a week after we'd been down there. I think Doug was saying it was a good idea if we do a concept album. So after about a week Peter and I were chatting, because Peter wanted to do Steppenwolf by Herman Hesse and I didn't. I wanted to do The Snow Goose, because Peter had read it – I hadn't read it until the week I went down there, and Doug had read it and said it was worthwhile considering. And I'd read it and thought it had great musical possibilities. And so we thrashed it out, Peter and I. We went up to the top of this hill – I remember it really well, and when we went up there, he wanted to do Steppenwolf, and me wanted to do Snow Goose. And we came back down and said "yeah, we want to do The Snow Goose." It was great. And we worked on it, wrote the majority of it in about two weeks, which was very easy, 'cos we both had a very clear defined picture of who and what the characters should say musically. So we were writing and as we were writing you know, Pete would write a piece or I would, and we'd say to each other you know, "do you think this is right for one of the characters?" We'd know, both of us if we found it was right, and sometimes we'd write five different pieces until we came on the right mood for the character. And so it was very easy in that area.
It was a strange album in as much as we wrote the whole thing and practiced each piece, but we'd never ever played it all the way through. So we didn't really know how it was going to sound like all the way through. And I was sort of working on links and things with Peter. We eventually went into the studios to do it, and we recorded each piece separately.
MR – Who was that produced by? Was that produced by Rhett Davies?
AL – No. That was produced by David Hitchcock, who produced the Mirage album.
And he was very good actually, because he helped us really organise things, like getting together with David Bedford, and more or less took control when the studio musicians and orchestra came in to do their parts – which we were a bit inexperienced with at that stage; we didn't want to tell anybody how it should go. It was quite funny.
It was successful album for Peter and I because it came very close to what we had in our heads about The Snow Goose. Whether it was successful on a commercial thing is a, you know, is rather irrelevant really. I think it was successful to us, that's what art is all about. But it did turn out to be a successful album for the band. It really did push the band up into the public eye. It was the turning point I think for Camel, 'cos up until then it had been a band that people didn't take much notice of, though we had quite a keen set of followers. But when The Snow Goose came along it was welcomed in this country with open arms, and it really did – it went into the charts, and around that time we got Melody Maker Brightest Hope award I think…did the Albert Hall concert. So things were sort of generating interest. So it was a good period for the band, and we were working well together at that stage, Peter and I. We still had our arguments and some disagreements in the studio, but we were really pulling together on all things and fronts; on the stage show and album. It was a very harmonious time for the band.
(Extract from "Rhayader Goes To Town" from the album "The Snow Goose")
MR – With the success of Snow Goose behind them, Camel set about recording their fourth album, Moonmadness.
AL – That whole album was very rushed, because we went in – I know we only had about three weeks to write the material, we had about the same period of time to rehearse it, and the album was done very quickly as well. I mean it was all very rushed and, I think it was a fairly successful album. It wasn't earth-shattering after Snow Goose, and it didn't really do the job. But it got us into the swing of writing songs again, even though they were still rather lengthy, because of The Snow Goose influence really. We were still doing long instrumental passages. But we got back into writing songs.
There was slight bit of …there was something rumbling within the band then. The harmony was slightly askew, because we wanted get into a bit more complicated material, and at that point in time Doug wasn't into getting into more complex material. And so the harmony was going slightly at that point when we went in to do Moonmadness.
It was fairly easily recorded and fairly quickly done in Ireland. There was no great concept idea – it was just a bunch of songs that we really wanted to get down. It was another album that was reasonably successful in the States.
MR – You co-wrote the songs on the album. By and large it was the Bardens/Latimer team that had taken you through three albums and this was your fourth…
AL – Rogers and Hammersmith, as we laughingly call it. Yeah, we'd always worked together well. It was always…it was probably a lot like Lennon and McCartney; where one person would write more than the other, on whatever particular number we were doing. You know I had maybe written whole pieces – especially when we were coming to do Breathless. I mean I was writing whole pieces and he was, and we were still crediting each other for doing things. But we weren't really involved as much as we were in the early days.
(Extract from "Lunar Sea" from the album "Moonmadness")
MR – Once Moonmadness had been recorded, a lot had changed in the style of music. You changed the pieces that you had been recording with Moonmadness – there were long symphonic pieces on Moonmadness. By the time you got to rain Dances they were shorter, jazzier pieces. Was that something you did on purpose?
AL – Yeah. It was probably a reaction again against Moonmadness. But it was…we wanted to do much more concise material, and we wanted to get into a jazzier area because Mel had come in – Mel Collins had actually started touring with us on the Moonmadness tour – though he didn't record the album he toured with us. And we definitely wanted to work together again in the studio. And so we were going into a jazzier area. Doug left at that stage, and Richard came in. And Richard could play any jazzy things that you wanted, and they were quite complex, the bass lines on Rain Dances. And that enabled us to get into a jazzier area. I really like that album actually. I still listen to it, and it's quite successful in as much as all the pieces…well the actual production is much better, and we were able to stretch-out quite a lot, on more complex material. Which we weren't able to do before because Doug and Andy couldn't cope with the more complex time signatures.
MR – How did you get hold of Richard, formally with Caravan? I mean was that an association…?
AL – Oh, we've always like Richards voice, which is another big plus, because we wanted to get into more vocal areas with Rain Dances. And we knew Richard had a great voice, and he was near the top of our list of bass players. We actually got in touch with him – he wasn't doing anything at that stage. And he came down to Devon, where we were rehearsing, and he fitted-in really well. He mastered things really quickly. Which was something we weren't used to, and …it was as simple as that really. We just phoned him up and asked him he was doing anything. He said "no", so we asked "would you like to do the next album?" He said "yeah" and he came down, learned the material and did it, really.
MR – Up to then Peter and yourself were taking the lead vocals in the group. Very similar style of vocals, a very similar sound. Richard Sinclair's bass guitar almost matches his singing; it's a very bassy voice too.
AL – Yeah. It's very English. And quite unique you know. He's got a very unique-sounding voice. You always know it was Richard.
MR – Rain Dances was an album of shorter tunes, jazzier, with vocals as you say, with the older ideas; the washes of sound that we had been used to hearing from yourself and Peter. Do you think on reflection it was a success? Attempting to change the direction of Camel, and the sound.
AL – I do actually…for the fans it gave them something new again. I think that's one of the parts of Camel – why we've lasted so long, because we have changed, and the fans have gone with us and accepted the change. It's not been that drastic. There's always been a close link to the previous album…ish. As I say, it's pretty loose. But I think it was a successful album. I think the fans were a bit shocked at first, but they went with it.
(Extract from "One Of These Days I'll Get An Early Night" from the album "Rain Dances")
MR – Your listening to Camel – Ten Years On, an interview with founder and guitarist Andrew Latimer.
MR Your listening to Camel – Ten Years On, an interview with founder and guitarist Andrew Latimer.
Throughout Rain Dances a rift between Bardens and Latimer became more apparent. Both were pulling in separate directions. This rift was to continue until Bardens farewell album Breathless. But before Breathless Camel were to release their first live album, called appropriately A Live Record.
AL What we decided we wanted it to be was like more or less a history of the band. And so we were going along with things like versions of the Marquee gig, which I think we had 'Liggin at Louis – a number that Pete wrote, from that. And the quality was pretty bad, and Lady Fantasy was on that as well, which the quality was pretty bad. We decided that that was us at that period of time and so don't let's try to do dubs and make it better, lets put it out as it is and say "that was us in 1970", regardless whatever. It was like it was meant to be; a history, other than a great-sounding live record.
MR You also did a version of The Snow Goose – I mean you did the entire Snow Goose and recorded that on the second half of the double album, didn't you?
AL Yeah – which was a version…it was the Albert Hall gig, which we'd recorded years before but never really felt the time was right to put it out. It was always "no we can't put it out now, we've only just… the album The Snow Goose – the studio version, has only been out for two years or something." We always said it was too close. But at that point we said it was about time to put it out – a live version of it. And as we already had it in the can – we had to do a few dubs, but mainly it was what happened on the night, although people didn't hear it like that, but that was how they heard it in the little control wagon.
(Excerpt from "Never Let Go" from "A Live Record")
MR With the live album behind you and your own negative feelings, and as you said when you recorded Rain Dances there was this rift, this composing rift between you and Peter, how and why did Breathless come together?
AL It came together because I came back from the States and decided that we would give it another go. And we sent down to write it in Cornwall, Peter and I. And it was quite enjoyable really, because as I said earlier on, Peter and I always did really get on well when we were creating, it was only when we came to the execution and…also contractually we had another album. And…we thought it would work, and it did work while we were creating it. When we got into the studio to do it, the rift became vary apparent. And Peter and I were just stifling each other. I wouldn't let him get any of his ideas out, and he wouldn't let me get any of mine out, so the feeling in the studio was pretty heavy weather. We were always sort of having our arguments – about what should take a solo and what sort of sound should go on. And in those sort of situations, nobody's right or wrong, it's just a different point of view. And so we both decided to part company, on the creative level. Richard and Andy wanted to stay with me, and so Peter went. And I think it was a very good move really, because as I say we were stifling each other, and Peter went off to do his solo projects. He's done a solo album since and he's doing a lot of single work now. And we get on really well now, and he lives a mile away from me, and we see each other a couple of times a week, and it's…it's really good. Because we were always really good friends.
MR So Breathless has Peter Bardens playing organ-playing keyboards if you like. But when you did the live tour, and every time you recorded an album and released one then you would tour, and perform the music from that album and previous parts of your repertoire. You must have had a problem, because Peter was a very main part of Camel, and I mean, there was you on guitar and Peter with the keyboards. So what did you do? How did you replace him?
AL It was a fairly large problem, because Peter said that okay he was going to leave. This was three-quarters of the way through making Breathless. He said "I'm going, I'll finish the album and that's it." So he finished the album and we had a period of about three weeks, and then we were going on tour.
Now Richard suggested using Dave and Jan because he'd worked with them in Caravan and he said they really worked well. And I thought "yeah, it would be great, we could much more adventurous things with two keyboard players. We could do some great string parts", and all this sort of thing. And so we just went down there – Andy and I drove down there and met them both and said would they like to do it? And they said "yeah". And I thought we'd have no problems getting it off any parts, because we've got two now, and it was such a short period and it worked. It was great fun at that stage. I really enjoyed the arrangements, because we could do…and we had Mel…so the arrangements could be quite lavish. It was quite a fun time, in the end even that became too much, because everyone wanted to solo, and you had like four soloists, so it was very difficult saying who was getting a solo.
MR So Caravan and Camel had been moving along in parallel directions over the years, and both were very strong British bands – British in sound, and the quality of their music. Their songs were about English life most of the time, certainly in Caravan's case that is true. With Richard Sinclair on bass joined by his cousin David Sinclair and Jan Schelhaas on keyboards. It seemed very obvious.
AL I've always wanted to keep the music very English, because I didn't feel it was worth competing with the Americans because…you know at one stage Peter wanted to be like a Santana-type band you know, and I said "what's the point of doing that?" Let's try and do what we do. We are English, so let's be proud of it and do something that's English. Let's not try to do funky disco stuff and all that sort of thing – which we have dabbled in. I've always wanted to keep it English-sounding, still do if I can. I don't think someone should follow or try to copy too much.
(Extract from "Echoes" from the album "Breathless")
MR Breathless was an album that marked both a change in personnel and change in philosophy for the band. By the time the next album – I Can See Your House From Here – was recorded, there were further changes within the group.
AL Well Dave Sinclair came in only for the tour. He only ever came for this tour, he never joined the band on a permanent basis. He said, "I'll do the tour and okay, that's it", because he had solo project planned. So we said "fine, okay." And Mel…Mel has always been in the situation where he comes in, does things. I means he's done something on the latest album, he'll do something on the next album, probably may even tour next time. So he's never really been a permanent member; he never went or came, Mel. It was one of those sorts of things. So the change we had was Richard, because Richard was in a situation where he couldn't cope with touring. He didn't like touring all that much, not on the sort of level we were touring – we were playing a lot of concerts, doing about seventy concerts in about seventy-eight days, which was very hard work, and also playing to a lot of people every night, two or three thousand people. He didn't enjoy touring, never really did enjoy it, and couldn't cope all that well with all the pressures that go on in a tour. And he decided he didn't want to do that anymore, in that period. So he left. That's when we recruited Colin Bass. He's a very different player than Richard, a solid player. Richard's a rather more experimental player, I would say. And he could sing. And Jan remained with us, and we got…we kept the two keyboard thing going and we got Kit Watkins from America, who used to be with a band called Happy The Man.
MR When you did the Breathless tour, you decided to have Dave Sinclair and Jan Schelhaas out playing the keyboard parts. The experience of them playing two keyboard parts as one if you like, was such that you decided that in future you would keep it that way. When you got to the album I Can See Your House From Here you decided to carry-on with that, and as you say you got Jan to stay in the band, and brought-in Kit Watkins to play keyboards as well. Now why did you decide to have two keyboard players? Was it because you didn't want to get into the same situation with another Peter, where Peter would say "I'm the keyboard player"?
AL Jan is a totally different personality to Peter, and at that point we'd liked the situation, where we had two keyboard players. And Mel was also doing other things at that point. He was doing a lot of tours, a lot of session work, and he wasn't going to be that involved in I Can See Your House From Here. He had already expressed the view that he wanted to do other things, but still wanted to work with us in the future and things. It was all friendly and everything. So we decided that we still wanted to be able to create on-stage these lavish productions, and we'd like the use of two keyboard players, to give us so much scope to do lots of different parts together. And Kit was somebody we'd liked – we'd heard the Happy The Man albums, and he's such a tremendous player, and he's a very, very versatile player.
MR One thing you did with the band though was you very much started to come forward as a guitarist who would walk out onto a platform.
AL Yeah, yeah. I was sort of getting more guitar back into the act, because I'd – as I'd explained earlier – I had taken a back seat on production, sort of produced myself out of the picture in a lot of the cases. And a lot of things I wrote on keyboards, and when it came to actually recording them I thought, "well they're fine without guitar, so I won't put any guitar on." I did that on quite a few pieces.
MR As you say you were concentrating more on guitar, playing and recording on I Can See Your House', and one of the tracks in particular that strikes me as an example of where you took the reins again and played guitar, was Ice.
AL Yeah, Ice…was a particularly successful track in as much as we were getting back into live recording. Because over the years I think the criticism that is thrown against us – which is like you get in a studio situation – Camel's been guilty of it – of being a bit too clinical, and because we do a lot of dubs, use the studio for different effects and things. Now Ice was different, it was live. We went into the studio and played it. So I think there's very…I think Kit did a dub on it, and the 'intro and 'outro was dubbed obviously, as there are sort of two guitars doing things, but the bulk of that track is all live. So we captured a great…that's what I really enjoy about recording, you can actually capture a nice piece of magic that happens between five, six people, and it actually goes down on tape, rather than dubs and things, which is always difficult to generate the same excitement and emotion, when you're out there on your own doing a dub and there's nobody to feed-off.
("Extract from "Ice" from the album "I Can See Your House From Here")
MR After the tour and album, on reflection were you glad of the change of personnel? Were you pleased with the way things had worked-out?
AL Yeah. Because obviously one goes through insecurities when you get someone like Peter, who was basically fifty percent of the band's writing. And you suddenly left with all of it to do yourself…uh…it's quite a strain. And not knowing whether your going to choose the right people to join – because obviously it's difficult – you have to live with each other virtually. It's a very hard decision. And when we chose Colin and Kit we were quite lucky really. I think luck has a great part in this. They turned-out really well; everything worked very quickly in the studio, and for the very first time in the studio there wasn't the arguments and great discussions…about what sort of sound the Moog should be. You know, it was something that just happened. Which was great for me. I was really happy that we didn't go through all those traumas. It was nice, it was almost like a great weight lifted.
MR From then you re-assessed the band again, and we come forward to the latest album, which again is a concept album, like Snow Goose. But before Nude, which the name of the album is, before you got to Nude, more changes went on in the band.
AL Well actually there wasn't. Because after the I Can See Your House' tour, Kit and Jan both expressed views that they wanted to do solo projects. Kit more so than Jan. But they wanted to take time-out. They didn't want to be that involved in the new album. Kit wanted to do his solo projects, so we said "okay, fine. Let's leave it like that. If you want to do it this year, then do it." We decided we weren't going to tour that year, because economically it wasn't very advantageous. I suppose Duncan came in on a session basis – he didn't really come in on a permanent basis.
MR So did you leave the door open for Jan and Kit to come back when they did their solo projects?
AL Yeah. Well it was agreed that we'd all do our solo projects if you like. I'd do mine with Camel and they were going to do theirs. And at the end of the day we'd all come back together again and tour with the Camel project. And so Duncan was brought in to do the sessions for the album. And after the album was recorded Kit and Jan did come back and we toured, which was quite an extensive tour of Europe.
(Extract from "Lies" from the album "Nude")
MR Nude, Camel's latest album, is a concept album like The Snow Goose, where it has a theme that runs throughout all of the songs on it. An idea that was successful before, but was that the reason for the concept idea again?
AL Only because I found it very easy to do when I was doing The Snow Goose. I find it very easy to do things, like a book or a movie, when things are laid out and you have very defined pictures of what your doing. I'd wanted to get my teeth into a concept album again – I'd been looking for it for about two years – never could come up with something I thought was worth doing. And Susan came up with this idea – Susan Hoover – of this Japanese soldier who had been marooned on the island, and stayed there for thirty-odd years fighting the Second World War. And the deeper I got into it, the more I saw musical possibilities. And also I was very influenced, quite heavily, from my tour of Japan. I think we'd done two tours of Japan at that stage, and I was very moved emotionally by both tours. I got a lot from Japan, from the people in the main. And I saw it as an opportunity to combine the two, which is my idea of doing a concept album, and my feelings from Japan. It was…the music was quite hard work. The story was even harder, because we had to…we weren't going to use the original idea – we wanted to take it outside of that and use it on a much more universal level that wasn't actually just relating to a Japanese soldier; it could have been any soldier.
We worked quite hard on the story, to get that into shape we wrote about twelve drafts I think, of the actual story, which I liked the seventh actually – about the sixth or seventh draft I think I liked it because it was story. And from the seventh draft on it was just edited and edited and edited. To the point now I think it was good and successful, the final version, because it just put across all the points that we wanted to. But I did prefer it when it was more in a storybook type thing. There was a much longer story, but obviously we couldn't get it on so we edited it down.
I really enjoyed making that record. I think it was real good fun to do. And 'cos everyone was into doing their parts – Duncan brought a lot of energy, Mel brought a lot of energy – Mel came back. And I had a very clear picture of what I wanted, which by this time I'd got my feet on the ground, and wasn't feeling too insecure at that stage. It was very enjoyable…and that time we started working with Tony Clark and Haydn Bendall, who'd worked on Sky things, and they were really very much fun to work with, they were really funny. The whole album was very funny, making it at Abbey Road. Abbey road is a real funny place. It's…the vibes are really good, and it's quite good fun, 'cos you get all these stars walking in and out of your sessions. We had Kate Bush sort of make us a cup of tea each, you know. It's great for me, I think, "hey, it's nice, ain't it?" So that whole period of making that album was a lot of fun, a lot of fun doing it.
MR In the ten years that you've been playing, do you think you've kept the same audience? Do you think there are people who saw you in the early days in '71?
AL Oh most definitely. I mean Camel fans are a very odd breed. They seem to stick to us like glue. There's numerous people who have actually stayed with us from the whole…from the word go, from MCA to Nude. It's really nice, and we're still getting a lot of young audiences – it's not like all the old fogey's are buying Camel records. I mean there's still a very wide audience. But it is nice when you meet people on the road, they've got all the records and they probably know more about you than you do, which is encouraging. It makes the whole thing worthwhile.
MR Going back to Snow Goose. This is your tenth year and you commemorate it with a special tenth anniversary album, as well has receiving your first gold record.
AL About bloody time! Yeah, Snow Goose getting a gold disk. I think I'll melt it down. No I won't, I'll hand it on the wall like all good pop stars. Um…yeah, I was really pleased to hear that, and it's also nice for people like Doug, whose not doing anything at the moment. He'll get his gold disk, and Peter and Andy. So it's quite a pleasing thing. And the new album, because it's a compilation album – Chameleon – has…that was a very difficult thing to do, because Andy and I sat down and said, "okay, we have to choose an album, which is Camel's greatest hits", if you like. Which is pretty difficult as we haven't had a hit. But it was very difficult to choose from nine albums, and a lot of the numbers that were probably the most successful – Lady Fantasy and Lunar Sea as you said previously, were long numbers. They were twelve, fourteen minutes long, and if you put that on a single album then you haven't got many numbers on the album. So it was hard to choose numbers that were very popular, and also getting value for money, enough tracks on there that would keep everybody's interest, and hopefully keep them happy…and say "oh yeah, that was my favourite track." And we spent a long time putting different tapes together, so that the thing sounded…it flowed, and also it had a certain amount of popular taste, if you like, in the album. It was…yeah, a quite enjoyable project. I'm pleased it's coming out, especially to celebrate our tenth anniversary in the business. It's good.
MR What about the future? Do you see yourself being Camel in ten years time?
AL Good…good God. In ten years time? No idea. No idea. Who knows? In ten years? Ten years is rather a long period actually to project. I mean the next album we do, which I'm starting to write now, um…I have plans actually, to use nearly everybody, or using some old and some new people on the album. I'm not sure what form that's going to take yet. As I say I'm writing material for it now, and um…there is a possibility of a few guest ex-Camel's coming in. Peter might do a solo, and Richard might come in and do a vocal. I'm not sure about it yet. I've got this idea at the moment that we may do something like that for the next album.
MR You've been listening to Camel – Ten Years On, an interview with founder and guitarist Andrew Latimer. The music played comes from Camel's recorded history. The first Camel album on MCA Records, and the Decca collection from then on; Mirage, Snow Goose, Moonmadness, Rain Dances, A Live Record, Breathless, I Can See Your House From Here, and Nude. Camel celebrated the success of Snow Goose this year, receiving gold disks for world-wide record sales. To commemorate ten years together, Decca Records released Chameleon – The Best of Camel, a compilation album.
This interview was engineered by Paul Eastern. I'm Mal Reding.


text: Photo Gallery It is said that a picture is worth a thousand words. Here are some pictures of the culture at Barton Supply, from the manufacturing area to the office area, take a glimpse into life at Barton Supply. Put our 40+Years of Experience to Work for You! Contact Us


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Canada Square Health & Fitness Holdings Limited, (trading as Reebok Sports Club London) operates a sports club in Canary Wharf.
Nick Williams is a transaction services partner based in RSM's Southampton office. Nick's core area of expertise is undertaking financial due diligence and vendor due diligence on behalf of corporates, private equity houses and banks.
RSM provided due diligence on Canada Square Health & Fitness Holdings Limited's acquisition of The Third Space.


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We have become too much busy nowadays that we don't even get enough time to comb our hairs. So, how can we take out some time for cooking our everyday meal? Usually, the people go to the restaurant for having a meal but we don't know anything about the quality of food that is being served on the restaurants. It is a fact that the food authority services are working on improving the food quality in the restaurants but there are still some problems that are yet to be resolved.
In this situation, you can't rely on the restaurant food. And you can't even cook the meal in your home due to your busy routine. There are some people that cook the food on the weekend so that they may enjoy the healthy meal throughout the week. But when they eat the food on weekdays, they realize that the taste of the food is affected badly.
And sometimes, the quality of the food is also affected. In this situation, the only solution you can use is the meal delivery service. The services of Home Chef by Meal Delivery Experts are considered to be perfect if you want to use the meal delivery service for your daily needs. Today, we will talk about the importance of meal delivery services and we are sure that you'd stop going to restaurants after finding information about these services.
So, here is the information about why meal delivery is perfect if you are always on the go.
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The meal delivery services are focused on providing the excellent quality food to their customers because the food inspectors regularly keep an eye on their performance. So, you can easily get the healthy meal delivered without making any kind of efforts. And the best part is that the meal is delivered within a few minutes.
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The meal delivery services are bound to deliver the fresh meals because their business would be at a great risk if a customer files a claim against them. Therefore, the meal delivery services try to provide the fresh meal to their customers and they do not store the meal for the next because it is against the rules that are designed by the government for these services.
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This was quite an intense episode. When I read the episode title "Idol Sacrifice" I assumed that something was going to happen to Oriha, but it turns out that it's more than one idol being sacrificed.
I had some weird vibes from those mascots. From the get go I had a feeling that they were using their costumes as criminal disguises rather than fun props. Then, those disturbing scenes happened when those mascots killed that innocent man. It was a quite upsetting when that pretty girl got shot too.
It turns out that those evil mascot people are somehow connected with Ogawa Makoto and wanted to avenge him. I'm not sure if they know that Black Label is responsible but I get the feeling that they knew that Oriha was on the scene. That means that they probably knew as well that Oriha was going to be at that building in the evening and took the opportunity to try and take her down… maybe. That Wild Hunt dude, the evil leader, said that they've already accomplished his plan. What is that plan? Maybe he knew about the existence of Black Label after all and everything he's doing is his way of sending a message. Or maybe he knew that Oriha was in the building after all and he shot the girl, Aya, as bait to draw her out.
I'm certainly interested to see what Oriha is capable of without her bombs. She managed to hold her own against that white haired man. I think it might have been a bit much of Oriha and Sumire to ask of Haron to do a karate move there and then, especially since she was frightened. I think Oriha will confront Wild Hunt and they will both have a brawl. In the meantime I think the police should now get a parachute so they can catch the idols when they're forced to jump from the eighteenth floor.
On a side note, it was nice seeing Hinako again. It was great that Arashi took the time to go to Hinako's restaurant and dine there, although not so great as Mikoto ended up being jealous. Haha.
I went to watch the last showing of Avengers: Age of Ultron tonight. As it was Election Day I assumed a lot of people would be out casting their votes. Luckily, it was a small crowd. I thought the film was amazing and the action was literally none stop. You will hear my views of the film in a day or two. =)
Thanks for Reading. =)


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RYAN Knight's secret has been exposed in Hollyoaks - he's secretly bisexual and was sleeping with Kyle on the night wife Amy Barnes was murdered.
Actor Duncan James has dropped the bombshell that his character is bisexual and was sleeping with Adam Rickitt's character Kyle on the night Amy was killed - their wedding night.
Speaking on This Morning today, Duncan said: "Adam's character Kyle has made quite a big impact coming into the show and obviously he has a big secret.
"And his secret is that he was with Ryan on the night of the wedding when Amy was being murdered."
In coming scenes it's Ste Hay, who was arrested for Amy's killing, who will reveal he suspects Ryan of the grisly murder, voicing his suspicions to boyfriend Harry Thompson and Tony Hutchinson when they pay him a visit as he awaits trial over Amy's death
Determined to clear his lover's name, Harry sets about investigating Ryan's alibi.
The policeman said he was drinking in The Loft on the night his wife was killed - so Harry decides to check whether this is really true.
He manages to get inside the bar to have a look at the CCTV footage, but the tape from the night of Amy's death is gone.
The explanation could be innocent enough - it might just be in the hands of police to check alibis. But it could also point to something more sinister, like Ryan having stolen the tape to hide possible lies about his whereabouts.
Or could it have been hidden by lawyer saboteur James Nightingale, who admits deliberately destroying Ste's chances at release to mum Marnie in coming scenes.
Is James hiding evidence to obscure the real murderer?
Ste, played by Kieron Richardson, is set to stand trial for Amy's murder in the coming weeks. He originally looked like a dead cert for Amy's killer after he was shown washing blood off his hands under the shower, and he even confessed to the crime after blacking out in a rage and remembering nothing of the night.
But he's now pleading not guilty and is hoping to prove his innocence as well as find Amy's true killer. Could Harry's amateur investigating end up exonerating Ste?
- Hollyoaks airs weeknights on Channel 4 at 6.30pm with a first look episode following at 7pm on E4
Got a story? email email@example.com or call us direct on 02077824220


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John McAfee resurfaces with a bang as adviser to crypto startup
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John McAfee disappeared from the public markets after MGT Capital Inc. severed ties with the controversial antivirus software developer, but now he's back and advising a cryptocurrency startup that's conducting an initial coin offering.
McAfee is joining CryptoSecure, a firm that says it offers "hackproof security solutions" for the digital-coin industry, as senior strategic adviser, according to a press release Wednesday. Key Capital Corp., a company focused on precious-metal mining, fintech and cancer treatments, is leading development at the startup. Shares of Key Capital, which trade over the counter, surged almost 400 percent after the announcement.
"Mr. McAfee met the CryptoSecure team on a recent Blockchain cruise conference at which he was the keynote speaker," the statement said. "During an early morning discussion on the security deficiencies of the cryptocurrency market, he was appraised of CryptoSecure's military-grade hybrid Blockchain, Trusted Solaris OS, One Time Pad infrastructure project."
MGT, the cybersecurity company that shifted its focus to Bitcoin mining, said in January that it was parting ways with McAfee. He'd been serving as "chief cybersecurity visionary," a position he took in August after resigning as chairman and chief executive officer amid a company reorganization.
The decision was "totally amicable," MGT Chief Executive Officer Robert Ladd said in an interview at the time, though he added that the company, which had its shares delisted from the New York Stock Exchange in October 2016, was "getting some feedback that in order to get uplisted etc. it might be easier to not have John McAfee be an officer or director of the company." McAfee had said the decision was mutual.
McAfee confirmed Wednesday in an email that he is advising CryptoSecure.


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Interested in becoming a Retailer of Siamsnus?
Do you have a business in Thailand such as a restaurant, bar, hotel or shop, etc.?
Snus is a simple and rewarding product to sell. It gives a very good profit margin and many repeat customers; it will also give you the opportunity to 'sell on' to other distributors.
Should you be interested in becoming a distributor or want to start selling our product we offer generous and flexible solutions. If you just want further information, then please contact us via the contact form.


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Just like the time we brought back Who's That Pokémon? just so that we can dedicate an instalment to the all-new Dusk Lycanroc, it's time to do the same with the new Ultra Beasts and first up, it's UB Adhesive!
Ultra Beast: UB Adhesive
Category: Poison Pin Pokémon
Type: Poison
Height: 2'00"
Weight: 4.0 lbs.
Ability: Beast Boost
Gathered Details:
UB Adhesive displays many emotions, and it's said to be able to understand human speech if it spends enough time together with them.
Their large heads are filled with venom, and they fire this venom from the poisonous needles on top of them.
For more details on the new Ultra Beasts, be sure to click here to find our other instalments on the new additions!
Source: pokemon-sunmoon.com/ultraTags: Feature, October Feature, Pokemon Ultra Moon, Pokemon Ultra Sun, Ultra Beasts, Who's That Ultra Beast?
Categorised in: Feature, Nintendo, Pokémon Sun & Moon, Who's That Ultra Beast?
This post was written by Solid Jack


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Sunflower CASA wants to say Thank You to all of our wonderful, amazing, and inspirational volunteers!
Through countless acts of kindness, generosity, and service, Kansans recognize that we are all bound together -- that we move our communities forward by giving of ourselves to others and caring for those around us. Every day, Kansans carry forward the tradition of service embedded in our character as a people. And as we celebrate National Volunteer Week, we embrace our shared responsibility to one another.
By performing acts of service, we can shape a Nation big enough and bold enough to accommodate the hopes of all our people. Across our country, volunteers open doors of opportunity, pave avenues of success, fortify their communities, and lay the foundation for tomorrow's growth and prosperity. They are often equipped with few resources and gain little recognition, yet because of their service, our country is a better and a stronger force for good. - Presidential Proclamation of National Volunteer Week
Learn how to become a CASA Volunteer by going tohttp://www.sunflowercasa.org/how_to_become_a_casa


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26 September 2020
The 31-year-old was a key member of the German recurve women's team that qualified three quota place...
Jump to navigation
The 51st World Archery Congress was held in Copenhagen on 24/25 July 2015 on the eve of the World Archery Championships that ran from 26 July to 2 August.
Documents are available on this page on the right.
Tom Dielen is Secretary General of World Archery, a member of the Executive Committee of the International World Games Association and an active member of the sports industry in Lausanne, Switzerland.


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I'm Jess, 28 years old, Founder & Girlboss at Rock N Rose, Mama to Nora and Woody, dog momma to Wilfred and better half to Ste.
My Nora Noodle Burger (that's not her real name, don't worry) was born in July 2016. She is storming her way through her first year at school and surprising me each and every day with her ability to be the world's tiniest grown up. I never really appreciated just how rapidly babies become children and just how much character a tiny person can have until I was lucky enough to become Nora's Mama. She is a fiercely independent, intelligent and complete one off and I wouldn't change her for the world. Regardless of the fact she can drive me completely insane.
Woody Woo joined us in April 2016, you can read his birth story here. I can't quite believe how quickly this past year has flown by, he seems to have been a baby for an even shorter time than Nora. He is just the most chilled out, loving, babe of a tiny boy and I look at him and wonder how I can love this little squidgy beaut of a boy so much. I never imagined myself as a boy Mama, you can read about my troublesome times coming to terms with this here but I really couldn't imagine life without him. I never knew it was possible to love another little person as much as I adore his big sister but he certainly proved me wrong.Ste and I met seven years ago, although I'm sure he'd agree it feels like a whole lot longer. He is an electrician and a complete social-media-phobe so totally loves being plastered all over my little corner of the internet. He is the tea maker, Lego builder, cuddle giver, the most questionable children's outfit concocter, poorly finger fixer, the King of make believe, forced princess expert, superhero, nappy changer, grafter, children's chocolate pincher and the most terrible Dad dancer but there is no one else I'd rather do this parenting thing with.You'll find me here documenting our daily life, my children's rapidly passing childhood (sob), my copious amounts of Mum-guilt and a whole load of other stuff. Pull up a chair, bring the chocolate (my total vice) and join me in my journey of Motherhood and beyond.
I totally love to meet new people, so drop me a line firstname.lastname@example.com or find me over on Instagram.


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Conference: Innovation in the Costs of Catering 20/02/2018, Catering
Thursday 15 March 2018
09.00 – 16.30 (registration 09.00-09.30)
City Hall, College Green, Bristol, BS1 5TR
It's only possible to achieve innovation in the costs of catering if you know what the real costs are to begin with. Fresh-range is proud to belong to the West of England Food Procurement Group, who are organising the Innovation in the Costs of Catering conference together with the PIPEN. The conference aims to examine financial, health and environmental costs, their associated issues and provide practical approaches to do things differently in the kitchen.
With ongoing rising ingredients and labour costs, it's well worth taking time to take a step back and think differently about the financials in catering. But how do environmental costs and financial costs combine? The Food and Catering industry is a significant emitter of carbon emissions across a range of activities. Public sector procurement can contribute to the sectors to contribute to the solution. Reducing food and catering waste is crucial in the battle to reduce emissions. Not only is waste wasteful in terms of resources (such as ingredients, energy, storage) it is also a waste of money as every gram of food thrown away has an associated monetary value. In terms of public sector procurement, this simply cannot be allowed to happen.
We are delighted to confirm that Patrick Holden CBE and Tim Martin, Executive Producer at the BBC's Natural History Unit will be speaking at the event, setting the tone for what will be an exciting, informative and interactive event.
Topics include:
Improving supply chains
• Reducing CO2 emissions through the food supply chain
• Supporting local producers through procurement
Improving the catering offering to reduce CO2
• Reducing (but not excluding) meat consumption
• Creatively using better quality meat and dairy and more vegetables
Reducing Food Waste
• Introducing the Green Kitchen Standard
• Reducing waste through effective procurement
• Minimising CO2 emissions through good waste management
If you would like to attend, please register asap as places are limited.
***Please note that whilst conference places are free of charge, the organisers reserve the right to charge £15 for non-attendance if less than 48 hours' notice is given***


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As a church we support through prayer and financially a number of people / organisations who are involved with spreading the gospel of Jesus Christ to others both in the UK and abroad.
Mike and Donna Spencer
Mike and Donna Spencer are living and working full-time in France. Based in Saint Etienne de Cuines, a small village in the Maurienne valley in the Alps, Mike and Donna witness the Christian life to the French people with whom they have contact in a work or leisure context.
They went out to France in 1998 and spent two years working with YWAM before moving to Albertville in the Alps to study French. During this time they developed contacts with the local churches with whom they worked in the areas of worship and evangelism for 8 years. They subsequently moved to the adjacent Maurienne valley where there was little evangelical Christian witness and were instrumental in planting a church which now continues to function without their input. They are in the process of reaching out to new people with the aim of starting another group, perhaps using the Alpha course.
Our original call was 'Go to the place I am sending you and there you will be shown what to do'. At each new step God leads us into different things and he brings us into contact with different people – we are excited about this new step and will be interested to see where it leads!
France is one of the largest mission fields in Europe being a predominantly post-Christian and humanist society with an evangelical Christian population amounting to only 0.7% of its population, but 8-10% is Muslim.
Mike and Donna have two sons, Luke and Jonathan both of whom were schooled and now working in France. Luke married Sophie in 2013 and their first child was born in August 2015. Jonathan is working for a season in a local ski resort.
The Owen Family
Having lived and worked for 17 years in SE Asia, the Owens returned to the UK in the summer of 2019. They continue to serve minority language groups of SE Asia through language development and translation projects.
Baptist Missionary Society (BMS)
We support a BMS worker in a sensitive country through the BMS church partners scheme.
Colchester Youth Outreach (CYO)
CYO is a Christian charity that works with schools to help young people grow in life and faith. They do this by providing chaplains who contribute to pastoral support and spiritual development. They also run a number of projects that help young people explore positive lifestyles, spirituality and the Christian faith.
Baptist Union Home Missions
Home Mission is all about helping Baptist churches and individuals to reach their mission potential and bring the love of God to their communities.


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Monday, Feb. 28, 2011
Posted 9:31 p.m. Updated 10:55 p.m.
By Tracey Myers
ST. PAUL, Minn. Jonathan Toews and Marian Hossa sprinted down the ice for a 2-on-1 opportunity, Hossa connecting to end the Minnesota Wilds late burgeoning threat to tie the game.
WATCH: Coach Q says Toews is a force
Its just the way the Chicago Blackhawks are rolling right now. The team that struggled to hold onto ties or leads late is now finding ways to win them.
TRADE: Hawks land defenseman Campoli
Toews had a goal and two assists and Patrick Sharp scored his 33rd goal of the season as the Blackhawks beat the Wild 4-2 at Xcel Energy Center on Monday night. The Blackhawks have now won a season-best five in a row and at games end sat in sixth place in the Western Conference.
We dont even feel like were on a hot streak right now, said Toews, who now has points in six consecutive games. Were just taking it one game at a time. Whenever we come up with two points, whether its a shootout win or by a couple goals, it doesnt matter how we get it.
Not that this one didnt have its drama at the end. The Blackhawks led 3-0 after two but the Wild struck early in the third when Martin Havlat came out of the penalty box to beat Corey Crawford. They scored again with less than five minutes left, as Brent Burns knocked home a rebound and then got a power play about a minute later.
But when Pierre-Marc Bouchard made a valiant but unsuccessful attempt to keep the puck in the zone, Toews took it and went with Hossa to set up Hossas short-handed goal.
We got ourselves in a little trouble, said Hossa, who now has a goal in each of his last four games. We controlled the game pretty much all the way and then they scored that second goal and it was a game. Toewser picked up that puck and made a really nice play to me. Basically, I just tried to hit it in.
Crawford, starting in his eighth consecutive game, stopped 24 of 26 for his 23rd victory this season.
Everyone, especially on the road, keeps it real simple, he said. Were not forcing anything. We create our opportunities down low and were not giving the other team too much.
Its not really surprising at this point that Toews was once again at the center of a big play. Hes been strong all season but especially these past few games, as the Blackhawks have pulled themselves back into the Western Conference hunt.
Marian Hossa taps in the pass from Jonathan Toews for a short-handed goal to put the Blackhawks up 4-2 late in the third period. The Blackhawks continue to excel when Hossa scores and the assist was the third point of the game for Toews, giving him 11 points (4 goals, 7 assists) in his last 6 games. (AP)
Hes been a force, coach Joel Quenneville said. Hes been dominating in all aspects of the game. That was a huge goal at the end with patience. (Patrick Kane) gave him a comparable play early in the game. Hes been a huge factor.
The Blackhawks are finally putting together the run theyve wanted. Those points they used to leave behind theyre now collecting. Now they need to keep it going.
Weve been looking all year to put something together like this and the last three games have been huge games, Quenneville said. Lets keep the momentum here, build off the positive things. There are some things we cant be happy about in this game but the two points are the best part.
The Blackhawks are now 18-4-2 this season when Hossa records a point.
John Scott made his presence known against the Wild, fighting Brad Staubitz after Staubitz hit Brian Campbell on an icing call.
Fernando Pisani and the newly acquired defenseman Chris Campoli were healthy scratches on Monday night.
Tracey Myers is CSNChicago.com's Blackhawks Insider. Follow Tracey on Twitter @TramyersCSN for up-to-the-minute Hawks information.


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Angie's List Answers is the trusted spot to ask home improvement and health questions and get answers from service companies, health providers and consumers. For ratings and reviews on companies in your area, search Angie's List.
*Updates every 4 hours
My house was built in 1950 and the irrigation was hooked up to my sprinkler system within the 1st yr of living here (2010- 11. But the people that did the job, did a horrible job and the pipe burst that is right in the green box by the street, the first year. So I haven't had sprinklers for about the last 4 years now. And idk if the water is getting turned off and on correctly.
To turn it "off" you turn off the control to that branches control valve. Commonly, the control box will also have a main shutoff valve on the incoming line that you shut off, and a drain valve in the box to drain out the controller. Then unless the system is ALL on enough slope to free drain by itself (very rare - and not at all with buried lines and in-0ground or pop-up heads), the lines have to be blown out with high-volume (more than household shop compressor capacity) compressed air each fall to clear water out of the lines so they don't freeze and crack. Some people open the drain valve or disconnect the fitting connecting the controller to the main water line and cross their fingers and hope it will not crack the lines or controller, but if the ground freezes hard at the surface that is hopeful wishing - especially with plastic pipe.Irrigation specialty companies do this, as do many Landscaping companies. Also a few plumbers get into irrigation/sprinkler system repairs and winterizing.I hate to say it, but if you have ground freezing conditions, then control box should not have been at the street - it should have been in the house, with all the sprinkler/irrigation lines leading into the controller INSIDE the house. And the outside lines should be blown out each year. Usually takes about a 250-400 cfm 150 psi compressor or larger to do the job right - one line at a time. Common charge $75-150 to winterize a single sprinkler/irrigation system (one controller location) depending on number of branches to the system.If calling a company out to winterize it,, you might have them look at the broken sprinkler system and fix it too - though might be too late to test it this year. Also, have them brief you on turning it on and off - while you probably won't be able to winterize it yourself, no reason they can't show you what valves to open and close and what power switch to turn on to get it up and running next spring after the risk of heavy frost is past.
Answered 3 years ago
by LCD
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Hi, This is James in Member Care. Thanks for your interest in Angie's List! We'll be happy to help find top rated irrigation services, but it doesn't look like you have a subscription to the List yet. You can join by visiting www.angieslist.com or by giving us a call. Our call center is available 8:00 am-9:00 pm weekdays and 8:00-5:00 pm ET on Saturdays.
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What is the production date of my bottle?
To find out the production date of your bottle, please pop us an email with the LOT code of the bottle and we will help you determine the production date.
The LOT code is a combination of letters and numbers and typically lasered onto the glass or the label.


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Days Inn Alameda hotels are listed below. Search for cheap and discount Days Inn hotel rooms in Alameda, CA for your group or personal travels. We list the best Days Inn Alameda hotels/lodging so you can review the Alameda Days Inn hotel list below to find the perfect place.
Our service will provide Alameda, CA hotels/motels that are comparable to the quality of Days Inn.Need 5+ Rooms? Lock in a group rate for Alameda CA
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Cozens Street
Cozens Street Studio is a visual art and creative space in Brunswick. We provide spaces to visual artists, writers, designers, architects, web developers, jewellers and many more creative types in a comfortable communal working environment full of natural light in the day and plenty of artificial light for the night time worker.
The Studio is close to public transport with the Moreland train station just around the corner, trams on Sydney Road and a bicycle track along the train line. We have a total of 8 variously sized studios, 2 hot desks and temporary workspaces. We have toilet and shower facilities, as well as a communal area and adjoining functional kitchen. At the very front of the building there is an event space for exhibtions, performances or a stage for musicians and spoken word artists.
Pricing Terms
Studio #1: $355 per month
Studio #2: $385 per month
Studio #3: $400 per month
Studio #4: $395 per month
Studio #5: $340 per month
Studio #6: $295 per month
Studio #7 $295 per month
Studio #8 $295 per month
Studio #9 $355 per month
Temporary studio $100 per week
Desk space $20 per day
Lease Conditions
Cozens Street Studio is a multi-disciplined creative space. We have several options for studio hire, from temporary to permanent studio space. Cozens Street Studio does provide lockable studios although we do not hold any responsibility for the loss or damage of one's property whilst inside the Studio.
Communal areas are to be kept clean and tidy, as well as maintained to a reasonable degree by the people renting the studios.
We require a minimum of one months rent up front and one month warning before vacating. Three month minimum term is also required for lockable studios.
Parking Notes
There are two parking spaces at the front of the studios as well as street parking. All day paid parking at the end of the street is $4
- Floor Dimensions 200.00 meters sq.
- Ceiling Height High (3m - 4m)
- Max. Capacity 100
- Floorplan Download
Accessible toilet
Bold signage
Disabled parking
Drop-off point
Public transport
Smooth ground surface
Suitable emergency exits
Suitable lighting
Wide hallways / entrance
Accessible stage door
Reachable door handles
Smooth ground surface
Suitable lighting
Suitable signage


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Submissions for the 2018 Alchemy Film Festival (3-7 May 2018) are open!
About Alchemy Film and Moving Image Festival
- Alchemy Film and Moving Image Festival is an international festival of experimental film and artists' moving image. Submissions of artists' and experimental film from any part of the world are welcome – we celebrate a diverse range of works: the visually experimental, quietly poetic, formally radical, psycho-geographical, politically activist, culturally subversive, psycho-spiritual, the alchemically volatile, the underground and bizarre. Conventional or commercial-style narrative dramas, animations and documentaries are less likely likely to be successful – unless they are truly original in form and content.
- Alchemy Film and Moving Image Festival is working toward its eigth edition. It is a not for profit venture, run as a partnership between Alchemy Film & Arts and our main venue partner, Heart of Hawick. Alchemy Film & Arts is a registered Scottish charity (no. SC042142).
- The next festival will take place over five days, 3-7 May 2018, in Hawick, in the Scottish Borders region of Scotland.
- Our postal address is: Alchemy Film and Moving Image Festival, 39-41a High St, Hawick, Roxburghshire, TD9 9BU, Scotland, UK
- To contact us by email go here or join our mailing list.
General Terms of submission
- Once a work has been submitted, it may not be withdrawn at a later date.
- Deadline for submissions: midnight 30th November 2017. You will be notified if successful no later than 1st March 2018.
- Please read the full Terms of Entry before filling out the form below. We also accept submissions through FilmFreeway.
- There is an earlybird entry fee of just £5 (approx $7 / €6) for each film submitted before 30th September 2017. For entries received after that date, the fee is £8 per entry.
- You should see a confirmation page and receive a confirmation email straight after submitting the form. If you do not see these then your entry has not been received and you should try re-submitting the form.
- After submitting this form you will see a 'Pay now' link on the confirmation page. Alternatively, you can visit this link to make payment, but make sure you enter the Film Title and your Lastname in order that we can link your payment to your entry. The payment link will also be included in the confirmation email you receive. Your entry will not enter the review process until payment has been received.


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There are 4 types of revisers but which are you?
The On-The-Run-Reviser
The Super-Organised-Reviser
The All-Over-the-Walls-Reviser
The Always-Distracted-Reviser
Look at each of the descriptions below to find out which you are, and our top solutions for how to optimize your revision:
The On-The-Run-Reviser
You can't remember the last time you sat still for more than 30 mins. Your revision timetable is more of a "when will I fit in between dropping Sophie at dance practice and walking the dog?". You lug around your course manual, squashed between your gym kit, food prep and to do lists.
Your revision timetable is more of a "when will I fit in between dropping Sophie at dance practice and walking the dog?". You lug around your course manual, squashed between your gym kit, food prep and to do lists.
You lug around your course manual, squashed between your gym kit, food prep and to do lists.
The problem: You have so much on, that getting time to sit and look at your course manual just isn't an option.
How to optimize your revision as an on-the-run-reviser: Download your tutorials to audio, grab your headphones and learn whilst doing the more mundane of your daily tasks. There are some tasks that need your full attention, so I don't suggest trying to squeeze in your audio tutorials whilst mid-conference at work, but driving, walking the dog, cleaning the house… these are perfect! Our Revision Mastery Series has multiple modules, all of which can be downloaded to MP3 or MP4, meaning you can listen when you are on the run.
The Super-Organised-Reviser
You've got this sorted! … or you appear to?
You've scheduled your timetable for revision, You've got the highlighters and post it notes… You've even colour coded your note books. You probably have your own space set up on your own corner of the dining room table all ready for study time.
The problem: You are totally organised, but don't know where to start on the actual content. Usually, those that have spent time setting up their organization side of revision, are putting off the actual get start… usually because they have no idea on what to actually do within the timetable they have set.
How to optimize your revision as a Super-Organised-reviser: Use a revision tool that has already chunked your studies into 45-60 minute lessons. This means you can simply assign one lesson/ tutorial per hour in your timetable. it will compliment your overall structure and make sure that you get the right work completed, allowing you to stay on schedule. Our Revision Mastery Series provides exactly this, chunked down modules, each no-longer than 60 minutes, so you can watch your video and complete the cheat sheet all around one specific task. Find out more about our Revision Mastery Series here <<
The All-Over-the-Walls-Reviser
You know your revision is moving in the right direction, as long as there isn't a spare inch of your wallpaper to be seen, for the sea of revision notes.
You love your highlighters, and post it notes… don't get me started on the gel pens.
Heaven forbids a guest uses your downstairs toilet – You love to print off clear images and stick them to the back of the toilet door!
The problem: You need good quality and accurate images as well as a visual model/ diagram to explain the most complex of topics.
How to optimize your revision as an All-Over-The-Walls-Reviser: Our revision mastery series is designed for visual learners, so we simplify even the most complex topics with a clear strategy. Find out more about our Revision Mastery Series here << If you want to revise the muscles then print out your muscle memory sprint flash cards and stick them to your kitchen walls.
The Always-Distracted-Reviser
You know you should be revising, but all of a sudden your Facebook newsfeed looks really important.
Before you know it you are head into an entire video of epic fails and awesome flips.
You find yourself distracted by noises outside… putting the washing on… making another cup of coffee!
…Anything but the revision.
The problem: You need to stay focused and have a strategy to keep you on task, and a learning tool that is engaging and interesting.
How to optimize your revision as an Always-Distracted-Reviser: If you find yourself getting distracted often then notice where you go when you get distracted, put a note on that place to remind you to go back to your revision. Or set your muscle memory flashcards as your screensaver. If you are drawn to videos, then it could be that you learn best via videos; in which case our revision mastery series is certainly worth a look.
What type of reviser are you?
Comment below
Dedicated to your learning


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Cube Field Arcade Game is a simple yet fun game that has you navigating an Asteroids style ship through a treacherous field of cubes. Fly as far as possible without crashing to score the most points. As you progress through the Cube Field, your ship gets faster and faster so you'll have to stay on your toes. Cube Field Arcade Game supports all devices with OS 4.2 and above.
Cube Field Arcade Game is available in the store for a reasonable $2.99.


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A serious martial artist is always looking for that extra something that will take his or her practice to the next level. Perhaps your strength has plateaued, or maybe there's just something missing. Cameron Shayne, the founder of Budokon, would suggest that a combination of the martial arts with yoga and meditation, will be the magic formula you're looking for. Is it right for you? Continue reading A Marriage of Body and Spirit – Budokon
Month: June 2015
Martial Arts Superheroes – For Real
We love it when our martial arts celebrities do their own fighting: Bruce Lee, Jackie Chan, Lucy Liu, Chuck Norris. It says something about us that we want to be able to really believe these artists can actually do the things their characters are appearing to do. Continue reading Martial Arts Superheroes – For Real
Chinese Novel Comes to Life as Martial Arts TV Series
While William Shakespeare was churning out sonnets and plays in Europe and basking in the accolades of royalty and commoners alike, Wu Cheng'en was essentially living the life of a hermit in 16th century China. Yet his seminal work, Journey to the West, is this very year going to see life Wu Cheng'en could never have imagined. American cable tv company AMC has promised to deliver a new adaptation of Journey this fall as a six-part series called Into the Badlands. Continue reading Chinese Novel Comes to Life as Martial Arts TV Series
Martial Arts for All Ages
Whether you identify more closely in age with Steven Seagal, age 63, or the young Irish martial artist, Jesse-Jane McParland, age 9, you'll have to admit, it appears the martial arts play no favorites regarding age. Perhaps that is why every year, more than 18 million Americans participate in some form of martial arts. Continue reading Martial Arts for All Ages
Beginning a Martial Art
Interested in beginning a martial art? That's great! Which one? Hmm…no clue? Yeah, that could be a problem. It can be overwhelming when you look at all the different forms of martial arts practiced today. But the choice to begin a practice of any martial art is one that will positively impact your life for the long run. So as you begin your search for the right martial art and the right instructional situation, keep some things in mind. Continue reading Beginning a Martial Art


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The Imbiber's Report
Our Bi-Weekly Newsletter with Product Reviews and Much More!
April 29, 2017
You'll have noticed that LCBO stores have sprouted rosé sections recently. The coordinated effort between the 'regular' stores and their Vintages sections gets a boost this weekend with the release of more than a dozen new rosé wines, including our very own Provençal Carte Noire. As an added bonus, our 'general-list' Gran Feudo Rosado from Navarra, Spain is on sale with $1 off until May 20, so stock up! The new 2016 vintage changeover has just happened and the wine is tasting better than it ever has! It's full of verve and spice with perfect balance.
With a month or so to go before you can begin planting most things outside, here are two things to consider. IKEA Canada's website has some great ideas for finding indoor plant growing spaces here:
http://www.ikea.com/ca/en/ideas/201641_idod01a/ For those with the space, time and ambition, have a look at The Growroom, which was recently unveiled by IKEA's dedicated design lab
https://medium.com/space10-the-farm/space10-open-sources-the-growroom-aa7ca6621715 IKEA has been experimenting with gardening pop-up stores and information kiosks outside of their regular retail outlets. In other markets, like the UK, IKEA has already launched indoor gardening lines. Keep an eye out for future developments.
Let's hope there is a bottle of refreshing Gran Feudo Rosado chilling in your fridge right now because it's time to pour yourself a glass…
We noted one of our non-wine products in our last edition, and we have a few more Ready to Drink (RTD) treats to offer. These are the products you'll find on display near the beer and ciders and sometimes (if you're lucky) in the fridge. Bring on the warm weather!
Crazy Uncle Hard Root Beer
Craft Soda for Grown-Ups
448779 $2.95
473mL 5% alc./vol.
Crazy Uncle offers a premium vodka-based, all-natural artisanal Hard Root Beer for Grown Ups. It has a smooth and rich flavour of natural sarsaparilla, sweet birch, wintergreen and licorice root with a creamy vanilla finish. It is crisp, refreshing and not overly sweet, with no high fructose corn syrup. A fun, familiar and comforting flavour with a premium, all-natural 'Grown-up' twist.
Crazy Uncle Hard Cream Soda
Craft Soda for Grown-Ups
491498 $2.95
473mL 5% alc./vol.
A hard cream soda for true cream soda lovers. This delicious hard soda has been crafted from start to finish using all natural ingredients and care. It has smooth and rich flavours of real vanilla bean and lightly caramelized cane sugar with a long-lasting, cream finish.
Enjoy hard sodas with fun food like backyard barbecued burgers, ribs, hot dogs, sausages with potato salad and coleslaw.
VINTAGES RELEASE, April 29, 2017
Les Maîtres Vignerons de la Presqu'île de Saint-Tropez Carte Noire Rosé 2016
AP Côtes de Provence, France
319384 $18.95
880 (12 pack) cases available
Vintages Panel: "Regular Vintages customers are sure to recognize this popular Rosé, and newcomers to Vintages take note: This blend of Grenache and Cinsault has long been a customer favourite, beloved for its zippy personality, ripe red berry, raspberry and Provençal garrigue tones. A delightful summer sipper that pairs beautifully with smoked salmon, this is one that would be worth holding onto to enjoy with Thanksgiving dinner".
Winemaker's Notes: "Beautiful pale peach colour with notes of white flesh fruits and citrus fruit on the nose. There are floral notes on the palate which are nicely balanced with a slightly spicy finish. This dry rosé is 90% Grenache and 10% Cinsault".
Saint-Tropez is located along France's southern Côte d'Azur, it's a wild rocky outcrop of granite that sees more sunshine than almost any other region in the country. Low scrubby wild herbs, gnarled pine trees and vines inhabit the peninsula high above the white sandy beaches and millionaire's yachts. The region had always produced a small amount of wine which was supplied to local seafood restaurants and cafés. With the idea to export their prized rosé, in 1964 a small group of winegrowers formed a cooperative called Les Maîtres Vignerons de la Presqu'île de Saint-Tropez to produce a rosé wine called Carte Noire. More than fifty years later, Carte Noire is the international wine ambassador for Saint-Tropez and it is enjoyed around the world.
This Mediterranean rosé is incredibly versatile and will match a wide variety of food. Try it with grilled octopus and tapenade for a Provençal experience. It's great with all types of summer salads, quiche or charcuterie. Have a bit of fun and try it with everything! (see Sautéed Black Olive recipe below).
This section of The Imbiber's Report features products that are available at grocery stores with a tasting note and food matching suggestions.
Gran Feudo Rosado
Navarra DO, Spain
450205 $11.10 Save $1.00 was $12.10
This very affordable rosé is vivid, bright cherry-pink in colour. You'll find complex and intense aromas of strawberry, raspberry on the nose with hints of herbs. It's well-balanced, fresh and medium-bodied on the palate with flavours of strawberry, mandarin orange and spice. This mouth-watering wine finishes crisp and clean with notes of strawberry and spice.
Enjoy on its own or with pasta, risotto, vegetables, fish and white meats. It will match all pan-Mediterranean flavours including dishes with olives, tomatoes and garlic. It could be the perfect pizza wine.
Our JazzFM.91 appearance with Brad Barker is now posted as a podcast on their website. You'll find it here: http://www.jazz.fm/index.php/on-air-mainmenu/notes
This month's featured wines include our Vintages Essential Willm Riesling Reserve and three reds that are available now at the LCBO: Bold Vine Old Vine Zinfandel, Patrick Ryan Redhead Red and Michael David Freakshow Cabernet Sauvignon. Brad has seen the light and will be drinking some Riesling this summer. The three reds were all spectacular and really showed well. All three reds would make fantastic barbecue wines.
Tune in to Jazz.FM91 anytime to hear some great music and, if you're lucky, Chris and Mark's wine recommendations.
The following promotions are available now until May 21, 2017 at the LCBO:
Earn 6 Bonus Air Miles on Patriarche Pinot Noir (#522649)
Earn 12 Bonus Air Miles on Domaine Pinnacle Ice Cider (#94094)
Earn 15 Bonus Air Miles on Marqués De Riscal Rioja Reserva (#32656)
Save $1.00 LTO on Sprucewood Shores Riesling VQA (#326249)
Save $1.00 LTO on Gran Feudo Rosado (#165845)
Save $2.00 LTO on Pisse-Dru Beaujolais (#2881)
Receive a free Koozie (where applied) with the purchase of Vodka Mudshake French Vanilla (#4606). While supplies last.
Find the following wines chilling in the Wine Fridge in Select Stores:
Alsace Willm Riesling Réserve (#11452)
Sautéed Black Olives
We purchase Kalamata Black Olives in bulk. They are packed in light brine that helps to preserve them. These olives are great for making into tapenade, putting on pizza or baking in bread. We like to dress them up by gently sautéing them in some olive oil with garlic and herbs.
1 heaping cup of Kalamata olives
¼ cup of olive oil
2 large cloves of garlic, lightly smashed
Pinch hot pepper flakes – to taste
1 tsp. fresh rosemary leaves
1/2 tsp. fresh oregano leaves
1 Tbsp. Italian parsley, finely chopped
1 tsp. lemon zest
Fresh ground black pepper
Pinch coarse salt
Score each olive with a knife, making a small incision to the pit.
Heat olive oil to medium and gently sauté the crushed garlic - being careful not to burn it. Remove the garlic from the oil when it is golden brown and set aside.
Lower heat to medium-low, add olives, rosemary, oregano and hot pepper flakes and sauté for 3 minutes.
Remove the olives from the heat and add salt and pepper. Transfer olives to a heat-proof plate or bowl and sprinkle with parsley and lemon zest. Serve with grilled bread, cheese and salami. Enjoy with Carte Noire Rosé, Gran Feudo Rosado, Segura Viudas Cava, Dunavar Pinot Grigio or Les Dauphins Côtes du Rhône Réserve Blanc.
Mark Donaldson, Editor and Factotum
Telephone: 416-368-5108 Fax: 416-368-1349
Download PDF of our most recent General List Price List
Download PDF of our most recent Vintages Price List


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text: Prayer for October 28: Please pray with me. God of silence, today we pray for all those who purposefully listen in the midst of noise. We are reminded that without love, we are but loud gongs. Bless all those who listen to the loud gongs. Without listeners, where would we be? We understand that to be understood is one of the most important things that a human seeks and in listening we not only provide that, but also offer pastoral care that so many need. Amen.


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Scarborough hires man to police piping plovers
Ryan Wynne is working part time
The town of Scarborough has hired someone to police the piping plovers on public beaches.
Ryan Wynne is working part time to educate the public about protecting the endangered species.
Many people in Scarborough already know about the problems the town encountered when a dog killed a piping plover last year, but a lot of beachgoers are visitors who may not be familiar with that history or the beach rules.
"Plovers are endangered because their favorite habitat is one of humans' favorite habitats too," said Wynne.
Wynne has done his homework on the endangered shorebird.
The town hired the 28-year-old to police the precious piping plover population.
The part-time gig pays $14 an hour.
Wynne posts signage and manages volunteers who work to educate beachgoers.
"I was expecting to be getting a lot more negativity towards this push-back and so far, it hasn't been the case," said Wynne.
Scarborouh residents have been chirping a lot about the endangered birds since a dog killed one last summer.
The town is still facing a federal fine.
Scarborough officials have updated their leash law to protect the rare plovers.
"We know all about them, yes, and it's the talk of the beach, and it is pro-plover or pro-dog and it's a big controversy," said Shauna Damboise, who is spending the summer in Scarborough.
Damboise said she sees both sides of the issue.
She and her family enjoy the beach and like the plovers, but she has a clear opinion when it comes to whether she thinks the town should be spending thousands of taxpayer dollars to hire someone like Wynne.
"I think it's a lot of money to spend. I understand the whole issue, and I think if people followed the law -- especially dog owners with leashes -- there wouldn't have been this situation," she said.
Wynne said he understands why people feel that way, but Scarborugh has a responsibility to protect the piping plovers so they don't disappear.
"Everybody who comes to the beach might have their own reason for coming here. Some like to be in the water, some might want to bring their dogs here, and there are people who come to bird-watch here," said Wynne.
Wynne and his volunteers don't have the power to write tickets, but the police do.
Wynne said so far this summer, there has been one incident of a woman being fined $100 for having her dog off its leash.


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The Nigerian real estate sector is set to receive a share of the country's abundant oil revenue through the recently established Nigerian Sovereign Investment Authority (NSIA). Before the fund was approved in 2011, it was still the Excess Crude Account (ECA) initially created to act as a stabilisation fund, closing budget deficits that are a product of oil price volatility. Similar to the ECA, the NSIA was predictably criticised and depicted as a new instrument colluded by the government to steal and share money among themselves. However, the $1bn fund which is managed by the Nigerian Sovereign Investment Authority, is seemingly working hard to distinguish itself as a dynamic and transparent entity geared towards achieving measurable goals focused on the country's future development.
Investment in Real Estate
The influx of capital into the real estate sector will be received from the Nigerian Infrastructure Fund and invested in Affordable Housing and the Nigerian Mortgage Refinance Company. The Nigerian Infrastructure Fund, one of three funds created by the NSIA aims to invest in infrastructure projects in Nigeria that meet targeted financial returns and contribute to the development of essential infrastructure in Nigeria. It is the only fund with the mandate to invest domestically.
Affordable Housing – The fund is currently is in negotiation for several pieces of land that will allow them to build much needed affordable housing. The Nigerian Sovereign Investment Authority has identified the chronic under supply of affordable housing in Nigeria and plan to service this deficit with millions of units while achieving a reasonable return.
High construction costs and land prices in Nigeria have continually put developers off affordable housing and pushed them towards the more lucrative luxury/high end residential sector. This often act as a barrier to the construction of affordable housing all over the country. But high volumes along with strategic planning from the Nigerian Infrastructure Fund could help change that whilst producing a reasonable rate of return.
Nigerian Mortgage Refinance Company – The Nigerian Infrastructure Fund is one of the lead investors in the Nigeria Mortgage Refinance Company. It has been reported that the investment will be $10m. Though the equity call has not started yet, a commitment that is based on initial equity call, could allow for up to 20%.
The Nigerian Mortgage Refinance Company was established to bridge the funding cost of residential mortgages and promote the availability as well as the affordability of good housing to Nigerians by providing increased liquidity in the mortgage market through the mortgage and commercial banks. It will sell bonds on capital markets and provide long-term financing to lenders that will help them extend more home loans. The company will help extend maturities for Nigerian home-buyers to as much as 20 years, encouraging the building of 75,000 new homes a year and creating at least 300,000 jobs.
The 3 funds which were created by the NSIA have the shared goal of building a savings base for the Nigerian people, enhancing the development of Nigerian infrastructure and providing stabilisation support in times of economic stress. The allocation of capital is split 40%, 40% and 20% across the Nigerian Infrastructure Fund, Stabilisation Fund and Future Development Fund respectively.
• Stabilisation Fund – The objective of the Stabilisation Fund (SF) is to provide stabilisation support to the Federation revenue in times of economic stress. Management of the Stabilisation Fund will be outsourced with investments in a diversified portfolio of liquid, low risk products such as Treasury bills and liquid short term investment grade bonds.
• Future Generations (Savings) Fund – The objective of the Future Generation Fund (FGF) is to invest in a diversified portfolio of appropriate growth investments in order to provide future generation of Nigerians a solid savings base for such a time as the hydrocarbon reserves in Nigeria are exhausted. Other capital is said to be invested in a social fund.
Global Sovereign Wealth funds Investing in Real Estate
Other SWFs across the globe are also following the real estate investment trend. Sovereign wealth funds around the world allocate more than $180bn to the asset class, and therefore represent a significant source of potential capital for private real estate fund managers. The world's largest SWF, Norway's Government Pension Fund Global (GPFG) -which notably owns 1.3% of the world's listed companies and invests in 8000 companies in 82 countries (including Nigeria!)- has also been given permission to invest in real estate. It was reported that it will continue to build its North American direct property portfolio as it slowly works towards its 5% target allocation. Though Norway's $810bn oil fund is permitted to hold up to 5% of its assets in property, currently it only counts as 0.9% ($7bn) of the entire portfolio.
Find out what a Sovereign Wealth Fund is in our other post – Sovereign Wealth Funds – What are they?
The Nigerian Sovereign Investment Authority release their 2013 Annual Report in June this year. Read our round up on the real estate aspects.