text:
Saison is a style that's much loved at Crafty Towers, one that's a favourite of many brewers and also a beer that chefs and sommeliers like to work with due to its subtle complexities. It's also a style that is seen a little more each year in Australia, both in terms of straightforward interpretations and those that add spices, barrels, fruits and wild yeasts and bacteria to the mix.
We've always felt that it's a style ideally suited to Australian climes, certainly in the warmer months, as it's typically refreshing, lively on the palate and should finish dry as you like. Yet we also hear that it's a beer that can move slower than others in a brewer's range, presumably at least partly because saisons don't traditionally put punchy hops front and centre and instead rely on the unique characteristics of their yeasts to hog the limelight.
In the past year or two, the rise of sour beers has possibly eaten into the part of the market where saisons reside too; on the flip side, with Bridge Road's Chevalier Saison becoming the first local take on the style to be ranged in Dan Murphy's nationally, the phenomenon that is Hawkers having a saison in its core range and much fancied breweries like La Sirène and Boatrocker releasing various versions, one suspects the momentum is there for it to continue to expand its niche.
It's three-and-a-half years now – back in the earliest days of our blind tastings – since we featured saisons. So, with the warmer weather (allegedly) on its way, we figured it was time to revisit the style.
We managed to line up ten local versions – omitting anything featuring non-traditional ingredients (except Nomad's Long Trip Saison as it's reigning CBIA Champion French / Belgian Style Ale) – and added a couple of renowned internationals as benchmarks.
It wasn't possible to get them all from retail (our preferred method) so some came direct from brewers, as indicated below. There were a couple of beers brewers were unable to get to us, although the blame for Black Hops' Beach House not making it lies fairly and squarely with Australia Post who, four days after the bottles entered their system for one day delivery, had no idea where in the country they were... And, shame on Crafty, we realised when writing up these results that one beer that was sent successfully by a local brewer remains in one of our beer fridges untasted; we're endeavouring to pull together as much of the panel again this week to taste it blind so we can at least provide feedback to the brewer.
The full methodology by which our panel of six judged the beers can be read here. There was one slight difference this time: given saison can be a relatively broad church and not a style that all of us drink with regularity, we tasted a classic international version first – not knowing what it was – to see how the panel's scoring was aligned before launching into the main taste test.
You can read our resident beer scholar's article on the style historically then and now, or get straight into the results below.
As stated above, saisons are a relatively broad church; read the style guidelines and, while there are certain key aspects that should be there: high carbonation and a very dry finish for example, there's plenty of scope for brewers to play around. During one flight of three, in which all the beers had plenty going on yet in vastly different ways, we started to suspect that there could be some wildly disparate scores and opinions. Yet, aside from a handful of outlier scores, there was pretty solid consensus on the beers, certainly for those that scored best.
Sadly, the Fantôme that was included was infected – unless the aim with that particular bottle had been to create an uncarbonated, barrel-aged sour cider. As for the St Feuillien that was the "calibrator" before the main judging started, if it hadn't been for the large lumps floating around in the beer (see photo at top), it would have challenged for top spot as, appearance aside, it offered everything you could want in a classic saison.
The other classic saison in the mix was, of course, Dupont. And the question hanging over the tasting was, to an extent, could a local beer get close to its majesty? And the answer was: "Yes." Indeed, one local beer managed to beat it to top spot, with the top two (and St Feuillien) finishing some distance ahead of the pack.
Matt Houghton of Boatrocker has long professed his love of Belgian style beers and, when it was first released, described his Saison du Bateau as a "line and length" take on the style. If our panel's thoughts are anything to go by, it's a Glenn McGrath-esque line and length.
Quite where this "win" ranks alongside Boatrocker's 2015 Champion Small Brewery title or four straight Good Beer Week Gala Showcase People's Choice titles remains to be seen. But, with judges commenting on its "super dry finish", "smooth mouthfeel", "juicy aromas", "great carbonation level" and "beautiful white head" – and in a lineup containing several current or past trophy and gold medal winners, such as Australian Brewery's Saison D'Heretique, Bridge Road's Chevalier Saison, La Sirene's Saison and Nomad's aforementioned Long Trip – du Bateau has much to recommend it.
Please note that the Boatrocker beer tasted was from bottles featuring packaging that is being phased out. The beer now has a new look, which you can check out here.
We managed to pull together four of of the six panellists to taste the two missing beers in a blind setting. They were Morrison Brewery Saison and Black Hops Beach House Saison (with Brooklyn's Sorachi Ace added to make it another flight of three). We were keen to include them not just because the former had been left in the fridge and the latter held up by Aus Post, but also as we rate both: Morrison's we poured at our Good Beer Week Crafty Cabal Sunday Session; Beach House is the Black Hops beer chosen for the site's founder's latest book.
While it's not an exact like-for-like – the venue and glassware were different, for example – it was still four of the original six palates tasting the beers blind. And we're glad we did as Morrison's score would have placed it top three and Beach House top five. So, if you like saisons, when in Tassie look out for the former and, in Queensland, the latter!
Thanks again to a slimline Prof Pilsner and sidekick Kerry McBride for stewarding and to Temple for hosting once more.

lowercased:
saison is a style that's much loved at crafty towers, one that's a favourite of many brewers and also a beer that chefs and sommeliers like to work with due to its subtle complexities. it's also a style that is seen a little more each year in australia, both in terms of straightforward interpretations and those that add spices, barrels, fruits and wild yeasts and bacteria to the mix.
we've always felt that it's a style ideally suited to australian climes, certainly in the warmer months, as it's typically refreshing, lively on the palate and should finish dry as you like. yet we also hear that it's a beer that can move slower than others in a brewer's range, presumably at least partly because saisons don't traditionally put punchy hops front and centre and instead rely on the unique characteristics of their yeasts to hog the limelight.
in the past year or two, the rise of sour beers has possibly eaten into the part of the market where saisons reside too; on the flip side, with bridge road's chevalier saison becoming the first local take on the style to be ranged in dan murphy's nationally, the phenomenon that is hawkers having a saison in its core range and much fancied breweries like la sirène and boatrocker releasing various versions, one suspects the momentum is there for it to continue to expand its niche.
it's three-and-a-half years now – back in the earliest days of our blind tastings – since we featured saisons. so, with the warmer weather (allegedly) on its way, we figured it was time to revisit the style.
we managed to line up ten local versions – omitting anything featuring non-traditional ingredients (except nomad's long trip saison as it's reigning cbia champion french / belgian style ale) – and added a couple of renowned internationals as benchmarks.
it wasn't possible to get them all from retail (our preferred method) so some came direct from brewers, as indicated below. there were a couple of beers brewers were unable to get to us, although the blame for black hops' beach house not making it lies fairly and squarely with australia post who, four days after the bottles entered their system for one day delivery, had no idea where in the country they were... and, shame on crafty, we realised when writing up these results that one beer that was sent successfully by a local brewer remains in one of our beer fridges untasted; we're endeavouring to pull together as much of the panel again this week to taste it blind so we can at least provide feedback to the brewer.
the full methodology by which our panel of six judged the beers can be read here. there was one slight difference this time: given saison can be a relatively broad church and not a style that all of us drink with regularity, we tasted a classic international version first – not knowing what it was – to see how the panel's scoring was aligned before launching into the main taste test.
you can read our resident beer scholar's article on the style historically then and now, or get straight into the results below.
as stated above, saisons are a relatively broad church; read the style guidelines and, while there are certain key aspects that should be there: high carbonation and a very dry finish for example, there's plenty of scope for brewers to play around. during one flight of three, in which all the beers had plenty going on yet in vastly different ways, we started to suspect that there could be some wildly disparate scores and opinions. yet, aside from a handful of outlier scores, there was pretty solid consensus on the beers, certainly for those that scored best.
sadly, the fantôme that was included was infected – unless the aim with that particular bottle had been to create an uncarbonated, barrel-aged sour cider. as for the st feuillien that was the "calibrator" before the main judging started, if it hadn't been for the large lumps floating around in the beer (see photo at top), it would have challenged for top spot as, appearance aside, it offered everything you could want in a classic saison.
the other classic saison in the mix was, of course, dupont. and the question hanging over the tasting was, to an extent, could a local beer get close to its majesty? and the answer was: "yes." indeed, one local beer managed to beat it to top spot, with the top two (and st feuillien) finishing some distance ahead of the pack.
matt houghton of boatrocker has long professed his love of belgian style beers and, when it was first released, described his saison du bateau as a "line and length" take on the style. if our panel's thoughts are anything to go by, it's a glenn mcgrath-esque line and length.
quite where this "win" ranks alongside boatrocker's 2015 champion small brewery title or four straight good beer week gala showcase people's choice titles remains to be seen. but, with judges commenting on its "super dry finish", "smooth mouthfeel", "juicy aromas", "great carbonation level" and "beautiful white head" – and in a lineup containing several current or past trophy and gold medal winners, such as australian brewery's saison d'heretique, bridge road's chevalier saison, la sirene's saison and nomad's aforementioned long trip – du bateau has much to recommend it.
please note that the boatrocker beer tasted was from bottles featuring packaging that is being phased out. the beer now has a new look, which you can check out here.
we managed to pull together four of of the six panellists to taste the two missing beers in a blind setting. they were morrison brewery saison and black hops beach house saison (with brooklyn's sorachi ace added to make it another flight of three). we were keen to include them not just because the former had been left in the fridge and the latter held up by aus post, but also as we rate both: morrison's we poured at our good beer week crafty cabal sunday session; beach house is the black hops beer chosen for the site's founder's latest book.
while it's not an exact like-for-like – the venue and glassware were different, for example – it was still four of the original six palates tasting the beers blind. and we're glad we did as morrison's score would have placed it top three and beach house top five. so, if you like saisons, when in tassie look out for the former and, in queensland, the latter!
thanks again to a slimline prof pilsner and sidekick kerry mcbride for stewarding and to temple for hosting once more.


text:
in response to reader comment: READ THIS SIR!
"ahmed", you post the usual blather about Iraq being an Arab country and we should stay out. If the Arab countries had the moral standing they claim, they wouldn't have forced us to clean up their moral garbage. Saddam Hussein was an affront to every religion on earth. He was a contemptuous man of great evil and the "holy Arab" countries were doing nothing about him.
You were blessed with huge amounts of oil through no effort of your own. It became a world wide commodity that world commerce, including your own was highly dependent on. The Arab countries allowed an unstable keg of dynamite to exist right in the middle of the world's and your own commercial interests.
If you had dealt with the situation instead of hiding behind your excuses of a brother of Islam, we would never had gone in there. Saddam was nobody's brother and you know it. His "brother" countrymen were being terribly opressed by him and the Arabs did nothing. His sons were at least as bad as him.
We don't want to differentiate between Islam and violence??!! How "stupid" is that? Islam won't seperate itself from violence. You don't give us any other choice. You call us "stupid" and stupidity is your own holy ground.
I don't know why I bother to even post to you. I never get an answer because you have no answers. It doesn't matter which "id" you use, you are the same idiot who posts the same illogical garbage that your Islam cannot get out of. You have no "Allah". He is a figment of your false prophet's over active imagination. "Allah" was taken from a pagan river goddess.
Ishmael was the illegitimate son of Abraham. He was the seed for the illegitimate prophet and the illigitimate religion. God's seed was born later and given the mantle of the true seed of the truly prophesied Messiah. You post lies from a lying religion of cowards who will not address their own highly dangerous problems - i.e. Saddam Hussein. Why will you never post back?? No answers that's why.

lowercased:
in response to reader comment: read this sir!
"ahmed", you post the usual blather about iraq being an arab country and we should stay out. if the arab countries had the moral standing they claim, they wouldn't have forced us to clean up their moral garbage. saddam hussein was an affront to every religion on earth. he was a contemptuous man of great evil and the "holy arab" countries were doing nothing about him.
you were blessed with huge amounts of oil through no effort of your own. it became a world wide commodity that world commerce, including your own was highly dependent on. the arab countries allowed an unstable keg of dynamite to exist right in the middle of the world's and your own commercial interests.
if you had dealt with the situation instead of hiding behind your excuses of a brother of islam, we would never had gone in there. saddam was nobody's brother and you know it. his "brother" countrymen were being terribly opressed by him and the arabs did nothing. his sons were at least as bad as him.
we don't want to differentiate between islam and violence??!! how "stupid" is that? islam won't seperate itself from violence. you don't give us any other choice. you call us "stupid" and stupidity is your own holy ground.
i don't know why i bother to even post to you. i never get an answer because you have no answers. it doesn't matter which "id" you use, you are the same idiot who posts the same illogical garbage that your islam cannot get out of. you have no "allah". he is a figment of your false prophet's over active imagination. "allah" was taken from a pagan river goddess.
ishmael was the illegitimate son of abraham. he was the seed for the illegitimate prophet and the illigitimate religion. god's seed was born later and given the mantle of the true seed of the truly prophesied messiah. you post lies from a lying religion of cowards who will not address their own highly dangerous problems - i.e. saddam hussein. why will you never post back?? no answers that's why.


text:
This application is a continuation-in-part of co-pending U.S. patent application Ser. No. 11/264,958, filed on Nov. 1, 2005 and entitled “BONE FUSION DEVICE” which is hereby incorporated by reference, and which claims priority under 35 U.S.C. §119(e) of the co-pending U.S. Provisional Patent Application Ser. No. 60/624,836, filed Nov. 3, 2004, and entitled “BONE FUSION DEVICE” which is hereby incorporated by reference.
wherein the one or more tabs extend beyond the exterior surface in an open configuration.
5. The bone fusion device of claim 1, wherein the one or more tabs are movable to a compact position deposed within the exterior surface such that the bone fusion device has a minimized form factor.
6. The bone fusion device of claim 1, wherein the one or more tabs are configured for a plurality of positions.
7. The bone fusion device of claim 1, further comprising a bone graft material pre-deposited into the interior cavity before insertion of the bone fusion device between the bones.
8. The bone fusion device of claim 1, further comprising a bone graft material that is applied after placement of the bone fusion device between the bones.
9. The bone fusion device of claim 1, further comprising a rectangular shape.
10. The bone fusion device of claim 1, wherein a material of the bone fusion device is biocompatible.
11. The bone fusion device of claim 1, wherein the bone fusion device is configured for insertion by using an arthroscopic procedure.
12. The bone fusion device of claim 1, wherein the bone fusion device is utilized with vertebral bones.
13. The bone fusion device of claim 1, further comprising serrated edges on the one or more tabs.
14. The bone fusion device of claim 1, further comprising one or more pins and one or more slots for allowing movement of the one or more tabs.
d. an extending block coupled to the positioning element and comprising one or more angled surfaces abutting against the one or more tabs for moving the one or more moveable tabs when the positioning element is rotated, wherein the extending block moves towards a head of the positioning element to extend the one or more moveable tabs.
16. The bone fusion device as claimed in claim 15, wherein the positioning element is either a screw or a bolt.
17. The bone fusion device as claimed in claim 15, wherein the extending block is a nut.
18. The bone fusion device as claimed in claim 15, wherein the one or more tabs further comprise one or more holes.
19. The bone fusion device as claimed in claim 15, wherein the moveable tabs are deposed to lie within the exterior surface of the bone fusion device such that the bone fusion device has a small form factor.
20. The bone fusion device as claimed in claim 15, wherein a material of the bone fusion device is biocompatible and utilized with vertebral bones.
21. The bone fusion device as claimed in claim 15, wherein bone graft material is present within the hollow body before insertion between the bones.
22. The bone fusion device as claimed in claim 15, wherein bone graft material is applied after insertion and placement between the bones.
23. The bone fusion device as claimed in claim 15, wherein the moveable tabs have a textured surface.
24. The bone fusion device as claimed in claim 15, wherein the moveable tabs are coated with a porous material.
25. The bone fusion device as claimed in claim 15, further comprising serrated edges on the one or more tabs.
27. The method of claim 26, wherein rotating the positioning element clockwise moves the extending block, forcing the one or more moveable tabs outward.
28. The method of claim 26, wherein rotating the positioning element counterclockwise moves the extending block, allowing the one or more moveable tabs to move inward.
29. The method of claim 26, further comprising before implantation, depositing a bone graft material into the cavity.
30. The method of claim 26, further comprising applying bone growth material to the one or more tabs after extension, wherein the bone growth material stimulates regeneration of bone cells in the bones.
31. The method of claim 26, wherein the bone fusion device is utilized with vertebral bones.
32. The method of claim 26, wherein inserting the bone fusion device comprises an arthroscopic procedure.
33. The method of claim 26, wherein the one or more moveable tabs further comprise serrated edges.
34. The method of claim 26, wherein extending the one or more moveable tabs utilizes one or more pins and one or more slots.
wherein the one or more tabs are slidable such that the one or more tabs extend beyond the exterior surface and remain substantially parallel to each other when moved by the extending block.
wherein the one or more tabs extend beyond the exterior surface in an open configuration and remain within the exterior surface in a closed configuration.
ES2200056T3 (en) 2004-03-01 Apparatus for insertion of implants to the spine.

lowercased:
this application is a continuation-in-part of co-pending u.s. patent application ser. no. 11/264,958, filed on nov. 1, 2005 and entitled “bone fusion device” which is hereby incorporated by reference, and which claims priority under 35 u.s.c. §119(e) of the co-pending u.s. provisional patent application ser. no. 60/624,836, filed nov. 3, 2004, and entitled “bone fusion device” which is hereby incorporated by reference.
wherein the one or more tabs extend beyond the exterior surface in an open configuration.
5. the bone fusion device of claim 1, wherein the one or more tabs are movable to a compact position deposed within the exterior surface such that the bone fusion device has a minimized form factor.
6. the bone fusion device of claim 1, wherein the one or more tabs are configured for a plurality of positions.
7. the bone fusion device of claim 1, further comprising a bone graft material pre-deposited into the interior cavity before insertion of the bone fusion device between the bones.
8. the bone fusion device of claim 1, further comprising a bone graft material that is applied after placement of the bone fusion device between the bones.
9. the bone fusion device of claim 1, further comprising a rectangular shape.
10. the bone fusion device of claim 1, wherein a material of the bone fusion device is biocompatible.
11. the bone fusion device of claim 1, wherein the bone fusion device is configured for insertion by using an arthroscopic procedure.
12. the bone fusion device of claim 1, wherein the bone fusion device is utilized with vertebral bones.
13. the bone fusion device of claim 1, further comprising serrated edges on the one or more tabs.
14. the bone fusion device of claim 1, further comprising one or more pins and one or more slots for allowing movement of the one or more tabs.
d. an extending block coupled to the positioning element and comprising one or more angled surfaces abutting against the one or more tabs for moving the one or more moveable tabs when the positioning element is rotated, wherein the extending block moves towards a head of the positioning element to extend the one or more moveable tabs.
16. the bone fusion device as claimed in claim 15, wherein the positioning element is either a screw or a bolt.
17. the bone fusion device as claimed in claim 15, wherein the extending block is a nut.
18. the bone fusion device as claimed in claim 15, wherein the one or more tabs further comprise one or more holes.
19. the bone fusion device as claimed in claim 15, wherein the moveable tabs are deposed to lie within the exterior surface of the bone fusion device such that the bone fusion device has a small form factor.
20. the bone fusion device as claimed in claim 15, wherein a material of the bone fusion device is biocompatible and utilized with vertebral bones.
21. the bone fusion device as claimed in claim 15, wherein bone graft material is present within the hollow body before insertion between the bones.
22. the bone fusion device as claimed in claim 15, wherein bone graft material is applied after insertion and placement between the bones.
23. the bone fusion device as claimed in claim 15, wherein the moveable tabs have a textured surface.
24. the bone fusion device as claimed in claim 15, wherein the moveable tabs are coated with a porous material.
25. the bone fusion device as claimed in claim 15, further comprising serrated edges on the one or more tabs.
27. the method of claim 26, wherein rotating the positioning element clockwise moves the extending block, forcing the one or more moveable tabs outward.
28. the method of claim 26, wherein rotating the positioning element counterclockwise moves the extending block, allowing the one or more moveable tabs to move inward.
29. the method of claim 26, further comprising before implantation, depositing a bone graft material into the cavity.
30. the method of claim 26, further comprising applying bone growth material to the one or more tabs after extension, wherein the bone growth material stimulates regeneration of bone cells in the bones.
31. the method of claim 26, wherein the bone fusion device is utilized with vertebral bones.
32. the method of claim 26, wherein inserting the bone fusion device comprises an arthroscopic procedure.
33. the method of claim 26, wherein the one or more moveable tabs further comprise serrated edges.
34. the method of claim 26, wherein extending the one or more moveable tabs utilizes one or more pins and one or more slots.
wherein the one or more tabs are slidable such that the one or more tabs extend beyond the exterior surface and remain substantially parallel to each other when moved by the extending block.
wherein the one or more tabs extend beyond the exterior surface in an open configuration and remain within the exterior surface in a closed configuration.
es2200056t3 (en) 2004-03-01 apparatus for insertion of implants to the spine.


text:
Size of this preview: 637 × 600 pixels. Other resolution: 2,754 × 2,592 pixels.
Vismia with lance-shaped developing leaves.
This page was last modified on 17 October 2008, at 19:02.

lowercased:
size of this preview: 637 × 600 pixels. other resolution: 2,754 × 2,592 pixels.
vismia with lance-shaped developing leaves.
this page was last modified on 17 october 2008, at 19:02.


text:
Alice Caroline Exclusive – beautiful fabric collections, exclusive to Alice Caroline and designed in collaboration with Liberty.
Launched in 2018, our second exclusive collection comprises 12 beautiful and popular Liberty prints which have been recoloured to create a stunning rainbow in dusty tones. The rainbow tones in this collection are really pretty soft pastels that still have the hallmark of strong Liberty design and colour.

lowercased:
alice caroline exclusive – beautiful fabric collections, exclusive to alice caroline and designed in collaboration with liberty.
launched in 2018, our second exclusive collection comprises 12 beautiful and popular liberty prints which have been recoloured to create a stunning rainbow in dusty tones. the rainbow tones in this collection are really pretty soft pastels that still have the hallmark of strong liberty design and colour.


text:
This performance of Sting’s “Desert Rose,” the second song from his new CD Brand New Day, brought Middle Eastern-influenced music to 170 million viewers in over 156 countries, the widest Western audience to date. It also introduced the general American audience to the talents of Algerian raï star Cheb Mami, who has already experienced great success in Europe and the Middle East.
Cheb Mami’s high tenor voice is heard in the solo opening of the piece, weaving a rich tapestry throughout over Sting’s Western lyrics and rock instrumental foundation. He sings in Arabic of longing and lost love in the bayati maqam, with the beautiful ornamentation and intense feeling characteristic of Middle Eastern music. Simon Shaheen, well-known Arabic violinist from New York, arranged the music for the string section, and was the lead violinist. The musicians who played with Shaheen were Jihad Racy, George Hamad, Joseph Chamaa, Mike Zamir and William Shaheen, and Zafer Tawi played doumbek. Riq, duff, , zills, and zaghareets were also in evidence. Although the song’s foundation is Western popular music, Mami’s contribution gives it a quality of Arabic authenticity. The song is the second single from Brand New Day, and a “Desert Rose” music video is currently airing on MTV.
I was fortunate to be able to arrange an exclusive interview with Mami the day after the Grammys. His manager, Algerian Michel Levy, helped translate from French, and added his own knowledge of Algerian culture and raï music to the conversation. Mami told me that his collaboration with Sting began because of Sting’s interest in Middle Eastern music. Sting was writing “Desert Rose” as a duet, and he was on a search to find a raï singer to provide authenticity. He went to several concerts of major raï singers before he heard Mami’s performance at a concert in Paris. After the show, Sting went backstage and asked Mami if he would help him with the song. He sent Mami a demo tape, and Mami worked at home for two weeks until 3 or 4 in the morning, developing his soaring vocal part. Sting didn’t tell Mami what the song was about when he shared the melody with him, waiting to see what would come from the collaboration. Sting told CNN, “I’m singing about longing—romantic, philosophical longing. He (Mami) came back a week later with some lyrics and started to sing them, and they sounded great to me. I said, ‘What are you singing about?’ and he said, ‘Well, I’m singing about longing.’ So that proved to me that the music was telling the story, not the other way around.”1 The song was recorded in Italy, and after the CD was released, Mami accompanied Sting on a world tour.
Raï permeated the youth culture of Algeria at that time. The name arose from the tradition of wise men in Algerian villages who gave their ra’yy (advice, opinion, view, notion, “my way,” “Tell it like it is!”). Traditional raï had originated during the 1800’s in Oran, with roots in Sufi and other poetry, and a female cult, the zawiyya. Rooted in traditional folk music common to the Oran-Tlemcen region sung by male singers (sheikhs), it was adopted and expanded by urban female singers in Oran (sheikhas). Its development can also be traced to the Bedouin song form melhoun. It had a place and feeling in Algerian culture much like the blues in America, and early music was typically a soulful, solo voice over darbouka and reed flute. Rimitti, one of the earliest and most influential singers among the Oran sheikhas, is still performing (see article page 12). During the 1950s and 1960s, younger musician-singers adopted elements of flamenco, jazz, Eastern Arab pop music, and Euro-Pop, and more modern, electrified instruments began to be used. Many of the new, younger generation of singers use the prefix Cheb or Cheba (“young”) to distinguish themselves from the older generation. Some musicians refer to the newer, European-influenced version “pop raï” to distinguish it from the older, indigenous tradition from which it derives. A significant event in the development of pop raï was the meeting between trumpet player Massaoud Bellamou and jazzman Safi Boutella in 1974. A few years later, the new raï generation began using keyboards and rhythm boxes. What is now known internationally as raï music is a phenomenon of the late 1970’s and the cassette revolution.
During Cheb Mami’s childhood, raï was the music of choice of Algerian young people. Because raï music was not allowed to be played on the one Algerian television station, which was owned by the State, artists became known through the distribution of locally produced cassette tapes. When he was fifteen, Mami entered a talent contest on national television called “Voice of Tomorrow.” Although he came in second, it was generally acknowledged that he was the clear winner, especially obvious since the first-place contestant was the daughter of the head of the panel of judges. The audience booed when she was announced as the winner, and cheered wildly when Mami performed and was awarded second place. After that show, all of the music producers in the country, including Boualem (the producer of “Disco Maghreb,” the main label of Oran that had produced most raï successes in those years), were on the phone to him, trying to get him to agree to record with them. One week later he was recording his first cassette. Over the next several years, he recorded ten cassettes, each of which sold between 100,000 to 200,000 copies, one selling over 500,000 copies. Although he became very popular and well known among the Algerian people, he was still not recognized by the national media because of the ban on raï by the government-controlled radio and television stations. In 1985, he made his first official public appearance at the first raï festival in Oran.
In spite of Mami’s success, the sale of cassettes did not bring him much money, and in 1985 he went to Paris to play in the clubs to earn cash to buy his band more equipment. His intention was to return to Algeria soon to continue his music there. In 1986 he sang at the first raï festival outside of Algeria at Bobigny in France, resulting in a great deal of media attention. Because of the worldwide acceptance of raï after the Bobigny Festival, the Algerian government reversed its position and began to embrace raï as its own, allowing it to be played on national radio and television for the first time. Mami met Michel Levy at Bobigny, and decided to extend his stay in France. In December 1986, Mami sang in a recital at the Olympia, a famous concert hall in Paris.
In 1987 Mami returned to Algeria to complete his two-year military service requirement, which interrupted his singing career, although he said the army was generous in allowing him to continue to sing for other soldiers and in cabarets. When he returned to Paris in May 1989 to sing again at the Olympia, it was clear that he was the hottest rising star of the new raï. More venues and tours followed in close succession: New Morning in December 1989; Bataclan in May 1990; Festival d’Anoulême; New York; Québec; Italy; Netherlands; Germany; l’Auditorium des Halles in January 1991; Switzerland; Spain; the Festival of Roskilde in Scandinavia; and England. He came to Los Angeles in 1990 to record his first album, “Let Me Rai,” and returned in 1994 to record, Saïda, which reached gold status in France. Douni el bladi followed in 1996. His latest CD, Meli Meli, was recorded in Paris in 1999, and reached platinum status in France, with several of the singles from the CD reaching #3 on the French national charts.
Raï is now a worldwide phenomenon, and most of the major raï singers live outside of Algeria, primarily in France. Mami continues to live in Paris and tours internationally, but he still feels close to his homeland. This was demonstrated by his return for military service, the naming of his first CD after his hometown Saïda, and the inclusion on his latest CD of “Bledi,” (My Country). Based on an ancient Mexican theme with Andalusian origins, “Bledi” tenderly describes Algeria and its various regions, a “tribute to a country torn apart by civil war.”3 Another song on the same CD, “Azwaw 2,” features a song based on a poem by and sung with Kabyle poet Idir, who sings in Qabayil, the “Berber” (Latin for “barbarian”) language of the Maghreb region (which includes the coastal mountain regions of Northern Algeria).
Much has been said in the media about the rebellious, anti-authoritarian nature of raï, but Mami insists that this is not true of current raï singers. An air of controversy has hung over raï throughout its history, but there are as many opinions about raï as the name would imply. Since the early 1900’s, raï lyrics have been racy and bold, sometimes laced with social and political criticism, tinged with wantonness and individualism. Some songs had hidden meaning critical of fundamentalist Muslims. Raï came to symbolize a lifestyle of freedom, cynicism and anti-authoritarianism. Militant Islamists began their campaign against raï singers after the start of the civil strife in Algeria. Some say that militant religious leaders called for a fatwa against raï singers, and that Cheb Hasni was assassinated and another singer kidnapped and released because of it. Mami and Michelle Levi denied this, however, insisting that these are merely rumors. They pointed out that no one has been able to identify who issued the alleged fatwa or who killed Cheb Hasni.
Mami insists that current raï is non-political. He says that it deals primarily with the problems of everyday life and love. Each singer sings about his own life, and gives his opinion about what it means, how he sees it. He says that because of this, the subject matter of current raï music tends to be different than the old music because life conditions have changed and people are facing different problems.
You tell me I have the same rights as you, but when you look at me I see in your eyes it is not true, I am not considered to be your friend. When I want to work or rent a house, you don’t have a job for me because of my color, because I am Arabic.
Mami is a Muslim, and says that his music, and raï music in general, does not attack the fundamentalists. When I asked him if raï music has been critical of Islam or was religious, he responded, “Carlos Santana is Catholic, right? Would you call his music religious?” Was this an elusion to the subtle way that good lyrics point to profound spiritual and philosophical truths? Perhaps referring to the origins of raï, Mami included a song entitled “Cheikh” on Meli Meli: “In Muslim tradition, the Cheikh is considered as the wise person, the one who has knowledge, the leader. The patriarch is loved and respected because he is able to give good advice and to calm down fights.”4 In the title song, “Meli Meli,” (What’s Happening to Me), he uses the phrase “mystical attraction” to describe his feelings of love.
Today, thanks to the influence of Cheb Mami and others, raï music has become so popular in Europe that it is synonymous there with Arab music. According to Mami and Michel Levy, even Arab singers who do not sing raï music are promoted as raï singers in France. Although Mami is clearly rooted in the raï tradition, as was further demonstrated in Meli Meli by his use of many traditional Middle Eastern instruments, it would be a mistake to merely classify Mami as a raï singer. He has developed a unique style of singing and song writing, and looks beyond the tradition of raï and the borders of Algeria for inspiration. The blending of numerous traditions is not uncommon in raï, which may account in large part for its international appeal as “World Music.” For instance, on Meli Meli there are influences of Andalusia in “Bledi,” Scottish bagpipes on “Azwaw 2,” and reggae rhythm and sound on “Hatachi.” His affinity for Western popular music is clear in his collaboration with Sting, and Sting’s choice of Mami for the duet is a tribute to Mami’s voice and musical talent. He is very comfortable in the higher ranges, and he demonstrates incredible vocal technique with his accuracy and quick changes. Mami skillfully blends Western popular rock with the nostalgia of Arabic lyrics and the traditional Oriental music line. His song writing demonstrates creativity as well as commercial savvy, and his songs are infectious and very singable.
3. from CD liner notes.
4. from CD liner notes.

lowercased:
this performance of sting’s “desert rose,” the second song from his new cd brand new day, brought middle eastern-influenced music to 170 million viewers in over 156 countries, the widest western audience to date. it also introduced the general american audience to the talents of algerian raï star cheb mami, who has already experienced great success in europe and the middle east.
cheb mami’s high tenor voice is heard in the solo opening of the piece, weaving a rich tapestry throughout over sting’s western lyrics and rock instrumental foundation. he sings in arabic of longing and lost love in the bayati maqam, with the beautiful ornamentation and intense feeling characteristic of middle eastern music. simon shaheen, well-known arabic violinist from new york, arranged the music for the string section, and was the lead violinist. the musicians who played with shaheen were jihad racy, george hamad, joseph chamaa, mike zamir and william shaheen, and zafer tawi played doumbek. riq, duff, , zills, and zaghareets were also in evidence. although the song’s foundation is western popular music, mami’s contribution gives it a quality of arabic authenticity. the song is the second single from brand new day, and a “desert rose” music video is currently airing on mtv.
i was fortunate to be able to arrange an exclusive interview with mami the day after the grammys. his manager, algerian michel levy, helped translate from french, and added his own knowledge of algerian culture and raï music to the conversation. mami told me that his collaboration with sting began because of sting’s interest in middle eastern music. sting was writing “desert rose” as a duet, and he was on a search to find a raï singer to provide authenticity. he went to several concerts of major raï singers before he heard mami’s performance at a concert in paris. after the show, sting went backstage and asked mami if he would help him with the song. he sent mami a demo tape, and mami worked at home for two weeks until 3 or 4 in the morning, developing his soaring vocal part. sting didn’t tell mami what the song was about when he shared the melody with him, waiting to see what would come from the collaboration. sting told cnn, “i’m singing about longing—romantic, philosophical longing. he (mami) came back a week later with some lyrics and started to sing them, and they sounded great to me. i said, ‘what are you singing about?’ and he said, ‘well, i’m singing about longing.’ so that proved to me that the music was telling the story, not the other way around.”1 the song was recorded in italy, and after the cd was released, mami accompanied sting on a world tour.
raï permeated the youth culture of algeria at that time. the name arose from the tradition of wise men in algerian villages who gave their ra’yy (advice, opinion, view, notion, “my way,” “tell it like it is!”). traditional raï had originated during the 1800’s in oran, with roots in sufi and other poetry, and a female cult, the zawiyya. rooted in traditional folk music common to the oran-tlemcen region sung by male singers (sheikhs), it was adopted and expanded by urban female singers in oran (sheikhas). its development can also be traced to the bedouin song form melhoun. it had a place and feeling in algerian culture much like the blues in america, and early music was typically a soulful, solo voice over darbouka and reed flute. rimitti, one of the earliest and most influential singers among the oran sheikhas, is still performing (see article page 12). during the 1950s and 1960s, younger musician-singers adopted elements of flamenco, jazz, eastern arab pop music, and euro-pop, and more modern, electrified instruments began to be used. many of the new, younger generation of singers use the prefix cheb or cheba (“young”) to distinguish themselves from the older generation. some musicians refer to the newer, european-influenced version “pop raï” to distinguish it from the older, indigenous tradition from which it derives. a significant event in the development of pop raï was the meeting between trumpet player massaoud bellamou and jazzman safi boutella in 1974. a few years later, the new raï generation began using keyboards and rhythm boxes. what is now known internationally as raï music is a phenomenon of the late 1970’s and the cassette revolution.
during cheb mami’s childhood, raï was the music of choice of algerian young people. because raï music was not allowed to be played on the one algerian television station, which was owned by the state, artists became known through the distribution of locally produced cassette tapes. when he was fifteen, mami entered a talent contest on national television called “voice of tomorrow.” although he came in second, it was generally acknowledged that he was the clear winner, especially obvious since the first-place contestant was the daughter of the head of the panel of judges. the audience booed when she was announced as the winner, and cheered wildly when mami performed and was awarded second place. after that show, all of the music producers in the country, including boualem (the producer of “disco maghreb,” the main label of oran that had produced most raï successes in those years), were on the phone to him, trying to get him to agree to record with them. one week later he was recording his first cassette. over the next several years, he recorded ten cassettes, each of which sold between 100,000 to 200,000 copies, one selling over 500,000 copies. although he became very popular and well known among the algerian people, he was still not recognized by the national media because of the ban on raï by the government-controlled radio and television stations. in 1985, he made his first official public appearance at the first raï festival in oran.
in spite of mami’s success, the sale of cassettes did not bring him much money, and in 1985 he went to paris to play in the clubs to earn cash to buy his band more equipment. his intention was to return to algeria soon to continue his music there. in 1986 he sang at the first raï festival outside of algeria at bobigny in france, resulting in a great deal of media attention. because of the worldwide acceptance of raï after the bobigny festival, the algerian government reversed its position and began to embrace raï as its own, allowing it to be played on national radio and television for the first time. mami met michel levy at bobigny, and decided to extend his stay in france. in december 1986, mami sang in a recital at the olympia, a famous concert hall in paris.
in 1987 mami returned to algeria to complete his two-year military service requirement, which interrupted his singing career, although he said the army was generous in allowing him to continue to sing for other soldiers and in cabarets. when he returned to paris in may 1989 to sing again at the olympia, it was clear that he was the hottest rising star of the new raï. more venues and tours followed in close succession: new morning in december 1989; bataclan in may 1990; festival d’anoulême; new york; québec; italy; netherlands; germany; l’auditorium des halles in january 1991; switzerland; spain; the festival of roskilde in scandinavia; and england. he came to los angeles in 1990 to record his first album, “let me rai,” and returned in 1994 to record, saïda, which reached gold status in france. douni el bladi followed in 1996. his latest cd, meli meli, was recorded in paris in 1999, and reached platinum status in france, with several of the singles from the cd reaching #3 on the french national charts.
raï is now a worldwide phenomenon, and most of the major raï singers live outside of algeria, primarily in france. mami continues to live in paris and tours internationally, but he still feels close to his homeland. this was demonstrated by his return for military service, the naming of his first cd after his hometown saïda, and the inclusion on his latest cd of “bledi,” (my country). based on an ancient mexican theme with andalusian origins, “bledi” tenderly describes algeria and its various regions, a “tribute to a country torn apart by civil war.”3 another song on the same cd, “azwaw 2,” features a song based on a poem by and sung with kabyle poet idir, who sings in qabayil, the “berber” (latin for “barbarian”) language of the maghreb region (which includes the coastal mountain regions of northern algeria).
much has been said in the media about the rebellious, anti-authoritarian nature of raï, but mami insists that this is not true of current raï singers. an air of controversy has hung over raï throughout its history, but there are as many opinions about raï as the name would imply. since the early 1900’s, raï lyrics have been racy and bold, sometimes laced with social and political criticism, tinged with wantonness and individualism. some songs had hidden meaning critical of fundamentalist muslims. raï came to symbolize a lifestyle of freedom, cynicism and anti-authoritarianism. militant islamists began their campaign against raï singers after the start of the civil strife in algeria. some say that militant religious leaders called for a fatwa against raï singers, and that cheb hasni was assassinated and another singer kidnapped and released because of it. mami and michelle levi denied this, however, insisting that these are merely rumors. they pointed out that no one has been able to identify who issued the alleged fatwa or who killed cheb hasni.
mami insists that current raï is non-political. he says that it deals primarily with the problems of everyday life and love. each singer sings about his own life, and gives his opinion about what it means, how he sees it. he says that because of this, the subject matter of current raï music tends to be different than the old music because life conditions have changed and people are facing different problems.
you tell me i have the same rights as you, but when you look at me i see in your eyes it is not true, i am not considered to be your friend. when i want to work or rent a house, you don’t have a job for me because of my color, because i am arabic.
mami is a muslim, and says that his music, and raï music in general, does not attack the fundamentalists. when i asked him if raï music has been critical of islam or was religious, he responded, “carlos santana is catholic, right? would you call his music religious?” was this an elusion to the subtle way that good lyrics point to profound spiritual and philosophical truths? perhaps referring to the origins of raï, mami included a song entitled “cheikh” on meli meli: “in muslim tradition, the cheikh is considered as the wise person, the one who has knowledge, the leader. the patriarch is loved and respected because he is able to give good advice and to calm down fights.”4 in the title song, “meli meli,” (what’s happening to me), he uses the phrase “mystical attraction” to describe his feelings of love.
today, thanks to the influence of cheb mami and others, raï music has become so popular in europe that it is synonymous there with arab music. according to mami and michel levy, even arab singers who do not sing raï music are promoted as raï singers in france. although mami is clearly rooted in the raï tradition, as was further demonstrated in meli meli by his use of many traditional middle eastern instruments, it would be a mistake to merely classify mami as a raï singer. he has developed a unique style of singing and song writing, and looks beyond the tradition of raï and the borders of algeria for inspiration. the blending of numerous traditions is not uncommon in raï, which may account in large part for its international appeal as “world music.” for instance, on meli meli there are influences of andalusia in “bledi,” scottish bagpipes on “azwaw 2,” and reggae rhythm and sound on “hatachi.” his affinity for western popular music is clear in his collaboration with sting, and sting’s choice of mami for the duet is a tribute to mami’s voice and musical talent. he is very comfortable in the higher ranges, and he demonstrates incredible vocal technique with his accuracy and quick changes. mami skillfully blends western popular rock with the nostalgia of arabic lyrics and the traditional oriental music line. his song writing demonstrates creativity as well as commercial savvy, and his songs are infectious and very singable.
3. from cd liner notes.
4. from cd liner notes.


text:
This tuft mimics bushes and wilderness shrubs – perfect for adding a different look to your bases.
The lowland Shrubs gives you 77 tufts in three sizes, 12 large 35 medium and 30 small, for endless variations.
The Battlefields XP series has been developed by The Army Painter to give unlimited options to the Wargamer, when he/she decides on what type of bases the miniatures should have.
They can also be used to add detail to any Diorama, Scenic or Model Rail layout.

lowercased:
this tuft mimics bushes and wilderness shrubs – perfect for adding a different look to your bases.
the lowland shrubs gives you 77 tufts in three sizes, 12 large 35 medium and 30 small, for endless variations.
the battlefields xp series has been developed by the army painter to give unlimited options to the wargamer, when he/she decides on what type of bases the miniatures should have.
they can also be used to add detail to any diorama, scenic or model rail layout.


text: Hi, I’m Kat! I run a small antique and collectible shop out of my home in Olathe, Kansas. I both buy and sell awesome items! Please stop by anytime -- or you can even sell items to me online! Contact me anytime at kat@katscollectables.com. Thanks!

lowercased: hi, i’m kat! i run a small antique and collectible shop out of my home in olathe, kansas. i both buy and sell awesome items! please stop by anytime -- or you can even sell items to me online! contact me anytime at kat@katscollectables.com. thanks!


text:
Been gone a while, last beta I was able to play was b11.
In Beta 13 the virtual rider in DST doesn't give up the control of the bike until about 20-25 mph. Until then he is fighting me to steer, wobbling back and forth. Beta 11 didn't have this, it felt much better. Since in beta 11 the control release to DST was much sooner. Only really noticed it when walking the bike, and parking on the grid. Beta 11 felt like the controls switched to DST at 5 or 10 mph.
Anyway to bump it down to just off of the bike walking pace?
Other then that, DST feels really good, a lot more confidence when braking at lean angles. Don't feel the front wheel shuttering.

lowercased:
been gone a while, last beta i was able to play was b11.
in beta 13 the virtual rider in dst doesn't give up the control of the bike until about 20-25 mph. until then he is fighting me to steer, wobbling back and forth. beta 11 didn't have this, it felt much better. since in beta 11 the control release to dst was much sooner. only really noticed it when walking the bike, and parking on the grid. beta 11 felt like the controls switched to dst at 5 or 10 mph.
anyway to bump it down to just off of the bike walking pace?
other then that, dst feels really good, a lot more confidence when braking at lean angles. don't feel the front wheel shuttering.


text:
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