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On September 24 1983, Madonna performed Physical Attraction, Everybody, Holiday and Burning Up at Uncle Sam's Club in Levittown, New York.
On September 24 1983, Madonna performed Physical Attraction, Everybody, Holiday and Burning Up at Uncle Sam's Club in Levittown, New York.
On June 4 1983, Burning Up/Physical Attraction spent its third and final week at its peak position of number-three on Billboard's Hot Dance Music/Club Play chart in the U.S.
Available only on 12″ single in the U.S., the release charted as a double A-side single. Its run on the Dance/Club chart spanned a total of sixteen weeks, seven of which were spent in the top-five. In a rather strange marketing twist, a music video was produced for Burning Up while only Physical Attraction was promoted to radio – with an edited version of the latter being featured on both sides of the rare 7″ promo.
To further confuse matters, the version of Burning Up that was featured on the 12″ was in actuality not a remix, but rather the original Reggie Lucas production of the song. Instead, the two distinct versions of the song that later turned up at separate times on her debut album were in fact remixes by John "Jellybean" Benitez. Physical Attraction was also remixed by Benitez, although his version appears on both the single and the album.
On May 21 1983, Madonna's Burning Up/Physical Attraction hit #3 on USA Hot Dance Music/Club Play chart.
Burning Up was written by Madonna and Physical Attraction was written by Reggie Lucas. Both were produced by Lucas with additional remixing by Jellybean Benitez on the latter.
Interestingly, the original copyright claim filed for the song Physical Attraction, which remains on file at the U.S. Library Of Congress, lists Madonna as its sole writer and Only Child Music (who handled Madonna's songwriting publishing prior to the creation of Webo Girl) as its publisher, with no mention of Lucas or his publishing company, Likasa Music.
Burning Up went through several incarnations both before and after its official release. The earliest recording of the song to have surfaced is a live performance by Madonna with her band Emmy, likely from 1980. Although the lyrics underwent only minor revisions in later years, its initial guitar-driven arrangement and melody were relatively loose – if not underdeveloped. A more focused beat-driven version was recorded by Madonna with Stephen Bray in early 1982 and was featured on the four-track demo tape that brought her to the attention of Sire Records. In addition to the originally released version that appeared on the 12″ single, there are also two noticeably different album mixes of Burning Up. Early vinyl pressings of her debut LP featured a longer version with alternate guitar and synth parts and more prominently mixed backing vocals. This alternate album mix resurfaced in 1985 as the b-side to the Angel single in the UK, but it has never been officially released in digital or CD format.
On December 24 1983, Madonna was named runner-up for Top Dance/Disco Artist Of The Year in Billboard magazine's year-end issue, while Michael Jackson took top honors.
The double-sided club hit Holiday/Lucky Star peaked at #3 on the Top Dance/Disco Singles Of The Year tally, while Madonna's second entry at #26 combined points from her first two single releases, Everybody and Burning Up/Physical Attraction.
On July 27 1983, Madonna's eponymous debut album was released by Sire Records. The record was renamed Madonna: The First Album for the 1985 international re-release of the album.
The album was released with 8 tracks (produced by John "Jellybean" Benitez, Mark Kamins and Reggie Lucas):
Five singles were released from The First Album:
"Madonna was unhappy with the whole album, so I went in and sweetened up a lot of music for her, adding some guitars to 'Lucky Star', some voices, some magic… I just wanted to do the best job I could do for her. When we would playback 'Holiday' or 'Lucky Star', you could see that she was overwhelmed by how great it all sounded. You wanted to help her, you know? As much as she could be a bitch, when you were in a groove with her, it was very cool, very creative."
— John "Jellybean" Benitez talking about Madonna and the album.
"I've refrained over the years in addressing aspects of Madonna's career because I'm not a person who likes negative discussions. But what I will say is that in Madonna's ascent to fame and fortune, there's been a pretty vicious competition for credit in being involved. In other words, someone will say, 'I launched Madonna.' If I talk to a lot of people today, I will say I was Madonna's first producer. I produced six of the eight tracks on her first record. I would say nine times out of 10, their response will be, 'Oh yeah, I thought Jellybean did that.' But Jellybean didn't do that. Jellybean was a remixer, and we didn't have time to remix records. It wasn't something that I was interested in doing. Somewhere in this process of publicists and personal relationships, somehow he came out as the guy. Just for the record, one tires in a lifetime of hearing someone taking credit for something that you've done. Jellybean produced 'Holiday' and he remixed a couple of tracks, but remixing tracks for radio isn't the same thing as producing one of the major breakout pop stars of the 1980s…it's almost like I was fired or something. I wasn't fired. I finished the record…and they put it out and sold a bunch of records. And everybody else ran around trying to take credit for it because it was so big that they couldn't help themselves. … I must say, Madonna was great to work with in the studio. She really put in the work. She was a creative person."
— Reggie Lucas, producer of Madonna's first album.
On May 19 2018, musician, songwriter and producer of Madonna's first album, Reggie Lucas, passed away at the age of 65.
Lucas's professional career began at 18 years of age when Miles Davis selected the guitarist to join his band. This eventually evolved into songwriting and production duties for vocalists Roberta Flack and Stephanie Mills. However, he is most frequently cited for his work with Madonna, beginning with her second single, the double-A side Burning Up/Physical Attraction recorded in late 1982, and her subsequent self-titled debut album.
In addition to producing the bulk of the album, Lucas also wrote two songs for project: the hit single Borderline, and the carnal club classic, Physical Attraction.
Chris Williams interviewed Lucas for TheAltantic in 2013 to mark the 30th anniversary of Madonna's debut. Below are some excerpts:
Your background was primarily as an R&B and jazz artist. How did that influence you creating the songs for Madonna? Because she was a different kind of artist.
Well, she was a white artist wasn't she? [laughs] It was the main thing that made her different. When I came to the Madonna record, I came with two things. The first thing was I brought a lot of success and a solid background as a hit producer and songwriter within the R&B world, but it was also with the skill as a composer and rock and roll guitarist. Madonna was simply the first opportunity that I had to play around with other musical interests that I had. You couldn't make the first Madonna record for Phyllis Hyman. I couldn't make Miles Davis music for Roberta Flack. Miles was the one place where I got it all out of my system, and that was the beauty of Miles.As a producer, you understood that your first job was to support people to achieve that end. You challenged the artist just enough to bring out the best in them and introduce them to audiences that they normally wouldn't be introduced to. When I did "Physical Attraction," that was just it. She was a little different. Madonna was wilder in terms of her look and image; I don't know if her music was that much wilder than anyone else back then. I think her music was sexually freer and it predicted what was going to happen in the future. She was definitely an innovator when it became to being more suggestive, which was pretty cool. I thought it was great.So–mixing that with my musical background, Madonna's first album was really a hybrid of her interests and mine. "Physical Attraction" was our starting point with that style. It did pretty well and she began to move forward with her career and sound.
How did that dynamic work in the studio?
She had a lot of material that she had written and collaborated with other people on in the course of being signed to a record label. When she met me, "Everybody" was about to come out and she had written "Lucky Star." My role had been as a creative songwriting record producer. [Musician James] Mtume and I typically wrote a good percentage of the material we produced for Stephanie Mills, Phyllis Hyman, and those artists. So that's what I ended up doing for Madonna. I would write songs and ask her, "What do you think of this?" "Physical Attraction" and "Borderline" were done specifically during the production process and for her. They weren't demo songs that I was shopping around.
Madonna and I had an enormous amount of freedom. They would tell us to make the record and we went and made the record. I think, in retrospect, we were happy to come up in an era where the record company played a very small role in creative supervision. Our creative process was very independent.
Did you guys have a set routine that you followed every day coming into the studio?
She was diligent, it was a pretty good experience. She wasn't the type of artist that you had to go and look for. She wanted to be successful. She was always there when she needed to be. I was used to being in charge of things so I was always there at the studio ready. I made sure everything moved smoothly for her so that the process surrounding being in the studio was fairly transparent to her. She had to come in focused on her music and performing as an artist and it helped my focus as well. The musicians I worked with were guys I had worked with for years. We worked out of Sigma Sound Studios, a studio I worked out of for years as well. She brought some very good people into the situation. It was very comfortable making the record.
We made usage of synthesizers and drum machines. That was the first record that I ever recorded where I used a drum machine. It was one of the big transitions for me. We used Moog and Arp synthesizers, and that was relatively new technology back then. It gave the music a new sound. Madonna was an artist that knew what she wanted, but she wasn't a record producer. So it was my responsibility to create a sound for her. She would be there interactively. If she didn't like something she heard, she would say so and I would change it. The funny thing that happened on this record is when we got into the studio together we established this mini-Moog bass sound for her as her key sound. And she stuck with it for a long time.
Were there any challenges in working with a low-budget and trying to break a new artist on a new label, Sire Records?
It wasn't really difficult at all. Sire wasn't a new label. It was an independent record label that was acquired by Warner Brothers. It had an enormous amount of success with the English punk sound and dance music. Sometimes things just have a flow to them. Madonna's record had a flow to it. Michael Rosenblatt was always there and I worked with him from the label. He was great, he was a real pro. He knew how to be an A&R person for a record. He didn't interfere, but he wasn't so distanced from it that he didn't have an idea of what was going on.
Michael is probably an unsung hero of launching Madonna's career. If you can believe it, Warner Brothers had very limited interest in Madonna when she was first signed. You know what they thought? They said that Madonna is this new white artist that wants to sing black–so what they did was send her to the black radio stations when her first record came out, and that's how they promoted her at first. They just treated her as a black artist. I guess they kind of envisioned her as Teena Marie. Madonna had an intense interest in black music, but she wasn't Teena Marie. She was something different. But she did it and she went to the black radio stations and held her own. Frankie Crocker was playing her records in New York.
When you bring up the fact that Madonna was pushed toward a black audience, it would explain why "Physical Attraction" and songs like that were at top of the Billboard Black Singles Charts.
You can't make this stuff up. Warner Brothers really didn't know what to do with her. See, there was a subtext to Madonna that had to do with her personality. She looked like a punk rocker to a lot of people. When people at record companies, law offices, and managerial places first saw Madonna before she became an established artist, a lot of people were put off by her. They thought she was too crazy and too weird. Being a music person and a human being, I don't operate that way. I thought she was cool and different. I didn't really know if she was going to become a big star, but I thought she had something valid to say and I could help her with it. Warner Brothers didn't get it right away, but Michael Rosenblatt did.When she took off, there was an immediate, massive shift to move in and establish business relationships with her. In the beginning, she was just this little dance artist that Frankie Crocker gave a few spins to, and some DJs out in San Francisco, and she starts creating this buzz. Then, people at the record label started putting two and two together and got five. They immediately did a 360 and welcomed her with open arms.
Talk me through the process of making some of the songs you were involved with on the album.
I'd write songs and put them on a little cassette player with me singing, and I can't sing. I'd ask Madonna if she liked them, and she said, "Yeah, it sounds cool. Let's do it." I did the demos for "Physical Attraction" and "Borderline" and she brought in her demos for her songs to the studio. And we did what we did to them. Probably the most interesting one was "Lucky Star." If you heard the original demo for "Lucky Star" and you heard what it came out like, they're the same song, but barely. We really put a lot of creative energy into that one and it came out beautifully.
I must say, Madonna was great to work with in the studio. She really put in the work. She was a creative person. And it was one of the many reasons why it was disappointing not to be involved in subsequent projects. It's just one of those things. Look, she picked one of my good buddies, Nile Rodgers, to do the next record. She couldn't have picked a better person. I always had a pretty casual process of making songs, but with some formality. I kind of inherited how Miles Davis used to operate. So we would come in and the songs were simple they didn't require a lot in the way of charts. I would write out a little chord sheet, but the musicians were so good they would learn these things. They were really used as templates to try to find in the studio what we wanted to do with the songs. I'd make a lot of creative decisions and creative additions and subtractions to whatever was going on in the studio. We didn't spend a lot of time messing around either. I think that's the trick.When you make a pop record, you don't want it to sound sterile. You want to bring some of the improvisational excitement of jazz, but without the actual 15-minute saxophone solo. You can't have a 15-minute saxophone solo on a Madonna record. You have to find a way to build in this excitement in a way that just works. Being a member of rhythm sections as a guitarist was always helpful to me in terms of understanding how music works from a production-quality standpoint. When you're a member of a rhythm section, you know when the music is a dud because you're right there as it happens. I always felt that I was always in tune to the level of energy, precision, and crispness of rhythm section performances. And I think that's the key to so many records.
As you look back 30 years later, how do you feel about the impact the album made on popular culture after it was released? It's regarded as one of the most important pop albums from the 1980s.
Well, I don't know. I think everybody involved in the arts has a tendency to take themselves a little bit too seriously. I made a great record, and I and a lot of people liked it. It sold a lot of copies and launched careers and created opportunities for people. And that's what you want to do. That is supposed to be the outcome of your good work. I don't think it changed the nature of life in America or anything like that. [laughs] It was just a good record.


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Assassin's Creed Origins
Hey AC! You look rested after your break.
Another year, another game in a popular series. That is the way of things for many of our biggest game franchises, and to be honest, it doesn't really do the games any favors. After feeling fatigued with the most recent Assassin's Creed entries, it was quite a surprise to hear that Ubisoft were going to take a break for a year, giving their developers an extra 12 months of development time on what would be the next game in the series. I wish that other popular series would make the same decision, because the result is easily one of the best Assassin's Creed games so far. And, for Assassin's Creed Origins, we go back to the beginning.
As is hinted at by the title, Assassin's Creed Origins is all about the origins of the Assassin's Brotherhood. So back we go to ancient Egypt where we find a new hero, Bayek, and follow his personal tale as he gets tangled up with the Order of the Ancients and an artifact known as the Apple of Eden. It is a really deep and engrossing tale which will carry the player through a good 60+ hours when the huge number of side quests are taken into account, and the depth of the main character, Bayek, makes the whole journey thoroughly enjoyable. Bayek is easily the most likable and enjoyable Assassin's Creed hero to play as for a long time.
But surely all of that extra development time couldn't have been spent simply creating a likable protagonist? While this could be considered to be a soft reboot of the Assassin's Creed series, and many aspects of the game remain the same as the previous entries, there are some notable changes that seem to be trying to make the game better.
The combat in the game is the most obvious change, the one that players will notice immediately. The quick flowing, almost invincible style of the previous games has been toned down and made more realistic, as befitting someone who has perhaps not been trained as an assassin. There is more threat to the combat and it is easy to get overwhelmed, forcing Bayek to regularly consider other approaches. There is no counter now, leaving the player to rely on blocking or dodging in between attacks. It flows really well and feels new and exciting, with the early game before Bayek has improved his skills being more of a challenge, making the progression more meaningful as well.
When it comes to the stealth aspects and the parkour-style running and climbing, which are perhaps the most useful when avoiding combat, there don't seem to be any huge changes. It does feel quite familiar, although the setting obviously tones down the cool gadgets that the assassins would be accustomed to. Eagle Vision has had a big change though, with Bayek actually having a pet Eagle to use for all of that spotting and enemy marking. Swapping to Senu, the Eagle, is quickly done with the press of a button, and then the player can guide it around the area to check out where enemies or targets are and even, later in the game, get involved. It's a nice addition, although feels a little cumbersome and difficult to control at times.
The setting is where the real changes have been made. Bayek's journey will take him to a massive number of different locations, with a wide range of different environments to explore. And exploration is the order of the day, because players are given much more freedom in how they experience the different areas of the game. There is a huge amount of freedom here, with something new to look at or do around every corner. Standard side quests litter the maps, and interesting distractions that occasionally come up offer something a little different, such as the exciting chariot racing. As always, the amount there is to do can be a little overwhelming, but the great setting ensures that players will want to keep coming back.
A healthy skill tree will keep players busy as Bayek levels up, and the huge amount of loot that he gathers will add teeth to is progression, with a variety of different rarities of weapon and such giving players that push to find more. There is a crafting system to improve equipment, or make your own, further adding more for the player to do.
Visually, Origins is absolutely beautiful, even on a standard console. I can only imagine how good it would look on the Pro or X. The environments really compliment the game, and offer plenty of moments where just standing and looking is enough, and the character models are also well made. There are the occasional bugs, but these are what we come to expect in an Assassin's Creed game, so we shouldn't be surprised that even with that extra year, some slipped through the cracks.
I don't know if it was the break for me, or the extra year for the developers, but Assassin's Creed Origins has made the series fresh and exciting again. Black Flag was one of my favorite AC games, and Origins compares well in scope, and actually rates higher with some of the improvements made. It is still an Assassin's Creed game and in the grand scheme of things, the changes are only small. Assassin's Creed Origins offers a huge game world and plenty to do in it while discovering the origins of the Brotherhood of Assassins and there age-old battle with the Templars. I wouldn't say that I missed Assassin's Creed last year, but I am glad it is back.
Coming later this year to Xbox One, PS4, PC and Switch.

subset: commoncrawl


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Wednesday, November 13th, 2019 3:44 PM
Mavs' Porzingis makes return to New York
It didn't take Kristaps Porzingis long during his rookie season with the New York Knicks in 2015-16 to realize he'd come to a city starved for a basketball winner. When he returns to the Big Apple Thursday night, he'll find a city more famished for winning basketball than ever before.
Porzingis will play in Madison Square Garden for the first time as a visiting player when he and the Dallas Mavericks face the reeling Knicks in the final game between the teams this season.
The Mavericks, who are completing a three-game road trip, last played Monday when they fell to the Boston Celtics 116-106. The Knicks continued skidding toward the bottom of the NBA on Tuesday with a 120-102 loss to the host Chicago Bulls.
At 2-9, the Knicks entered Wednesday tied for the worst record in the NBA with the Golden State Warriors. But while the Warriors at least have made five straight trips to the NBA Finals and won three championships, the Knicks haven't made the playoffs since the spring of 2013, haven't gotten to the Eastern Conference finals since 2000 and haven't won it all since 1973.
"It's a city hungry for success in basketball," Porzingis said after practice Wednesday. "For them, for the fans, for the city to be going through this year after year, it's got to be tough."
Porzingis appeared to be the franchise player around whom the Knicks could build during the 2015-16 season, when he averaged 14.3 points and 7.3 rebounds per game while earning the "Unicorn" nickname for the versatility he offered in a 7-foot-3 frame.
But Porzingis' relationship with the Knicks deteriorated over the next two seasons, during which Porzingis reportedly expressed concerns over the direction of the franchise while butting heads with management over the influence his brother/agent, Janis, and his physiotherapist, Manolo Valdivieso, had on him.
Porzingis tore his ACL while trying to dunk over Milwaukee Bucks superstar Giannis Antetokounmpo on Feb. 6, 2018. He never played again for the Knicks, who traded him to the Mavericks in a seven-player blockbuster on Feb. 1 of this year.
"This is a basketball city and it just sucks that we never really got to do something big here," said Porzingis, who is averaging 18.3 points and 7.9 rebounds per game after signing a five-year deal worth the maximum $158 million with the Mavericks in July.
The Porzingis trade was supposed to hasten the Knicks' latest rebuilding project. But they didn't win the draft lottery and the opportunity to select Zion Williamson, and the salary cap room created by the deal wasn't enough to lure any of the top-tier free agents to Manhattan.
Since upsetting the Mavericks 106-102 in Dallas last Friday, the Knicks have lost to the Bulls and Cleveland Cavaliers by a combined 39 points. After the loss to the Cavaliers, team president Steve Mills and general manager Scott Perry held a press conference to indicate their displeasure. On Monday, ESPN reported head coach David Fizdale was on the hot seat.
"It's always a media firestorm in New York," Fizdale told reporters prior to Tuesday's loss. "For everybody else this is a big deal. But for us it's normal environment."
--Field Level Media


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Fresh off its first win of the season, the Clinton High School football team travels to Groton-Dunstable today (Friday) for a game with the Crusaders.
Due to the threat of mosquito-borne illnesses, the kickoff will be at 4 p.m.
Groton-Dunstable, which is 3-1 on the season, is coming off its first loss, 33-6, to Westford Academy. It owns wins over Maynard, Murdock and Quabbin.
�They throw more than Lunenburg does, but they run the option, too,� Clinton coach Paul Constantino said. �They keep the ball in the quarterback�s hands.�
The Crusaders� quarterback, senior Mack Eberhardt, is also the team�s leading rusher. He has carried the ball 35 times for 350 yards and four touchdowns, averaging 10 yards per carry.
When he has chosen to pass, Eberhardt has completed 17 of 37 throws for 403 yards and five touchdowns.
�They�ll do some shotgun, and they�ll still run the option out of that,� Constantino said. �Defensively, the key to the game is neutralizing Eberhardt. He�s the focal point for us.�
Sophomore Joey Orlando and junior Quinton Forbes, who may line up in the slot as well as the backfield, have also successfully carried the ball for the Crusaders.
�They move Forbes around quite a bit,� Constantino said. �Orlando is more just a running back.�
In the battle between the offensive and defensive lines, Constantino thinks his squad matches up pretty well with the Crusaders.
�They�re not overly big,� Constantino said. �We�re certainly comparable to them, size-wise, but they�re pretty athletic. They�re more of a finesse team than a power team.
�We�ve been working every day in practice at being more physical,� he said. �The last couple of weeks, we�ve increased the number of hitting drills.�
Last Friday night, Clinton trailed, 20-7, at the half, but outscored Oakmont Regional, 14-0, in the second half to notch its first victory of the season.
The 21-20 win boosted the Gaels� record to 1-3, while the Spartans fell to an identical 1-3 mark.
Clinton senior captain Kyle Cutler, who stepped up time and time again for the Gaels during the game, began the turnaround early in the third quarter when he recovered an Oakmont fumble at the Spartan 22-yard line.
Cutler carried the ball to the 12, and a personal foul by the Spartans tacked on another six yards, giving Clinton a first and goal at the 6.
Senior captain Matt Notaro took it into the end zone from there, and the Gaels had closed to within seven points, 20-13.
After forcing Oakmont to punt, Clinton went to work at its own 1-yard line and marched downfield to the Spartan 23 before a holding penalty derailed the drive.
Once again, the defense did its job, with backfield tackles by Notaro and sophomore Andrew Grady leading to an Oakmont punt. Notaro gathered in the kick at his own 9-yard line and returned it to the 20.
This time, the Gaels would not be denied, driving 80 yards for a touchdown, and then tacking on a go-ahead, two-point conversion.
Junior running back Rony Noel got things started with a 16-yard gain and, three plays later, Notaro picked up another first down at the Clinton 47.
After Noel carried for seven yards, Cutler took to the air, connecting with Notaro on a 32-yard pass play that gave the Gaels a first down on the Spartan 14.
Noel again got the call, and he took it to the big house with 4:04 left in the game.
Senior fullback Matt McEvilly, a captain, then rushed for the two-point conversion, and Clinton led for the first time in the game, 21-20. Seniors Eliel Colina, Aaron Newell, and Alex Santiago threw the blocks that paved McEvilly�s way into the end zone.
On Oakmont�s ensuring possession, Cutler again put the Gaels back in the driver�s seat, intercepting a Spartan pass at his own 40-yard line with 3:27 left on the scoreboard.
From there, Clinton was able to run out the clock, thanks to first down runs by Noel and Notaro that allowed Cutler to take a knee and the Gaels to begin their celebration.
With the Gaels behind, 12-0, Notaro scored Clinton�s only first-half touchdown on a 4-yard pass from Cutler.
The second-quarter score was set up by a 56-yard scrambling pass from Cutler to Grady that gave the Gaels a first and goal at the Spartan 8.
Cutler kicked the extra point.
Oakmont got its first two touchdowns from senior running back Jacob Zagwyn, the second (80 yards) coming soon after a Clinton turnover on a fumble.
The Spartans added a late, second-quarter score on a keeper by senior quarterback Derrick Andrews. Zagwyn added a two-point conversion.
�We need people to make plays,� Constantino said he told his troops at halftime. �Maybe, in the second half, they took that to heart.
�The three senior captains (Cutler, Notaro and McEvilly) really stepped up and made some big plays,� he said.
Cutler finished the game 3 for 9 through the air for 92 yards and a touchdown.
Notaro ran the ball 15 times for 75 yards and a touchdown, and had two receptions for 36 yards and another score. He also picked up 60 yards on three kick returns.
McEvilly, with a heavily-taped ankle, rushed for 24 yards on six attempts and took the ball into the end zone for the go-ahead, two-point conversion.
Noel, the Gaels� leading rusher, had nine carries for 104 yards and a touchdown. He averaged 11.56 yards per carry.


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A Nuneaton father who fractured his five-week-old daughter's skull and then tried to blame his partner's mother has been jailed for 15 months.
Adrian Powell, of Green Lane, Nuneaton, pleaded guilty to causing grievous bodily harm to his five-week-old daughter Emily at Warwick Crown Court.
The court heard how Powell, 39, pressed down on Emily's head with his fist after he lost his temper when the baby kept crying as he changed her nappy in December last year.
When doctors asked how the injury happened he said he did not know as Emily had been staying with her grandmother at the time.
Powell and his partner Elizabeth Layton were living in Hillcrest Road, Nuneaton, at the time of the attack.
Tammy Mears, prosecuting, said Miss Layton was preparing Sunday lunch and asked Powell to change the baby's nappy.
She heard the baby, who was suffering from oral thrush, crying.
When Powell took her into the kitchen Miss Layton noticed a lump on her head and phoned her doctor's out-of-hours emergency service.
When Emily was no better by 6.30pm they took her to hospital, where they said they did not know how the injury was caused because Emily had been with Miss Layton's mother at the time.
The couple kept up their story to medical staff and social services but Miss Layton's mother refused to back them up and told police Emily had not been with her.
When Powell was arrested he admitted he was "p***ed off because she kept crying."
He said he had pressed his fist against her head, bearing down with his body, but then realised what he was doing and stopped.
Graeme Simpson, defending, said the case had been an isolated incident when Powell could not cope with being un-employed and caring for a baby.
Emily, who is now living with Miss Layton and her mother, did not suffer any damage.
Judge Marten Coates, who heard the couple still plan to remain together, adjourned the case for a report to be prepared by social services.
Jailing Powell, he said the attempt to blame Miss Layton's mother was "reprehensible".
He said: "What you did was to effectively squeeze your daughter's skull in a moment of loss of control.
"But the lack of a second fracture shows it was momentary, and I deal with it on the basis that there was no lasting damage."


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Home / Newsroom / News / 2017 / Civilian-Military Integration course takes place in Baghdad
NAPLES, Italy -- A senior JFC Naples official helped lead training efforts at a civil military integration training course in Baghdad, May 28, 2017. Several NATO officers contributed to the course, held at the Al Nahrain Center, to help Iraqi military officers in the war on ISIS, or Daesh.
Civil military integration is planning specifically focused on inter-agency coordination with what ways and means can be coordinated to bring about a joint solution to issues affecting the respective ministries.
U.S. Navy Rear Adm. Murray Joe "JT" Tynch, III, assistant chief of staff for operations at Allied Joint Force Command Naples, kicked off the event following remarks by the NATO Core Team senior military officer, Italian Army Brig. Gen. Pierfranco Tria, and the NATO senior civilian, Rick Froh. Tynch was followed by two Dutch officers from the Civ-Mil Center of Excellence.
The NATO Training and Capacity Building Core Team are military and civilian personnel who work in close coordination to deliver a comprehensive and fully integrated training product to the Iraqis. This meets NATO's intent to deliver in country capacity building activities aimed to develop institutional capabilities whereby Iraqi officials can take on the role of further development of security and associated structures within the Iraqi administration.
A total of 25 Iraqi military officers attended the course of instruction, which was the second in a series of three civ-mil lectures.
A senior JFC Naples official helped lead training efforts at a civil military integration training course in Baghdad, May 28, 2017.
Allied Joint Force Command Naples
Via Madonna del Pantano
80014 Lago Patria
Giugliano in Campania, Naples, Italy
Public Affairs Office
Attn: Media Section
80014 Lago Patria
Naples, ITALY


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October 11, 2016 at 5:49AM
Using Cineform as editing codec
Hello! So I recently had to edit a 4k project on my windows desktop and by the time it was done (hour and half worth of footage) my computer was getting pretty slow at responding. So then I started to look into various editing techniques such as working with proxies or converting footage. I like the idea of converting my footage to cineform codec to make editing and cross platform sharing easier. I just had a few questions on the workflow of doing this. I've seen multiple discussions on converting the footage once all editing is done but I would like to convert all footage BEFORE any editing is done to take the load of the computer. Any information would help! How do you guys go about this? Do you load all your 4k files into Gopro Studio to convert the files? Then are the files saved as a cineform codec and edited from there?? I am using Premiere Pro and all the other apps in Adobe Creative Cloud.
23 Comments
I do color correction ( no grading ) and audio correction on all my camera footage, and then export as Cineform 4:4:4 for editing. This means it takes a little longer before you can edit, but then everything matches as you edit, and your finished edit is ready for grading when you are done. ( not sure how I would handle this if I shot RAW footage )
October 11, 2016 at 5:57PM
>>>You seem to have a lot of information on this workflow.
I've been using the Cineform CODEC this way for the past 5 years. It's a great CODEC where the SAME files work on both Mac and PC computers.
>>>So you bring your files into your project panel, color correct and audio correct then export to what?
For most of my projects I use the following folder structure:
1- Project folder starting with the date and then name. This one is for October 12, 2016.
161012 Patient Interviews 6 Months of Treatment
2- Inside the project folder I place the following folders...
Cineform : for exported Cineform editing files.
Documents : any documents related to the project.
Master Edits : finished edits ready to be exported to the delivery platform.
Raw Media : native camera files and audio files. Contains an Audio-BackUp folder, as my Sound Forge audio edits are destructive edits, so I need to keep copies of the original audio recordings.
Support Media : any graphics created for the working edits. Titles, lower-thirds, credits, etc... I like to use PNG files with editable text, bit-map graphics, vector-graphics, alpha-channel effects built with the out of date but still very useful Adobe Fireworks 6 software.
Review Edits : Time-coded exports for clients to give feed-back on. Usually at 720p.
Storage : Place to put all of the project files that are out of date, or don't belong in any other folder.
Working Edits : Working files that will be used to build the master edits.
...After a shoot is over I copy all of the native camera files into the Raw Media folder, along with all of the audio recordings. I then place a duplicate of my audio recordings in an audio back-up folder.
Next I bring all of my media files into my editor ( Sony Vegas Pro ), make all of my image corrections, make all of my audio corrections, then sync the audio with my video, and finally export "working" editing files in Cineform format to the "Cineform" folder. If it's a lot of short shots, I might gang everything together and export one large Cineform file containing all of the short shots.
Then I start my edit, which includes building graphics and animations to be used in the finished video. Almost all of my work is educational and training, so most of my edits are less than 30 minutes long.
If I've promised the client a review copy ( or if the client wants to decide on what content stays in the finished video ), I will send them a "review" version which is time-coded and exported at 720p, so it's easy to download and the TC gives them a reference to describe exactly what parts of the video they like or don't like.
While I own a license for Premiere, I still do most of my editing in Sony Vegas Pro because I've got 15+ years experience with it and I love how their interface works.
( I do use the following Adobe products After Effects, LightRoom, Photoshop, Illustrator, and a lot of Fireworks )
I keep my Sony Vegas Pro project files in my "working" folder, which often has a "Storage" folder to keep out of date project files as my edits progress. ( I generate versions of my project files, so if something ever gets corrupted I won't lose much work, and I always start with the last project version when coming back to an edit )
I always keep original camera files in my "Raw Media" folder, and treat them like gold because everything else can be built from them.
When a job is done, I move all of it's files to an external "archive" drive using a SATA drive dock, and these external drives are stored in a safe place. ( I use drive cataloging software to keep track of which archive drive has what projects on it, so it's easy to find old projects )
This system may seem a little complicated, but I am very used to it, and it forces me to stay organized. ( I have seen many file nightmares when working at other people's places, so I do everything I can to avoid a giant mess of project files )
October 12, 2016 at 5:38PM
That is the most conveluded and conterproductive workflow I have ever heard of. Must be nice to be a salary employee and afford to waste so much time.
In 2008 this might have been an okay workflow, but today it shows how outdated you are. Good luck!
October 14, 2016 at 4:29PM
...While I do produce video projects for government NGOs, I also produce independent commercial projects. When a project is finished the client will want a copy of all my working files in an organized file structure on an external hard-drive, which they are free to re-edit or simply archive for safe keeping. ( I charge for my time to archive the files and for the cost of the external drive )
In terms of my editing time, the color correction / audio correction and Cineform export usually takes less than 10 percent of my total editing time. Both color correction and audio correction is very fast. I learned to color correct by eye way back in the late 80's when I shot with 4x5 and 8x10 inch view-cameras. Color correction for digital photos and videos works the same way, just the tools you use are different. The slowest step of my correction process is the Cineform export itself.
There have been times when I've had to go back 3 or 4 years to re-cut a project or generate completely new video from old footage. So having everything organized and ready to be re-edited makes my life a lot easier.
October 14, 2016 at 9:28PM, Edited October 14, 9:29PM
Obviously organization is key, you are just waisting a lot of time. I would also bet that your folder structure just confuses the clients.
You need to find a simplified way to organize all that. I was always taught that if I died in the middle of a project, any editor should be able to take over the project without any explanation. With your complicated and useless workflow they would need a map.
You use too many folders to begin with, folders will cause things to get lost for other editors not used to your "workflow." You obviously work alone, when you are on a team you can't do what you're doing. You can't accompany every action on a team with a notepad explaining why.
Good luck Guy, I hope they allow you to continue waisting company time. I hope they don't realize any kid of out college could do your job faster, better, and for half the price.
October 15, 2016 at 7:12AM
Also, if you knew how to shoot correctly you do not need to do so much color correction. I get my exposure and white balance correct in camera, this is what you are paid to do as a professional shooter. I rarely, if ever, have any shot I need to do pre-color correction for. My shots are balanced out of camera, because I am a professional shooter that gets it right in camera. I usually only have to do slight adjustments and then grade, all done after the edit is complete. You obviously have trouble getting footage right in camera, I would suggest a gray card to set everything right in camera. This along with learning how to use a waveform, saves time in post. Never go by eye, monitors are deceiving only trust a waveform. A lot of times I am shooting and it looks dark on the monitor, but I know I am exposing perfectly on my waveform. Boom I get to my computer and everything looks perfectly exposed and consistent. If you expose by eye, like I have seen many shooters like guy do, you will end up with a bunch of inconsistent shots. Just like guy. This is because our eyes naturally adjust to our surroundings. Something too dark, is automatically adjusted by our eyes to look normal. Something too green, and your eyes try to adjust to make it white. Be very careful with this, or you'll spend years pre color correcting your footage, like guy.
You cannot color grade or correct "by eye." This shows how clueless you are guy. Every monitor is different, your eyes will deceive you. Even a color calibrated $20k monitor can be a little off a week after calibration. The only way to be a professional colorist is by using scopes. If you just go by eye and don't use scopes you are a joke. Take a class or two, from a real colorist and they will say the same.
October 15, 2016 at 7:19AM, Edited October 15, 7:29AM
Back before 2000? Wow, this explains why your techniques are so outdated.
I'll let you keep doing things backwards, by the way 2000 was almost 20 years ago Guy. You need scopes to properly color correct and grade, if you think otherwise you are absolutely wrong. At least your lucky to work for someone who is clueless. I work with directors who have very good eyes, if I don't use scopes they can tell.
October 15, 2016 at 3:23PM
What exactly are you trying to get at here? How constructive is it to show up in the comments section on a site like this and start bitching at someone personally over their workflow, trying to chest thump? Are you just that bored or what? You sound like a tool.
October 15, 2016 at 4:41PM
How constructive is it to show up, like guy always does, and spew baseless and false information. I am just stating the fact that his workflow is over 20 years old. If you haven't revisited your workflow in 20 years, something is seriously wrong.
At me company we are constantly re-evaluating our techniques and constantly learning. This allows us to push quality and content further each day. Why are you so quick to defend someone, like guy, who doesn't know anything and spreads bad information?
October 16, 2016 at 7:55AM, Edited October 16, 7:55AM
Nothing about what he does is "20 years old". It's not my preferred workflow and I wouldn't use it but it's a perfectly acceptable one.
What company is this that you work for? Send us all a link. If you're doing such incredible things that it gives you the high ground to shit on someone with a lot of experience who takes an appreciable amount of their time to help out new people then surely it's a place we could all learn a lot from.
October 16, 2016 at 11:43AM
I mention back before 2000, because this was when medium and large format photographers were using only film. Digital backs for these cameras were either non-existent or produced poor quality images compared to shooting with film.
This is when most advertising and magazine photographers shot transparency film because it produced the best quality image in magazine, posters, and billboards.
Transparency film was a b*tch to work with because every batch of film had a different color balance and you only had about 8 to 9 F-stops of dynamic range to work with, so good lighting and exact exposure were critical to get a great result. You also had to know how to read the color balance for every batch of film you shot with to get neutral color. ( most of the time you would stock up on one batch of film so that you could keep shooting with the same color filtration pack, and pro film had to be kept in the fridge to stop the color balance from changing )
So photographers shooting professional transparency film ( like Fuji RFP 50, Fuji RDP 100, Kodak Ektachrome 64, Kodak Ektachrome 100 ) had to learn how to color balance by eye.
When professional digital cameras started to replace film cameras ( after 2000 ), the same lighting and color balancing skills used for professional film could also be used with digital images, including digital video.
October 16, 2016 at 12:16PM, Edited October 16, 12:18PM
It's hard for me to know where to start, guy is so lost.
October 15, 2016 at 7:21AM, Edited October 15, 7:21AM
The best way to think about this is "Time is a resource, decide how to spend it." You are going to have the spend the time somewhere, so you need to decide what works best for you.
If you want to just jump in and work with the camera files, you can get to editing much faster. BUT, you can experience some lag if your system can't handle it, and you are going to have longer exports.
If you convert it upfront, it takes longer to get working but then you save time on the backend.
For example, if you are working on a project that is going to go through multiple iterations (i.e., lots of exporting), and you're going to be doing a lot of effects work with it then you will come out ahead timewise to convert it upfront.
If you are working on something somewhat short, or that is only going to be exported once or twice, or needs very few effects, you can get away with working with the camera files then.
I can't speak to Guy's workflow. It works for him and might for you. I personally prefer not do anything colorwise until after the edit. When I convert, I go straight from card to ProRes (Cineform in your case for Windows. Aside from compatibility they function about the same).
With Premiere's new Proxy workflow, you can sort of split the difference and have the proxies encode in the background while you get to work. Since 2015.5 I've taken to ingesting everything and letting it roll to proxies while I sort through and watch media. By the time I'm done it's either the end of the day and I let it finish overnight, or if it's a short project I can get cutting right when I'm done sorting.
October 15, 2016 at 4:48PM
>>>I personally prefer not do anything colorwise until after the edit.
Yes, this is the traditional way most people edit. I know I'm not the norm when it comes to this. Keep in mind that I am not talking about grading, only getting a neutral color balance in all your shots.
I'm mostly shooting with 8-bit cameras that produce highly compressed files, so transcoding to Cineform makes editing faster for both playback and rendering.
I take the extra steps of getting a neutral color balance to my shots and syncing production quality audio because these steps are extremely fast. I use custom presets in Vegas so it's usually a couple of minutes to get a neutral color balance ( which includes contrast and exposure corrections ), and then about 3 - 5 minutes to process and sync all of the audio.
If the footage is shot in the same location with the same lighting then it's the same amount of time to correct 1 minute of video or 4 hours of video.
I know that there are many different white-balancing tools available when editing, but I prefer the results when I do it myself.
October 16, 2016 at 12:38PM, Edited October 16, 12:49PM
This thread is about the Cineform editing CODEC that is mostly used to transcode and composit video. ( I think there are a few devices that can capture video using the Cineform CODEC, but they are kind of rare )
I would be interested in hearing how Frank uses the Cineform CODEC in his workflow, as I am always open to better ways of using production tools. ( and I know that what works for me might not work for someone else )
October 16, 2016 at 12:00PM, Edited October 16, 12:56PM


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Even Drake was surprised by Lil Wayne's appearance at show
HollywoodNews.com: Drake was performing in Las Vegas last night when Lil Wayne showed up to surprise fans, and apparently Drake as well, by joining in on the song they recorded together.
Drake admits that he had previously spoken to Lil Wayne about making the show, but he was told he couldn't be there, states MTV. So, when Drake took to the stage that night, he felt bad that he had no surprises for his fans.
However, Lil Wayne had other plans: "I heard … Wayne's verse [of 'Miss Me']. I didn't quite know what was going on. I looked back and there's the man. I jumped higher than I've ever jumped in my entire life."
Do you think Drake really had no idea Lil Wayne would show up?
Follow Hollywood News on Twitter for up-to-date news information.
Hollywood News, Hollywood Awards, Awards, Movies, News, Award News, Breaking News, Entertainment News, Movie News, Music News
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Davison & Neale (2001) stated that during the mid nineteenth century cannabis resin was that are used to treat rheumatism, gout, depression, cholera, and rolling papers cost neuralgia, and from 1850-1942 marijuana was prescribed for rheumatism, nausea and labor pains.
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Why Is Smoking Bad for My Oral Health?
If you are a smoker, you must be aware of the various ill-effects that smoking can cause. It is deleterious to your general health as it damages your lungs and poses an increased risk to heart disease. It affects your oral health badly. The most common drawbacks of smoking are-
1. Bad breath- Would you like to chat with someone who opens his mouth and a gush of smoke puffs out of his mouth? Most of us would find it quite annoying and disgusting. If you are a regular smoker, this is the kind of impression people have about you. Remember, you cannot mask the strong odor of tobacco smoke with a peppermint mouthwash. The best way is to quit the habit itself.
2. Brownish or yellowish teeth- Smokers have discolorations on the inner and the outer part of their teeth. These are typical dark brownish to black tobacco stains that adhere tightly onto the teeth surfaces. Even after their removal, the teeth may retain a yellowish tint because the stains may just sink into the depths due to the prolonged exposure.
3. Smoker's palate- It is a very common sight to see small red dots on the hard palate of a smoker. This condition is called smoker's palate and the red dots are the inflamed openings of the salivary glands located on the roof of the mouth. These red dots develop due to the high temperature within the mouth from the lighted cigarette or cigar.
4. Leukoplakia- A white patch develops on the inner sides of the cheeks or on the tongue which is called as leukoplakia. It is a precancerous lesion which means that if the person continues with the habit of smoking, he may develop oral cancer.
5. Oral cancer- Smokers are always at a higher risk of developing oral cancer. Oral cancer brings along numerous defects and deformities and if ignored in the early phases may cause severe irreparable damage as well.
6. Gum disease- The latest studies have revealed a strong link between gum disease and smoking. The gums slowly lose attachment from the teeth and the support is lost making the teeth slightly mobile.
7. Delayed healing- If you undergo any type of oral surgery even if it is as simple as in a tooth extraction, the healing becomes delayed due to smoking. Delayed healing may increase the chances of infection in the area of surgery.
When there are so many ill-effects of smoking on your oral health, it is high time for you to quit the habit of smoking as soon as possible. Next time before you take a puff or two, remember the various consequences you may have to face in future.


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90 Day Fiance: Happily Ever After? Couple Nicole Nafziger And Azan Tefou Rumored To Be Broken Up
"100% NOT TRUE. [I don't know] where this is coming from, Make sure when you read articles you check when it was posted. Sometimes old articles circulate. We are still happily together.", Nicole cleared out the fans.
Welcome people to the world of 90 Day Fiance, where rumors sprout, and we are left asking questions like why, who, what!
Well, a recent rumor broke out claiming 90 Day Fiance star Nicole Nafziger broke up with her long-distance fiance, Azan Tefou.
The TLC star came out strong and set the record straight when it came to her relationship.
See Also: Nicole Nafziger Hints She Could Marry Azan Tefou Very Soon As She Flaunts Gorgeous Engagement Ring!
Calling out the reports that two have broken up, the TLC star took to her Instagram to answer fans questions.
The star appeared on her Instagram on Monday to address the rumors that she and her fiance had called it quits.
The TLC star claimed that the rumors are completely false and she advised her fans that sometimes old articles circulate and that might bring confusion. At last, the TV personality said she and her fiance, Azan, are happy together.
"100% NOT TRUE. I don't know where this is coming from, Make sure when you read articles you check when it was posted. Sometimes old articles circulate. We are still happily together", Nicole cleared out the fans.
As the TLC star was live and answering questions of the fans, one of the fans asked where she thinks the rumors are coming from, to which she seemed perplexed.
Read Also: Nicole Reveals Shocking Truth About Azan in '90 Day Fiance' Sneak Peek
Nicole said she has no idea where the rumors are coming from as she has not seen any articles. "I bet someone just said it and kept spreading it.", the TLC star replied to the questions.
Nicole tried to add a little bit of humor and said, "But can we just take a moment and say how crazy it is with how many articles there are about me in the last couple of years?"
Recommended: Nicole Nafziger Reveals She's Not Azan Tefou's Sugar Mama Anymore!
The couple is in a long-distance relationship, as her fiance lives in Morocco. Meanwhile, Nicole said she would not give up so easily.
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If you've found yourself a clear day after a heavy downpour, the best thing you can do is hop in your car and get yourself to one of these waterfall hikes as soon as possible! Perth has a good collection of waterfalls within its hills, but the best have been narrowed down below for you to explore.
Lesmurdie Falls
Distance: Numerous trails starting at 1km
Recommended for: Beginners
Location: Forrestfield, 33 minutes from Perth's CBD
Being arguably the best waterfall Perth has to offer, this popular hike is a must do for those looking for a quick escape from the city. You can start at either car park on the top or bottom, depending on how you want to walk it. There is a defined path which will take you up or down the side of the falls, giving you stunning views the entire way. At the top are multiple trails which take you to vantage points of Perth below and you can even walk to Lions Lookout nearby! As with all of these waterfalls, it is even more spectacular after heavy rainfall.
Photo by @chloektodd
Ellis Brook Valley (Sixty Foot Falls)
Distance: 2.1km
Recommended for: Semi-experienced walkers
Location: Martin, 29 minutes from Perth's CBD
Located under half an hours drive from the CBD, hiking up this short but steep trail will give you beautiful views of the city and valley, as well as the waterfall cascading down the rocky outcrop. The main trail will also take you past Old Barrington Quarry, distinct with its signature bluey green water. If you're feeling adventurous you can stray away from the beaten path and get closer to the quarry (although swimming is strongly not advised due to the high chance of getting some microbial nasties). If you time it right, you can also get some of the best wildflowers Perth has to offer in spring seasons.
Photo by @dannymac000
Bell Rapids Falls
Distance: About 1km
Recommended for: The adventurous
Location: Brigadoon, 37 minutes from Perth's CBD
Although Bells Rapids is a beautiful spot in itself, known less is its magnificent little brother a few hundred meters away. If you park at Bells Lookout, look at the rapids and walk at a 45 degree angle, you'll come across this hidden waterfall with beautiful views over the city and an informal firepit which can be used outside of the fire ban season. After heavy rainfall, this forgotten 25m waterfall can be heard before it's seen. It is truly a beautiful sight, but getting there without a strictly defined path (at least not until the very end) can be quite daunting, so only go if you are feeling up to it.
Photo by @neviwarren
Serpentine Reserve
Distance: 100m (car park walk) to 6km return (Baldwin's Bluff)
Recommended for: All
Location: 52 minutes from Perth's CBD
Entry fee: Can be found here
Situated just over 50 minutes from Perth is this hidden oasis. You can choose from one of 3 walks in the area. An short paved trail will take you from the carpark to the falls, but if you have the time, the Baldwin's Bluff is highly recommended. It is quite a steep track, but that being said, it is one of my favourite hiking trails in Perth solely for the stunning views over the falls at the end. Serpentine is the only one on this list with an entry fee, but it is definitely worth it for the sights and well maintained facilities including toilets and a barbecue area to make the trip worthwhile.
Photo by @aquaflyte
Whistlepipe Gully
Distance: 3.5km return walk
Recommended for: Beginners
Location: Lesmurdie, 31 minutes from Perth's CBD
The last but not the least, this is one of my favourite hikes in Perth. Situated in Lesmurdie, this walk follows the stream most of the way down until you reach a small waterfall at the end with stunning views of the Swan Coastal Plain and city. You will be treated with smaller waterfalls along the route and can return along the other side allowing for a change of scenery and a beautiful overgrown wonderland at the very end. Interestingly, at the end of this hike you will see the remains of a once existing Japanese styled cottage which you can read more about here.
Photo by @juttakob
About the author:
Reuben is an avid urban enthusiast and a sucker for quirky aesthetics. A well-travelled photographer, writer and self-proclaimed music connoisseur by trade, he's always on the grind for new content. You'll usually find him trekking around Perth's vast bushland with his handy camera and trusty drone or in your local cafe sipping on a cappuccino! Find his photos at: instragram.com/hunkypanda
Cover photo of Lesmurdie Falls by We Are Explorers


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ASH Drywall Services
ASH Drywall provide drylining packages from £50,000 to circa £5M for both residential and commercial projects in the South East of England. Our experience spans both public and private sectors, in addition to a variety of industry sectors, including: Commercial / Residential, Education, Retail / Leisure and Healthcare.
- Drywall Systems
- ASH Drywall are amongst the leading regional UK firms specialising in drywall systems for both residential and commercial projects.
- Partitioning
- ASH Drywall have years of experience in all forms of commercial and residential interior partitioning including metal stud and glazed systems.
- Plastering and Jointing
- Achieving a high standard of finishing is essential for any project. Our experienced team place quality at the centre of everything we do.
- Suspended Ceilings
- ASH Drywall install suspended ceiling systems optimised for acoustics, fire resistance, hygiene and thermal insulation.
- Steel Framed Systems (SFS)
- ASH Drywall are accredited installers of numerous cold-rolled SFS systems including Metsec, Kingspan and EOS.
- Screeding
- ASH Drywall are experienced in installing a variety of established screeding systems across a diverse portfolio of projects.
- Facades
- ASH Drywall install a wide range of external facade systems, including brick cladding (Gebrik), high-pressure laminate and various Render systems.
- Joinery
- Ringmer Joinery (a trading division of Ash Drywall) manufacture and install a variety of premium, bespoke joinery products in the South-East of England. Our products include: windows, doors, screens, folding and sliding door assemblies, fitments, bar/reception counters, and other bespoke timber items.
About ASH Drywall
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Operating throughout London, Kent, Sussex, Surrey and Hampshire, ASH Drywall has one of the largest, specialist drylining contractor workforces in the South East of England.


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The world is racing towards destruction...The gripping thriller from NEW YORK TIMES bestseller James Rollins.
James Rollins is the author of eight bestselling novels. An amateur spelunker and scuba enthusiast, he holds a doctorate in veterinary medicine from the University of Missouri. He currently lives and writes in Sacramento, California.
Rollins delivers fantastic tales of action and adventure * BOOKLIST
One of the most inventive storytellers writing today * LINCOLN CHILD *
Rollins takes the reader through the horror and intrigue... like no one else. The action never relents * CLIVE CUSSLER *
Climb on board any mission with James Rollins' tough characters, and we can be assured that we are in for a bumpy - and exhilarating - ride. Pacey and colourful fare * GOOD BOOK GUIDE *


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Download African American Architects: A Biographical Dictionary, by Dreck Spurlock Wilson PDF
By Dreck Spurlock Wilson
A superb source. brief bios of early Afro-American architects with photos in their signature constructions.
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"An uncensored Hollywood tell-all packed with specific stories of affection, intercourse, and revenge from the video vixen made well-known through Warrant's rock anthem "Cherry Pie. ""-- summary: "An uncensored Hollywood tell-all packed with particular stories of affection, intercourse, and revenge from the video vixen made well-known via Warrant's rock anthem "Cherry Pie.
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Additional resources for African American Architects: A Biographical Dictionary, 1865-1945
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Oval tops, African American architects 10 were one of the most attractive exterior features. The reporter continued with the description: Extending around the exterior of the building is a base four feet high. On this base pilasters are placed extending to the corners. The whole exterior is weather-boarded and painted. The interior walls are not covered in any way, but are left with studs exposed. Situated on the corner of two streets, it occupies a very prominent position and thus its pleasing architectural lines are shown to great advantage.
While in Los Angeles, Bankhead continued to improve his skills and education. He attended the University of California at Los Angeles extension school, Otis Art Institute, Los Angeles City College, and Los Angeles Trade Technical College. Bankhead attempted to find work with Los Angeles architect PAUL REVERE WILLIAMS. According to Bankhead, Williams would not hire him because his skills were beyond entry level. Bankhead found various opportunities to develop his skills as an architect. For a time he worked for Roab Construction Company and eventually began practicing on his own in the 1950s.
B6. , SE Washington DC 1940 —house 634 O St, NW Washington DC 1939 Name Address City Allen Realty Co. , SE Washington DC 1938 Allen Realty Co. , SE Washington DC 1938 Allen Realty Co. R. , NE Chandler, George M. , NE Washington DC 1955 Chandler, George M. S. M. , NW Washington DC Jackson, F. , NE Washington DC 1950 Jones Memorial Methodist Church Education Bldg. W. W. , SE Washington DC 1937 Kramer, Leon A. , SE Washington DC 1937 Kramer, Leon A. W. , SE Washington DC 1937 Loyal Street Baptist Church 468 Halbrook St.


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Europeana Labs
Europeana Labs is live!
If you've been following our blog over the past few months, you've previewed the first Europeana Creative pilot apps and maybe even been inspired to enter our Open Innovation Challenges. Now it is time to welcome you to Europeana Labs!
Europeana Labs is a novel Open Innovation platform that sets out to provide its community of users with everything needed to get started using the Europeana APIs to develop apps re-use digitised cultural heritage objects. Here you can learn about the data, see what others have created, and find out how to build simple but powerful queries to extract bespoke results from a dataset of over 30 million objects - books, photos of art and artefacts, audio clips and more.
It has been developed over the past year by Europeana Creative's technology partners in consultation with the developer community, who told us what things would help them to make best use of the Europeana APIs. The Europeana Labs Beta site is the first major step towards putting in place the things we were told, but also a chance for us to learn more and make improvements before a full launch in late June. Read an extended blogpost on Europeana Labs. Dive in, explore and tell us what you think!


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Maroon Polka Dot Skirt
Compliment your feminine figure with this textured pencil skirt that hits just below the knee. Between the button details and the flattering wrap this sophisticated skirt is perfect for the workplace. Pair with a blouse for formal occasions or dress it down with your favourite graphic tee.