text:
Property and pensions are complicating break-ups, says Jeff Salway
DISPUTES over pensions and property are increasingly at the heart of divorce proceedings in Scotland as economic pressures weigh down on separating couples.
The divorce rate in Scotland has been falling slowly over the past couple of years, with many couples staying together because they can't afford to separate.
But the financial climate is causing added complications for those who do go ahead with the break-up. The housing market downturn has added new complications to decisions over what to do with the family home, while working out the split (if any) of pension assets is far more complex than it used to be.
Such issues are causing problems in a growing number of family law cases, according to solicitors, who report that this month has been as busy as ever when it comes to divorce.
Philippa Cunniff, partner and head of family law at HBJ Gateley, said: "January is always a busy time for family lawyers, due to the backlog of work that builds up over the holidays, but the stress of the festive season can also be the final straw for some people."
The emotional anguish of divorce is exacerbated for many couples by protracted and often bitter negotiations over the split of matrimonial assets. The most valuable asset is usually the property, although many couples underestimate the potential value of the pension accumulated during the marriage.
Here we look at why pensions and property are, more than ever, the chief source of aggravation when it comes to reaching agreement over the financial aspects of divorce.
What can usually be taken for granted is that neither party wants the property to remain in joint names, according to Lucy Metcalf, senior associate in the family law team at Tods Murray solicitors.
That leaves couples with three options: sell the home and split the proceeds; agree that the wife keeps it; or agree that the husband keeps it.
The first option was once the easiest, as a sale would allow the equity to be split evenly, giving each spouse a chance of buying a new home and starting afresh. But home sales have plunged since 2008, and while there was a modest improvement last year, quick sales are thin on the ground.
Consequently, most couples currently have to decide who stays in the shared property.
Metcalf said: "Lots of couples tell us they would like one parent – usually the wife – to be able to stay in the family home with the children. That makes sense from the point of view of stability and minimising change."
But even that has become harder to achieve; again because of the sluggish housing market.
"Fewer wives qualify for the tightened-up lending criteria of the banks. If the wife doesn't qualify, she can't take over the mortgage and have the house transferred into her name. The husband might be reluctant to let things stay as they are – he wants his name off the mortgage so that he can borrow to buy a new property," Metcalf explained.
The husband can force the sale in such cases, but that raises the possibility that neither he nor his wife will have a big enough deposit to buy a new home. The appeal of that option is diminished further by the inevitable sense that the husband is the one forcing the children out of the family home.
Such complications mean that deciding what to do with the property can be a long and difficult process.
"Although we have seen an increase in new instructions at the start of 2013, for many families there has been a long lead-in to making the final decision, and uncertainty about what to do about the house has often meant that the decision has been postponed for longer than it would otherwise have been," said Metcalf.
At the most basic level, the position regarding what happens to a husband's or wife's pension is that, unless a pre-nup is in place and dictates otherwise, any pension accrued during the marriage goes into the matrimonial property pot.
But working out and understanding the likely value of someone's pension savings in retirement is not so simple.
With most people now in defined contribution schemes – where the size of the eventual pot depends on contributions and investment performance – rather than final salary arrangements, there's far less certainty over what a spouse's final pension pot could be worth.
"Even in the current market, where final salary schemes are less common and the value of private pensions may not be what they once were, these assets should not be overlooked," said Metcalf.
Many women have paid the price for underestimating the potential value of their husband's pension and have opted against claiming their rights to it. In such cases the family home tends to be viewed as the main prize, yet a decent pension pot can, in the long run, be worth far more than the family home.
The pension "asset" can be shared between couples if they enter into what is called a qualifying agreement, or by securing a pension-sharing order through the court. This doesn't necessarily split the pot into two, as it depends on how the other assets are distributed.
A share of the pension may not seem hugely attractive, but for a spouse who hasn't been able to put aside decent retirement savings – perhaps because they've taken a long career break to raise children – it can be a foundation on which to build a better pension pot.
"This can be a particularly good idea for a spouse who has little or no pension provision of their own and can make the prospect of retirement a little less daunting," said Metcalf.


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Mini Fair 2
Mini Fair has grown to become the UK's largest indoor Mini event and there is now another event on the calendar… We are going to Stoneleigh Park in Warwickshire for another top indoor event for both Classic Mini and New MINI. To be called Mini Fair 2
The date for your diary will be 20th October 2013 and Mini Sport are main sponsors. Not only are we attending as main sponsors with a huge haul of Mini Parts and Accessories. Why not come and visit our stand, there are plenty of reasons to:
- Come and meet the Mini Legend Paddy Hopkirk, buy some of his Mini products and even have them signed.
- Great Deals to be had throughout the day on the full range of products.
- Pre-Order online now and collect at the show.
The show will include all the usual attractions plus a few tweeks along the way that will make a wonderfull day for everyone.
The Concourse winners from both Himley Hall and Uttoxeter Racecourse will be on show at Mini Fair 2. Who will be take the top spot of owning the best Mini in the Country.
The BMC have put a whopping £1000 worth of prize money for the winning Mini's
For full details of the show, visit the British Mini Club website here

subset: commoncrawl


text: Find Bathroom Remodelers Near: Georges Mills Sunapee Bathroom Remodelers Springfield Bathroom Remodelers Grantham Bathroom Remodelers Guild Bathroom Remodelers New London Bathroom Remodelers Elkins Bathroom Remodelers Newport Bathroom Remodelers Wilmot Bathroom Remodelers Newbury Bathroom Remodelers North Sutton Bathroom Remodelers Don't Know Who to Call? Have Bathroom Remodelers Contact You Tell us your need. Local bathroom remodelers will contact you. It's fast, easy and there is absolutely no obligation. Get Started Now Local Results for Bathroom Remodeling Valle Professional Home and Chimney 8.1 Miles 983 NH Rte 4aWilmot, NH 03287 Get Quote View Phone Click to View Phone 603-523-7806 hde hufo Design Enterprises 15.1 Miles 162 Dartmouth College Hwy.Lebanon, NH 03766 Get Quote View Phone Click to View Phone 603-448-0955 New England Kitchen & Bath Center 14.0 Miles Route 103Claremont, NH 03743 View Phone Click to View Phone 603-543-0590 Frost Building Construction 14.6 Miles 136 Tucker Mountain RdAndover, NH 03216 View Phone Click to View Phone 603-735-6423 Frank Webb's Bath Center 15.1 Miles 55 Etna RdLebanon, NH 03766 View Phone Click to View Phone 603-448-9405 Don't Know Who to Call? Searching for a qualified bathroom remodeler in your area? Call Us for Assistance: 1-877-759-8938 Return to First-Page Bathroom Remodeling Unfortunately, no results were found for your request. Please try again.


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All Saints' Memorial Church
In life, we are all on the road to somewhere.
Sometimes the destination, the goal is clear: graduation, that better job, a new home. Other times, we may feel as if the road is winding around and around, and the destination is unknown, vague. And then there are those times in life when you just stand in the crossroads and don't know what's next, which way to go.
Welcome to All Saints' Memorial Church: a church in the crossroads.
All Saints' (locally known as 'The Stone Church') geographically stands at a five way intersection, a combination of old roads and new. We also sit at the intersection of time: a 150 year old historical campus nestled near newer homes and businesses. Our church hearkens back to its Anglican roots in England in its architectural style, and yet, is very much steeped in New Jersey, using local stone and working with the geography of the unique New Jersey shore Highlands. And while we honor our history in our Landmark Trust buildings, we are very much a vibrant faith community of today.
We invite you to join us for worship grounded in scripture and sacrament, where members from infants to great-grandparents worship together. Come and hear the voices of our children and youth in Sunday school, and the voices of our choir and congregation lifted in song. Be fed with God's word through the beautiful words of our Episcopal Book of Common Prayer, in scripture, and in sermon as well as at the Table of our Lord Jesus Christ. Make connections with God in worship and study, and with others at coffee hour each Sunday. Bring your questions, your doubts, your longings—they, like you, are welcome here.
Participate as much as you feel called to—the opportunities are many, and growing. Outreach work feeding the hungry through St. Mark's Center for Community Renewal in Keansburg as well as through our Atlantic Highlands community food pantry, backpacks of school supplies for children, funding for various area organizations, the opening of our space for many Twelve-step groups. Enjoy a ministry of the arts with our Stone Church Players Theater Troupe, and in our Candlelight Concert. Join with local community members in the laughter, food and fun of our annual Auction. Experience the peace of our wooded campus, used by many for walking and meditation.
Know that no matter where you are on your faith journey, we are willing to journey with you. Whether you are seeking a resting place for a weary spirit, direction and discernment of God's call in your life, or even a place to grow deep spiritual roots, please know that we're here, and we're ready for you.
After all, we are a church in the crossroads—ready to meet you in the crossroads of your life.
In peace,
Mother Debbie+


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The Benefits of Home Health Care
After a major surgery or serious injury, many elderly people are moved by their families into an assisted living or nursing home. Most people make this choice because it decreases the stress on support people and makes sure the proper care is being provided. Unfortunately, recovering in a new and often sterile environment can do more harm than good for a person recovering from a temporary or chronic illness.
Home health care makes it possible for an elderly person to recover in the comfort of their own home while still receiving the medical attention and aid required for a full recovery. Instead of taking the patient to the doctors, in-home care brings the doctors, nurses and assistants required to the patient's own home. Who wouldn't want to recover in familiar, comfortable and personal surroundings?
Did you know that studies have shown living at home is often the best choice for anyone living with a chronic illness or disability? It has been proven that a person maintains better physical and mental health when they are allowed to recover in their own homes. In-home care makes this possible for those who live alone and are unable to care for themselves.
One of the reasons in-home care helps recovery is that it provides a patient with the independence and self-dignity that is inherently stripped when they are checked into a home. Few cultures send their elders into nursing homes or similar structures when they are no longer able to care for themselves.
The men and women who just a few decades ago were the primary demographic are quickly forgotten when it comes to taking care of them in their old age. While nursing home improvement is evident over recent years, home health care is still preferable whenever possible.
Having a loved one needing constant care can be draining and stressful and often causes explosive arguments among family members. Few families have the resources and time to take on caring for someone full time. This is another way home health care is beneficial. Because the help comes straight to the patient's house, they are more able to customize the recovery schedule to meet everyone's needs.
Another benefit of home health care is that is comes with great flexibility. For instance, companion care helps keep patients from getting lonely during recovery and helps them get of the house to see friends. Other types of assistance available include running errands, putting on makeup, measuring out medication, housekeeping and maintaining personal hygiene. Specialized care is also offered for Alzheimer's, dementia and other specific illnesses.
Rather than take away the freedoms and dignity of an elderly person in chronic or temporary ill health, in-home care allows them to be in the most comfortable place possible while they are under the weather. Sleeping in your own bed, cooking in your own kitchen, sitting in your own living room, bathing in your own bathroom - all these comfortingly familiar places will help keep your loved one happy and healthy during their illness.


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From The Archives #4: Emma Frost Private Commission
This is a commission I did almost ten years ago, infact, I have a feeling it was the first private commission I ever did. This was long before I even owned a computer, & as a result this is a scan of an old colour photocopy. The original was done with markers.
Labels: Private commission


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A thought which has been persistent in my mind and demanded some chintan to find a rational and practical way forward. We have seen a lot of talk about the need for it but have seldom come across a solution. In the rhetorical narrative on the subject of co-existence, the solutions proposed are radical and impractical to say the least. Having given this subject a lot of thought, lot of time in reading various views, and going through history to understand the road we have travelled so far, I pen the below essay…
One basic premise, that we need to understand clearly is that Sanatan Dharma (followed by the Hindu demography) and Islam (followed by the Muslim demography) are essentially diametric in nature, in the process to seek the ultimate truth, and on a superficial level. A level which the general masses relate to and perceive.
In the essay below the words Islamic Invaders, Hindu, and Muslim have been used with the following meanings. The reader is advised NOT to confuse between these meanings and NOT to derive unintended meaning/s and twist my words out of context.
*Islamic Invaders – Means those who came from outside the Indian subcontinent with the sole aim to loot the land and convert people forcibly to Islam.
*Hindus – The collective whole of the existing masses in the Indian subcontinent including various sects within Hinduism, Jainism, and Buddhism. (Also includes Sikh community after its formation).
*Muslims – The collective whole of indigenous masses of the Indian subcontinent, who follow Islam as a practice of faith. Includes all followers of Islam, Shias, Sunnis, Sufis, and others alike.
The essay may sound harsh to some and reprimanding in its tone to others. However, it is for us to correct our course and swallow the bitter pill if we truly want to see ourselves as a formidable Nation and a society which the world can look up to and not dare to invade and rule ever again!
Hindu and Muslim communities in India, in general have learnt to co-exist over centuries.
While we all want to look ahead and prosper together, we must know some hard historical facts first, understand them, comprehend them, acknowledge them and know that they happened in the past.
The reality of the past –
The Indian subcontinent, before the advent of Islamic invaders* was predominantly Hindu*. Islamic invaders converted local masses mostly forcibly. Many of the existing temples were destroyed on purpose and Mosques built on the same structures. The purpose was to intimidate and rule. Such rulers came and went. What was left behind was a bitter taste in the mouth of the Hindu community, and an awkward state for the Muslims, while they continued to practice Islam. It is a proven Historical fact that the Muslims who are the residents of the subcontinent are indigenous to the land and hence at some distant point in History were Hindus. The operative word being 'distant'. Even then both communities learnt to co-habitat amicably and prosper in trade, art, music, architecture, craft, and literature with contributions from both sides. Though these communities lived and prospered together, there was a dormant discomfort with each other as was liable to creep in after centuries of oppression on Hindus in their own land by the Ruling Foreigners.
Britishers sensed this discomfort in both communities and fanned the fundamentalist forces in both communities to create a then non-existent divide in order to fulfil their goals. They looted both the Hindu and Muslim kingdoms to fleece India of its wealth. While Physical wealth was lost, the major loss the sub-continent suffered was that of "loss of trust" between the Hindu and the Muslim communities. Though the ones who could see through the British agenda clearly rose above the imposed divide and came together ultimately to overthrow the British rule. In doing so, however the British succeeded to bleed us again by seeding, nurturing, and bringing to fruition the final divide based on religious intolerance.
Coming back to the present day –
In order to make the country a better place, both communities have to contribute to it. This requires us to take some necessary steps first within our communities, second with the other community and third as a collective whole.
Mind you these steps have to be taken by the masses and cannot be left to be hijacked by the politicos.
Steps to be taken within the communities –
- Steps to be taken by Hindus –
- Stop identifying yourselves as the class or caste they belong to and take pride in calling yourselves Indians first and then Hindus.
- Know this for a fact that Muslims living here belong to this country as much as they do. They are not from Arab nor they secretly want to go to Pakistan.
- Understand that Hinduism as a religion and way of life is religion of compassion and harmony. Follow your religion properly. Just because it given you the freedom to be what you want, do not abuse the religious freedom and demean your own religion.
- Involve yourselves more in the study of your scriptures and understand them for yourself instead of relying on what the western writers say to demean it. You shall not be considered modern by abandoning and abusing your own religion. Learn from the Muslims how to respect their religion and follow it with utmost devotion.
- Stand up for your Country First and then your Religion or Region or caste. Oppose fundamentalism at every level.
- Kick out people who consciously spread hatred for the other comunity.
- Steps to be taken by Muslims –
- Stop identifying yourselves as Muslims only, and take pride in calling yourselves Indians first and then Muslims.
- Know this for a fact that you are Indian by birth, not Arab nor Pakistani. Get this fact straight, and treat the country you, live in and belong to with the respect it deserves.
- Know that Islam is a religion of peace. Try learning the Arabic language so that you can read and interpret the Holy Quran by yourself instead of relying completely on what is told to you by someone, which you cannot verify yourself.
- Bring about essential changes (status of women, education for girls, Triple Talaq, property rights for women etc.) in the practices of your community, be open to change and move along with the current times. Learn from Hindus how to be open to change and modify practices which are causing discomfort within the community.
- Stop playing victim-minority card at the drop of the hat. Know this that Muslims as a community have more freedom, are more protected, and have more prosperity in India than anywhere else.
- Do not let Madarsas, which are supposed to instil religious teachings turn into centres instilling vicious hate and false hopes in young minds. See to it that your community Madarsa is not being exploited as such.
- Stand up for your Country First and then your Religion or Region or sub-sect. Speak up within your own community for what you feel is going wrong and is against the Country's interests. Kick out people who consciously spread hatred for the other community.
Steps to be taken with the other community –
- Steps to be taken by Hindus –
- Ask and Learn and not assume things about the other religion if you do not know.
- Stop making provocative statements hurting the religious sentiments of the other religion/community.
- Stop asking for proof of patriotism and stop being judgemental.
- Help Muslims wherever you can to bring them into the main stream.
- Steps to be taken by Muslims –
- Ask and Learn and not assume things about the other religion if you do not know.
- Stop making provocative statements hurting the religious sentiments of the other religion/community.
- Stop celebrating India's defeats in sports and other fields. It is your country's misfortune, nothing to celebrate.
- Stop taking undue advantage of the facilities extended to you as a community out of goodwill.
Steps to be taken collectively as a whole –
- Think of this country as your own. If YOU will not defend it you will cease to have the freedom and the identity to be yourself. Your religion, your views, your laws, your ideology, your own very self will NOT exist the moment your Country loses its sovereignty.
- Support UCC. It shall be beneficial in the longer run as it shall treat everyone the same. UCC is not to impinge upon your religion, but is there to give everyone an equal chance at opportunities, and law.
- Take pride in calling yourselves Indians. You represent the longest and oldest living entity called India!
- Respect the Country, its Flag and its Anthem.
- Vote responsibly. Do not get swayed by religious/regional/caste/language sentiments and vote a wrong candidate in. Rather vote someone who shall help your region and the country grow and prosper,
The aforementioned are just a few pointers which shall start us in the right direction if we really want to make India a better place for us all to live in.
I believe that India is already a good place to live in. We can surely make it better with our genuine efforts. I have confidence in India and Indians.


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George Martin
|Sir George Martin
Martin backstage at the Beatles' Love show, Las Vegas, c. 2006
|Background information
|Birth name
|George Henry Martin
|3 January 1926
|Highbury, London, England
|Rock, pop, classical
|Record producer, arranger, composer, musician, conductor
|Oboe, piano, keyboards, guitar
|Years active
|EMI, Parlophone, Apple
|Associated acts
|The Beatles, Wings, America, Cilla Black, Jeff Beck, Mahavishnu Orchestra, Paul McCartney
Sir George Henry Martin CBE (born 3 January 1926) is an English record producer, arranger, composer, conductor, audio engineer, and musician. He is sometimes referred to as "the Fifth Beatle" in reference to his extensive involvement on each of the Beatles' original albums.[1] He is considered one of the greatest record producers of all time, with 30 number-one hit singles in the United Kingdom and 23 number-one hits in the United States.
Martin was influenced by a range of musical styles, encompassing Cole Porter and John Dankworth. He attended the Guildhall School of Music and Drama from 1947 to 1950, studying piano and oboe. Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950. Martin produced comedy and novelty records in the early 1950s, working with Peter Sellers and Spike Milligan, among others.
Martin's career has spanned more than six decades, and he has worked in music, film, television, and live performance. He has also held a number of senior executive roles at media companies and contributes to a wide range of charitable causes, including his work for the Prince's Trust and the Caribbean island of Montserrat.
In recognition of his services to the music industry and popular culture, he was made a Knight Bachelor in 1996.
- 1 Early years
- 2 The Beatles
- 3 Other artists
- 4 Associated Independent Recording (AIR)
- 5 Music from James Bond series
- 6 Books and audio retrospective
- 7 Television
- 8 Awards and recognition
- 9 Selected non-Beatles hit records produced or co-produced by George Martin
- 10 Discography
- 11 Selected discography (as producer)
- 12 Notes
- 13 References
- 14 External links
Early years
When he was six, Martin's family acquired a piano that sparked his interest in music.[2] At eight years of age, Martin persuaded his parents that he should take piano lessons, but those ended after only eight lessons because of a disagreement between his mother and the teacher. After that, Martin explained that he had just picked it up by himself.[3] As a child he attended several schools, including a "convent school in Holloway", St. Joseph's elementary school in Highgate, and St Ignatius' College in Stamford Hill, to which he won a scholarship.[4] When war broke out and St. Ignatius College students were evacuated to Welwyn Garden City, his family left London and he was enrolled at Bromley Grammar School.[4]
|I remember well the very first time I heard a symphony orchestra. I was just in my teens when Sir Adrian Boult brought the BBC Symphony Orchestra to my school for a public concert. It was absolutely magical. Hearing such glorious sounds I found it difficult to connect them with ninety men and women blowing into brass and wooden instruments or scraping away at strings with horsehair bows.[5]
Despite Martin's continued interest in music, and "fantasies about being the next Rachmaninov", he did not initially choose music as a career.[6] He worked briefly as a quantity surveyor and then for the War Office as a Temporary Clerk (Grade Three) which meant filing paperwork and making tea.[7] In 1943, when he was seventeen, he joined the Fleet Air Arm of the Royal Navy and became an aerial observer and a commissioned officer. The war ended before Martin was involved in any combat, and he left the service in 1947.[8] Encouraged by Sidney Harrison (a member of the Committee for the Promotion of New Music) Martin used his veteran's grant to attend the Guildhall School of Music and Drama from 1947 to 1950, where he studied piano and oboe, and was interested in the music of Rachmaninov and Ravel, as well as Porter and Dankworth. Martin's oboe teacher was Margaret Eliot (the mother of Jane Asher, who would later have a relationship with Paul McCartney).[9][10][11] On 3 January 1948—while still at the Academy—Martin married Sheena Chisholm, with whom he had two children, Alexis and Gregory Paul Martin. He later married Judy Lockhart-Smith on 24 June 1966, and they also had two children, Lucie and Giles Martin.[12]
Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950, as an assistant to Oscar Preuss, the head of EMI's Parlophone Records from 1950 to 1955. Although having been regarded by EMI as a vital German imprint in the past, it was then seen as a joke and only used for EMI's insignificant acts.[9][13] After taking over Parlophone when Preuss retired in 1955, Martin spent his first years with the record label recording classical and Baroque music, original cast recordings of hit plays, and regional music from around Britain and Ireland.[14][15]
Martin also produced numerous comedy and novelty records. Martin scored his first hit for Parlophone in 1952 with the Peter Ustinov single "Mock Mozart" – a record reluctantly released by EMI only after Preuss insisted they give his young assistant, Martin, a chance. Later that decade Martin worked with Peter Sellers on several hits and thus came to know Spike Milligan, with whom he became a firm friend, and best man at Milligan's second marriage: "I loved the Goon Show, and issued an album of it on my label Parlophone, which is how I got to know Spike."[16] The album was Bridge on the River Wye. It was a spoof of the film The Bridge on the River Kwai, being based on the 1957 Goon Show An African Incident. It was intended to have the same name as the film, but shortly before its release, the film company threatened legal action if the name was used. Martin edited out the 'K' every time the word 'Kwai' was spoken, with Bridge on the River Wye being the result. The album included Milligan, Sellers, Jonathan Miller and Peter Cook, playing various characters.[17][18]
Other comedians Martin worked with included Bernard Cribbins, Charlie Drake, Terry Scott, Bruce Forsyth, Michael Bentine, Dudley Moore, Rolf Harris, Flanders and Swann, Lance Percival, Joan Sims, Bill Oddie, Ian Wallace, The Alberts, and The Master Singers. Martin worked with both Jim Dale and the Vipers Skiffle Group, with whom he had a number of hits. In early 1962, under the pseudonym "Ray Cathode", Martin released an early electronic dance single, "Time Beat"—recorded at the BBC Radiophonic Workshop—in much the same style as the Doctor Who theme tune. As Martin wanted to add rock and roll to Parlophone's repertoire, he struggled to find a "fireproof" hit-making pop artist or group.[19]
As a producer Martin recorded the two-man show featuring Michael Flanders and Donald Swann called At the Drop of a Hat, which sold steadily for twenty-five years, although Martin's breakthrough as a producer came with the Beyond the Fringe show cast album, which starred Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, and he would also produce the accompanying soundtrack album for David Frost's satirical BBC TV show That Was the Week That Was in 1963. Martin's work transformed the profile of Parlophone from a "sad little company" to a very profitable business.[20]
The Beatles
Martin was contacted by Sid Coleman of Ardmore & Beechwood, who told him about Brian Epstein, the manager of a band whom he had met. He thought Martin might be interested in the group, even though they had been turned down by Decca Records, among other major British labels. Until that time, although he had had considerable success with the comedy records, and a number 1 hit with the Temperance Seven, Martin had only minor success with pop music, such as "Who Could Be Bluer" by Jerry Lordan, and singles with Shane Fenton and Matt Monro. After the telephone call by Coleman, Martin arranged a meeting on 13 February 1962 with Brian Epstein.[21] Martin listened to a tape recorded at Decca, and thought that Epstein's group was "rather unpromising", but liked the sound of Lennon's and McCartney's vocals.[22]
After another meeting with Epstein on 9 May at the Abbey Road studios, Martin was impressed by Epstein's enthusiasm and agreed to sign the unknown Beatles to a recording contract without having met them or seen them play live.[23] The contract was not what it seemed, however, as Martin would not sign it himself until he had heard an audition, and later said that EMI had "nothing to lose," as it offered one penny for each record sold, which was split among the four members.[24] Martin suggested to EMI (after the release of "From Me to You") that the royalty rate should be doubled without asking for anything in return, which led to Martin being thought of as a "traitor in EMI".[25]
The Beatles auditioned for Martin on 6 June 1962, in studio three at the Abbey Road studios.[26] Ron Richards and his engineer Norman Smith recorded four songs, which Martin (who was not present during the recording) listened to at the end of the session. The verdict was not promising, however, as Richards complained about Pete Best's drumming, and Martin thought their original songs were simply not good enough.[23] Martin asked the individual Beatles if there was anything they personally did not like, to which George Harrison replied, "Well, there's your tie, for a start." That was the turning point, according to Smith, as John Lennon and Paul McCartney joined in with jokes and comic wordplay that made Martin think that he should sign them to a contract for their wit alone.[27]
The Beatles' first recording session with Martin was on 4 September, when they recorded "How Do You Do It", which Martin thought was a sure-fire hit even though Lennon and McCartney did not want to release it, not being one of their own compositions.[28] Martin was correct: Gerry & the Pacemakers' version, which Martin produced, spent three weeks at No. 1 in April 1963 before being displaced by "From Me to You". On 11 September 1962, the Beatles re-recorded "Love Me Do" with session player Andy White playing drums. Starr was asked to play tambourine and maracas, and although he complied, he was definitely "not pleased". Due to an EMI library error, 4 September version with Starr playing drums was issued on the single; afterwards, the tape was destroyed and 11 September recording with Andy White on drums was used for all subsequent releases.[29] Martin would later praise Starr's drumming, calling him "probably ... the finest rock drummer in the world today".[30] "Love Me Do" peaked at number 17 in the British charts, so on 26 November 1962 Martin recorded "Please Please Me", which he only did after Lennon and McCartney had almost begged him to record another of their original songs. Martin's crucial contribution to the song was to tell them to speed up what was initially a slow ballad. After the recording Martin looked over the mixing desk and said, "Gentlemen, you have just made your first number one record".[31][32] Martin directed Epstein to find a good publisher, as Ardmore & Beechwood had done nothing to promote "Love Me Do", informing Epstein of three publishers who, in Martin's opinion, would be fair and honest, which led them to Dick James.[33]
As an arranger
Martin's deeper musical expertise helped fill the gaps between the Beatles' unrefined talent and the sound that distinguished them from other groups and eventually made them successful. Most of the Beatles' orchestral arrangements and instrumentation (as well as frequent keyboard parts on the early records) were written or performed by Martin in collaboration with the less musically experienced band.[34] It was Martin's idea to put a string quartet on "Yesterday", against McCartney's initial reluctance.[34][35] Martin played the song in the style of Bach to show McCartney the voicings that were available.[36] Another example is the song "Penny Lane", which featured a piccolo trumpet solo. McCartney hummed the melody he wanted, and Martin notated it for David Mason, the classically trained trumpeter.[37]
Martin's distinctive arranging work appears on many Beatles recordings. For "Eleanor Rigby" he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said his "Eleanor Rigby" score was influenced by Herrmann's score for the Alfred Hitchcock thriller, Psycho.[38] For "Strawberry Fields Forever", he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing.[39] For "I Am the Walrus", he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble.[40][41][42] On "In My Life", he played a speeded-up baroque piano solo.[43] He worked with McCartney to implement the orchestral 'climax' in "A Day in the Life" and he and McCartney shared conducting duties the day it was recorded.[44]
He contributed less noted but integral parts to other songs, including the piano in "Lovely Rita",[45] the harpsichord in "Fixing a Hole", the organs and tape loop arrangement that create the Pablo Fanque circus atmosphere that Lennon requested on "Being for the Benefit of Mr. Kite!" (both Martin and Lennon played organ parts for this song), and the orchestration in "Good Night".[46][47][48] The first song that Martin did not arrange was "She's Leaving Home", as he had a prior engagement to produce a Cilla Black session, so McCartney contacted arranger Mike Leander to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself.[49] Martin was in demand as an independent arranger and producer by the time of The White Album, so the Beatles were left to produce various tracks by themselves.[50]
Martin arranged the score for the Beatles' film Yellow Submarine[51] and the James Bond film Live and Let Die, for which Paul McCartney wrote and sang the title song.[52] He also helped arrange Paul and Linda McCartney's American Number 1 single "Uncle Albert/Admiral Halsey".
Paul McCartney once commended Martin by saying: "George Martin [was] quite experimental for who he was, a grown-up."[53]
Film and composing work
Beginning in the late 1950s, Martin began to supplement his producer income by publishing music and having his artists record it. He used the pseudonyms Lezlo Anales and John Chisholm before settling on Graham Fisher as his primary pseudonym.[54]
Martin has composed, arranged and produced film scores since the early 1960s, including the instrumental scores of the films A Hard Day's Night (1964, for which he won an Academy Awards Nomination), Ferry Cross the Mersey (1965), Yellow Submarine (1968) and Live and Let Die (1973). Other notable movie scores include Crooks Anonymous (1962), The Family Way (1966), Pulp (1972) starring Michael Caine and Mickey Rooney, the Peter Sellers film The Optimists of Nine Elms (1973), and the John Schlesinger directed Honky Tonk Freeway (1981).
He also composed the David Frost theme "By George", "Eary-Feary" (the theme from the 1970 LWT horror series Tales of Unease), "Theme One" for BBC Radio 1, "Adagietto for Harmonica & Strings" for Tommy Reilly, and "Magic Carpet" for the Dakotas.
The Beatles Anthology
Martin oversaw post-production on The Beatles Anthology (which was originally entitled The Long and Winding Road) in 1994 and 1995, working again with Geoff Emerick.[55] Martin decided to use an old 8-track analogue deck—which EMI learned an engineer still had—to mix the songs for the project, instead of a modern digital deck. He explained this by saying that the old deck created a completely different sound, which a new deck could not accurately reproduce.[56] He also said he found the whole project a strange experience (and McCartney agreed), as they had to listen to themselves chatting in the studio, 25–30 years previously.[57]
Martin stepped down when it came to producing the two new singles reuniting McCartney, Harrison and Starr, who wanted to overdub two old Lennon demos. Martin had suffered a hearing loss, so he left the work to writer/producer Jeff Lynne of ELO fame.[58][59]
Cirque du Soleil and Love
In 2006, Martin and his son, Giles Martin, remixed 80 minutes of Beatles music for the Las Vegas stage performance Love, a joint venture between Cirque du Soleil and the Beatles' Apple Corps Ltd.[60] A soundtrack album from the show was released that same year.[61]
Public image
Martin's contribution to the Beatles' work has received regular critical acclaim and has led to him being described as the "Fifth Beatle".[62] However, he has distanced himself from this claim, stating that assistant and roadie Neil Aspinall would be more deserving of that title.[63]
Despite Martin's experience in working with many different artists, he has been criticised for being perceived as putting too much attention on the Beatles. Howard Stern publicly criticised Martin for receiving too much credit for the group's success, though this was quickly disputed by others as "ill-judged".[64] Beatles author Sean Egan thinks his "Fifth Beatle" image has been "overplayed by some".[65] Comedian Kevin Eldon has satirised Martin's public image in several television series, including Big Train[66] and It's Kevin.[67][68]
John Lennon trivialised Martin's importance to the Beatles' music. In his 1970 interview with Jann Wenner, Lennon said, "[Dick James is] another one of those people, who think they made us. They didn't. I'd like to hear Dick James' music and I'd like to hear George Martin's music, please, just play me some."[69] In a 1971 letter to Paul McCartney, Lennon wrote, "When people ask me questions about 'What did George Martin really do for you?,' I have only one answer, 'What does he do now?' I noticed you had no answer for that! It's not a putdown, it's the truth."[70] Lennon wrote that Martin took too much credit for the Beatles' music. Commenting specifically on "Revolution 9", Lennon said with ironic authority, "For Martin to state that he was 'painting a sound picture' is pure hallucination. Ask any of the other people involved. The final editing Yoko and I did alone." [70]
Other artists
Martin has produced recordings for many other artists, including contemporaries of the Beatles, such as Matt Monro, Cilla Black, Gerry & The Pacemakers, Billy J. Kramer & the Dakotas, The Fourmost, David and Jonathan, and The Action, as well as The King's Singers, the band America,[71] guitarists Jeff Beck and John Williams, sixties duo Edwards Hand, Gary Brooker, Neil Sedaka, Ultravox, country singer Kenny Rogers, Cheap Trick, Elton John, Celine Dion and Yoshiki Hayashi of X Japan.[72][73]
Martin also worked with the Mahavishnu Orchestra and Gary Glitter. He worked with Glitter before he was famous, and recorded several songs with him in the 1960s under the name of "Paul Raven". He also produced the 1974 album The Man in the Bowler Hat for the eccentric British folk-rock group Stackridge.[74] Martin worked with Paul Winter on his (1972) Icarus album, which was recorded in a rented house by the sea in Marblehead, Massachusetts. Winter said that Martin taught him "how to use the studio as a tool", and allowed him to record the album in a relaxed atmosphere, which was different from the pressurised control in a professional studio.[75] In 1979 he worked with Ron Goodwin to produce the album containing The Beatles Concerto, written by John Rutter. In 2010, Martin was the executive producer of the hard rock debut of Arms of the Sun, an all-star project featuring Rex Brown (Pantera, Down), John Luke Hebert (King Diamond), Lance Harvill, and Ben Bunker.[76]
In 1991, Martin contributed the string arrangement and conducted the orchestra for the song "Ticket To Heaven" on the last Dire Straits studio album On Every Street. In 1992, Martin worked with Pete Townshend on the musical stage production of Tommy. The play opened on Broadway in 1993, with the original cast album being released that summer. Martin won the Grammy Award for Best Musical Show Album in 1993, as the producer of that album.
In 1995, he contributed the horn and string arrangement for the song "Latitude" on the Elton John Made in England album, which was recorded at Martin's AIR Studios London. He also produced Elton's Diana, Princess of Wales tribute "Candle in the Wind 1997" which topped the charts in September 1997.
Associated Independent Recording (AIR)
Within the recording industry, Martin is noted for going independent at a time when many producers were still salaried staff—which he was until The Beatles' success gave him the leverage to start, in 1965, Associated Independent Recording, and hire out his own services to artists who requested him. This arrangement not only demonstrated how important Martin's talents were considered to be by his artists, but it allowed him a share in record royalties on his hits.[77] Today, Martin's Associated Independent Recording (AIR) remains one of the world's pre-eminent recording studios.[78] Martin later opened a studio on the Caribbean island of Montserrat, in 1979.[12] This studio was destroyed by Hurricane Hugo ten years later.[79]
Music from James Bond series
Martin has also directly and indirectly contributed to the main themes of three films in the James Bond series. Although Martin did not produce the theme for the second Bond film, From Russia with Love, he was responsible for the signing of Matt Monro to EMI just months prior to his recording of the song of the same title.[80]
Martin also produced two of the best-known James Bond themes. The first was "Goldfinger" by Shirley Bassey in 1964.[81] The second, in 1973, was "Live and Let Die" by Paul McCartney and Wings for the film of the same name. He also composed and produced the film's score.[82]
Books and audio retrospective
In 1979, he published a memoir, All You Need is Ears (co-written with Jeremy Hornsby), that described his work with the Beatles and other artists (including Peter Sellers, Sophia Loren, Shirley Bassey, Flanders and Swann, Matt Monro, and Dudley Moore), and gave an informal introduction to the art and science of sound recording. In 1993 Martin published Summer of Love: The Making of Sgt Pepper (published in the US as With a Little Help from My Friends: The Making of Sgt Pepper, co-authored with William Pearson),[83][84] which also included interview quotations from a 1992 South Bank Show episode discussing the album. Martin also edited a 1983 book called Making Music: The Guide to Writing, Performing and Recording.
In 2001, Martin released Produced by George Martin: 50 Years in Recording, a six-CD retrospective of his entire studio career, and in 2002, Martin launched Playback, his limited-edition illustrated autobiography, published by Genesis Publications.[85]
"The Rhythm Of Life"
In 1997–98, Martin hosted a three-part BBC co-produced documentary series titled "The Rhythm of Life" in which he discussed various aspects of musical composition with professional musicians and singers, among them Brian Wilson, Billy Joel and Celine Dion. The series aired on the Ovation television network in the United States.[86][87][88]
"Produced by George Martin"
On 25 April 2011 a 90-minute documentary feature film co-produced by the BBC Arena team, Produced by George Martin, aired to critical acclaim for the first time in the UK. It combines rare archive footage and new interviews with, among others, Paul McCartney, Ringo Starr, Jeff Beck, Cilla Black and Giles Martin and tells the life story of George Martin from schoolboy growing up in the Depression to legendary music producer. The film, with over 50 minutes of extra footage, including interviews from Rick Rubin, T-Bone Burnett and Ken Scott, was released world-wide by Eagle Rock Entertainment on DVD and Blu-ray on 10 September 2012.
Awards and recognition
- Academy Award 1964 – Nomination Scoring of Music (for A Hard Day's Night)[89]
- Grammy Award 1967 – Best Contemporary Album (as producer of Sgt. Pepper's Lonely Hearts Club Band)[90]
- Grammy Award 1967 – Album of the Year (as producer of Sgt. Pepper's Lonely Hearts Club Band)[90]
- Grammy Award 1973 – Best Arrangement Accompanying Vocalist(s) (as arranger of "Live and Let Die")[90]
- BRIT Awards 1977 – Best British Producer (of the past 25 years).[91]
- BRIT Awards 1984 – Outstanding Contribution To Music[92]
- Grammy Award 1993 – Best Musical Show Album (as producer of The Who's Tommy)[90]
- Grammy Award 2007 – Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media, producer together with Giles Martin, of The Beatles album Love[90]
- Grammy Award 2007 – Best Surround Sound Album, producer together with Giles Martin, of The Beatles album Love[90]
- Martin was named the British Phonographic Industry's "Man of the Year" for 1998.
- In April 1989, he was awarded an Honorary Doctorate in Music by Berklee College of Music in Boston, Massachusetts.[93]
- He was inducted into the Rock and Roll Hall of Fame on 15 March 1999[94] and into the UK Music Hall of Fame on 14 November 2006.
- In 2002, he was given the Lifetime Achievement Award for Services to Film by the World Soundtrack Academy at Belgium's Flanders International Film Festival.
- He was granted his own Coat of Arms in March 2004 by the College of Arms. His shield features three beetles, a house martin holding a recorder, and the Latin motto Amore Solum Opus Est ("All You Need Is Love").[95]
- In November 2006, he was awarded an Honorary Doctorate in Music by Leeds Beckett University[96]
- In September 2008, he was awarded the James Joyce Award by the Literary and Historical Society of University College Dublin.[97]
- Martin has also been honoured with a Gold Medal for Services to the Arts from the CISAC (the International Confederation of Societies of Authors and Composers).
- On 25 May 2010 he was given an honorary membership in the Audio Engineering Society at the 128th AES Convention in London.
- On 29 June 2011 he was given an honorary degree, Doctor of Music, from the University of Oxford.[98]
- On 19 October 2012 won a lifetime award in the 39th Golden Badge Awards[99]
Martin is one of a handful of producers to have number one records in three or more consecutive decades (1960s, 70s, 80s, and 90s). Others in this group include Phil Spector (1950s, 60s and 70s), Quincy Jones (1960s, 70s and 80s), Michael Omartian (1970s, 80s and 90s), and Jimmy Jam and Terry Lewis (1980s, 90s, and 2000s).[100][101]
Selected non-Beatles hit records produced or co-produced by George Martin
Records produced by Martin have achieved 30 number one singles and 16 number one albums in the UK—plus 23 number one singles and 19 number one albums in North America.[102]
- "You're Driving Me Crazy", The Temperance Seven (25 May 1961, #1)
- "My Kind of Girl," Matt Monro (31 July 1961, #5)
- "My Boomerang Won't Come Back", Charlie Drake (5 October 1961, #14)
- "Sun Arise," Rolf Harris (25 October 1962, #3)
- "Little Children," Billy J. Kramer with the Dakotas (19 March 1964, #1)
- "Bad to Me," Billy J. Kramer with the Dakotas (22 August 1963, #1)
- "Hello Little Girl," The Fourmost (30 August 1963, #9)
- "Don't Let the Sun Catch You Crying," Gerry & the Pacemakers (4 July 1964, #4)
- "You're My World," Cilla Black (1 August 1964, #1)
- "How Do You Do It?," Gerry & the Pacemakers (11 April 1963, #1)
- "Can't Buy Me Love", Ella Fitzgerald (1 May 1964, #34)
- "Walk Away," Matt Monro (4 September 1964, #4)
- "I Like It," Gerry & the Pacemakers (7 November 1964, #1)
- "I'll Be There," Gerry & the Pacemakers (30 January 1965, #14)
- "Ferry Cross the Mersey," Gerry & the Pacemakers (20 March 1965, #6)
- "Goldfinger," Shirley Bassey (27 March 1965, #8)
- "You'll Never Walk Alone," Gerry & the Pacemakers (3 July 1965, #48)
- "Trains and Boats and Planes," Billy J. Kramer with the Dakotas (31 July 1965, #47)
- "Alfie," Cilla Black (10 September 1966,#UK6 #95)
- "Girl on a Swing," Gerry & the Pacemakers (22 October 1966, #28)
- "Live and Let Die," Paul McCartney & Wings (1 June 1973, UK#9 US#2)
- "Tin Man," America (9 November 1974, #4)
- "Lonely People," America (8 March 1975, #5)
- "Sister Golden Hair," America (14 June 1975, #1)
- "Oh! Darling," Robin Gibb (7 October 1978, #15)
- "The Night Owls", Little River Band (1981, US #6)
- "Ebony and Ivory" Paul McCartney & Stevie Wonder (29 March 1982 US #1)
- "Say, Say, Say" Paul McCartney & Michael Jackson (10 December 1983, #1)
- "No More Lonely Nights", Paul McCartney (8 December 1984, #6)
- "Morning Desire", Kenny Rogers (10 July 1985, #1)
- "The Man I Love", Kate Bush & Larry Adler (18 July 1994, #27)
- "Candle in the Wind 1997", Elton John (11 October 1997, #1)
- "Pure" 2003, Hayley Westenra (#1 UK classical charts, No. 8 UK pop charts)
- Off the Beatle Track (1964 Parlophone PCS 3057)
- A Hard Day's Night: Instrumental Versions of the Motion Picture Score (19 February 1965, United Artists)
- George Martin Scores Instrumental Versions of the Hits (1965)
- Help! (1965 Columbia TWO 102)
- ..and I Love Her (1966 Columbia TWO 141)
- George Martin Instrumentally Salutes The Beatle Girls (1966)
- British Maid (1968 United Artists SULP 1196, released in the US as London by George)
- Yellow Submarine (side one: The Beatles, side two: The George Martin Orchestra, 1969)
- By George! (1970 Sunset SLS 50182, reissue of British Maid)
- Live and Let Die (producer for Paul McCartney's song, and composer of musical score, 1973)
- Beatles to Bond and Bach (1978)
- In My Life (1998)
- Produced by George Martin (2001)
- The Family Way (2003)
Selected discography (as producer)
- Sidney Torch – "Barwick Green" (The Archers theme) (1951)
- Jack Parnell – "The White Suit Samba" (1951)
- Jimmy Shand – "Bluebell Polka" (1952)
- Kenneth McKellar – "Ae Fond Kiss" (1952)
- Tommy Reilly – "Melody on the Move" (1952)
- Peter Ustinov – "Mock Mozart" (1952)
- Eve Boswell – "Pickin' A Chicken" (1955)
- Edna Savage – "Arrivederci Darling" (1955)
- Eamonn Andrews – "The Shifting Whispering Sands" (1956)
- Dick James – "Robin Hood" (1956)
- The Ivor and Basil Kirchin Band - "Rock-A-Beatin' Boogie" (1956)
- Johnny Dankworth – "Experiments With Mice" (1956)
- Shirley Abicair – "Smiley" (1956)
- Mandy Miller – "Nellie the Elephant" (1956)
- The Vipers Skiffle Group – "Don't You Rock Me Daddy-O" (1957)
- Jim Dale – "Be My Girl" (1957)
- Ian Wallace – "The Hippopotamus Song" (1957)
- Charlie Drake – "Splish Splash" (1958)
- Peter Sellers – "A Drop of the Hard Stuff" (1958)
- Humphrey Lyttelton – "Saturday Jump" (1959)
- Bruce Forsyth – "I'm in Charge" (1959)
- Flanders and Swann – At the Drop of a Hat (1960)
- Matt Monro – "Portrait of My Love" (1960)
- Peter Sellers and Sophia Loren – "Goodness Gracious Me" (1960)
- Beyond the Fringe (Original Cast Recording) (1961)
- Dudley Moore – "Strictly For the Birds" (1961)
- Bernard Cribbins – "Right Said Fred" (1962)
- Michael Bentine – "Football Results" (1962)
- Terry Scott – "My Brother" (1963)
- Joan Sims – "Oh Not Again Ken" (1963)
- Shirley Bassey – "I (Who Have Nothing)" (1963)
- David Frost and Millicent Martin – That Was the Week That Was (1963)
- Cambridge Circus (Original Cast Recording) (1963)
- Flanders and Swann – At the Drop of Another Hat (1964)
- Alma Cogan – "It's You" (1964)
- The Scaffold – "2 Day's Monday" (1966)
- Ron Goodwin – Adventure (1966)
- Edwards Hand – Edwards Hand (1969)
- Stan Getz – Marrakesh Express (1969)
- Ringo Starr – Sentimental Journey (1970)
- Seatrain – Seatrain (1970)
- The King's Singers – "The King's Singers Collection" (1972)
- Paul Winter Consort – Icarus (1972)
- The King's Singers – "A French Collection" (1973)
- The King's Singers – "Deck the Hall" (1973)
- John Williams – The Height Below (1973)
- Stackridge – The Man in the Bowler Hat (released as Pinafore Days in the US and Canada) (1974)
- Mahavishnu Orchestra – Apocalypse (1974)
- America – Holiday (1974)
- Tommy Steele – My Life, My Song (1974)
- Jeff Beck – Blow by Blow (1975)
- America – Hearts (1975)
- America – Hideaway (1976)
- American Flyer – American Flyer (1976)
- Jeff Beck – Wired (1976)
- Cleo Laine – Born On a Friday (1976)
- Jimmy Webb – El Mirage (1977)
- America – Harbor (1977)
- Neil Sedaka – A Song (1977)
- Sgt. Pepper's Lonely Hearts Club Band (Original Soundtrack) (1978)
- Gary Brooker – No More Fear of Flying (1979)
- Cheap Trick – All Shook Up (1980)
- UFO – No Place to Run (1980)
- Little River Band – Time Exposure (1981)
- Ultravox – Quartet (1982)
- Paul McCartney – Tug of War (1982)
- Paul McCartney – Pipes of Peace (1983)
- Paul McCartney – Give My Regards to Broad Street (1984)
- Andy Leek – Say Something (1988)
- Yoshiki – Eternal Melody (1993)
- Tommy (Original Cast Recording) (1993)
- Celine Dion – "The Reason" (1997)
- George Martin – In My Life (1998)
- The Beatles – Love (2006)
- ↑ The completed "Let It Be" album was reproduced for release by Phil Spector, but Martin oversaw the production of the Beatles' recording sessions.
- ↑ Martin (1989) p13
- ↑ Martin 1995, p. 14.
- ↑ 4.0 4.1 Martin 1995, p. 15.
- ↑ A lifelong love affair with the orchestra bbc.co.uk. Retrieved: 21 September 2007
- ↑ Martin 1995, p. 17.
- ↑ Martin 1995, p. 18.
- ↑ Martin 1995, pp. 25–28.
- ↑ 9.0 9.1 Spitz 2005, p. 296.
- ↑ Spitz 2005, p. 438.
- ↑ Martin 1995, pp. 18–25.
- ↑ 12.0 12.1 George Martin's Biography musicianguide.com. Retrieved: 23 September 2007
- ↑ Martin 1995, pp. 28–29.
- ↑ Martin 1995, p. 63.
- ↑ Martin 1995, pp. 84–85.
- ↑ Ventham 2002, p. 62.
- ↑ Lewis(1995) pp205–206
- ↑ "Description of Bridge on The River Wye—scroll down page". Thegoonshow.net. Retrieved 22 September 2011.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Miles 1997, pp. 330–331.
- ↑ Spitz 2005, p. 297.
- ↑ Spitz 2005, pp. 297–298.
- ↑ Spitz (2005) p301
- ↑ 23.0 23.1 Miles 1997, p. 90.
- ↑ Spitz 2005, p. 312.
- ↑ Spitz 2005, p. 414.
- ↑ Martin 1995, pp. 120–123.
- ↑ Spitz 2005, pp. 318–319.
- ↑ Lewisohn 1990, p. 7.
- ↑ Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1
- ↑ George Martin interviewed on the Pop Chronicles (1969)
- ↑ Spitz 2005, p. 360.
- ↑ "Congratulations, gentlemen, you've just made your first number one." bbc.co.uk. Retrieved: 21 September 2007.
- ↑ Spitz 2005, p. 364.
- ↑ 34.0 34.1 Miles 1997, p. 205.
- ↑ "What about a classical string quartet?" bbc.co.uk. Retrieved: 21 September 2007
- ↑ Miles 1997, p. 206.
- ↑ Lewisohn 1990, p. 93.
- ↑ MacDonald (1994) p163
- ↑ Lewisohn 1990, pp. 90–91.
- ↑ Lewisohn 1990, p. 127.
- ↑ Miles 1997, p. 357.
- ↑ MacDonald (1994) p216
- ↑ Lewisohn 1990, p. 65.
- ↑ Miles 1997, pp. 326–328.
- ↑ MacDonald (1994) pp189–190
- ↑ Lewisohn 1990, p. 99.
- ↑ Miles 1997, p. 318.
- ↑ Lewisohn 1990, p. 144.
- ↑ Miles 1997, p. 317.
- ↑ Miles 1997, p. 491.
- ↑ Martin 1995, pp. 226–230.
- ↑ Martin 1995, pp. 231–232.
- ↑ "'Good Day Sunshine'". 100 Greatest Beatle Songs. Rolling Stone.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Lewisohn 2013, p. 273.
- ↑ "The Beatles Anthology" DVD 2003 (Special Features—Compiling The Anthology Albums—0:00:10) George Martin talking about The Anthology project.
- ↑ "The Beatles Anthology" DVD 2003 (Special Features: Compiling The Anthology Albums—0:03:14) George Martin talking about using an old 8-track desk for The Anthology project.
- ↑ "The Beatles Anthology" DVD 2003 (Special Features—Compiling The Anthology Albums—0:10:24) George Martin talking about how strange it was to listen to himself and the group chatting 30 years ago.
- ↑ Martin's hearing loss 4hearingloss.com. Retrieved: 23 September 2007
- ↑ "handed over further duties to ELO supremo Jeff Lynne" icons.org.uk. Retrieved: 23 September 2007
- ↑ Love unveils new angle on Beatles bbc.co.uk. Retrieved: 21 September 2007
- ↑ Legendary producer returns to Abbey Road bbc.co.uk. Retrieved: 21 September 2007
- ↑ Rushton, Katherine (24 April 2012). "'Fifth Beatle' Sir George Martin believes EMI break-up 'the worst thing music has ever faced'". Daily Telegraph. Retrieved 5 September 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Ingham, Chris (2009). The Rough Guide to the Beatles. Dorling Kindersley Ltd. p. 236. ISBN 978-1-84836-525-4.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Howard Stern turns his fire on Beatles' mentor George Martin". London Evening Standard. 5 October 2012. Retrieved 5 September 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Egan, Sean (2009). The Mammoth Book of the Beatles. Robinson. p. 117. ISBN 978-1-84529-943-9.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Tate, Gabriel (8 February 2013). "The Beatles' Please Please Me: Remaking a Classic". Time Out. Retrieved 5 September 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Seale, Jack (24 March 2013). "That Week on TV: The Spies Who Fooled the World, BBC1; It's Kevin, BBC2". Radio Times. Retrieved 5 September 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Sutcliffe, Tom (18 March 2013). "The Weekend's Viewing: Kevin Eldon can make a dumb joke and a clever one simultaneously, a trick he pulled off more than once". The Guardian. Retrieved 5 September 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "The Rolling Stone Interview: John Lennon (text and podcast)". Imaginepeace.com. 18 May 2014. Retrieved 2014-07-30.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 70.0 70.1 Willman, Chris (8 October 2012). "'John Lennon Letters' Reveal Bitterness Toward George Martin As Well as McCartney | Stop The Presses! (NEW) – Yahoo Music". Music.yahoo.com. Retrieved 2014-07-30.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Martin 1995, pp. 246–247.
- ↑ "Eternal Melody release information". cdjapan.co.jp.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Retrieved: 21 September 2007
- ↑ Strauss, Neil (18 June 1998). "Article on Hideto Matsumoto's death". The New York Times. Retrieved 3 May 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Retrieved: 21 September 2007
- ↑ Stackridge web page stackridge.net Retrieved on 19 September 2007 Archived 21 November 2008 at the Wayback Machine
- ↑ Paul Winter comments about Martin and recording northwestern.edu Retrieved 8 November 2007
- ↑ George Martin Project Set to Debut on ExtremeMusic.com Retrieved 20 February 2010.
- ↑ Martin 1995, pp. 179–185.
- ↑ Air studios web page airstudios.com Retrieved on 19 September 2007 Archived 8 February 2012 at the Wayback Machine
- ↑ Rock and roll hall of fame:George Martin rockhall.com
- ↑ Andrews Sisters, Ann Shelton, Matt Monro—bottom of page eastlondonhistory.com. Accessed 29 December 2007 Archived 30 October 2014 at the Wayback Machine
- ↑ Tracklisting for George Martin compilation on his official site georgemartin.co.uk. Accessed 29 December 2007
- ↑ "George Martin – film composer and Music Producer". Mfiles.co.uk. Retrieved 22 September 2011.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ George Martin (1994)
- ↑ Summer Of Love genesis-publications.com. Retrieved: 23 September 2007
- ↑ Playback—An Illustrated Memoir genesis-publications.com. Retrieved: 23 September 2007
- ↑ Program listing at British Film Industry website bfi.org.uk. Retrieved: 2 May 2013
- ↑ "The Rhythm of Life strikes a sweet note with Ovation" realscreen.com. Retrieved: 2 May 2013
- ↑ "All You Need Is ... 'The Rhythm of Life'" articles.latimes.com. Retrieved: 2 May 2013
- ↑ "awardsdatabase.com". Archived from the original on 6 February 2012.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 90.0 90.1 90.2 90.3 90.4 90.5 "GRAMMY.com". Retrieved 18 February 2007.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Brit Awards bbc.co.uk. Retrieved: 21 September 2007
- ↑ "The BRIT Awards 1984". Archived from the original on 16 February 2007. Retrieved 18 February 2007.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Commencement Address". 13 April 1989. Retrieved 7 December 2015.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Rock and Roll Hall of Fame and Museum". Archived from the original on 2 February 2007. Retrieved 18 February 2007.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "College of Arms". Retrieved 16 March 2007.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Leeds Beckett University Winter Graduation 2006". Missing or empty
|url=(help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>[dead link]
- ↑ "Irish Independent". 25 September 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "University of Oxford Gazette". Retrieved 29 June 2011.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Golden Badge Awards
- ↑ Bronson, Fred. Billboard's Hottest Hot 100 Hits. Billboard Books, 2003 (3rd ed.), p. 106-128.
- ↑ Whitburn, Joel. Joel Whitburn's Top Pop Singles 1955–2012. Record Research, 2013 (14th ed.).
- ↑ George Martin's success wma.com/sir. Retrieved: 19 September 2007
- The Beatles (2003). The Beatles Anthology (DVD). Apple records. ASIN: B00008GKEG.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Lewis, Roger (1995). The Life and Death of Peter Sellers. London: Arrow. ISBN 978-0-09-974700-0.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Lewisohn, Mark (2013). The Beatles: All These Years: Volume I: Tune In. Crown Archetype. ISBN 978-1-4000-8305-3.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Lewisohn, Mark (1990). The Beatles: Recording Sessions. Three Rivers Press; Reprint edition. ISBN 978-0-517-58182-7.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- MacDonald, Ian (1994). Revolution in the Head: The Beatles' Records and the Sixties. New York: Henry Holt and Company. ISBN 978-0-8050-2780-8.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Martin, George (1983). Making Music. New York: William Morrow and Company. ISBN 0-688-01465-8.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Martin, George (1995). All You Need Is Ears. New York: St. Martin's Press. ISBN 978-0-312-11482-4.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Miles, Barry (2002). In the Sixties. Jonathan Cape. ISBN 978-0-224-06240-4.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Spitz, Bob (2005). The Beatles – The Biography. Little, Brown and Company. ISBN 978-0-316-80352-6.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Ventham, Maxine (2002). Spike Milligan: His Part In Our Lives. London: Robson. ISBN 978-1-86105-530-9.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
External links
|Wikimedia Commons has media related to [[commons:Category:{{#property:P373}}|George Martin]].
- George Martin – Management biography
- George Martin at the Rock and Roll Hall of Fame
- George Martin at the Internet Movie Database
- College of Arms. The Arms of Sir George Martin, Kt., C.B.E.
- JazzWax.com: Four-part interview by Marc Myers for the Wall Street Journal
- "Produced by George Martin" DVD review
- Interview at Hit Channel
- George Martin interview on BBC Radio 4 Desert Island Discs, August 6, 1982
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text:
Comparative fermentation of insoluble carbohydrates in an in vitro human feces model spiked with Lactobacillus acidophilus NCFM
- Authors:
- 10.1002/star.201200091
- Abstract:
- Dietary fiber and slow carbohydrates can have differential beneficial effects on gut microbial composition and metabolism. Insoluble substrates such as RS cannot be used in continuous simulation systems and we tested an in vitro batch fermentation system for possible prebiotic effects using waxy maize starch granules, pectin‐rich potato fiber, and potato lintner starch tested with human fresh fecal microbiota spiked with the probiotic Lactobacillus acidophilus NCFM. Microbial quantification by real‐time polymerase chain‐reaction (qRT‐PCR) revealed that Bacteroidetes was specifically suppressed by each insoluble carbohydrate resulting in a clear decrease in the ratio of Bacteroidetes and Firmicutes. Notably, all carbohydrates tested appeared to block the formation of the potentially harmful branched chain fatty acids (BCFA) fermentation products, but supported lactobacilli growth and increase in lactic acid production. Potato lintner starch had the greatest effect. Insoluble carbohydrates also suppressed production of SCFAs as compared to the control medium. Importantly, potato lintner starch most efficiently suppressed the ratio between the Bacteroidetes and Firmicutes and suppressed growth of bifidobacteria, Enterobactericeae and Faecalibacterium prausnizii. Degradative resistance of the lintner starch were linked to these effects. Problems using continuous fermentation systems for insoluble prebiotics and interpretation of batch fermentation data are discussed.
- Type:
- Journal article
- Language:
- English
- Published in:
- Starch, 2013, Vol 65, Issue 3‐4, p. 346-353
- Main Research Area:
- Science/technology
- Publication Status:
- Published
- Review type:
- Peer Review
- Submission year:
- 2013
- Scientific Level:
- Scientific
- 236790171


text:
Sharp and Bright Display
The Toshiba TDP-T45U Mobile projector is ideal for presenters who demand quality, portability and flexibility without sacrificing performance. Toshiba's new projector features an impressive 2,500 ANSI lumens, XGA resolution (1024x768) and a razor-sharp contrast ratio of 2000:1 The projector is ideal for both professional presentations in any setting as well as for home entertainment such as DVD movies, weekend sporting events and playing video games with larger-than-life images.
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RoHS Compliance
Projector Warranty:
Lamp: 90 day Standard Limited Warranty or 500 hours, whichever comes first, Projector: 2-Years Parts and Labor Standard Limited Warranty


text:
real hard to guess
what that pdp is, when its written underneath for the "next"
Britain's first Vintage Computing Festival took place over the weekend at Bletchley Park, which was the perfect excuse to visit the National Museum of Computing, a recent addition to the Park site. All three are a tribute to the passion of volunteers – the state has only very recently saw fit to give any money to the historic …
Cool, very cool.
Your "relative of the TRS-80" is of course the well known Dragon 32. It was not an obscure box, but one of the front runners circa 1982. It came with a "proper" keyboard: a rarity at the time, and perhaps its main selling point, at least to aspiring programmers. Mine came from Boots (via Santa) for £199.95.
It was a repackaged Tandy Color Computer. 6809 processor running at 0.9 mhz. By typing "poke 65495, 1" you could double that to 1.8 Mhz. Overclocking.
It wasn't ideal for action games because the colour maps were a bit restricted. But it did have one outstanding game - The Ring of Darkness, from Wintersoft. Whoerver wrote that is a genius. A large graphical adventure that used both sides of the program tape, and saved data to a second tape. A superb playing experience from 8 bits and something of a "killer app" for the box. Remarkable.
That Sinclair ZX PBS+ Executive IV keyboard looks the same as the one on the Sinclair QL. And it was anything but good - the keys were very difficult to actually press.
I had an NC100 whilst at school - excellent machine with something missing from stuff these days - a decent battery life. It'd go weeks on 4xAA's. Was also pretty hardy too - it got dropped often enough... Had the NC200 too - that even came with a floppy drive.
Damn, now I'm all nostalgic. I'll have to go and dig them out and see if they still work...
I worked at a place where we produced a form-fit and function compatible USB drive to replace their aging RK-05's. They were using them as part of a PDP-11 based system that was used to calibrate their 'Firefinder' system:
The problem was that even though they calibrated fine whilst in the US of A, by the time they had travelled half the world they had a tendency to hit the wrong targets. So glad I don't work there any more, my concious feels a lot cleaner.
Mines the Archimedes with the 486 co-pro
Fancy not recognising the Dragon 32 - one of Wales' biggest high-tech exports in c.1984! How old is the reporter? They were only EVER "over here"!
BTW it's based on the Tandy Color Computer (CoCo) featuring the rather nice 6809 CPU.
I still have a Dragon 64 Boxed Up with it's OS9 Drive and Discs (I upgraded from a 32 to 64), eventually however I moved to a spectrum then to an Atari 520 ST/FM before finally entering the wonderful world of PC's on a DX2/66 processor. My prize computing possession is a boxed up ZX81 1k :)
I feel old after going through that list.
Archimedes are always under-represented at fairs. I don't know why. Maybe the hardcore Acorn enthusiasts find hacking the 8bits more of a challenge.
I learned GUI programming on an A310. After that, everything (eg, Motif, Windows, OS/2) seemed needlessly difficult. So I stopped.
Maybe the Archimedes and later RISC OS machines are not considered retro enough yet.
But there were Archimedes at the VCF, mainly in the Acorn World section of course. There were some running retro games, plus the RISC OS User Group Of London were showing more up to date stuff including RISC OS running on a BeagleBoard. As the whole computer is then only 3 inches square you could be forgiven for missing it!
Not like one unfortunate Acorn fan who missed the whole Acorn World exhibition because he turned up just as Sophie Wilson's talk was on, and the section had closed down because everyone wanted to hear the presentation :-)
Perhaps it is because the Archimedes isn't retro enough, but I suspect it's more down to it being a school computer than a home computer.
The few people I knew with BBCs and Archimedes were bought them "because it's an educational tool". Whereas people got a Spectrum, C64, Atari, Amiga etc "because it's awesome".
I never quite understood why Acorn used CBM's Amiga model numbering though...
I recently found all my old CDTV peripherals and CDPD discs.. can't find the actual unit though...
I have no hard evidence to back this up, but could it be because quite a few RISC OS-based machines might still be in use?
After an initial flirtation with a ZX80 we became an Acorn-obsessed family, finally owning between us an Atom, a BBC model B, two BBC Master 128s, two Archimedes A3000s, an Archimedes A410/1, a RISC PC600 and a RISC PC700.
Of that little collection, the A410/1 and one of the RISC PCs are still in regular use, which when you consider the RPC is about thirteen years old and the A410/1 is damn nearly twenty years old, is pretty remarkable.
RISC OS is still a going concern too, of course.
...and some UK bowling alleys, although maybe not quite that recently (Shipley's lasted past Y2K at least) - the early Windows-based scoring systems didn't connect to the really old lane-end hardware without (initially flaky) network adapter boards and obsoletion took a *long* time. I was particularly amused when our local league manager noted that "the millennium bug doesn't worry us. We've been having date rollover problems on our systems for years already".
I got to hulk what turned out to be the remains of Leeds AMF's machine up to the Uni for the department's IT staff to peer at, only to find there wasn't that much computer still in there. But the rarity of seeing one went down well.
It seemed to me (but then, I'm pretty weird <g>) that moving from RISC OS GUI programming in C/assembler to VisualBasic on a PC was about an equal level of effort. There was something just so *nice* about the ARM. When you delve into the intricacies of the Windows API, it gets really icky really quickly.
I use my eeePC most of the time, but my RiscPC is over in the corner. I may write some basic mailserver software for it and run the whole contraption off an IDE/CF combo instead of a traditional harddisc. I have moved away from Acorn kit primarily because the stuff I have doesn't do streaming video and the stuff I can't afford rarely has codec support. I would like to think that would change with newer ARM-based netbook/tablet devices, but I'd imagine those would be ARM+DSP so little to filter down to the older style RISC OS machines...
...speaking of which, I am looking into the datasheets of the heart of my Neuros OSD (ARM based digital video recorder) to see about the viability of putting together enough of a HAL to get the RISC OS kernel running... no real reason, just because...
Referring to other parts of the article - I'm surprised no mention of the ORIC-1? It is a good example of how not to design a computer. Naff BASIC (if it qualifies as an actual language and not just a script interpreter) and naffer keyboard, it coupled with the BBC Micro, is a good example of the variety of machines that could be built upon the 6502. I pity people who only know of Orics and Speccys and never knew the fun that early home computing could bring, from fiddling with homebrew kit on expansion ports to writing drivers on a sane (with vectors) operating system, to programming entire applications without a single solitary GOTO.
But Chuckie Egg... Oh how my life would have been different if I did my prep (homework) instead of being chased around by a giant badly animated chicken thing while making a mad dash for a raising platform while dodging killer ostriches! (phew!) I dunno, I'm not a hardcore gamer, but I've played some more recent stuff and I'm afraid *nothing* held my interest as much as Chuckie Egg.
I remember being interested in it because it filled that spot between the Spectrum with its nasty "dead flesh" keyboard and the BBC Micro with its nasty price tag! Its main problems were that neither the BASIC nor the graphics were really up to scratch; the BASIC wasn't *terrible*, but it was looking a bit lacklustre by the time of its release and though the screen resolution was okay for the time, the lack of colour options was problematic from a games perspective.
It wasn't all about games, though, and it was certainly an interesting machine, most of all for those who had deep enough pockets to invest in a disc-based system where more "serious" operating systems than the run of the mill such as Flex and OS/9 were available. Sadly, my pockets were only deep enough for a second-hand Bush cassette deck and the joy of wrinkly tapes!
...the comment about never seeing a decent keyboard on a spectrum was pretty lame too - given that the picture is basically a standard Spectrum+ in a suitcase, and the Spectrum+ always had that keyboard.
It seems the reporter is trying to share some nostalgia for an era he was never actually part of!
Was the Dragon actually based on the Tandy Color Computer or just similar to it? I remember this was a bone of contention at the time, with some people claiming it was just a repackaged CoCo and others asserting that any similarities to computers living or dead was purely coincidental.
I suspect both are products of the off-the-shelf BASIC they employed to run on the 6809 which presumably rather limited the supporting chips that were in use; I remember bemoaning the consequent use of the 6847 graphics contraption rather than the BBC Micro's much more capable 6845, for example, but that's rather getting off the point.
Having a little friendly bet with myself here, the machine with the SD card expansion I think it's an Acorn Atom.
Mr Orlowski sir, how correct am I?
I did go to Bletchley Park a few years ago when they had a similar exhibition and I felt like a kid in a sweet shop, I need to go again.
.....the fact that a lot of the 'modders' there were'nt even born when this kit was in the shops.
I'm gald I was 12 years old in 1983 and could enjoy that wonderful 8bit period of UK microcomputing. It burnt so brightly but fizzled out just as quick.
The memories will last forever.
2966??? Yer toutin a 2900 series as a real ICL machine? Y'soft southern jessies! Yerl be tellin me next yer runnin' VME on t' bugger!
The only real ICL computer were 1900 series fitted wi' GEORGE. A real man wouldn't use owt above GEORGE II+ neither. And if y'could fit all the operatin' system inter memory AND a program too, you 'ad too much memory.
Y' c'n 'ave a big fat GO 29 fer that 2900!
Kids t'day!
My first program was written in fortran on hollerith cards (hand punched) and batch run on a 1900. You then had to wait a day or so and if you were good you got your output as 132 col fanfold - or a list of compilation errors. This forced you to think through any possible
compile and run time errors. It led to think before type programming.
Bring back punched cards! Make the bloody students punch them by hand. Make them *think* about whether there are errors before submitting thier software for execution.
Yesterday I saw the following code on full-disclosure - it was written by what passes for a security expert. The mind really boggles.
for $countargs (0..scalar(@inputafterquestion)) {
$numofargs = $countargs;
system("echo \"wget -q -O gettmp \'@urltotest[$argnumber]\'\" > getfile.sh");
system("chmod u+x getfile.sh");
@gotstuff = `cat gettmp`;
I dont have to explina wht the loop is redundant and what LWP::SImple does
- and this CPAN module was written so that even script kiddies could grok it.
Words fail me.
'Undred an' thirty two columns??? Luxury! We 'ad ter mek do wi' 'undred an' twenty eight!
I 'ad mate oo worked onna 1900 wi' shuffle printer. Y' 'ad ter 'ave two operators 'old t'bugger down else ittud walk across t'room until plug were pulled out o' t'socket.
And if yer tell this ter the kids terday, they wun't believe yer!
The lot of you!
SFL was the only language to use on ICL kit, still got my SFL manual somewhere, photocopied from an internal ICL copy, so much better than modamending my compiled COBOL, sigh.... nostalga, all these are/were mine;
Everything from 16mhz 386 to 3Ghz dual quad 54xx (Linux/MacOS/Win3.1-Se7en)
RS6000/Netra/V880 (AIX/Solaris)
All this is gravy, what we need is a computer that is yet to come.... 42
..well maybe. I don't remember it myself. My Dad does though back from when he was working at ICL Kidsgrove. He did a lot of work with the tape drives apparently. My computing memories start with the 16k 'rubber thump' Spectrum.
But as for nostalgia - nah. For me computing is about the advancement of technology and although I'm glad /someone/ is tracking the history I have no interest in it. I prefer to look forward :)
...and the more I see of the fotos, and the more I read these comments, the harder I'm kicking myself over having donated my old Mac Plus to Goodwill about fifteen years ago, for all of a $100 tax writeoff. I didn't think anything of it at the time; while it worked fine, it was past its seriously productive life, and I needed the tax writeoff, so I donated the thing.
I fired everything up one last time to make sure it all still worked (and it did, like a champ) before I donated the whole kaboodle -- Mac Plus, keyboard, mouse, full set of OS and app software, ThunderScan snap-in head, ImageWriter II, in one of those really cool padded nylon cases.
It pisses me off now, to think of it -- a 25 year-old Mac Plus with OS7.0.1 with a massive 4mb of memory, PageMaker 4, MacDraw 7, MSWord, ThunderScan, ImageStudio, some early Internet client apps, two 800k floppies and a 20mb SCSI drive, all in perfect working condition -- and how much it might be worth now. Goddammit (kick!).
But, aaa-aaanyway, enough pining over my old Plus; this exhibit is largely about old British iron, though. An old programmer buddy of mine had the ultra-small Sinclair ZX, which was fairly popular in the States in the early '80s -- sold under the "Timex/Sinclair" brand, as I recall -- and being an übergeek, he managed to get that puppy to do some pretty cool shit. And, oh, that keyboard, with an action and response not unlike an early fast-food cash register.
I must rescue mine from the garage, and move it to the loft with the rest of the Campbell Museum of Obsolete Old Crap.
I was a Dragon-32 fan, back in the day. The 6809 was head and shoulders above all other 8 bit processors, and I wanted to program in assembler.
I must get around to cataloging the CMoOOC soon. There are so many good memories up there.
The PDP-8 was easy to ID... but then I've got a PDP-12 front panel in my basement.
As for the Teletype, "The "HERE IS" key was used to alert another Teletype that it was awake" is somewhat correct, but there's more.... It caused the sending if the teletype's "answerback", a (I recall 20) character sequence that was "programmed" by breaking off tabs on a plastic drum.
Of course, I've seen many Teletypes connected to PDP-8s.
Damn, man. I really dig that ZX80 with the space-helmet monitor.
Of course, it comes at least eight years after one of my favorite portable TVs of all time, the famous Panasonic "Space Helmet" TV. Had one in high school; was bummed that they didn't make a color version. Still, that thing frickin' _ruled_.
The "Space Helmet" Monitor is in fact a JVC Videosphere Colour Television, dating from the early to mid 1970's, and the unit connected to the ZX80 is itself fairly rare, as the most common colour for said t..v's casework, was Bright Orange...
(Grey/white Versions of this T.V are considered quite collectable due to their rarity, & can fetch up from 2 to 3 times the value of the Orange version...)


text:
A second hand breast pump can be purchased it at a lower price than a brand new one. However, you need to have a clear understanding about the potential issues that can arise as a result of using a second hand breast pump, before you do so.
Firstly, it's important that you do your research into the type of pump you want. Different types of breast pumps can work more or less effectively for different women, breasts and babies. There are two main types of breast pumps to look at when purchasing a second hand one:
The first type of breast pump is for personal use. pumps can be purchased from the store just as you would purchase other personal care items such as a toothbrush – as an individual use item. In other words, they should not be shared or resold without careful assessment. Many breast pumps come along with an internal diaphragm, which cannot be replaced, removed or fully sterilized. This gives life to a risk of cross-contamination if re-used, especially if the breast pump wasn't properly cared for or cleaned during its life.
The second type of second hand breast pump is a rental pump. Rental pumps have been designed for the use of multiple individuals. These pumps come along with special filters or barriers, which are in a position to keep away milk from entering the motor. This can prevent cross-contamination. With these types of pumps, you don't need to worry when you are using a second hand breast pump, which is designed for multiple users. You'll also be able to use your own containers, breast shields and tubing when you are using a second hand breast pump designed for rental. This will give you the opportunity to maintain full peace of mind about cleanliness and safety.
Here are some things to consider before purchasing a second hand breast pump:
- Is it a former rental breast pump or personal use breast pump?
- Does it come with spare parts (many pumps do)?
- How much motor life is left, if it's electric?
And the most important question:
- Are you comfortable with the history of the breast pump? This includes the method of cleaning, how it was stored, if it was ever mouldy or if it was ever in a home with pets or smokers.


text:
Apple's newest flagship, the phablet-class iPhone 6 Plus, arrived on Friday and I've spent most of the morning moving everything over to it so I can use it full time. As you may know, I'd been using a Lumia 1520 since early August, and doing so was good preparation for this large device. I can't imagine what this upgrade would be like for those coming from an iPhone 5S or any other iPhone.
On that note, Apple's "bigger than bigger" advertising makes plenty of sense. It's impossible to see the iPhone 6 Plus and not immediately consider the size of the thing. It's smaller than the Lumia 1520, and is identical in size, almost exactly, to the 2012-era Samsung Galaxy Note 2 that my wife will continue using until January when she can finally upgrade. But to truly understand the size of the iPhone 6 Plus, you need to compare it to the iPhone 5 or 5S that most people will be upgrading from. And that, folks, is simply silly: These phones are from entirely different planets.
iPhone 5S (left) and iPhone 6 Plus (right): An obvious upgrade?
Of course, I've been complaining about the size of the iPhone and its postage stamp-sized screens for years, so I'm happy about the iPhone 6 and 6 Plus, though I think Apple should have went with 5-inch and 6-inch screens, respectively. Whatever, they're finally on board with "rightsized" phones. But they're not just bigger. They also come with completely different design aesthetics than past iPhones.
This is both good and bad. Starting with the Antennagate-era iPhone 4, Apple has pushed glass, metal, and hard edges with its smart phones. This look was—still is—very high end, and while I was never a fan of those hard edges—it actually hurts your hand to hold an iPhone 4, 4S, 5, or 5S normally—That these were luxury devices was unmistakable. The iPhone 6 Plus isn't quite in the same league.
Don't get me wrong, the aluminum-bodied iPhone 6 Plus is not cheap looking or feeling. But it's no better or worse, I think, than the polycarbonate unibody design of the Lumia 1520. And looking at them straight on, the iPhone 6 Plus is curiously similar to the Samsung Galaxy S5. It's only when you regard the cheap faux metal siding and plastic back of the S5 that you realize it's not in the same class, design-wise.
Left to right: Lumia 1520, iPhone 6 Plus, Galaxy S5, iPhone 5S
I know Apple's fans will justify these changes in whatever ways help them sleep at night. To me, none of this matters. The iPhone 6 Plus is a beautiful, large phone. It's newly curved edges are much easier to hold, and are appreciated. The device is thinner than its predecessors, but that's not a surprise despite some of the clueless reviews I've seen: "And it's somehow even thinner than the iPhone 5S!" Of course it is. Larger phones are always thinner. That's how this works. It's why the Lumia 1520 is thinner than the 1020, 920 or Icon.
Top to bottom: iPod touch (current gen), iPhone 5S, iPhone 6 Plus
And it being thinner is good, a positive. The size, thinness, curved design, and even the materials all work together to help create a handset that is large, yes, but also balanced. It doesn't feel heavy for what it is, or dense like some Lumias. (I'm looking at you, Lumia 920 and Icon.)
Looking ahead, I'll be evaluating the iPhone 6 Plus—and eventually the iPhone 6 too—for its capabilities, which we see in both the extensible new iOS 8 and in some hardware features that are unique to these devices. I'm particularly curious about the camera, of course, which I expect to be excellent. But is it better than the cameras in the Lumia 1020, 1520 or Icon/930? I'll find out. I'm likewise curious about the new health features, and the wallet functionality that will come online next month. I'll be testing that stuff. I'm even increasingly interested in how these new iPhones will interact with the Apple Watch—in particular the Sports models—and Apple's new health software. So we'll get to that eventually too.
Same old in-box accessories
There's a lot to look at here. So far, I can say that this is a high-quality handset with a pretty design, one that maybe doesn't warrant crowds of people standing in line for some reason, but is indeed a worthy flagship. Some people blindly follow Apple down whatever path it chooses to tread, and others are equally blind in their hatred of the company. I think Apple makes great hardware, and always has, and with iOS and Tim Cook at its head, Apple has shown it can change its more egregious ways of the past as well. The iPhone 6 is part of that wave, and I'll be checking back soon.


text:
Who We Are:
A Brighter Way (ABW) is a mentoring program designed to increase self-efficacy, intentional problem solving, and communication skills that promote the stability of the individual by providing quality mentoring for men and women returning to Washtenaw County from incarceration. We seek to create opportunities for the people we serve in the areas of job creation, education, and civic engagement to reinforce these critical learning aspects of the reintegration process. We know that accessible positive social support is foundational to navigating these complicated systems and combating recidivism.ABW was started by friends with a shared interest in helping people to overcome barriers that they themselves have faced. We are registered as a Michigan non-profit and are operating as a program of Avalon Housing. We work with individuals in order in increase family and community stability and safety for all.
1 to 1 Mentoring
1 to 1 mentoring pairs one mentee with one mentor. ABW mentors are trained to guide mentees through an intentional decision making process, to reinforce coping skills, help mentees identity community resources, and follow up with them on resource utilization.
Serving Together
Serving Together is a four-week experiential exercise where mentees are evaluated on their job performance while they participate in community service projects. It is meant to highlight the strengths of each mentee, as well as identify areas for growth.
Bonded For Life
Bonded for Life groups are check-in and skills-building groups where mentees are given the opportunity to discuss their experiences with reintegration. Skills taught in this group include challenging negative self-talk, distress tolerance, assertive communication, and positive identity development.


text:
President Obama said Tuesday he will sign an executive order to trim
outdated and ineffective regulations that impede economic growth.
In an op-ed in The Wall Street Journal,
Obama said the country's complex regulatory structures have sometimes
had a "chilling effect" on job growth and, giving a nod to the
priorities of the new House Republican majority, observed that small
businesses often feel that burden.
"We're looking at the system as a whole to make sure we avoid
excessive, inconsistent and redundant regulation," he said. "And
finally, today I am directing federal agencies to do more to account for
- and reduce - the burdens regulations may place on small businesses.
Small firms drive growth and create most new jobs in this country. We
need to make sure nothing stands in their way."
Obama has taken
pains to ease his relationship with an alienated business community in
light of major legislative achievements - Wall Street reform and the
healthcare overhaul among them - that some say have hurt job creation.
necessary, we won't shy away from addressing obvious [regulatory] gaps.
... But we are also making it our mission to root out regulations that
conflict, that are not worth the cost, or that are just plain dumb," he
In practice, Obama said, the executive order will also
eliminate unnecessary paperwork and help ensure that the government
conducts more of its business online.


text:
I am sending this dish to Valli's Rice Mela .This is my post on day 19 of RM 2.
We are indeed much more than what we eat, but what we eat can nevertheless help us to be much more than what we are. Adelle Davis
Beautiful, love the yellow corn inbetween.
Delicious too.
Looks beautiful.will try it.
It looks so tempting Ranji..thanks for sending it!
Just eye catching ur pulaov!
Hi Ranji, the pulao is beautiful, especially the grilled look of paneer and the color of the corn in between :)
I love cooking with paneer too, this is just amazing love the combo am sure it tasted great
wow i am too tired today just looking at ur pulao felt a bit refreshed. looks sooo tempting. yuuuummmy.
I never added corn with rice, looks nice, will do it next time.
loved the colour of corns on white coloured rice...perfect rice item.
Oh Ranji..that plate looks so inviting..and hats off to you for coming up with such simple and delicious recipes..paneer and corn,both are my favorites and this one is bookmarked..shall try it out and let you know..;-)
wow yummy nice combo with your chicken vindaloo yaar will try this combo
Good post and this enter helped me alot in my college assignement. Thank you for your information.