text:
I resent being an artist, in that respect, I resent performing for fucking idiots who don't know anything. They can't feel. I'm the one that's feeling, because I'm the one that is expressing. They live vicariously through me and other artists, and we are the ones... even with the boxers–when Oscar comes in the ring, they're booing the shit out of him, he only hits Clay once and they're all cheering him. I'd sooner be in the audience, really, but I'm not capable of it.
One of my big things is that I wish to be a fisherman. I know it sounds silly–and I'd sooner be rich than poor, and all the rest of that shit–but I wish the pain was ignorance or bliss or something. If you don't know, man, then there's no pain; that's how I express it.
We've grown up a little, all of us, there has been a change and we're all a bit freer and all that, but it's the same game. Shit, they're doing exactly the same thing, selling arms to South Africa, killing blacks on the street, people are living in fucking poverty, with rats crawling over them. It just makes you puke, and I woke up to that too.
The dream is over. It's just the same, only I'm thirty, and a lot of people have got long hair. That's what it is, man, nothing happened except that we grew up, we did our thing–just like they were telling us. You kids–most of the so called "now generation" are getting a job. We're a minority, you know, people like us always were, but maybe we are a slightly larger minority because of maybe something or other.
On the plane over, I was thinking "Oh, we won't make it," or I said it on a film or something, but that's that side of me. We knew we would wipe you out if we could just get a grip on you. We were new.
And when we got here, you were all walking around in fuckin' bermuda shorts, with Boston crew cuts and stuff on your teeth. Now they're telling us, they're all saying, "Beatles are passé and this is like that, man." The chicks looked like fuckin' 1940 horses. There was no conception of dress or any of that jazz. We just thought "what an ugly race," it looked just disgusting. We thought how hip we were, but, of course, we weren't. It was just the five of us, us and the Stones were really the hip ones; the rest of England were just the same as they ever were.
You tend to get nationalistic, and we would really laugh at America, except for its music. It was the black music we dug, and over here even the blacks were laughing at people like Chuck Berry and the blues singers; the blacks thought it wasn't sharp to dig the really funky music, and the whites only listened to Jan and Dean and all that. We felt that we had the message which was "listen to this music." It was the same in Liverpool, we felt very exclusive and underground in Liverpool, listening to Richie Barret and Barrett Strong, and all those old-time records. Nobody was listening to any of them except Eric Burdon in Newcastle and Mick Jagger in London. It was that lonely, it was fantastic. When we came over here and it was the same –nobody was listening to rock and roll or to black music in America–we felt as though we were coming to the land of its origin but nobody wanted to know about it.
I remember that the simplicity on the new album was evident on the Beatles double album. It was evident in 'She's So Heavy," in fact a reviewer wrote of "She's So Heavy": "He seems to have lost his talent for lyrics, it's so simple and boring." "She's So Heavy" was about Yoko. When it gets down to it, like she said, when you're drowning you don't say "I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me," you just scream. And in "She's So Heavy," I just sang "I want you, I want you so bad, she's so heavy, I want you," like that. I started simplifying my lyrics then, on the double album.
I started thinking about my own emotions–I don't know when exactly it started like "I'm a Loser" or "Hide Your Love Away" or those kind of things–instead of projecting myself into a situation I would just try to express what I felt about myself which I'd done in me books. I think it was Dylan helped me realize that – not by any discussion or anything but just by hearing his work– I had a sort of professional songwriter's attitude to writing pop songs; he would turn out a certain style of song for a single and we would do a certain style of thing for this and the other thing. I was already a stylized songwriter on the first album. But to express myself I would write "Spaniard in the Works" or "In His Own Write," the personal stories which were expressive of my personal emotions. I'd have a separate songwriting John Lennon who wrote songs for the sort of meat market, and I didn't consider them–the lyrics or anything– to have any depth at all. They were just a joke. Then I started being me about the songs, not writing them objectively, but subjectively.
From the same period, same time, I never liked "Run For Your Life," because it was a song I just knocked off. It was inspired from–this is a very vague connection – from "Baby Let's Play House." There was a line on it–I used to like specific lines from songs– "I'd rather see you dead, little girl, than to be with another man"–so I wrote it around that but I didn't think it was that important. "Girl" I liked because I was, in a way, trying to say something or other about Christianity which I was opposed to at the time.
I wanted to put what I felt about revolution; I thought it was time we fuckin' spoke about it, the same as I thought it was about time we stopped not answering about the Vietnamese War when we were on tour with Brian Epstein and had to tell him, "We're going to talk about the war this time and we're not going to just waffle." I wanted to say what I thought about revolution.
I had been thinking about it up in the hills in India. I still had this "God will save us" feeling about it, that it's going to be all right (even now I'm saying "Hold on, John, it's going to be all right," otherwise, I won't hold on) but that's why I did it, I wanted to talk, I wanted to say my piece about revolution. I wanted to tell you, or whoever listens, to communicate, to say "What do you say? This is what I say."
On one version I said "Count me in" about violence, in or out, because I wasn't sure. But the version we put out said "Count me out," because I don't fancy a violent revolution happening all over. I don't want to die; but I begin to think what else can happen, you know, it seems inevitable.
"Revolution #9" was an unconscious picture of what I actually think will happen when it happens; that was just like a drawing of revolution. All the thing was made with loops, I had about thirty loops going, fed them onto one basic track. I was getting classical tapes, going upstairs and chopping them up, making it backwards and things like that, to get the sound effects. One thing was an engineer's testing tape and it would come on with a voice saying "This is EMI Test Series #9." I just cut up whatever he said and I'd number nine it. Nine turned out to be my birthday and my lucky number and everything. I didn't realize it; it was just so funny the voice saying "Number nine"; it was like a joke, bringing number nine into it all the time, that's all it was.
So that's my feeling. The idea was don't aggravate the pig by waving the thing that aggravates–by waving the Red flag in his face. You know, I really thought that love would save us all. But now I'm wearing a Chairman Mao badge.
I'm just beginning to think he's doing a good job. I would never know until I went to China. I'm not going to be like that, I was just always interested enough to sing about him. I just wondered what the kids who were actually Maoists were doing. I wondered what their motive was and what was really going on. I thought if they wanted revolution, if they really want to be subtle, what's the point of saying "I'm a Maoist and why don't you shoot me down?" I thought that wasn't a very clever way of getting what they wanted.
It wasn't about "H" at all. "Lucy In The Sky" with diamonds which I swear to God, or swear to Mao, or to anybody you like, I had no idea spelled L.S.D.–and "Happiness"–George Martin had a book on guns which he had told me about–I can't remember–or I think he showed me a cover of a magazine that said "Happiness Is A Warm Gun." It was a gun magazine, that's it: I read it, thought it was a fantastic, insane thing to say. A warm gun means that you just shot something.
I keep saying that I always preferred the double album, because my music is better on the double album; I don't care about the whole concept of Pepper, it might be better, but the music was better for me on the double album, because I'm being myself on it. I think it's as simple as the new album, like "I'm So Tired" is just the guitar. I felt more at ease with that than the production. I don't like production so much. But Pepper was a peak all right.
But still, when I heard he wanted to see me, I got nervous, because "some business man wants to see me, it's going to be business and business makes me nervous." Finally I got a message from Mick–Allen had really set up the whole deal you know, Mick and us nearly went into Apple together a few years back and we had big meetings and discussions about the studios and all of that, but it never happened–and Allen would have come in that way. That was after Brian died, but it didn't happen. All these approaches were coming from all over the place, and then I met him at the "Rock and Roll Circus" [the TV film] which has never been seen, with John and Yoko performing together for the first time with a crazy violinist and Keith on bass and all that–I always regret that–and I met him there. I didn't know what to make of him; we just shook hands and then... Yoko, what happened next?
I don't like talking to strangers as it is, strangers want to talk about reality, or something else, so I didn't accept the call. Then finally did we accept the call or did I put a call through? He'll tell you.
Do you know he knows the lyrics to every fuckin' song you could ever imagine from the Twenties on? I was with him last night eating, and I was just singing a few things–Yoko thinks I know every song, I know millions of songs–I'm like a juke box, thousands upon millions. G chords and so on–but Allen not only knows it, but he knows every fuckin' word, even the chorus. He's got a memory like that, so ask him. But then we met and it was very traumatic.
He was sitting there all nervous. He was all alone, he didn't have any of his helpers around, because he didn't want to do anything like that. But he was very nervous, you could see it in his face. When I saw that I felt better. We talked to him a few hours, and we decided that night, he was it!
He is a very intelligent guy; he told me what was happening with the Beatles, and my relationship with Paul and George and Ringo. He knew every damn thing about us, the same as he knows everything about the Stones. He's a fuckin' sharp man.
There are things he doesn't know, but when it comes to that kind of business, he knows. And anybody that knew me that well–without having met me–had to be a guy I could let look after me.
So I wrote to Sir Joe Lockwood that night. We were so pleased, I didn't care what the others might say. I told Allen, "You can handle me."
Yoko had become my advisor so that I wouldn't go into Maharishi's anymore. It was Derek and Yoko and I interviewing people coming in to take over Apple when we were running it at Wigmore Street, and Yoko would sit behind me and I'd play me games and she would tell me what they were doing when I blinked, and how they were in her opinion, because she wasn't as stupid or emotional as me. And I've never had that except when the Beatles were against the world I did have the cooperation of a good mind like Paul's. It was us against them.
I had to present a case to them, and Allen had to talk to them himself. And of course, I promoted him in the fashion in which you will see me promoting or talking about something. I was enthusiastic about him and I was relieved because I had met a lot of people including Lord Beeching who was one of the top people in Britain and all that. Paul had told me, "Go and see Lord Beeching" so I went. I mean I'm a good boy, man, and I saw Lord Beeching and he was no help at all. I mean, he was all right. Paul was in America getting Eastman and I was interviewing all these so-called top people, and they were animals. Allen was a human being, the same as Brian was a human being. It was the same thing with Brian in the early days, it was an assessment; I make a lot of mistakes characterwise, but now and then I make a good one and Allen is one, Yoko is one and Brian was one. I am closer to him than to anybody else, outside of Yoko.
[Paul meantime had met and married American photographer Linda Eastman whose father Lee and brother John were music business lawyers, who also wanted to "manage" the Beatle affairs.]
Then we got Paul. John Eastman had already been in, in fact, we almost signed ourselves over to the Eastmans at one time, because when Paul presented me with John Eastman, I thought well... when you're not presented with a real alternative, you take whatever is going. I would say "yes", like I said "Yes, let's do "Let It Be." I have nothing to produce so I will go along", and we almost went away with Eastman. But then Eastman made the mistake of sending his son over and not coming over himself, to look after the Beatles, playing it a bit cool.
Finally, when we got near the point when Allen came in, the Eastmans panicked; yet I was still open. I liked Allen but I would have taken Eastman if he would have turned out something other than what he was.
We arranged to see Eastman and Klein together in a hotel where one of them was staying. For the four Beatles and Yoko to go and see them both. We hadn't been in there more than a few minutes when Lee Eastman was having something like an epileptic fit, and screaming at Allen, that he was "the lowest scum on earth," and calling him all sorts of names. Allen was sitting there, taking it, you know, just takin' it. Eastman was abusing him with class snobbery. What Eastman didn't know then is that Neil had been in New York and found out that Lee Eastman's real name was Lee Epstein! That's the kind of people they are. But Paul fell for that bullshit, because Eastman's got Picassos on the wall and because he's got some sort of East Coast suit; form and not substance. Now, that's McCartney. We were all still not sure and they brought in this fella, and he had a fuckin' fit.
We had thought it was one in a million but that was enough for me, soon as he started nailing Klein on his taste. Paul was getting in little digs about Allen's dress. I mean you just go and look at Paul's dress, or at his father, or anything –who the fuck does he think he is? Him talking about dress!
Man, so that was it, and we said, "fuck it!" I wouldn't let Eastman near me; I wouldn't let a fuckin' animal like that who has a mind like that near me. Who despises me, too, despises me because of what I am and what I look like.
You know, these people like Eastman and Dick James and people like that, think that I'm an idiot. They really can't see me; they think I'm some kind of guy who got struck lucky, a pal of Paul's or something. They're so fuckin' stupid they don't know.
The reason Allen knew was because he knew who I was. He wasn't going on what a pretty face I've got. Eastman blew it, and then he went on to do it again. Where did he do it? Next time he did it was in the Apple office. He kept coming to me, trying to hold his madness down, this insanity that kept coming out. He was coming up to me saying "I can't tell you how much I admire you." Gortikov [the chairman of Capitol Records] does that too; you know them, full of praise, like "I can't tell you how much I've admired your work, John."
And I'm just watchin' this and I'm thinkin' "it's happening to me," and "thank you very much," and all that [To Yoko:] What was the second fit, because I want this out. What was the second time he blew it?
This was supposed to be the guy who was taking over the multi-million dollar corporation, and it was going to be slick. Paul was sort of intimating that Allen's business offices on Broadway were not nice enough as if that were any fuckin' difference! Eastman was in the good section of town. "Oh, boy, man, that's where it's at!" And Eastman's office has got class! I don't care if this is fuckin' red white and blue, I don't care what Allen dresses like, he's a human being, man.
They refused to meet him. I said I don't talk to anybody unless I come along with Allen. They said "Come on, John, I want to meet you alone," and I said "I don't see any of you, unless Allen's with me."
He's initiating all these things just to slow us down, like an immigration officer, really putting us through it. I'm sitting there, waiting, and we're thinking, "sign it you fuckin' idiot, and let's get out," but he starts insulting me; Yoko said to him "Will you please stop insulting my husband." She was saying "Don't call my husband stupid." I wasn't saying anything but "sign it and give me the signature, just put your initials on it, Epstein," I was thinking let's get out of here, and we'll wrap you up, and that's what we did.
You can't believe it, man, epileptic fits, and they expected to run the company. Allen even offered to let John Eastman be the lawyer on the deals we were making with Northern Songs, but they were screwing everything Allen did, by putting on an argument. It fucked that Northern Songs deal and all that, but we still came out with all the money. Whatever they could do they did but in the end they couldn't out-maneuver him. Klein was the only one who knew exactly what was going on. He not only knew our characters, and what the relationship between the group was, but he also knows his business, he knows who's who in the group, what you have to do to get things done, and he knew about every fuckin' contract and paper we ever had. He understood. Eastman was just making judgments and saying things to Paul based on something that he had never seen. It was a wipe-out, you can't imagine. The real story will come out, because Allen knows every detail and he remembers everything we've said.
But the point is that the Eastman family doesn't know John's a drop-out–I was sick and tired of that middle class thing and I married a "working class hero"; and if he is a true aristocrat, he is not going to invite Allen to the Harvard Club, but would make sure that he invites Allen to somewhere Allen would enjoy.
When the whole Northern thing was going on, we tried to save our fuckin' stuff [the publishing rights to most of the Lennon/McCartney songs] and he was playing hard to get, like a fuckin' chick, because he hadn't thought of it. It was a pure ego game, and I got into the ego thing, of course, but I was really fighting for our fuckin' business, and what I believed was our money. It wasn't just because I'd found Allen. I would have dropped Allen if Eastman had been something; but he was an animal, a fuckin' stupid middle-class pig, and thought he could con me with fuckin' talking about Kafka, and shit, and Picasso and DeKooning, for Christ's sake, and I shit on the fuckin' lot of them.
I don't even know who the fuck they are; I just know that it's something that somebody has got hung up on the wall that he thinks is an investment.
Steve Maltz, I think; Allen said I must have gotten it from Steve Maltz, this accountant we had had, a young guy, who just sent me a letter one day saying, "You're in chaos, you're losing money, there is so much a week going out of Apple."
People were robbing us and living on us to the tune of... 18 or 20 thousand pounds a week, was rolling out of Apple and nobody was doing anything about it. All our buddies that worked for us for fifty years, were all just living and drinking and eating like fuckin' Rome, and I suddenly realized it and–I said to you–"we're losing money at such a rate that we would have been broke, really broke."
We didn't have anything in the bank really, none of us did. Paul and I could have probably floated, but we were sinking fast. It was just hell, and it had to stop. When Allen heard me say that–he read it in Stone–he came over right away. As soon as he realized that I knew what was going on, he thought to himself, "Now I can get through." Until somebody knows that they are on shit street, how can somebody come and get in... it's just like somebody coming up to me now and saying "I want to help you with the business." I would say "I've got somebody," or "I'm doing all right, Jack..." As soon as Allen realized that I realized all that was going on, he came over.
We didn't want to put out "Let It Be" and Paul's at the same time. It would have killed the sales. In the old days we used to watch it: if the Stones were coming out... we would ask Brian, "who is coming out"? and he would tell us who's coming out. We could always beat everyone, but what is the point of losing sales? There has to be timing. Mick timed it. We never came out together, we're not idiots. With Elvis, we miss every one; I would miss Tom Jones, anybody, now. I don't want to fight on the charts, I want to get in when the going is good. It would have killed – Paul's was just an ego game – it would have killed "Let It Be."
We asked Ringo to go and talk to him because Ringo–the real fighting had been going on between me and Paul, because of Eastman and Klein, and we were on the opposite ends of our bats–Ringo had not taken sides, or anything like that, and he had been straight about it, and we thought that Ringo would be able to talk fairly, to Paul–I mean if Ringo agreed that it was unfair, then it was unfair. (At one time Paul wanted a fuckin' extra vote on a voting trust, but that was the same as like the four of us at a table, except that Paul has two votes. I mean, Eastman–something was going on... Paul thought he was the fuckin' Beatles, and he never fucking was, never... none of us were the fucking Beatles, four of us were.) Ringo went and asked him and he attacked Ringo and he started threatening him and everything, and that was the kibosh for Ringo. What the situation is now, I don't know.
I had a group, I was the singer and the leader; I met Paul and I made a decision whether to– and he made a decision too–have him in the group: was it better to have a guy who was better than the people I had in, obviously, or not? To make the group stronger or to let me be stronger? That decision was to let Paul in and make the group stronger.
Well, from that, Paul introduced me to George, and Paul and I had to make the decision, or I had to make the decision, whether to let George in. I listened to George play, and I said "play 'Raunchy' " or whatever the old story is, and I let him in. I said "OK, you come in"; that was the three of us then. Then the rest of the group was thrown out gradually. It just happened like that, instead of going for the individual thing, we went for the strongest format, and for equals.
George is ten years younger than me, or some shit like that. I couldn't be bothered with him when he first came around. He used to follow me around like a bloody kid, hanging around all the time, I couldn't be bothered. He was a kid who played guitar, and he was a friend of Paul's which made it all easier. It took me years to come around to him, to start considering him as an equal or anything.
We had all sorts of different drummers all the time, because people who owned drum kits were few and far between; it was an expensive item. They were usually idiots. Then we got Pete Best, because we needed a drummer to go to Hamburg the next day. We passed the audition on our own with a stray drummer. There are other myths about Pete Best was the Beatles and Stuart Sutcliffe's mother is writing in England that he was the Beatles.
I made my mind up not to talk about all that shit, I'm sick of it, you know. I would like to talk about the album, I was going to say to you "Look, I don't want to talk about all that about the Beatles splitting up because it not only hurts me, and it always ends up looking like I'm blabbing off and attacking people." I don't want it.
I'm interested in concepts and philosophies. I am not interested in wallpaper, which most music is.
What do we hear? It's interesting to hear Van Morrison. He seems to be doing nice stuff – sort of 1960s black music–he is one of them that became an American like Eric Burdon. I just never have time for a whole album. I only heard Neil Young twice–you can pick him out a mile away, the whole style. He writes some nice songs. I'm not stuck on Sweet Baby [James Taylor]–I'm getting to like him more hearing him on the radio, but I was never struck by his stuff. I like Creedence Clearwater. They make beautiful Clearwater music–they make good rock and roll music. You see it's difficult when you ask me what I like, there's lots of stuff I've heard that I think is fantastic on the radio here, but I haven't caught who they are half the time.
I'm interested in things with more of a world-wide... I'm interested in, what's it called, something that means something for everyone, not just for a few kids listening to wallpaper. I am just as interested in poetry or whatever or art, and always have been, that's been my hang-up, you know–continually trying to be Shakespeare or whatever it is. That's what I'm doing, I'm not pissing about. I consider I'm up against them. I'm not competing myself against Elvis. Rock just happens to be the media which I was born into, it was the one, that's all. Those people picked up paint brushes, and Van Gogh probably wanted to be Renoir or whoever went before him just as I wanted to be Elvis or whatever the shit it is. I'm not interested in good guitarists. I'm in the game of all those things, of concept and philosophy, ways of life, and whole movements in history. Just like Van Gogh was or any other of those fuckin' people–they are no more or less than I am or Yoko is–they were just living in those days. I'm interested in expressing myself like they expressed it, in some way that will mean something to people in any country, in any language, and at any time in history.
I got fuckin' lost in being at high school. I used to say to me auntie "You throw my fuckin' poetry out, and you'll regret it when I'm famous," and she threw the bastard stuff out.
I never forgave her for not treating me like a fuckin' genius or whatever I was, when I was a child.
It was obvious to me. Why didn't they put me in art school? Why didn't they train me? Why would they keep forcing me to be a fuckin' cowboy like the rest of them? I was different, I was always different. Why didn't anybody notice me?
A couple of teachers would notice me, encourage me to be something or other, to draw or to paint–express myself. But most of the time they were trying to beat me into being a fuckin' dentist or a teacher. And then the fuckin' fans tried to beat me into being a fuckin' Beatle or an Engelbert Humperdinck, and the critics tried to beat me into being Paul McCartney.
Fuckin' bullshit!
I know what Zappa is going through, and a half. I'm just coming out of it. I just have been in school again. I've had teachers ticking me off and marking my work. If nobody can recognize what I am then fuck 'em, it's the same for Yoko...
Yoko is as important to me as Paul and Dylan rolled into one. I don't think she will get recognition until she's dead. There's me, and maybe I could count the people on one hand that have any conception of what she is or what her mind is like, or what her work means to this fuckin' idiotic generation. She has the hope that she might be recognized. If I can't get recognized, and I'm doing it in a fuckin' clown's costume, I'm doing it on the streets, you know, I don't know what–I admire Yoko's work.
I admire "Fluxus," a New York-based group of artists founded by George Macuinas. I really think what they do is beautiful and important.
I admire Andy Warhol's work, I admire Zappa a bit, but he's a fuckin' intellectual–I can't think of anybody else. I admire people from the past. I admire Fellini. A few that Yoko's educated me to... She's educated me into things that I didn't know about before, because of the scene I was in; I'm getting to know some other great work that's been going on now and in the past–there is all sorts going on.
I still love Little Richard, and I love Jerry Lee Lewis. They're like primitive painters...
Chuck Berry is one of the all-time great poets, a rock poet you could call him. He was well advanced of his time lyric-wise. We all owe a lot to him, including Dylan. I've loved everything he's done, ever. He was in a different class from the other performers, he was in the tradition of the great blues artists but he really wrote his own stuff – I know Richard did, but Berry really wrote stuff, just the lyrics were fantastic, even though we didn't know what he was saying half the time.
A drug will do it. Acid will box your head open. Some artists will do it, but they usually have to be dead two hundred years to do it. All I ever learned in art school was about Van Gogh and stuff; they didn't teach me anything about anybody that was alive now, or they never taught me about Marcel Duchamp which I despised them for. Yoko has taught me about Duchamp and what he did, which is just out of this world. He would just put a bike wheel on display and he would say this is art, you cunts. – He wasn't Dali; Dali was all right, but he's like Mick, you know. I love Dali, but fuckin' Duchamp was spot on. He was the first one to do that, just take an object from the street and put his name on it, and say this is art because I say it is.
Like Citizen Kane, that's something else, too. Poor old Orson, he goes on Dick Cavett, and says "Please love me, now I'm a big fat man, and I've eaten all this food, and I did so well when I was younger, I can act, I can direct, and you're all very kind to me, but at the moment I don't do anything."
Her work is far out, Yoko's bottom thing is as important as "Sgt. Pepper." The real hip people know about it. There are a few people that know; there is a person in Paris who knows about her; a person in Moscow knows about her; there's a person in fucking China that knows about her. But in general, she can't be accepted, because she's too far out. It's hard to take. Her pain is such that she expresses herself in a way that hurts you–you cannot take it. That's why they couldn't take Van Gogh, it's too real, it hurts; that's why they kill you.
So it was positive. I felt relieved. It's a great relief when you get up the ladder and you look through the spyglass and it doesn't say "no" or "fuck you" or something, it said "yes."
I was very impressed and John Dunbar sort of introduced us – neither of us knew who the hell we were, she didn't know who I was, she'd only heard of Ringo I think, it means apple in Japanese. And John Dunbar had been sort of hustling her saying "that's a good patron, you must go and talk to him or do something" because I was looking for action, I was expecting a happening and things like that. John Dunbar insisted she say hello to the millionaire, you know what I mean. And she came up and handed me a card which said "Breathe" on it, one of her instructions, so I just went (pant). That was our meeting.
Then I went away and the second time I met her was at a gallery opening of Claes Oldenberg in London. We were very shy, we sort of nodded at each other and we didn't know – she was standing behind me, I sort of looked away because I'm very shy with people, especially chicks. We just sort of smiled and stood frozen together in this cocktail party thing.
The next thing was she came to me to get some backing – like all the bastard underground do–for a show she was doing. She gave me her "Grapefruit" book and I used to read it and sometimes I'd get very annoyed by it; it would say things like "paint until you drop dead" or "bleed" and then sometimes I'd be very enlightened by it and I went through all the changes that people go through with her work–sometimes I'd have it by the bed and I'd open it and it would say something nice and it would be alright and then it would say something heavy and I wouldn't like it. There was all that and then she came to me to get some backing for a show and it was half a wind show. I gave her the money to back it and the show was, this was in a place called Lisson Gallery, another one of those underground places. For this whole show everything was in half: there was half a bed, half a room, half of everything, all beautifully cut in half and all painted white. And I said to her "why don't you sell the other half in bottles?" having caught on by then what the game was and she did that–this is still before we'd had any nuptials–and we still have the bottles from the show, it's my first. It was presented as "Yoko Plus Me"–that was our first public appearance. I didn't even go to see the show, I was too uptight.
I'd get very upset about it being intellectual or all fucking avant garde, then I'd like it and then I wouldn't. Then I went to India with the Maharoonie and we were corresponding. The letters were still formal but they just had a little side to them. I nearly took her to India as I said but I still wasn't sure for what reason, I was still sort of kidding myself, with sort of artistic reasons, and all that.
When we got back from India we were talking to each other on the phone. I called her over, it was the middle of the night and Cyn was away, and I thought well now's the time if I'm gonna get to know her anymore. She came to the house and I didn't know what to do; so we went upstairs to my studio and I played her all the tapes that I'd made, all this far out stuff, some comedy stuff, and some electronic music. She was suitably impressed and then she said well let's make one ourselves so we made "Two Virgins." It was midnight when we started "Two Virgins," it was dawn when we finished, and then we made love at dawn. It was very beautiful.
It was like a hotel press conference. We kept them out of the room. We came down the elevator in the bag and we went in and we got comfortable and they were all ushered in. It was a very strange scene because they'd never seen us before, or heard – Vienna is a pretty square place. A few people were saying, "C'mon, get out of the bags." And we wouldn't let 'em see us. They all stood back saying "Is it really John and Yoko?" and "What are you wearing and why are you doing this?" We said, "this is total communications with no prejudice." It was just great. They asked us to sing and we sang a few numbers. Yoko was singing a Japanese folk song, very nicely, just very straight we did it. And they never did see us.
I couldn't create, either. I created a little, it came out, but I was in the party and you don't get out of a thing like that. It was fantastic! I came out of the sticks, I didn't hear about anything–Van Gogh was the most far out thing I had ever heard of. Even London was something we used to dream of, and London's nothing. I came out of the fuckin' sticks to take over the world it seemed to me. I was enjoying it, and I was trapped in it, too. I couldn't do anything about it, I was just going along for the ride. I was hooked, just like a junkie.
We were the ones that were looked down upon as animals by the Southerners, the Londoners. The Northerners in the States think that people are pigs down South and the people in New York think West Coast is hick. So we were hicksville.
We were a great amount of Irish descent and blacks and Chinamen, all sorts there. It was like San Francisco, you know. That San Francisco is something else! Why do you think Haight-Ashbury and all that happened there? It didn't happen in Los Angeles, it happened in San Francisco, where people are going. L.A. you pass through and get a hamburger.
There was nothing big in Liverpool; it wasn't American. It was going poor, a very poor city, and tough. But people have a sense of humor because they are in so much pain, so they are always cracking jokes. They are very witty, and it's an Irish place. It is where the Irish came when they ran out of potatoes, and it's where black people were left or worked as slaves or whatever.
It is cosmopolitan, and it's where the sailors would come home with the blues records from America on the ships. There is the biggest country & western following in England in Liverpool, besides London – always besides London, because there is more of it there.
I heard country and western music in Liverpool before I heard rock and roll. The people there – the Irish in Ireland are the same – they take their country and western music very seriously. There's a big heavy following of it. There were established folk, blues and country and western clubs in Liverpool before rock and roll and we were like the new kids coming out.
I remember the first guitar I ever saw. It belonged to a guy in a cowboy suit in a province of Liverpool, with stars, and a cowboy hat and a big dobro. They were real cowboys, and they took it seriously. There had been cowboys long before there was rock and roll.
I regret profoundly that I was not an American and not born in Greenwich Village. That's where I should have been. It never works that way. Everybody heads toward the center, that's why I'm here now. I'm here just to breathe it. It might be dying and there might be a lot of dirt in the air that you breathe, but this is where it's happening. You go to Europe to rest, like in the country. It's so overpowering, America, and I'm such a fuckin' cripple, that I can't take much of it, it's too much for me.
But it happened in San Francisco. It happened all right, didn't it. I mean it goes down in history. I love it. It's like when Shaw was in England, and they all went to Paris; and I see all that in New York, San Francisco and London, even London. We created something there–Mick and us, we didn't know what we were doing, but we were all talking blabbing over coffee, like they must have done in Paris, talking about paintings... Me, Burdon and Brian Jones would be up night and day talking about music, playing records, and blabbing and arguing and getting drunk. It's beautiful history, and it happened in all these different places. I just miss New York. In New York they have their own cool clique. Yoko came out of that.
This is the first time I'm really seeing it, because I was always too nervous, I was always the famous Beatle. Dylan showed it to me once on sort of a guided tour around the Village, but I never got any feel of it. I just knew Dylan was New York, and I always sort of wished I'd been there for the experience that Bob got from living around here.
He came to me house, which was Kenwood, can you imagine it, and I didn't know where to put him in this sort of bourgeois home life I was living; I didn't know what to do and things like that. I used to go to his hotel rather, and I loved him, you know, because he wrote some beautiful stuff. I used to love that, his so-called protest things. I like the sound of him, I didn't have to listen to his words, he used to come with his acetate and say "Listen to this, John, and did you hear the words?" I said that doesn't matter, the sound is what counts–the overall thing. I had too many father figures and I liked words, too, so I liked a lot of the stuff he did. You don't have to hear what Bob Dylan's is saying, you just have to hear the way he says it.
I just remember before that we were both in shades and both on fucking junk, and all these freaks around us and Ginsberg and all those people. I was anxious as shit, we were in London, when he came.
I thought why? What? He's going to put me down; I went all through this terrible thing.
In the film, I'm just blabbing off and commenting all the time, like you do when you're very high or stoned. I had been up all night. We were being smart alecks, it's terrible. But it was his scene, that was the problem for me. It was his movie. I was on his territory, that's why I was so nervous. I was on his session.


text:
Lavonia-Carnegie Library
1000 Book Before Kindergarten
Wednesday, March 14, 2018
Looking for the best way to give your child a head start before elementary school? Join our 1000 Books before Kindergarten program. Children will enjoy the benefits of reading and earn prizes along the way! Stop in for more details.

subset: commoncrawl


text:
Privacy Policy
1. Policy scope and purpose, changes to the policy
gamigo Inc. ("gamigo") respects the privacy of its users and recognizes the importance of providing a secure environment for them. We know that you care how information about you is used and shared. This privacy policy describes how we collect, store, and use the information you provide to us. You should carefully review this privacy policy before using gamigo's websites, online games or other services provided by gamigo. This privacy policy applies only to information collected through gamigo's online services through any website to which this privacy policy applies and not to any information collected from us or through us offline. Please note that, when you link to other websites from a gamigo website, this privacy policy does not apply to, and cannot control the activities on, those other sites. Please check those websites for their own privacy policies.
You should carefully review this privacy policy before using any gamigo website to which it applies. By so using any such gamigo website, making a purchase by the use of that website, or taking advantage of any service accessed through that website, you signify your assent to this privacy policy. If you do not agree to this privacy policy, please do not use our websites or our services accessed through them. This privacy policy may change from time to time, so please check back periodically to ensure that you are aware of any changes. Your continued use of any gamigo website to which this privacy policy applies will signify your acceptance of those changes.
2. What personal information is collected?
We collect information from you when you register on our website, play online games, order real or virtual goods, respond to a survey or to a communication such as an email, or use other services on our websites. We store that information ourselves or by the use of third parties under contract with us. Those other services may include, for example, the creation of a profile page, participation in forums or the provision of facilities to permit you to post media content such as images and text.
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For some activities, your web browser or client software may transmit certain geographic information or information regarding your computer to gamigo. gamigo may use that information to generate aggregate statistics about our user community and may provide that information to advertisers and other parties with whom we have a business relationship. In addition, gamigo may use any such information for security, system integrity (the prevention of hacking, cheating and other improper or unlawful activities), or enforcement purposes.
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When you visit this a gamigo website to which this privacy policy applies, we may, at our option, automatically collect and store the following types of non-personally identifiable information received from you: (i) information from server logs found on your browser; (ii) click-through statistics; (iii) your country; (iv) the type of web browser you are using to access this website; (v) the type of operating system you are using; (vi) the name of the domain and host from which you access the Internet; (vii) the date and time you access this website and the duration of your visit; and (viii) the Internet address of the site from which you linked directly to this website. Automatically collected information of that kind typically provides us with a greater understanding regarding the use of any of our websites, including which pages are the most popular with our visitors. That information also allows us to determine if a website is working properly and to make changes to the website that allows users to have better experiences on the website. We collect that information and track it for statistical purposes: we do not use it to identify or to market to a particular user.
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gamigo has taken reasonable steps to provide that all Personal Information collected by us through any website to which this privacy policy applies will remain secure. For example, for credit card information that is transmitted to us, we use industry-standard, SSL (secure sockets layer) encryption. In addition, we take reasonable steps to require that third parties to whom we transfer any data will provide sufficient protection of Personal Information received from us.
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This privacy policy was last updated on September 27th, 2010.


text:
John Keats b. 31 Oct. 1795
Submitted by rc-admin on
Today is anniversary of Keats's birth, so we thought we'd use the opportunity to direct attention to some materials on the Web from the British Library exhibit of a few years back:
Besides a few facsimiles and mini-essays, you'll find audio files (in Real Audio format) including a brief clip of the song of the European nightingale.
Parent Resource:
RC Blog


text:
The best information is in the Tafelberg & Spout guide book by Tony Lourens, available from most climbing shops.
Just about the best trad climbing around!
New Routes
The Swan (24) *****
Main Wall, Tafelberg
This superb route follows a line just left of The Crow. The last pitch is just right of The Crow's final pitch. Start 20m left of The Crow's corner. A natural stone chair is found at the base of the route.
- Pitch 1. 30 m (23) Pull onto the undercut face off a block. Up right to a thin crack. Tricky layback to roof. Undercling left to easier layback crack up to a ledge with blocks. Takeoff from block with hard pulls up to a layback feature. Up left to ledge (Bat's first stance is just to the left).
Gear: Work in a couple of decent wires at the layback feature before the last move.
- Pitch 2. 20 m (24) From the right of the ledge move up right to small ledge with a block. Hard pull to rail. Rail right for 2m. Hard pull up and right. Easier climbing straight up to just left of a large, pointed block sticking out from a big ledge. (Bat P2 comes up on the left and crosses to the right of the ledge). Walk to left end of ledge.
Gear: Tiny Friend or Alien in vertical slot at waist level for first hard pull.
- Pitch 3. 30 m (23) Up to roof. Rail left onto block/flake. Keep traversing left till possible to pull up to next rail via hollow flake. Undercling/jam left to corner. Up to huge roof. Rail back right until able to pull through roof on huge jugs. Up 5m to ledge.
- Pitch 4. 25 m (20) Climb the crack with a grass tuft directly above the ledge. Continue straight up through an overhang to the massive ledge.
- Pitch 5. 30 m (21) 3m right of The Crow's final pitch is another corner/crack starting above a low overhang. Take off from a large block and climb the crack to a small overhang. Rail right 1m then go up and left towards a small layback corner. Straight up to the top finishing up the middle of a superb whitish shield to a 1 foot square parapet.
FA: Adam Roff, Douw Steyn, Gosia Lipinska (Pitches 1 & 2) (2010)
Crouching Tiger Hidden Giraffe (24) *****
Main Wall, Tafelberg
Takes the big corner system dodged by Grappler, then up the hanging nose above. Has a spicy nip in the last pitch. Need a #4 Camalot for pitch 2. Start midway between Gotham City and Grappler at pockety rock below a layback edge at 5m.
- Pitch 1. 15 m (21) Up the pockety rock to the layback. Up this then diagonally right to a flake. Up past rails and right to finish.
- Pitch 2. 30 m (23) Start off a block just right of the first pitch. Climb up onto a narrow ledge, move right and up into a wide rail below the roof (#4 cam). Hard move up into the open book. Climb the corner crack to the roof with the giraffe. Turn the roof on the right and reach out left above the roof. Swing left and up onto a small ledge trying not to pull on the big, loose block. Up to a stance on another small ledge level with Grappler's "galloping hand traverse".
Gear: #4 Camalot to protect the hard move into the open book.
- Pitch 3. 20 m (24) Traverse 3m right to below the next big open book (at the start of the "galloping hand traverse") then do a hard, traddy pull into the corner crack above (grade 23 if you're tall). Climb up to the big roof. Undercling right to the corner and up to ledge.
- Pitch 4. 40 m (21) Climb the nose directly above where you came up. Reach up left for a rail just above the roof. Rail left until able to stand up. Step left then onto the nose. Romp to the massive ledge below the last pitch of Tafelberg Frontal. Walk left about 20m and scramble up onto a big, rectangular block under a low overhang. This is just left of a big, jumbly, blocky corner system. If you are in the right place there will be a Fred Flinstone briefcase just left of the block.
- Pitch 5. 30 m (23) Reach far left from the block and place gear (Camalot #2 in the handrail under the overhang). Traverse left under the overhang then do a hard move up to laybacks. Reach up left to a crack. Straight up to the summit past a thin move near the top.
FA: Adam Roff, Francie Buhrmann, Gosia Lipinska (2008)
FFA: Gosia Lipinska, Douw Steyn, Willem le Roux (2009)
Vuvuzela (23) *****
Main Wall, Tafelberg
Follows a direct line just right of Digeridoo on the main wall. Prominent features are the purple nose on pitch 3 and the massive corner system on pitch 4 right of the last pitch of Central Direct. Start by doing any two pitches to get to the belay at the end of pitch 2 of Tafelberg Frontal
- Pitch 1. 15 m (16) Climb straight up to the left facing corner to a ledge. Belay on a large block on the right.
- Pitch 2. 25 m (20) Climb into the awkward, undercut feature above the block and reach left to a finger crack. Go up past an overhang on the right, then do some thin moves and exit left. Stance on the left under the roof crack (as for Digeridoo).
- Pitch 3. 30 m (19) Traverse 3m left, up 3m, then back right onto the purplish nose. Climb the steep break just left of the nose. Exit right and climb straight up easy rock to belay next to a block. (If you step right around the nose and go straight up the grade drops.)
- Pitch 4. 30 m (23) Step off the block into the fierce, thin crack up to the small roof. Reach desperately through then move diagonally up left into the massive, left-facing corner system. Climb this to the huge roof and stance on the right.
- Pitch 5. 10 m (22) Climb the short, sharp layback crack just right of the stance.
FA: Adam Roff and Francie Buhrmann, Douw Steyn and Ant Hall (pitch 5) (2008)


text:
Ajay Moti - Teaching, General Teaching Projects in Ethiopia
I came to Addis Ababa to take a break from the finance world in New York City and position myself towards a career in education. My placement was at Safe House Ethiopia, a community centre that helps children of all ages receive food and an education. Prior to venturing to Ethiopia, I knew very little about the country itself besides its famous rulers and long-distance runners. However, I soon found out how amazing a country it truly is. Ethiopia's best-kept asset is its people, who I found were always smiling and helpful.
When I arrived to Addis in August, the children were on holiday, so they spent most of their time at Safe House. The centre is in a compound with a gated entrance. Inside the gate is a driveway, which leads to the main building in the compound, housing a classroom, library, and computer lab. There's also a smaller building with a kitchen and bedrooms for the children who live at the centre. Many of the children worked or begged before being brought to Safe House, so some are behind in their studies.
My routine was much more enjoyable than in New York. I would wake up in the morning and leave my home after breakfast. My total commute took 20-25 minutes and included two quick shared taxi rides through central Addis Ababa. The public transportation system in Addis is actually quite efficient, and I quickly learned how to get around. As soon as I walked through the gate of Safe House, I would receive the best greeting by the small children who were playing inside. After dozens of hugs and handshakes, I would walk into the teacher's lounge, where most of the staff and older kids spent their time.
I would start teaching my class soon after I arrived, which was usually around 9am. I taught English to the teenagers, and my lessons usually included reading and conversational exercises to keep things interesting. Most of my students were around 16 years old and they were divided into two sections of 15 students each. Other classes were also taught at the centre, such as typing lessons, and I would try my best to help out with typing and general computing issues. I would also spend some time everyday playing football and basketball with the younger children and teenagers outside.
After classes were done in the early afternoon and many of the children went home, I would usually join the other teachers and staff for a traditional coffee ceremony in either the teacher's lounge or the kitchen. We would all pitch in money and buy coffee beans, which would be ground up and roasted. The ceremony is no short experience; prepare to spend at least an hour drinking a few rounds of coffee! Blades of grass are spread out on the floor to give a very relaxing, homely feel. This was a great opportunity to share time with the staff and learn simple conversational Amharic, the local language. After the coffee ceremony, I would usually meet with the other volunteers in the afternoon at a local café, spend time checking email, or explore new parts of Addis. No matter what I did, I was never bored in Ethiopia!
There are many things that I can take back from my experience in Ethiopia. I have never had a job where I felt more appreciated than while I worked at Safe House. Ethiopians themselves are fiercely proud of their culture and history, with their own unique language, food, calendar, time, and holidays. The Habesha people also show a great deal of respect and camaraderie with one another. It has been a pleasure immersing myself in Ethiopian culture, (especially over round after round of delicious coffee!) and I am looking forward to seeing all my new Ethiopian friends very soon.
Ajay Moti
Dit verhaal is een persoonlijke ervaring van een vrijwilliger op dit project en dus een momentopname. Houd er rekening mee dat jouw ervaring hiervan af kan wijken. Onze projecten veranderen constant, omdat we inspelen op de lokale behoefte en we voortborduren op de behaalde resultaten. Ook verschillende weersomstandigheden kunnen de ervaring beïnvloeden. Lees meer over wat je kunt verwachten van dit project of neem contact met ons op voor meer informatie.


text:
What is the Compliance Committee?
The Compliance Committee is made up of two branches: a facilitative branch and an enforcement branch. As their names suggest, the facilitative branch aims to provide advice and assistance to Parties in order to promote compliance, whereas the enforcement branch has the responsibility to determine consequences for Parties not meeting their commitments.
Both branches are composed of 10 members, including one representative from each of the five official UN regions (Africa, Asia, Latin America and the Caribbean, Central and Eastern Europe, and Western Europe and Others), one from the small island developing States, and two each from Annex I and non-Annex I Parties.
The Committee also meets in a plenary composed of members of both branches, and a bureau, made up of the chairperson and vice-chairperson of each branch, supports its work. Decisions of the plenary and the facilitative branch may be taken by a three-quarters majority, while decisions of the enforcement branch require, in addition, a double majority of both Annex I and non-Annex I Parties.


text:
15 hoteller fundet i Maotangqiao
Resultat 1-15
Maotangqiao, Mingzhucheng Block B, 7 Zhongba South Road, Hai'an County. 7B
Hai'an, No. 7, West Renmin Road
Maotangqiao, 99-1 Changjiang Middle Road Haian
Maotangqiao, No.7, Mingzhu city, South Zhongba Road
Maotangqiao, No.20,ninghai south road
Pingqiao, 90 South Zhongba Road
Kaizhan, No.46 Tongyu Road
Kaizhan, No 98 Tongyu Middle Road Haian
Kaizhan, No. 78 Tongyu Middle Road, Hai'an County, Nantong, China
Nanping, No. 2 Ninghai South Road, Hai'an County, Nantong, China
Kaizhan, No.1-11,changjiang east raod,haian county
Shangjiadai, No. 69 Changjiang West Road, Hai'an County, Nantong, Jiangsu, China
Kaizhan, No.8 East Changjiang Road
Nanping, 46 Tongyu Road
Kaizhan, 43 East Chang Jiang Road


text:
It's Friday at last people! What a week I've had. I have so many cool posts in mind but I'm just so exhausted I can't quite muster them up so bear with me…The swatch gallery is taking longer than expected, but I have faith in my computer whizz and I hope to have it up in the next month. Also, I can't believe its October and I haven't won the damn lottery yet.
I am trying to be like a cat…I am trying to be content and lose myself in stroking….
The Polls:
1. Its nearly Halloween! Its not that much of a big deal in the UK for people over the age of 8, but I love it and I wish more was made of it so:
2. I can't believe how many nut cases there are out there, most notably on YouTube and Twitter. I am quite happy hiding out on here,on my mere little blog so:
3. I have been so run down and grumpy this week…life, oh life, always getting on top. So tell me:
Stay tuned, I have 30 days of gaw-juss Illamasqua Nail Swatches, a blogger event to talk about and a lot more opinion pieces. Yes, that's what we need more of in the world, my random opinions…probably.


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Stephen Baldwin arrested in New York
Actor STEPHEN BALDWIN was arrested in New York City on Thursday (23Aug12).
The Usual Suspects star was driving in Harlem when he was pulled over by police officers for allegedly making an illegal turn.
However, as cops began to write up Baldwin's citation, they discovered the 46 year old was driving with a suspended licence.
The actor was taken into custody and booked for aggravated unlicensed operator of a motor vehicle, according to TMZ.com.
He is scheduled to appear in court in October (12).


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Do you suffer from dark circles under the eyes?:
Panda feels your pain.
I often blame my dark circles on the lack of sleep, but the science tells us that sleep isn't actually a contributing factor to dark circles (although I certainly have puffier eyes when I haven't slept that seem to make my dark circles look worse!).
Dark circles begin as little capillaries under the eye area – blood that passes through these occasionally leak through into the surrounding areas. Your body cleans up this blood, and its remnants are a dark blue colour, similar to a bruise. They can also be heredity (take a good look at mum now!)
Dark circles are also not caused by this:
So now you know.
On to the review which is of the Skinfood Salmon Brightening Eye Massage Serum:
The Salmon range from Skinfood focuses on brightening the skin and eye area. I already own their Salmon concealer which does a rather good job!
The say:
Designed with a relaxing massage tip, it intensifies blood circulation on eye area and enables faster absorption of omega-3 fatty acid, arbutin and vitamins.
This massager is to be used just twice a week.
You press the nib down and the product comes out. I think this is phallic…
Here I am with my dark circles in tow.
The serum doesn't smell fishy (don't worry!) it does feel cool and light. I used this under my eyes and massaged it in (I also put it in the fridge first) and it is quite relaxing and does a good job of hydrating the under eye area.
I am guessing the massaging motion itself really helps with circulation.
Afterwards, my skin felt soft and smooth. Did it reduce dark circles?
Not that I noticed although there is an overall brightening effect. But no, you still need that concealer.
I like the fact this is really handy to use and its a nice intensive hydrating feeling. Like I said earlier, this is not going to remove any dark circles but it's nice to give your eyes a treatment now and then.


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It was only yesterday when we covered Vodafone's plans to launch a number of Windows Phone devices, and today the UK mobile operator has revealed just how much each handset will set the customer back. The move is a strong push for the platform, with majority of mobile operators in the country now sporting one or more Windows Phones.
So, pricing. Vodafone has announced the following as the pricing structure for each Windows Phone:
- Lumia 920 - Nokia's flagship Windows Phone available with no upfront fee on a 24-month contract. The Vodafone Red Data plan is utilised for £42 a month, and includes unlimited calls, SMS and comes with 2GB of data (black and yellow).
- Lumia 820 - available on the Vodafone Red plan (similar to the Lumia 920), but comes with unlimited calls, SMS and 1GB data for £33 a month (black or red).
- Lumia 620 - the low-end Windows Phone 8 device is available on a 24-month contract for just £21 a month. This includes 300 minutes, unlimited SMS and 250MB of data (blue or white).
- 8X - HTC's flagship Windows Phone is tied to the Vodafone Red plan. For £33 a month, unlimited, SMS and 1GB is bundled (California Blue or black).
- 8S - available on a 24-month contract for £21 a month, and just like the 8X 300 minutes, unlimited SMS and 250MB of data is included (Atlantic Blue).
Interesting pricing indeed. 1GB is generally enough for the average consumer who still chooses to use the smartphone regularly as a mobile device. There's plenty of call time and room to send thousands of messages to friends and family. As well as the hardware being available on the online store, Vodafone also lists the Lumia 920 and Lumia 820 ready for its future 4G LTE upgrade.
Source: Vodafone


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Cardiovascular Disease
The doctors of Northwell Health Physician Partners are caring for you at this location using Northwell Health's leading resources and research. Our comprehensive services and compassionate care have earned us the trust of patients, their families and referring physicians.
While we accept most insurances, when scheduling your appointment with one of our doctors, please confirm your insurance plan is accepted here. Our name has changed to Northwell Health, however, some locations are in the process of updating exterior signage and may still say North Shore-LIJ. We appreciate your patience during our change.


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The Sculpted Ice Works Factory Tour and Ice Harvest Museum opened last Memorial Day in Lakeville. They will be celebrating their one year anniversary Saturday May 25 and have music, food, live ice carving and a tour of the facility.
Children can enjoy face painting, arts and crafts and free sno cones. All food proceeds will benefit the Wallenpaupack High School Swim Team.
Each year Sculpted Ice Works manufactures over 12,000 crystal clear ice carving blocks in their plant, and transforms them into brilliant ice sculptures of all sizes. Mark Crouthamel, master carver and founder of Sculpted Ice Works in 1999, has spent several years developing a factory tour of the ice plant and a museum to capture the history of naturally harvested ice.
Years ago, harvesting lake ice in the region was both a large commercial industry as well as done locally for farms and families. Step back in time to learn how ice was "made" before commercial refrigeration. The museum showcases ice harvesting tools, uses of ice before refrigeration, and how ice was delivered. Enter into the modern ice plant, and watch how clear ice is manufactured today. Learn how ice sculptures are made in the Sculpted Ice Works Factory Tour.
The Factory Tour and Ice Harvest Museum will be open Friday, Saturday and Monday of Memorial day weekend and open Tuesday through Saturday from then on.
Hours of operation are 11 a.m. to 4 p.m. Admission cost is $7.00 an adult; $5.00 ages 3-14 and free of under 3 years of age.
Sculpted Ice Works is located in Lakeville on route 590 between Hawley and Hamlin. More information can be found online at sculptediceworks.com/tour or by calling (570)226-6246.


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It seems that a summertime rite of passage for me is the moment I come within inches of hitting some child on a bicycle — and I mean within inches! It happened to me again on Monday. As I drove up Walnut St. in Peabody toward home to eat lunch, a young boy about 8 or 9 years old came flying west on Third St. and crossed Walnut St. right in front of me.
When driving in town my speed rarely climbs to the posted limit. Monday I was crawling along at my regular old lady pace when the young man scooted out in front of me. He never slowed down — much less stopped — at the stop sign at the crossing, he never looked in either direction before entering the intersection, and he would never have know how close I was to him if I hadn't punched the horn a time or two. He was oblivious — never even glanced in my direction until he heard my horn.
At that point he knew immediately just how close he had come to being hit. I was close enough to him to see the fear in his eyes. If I had been going any faster, we would have collided.
So, it must be time again for the annual speech to parents reminding them that they need to have a pointed conversation with their youngsters about the rules of the road for bicycle riders.
The same rules apply to bicycle riders that apply to someone behind the wheel of a car. Bike riders must stop at stop signs and they must yield at yield signs. They must look both ways before they enter an intersection. They must drive on the correct side of the street. Easy, right? You would be surprised at how few of our children do any of that.
They ride along in our streets, weaving about, oblivious to the several hundred or thousand pounds of vehicle that might be bearing down on them from behind or from a side street. They simply do not pay attention. I often wonder when I see one of them in a helmet weaving to and fro, exactly how much protection that helmet will provide to the rest of the child's body if he darts across the street in front of a loaded grain truck?
Children also double up on bikes, creating more balance issues for whoever is pedaling and trying to stay upright. A simple shift in the weight on a bicycle and two youngsters could be under the wheels of a vehicle in seconds.
Parents, please talk to your children about bicycle safety. It is not someone else's responsibility to do it; it is your responsibility. I am a careful driver. I am a "never had a ticket" driver. I pay attention and I do not drive fast. But even as I write this, my stomach rolls at the memory of the fear and realization I saw in that young boy's eyes Monday afternoon.
Thank goodness the fear and realization in my own eyes were not the last things he saw.


text:
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text:
Artist Spencer Finch divulged details of a project in the works at an empty storefront at 242 State St. a few weeks ago, his creative energy filling the dark room with insight into how his obsession with light will weave itself into his commissioned piece for "Project Los Altos: SFMOMA in Silicon Valley."
While undergoing renovation, the San Francisco Museum of Modern Art organized traveling SFMOMA On the Go displays all over the Bay Area, including Los Altos. With support from the city of Los Altos and Passerelle Investment Co., the multisite exhibition is scheduled to open Saturday and run through March 2.
Finch's creation is slated for unveiling along with the work of five other artists commissioned by the museum at various Los Altos venues.
'Back to Kansas'
At first glance, a large wall containing 70 symmetrical squares, each of a different color, may look like an abstract painting, but Finch described his installation as more of a scientific experiment than a painting.
"The idea was to do something in Los Altos where everything is about speed and being able to control images – in this case, the image controls you," said the artist of his vision for a diachronic creation. "People will sit and watch as the colors disappear. Short wavelength colors disappear sooner, long wavelength later."
Inspired by how "The Wizard of Oz" bursts from black and white into full Technicolor as Dorothy enters Oz, Finch said he wants his installation to emulate the transformation. Deriving each block of color from scenes found in "The Wizard of Oz" and designing his piece to fit the aspect ratio of a film screen, Finch's work is appropriately titled "Back to Kansas."
The canvas of squares is intended for viewing without the use of artificial color, as natural light floods in from the southwest via a floor-to-ceiling facade of transparent glass that illuminates the work. Benches in front of "Back to Kansas" allow visitors to observe the installation for extended times, with the periods before and during sunset the most dynamic. Placards available on arrival invite guests to record when they see the colors fade to gray as the natural light disappears.
"Everyone will see differently," Finch said, noting how one's gender and even what one ate for lunch could influence how he or she perceives the colors of his creation.
Although Finch would be surprised if a line of visitors queues up on the sidewalks of State Street to view his installation, he said he would be just as satisfied if his "Back to Kansas" resonates with a few viewers.
"I'm hoping that there are some people who really find it as interesting as I do," he said, adding that he's particularly optimistic that the science and technology innovators in Los Altos might understand his vision. "I think if there are two people watching it for half an hour, that's much more important than 100 people looking at it for two minutes. I hope people are willing to give it a chance."
For a list of contributing artists and more information on "Project Los Altos," visit sfmoma.org/exhib_events/exhibitions/572.


text:
Model Name:
Lucky Starr
If we had a dictionary that defined words with images, this hot Asian would be the pic to define babe! This curvy cougar has a personality that oozes sexuality and sophisticated class! She is a one of a kind who will blow your mind!
Anilos....From tasteful nudes to Lesbian and Hardcore videos
Complete Sets Of Lucky Starr Inside Anilos.com


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Friday Children's ClassesBack to all Events
- Date: Every Friday
- Time: 8:30am – 11:45am
- Location: Evangelical Community Church, Abu Dhabi,
Venue: ECC 1st Floor
Classes are run during both the 8:30am and 10:15am adult services. (During July, there will be no classes at 8:30am. On July 8th, there will be no classes at all.)
We use Hands On Bible curriculum for children ages 3-6 in both the 8:30am and 10:15am services. HOB is just that — hands-on! Kids dive in and get involved, learning as they explore and engage. We use fun, real-world objects to teach Bible truths. HOB lessons focus on one specific Bible Point, and use a variety of activities to reinforce that message. The goal is to send children home with one life-applicable piece of Bible truth each week.
Children Desiring God is the curriculum used with our 7-11 year olds in both Friday services this school year, September-June. Each Friday we will be using a module entitled "To Be Like Jesus". This curriculum answers the questions "What is salvation? How does someone become a Christian? What does it mean to become like Jesus?" The curriculum answers these important questions by explaining elements of the Gospel message, its purpose, and promise. A major portion of this study focuses on the
doctrine of sanctification-the process by which a Christian becomes more and more conformed to the likeness of Jesus.
For more info, contact Jess at 02 446-4563, ext. 202 or email@example.com.


text:
Last August an email arrived in my inbox that invited me to participate in a programme that the Dairy Farmers of Canada are running. Over a year-long stretch that started in September 2013 they are going to send cheese to bloggers who will then post "action shots" of Canadian cheese on Instagram and other social media channels.
For participating I get a selection of cheese each month this winter and have agreed to post an Instagram photo once a week during that period.
You'll be able to find my photos under the hashtags #CDNCheese and #simplepleasures. This is all part of the Simple Pleasures campaign that also includes this short YouTube video. DFC posted a profile of the three bloggers and are collecting our photos on this page. (more…)


text:
|Send News. Want a reply? Read this. More in the FAQ. News Forum - All Forums - Mobile - PDA - RSS Headlines Twitter
Wow, I have to say, I am pretty damn blown away by how incredible Half-Life 2 is.... The only thing more impressive than turning out such an effort is doing so after managing to do so much to raise expectations in advance. Just.... wow.
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If you couldn't tell, we love working on theme events. Here are some images of an event from earlier this week!
I just wanted to thank you all for a wonderful job. Samantha was so pleased, along with us, her parents.
- Lil S., Pittsburgh
The rooms looked great!!! Thank you so much for setting everything up.
-Colleen B., Pittsburgh
It was a pleasure working with you! Arvay Event Design has our stamp of approval.
-Shelley M., Lower Burrell
Thanks for making our day so special. Working with you was amazing.
-Tiffany, Natrona Heights
The chair covers and bows "tied" the room together. Thank you so much!
-Barbara, Delmont
Looking back on my Student Council Presidency, I remember some wonderful things. Without the decorating in the gym for homecoming, it would not have been a success. Thank you so much!
-Dan, Pittsburgh
I just wanted to thank you for everything. You did an amazing job! Everything was perfect and everyone had a great time!
-Darlene, Natrona Heights
Thank you so much for decorating our wedding reception hall! You did a beautiful job. We will always refer your services to anyone looking for decorations.
Amy & Anthony, Pittsburgh
I wanted to share with you that my manager said he was pleased with your service and would use your services again.
Julie F, Fox Chapel
Copyright © 2019 Arvay Event Design & Rental | 724-274-4252


text:
PORTLAND, Ore. -- The National Organization for Marriage (NOM) says it is asking the U.S. Supreme Court to block a federal judge's order declaring Oregon's same-sex marriage ban unconstitutional.
The group, which opposes gay marriage, says it filed the request on Tuesday with Justice Anthony Kennedy, who handles such requests from the region that includes Oregon.
Oregon Attorney General Ellen Rosenblum has declined to defend the state's same-sex marriage ban, and U.S. District Judge Michael McShane ordered last week that gays and lesbians be allowed to marry.
The National Organization for Marriage is seeking a stay of that ruling while it appeals an earlier decision that prohibited the group from defending the marriage ban on behalf of its Oregon members.


text:
Liberate Media is an integrated communications agency that delivers campaigns combining PR, social media and content development.
We drive customer engagement and sales for brands by building conversations and communities with their customers and other important audiences.
For an introduction to us and what we do please watch this video:


text:
You need Java to see this applet.
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The Wolfram Solution for
The Wolfram chemistry solution offers a complete suite of tools for analytical, physical, organic, and inorganic chemistry, including high-powered data analysis, interactive visualization, and automatic reporting—all in one system.
Curated chemical and scientific data are built in to Mathematica alongside highly automated computation for ease and accuracy of calculations.
The Wolfram Edge
How Wolfram Compares
Key Capabilities
Wolfram technologies include thousands of built-in functions and curated data on many topics that let you:
- Access physical and safety properties of chemicals in your laboratory using built-in chemical data
- Calculate path-dependent and path-independent quantities such as entropy, free energy, chemical potential, and more
- Simulate mass transport and chemical kinetics such as electrochemical reactions
- Calculate the time-independent Schrödinger equation and its solutions in terms of wave functions and their eigenvalues, and other applications in quantum chemistry
- Solve coupled nonlinear differential equations for chemical kinetics modeling
- Interactively visualize molecular structures of biochemical compounds
The Wolfram Edge
How Wolfram Compares
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Does your current tool set have these advantages?
Built-in chemical, element, lattice, and isotope data, ready for use without preprocessing
Unique to Wolfram technologies
- Integrated automatic report generation to document tasks you perform in Mathematica and instantly generate reports with live graphics, text, and executable code
- Import or acquire data, perform statistical analyses, and visualize results in one system instead of across several applications
Highly optimized superfunctions with automated algorithm selection to get accurate results quickly—sometimes switching algorithms mid-calculation for further optimization
Non-Wolfram computation systems make you analyze your equations manually to determine which function to apply—for example, where in the Wolfram Language you use NDSolve, in Matlab you must correctly choose among obscure named algorithms like ode45, ode23, ode113, ode15s, bvp4c, pdepe, and so on, or risk wrong answers
Create interactive tools for designing chemical instrumentation, curve fitting, or data analysis that provide visual feedback to make debugging and testing of innovative instrumentation easier
Unique to Wolfram technologies
- Integrated environment for chemical kinetic modeling, statistical analysis, optimization, and generation of interactive reports and applications
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The Wolfram Language includes thousands of built-in functions for computation, modeling, visualization, development, and deployment »
Chemistry specific capabilities:
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- Sophisticated typesetting for chemical and mathematical equations; standard word processing and interactive applications in a single document »
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"The reason why I still use Mathematica and have been using it for all this time is that it's a very intuitive, very seamless development environment. I can go from an idea to a computational framework where I can get quick, easy numerical answers."
|Melih Sener
|University of Illinois at Urbana-Champaign


text:
When it comes to the cutting edge concept of
GeoDesign – using geographic science for community planning and building design
– students at Northern Arizona University have jumped ahead of the curve and
pioneered a program that is the first of its kind. This program, the GeoDesign
Student Group (GDSG), runs in conjunction with the university's new GeoDesign
degree. The program is also unique in its ability to attract students from
multiple majors to a common cause.
John Baskett, a senior geographical science and
planning major, and one of the five original founders of the GDSG, says the
innovative new approach appeals to new students and has helped the group's
roster grow to 15 members.
"We developed the program to include elements of
GeoDesign," Baskett says. "Since the area is really moving in a
GeoDesign-oriented way, we wanted to base the club off of GeoDesign concepts
with some aspects of planning."
Thomas Paradis, the chair of the Department of Geography, Planning, and Recreation and a professor of geography and planning, says the GDSG
provides real-world scenarios for students to learn and grow.
"The university is looking for more
interdisciplinary experiences, more ways for the students to start connecting
with professionals in the disciplines and to start showing how our students are
contributing to the community," Paradis says. "GDSG has all of that. They're
off to a very good start."
Paradis believes the excitement surrounding a
new undergraduate degree contributed to the group's enthusiasm, and that
students of different majors were eager to combine geology and planning into one
standard that serves as the foundation of the organization.
"It's an exciting direction that the students are
seeing us move in overall," Paradis says. "Former geography and former planning
students basically got together to encompass all of these aspects of
In their attempt to stay professional, the GDSG
is developing an application process that students from all majors are
encouraged to fill out. Members will be able to attend many of the group's
sponsored events, including guest speaker presentations and bike tours with
city planners. Baskett believes this helps their organization appeal to anyone
interested in creating a sustainable community, regardless of their area of
"I think that even if you're not in this major,
the speakers we have present information in a manner that you don't have to
have prior knowledge of GeoDesign and planning," Baskett says. "We're kind of
open to all majors in that way."
In an attempt to facilitate continued growth and
progress, the university will open a studio lab on the second floor of the
Social and Behavioral Sciences West Building. Faculty and group members can use
this lab to teach collaborative student projects, including architectural
design and computer-based mapping. These lessons will allow GDSG members to
develop a better understanding for geographic information sciences as they hone
their designing skills.
Estella Hollander, a senior public planning
major and another of the group's founders, says this hands-on learning provides
greater employment opportunities and promotes deeper peer-to-peer interaction.
"It's a good outlet for people within our majors
to learn from each other and expand our knowledge," Hollander says. "I think it
benefits the club to have people from different majors, like civil engineering
or environmental science, and get their perspectives on topics that we talk
Paradis cites the group as the first of its kind
in the nation, which he attributes in part to the university's willingness to
adopt a new curriculum.
"We're on the vanguard of GeoDesign education in
the United States," Paradis says. "The club's success goes along with our
curriculum being out in the lead. Northern Arizona University has a chance to
shine with this, and the student group is really showing off what can be done
with that type of interdisciplinary work."
Andrew Stocker, a senior public planning major
and an initial founder, says the success of the GDSG has come from its
connections with the Flagstaff community, and that any students interested in
joining should take advantage of this opportunity.
"If you're into geography, community planning,
urban design, sustainability, or anything at all related, it would definitely
be worthwhile to network with us," Stocker says. "For the past few years, we've
been learning a lot and making connections with the city, county and beyond."