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- Ugandan priests wants Christians to give offerings in dollars and pounds
- They have directed their flocks to convert local currencies into dollars or pounds
- According to these Uganda pastors, God is no longer interested in coins
Not long ago, an Anglican priest in Uganda shocked the world when he demanded that Christians give their offerings in dollars and pounds and not in the local currency.
According to Daily Monitor, one of the country's leading newspapers, Rev. Christine Shimanya directed her flock to convert their offerings from coins to dollars or pounds.
"I know you have dollars and pounds. Change the cash before you bring it to church as offering. Bring the dollars. God needs the dollars," she allegedly told her flock during service at Namugongo Martyrs Church.
READ ALSO: Catholic priest who resigned recently says he left because the church was limiting his relationship with God
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Rev. Shimanya's clarion call was reportedly echoed by Canon Henry Ssegawa, who on his part held that God was no longer interested in coins, but rather cash with higher purchasing power.
READ ALSO: Police allegedly hurl teargas into a fully packed church in Kawangware (photos)
The unusual church directive continues to elicit mixed reactions.
For more, watch the video below:
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Source: Tuko.co.ke


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Re: William C. Acton of Charles Co., MD
In reply to:
Re: William C. Acton of Charles Co., MD
Winogene Lowe 1/11/11
Anothername is Richard Acton
•Birth: Abt 1615 in Condover, Shropshire, England
•Death: 1672 in Anne Arundel, Maryland, USA.
Had a daughter Alice Elizabeth, b 1638, married Thomas Smith ? Not ifHenry fits in

subset: commoncrawl


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Chris Hughton has admitted to Newcastle United TV, that Sunday's 1-0 victory over Cardiff City wasn't the prettiest win his side will ever get.
Coloccini – a bad hair day – no way
But nonetheless a win is a win, and that's 5 wins from six in the league, and we thought we did great in the first game at WBA with the 1-1 draw. 😀
But the lads, under the common sense and skillful guidance of coaches Chris Hughton and Colin Calderwood, have come on leaps and bounds so far this season.
And it was Fabricio Coloccini who was the unlikely goal hero, and picked a great time to get his first goal for the club, with a bullet header from Ryan Taylor's right-wing center, following a corner, in the 18th minute.
But Newcastle had to contain a good Cardiff side for large portions of the game, and the Welsh club had 16 shots on goal, but couldn't break down the Newcastle rearguard.
Chris told nufcTV after the game:
"It wasn't the prettiest win," "We knew it was always going to be tough here today and it certainly was that."
"We didn't create a great deal going forward but I thought we defended superbly."
"It was backs to the wall at times, but we were strong and got the win I thought we deserved."
And Chris has said he thought the sending off of captain Alan Smith, just before the end of the game, was harsh.
Hughton thought Alan's first yellow card on 66 minutes, for an apparent foul on Joe Ledley, was uncalled for.
Chris said:
"I think it was a harsh sending off because we felt the first yellow card should never have been given,"
"But the second foul we can have no complaints." "I thought Alan was excellent today before the sending off.
"He's in the middle of a run of games for the first time in a long time and that is showing in how well he's playing."
We now need club captain Nicky Butt to come in at Blackpool and show what he can do for the club – we think Nicky's experience could be a big plus for us this season.
But we need a good performance from the former Manchester United player on Wednesday night.
18 comments so far
I can't believe how much effort Ranger puts in. It's absolutely phenomenal.
Smith is playing so much better these days, but as with Barton, I guess the braindead, moronic thug part in him will never go entirely. Real shame as we will really miss him now and I'm not looking forward to Butt's return at all. We have done so much better without him.
Too many balls being lumped forward for my liking, we were inviting Cardiff to play attacking football against us and I thought we were a bit fortunate to get away with it, Today!! If Chopra had taken half of his chances we would have lost.
Stillit was an ugly win and any successful team needs these. The defence had to perform well as the midfield just did not keep hold of the ball. There were times when I wasn't sure that Barton was playing, Smith was a rock but he did just about deserve his sending off it's the nature of his game. I would bet on it not being the only time it'll hapen this season, not so serious if it is near the end of the game though. I was surprised when Guthrie got the hook, so was he. Any way if Cardiff are meant to be one of our tougher opponents then we should waltz through this league. Hope that is not the kiss of death. 🙂
Excellent win for us today if not the prettiest.
Smith deserved to go. Even if the 1st yellow wasn't warranted then there were planty more occassions when he could have had a card. Despite this though, another class performance from our most improved player.
We've got enough decent midfielders in the squad to keep out Butt when Smith serves his ban – but Hughton'll have him in the starting 11 anyway…
2 points clear and we've already played 2 of the most fancied teams for promotion away from home in West Brom and Cardiff – things are on the up. If only Ashley would now catch some kind of painfull infection in the wedding vegetable area which makes him scrath like a lopping dog my weekend would be perfect!
My team for blackpool would be:
Guthrie…….Barton…Nolan…..R. Taylor
…but I think Houghton will go with:
Barton…..Guthrie…..Butt……..R. Tyalor


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Finally! Skype for Business for Mac is available for download
Microsoft have finally released Skype for Business for Mac for download! As you might know, my personal laptop is a 2013 MacBook air and I love pretty much every feature of it. Except one – as most, if not all,… Continue Reading


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|About Us News Resources Login Become a member Help Search
|The Rings of Evendim by shirebound
|186 Review(s)
|Reviewed Chapter: 12 on 11/20/2015
|Didn't Frodo almost name Scamp Anna? Seems like a good name... :-)
What a wonderful story -- it may be my favorite of the whole series. Such joy and fellowship, and they're able to live in peace now. Thanks so much for writing this final story in the set!
Author Reply: Thank you! It's still amazing to me that I had one more "Q" story in me. This one was quite a challenge. What a joy to know that folks are still enjoying it.
|Reviewed Chapter: 11 on 11/20/2015
|Boy, Aragorn sure knows how to do things right. ;-) Nice idea, with the star phial...
I loved the teasing about Sam being a clan ruler just because of the number of his children -- so funny...
Author Reply: Dear Sam! His Gamgee 'clan' will keep him and Rosie happily busy for many years to come. :)
|Reviewed Chapter: 7 on 11/19/2015
|So, another amazing couple of chapters! The gems from tree bark -- that was great! Yes, Gimli and Legolas would especially find those significant, given their friendship and backgrounds. No need to worry that your wares won't be good enough for them -- these people fought long and hard through all sorts of conditions, and appreciate all different cultures who would be friends...
Author Reply: What a challenge it was to imagine these snow folk, and what would drive a delegation of them southwards. Perhaps someday another fanfic writer will investigate their culture more than I was able to.
|Reviewed Chapter: 4 on 11/19/2015
|So wonderful! I'm spending most of the chapter in this story going 'oh, that's so great!' ;-). I'm so glad Aragorn was able to bring the palantir, and the statue of Scamp was just perfect. And then the rings. What an idea! It makes a lot of sense, and it enabled Frodo to both stay and be healed. How wonderful. :-) and giving the Lady's ring to Gimli -- yep, absolutely right choice.
Thanks so much for writing!
Author Reply: Thanks! Finding a way for Frodo to remain in Middle-earth, healed and joyful, was such a delight to think about. Just because there was a prophecy that the Three rings would fade, the Professor never said outright that they did... or that they faded immediately.
|Reviewed Chapter: 3 on 11/19/2015
|Such a fantastic idea! I love the thought of the northern kingdom, I have always wondered what it was like...
Author Reply: Thank you. I love imagining how the Fourth Age would unfold for the hobbits, especially in my "happy" AU.
|Reviewed Chapter: 2 on 11/19/2015
|'The modest grace that so complimented her beauty.' I loved this line -- modesty really does make beauty shine, doesn't it? :-)
Having just read The Vault of Annuminas, these have been delightful chapters as it is all fresh in my mind and I see the similarities and differences. I laughed about The Hobbit, the Elf, and the Ranger, and it's a little bittersweet to think that Scamp isn't with them this time. I'm anxious to hear Frodo's story, and to see what has been planned for them.
Thanks for writing!
Author Reply: Just when I thought there would never be another "Quarantined" story... the Muse had other ideas! Reading it right after "Vault" is so awesome. I hope you enjoy reading this as much as I enjoyed writing it. :)
|Linda Hoyland
|Reviewed Chapter: 12 on 1/3/2014
|Thank you so much for this lovely story. I would love to read a sequel about the return visit one day!
Author Reply: Thank you so much. I never know where this "Q"-verse will take me!
|Reviewed Chapter: 12 on 12/24/2013
|Merry Christmas, my dear, and Happy Yule/New Year! Christ is born! Glorify Him!
Sorry, it took so long to get to this, been so busy. Those are mighty gifts indeed that were exchanged to go with mighty trust and friendship. Glad to see that.
Namarie, God bless, Antane :)
Author Reply: A sweet review is a lovely Yule gift!
Joyous Christmas, my friend.
|Reviewed Chapter: 12 on 12/17/2013
|Oh, I love when Gimli and Aragorn delight in showing Frodo the wonders of their hearts, and so what a lovely ending. How beautifully you described Aglarond. And the exchange of tokens between Elessar and He-Ann was perfect. A tale full of such rich details of Middle earth. It was a delight to read. *squooshes*
Author Reply: Thank you for such a lovely review, my friend. Imagining a rebuilt Annuminas and a to-be-built Aglarond was challenging, and fun. But of course it's the friendships and sweet moments between our beloved characters that bring a story to life. I'm just delighted that you enjoyed this tale.
|Reviewed Chapter: 12 on 12/14/2013
|What a wonderful ending for a most charming and sweet story. Thanks for writing it, Shirebound.
Author Reply: I'm so happy you enjoyed it! This was a fun and relaxing story to write, and I always hoped it would feel 'sweet' from beginning to end.


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When do you open your presents?
I usually open them when I wake up on Christmas Day, but I think I'm going to open them at midnight this year.
usually one little present at midnight.
Stockings just when I wake up, in bed.
After everyone gets up and stuff, we do the present-opening.
Aw, christmas morning :)
It used to be...
That I could only open them after the Queen's Speech. That was ghey.
Now, whenever.
I used to
sneak my stocking into my room as soon as i'd woken up and pull everything out, read the Beano and Dandy annuals that were there (i had a really large stocking) then put everything back, sneak it back into the living room and get back into bed, perfecting the 'i haven't been awake for 2 hours already' look.
opening them at midnight is wrong
wheres the fun in that? i used to get up about 6, then have to wait for everyone in my family to get up before i could open presents, it sucked, i always used to open one anyway. Nowadays my sister has to drag me out of bed so she can open her presents.
I don't really find any fun in it at all anymore
and it's even harder to be enthusiastic when you'd rather be wrapped up in bed. I'm thinking getting it done as soon as the clock strikes midnight might make the whole thing slightly less anticlimactic.
I generally
just ask for and get money now, though sometimes my parents get me a small gift so I have something to open, but it really doesn't bother me. I'm going to the races on boxing day anyway so money will be useful, not that I'm a gambling addict.
Throughout the day
which I used to HATE when I was younger, but it keeps the day exciting for longer. I fully intend on keeping this tradition alive, if only so my children experience the same agony I did at their age...
christmas eve present
(pyjamas/dressing gown/slippers) on christmas eve evening.
stocking some time betwen 5 and 8.
under-tree presents at timed intervals (thanks sis!) throughout the day. which always ends in me finishing a few hours earlier than everyone else because nobody gives me presents.
no presents no cards to open!
Royal Mail huh! bastards!
When I was younger we would have to wait until midday then open everything and then go and eat the dinner straight after, joy overload!
It's been the same for as long as i can remember
We all jump out of bed first thing in the morning (we stay over night before now lol) and shout from the bottom of the stairs at our parents to get up, they finally get up and we can all go in together... only i get less and less presents each year COS MY BROTHERS AND SHIT ONLY WENT AND HAD THEIR OWN KIDS INNIT? So the "grandkids" get all the presents and i get old man fart stuff like a bath robe and junk. It's not fair!!!
the fact I generally don't go to bed until around 4 in the morning makes the whole process of going to bed and getting up before I open my presents feel somewhat contrived.
when i'm told too...
not until after church (it's the one day of the year when I'm prepared to go to church for my parents' sake). It used to be UTTER TORTURE when I was little, seeing the presents in the early morning and not being able to touch them until about 11.
The ones from my mum
first thing on Christmas morning, then all the ones under my treee, which is made up of presents from people I won't see at Christmas and gave me gifts in advance.
The rest of my family come over in the afternoon (got twelve coming this year), we all wait 'til after Christmas dinner to open our presents from each other.
Then the day after boxing day I'm going to Arran with my Dad where we'll have our own little Christmas kind of thing and open each others presents, plus I'll get things from other members of my dad's side and step family then.
It pays to have a large-ish family.
Wake up...
at a reasonable hour. Parents crack open Bucks Fizz and my sister and I open up the stocking presents. Everything then gets tidied, we all get washed etc, have croissants & more Bucks Fizz for breakfast, tidy everything up so there's no dishes to do after the presents. Then, we al get relaxed and my sister and I dive under the tree to distribute presents, and only when everyone has all their things does the opening commence.
However, i'm not excited because i'm at work. I'll be excited at 6pm once i'm out, have driven back to the parents' and watch The Muppet Christmas Carol.#
Happy Christmas everyone
When I wake up
of after mass.
Yup, my mate's German and is doing it tonight
....uh. I kinda answered that in the topic section
My family is Austrian and its usually done after dinner on xmas eve
which also happens to be my Dad's bday.
I just spoke to my entire family who are doing this right now in Melbourne.
I'm in London at work eating porridge.
your ot spending christmas alone are you?
I am going to spend it at Vikram's, actually, with my best friend of 9 years..
and hopefully other chumps.
It's just that this is now the 2nd xmas in a row I've missed... and I haven't seen my family for almost three years. Which is quite fucked up.
Anyway I'll be okay! I just got a bit 'blah' picturing the entire scene (which is the exact same each year - chaos with kids everywhere and food and presents and blah blah blah. It's just that RIGHT NOW, it's actually my xmas and I'm at work eating porridge! Oh well.).


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has everyone read this great piece?
"When Pigs Fly: The Death of Oink, the Birth of Dissent, and a Brief History of Record Industry Suicide."
This is a very eloquent and succint piece (if a little childish toward the end) by, from what I can gather from the comments, the guy who did a lot of NiN artwork. Treads a lot of ground we're all familiar with but he puts his arguement across really well on an everyman level with a nice air of authority. I like how it's not doom-mongering and as much a frustrated fan, as a demonized consumer. There're a few p2p/napster-like but legal sites about to pop-up but not sure any of them will really work or make sense to a mass audience.
Obviously it's more a polemic-cum-rant classifying the key issues, rather than outlining a solution which will ensure investment in future professional or at least semi-pro' music.
Some key quotes from it, as it's pretty hefty, print-me-for-the-daily-commute type've reading:
"iPods have become synonymous with music - and if I filled my shiny new 160gb iPod up legally, buying each track online at the 99 cents price that the industry has determined, it would cost me about $32,226. How does that make sense? It's the ugly truth the record industry wants to ignore as they struggle to find ways to get people to pay for music in a culture that has already embraced the idea of music being something you collect in large volumes, and trade freely with your friends."
"From personal experience I can tell you that the big labels are beyond clueless in the digital world - their ideas are out-dated, their methods make no sense, and every decision is hampered by miles and miles of legal tape, copyright restrictions, and corporate interests. Trying to innovate with a major label is like trying to teach your Grandmother how to play Halo 3: frustrating and ultimately futile. The easiest example of this is how much of a fight it's been to get record companies to sell MP3s DRM-free. You're trying to explain a new technology to an old guy who made his fortune in the hair metal days. You're trying to tell him that when someone buys a CD, it has no DRM - people can encode it into their computer as DRM-free MP3s within seconds, and send it to all their friends. So why insult the consumer by making them pay the same price for copy-protected MP3s? It doesn't make any sense! It just frustrates people and drives them to piracy! "
Some of the comments beneath it are pretty interesting too.
Solutions? Viva the data transfer/bandwidth tax or audioplayer/iPod tax or the interim first signs of an sponsorship or ad-supported model that works for all involved.
It's a good piece
I found myself agreeing with a lot of it. The nail that he hits on the head that has pissed me off, is the major label assumption that their business model is the 'right' one. I know this is based on them being established and having shareholders to satisfy, but I personally can't wait for a few major labels to go tits up.
the people suggesting a 'bandwidth' tax don't know how the internet works. it's not a workable idea.
in France
they wanted to tax the internet providers 2 to 5 € by connection to give to the music industry ( like the tax on CDR and DVDR )...
It might still exist someday !
except it would be
charging the companies for something they would have no proof that all or indeed any of their users was doing. its just not legally viable.
no one can prove
you'll use a CDR for copying music illegally. It's still charged...
french people
are silly.
no french government is silly.
I still can't believe that everytime I buy a CDR I'm giving money to french 'artists' like Zazie, Obispo, Goldman, Cabrel... ( no don't ever try to listen ! )
in the same kind of idea
if a shop want to play the radio, it has to pay a tax that is given to the SACEM...
ever looked at your mobile bill for data useage?
it's totally workable. it just needs everything to be free, as per turning on the radio but a bit more like turning on a tap. or you just pay a fixed amount a la BBC funded by TV License.
its totally different
an ISP can only see what specific files you are downloading by breaching your privacy, its a breach of human rights.
even then, if they got permission to look you could encrypt or secure the connection.
the only way they could specifically look to see how many mp3s you downloaded and charged accordingly would be to breach your privacy or overturn european law, to know exactly what the copyright status was of every mp3 you transferred, and they'd have to hope that your connection was clear of encryption. it's a completely unworkable idea.
to be able to pick up when you were downloading mp3s and not other files, they would have to run systems monitoring every connection 24 hours a day, checking the inside of every file to identify them. again, unworkable.
or ad supported model?
I hope you're not in favour of mp3s with adverts in them?
I can't read that article in work cos it's blocked. can someone post a google cache page of it or something?
Um. This might work...
[Currently Listening To: Music I Didn't Pay For]
For quite a long time I've been intending to post some sort of commentary on the music industry - piracy, distribution, morality, those types of things. I've thought about it many times, but never gone through with it, because the issue is such a broad, messy one - such a difficult thing to address fairly and compactly. I knew it would result in a rambly, unfocused commentary, and my exact opinion has teetered back and forth quite a bit over the years anyway. But on Monday, when I woke up to the news that Oink, the world famous torrent site and mecca for music-lovers everywhere, had been shut down by international police and various anti-piracy groups, I knew it was finally time to try and organize my thoughts on this huge, sticky, important issue.
For the past eight years, I've worked on and off with major record labels as a designer ("Major" is an important distinction here, because major labels are an entirely different beast than many indie labels - they're the ones with the power, and they are the ones driving the industry-wide push against piracy). It was 1999 when I got my first taste of the inner-workings of a major record label - I was a young college student, and the inside of a New York label office seemed so vast and exciting. Dozens of worker bees hummed away at their desks on phones and computers. Music posters and stacks of CDs littered every surface. Everyone seemed to have an assistant, and the assistants had assistants, and you couldn't help but wonder "what the hell do all these people do?" I tagged along on $1500 artist dinners paid for by the labels. Massive bar tabs were regularly signed away by record label employees with company cards. You got used to people billing as many expenses back to the record company as they could. I met the type of jive, middle-aged, blazer-wearing, coke-snorting, cartoon character label bigwigs who you'd think were too cliche to exist outside the confines of Spinal Tap. It was all strange and exciting, but one thing that always resonated with me was the sheer volume of money that seemed to be spent without any great deal of concern. Whether it was excessive production budgets or "business lunches" that had nothing to do with business, one of my first reactions to it all was, "so this is why CDs cost $18..." An industry of excess. But that's kind of what you expected from the music business, right? It's where rock stars are made. It's where you get stretch limos with hot tubs in the back, where you get private jets and cocaine parties. Growing up in the '80's, with pop royalty and hair metal bands, you were kind of led to think, of course record labels blow money left and right - there's just so much of it to go around! Well, you know what they say: The bigger they are...
In those days, "piracy" was barely even a word in the music world. My friends and I traded MP3s in college over the local network, but they were scattered and low-quality. It felt like a novelty - like a digital version of duping a cassette tape - hardly a replacement for CDs. CDs sounded good and you could bring them with you in your DiscMan, and the only digital music you could get was as good as your friends' CD collections, anyway. It never occurred to any of us that digital files were the future. But as it turned out, lots of kids, in lots of colleges around the world, had the same idea of sharing MP3 files over their local networks, and eventually, someone paid attention to that idea and made Napster. Suddenly, it was like all those college networks were tied together, and you could find all this cool stuff online. It was easier and more efficient than record stores, it was powered by music fans, and, well, it was free. Suddenly you didn't have to pay 15 to 18 bucks for an album and hope it was good, you could download some tracks off the internet and check it out first. But you still always bought the CD if you liked it - I mean, who wants all their music to be on the computer? I sure didn't. But increasingly, more and more people did. For college kids, Napster was a Godsend, because you can all but guarantee two things about most college kids: They love music, and they're dirt poor. So it grew, and it grew, and it started to grow into the mainstream, and that's when the labels woke up and realized something important was happening. At that point they could have seen it as either a threat or an opportunity, and they, without hesitation, determined it to be a threat. It was a threat because essentially someone had come up with a better, free distribution method for the labels' product. To be fair, you can imagine how confusing this must have been for them - is there even a historical precedent for an industry's products suddenly being able to replicate and distribute on their own, without cost?
For quite a while - long after most tech-savvy music lovers - I resisted the idea of stealing music. Of course I would download MP3s - I downloaded a lot of stuff - but I would always make sure to buy the physical CD if it was something I liked. I knew a lot of musicians, a lot of them bewildered at what was happening to the industry they used to understand. People were downloading their music en masse, gorging on this new frontier like pigs at a troff - and worst of all, they felt entitled to do so. It was like it was okay simply because the technology existed that made it possible. But it wasn't okay - I mean, let's face it, no matter how you rationalized it, it was stealing, and because the technology existed to hotwire a car didn't make that okay, either. The artists lost control of distribution: They couldn't present albums the way they wanted to, in a package with nice artwork. They couldn't reveal it the way they wanted to, because music pirates got the albums online well before the actual release date. Control had been taken away from everyone who used to have it. It was a scary time in unfamiliar territory, where suddenly music fans became enemies to the artists and companies they had supported for years. It led to laughable hyperbole from bands like Metallica, instantly the poster-children of cry-baby rich rock stars, and the beginning of the image problem the industry has faced in its handling of the piracy issue. But still, at the time, I understood where they were coming from. Most musicians weren't rich like Metallica, and needed all the album sales they could get for both income and label support. Plus, it was their art, and they had created it - why shouldn't they be able to control how it's distributed, just because some snotty, acne-faced internet kids had found a way to cheat the system? And these entitled little internet brats, don't they realize that albums cost money to create, and to produce, and to promote? How is there going to be any new music if no one's paying for it?
On top of that, I couldn't get into the idea of an invisible music library that lives on my computer. Where's the artwork? Where's my collection? I want the booklet, the packaging... I want shelves and shelves of albums that I've spent years collecting, that I can pore over and impress my friends with... I want to flip through the pages, and hold the CD in my hand... Being a kid who got into music well past the days of vinyl, CDs were all I had, and they still felt important to me.
It's all changed.
In a few short years, the aggressive push of technology combined with the arrogant response from the record industry has rapidly worn away all of my noble intentions of clinging to the old system, and has now pushed me into full-on dissent. I find myself fully immersed in digital music, almost never buying CDs, and fully against the methods of the major record labels and the RIAA. And I think it would do the music industry a lot of good to pay attention to why - because I'm just one of millions, and there will be millions more in the years to come. And it could have happened very, very differently.
As the years have passed, and technology has made digital files the most convenient, efficient, and attractive method of listening to music for many people, the rules and cultural perceptions regarding music have changed drastically. We live in the iPod generation - where a "collection" of clunky CDs feels archaic - where the uniqueness of your music collection is limited only by how eclectic your taste is. Where it's embraced and expected that if you like an album, you send it to your friend to listen to. Whether this guy likes it or not, iPods have become synonymous with music - and if I filled my shiny new 160gb iPod up legally, buying each track online at the 99 cents price that the industry has determined, it would cost me about $32,226. How does that make sense? It's the ugly truth the record industry wants to ignore as they struggle to find ways to get people to pay for music in a culture that has already embraced the idea of music being something you collect in large volumes, and trade freely with your friends.
Already is the key word, because it didn't have to be this way, and that's become the main source of my utter lack of sympathy for the dying record industry: They had a chance to move forward, to evolve with technology and address the changing needs of consumers - and they didn't. Instead, they panicked - they showed their hand as power-hungry dinosaurs, and they started to demonize their own customers, the people whose love of music had given them massive profits for decades. They used their unfair record contracts - the ones that allowed them to own all the music - and went after children, grandparents, single moms, even deceased great grandmothers - alongside many other common people who did nothing more than download some songs and leave them in a shared folder - something that has become the cultural norm to the iPod generation. Joining together in what has been referred to as an illegal cartel and using the RIAA as their attack dogs, the record labels have spent billions of dollars attempting to scare people away from downloading music. And it's simply not working. The pirating community continues to out-smart and out-innovate the dated methods of the record companies, and CD sales continue to plummet while exchange of digital music on the internet continues to skyrocket. Why? Because freely-available music in large quantities is the new cultural norm, and the industry has given consumers no fair alternative. They didn't jump in when the new technologies were emerging and think, "how can we capitalize on this to ensure that we're able to stay afloat while providing the customer what they've come to expect?" They didn't band together and create a flat monthly fee for downloading all the music you want. They didn't respond by drastically lowering the prices of CDs (which have been ludicrously overpriced since day one, and actually increased in price during the '90's), or by offering low-cost DRM-free legal MP3 purchases. Their entry into the digital marketplace was too little too late - a precedent of free, high-quality, DRM-free music had already been set.
There seem to be a lot of reasons why the record companies blew it. One is that they're really not very smart. They know how to do one thing, which is sell records in a traditional retail environment. From personal experience I can tell you that the big labels are beyond clueless in the digital world - their ideas are out-dated, their methods make no sense, and every decision is hampered by miles and miles of legal tape, copyright restrictions, and corporate interests. Trying to innovate with a major label is like trying to teach your Grandmother how to play Halo 3: frustrating and ultimately futile. The easiest example of this is how much of a fight it's been to get record companies to sell MP3s DRM-free. You're trying to explain a new technology to an old guy who made his fortune in the hair metal days. You're trying to tell him that when someone buys a CD, it has no DRM - people can encode it into their computer as DRM-free MP3s within seconds, and send it to all their friends. So why insult the consumer by making them pay the same price for copy-protected MP3s? It doesn't make any sense! It just frustrates people and drives them to piracy! They don't get it: "It's an MP3, you have to protect it or they'll copy it." But they can do the same thing with the CDs you already sell!! Legal tape and lots of corporate bullshit. If these people weren't the ones who owned the music, it'd all be over already, and we'd be enjoying the real future of music. Because like with any new industry, it's not the people from the previous generation who are going to step in and be the innovators. It's a new batch.
Newspapers are a good example: It used to be that people read newspapers to get the news. That was the distribution method, and newspaper companies controlled it. You paid for a newspaper, and you got your news, that's how it worked. Until the internet came along, and a new generation of innovative people created websites, and suddenly anyone could distribute information, and they could distribute it faster, better, more efficiently, and for free. Obviously this hurt the newspaper industry, but there was nothing they could do about it, because they didn't own the information itself - only the distribution method. Their only choice was to innovate and find ways to compete in a new marketplace. And you know what? Now I can get live, up-to-the-minute news for free, on thousands of different sources across the internet - and The New York Times still exists. Free market capitalism at its finest. It's not a perfect example, but it is a part of how the internet is changing every form of traditional media. It happened with newspapers, it's happening now with music, and TV and cell phones are next on the chopping block. In all cases technology demands that change will happen, it's just a matter of who will find ways to take advantage of it, and who won't.
Unlike newspapers, record companies own the distribution and the product being distributed, so you can't just start your own website where you give out music that they own - and that's what this is all about: distribution. Lots of pro-piracy types argue that music can be free because people will always love music, and they'll pay for concert tickets, and merchandise, and the marketplace will shift and artists will survive. Well, yes, that might be an option for some artists, but that does nothing to help the record labels, because they don't make any money off of merchandise, or concert tickets. Distribution and ownership are what they control, and those are the two things piracy threatens. The few major labels left are parts of giant media conglomerations - owned by huge parent companies for whom artists and albums are just numbers on a piece of paper. It's why record companies shove disposable pop crap down your throat instead of nurturing career artists: because they have CEOs and shareholders to answer to, and those people don't give a shit if a really great band has the potential to get really successful, if given the right support over the next decade. They see that Gwen Stefani's latest musical turd sold millions, because parents of twelve year old girls still buy music for their kids, and the parent company demands more easy-money pop garbage that will be forgotten about next month. The only thing that matters to these corporations is profit - period. Music isn't thought of as an art form, as it was in the earlier days of the industry where labels were started by music-lovers - it's a product, pure and simple. And many of these corporations also own the manufacturing plants that create the CDs, so they make money on all sides - and lose money even from legal MP3s.
At the top of all this is the rigged, outdated, and unfair structure of current intellectual property laws, all of them in need of massive reform in the wake of the digital era. These laws allow the labels to maintain their stranglehold on music copyrights, and they allow the RIAA to sue the pants off of any file-sharing grandmother they please. Since the labels are owned by giant corporations with a great deal of money, power, and political influence, the RIAA is able to lobby politicians and government agencies to manipulate copyright laws for their benefit. The result is absurdly disproportionate fines, and laws that in some cases make file sharing a heftier charge than armed robbery. This is yet another case of private, corporate interests using political influence to turn laws in the opposite direction of the changing values of the people. Or, as this very smart assessment from a record executive described it: "a clear case of a multinational conglomerate using its political muscle to the disadvantage of everyone but itself." But shady political maneuvers and scare tactics are all the RIAA and other anti-piracy groups have left, because people who download music illegally now number in the hundreds of millions, and they can't sue everyone. At this point they're just trying to hold up what's left of the dam before it bursts open. Their latest victim is Oink, a popular torrent site specializing in music.
If you're not familiar with Oink, here's a quick summary: Oink was was a free members-only site - to join it you had to be invited by a member. Members had access to an unprecedented community-driven database of music. Every album you could ever imagine was just one click away. Oink's extremely strict quality standards ensured that everything on the site was at pristine quality - 192kbps MP3 was their bare minimum, and they championed much higher quality MP3s as well as FLAC lossless downloads. They encouraged logs to verify that the music had been ripped from the CD without any errors. Transcodes - files encoded from other encoded files, resulting in lower quality - were strictly forbidden. You were always guaranteed higher quality music than iTunes or any other legal MP3 store. Oink's strict download/share ratio ensured that every album in their vast database was always well-seeded, resulting in downloads faster than anywhere else on the internet. A 100mb album would download in mere seconds on even an average broadband connection. Oink was known for getting pre-release albums before anyone else on the internet, often months before they hit retail - but they also had an extensive catalogue of music dating back decades, fueled by music lovers who took pride in uploading rare gems from their collection that other users were seeking out. If there was an album you couldn't find on Oink, you only had to post a request for it, and wait for someone who had it to fill your request. Even if the request was extremely rare, Oink's vast network of hundreds of thousands of music-lovers eager to contribute to the site usually ensured you wouldn't have to wait long.
In this sense, Oink was not only an absolute paradise for music fans, but it was unquestionably the most complete and most efficient music distribution model the world has ever known. I say that safely without exaggeration. It was like the world's largest music store, whose vastly superior selection and distribution was entirely stocked, supplied, organized, and expanded upon by its own consumers. If the music industry had found a way to capitalize on the power, devotion, and innovation of its own fans the way Oink did, it would be thriving right now instead of withering. If intellectual property laws didn't make Oink illegal, the site's creator would be the new Steve Jobs right now. He would have revolutionized music distribution. Instead, he's a criminal, simply for finding the best way to fill rising consumer demand. I would have gladly paid a large monthly fee for a legal service as good as Oink - but none existed, because the music industry could never set aside their own greed and corporate bullshit to make it happen.
Here's an interesting aside: The RIAA loves to complain about music pirates leaking albums onto the internet before they're released in stores - painting the leakers as vicious pirates dead set on attacking their enemy, the music industry. But you know where music leaks from? From the fucking source, of course - the labels! At this point, most bands know that once their finished album is sent off to the label, the risk of it turning up online begins, because the labels are full of low-level workers who happen to be music fans who can't wait to share the band's new album with their friends. If the album manages to not leak directly from the label, it is guaranteed to leak once it heads off to manufacturing. Someone at the manufacturing plant is always happy to sneak off with a copy, and before long, it turns up online. Why? Because people love music, and they can't wait to hear their favorite band's new album! It's not about profit, and it's not about maliciousness. So record industry, maybe if you could protect your own assets a little better, shit wouldn't leak - don't blame the fans who flock to the leaked material online, blame the people who leak it out of your manufacturing plants in the first place! But assuming that's a hole too difficult to plug, it begs the question, "why don't labels adapt to the changing nature of distribution by selling new albums online as soon as they're finished, before they have a chance to leak, and release the physical CDs a couple months later?" Well, for one, labels are still obsessed with Billboard chart numbers - they're obsessed with determining the market value of their product by how well it fares in its opening week. Selling it online before the big retail debut, before they've had months to properly market the product to ensure success, would mess up those numbers (nevermind that those numbers mean absolutely nothing anymore). Additionally, selling an album online before it hits stores makes retail outlets (who are also suffering in all this) angry, and retail outlets have far more power than they should. For example, if a record company releases an album online but Wal-Mart won't have the CD in their stores for another two months (because it needs to be manufactured), Wal-Mart gets mad. Who cares if Wal-Mart gets mad, you ask? Well, record companies do, because Wal-Mart is, both mysteriously and tragically, the largest music retailer in the world. That means they have power, and they can say "if you sell Britney Spears' album online before we can sell it in our stores, we lose money. So if you do that, we're not going to stock her album at all, and then you'll lose a LOT of money." That kind of greedy business bullshit happens all the time in the record industry, and the consistent result is a worse experience for consumers and music lovers.
Which is why Oink was so great - take away all the rules and legal ties, all the ownership and profit margins, and naturally, the result is something purely for, by, and in service of the music fan. And it actually helps musicians - file-sharing is "the greatest marketing tool ever to come along for the music industry." One of Oink's best features was how it allowed users to connect similar artists, and to see what people who liked a certain band also liked. Similar to Amazon's recommendation system, it was possible to spend hours discovering new bands on Oink, and that's what many of its users did. Through sites like Oink, the amount and variety of music I listen to has skyrocketed, opening me up to hundreds of artists I never would have experienced otherwise. I'm now fans of their music, and I may not have bought their CDs, but I would have never bought their CD anyway, because I would have never heard of them! And now that I have heard of them, I go to their concerts, and I talk them up to my friends, and give my friends the music to listen to for themselves, so they can go to the concerts, and tell their friends, and so on. Oink was a network of music lovers sharing and discovering music. And yes, it was all technically illegal, and destined to get shut down, I suppose. But it's not so much that they shut Oink down that boils my blood, it's the fucking bullshit propaganda they put out there. If the industry tried to have some kind of compassion - if they said, "we understand that these are just music fans trying to listen to as much music as they can, but we have to protect our assets, and we're working on an industry-wide solution to accommodate the changing needs of music fans"... Well, it's too late for that, but it would be encouraging. Instead, they make it sound like they busted a Columbian drug cartel or something. They describe it as a highly-organized piracy ring. Like Oink users were distributing kiddie porn or some shit. The press release says: "This was not a case of friends sharing music for pleasure." Wh - what?? That's EXACTLY what it was! No one made any money on that site - there were no ads, no registration fees. The only currency was ratio - the amount you shared with other users - a brilliant way of turning "free" into a sort of booming mini-economy. The anti-piracy groups have tried to spin the notion that you had to pay a fee to join Oink, which is NOT true - donations were voluntary, and went to support the hosting and maintenance of the site. If the donations spilled into profit for the guy who ran the site, well he damn well deserved it - he created something truly remarkable.
So the next question is, what now?
For the major labels, it's over. It's fucking over. You're going to burn to the fucking ground, and we're all going to dance around the fire. And it's your own fault. Surely, somewhere deep inside, you had to know this day was coming, right? Your very industry is founded on an unfair business model of owning art you didn't create in exchange for the services you provide. It's rigged so that you win every time - even if the artist does well, you do ten times better. It was able to exist because you controlled the distribution, but now that's back in the hands of the people, and you let the ball drop when you could have evolved.
None of this is to say that there's no way for artists to make money anymore, or even that it's the end of record labels. It's just the end of record labels as we know them. A lot of people point to the Radiohead model as the future, but Radiohead is only dipping its toe into the future to test the waters. What at first seemed like a rainbow-colored revolution has now been openly revealed as a marketing gimmick: Radiohead was "experimenting," releasing a low-quality MP3 version of an album only to punish the fans who paid for it by later releasing a full-quality CD version with extra tracks. According to Radiohead's manager: "If we didn't believe that when people hear the music they will want to buy the CD then we wouldn't do what we are doing." Ouch. Radiohead was moving in the right direction, but if they really want to start a revolution, they need to place the "pay-what-you-want" digital album on the same content and quality level as the "pay-what-we-want" physical album.
Ultimately, I don't know what the future model is going to be - I think all the current pieces of the puzzle will still be there, but they need to be re-ordered, and the rules need to be changed. Maybe record labels of the future exist to help front recording costs and promote artists, but they don't own the music. Maybe music is free, and musicians make their money from touring and merchandise, and if they need a label, the label takes a percentage of their tour and merch profits. Maybe all-digital record companies give bands all the tools they need to sell their music directly to their fans, taking a small percentage for their services. In any case, the artists own their own music.
I used to reject the wishy-washy "music should be free!" mantra of online music thieves. I knew too much about the intricacies and economics of it, of the rock-and-a-hard-place situation many artists were in with their labels. I thought there were plenty of new ways to sell music that would be fair to all parties involved. But I no longer believe that, because the squabbling, backwards, greedy, ownership-obsessed major labels will never let it happen, and that's more clear to me now than ever. So maybe music has to be free. Maybe taking the money out of music is the only way to get money back into it. Maybe it's time to abandon the notion of the rock star - of music as a route to fame and fortune. The best music was always made by people who weren't in it for the money, anyway. Maybe smart, talented musicians will find ways to make a good living with or without CD sales. Maybe the record industry execs who made their fortunes off of unfair contracts and distribution monopolies should just walk away, confident that they milked a limited opportunity for all it was worth, and that it's time to find fortune somewhere else. Maybe in the hands of consumers, the music marketplace will expand in new and lucrative ways no one can even dream of yet. We won't know until music is free, and eventually it's going to be. Technological innovation destroys old industries, but it creates new ones. You can't fight it forever.
Until the walls finally come down, we're in what will inevitably be looked back on as a very awkward, chaotic period in music history - fans are being arrested for sharing the music they love, and many artists are left helpless, unable to experiment with new business models because they're locked into record contracts with backwards-thinking labels.
So what can you and I do to help usher in the brave new world? The beauty of Oink was how fans willingly and hyper-efficiently took on distribution roles that traditionally have cost labels millions of dollars. Music lovers have shown that they're much more willing to put time and effort into music than they are money. It's time to show artists that there's no limit to what an energized online fanbase can accomplish, and all they'll ever ask for in return is more music. And it's time to show the labels that they missed a huge opportunity by not embracing these opportunities when they had the chance.
1. Stop buying music from major labels. Period. The only way to force change is to hit the labels where it hurts - their profits. The major labels are like Terry Schiavo right now - they're on life support, drooling in a coma, while white-haired guys in suits try and change the laws to keep them alive. But any rational person can see that it's too late, and it's time to pull out the feeding tube. In this case, the feeding tube is your money. Find out which labels are members/supporters of the RIAA and similar copyright enforcement groups, and don't support them in any way. The RIAA Radar is a great tool to help you with this. Don't buy CDs, don't buy iTunes downloads, don't buy from Amazon, etc. Steal the music you want that's on the major labels. It's easy, and despite the RIAA's scare tactics, it can be done safely - especially if more and more people are doing it. Send letters to those labels, and to the RIAA, explaining very calmly and professionally that you will no longer be supporting their business, because of their bullish scare tactics towards music fans, and their inability to present a forward-thinking digital distribution solution. Tell them you believe their business model is outdated and the days of companies owning artists' music are over. Make it very clear that you will continue to support the artists directly in other ways, and make it VERY clear that your decision has come about as a direct result of the record company's actions and inactions regarding digital music.
2. Support artists directly. If a band you like is stuck on a major label, there are tons of ways you can support them without actually buying their CD. Tell everyone you know about them - start a fansite if you're really passionate. Go to their shows when they're in town, and buy t-shirts and other merchandise. Here's a little secret: Anything a band sells that does not have music on it is outside the reach of the record label, and monetarily supports the artist more than buying a CD ever would. T-shirts, posters, hats, keychains, stickers, etc. Send the band a letter telling them that you're no longer going to be purchasing their music, but you will be listening to it, and you will be spreading the word and supporting them in other ways. Tell them you've made this decision because you're trying to force change within the industry, and you no longer support record labels with RIAA affiliations who own the music of their artists.
If you like bands who are releasing music on open, non-RIAA indie labels, buy their albums! You'll support the band you like, and you'll support hard-working, passionate people at small, forward-thinking music labels. If you like bands who are completely independent and are releasing music on their own, support them as much as possible! Pay for their music, buy their merchandise, tell all your friends about them and help promote them online - prove that a network of passionate fans is the best promotion a band can ask for.
3. Get the message out. Get this message out to as many people as you can - spread the word on your blog or your MySpace, and more importantly, tell your friends at work, or your family members, people who might not be as tuned into the internet as you are. Teach them how to use torrents, show them where to go to get music for free. Show them how to support artists while starving the labels, and who they should and shouldn't be supporting.
4. Get political. The fast-track to ending all this nonsense is changing intellectual property laws. The RIAA lobbies politicians to manipulate copyright laws for their own interests, so voters need to lobby politicians for the peoples' interests. Contact your local representatives and senators. Tell them politely and articulately that you believe copyright laws no longer reflect the interests of the people, and you will not vote for them if they support the interests of the RIAA. Encourage them to draft legislation that helps change the outdated laws and disproportionate penalties the RIAA champions. Contact information for state representatives can be found here, and contact information for senators can be found here. You can email them, but calling on the phone or writing them actual letters is always more effective.
Tonight, with Oink gone, I find myself wondering where I'll go now to discover new music. All the other options - particularly the legal ones - seem depressing by comparison. I wonder how long it will be before everyone can legally experience the type of music nirvana Oink users became accustomed to? I'm not too worried - something even better will rise out of Oink's ashes, and the RIAA will respond with more lawsuits, and the cycle will repeat itself over and over until the industry has finally bled itself to death. And then everything will be able to change, and it will be in the hands of musicians and fans and a new generation of entrepreneurs to decide how the new record business is going to work. Whether you agree with it or not, it's fact. It's inevitable - because the determination of fans to share music is much, much stronger than the determination of corporations to stop it.
only read half of that so far
but i don't really agree with a lot of it
off to work now, byeeee
I think the article is quite naïve in places
and the idea of a bandwidth tax is ridiculous - the minute you start taxing access to information, the minute we regress to third world level.
No one has successfully conceived an idea to 'save music' yet but I think that's because saving the industry simply entails saving labels. The bottom line is, labels are the weakest point in an industry that is thriving in nearly every other sector. Live, synchronisation, advertising, merchandise etc.
The 'product' is almost a springboard into fans investing in those areas now and it's pretty clear from the amount of labels who now have internal live agencies and merch brokers that they're trying to exploit that too, with 360-type deals that encompass all non-songwriting revenue streams of a band.
But really, as a band, do you want to put all of your eggs in one basket? Particularly with teams who are forced to work your band as a result of circumstance (working at the label) rather than selecting and passionately supporting an artist, like a third party press office/live agency would.
I used to think this
I'm not about saving labels, just about ensuring musicians can remain professional and be invested in so that they can develop with minimum compromise. It's then gonna be about clever partnerships with brands to market an act, a la Macca (Starbucks), Prince (Daily Mail lolz) or Jose Gonzalez (Sony). Whereas in the real art world, paintings cost more because of who does them, the music world has never really done this apart from record companies spending loads to be associated with the right bands.
360 deals don't work unless the artist is in charge and able to have someone within the company is translating what they want / their vision and the team is accountable and doesn't get demoralized and lose interest in a project. Or isn't a bunch of coke-fiend cretins. Be interesting when the first management company offers and advance, in a Madonna deal kinda way.
The minute you start an internet tax, is the minute America accepts communism. Or something.
"it's gonna be about clever partnerships with brands to market an act"
so any band with any kind of ethical dislike for this kind of thing is fucked really.
I'm not arguing with you 'cos I think you're right. But I hate the fact you are.
yeah but some brands aren't ethically evil
or can share some things the band believe in, say Ben & Jerry's release a Mars Volta album or Spin magazine releases Fall Out Boy, if yacatchmedrift?
and with print slowly disappearing and online advertising either being too expensive or not really right for the kinds of brands that rely on being associated with personalities or creativity in advertising campaigns, being part of the fabric of music may well be a way forward for both parties.
also, i actually think a lot of bands could force companies to change by saying we'll do this deal if you...
that's what i envisage anyway.
I admire your optimism.
The idea of working with companies still sits uncomfortably (I'm aware all brnads aren't ethically evil, it's just the idea that your music essentially starts to function as an advert for a brand that I'm uncomfortable with ) but it's an interesting theory nonetheless.
Re: Management Advance
It's already happened, it's how we're doing The Futureheads at Big Life.
wel technically
it's how we did brett anderson, which has been a much bigger success outside the uk.
or japan?
internet tax will happen in France
it's pretty sure...
Thee are very good points.
The fundamental problem for me with the article (parts of which I agree with) is that it has a major fallacy in its argument which basically boils down to "major labels are shit and greedy and therefore artists shouldn't be paid for their music", which doesn't actually make sense.
And it also ignores that some bands hate the idea of their music essentially becoming a merchandise advert. I've always strongly resisted having merchandise for my band because I think being a band is about making and recording music, not fleecing fans for various non-music related products. At the moment I'm being forced into a U-turn on this 'cos selling records (and even playing live) just doesn't make enough money to sustain what we're doing. And I'm genuinely pissed off that I'm having to think about merchandise to fund the band as it's just not something I want to do.
what about things that do enhance your music
a video to watch whilst the albums playing.
a book explaining about how the rest was made or a collection of short stories based on the songs.
or just amazing casing to put the cd in that's more like an ornament and talking point in peoples homes.
for me the most exciting bit about radiohead doing what they did was the fact they sold the album for £40 as a lush must-have package, and no-one batted an eyelid.
see also jeff tweedys words a few years back: http://www.wired.com/culture/lifestyle/news/2004/11/65688
Actually some of that sounds pretty interesting.
I'm starting to warm toward this argument. Sounds more interesting than another band t-shirt anyway!
yeah, I saw that...pretty interesting and makes me think even more that independant is the only way to go
I've read this guy's blog for quite a while
he's great, really funny, and just the right amount of pissed off.
In regards to the article, I agree with MOST of what he's saying, I just wish there was a way that OiNK and its counterparts could work legally or whatever. OiNK closing has been such a pain in the arse :(
The problem with
his 'buy concert tickets rather than CDs' point is that some bands can't tour their music (and don't want to).
A good example is Talk Talk. They stopped touring in 1986, and released their two best albums after that - Laughing Stock and Spirit of Eden.
A live show is an experience, but an album is something you can savour and love.
It's sad to see that people are basically saying that "the album will die with the major labels" - I love albums, the artwork, tracklisting, how it makes you set aside time to listen to what you spent your money on.
While I'm not saying live shows are bad (the're great as well), I just hope the physical (rather than digital) album survives somehow.
there's also the fact
that currently to market a band so that they have the profile to tour on a level that makes money, a lot of investment is required and also the record is at the hub of this, in terms of press and profile and peoples ability to hear something before seeing a show. when you take a well-funded and marketed record out of the equation, you add a lot of weight and risk to the live world.
Indeed, tis eloquent
but methinks dude has gone too far... as I still sympathize with the record companies. Yeah, even the majors.
Here is my solution:
LOWER THE FUCKING PRICES ON CDs!
Cut the cost by half, at least. At $6 (3,4#) a pop no one will complain...sales will skyrocket, and illegal downloading would be viewed as cowardlly.
but cds are so cheap over there and here too, to be fair.
However i spent $50 on 6 albums on vinyl when i was in nyc the other week, that's less than £5 an album and i'm talking nice thick brand new 12" copies of 'Chutes too Narrow', 'You Are Free' and 'Either/Or'.
The counter balance is to this, is that the kinds of people who kept the industry afloat, the people buying crap, will happily spend around £200 on an iPod but won't spend more than a tenner on a Robbie Williams album, that's where the problem lies, it was when these people learnt how to download for free or to just get the one track they like from iTunes.


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SAC Press
SAC Press is an independent publishing arm of St Athanasius College (SAC), delivering Orthodox theological courses at a tertiary level since 2000. SAC has also been affiliated with the University of Divinity in Melbourne as a Registered Teaching Institution since 2011.
SAC Press was founded by His Grace Bishop Dr Suriel in 2015 to ensure quality Orthodox books remain accessible to existing readerships and reach new audiences. The Press team has swiftly established a reputation for quality content, highly effective reader engagement and an innate understanding of publishing trends.
The boutique publishing house, centrally located at 279 La Trobe Street Melbourne, has released a new title by Bishop Suriel. in collaboration with SVS Press, entitled Habib Girgis: Coptic Orthodox Educator and a Light in the Darkness.
This text refines Bishop Suriel's doctoral dissertation completed at Fordham University and focuses on the life of a modern Coptic saint, Habib Girgis, who lived in Egypt in the 20th century and championed educational reform.
Habib Girgis was a writer of books, a poet, a great thinker and a reformer who established formal religious education for the first time in Egypt. He was also the much-loved dean of the theological college in Cairo from 1918 until his death in 1951.
Prior to this in 2016, The Life of Repentance and Purity was also released as a joint publishing venture with St Vladimir's Seminary (SVS) Press, New York.
The Life of Repentance and Purity was written by Pope Shenouda III of Blessed Memory. The book was translated from Arabic to English by Bishop Suriel, with the support of an Editorial Board providing references to key source material.
This book sold over 5000 copies in a matter of weeks and immediately launched into a second print run, making it the fastest selling text in history for SVS Press.
Pope Francis was presented with a copy of The Life of Repentance and Purity by His Grace Bishop David, Coptic Orthodox Bishop of New York and New England.
SAC Press is also collaborating on a Coptic Studies Series with SVS Press and welcomes further manuscripts for consideration to email@example.com


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Hereford Tiles, HerefordHereford Tiles were established in 1958 in the factories that formerly belonged to H & G Thynne. They traded successfully until the mid-1970s but by 1980 were experiencing difficulties. In October of that year the company was purchased by the Concrete Masonry Group and became Shaw Hereford Tiles.
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Go to foreign countries and you will get to know the good things one possesses at home.
Johann Wolgang Von Goethe
The other night I dreamed I brought a friend (a British one) home to Canada to show him my country. My trip descended into a whirlwind of chaos—luggage was stolen, I took the wrong bus from Toronto to London, and I couldn't figure out how to use Canadian money. The make-believe trip ended with me descending into tears on the sidewalk, crying that I didn't understand my own country anymore.
It doesn't take a rocket scientist to interpret this dream. I'm afraid of losing my culture and identity.
I've reached this point in my life in England where I'm happy and content. I've adapted. I think—though you can never be sure with the British—that I understand the people here now. I have a pretty good idea of British geography, from North to South at least. I can also navigate the maze of underground, bus and overground routes. I even have some British friends and…a social life.
These things may sound simple but they were a real struggle to achieve in the first couple months of my staying here. And now that they cease to be a problem, I find myself turning to other worries, because of course I can't just be happy and enjoy the life I've carved out for myself here. Nope.
Now, I fret needlessly about losing my Canadian identity, which I get is just silly, because I know I'm Canadian. I know what a proper snowfall looks like, I do really think the beaver is a majestic animal, and I believe in the liberalism my country was known for in the pre-Stephen Harper days. I've also marked Canada day (July 1st) in my calendar, keep Canadian maple syrup in my cupboard and still say "eh?"
I love England but Canada will always be my home, no matter how long I'm away from it. I guess it's just up to me to find that balance.


text: One of our team members discovered a whole Hello Kitty collection while shopping in Hong Kong's mall Langham Place the other day. The label Stayreal launched the Hello Kitty x STAYREAL which has quite a few 'different' designs. You don't see Hello Kitty too often as a robot with glowing eyes or dressed in leather on a motorbike. What's your opinion? Do you like it?


text:
Cheshire Group
These are always
to be considered along with the mileage when choosing walks.
You can have Easy 10 mile walks or Strenuous 5 mile walks!
Above all the Walks Leaders want each event to be enjoyable.
Suitable for anyone who is able-bodied and healthy.
Walks for anyone who does not have a mobility difficulty or
a specific health problem or is seriously unfit. Comfortable
shoes or trainers can be worn. Usually less than 5
for reasonably fit people with at least a little country
walking experience.
May include un-surfaced rural paths. The pace will be leisurely. Walking boots and warm,
waterproof clothing are recommended.
for people with country walking experience and a good level
of fitness.
May include some steep paths and open country, and may be at
a brisk pace. Walking boots and warm, waterproof clothing
are essential.
Suitable for experienced, very fit and properly equipped
May include hills and rough country, and may be at a brisk
pace. Walking boots and warm, waterproof clothing are
essential. People in doubt about their fitness are advised
to contact the organiser or leader in advance.
Grades are provided as a general guide only:
If you have any doubt about your fitness for a
particular walk please contact the organiser or leader in
advance. Leaders may refuse to accept participants who in
their opinion are inadequately equipped or unfit.
You should also bear
in mind the distance of the walk, differences in terrain and
the possibility of bad weather which can make a walk more
difficult than planned.
If you're unsure of
your fitness level, try a short and easy walk first: it's
much better to find a walk a little too slow and easy than
to make yourself miserable and exhausted.
Meeting Places/ Travel
All walks meet at
the time and place stated on the programme. Please note that the time given is the time we expect
to leave, so allow time for signing in sorting transport etc.
There are 3 meeting places, convenient for travelling to the walk start
Please let the Walk Leader know if you intend to meet at the
walk start point, in case there is a change in arrangements.
Travel to Walk
If you don't have your own transport you can be sure of a lift if you can get to our initial
meeting points
Travel is normally by private car, but non-drivers are
always welcome. We usually arrange lifts between the walkers
assembled at the meeting point. It is usually done
by mutual sharing arrangements from week to week.
We have a voluntary fuel cost tariff for car
sharing, and suggest that each passenger supports the driver by
contributing towards the cost of the round trip.
The suggested amount is shown under 'fuel share' alongside the listing of each
walk in the six month Walk Programme and also within the details given for each
forthcoming walk.
Remember to wear or
bring clothing and footwear which is appropriate for the weather and the
terrain you are likely to encounter. Boots are recommended for all walks
and are essential for walking in the hills. Conditions can vary widely
between sheltered valleys and windswept moorlands and it can be wet and
cold even on summer days, especially in storms. Leaders have
discretion to refuse to take inadequately prepared walkers.
It is useful to have a change of clothing/footwear in the car in the
case the walk has been wet or muddy !
For most walks it is advisable to carry sufficient food and drink for the
duration of the walk.
On warm/hot days make sure you carry and drink enough water to avoid becoming dehydrated.
The walks are usually a full day out with stops for coffee/tea and a packed lunch break approximately half way.
For morning Pub Walks, lunch at the pub is optional.
Children under 16 must be accompanied by a responsible adult.
Dogs may be allowed on walks at the leader's
discretion. Please seek the leader's agreement BEFORE the day of the
walk. Always ensure that your dog can be easily restrained, particularly
on farmland.
First Aid / Accidents
The leader will carry the group's First Aid
All accidents on group rambles should be reported to the secretary for
inclusion in the accident book.
Every care is taken in planning walks and events. However Ramblers do not accept any responsibility for personal injury or loss of property when attending any of our rambles or functions.
Participation in any event is entirely at an individual's risk.
Please keep to the pace set by the leader, who will be governed by the
slowest member of the party. Do not go in front of the leader or
leave the party without informing him/her. If you experience any
difficulty inform the leader at once.
Help the leader make each event enjoyable.


text:
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text:
Wednesday, December 8, 2010
The plan sucks.
6 comments:
- Still A Guest Room said...
That is my all-time least favorite comment...how can you tell someone going through this that it's part of a plan? Surely no "plan" would be this terrible and unfair. I'm so sorry you had to hear this recently--it never gets easier, that's for sure.
- December 8, 2010 at 12:48 PM
- Alex said...
I hate this comment. Even the non-Christian one - everything happens for a reason... Hate it!!
- December 8, 2010 at 2:03 PM
- Drevas said...
So sorry... I think most people who say things like this have good intentions but it certainly doesn't help or make us feel any better!
- December 8, 2010 at 2:22 PM
- Lindsay said...
Ugh, I hate that. Theres a plan or the lovely, "it will happen when its suppossed to". Oh really? yeah thanks I was worried my timing was off.
- December 9, 2010 at 10:37 AM
- Amber said...
I hate that comment. I know they are saying it (usually) in good faith. It's getting to the point where I have to stop myself from saying something obnoxious back. I've succeeded so far.
- December 9, 2010 at 8:45 PM
- Marissa said...
I am so 100% with you! I often get told "It doesn't make sense to us now, but he really does have a plan" and that sort of thing. And then I imagine me talking to God, and I can't think of a *single* justification for all the shit--infertility, AIDS orphans, rape, etc etc. I either conclude that God is really horrible at his job, that he just doesn't care, or that he doesn't exist. I find the 3rd option the most comforting by far.
- December 10, 2010 at 9:41 PM


text: Dining out in Launceston need not be a traditional restaurant or cafe affair. Launceston is quickly becoming food van Central – enjoy gourmet and wholesome food dished up from the array of vans popping up around the city, markets and local events. High Street has been affectionately named "Eat Street" with the block by St Georges Square regularly lined with vibrant food vans offering everything from a sumptuous black angus beef burger to nourishing vegan quinoa tabbouleh. To catch one of these mobile eating experiences, be sure to check Facebook to find their next location.


text:
Bear in mind that portions are particularly crucial. To generate absolutely sure you're consuming the right portion sizes, fill up your plate with all the healthiest food items very first then the least healthful. Additionally, it aids to consume the food items in your plate within the very same purchase.
Test to consume the majority of your meals at your house. Whenever you are to the go, you often consume higher calorie meals plus a higher volume of them. At your house, you may management what components you utilize and ensure these are fresh and nutritious. This cuts calories and enhances family members time.
When deciding upon food items for optimum nutrition, choose foods products which can be as shut to their normal state as you can. Fresh, unprocessed foods will be the finest technique to guarantee which you meet all your body's dietary demands when decreasing the quantity of undesirable body fat and chemical substances inside your eating plan.
Prepare ahead for nutritious nutrition. Maintain nutritious snacks available in order that you do not produce a bad selection, to the spur in the minute once you get hungry. In case the nutritious and dietary decision may be the much easier a single, it turns into a habit to choose that choice as opposed to placing forth the hard work to find an unhealthy item.
Select the best meals as recovery nutrition soon after exercising. Whilst protein is very good, it's not as fantastic for recovery as carbohydrates could be. The very best concept will be to discover a at ease mixture of the 2, provided that they provide you with all the correct dietary stability your entire body desires.
Receiving your little ones to consume veggies is often as simple as getting sneaky. Numerous veggies when processed correctly can be utilized in lots of from the meals your children adore. Purees produced from greens like carrots not merely include taste and sweetness to a dish, but in addition helps make positive your youngsters are finding the complete advantage.
Study the a variety of dietary and overall health positive aspects of fruit and veggies. In this way you are able to integrate a combine into your diet regime that will take preventative measures, in addition to dietary measures, under consideration. The prolonged overall health added benefits in the appropriate alternatives in nutrition are as critical since the everyday wants from the entire body.
In the event you do not like taking nutritional vitamins, request your physician or pharmacist about acquiring liquid vitamin drops. These could be extra to any beverage and therefore are specifically tasty with fruit juice. The juice fundamentally hides the taste as well as your taste buds will not even know you have taken a vitamin.
Calcium is often a useful mineral that needs to be a portion of the healthier diet plan. Calcium is associated with teeth and bone framework. In addition, it assists in blood clotting, nerve perform, muscle contraction, and blood vessel contraction. Calcium aids stop several disorders for instance osteoporosis, hypertension, diabetes, colon cancer, substantial cholesterol, and weight problems.
In regards to pregnancy cravings, observe not just what meals they may be but simply how much you wish. Quite simply, in case you need to satisfy an unhealthy craving, get it done within a nutritious way. View your portions and what exactly is in everything you want. This isn't a totally free time period to engorge your self on junk as not acquiring sufficient of everything you want can harm you, and quite possibly the child, later on on.
To know the 50 delightful recipes which can be nutritious, click here: http://www.stclaircamp308.org/tasty-and-nutritious-eating-plan/


text:
Broadband boom sees connections hit 4m mark
With four million connections in place and around 40,000 new ones being made each week, it seems that consumers are finally giving broadband their vote of confidence, according to Ofcom.
At the end of April, of the four million or so broadband connections in the UK, DSL made up 2.45m while cable accounted for 1.54m.
The latest statistics from the telecoms regulator reveal that over half of UK homes have Internet access and a quarter of these have broadband.
That represents around 15 per cent of UK homes using a high-speed connection, either via the phone line, cable or wireless.
Ofcom's market research also shows that the decline in the use of narrowband services has continued as consumers switch to broadband. Two thirds of adults connect to the Internet at home using narrowband, down from three quarters in November 2003.
However, there is still some way to go to reach the government goal of being the most extensive and competitive broadband market among the G7 countries by 2005 however.
By the government's own figures, the UK ranks third in the world in terms of coverage and competitiveness, and joint sixth with Italy in terms of take-up, the Ofcom report said.
Sources: BBC Online, The Register
Return to internet news headlines
View Internet News Archive


text:
Saving the World one Bandaid at a time… Should read one Klodike bar at a time
Having spent the last nine summers in Poland Spring Maine at Camp North Star there is one place that you would think everybody would hate to go because it conjures images of scraped knees, poison ivy and maybe even a runny nose or two. However, when I think of our Health Centre I think of two hilarious nurses, great food, and some of the most caring people on camp.
Being a rather hands-on person at camp I've definitely been to the Health Centre more than my fair share; burnt thumbs, cut fingers, the occasional poison ivy rash and much, much more. But recently I've found myself going there more for the entertainment and mothering than any injury I've inflicted on myself. At the moment, Nurse Susan and Nurse Gretchen are with us and will be for another two weeks. An evening with them can be more entertaining than spending it at a stand up comedy show; both of them certainly bring a smile to a sad face or can turn an already happy face to an even bigger smile.
Having spent last night in the Health Centre with a camper who was feeling a little bit homesick it made me realize that the Health Centre is everyone's first port of call when something just doesn't feel right. Didn't like the spaghetti and meat balls = a "sore" tummy and a Klondike bar. Didn't like fitness = a "blister" and a Gatorade. Missing home = a Klondike bar, probably some Gatorade and definitely a hug and a tissue.
What separates our nurses from nurses at an ER or a doctor's office is that they are parents to their kids, and are even temporary parents to our campers. They know exactly what our campers need: band-aids and ice-packs or maybe it's just a 10 minute break in with the nurses who have air conditioning, and the un-limited supply of love, care and Klondike bars.


text:
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text:
China IP Comprehensive Development Delivers
China IP comprehensive development level multiplies, according to 2016 China IP Development Situation Evaluation Report issued by the State Intellectual Property Office in Beijing. This report also shows that China IP comprehensive development index has been improving stably since 2010, doubled from 100 points in 2010 to 200.3 points in 2016.
"China IP undertaking grows rapidly with the implementation of national IP policy, and is transforming from the stage of passive coping into the stage of active adjusting. It can be seen from the statistics between 2010 and 2016 that, China IP comprehensive development level improves smoothly, and obtains full advances in four aspects such as creation, utilization, protection and environment, to enhance international status of China." says an official from IP Development and Research Center under SIPO.
This report combines analytic hierarchy process and comprehensive index method, sets comprehensive and creation, utilization, protection and environment development index to be 100 points with 2010 as the basic year, and measures national data from 2010 to 2016. In addition to the 200.3 points achieved in 2016 for national IP comprehensive development index, China IP creation, utilization, protection and environment level are improved stably. Each index increases smoothly, with the highlights in IP protection and environment development index.
China IP protection development index sees a significant increase, from 100 points in 2010 to 211.7 points in 2015, according to the report. It reaches 216.6 points in 2016, growing 4.9 points more based on 2015. The achievement cannot be separated with IP protection in China. In 2016, 48,916 cases are handled by patent administrative law enforcement, up 36.5% year-on-year. Valid customs recordation for IPR reaches 27,873, up 25.9% year-on-year. 72.4 points are obtained for IP protection satisfaction, 3.7 points more than the year before. On the other hand, benefiting from optimization for IP environment in China, the numbers of IP agencies and attorneys rose year by year, and the social IP awareness improves fast. China IP environment development index increased from 198.3 points in 2015 to 216.0 points in 2016.
In recent years, China IP quality has improved substantially, which is revealed clearly in the report. The ratio of invention patent applications increased from 25.96% in 2010 to 36.37% in 2016. PCT applications accepted increased from 11,468 in 2010 to over 40,000 in 2016. Madrid international trademark applications increase from 1,928 in 2010 to 3,014 in 2016. As for IP utilization, software export rose from 26.7 billion US dollars in 2010 to 49.5 billion US dollars in 2016. Patent pledge rose from 8.06 billion yuan in 2010 to 43.6 billion yuan in 2016. Trademark pledge financing rise from 14.5 billion yuan in 2010 to 65 billion yuan in 2016. It is noticeable that the number of transfer of patent filing right and patent right headed 137,897, 23.1 times as 2010. "These statistics can express the developments and changes in IP quality of China." adds the official.
Source: China IP News


text: Merci's Dangerous Trap. Seeing his rapid development through the training regime, Douji advances Kyouya's training to the next level, throwing him into a chasm and forcing him to face nature and the elements to gain the independent strength to win. Meanwhile, Douji sends out his A.I. program Merci to challenge Ginga to a fake game show where he reveals all of his skills and abilities through challenges.


text:
The CD "He Is Born!" includes many songs of Christmas, with narration by Chuck Swindoll. A Promise Kept offers an inspiring pictorial journey of the coming of Christ, with 25 devotionals.
We invite you to prepare your heart for celebrating Christ's birth. These 12 daily studies allow for deeper reflection on God's indescribable gift to us. Let's explore together the wonder of Jesus!
When you send us a calendar year-end gift, you're giving to us in order to give through us. We are the conduit through which your gift flows in order to reach people with the truth of God's Word.
From meaningful spiritual resources to useful products to novelties, the items in our Christmas sale can help you check off your entire list quickly. Start shopping today!


text:
- $9.99
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Based on the acclaimed 2013 young-adult sci-fi novel by Rick Yancey, THE 5TH WAVE follows a 16-year-old survivor of a catastrophic alien invasion. Cassie (Chloë Grace Moretz) is a high-school student leading a normal life, including a crush on a football star (Nick Robinson), when extraterrestrials invade Earth and kill millions of humans. Now, she must rescue her kidnapped brother (Zackary Arthur) while figuring out whom she can trust. Ron Livingston and Maggie Siff co-star as Cassie's parents. Directed by J Blakeson.
Cast List
Frank Galline
Akiva Goldsman
Mathew Dunne
Kevin O'Connell
Enrique Chediak - Director of Photography
Susannah Grant - Screenwriter
Richard King - Sound/Sound Designer
Jeff Pinkner
Joey Box
Richard Middleton
Method Studios
Henry Jackman - Composer
Spin - Visual Effects
J. Blakeson - Screenwriter
Peter Giliberti
Lay'Na Anderson
Shade VFX
Talya Melvey
Clearcut FX
The Embassy - Visual Effects
Mammal Studios
Rick Yancey
Tim Sibley
Mark Ross - Makeup
Ron Livingston - Actor
Paul S. Ryden
Liev Schreiber - American actor, SCREAM series/LOVE IN THE TIME OF CHOLERA
E. Roger Mitchell - Actor in THE DEVIL'S DIAMOND
Maria Bello - American actress, A HISTORY OF VIOLENCE
Terry Serpico
Nick Robinson - Actor
Charmin Lee
Justin Smith - Actor
Chloe Grace Moretz - Actor, AMITYVILLE HORROR (2005)
Chloe Moretz - Actor, AMITYVILLE HORROR (2005)
Maggie Siff
Matthew Zuk - Actor in MAX LUCADO 3:16
Courtney Munch
Michael Beasley - Actor
Kendrick Cross
Nadji Jeter
Bailey Anne Borders
Maika Monroe
Tony Revolori
Adora Dei
Derek Roberts
Chelsea Hayes
Alex Roe
Alex Macnicoll
David Maldonado - Producer, EL CANTANTE
Parker Wierling
Gabriela Lopez - Actor
Zackary Arthur
Madison Staines
Geoffrey Kennedy
Devin McGee
James Sutton - Actor
Talitha Bateman
Cade Canon Ball
Flynn McHugh
Kevin L. Johnson - Actor
- Format: DVD
- Run Time: 112
- Color Format: (unknown/unconverted)
- Genre: Action/Adventure
- Rating: PG-13 (MPAA)
- Release Date: August 2017
Related Categories:
Movies > Science-Fiction/Fantasy
Related Keywords:
Alien Life Forms


text:
#100, 2359 Bristol Cir
Oakville, ON L6H 6P8
Be the first Weblocal.ca user to add photos or videos of MERRIAM School of Music
Merriam School of Music was founded in 1988. We have grown to serve 3500 weekly music students, with 120 teachers, in three campuses. Merriam School of Music is recognized by several major universities such as Western University, Wilfrid Laurier, and University of Ottawa as being leaders in the field of music education, and have remained focused on creating lifelong music lovers and participants through engagement and innovation. Merriam School of Music stands out because of three distinct areas: unparalleled facilities, a long-term and well trained teacher corps, and our emphasis on real-life musical engagement. Students at Merriam School of Music get to experience relevant, real musical moments from the second they arrive, and there are over 30 performance opportunities per year for an average student. This ability to provide these real-life experiences keeps music at the forefront of our students' lives, and is the primary reason we can boast a 91% retention rate.
Merriam School of Music - Offering world class Oakville music lessons for a wide variety of instruments. Vocal lessons also available. Our Oakville location ideal for Mississauga Music Lessons as well.


text:
Fuel Properties of Woody Biomass from Pruning Operations in Fruit Orchards
Biomass has become a major source of renewable energy. The basic fuel properties of woody biomass from orchards were evaluated on the following fruit tree wood obtained from pruning operations: 'Reliance' peach, 'Burlat' cherry, 'Packham's Triumph' pear, 'Early Geneva' apple, hazel (Polish variety Halle), 'Hargrand' apricot, walnut, domestic plum (Polish variety Węgierka), and sour cherry (variety Ujfehertoi fürtos). The research included the wood and bark of the trunk, whole limbs, and branches. Gross calorific value for the majority tested biomass ranged from 19.2 to 21.3 MJ / kg, which is typical for wood and bark of broadleaf species. The low content of chlorine and sulfur in the analyzed samples would contribute to low corrosion in boilers and a low atmospheric pollution factor for generated sulfur oxides and hydrogen chloride. Properties of fuel biomass obtained from pruning operations were not noticeably different from the typical properties of solid biofuels derived from woody forest biomass. Based on these results, biomass from orchards can be a substitute for raw forest material suitable for energy use.
Fuel properties; Pruned biomass; Biofuel; Bioenergy
Welcome to BioResources! This online, peer-reviewed journal is devoted to the science and engineering of biomaterials and chemicals from lignocellulosic sources for new end uses and new capabilities. The editors of BioResources would be very happy to assist you during the process of submitting or reviewing articles. Please note that logging in is required in order to submit or review articles. Martin A. Hubbe, (919) 513-3022, email@example.com; Lucian A. Lucia, (919) 515-7707, firstname.lastname@example.com


text:
By: Casey Arakaki
Period 2
Worldwide there are well over 1,000 different species, with several hundred available in the United States. They range from groundcover bamboo that will reach several inches at maturity to giant bamboo that can reach over 100 inches in the tropics and from quick-spreading species to clumping types of bamboo that expand outward only a few inches a year. Some types of bamboo thrive in hot, humid rainforests while others are cold hardy, surviving in temperatures as low as –20 degrees. Bamboo comes in many colors, sizes, and textures. Bamboo is a group of perennial evergreens in the true grass family and has many different species. It is native to most parts of the world, including the U.S.A. Canebrake, as it is called in the Southeast, is the only bamboo that is native to the continental U.S. Bamboo is the fastest growing plant. Some varieties can send new shoots up out of the ground at a rate of over 1 foot per day.
History and Origin
What was once a symbol of the Orient, bamboo now has a reputation as the mediator between the strength of hardwood and the sustainability of grass. This woody grass currently grows throughout the world, but the origin of bamboo is believed to be ancient China. Bamboo is finally being utilized in all walks of life. From dishware to clothing, you can find a bamboo alternative in almost every industry. Bamboo was first found and used in China more than 5000 years ago, which is why the woody plant conjures up images of pandas eating shoots and leaves. Even though its many uses are only just becoming widely known, the bamboo plant as an alternative material began long before "going green" became a trend. The history of bamboo is most significant for many Asian countries and it is said to be good luck in Asian cultures.
Taxonomic and Morphological Characteristics/Features
More than 70 genera are divided into about 1,450 species. Bamboo species are found in diverse climates, from cold mountains to hot tropical regions. They occur across East Asia, from 50°N latitude in Sakhalin through to Northern Australia, and west to India and the Himalayas. They also occur in sub-Saharan Africa, and in the Americas from the Mid-Atlantic United States south to Argentina and Chile, reaching their southernmost point anywhere, at 47°S latitude. Continental Europe is not known to have any native species of bamboo. There have recently been some attempts to grow bamboo on a commercial basis in the Great Lakes region of eastern-central Africa, especially in Rwanda. Companies in the United States are growing, harvesting and distributing species such as Henon and Moso.
Ecological Characteristics
Bamboo is one of the fastest-growing plants on Earth with reported growth rates of 100 cm (39 in) in 24 hours. However, the growth rate is dependent on local soil and climatic conditions as well as species, and a more typical growth rate for many commonly cultivated bamboos in temperate climates is in the range of 3–10 cm (1-4 inches) per day during the growing period. Most of the growing in regions of warmer climates is during the late Cretaceous period. Some of the largest timber bamboo can grow over 30 meters (98 ft) tall, and be as large as 15–20 cm (6-8 inches) in diameter. However, the size range for mature bamboo is species dependent, with the smallest bamboos reaching only several inches high at maturity. A typical height range that would cover many of the common bamboos grown in the United States is 15–40 feet, depending on its species.
Life Functions
Soft bamboo shoots, stems, and leaves are the major food source of the giant panda of China, the red panda of Nepal, and the bamboo lemurs of Madagascar. Mountain gorillas of Africa also feed on bamboo, and have been documented consuming bamboo sap, which was fermented and alcoholic; chimps and elephants of the region also eat the stalks. Sexual reproduction: Bamboos are...
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text:
enero 28, 2014
People on Walmart
I love my photo project "That's life" and I'm very happy whit it, I am very pleased to take photos of whatever moments and things.
On this occasion with the ipod took several pictures at Walmart, the people at Walmart, which is one of the most popular shopping centers in the United States, there are many people who would be incredible to photograph, make some portraits, lot of weird and sometimes creepy people looking incredible and perfect for portraits.
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