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Bob Dylan 970413 in Wayne, New Jersey
Subject: WAYNE SHOW From: TIMHRK@AOL.COM Date: Sun, 13 Apr 1997 23:04:13 -0400 ... Look for an extended review. This was a great show. Watchin the river flow was like a Sun sessions take, Hard rain a gonna fall was simply superb, and he did all the stanzas, Larry Campbell played violin on Friend of the devil. During the acoustic set photographs were projected in the back ground and after at th e finale of tuib a picture of Allen Ginsberg was projected, there was much appluase. Ginsberg's home town was in spitting distance. Only harp was at born in time. Great great great great great great great great great great great great great great great great great great great great great great great graet Hard Rain was simply one of the best single performances I've ever experienced of a song. Look for a detailed rave in the next few
Subject: Bob Dylan Wayne New Jersey April 13th From: firstname.lastname@example.org Date: 14 Apr 1997 05:09:35 GMT Hi everybody, I saw Bob tonight just a couple of hours ago and it was incredible. There were (my guess) 4000 people, all standing room only. I was about 20 feet away from him. ... Special guest Antonio Banderas...oh wait a second that was just Larry Cambell. They look exactly the same so I got confused. Bob was wearing this old western "Colonel Sanders from KFC" style suit with a white cowboy hat and white cowboy boots. I was amazed at how tall Bucky was. The sound was incredible. Here are some notes from the concert: Watching the River Flow suprisingly had a country feel to it. Larry Cambell played violin on Friend of the Devil. Bob played harp *only* on Born in Time Hard Rain was the second encore, usually rarely played. The band was really tight and they sounded great, but what else is new? Trevor
Subject: Wayne - Face to Face With Dylan From: Tom Favata (email@example.com) Date: 14 Apr 1997 05:36:25 GMT ... Is that a setlist or what? Dylan comes out at 7:30 sharp, decked out in full cowboy gear. Tan western jacket, string tie, and That Hat! I'm sure it's the same hat he has on in that great publicity shot for "World Gone Wrong". "Crash on the Levee" kicks things off, and the new drummer(sorry, I should know his name) gives this standard opener a new edge. The arrangement, though not radically different, seems totally new. "Pretty Peggy-O" follows and at this point I get the feeling we're all in for a helluva night. Next, of course, is "Watchtower", but even here we are treated to a little surprise. Bucky Baxter slips on an acoustic guitar and the intro he plays is right off of "John Wesley Harding". For a second I thought it would be an acoustic "Watchtower", but the Hendrix version kicked in soon after (Not that there's anything wrong with it:-) The moment I had hoped for was next. "You Ain't Goin' Nowhere". No I wasn't! Dylan couldn't have been dressed better for the occassion. He looked how I always pictured him looking whenever I hear this treasure sung. Sure he flubbed a word or two, but who cares. This is what we travel miles to see. It was definitely the "basement tapes" version(the one that does it for me) with Bucky, Tony, and that damn fine new guitarist(who's name eludes me) adding harmony for good measure. A rollicking "Watching the River Flow" and a standard "Silvio" followed, leading into the acoustic set. A new arrangement of "Friend of the Devil" with that damn fine new guitar player on fiddle was excellent, although Dylan was trying to give his vocal a new twist, and I don't think it worked. If he sang it like he meant it(Poughkeepsie, 5/1/96), this would have been one for the archives. An always riveting "Masters of War" was next, followed by the next highlight of the night. I was hoping to hear "Babe, It Ain't No Lie", so when the opening chords of "Tangled Up in Blue" filled the gymnasium air I can't say I was thrilled. By song's end, I was floored. Dylan sang the hell out of it. I swear it sounded like '75, and no , I was not drinking. The drums really added to this acoustic rendition, totally blowing away any and all versions played over the last year and a half. A true tour de force for both Dylan and band. "Seeing The Real You at Last" opened the second electric set, complete with a brand spanking new arrangement. While I can't describe the difference verbally, I can say it was transformed into a completely different song, and it rocked like hell. Another highlight, "Born in Time" followed. While someone (Bucky Baxter, I think) hit a very wrong note at the end of the first verse, Dylan and Co. recovered to finish the song in gorgeous fashion. It was also during this song that Bob blew his harp in anger for the first time of the evening. Truly a goosebump moment. Dylan than introduced the band and closed the non encore portion of the show with a satisfying "Highway61". The first encore was a less than inspiring 3 verse "Rolling Stone". This preceded a truly brilliant acoustic(obviously) "Hard Rain" I can't wait for Paul Wiliams to get a hold of this baby. I know only he can describe this performance justly, so I'll leave it to him. Knowing that "Rainy Day Woman" was about to close the show, I had an idea, albeit a borrowed one from a recent rmd posting. I exited the gym with my younger sister(19) in tow. Using her as a young innocent diversion, I would attempt a face to face with Dylan. Amazingly, we were able to get to the exit where Dylan and entourage would soon emerge with absolutely no resistance. A cop, (the friendliest cop I've ever encountered) let us walk right to where the waiting tour buses were standing. This seemed too easy, I thought. The cop and bus was probably a decoy. There were about 5 other people waiting with us as well, all with kids in tow. Having kids (or a young sister) sometimes pays off. I guess we looked rather un-threatening and that's why we were permitted to enter the "forbidden zone". About 5 minutes after the last muffled notes of "RDW" echoed from within, out walked Bob, white towel over head, cowboy hat in hand. He stopped to sign an autograph for one of the little kids, then continued walking towards a minivan parked right behind one of the buses. My sister, who was standing right in front of me attempted to say the word "Bob", as he walked directly in front of her. As she extended her hand out to shake his, she made eye contact with him and froze. He passed within a half a foot of her. While it looked like he would have shook her hand, she told me later his eyes seemed to say that he would rather not. She respected his eyes and he passed untouched. The thrill of being within a foot of Dylan was enough.....for the both of us. Tom and Christina Favata
Subject: WAYNE: 13 APRIL From: Homeowner1 (firstname.lastname@example.org) Date: 14 Apr 1997 13:46:37 GMT Wow! Having read a few of the other (excellent and accurate) posts on this show, I have to say that I agree with the solid reviews. Everything about this evening--easy commute and parking; enjoyable general admission seating; excellent sound (from about 20 feet in front of Bucky Baxter); and, of course, inspired, great music--was fantastic! I wish every concert were as laid-back an affair as this one was. A couple of thoughts: 1/ Did anyone hear a little "Hey Jude" in the jam toward the end of Silvio? I could have sworn there was little Beatles in there! 2/ Is the drummer David Kemper? I didn't catch his name clearly. If so, he's the guy who played in the Jerry Garcia Band. 3/ For any Deadheads out there: Pretty sweet to hear Mr. Dylan offer us some kind items that are related to the Dead/Garcia (Pretty Peggy-O; Friend of the Devil; Tangled Up in Blue; Watchtower; and, in a way, Silvio). Anyway, just wanted to add my 2 cents. Thanks for the great music. Looking forward to Hartford next week.
Subject: WAYNE REVIEW From: TIMHRK@AOL.COM Date: Mon, 14 Apr 1997 08:56:36 -0400 ... After some Great diner food at the King George, we get to the "rec center." I'm with my friend, Danny. We've seen Dylan together a bunch of times, the first time as teenagers for the Night Of The Hurricane in 1975. Just about every tour, we've seen a show or two. Not together all the time, and I've caught a few more shows. But we're both long term fans. As we walk from the parking lot towards the Rec Center, we already like the crowd. It's a real mix of young kids and old baby boomers, older than us thank God, and a healthy contingent of dead heads. What's weird is the place is a freaking gym. Talk about taking the music to the people. I've seen Dylan outdoors, in stadiums, at the Garden, the Beacon, but this is the first gym. I mean, college banners are on the walls. It was like a sock hop. A real nice feel. They say it held 4,000 people but I doubt that, had to be less, much less. Hey maybe if Dylan was greedier, made deals with credit card and beer companies, he'd have sponsors for a big places.Nope, Dylan has a little thing I like to call INTEGRITY!!! The lights go down and the familiar announcement. Columbia Recording Artist. Bob Dylan. Crash on The Levee, now a bluesy rocker, blasts from the amplifiers. With all the Midwest flooding, this song takes on a very topical nature. Dylan's wearing this large white cowboy hat, it's the shiniest hat I've ever seen and it's pulled down to at least his eye brows. He's dressed like the parson of a church or something. He has on a black western Bow tie, also known as a four-in-hand tie, and a white shirt with huge black cufflinks. The suit is grey, and he looks a little paunchy, not puffy or anything, just a bit more meat around the gut. Why not? He's a grandpa. He keeps his head pointed downward. He's playing some really bluesy licks. Dylan takes most of the leads for the whole night. He's a talented competent guitarist now, not the hacking strum of years past. He shows a prediliction for blues riffs throughout the night. The new drummer is good too, not as heavy handed as the one I saw in 95. Tony Garnier, a really overlooked musician, holds the whole thing together. But Dylan is singing and playing great and Danny points out that Dylan is wearing an "ear piece", which a lot of musicians wear these days he says. It helps them hear better. This may make a difference. I don't know. Pretty Peggy O starts off slightly confused, but to think, here's a song that dates back to his first record, and yet he is singing it with such wisdom and experience. His voice had an edginess, maybe hoarse in a subtle way but it is working. He's moving a lot when he plays guitar too, crouching forward, pointing the neck of the guitar at the crowd, shimming in fact. The arrangement is very similar to the Grateful Dead's version. Garcia did this song in the 90s and tonight's version shares that shuffling sensibility. Then as you can guess, those familiar chords ring out. All Along The Watchtower. The crowd loves it and why not. It may lack an impact for me, having seen it so many times, but it's a guitar anthem and always sounds good. Cambpell and Dylan trade some licks, some real nice interplay,and that familar crescendo ending thunders. The band is sounding great. Dylan is picking some mean guitar. I can't fully explain how Dylan simply improves on guitar each show. In 94 at Roseland, he starts playing more leads, starts leading the band, and in 95 he's doing Garcia quotes during Alabama Getaway and now in 1997 he is the lead guitar player. It's been a startling evolution. The next song begins with some pedal steel noodling by Bucky and we hear the chords. Danny and I look at each other and we say in unison, "YOU AIN"T GOING NOWHERE!" "Clouds won't shift, rain won't lift." It was just so buoyant. People are singing along. I wouldn't think the song is so popular, and he is doing the basement tapes version but the crowd is loving it, singing along like it's a campfire song. "get your mind off winter time." Very sweet. And Dylan ends by singing the chorus acapella, like he is leading the crowd, like he's Peter freaking Seeger. Never heard this one live before. The next number starts off with Garnier doing Bill Black Licks on the bass and Dylan riffing away like Scotty Moore. Will this be a sun session number? "What's the matter with me," the nasal tenor croons. I'm jumping up and down. Watching The River Flow. This is rock and roll boys and girls. This was how it began. Dylan makes it his own. He puts the Rimbaud Boogie in his Folk rock woogie. I think this is my favorite song of the evening. He changes the lyrics slightly too: I saw somebody who was really sad, he couldn't even cry." He probably forgot the real lyric and just flubbed it but it sounded clever to me at least. But these kinds of reinventions are why I keep going back to see the guy. Plus, I love rock and roll. This was rock with the roll Folks. The real deal!!!!!!! Silvio is next. It's a cooking song. The dead heads are singing along. I love the way it just builds and builds until he delivers the last verse, let the echo decide if I was right or wrong. The song has a real extended ending. We're ready for the acoustic set. Larry Campbell gets out the violin. Fiddle player. Ahh, the sound check rumors were right. what an addition to the sound. Those opening licks are not from Dylan, but from American Beauty. Friend of the Devil. The violin just enhances the texture. This song keeps gaining momentum. There's a screen behind the band. Double-exposed black and white images are projected. They seem stark, nothing in particular. This was not a light show. This was not the exploding plastic inevitable. It was tasteful. Like Georgia Okeefe or something. I don't know what it is and have not seen any thing posted about it. The dead heads are in heaven, singing along and Dylan's phrasing transforms this song into a troubadour lament as at home in the middle ages or in the old west as it was when the hippies tripped at the Fillmore. The violin tears at the heart. By the end of the song, Dylan gets this big grin on his face. The crowd actually applauds the smile. Another Dylan moment folks. Masters of War is Next. Now, I've seen the punk rock "real live" version of this song, the poetic return to its folk roots that Dylan did in what I believe was a tribute to the tribute Eddie Vedder achieved at the Anniversary show. But tonight, yet another version. Bucky is on Mandolin now. Larry has the acoustic out and Tony's got the stand up. This becomes like an Appalachian meets the Delta Blues number. It's not just a protest song from the Sixties, it now belongs to the dark folk songs of Appalachia, with a real country blues edge. Lighting Hopkins could have sat in on this number. And he's singing it with such force and honesty, like a song passed down from generation to generation. It's just such a great number. The pope is in Bosnia. People are dying in Zaire. The Israelis and the Palestinians still scuffle. This song matters. "And I hope that you die. And your death will come sooooooooooooon." The pictures seem more stark behind them. At one point, it looks like a double exposure of the Leaning Towers of Pizza. Dylan plays some blistering blues notes. The song has a new tempo, a real abrupt sound. "Until I'm sure that your dead." Classic rock, or classic folk rock, and people start singing along right away. "Early one morning, the sun was shining." What crosses my mind is that This DYLAN, the 70s Dylan, The Blood on The Tracks DYLAN, is as much a part of our culture as that kid with the harmonica and guitar singing blowing in the wind. Note for note, lyric for lyric it's the Blood on the Tracks version, except he says Truck diver's wives. But this song has become such an anthem. The crowd is with him all the way. "Right outside of Delacroix." It's as close to the album sound as any Dylan show. Suddenly a new picture appears on the screen behind the band: a double exposure of Allen Ginsberg. What a touching tribute. Here's a song first performed live at Rolling Thunder, a tour Ginsberg was on board for. Wayne New Jersey is right next to Paterson, where Ginsberg is from, and of course, the school shares the Patersonname. Ginsberg being from New Jersey is something that we Jerseyites find a kind of pride in. Everyone is applauding. What a beautiful climax to an extraordinary acoustic set. Tremendous and touching. The stratocasters are strapped back on. Dylan continues on his blues path with Real You At Last. The hook sizzles. "I don't mind a reasonable amount of trouble," he sings. The band rocks. Born in Time Follows. The lyrics sound funny, I think he's changed them, at least the opening ones. This song sort of wanders a bit at the outset. Dylan takes out a harp from his pocket. The only harmonica played the whole night. Sure, the applause erupts when Zimmy blows but it's a far cry from the 95 solos. In fact, I remember watching through binoculars his entire solo, where he had several harmonicas in a case kept on a stool. This one he has one in his pocket. What is up with the harp playing Bob? Not enough harmonica is the only complaint I have about this show, and in retrospect, this point is mute. I liked hearing this song, never heard it before live, and its a great number. At the end of the song, Dylan takes off his hat and smoothes his hair and puts the hat back on, way down, completely over his forehead. "Let me introduce the band." The band introductions come and then it's Highway 61 and everybody is rocking again and the show is drawing to a close. Dylan flubs some of the lyrics. The band's energy explodes. The show really has that sock hop feel to it. We're all screaming for an encore. So, they take a break and return and it's Like A Rolling Stone. It kind of has that Isle e of White Feel to it, or an Unplugged thing going on. The pedal steel is like an organ. I always consider this one of the overplayed Dylan tunes, but it sounds new again. Now, I've seen several Never Ending Tour Shows, and the encores have always been well, kind of predictable. At this point, we are supposed to hear like a One Too Many Mornings or an It Ain't Me Babe. I can't quite make out the chords. And in a quiet tone, we hear. "where have you been my blue eyed son, where have you been my darling young one." I haven't heard this one in a long time and the last time, I believe it was the Petty tour, the version was just so so, and he left out a verse or two. Dylan is really into this song. The lyrics reel out of him, like beautiful streams of Whitman. This is a poignant concert moment. Some gym in nowhere new jersey, a crowd not made up of critics or big city media hype, and Dylan just pulls out this classic gem, this song that is so filled with poetry it's like READING. I saw a branch with blood that kept dripping. Mid song, Bucky gets out the Dobro. It intensifies. And what did you see, what did you hear, he does it all. I saw a gun that shot swords in the hands of young children. Zaire kids on the front page of the Sunday newspaper. The whole place is moved. I can feel tears in my eyes. The instrumental break is just incredible, and just when you think he might cut it short, might not remember all the lyrics. I mean, this song is as long as Sad Eyed Ladies. Dylan saunters up to the microphone. The instrumental break was so complex, we're all applauding. "What'll ya do now, my blue eyed son." It was so poignant, so fucking BLOODY GREAT. It was like hearing a beautiful poem. It is a beautiful poem. The words are just so perfect, sheer genius, image after image. When it ends, there is a gasp before the applause. This was not just experiencing a performance. We were paying witness. You know, you always know you'll be surprised at a Dylan show, and we always have a song or two we would like to hear, but then he slips in a truly great one that is just so unexpected and you get your GOD DAMN SOCKS KNOCKED OFF. Debating set lists or thinking about Stormy Season or rediscovering the concealed charms of his 80s records or arguing why the classic records are classic, yes we do all of this, but suddenly, we hear Hard Rain again and we hear the experience and wisdom of a King Lear in the lyrics written by a young folk singer who just discovered Kerouac and Ginsberg and that magic that is Dylan rings clear and true. We're not hearing some protest tune inspired by the Cuban Missile Crisis, we are hearing a Leaves of Grass about the human condition that is timeless, that will be as moving 100 years from now as it was that night as it was in the early Sixties. I'm Going Back Up When That rain that starts a Fallin. The whole place, the band, the kids, the dead heads, the baby boomers, the sound technicians, the bouncers, the hippie taper with the microphone hidden in his hair, the girl with the long brown hair and large breasts, the skinny blonde with earrings in her eyebrows and lips, the moms and dads with their adolescent kids, the pot smokers, the tie dyed wearers, the college kids, ME AND DANNY, we were all moved. Spellbound. Touched. Utterly breath taken. Dylan thanks the crowd, he even throws something in the crowd. Was it the Harmonica? We start going towards the exits. Rainy Day Women is coming on, but anything would be anticlimactic. The familiar strains come on and we hang out, wondering if there might be something else. It's a celebration at this point. I watch kids and dead heads dance. These teenage girls gyrating, learning how to shimmy their hips and shake their tits. These middle age ex hippies grooving like they're 21 and filled with idealistic hope. These dead heads twirling remembering when Jerry was alive. It's an anthem. I love seeing people have a good time.But Hard Rain had such an effect on me. I can't explain it. The words are so beautiful and constructed. Danny and I, well we've been buddies since the third grade. This song is part of our lives, and neither of us have truly listened to it in a while. Now, we will never forget it. Anyway, we hang by the back, watch the crowd and the lights go up and it's over. "One of the best Dylan shows I've seen," Danny says as we wander through the April Night towards the car. I can only nod and feel the breeze against my sweaty face. And Reflect from the Mountain for all souls to see it.
Subject: Still more on Wayne From: Loren Terveen (email@example.com) Date: Tue, 15 Apr 1997 00:44:57 GMT I want to second the praising of Dylan's guitar playing. This definitely was NOT the noodling leads we've grown accustomed to over the last couple of years. While there was still some of that, he played lots of sharp, clear lead. For me, the new style was best exemplified on Masters of War and Hard Rain. Both these songs contain pauses after most lines, and all the pauses were punctuated by razor sharp (heavily amplified) acoustic leads. Other highlights for me were Peggy-O, Tangled Up in Blue, Born In Time, and Like A Rolling Stone.
Subject: Wayne -- Another View From: Zoner13 (firstname.lastname@example.org) Date: 14 Apr 1997 08:20:01 GMT Fellow peculiar Dylan fans -- General admission rules! We were VERY close to the stage. I've never been so happy (and so close) watching that shadowy figure walking out on stage, surrounded by his partners in crime. Is there anything better than watching everybody take their place, and the sound of: "Ladies and Gentlemen...Columbia recording artist -- Bob Dylan!" And of all the great things about this show (I'll name a few) -- I must say it's a new sound Bob seems to be creating that I'm most interested in. With Pretty Peggo-O and You Ain't Goin' Nowhere, there was a great country/folksy/I dunno what else to call it SOUND. It had an accoustic feel to it. Now I think I understand what may have behind the departures of W.W. and B.B. (whom I loved dearly). Dylan, in my opinion, is on the brink of something new. (Perhaps the secrets are in the already recorded album). I think some of the songs we've complained about (or at least I have, in a now outdated post) in the setlists are mere warmups. Once the new guys get up to speed, we're in for a real treat -- more songs like You Ain't Goin' Nowhere. And the new guy, Larry Campbell. I was surprised how YOUNG he looked. And I like him already. What fun he has on stage! (He even plays VIOLIN. It's time to break out the Desire tracks!) He tried, bless his heart, to follow Bob's lead all night, all the while not losing his cool, all the time smiling and waving to the crowd. I'm telling you -- great stuff in the works. But back to Dylan. I've never seen such ENERGY! He played the living hell out of that guitar. And not just his noodling. He played lead guitar. He danced around with more animation than I've been used to. Everbody on stage seemed to be watching his hands. Trying to read his mind. Trying to keep up. But Dylan, in his mid-fiftees, seems to me on some mission of God. To prove this neverending tour is really NEVER going to end. And his voice (ragged from so many shows) was still forceful and coherent. Friend of the Devil my personal highlight. Those guitars. That violin. That chemistry. And that singing. But Hard Rain might be the best stuff for the tapers. What phrasing. What chemistry this band has, or is about to have. I wasn't sure if this performance was good for what it delivered, but for how optimistic it makes the future look. I must confess it gives me great pleasure to be on the other side of the r.m.d. reports -- talking about what everbody else missed. But enough of my yacking. I'll see you next Sunday, at Monmouth. It's General admission again. Zoner
Subject: 4/13/97 Wayne, NJ notes From: Christopher Pelham (cpelham@MACCONNECT.COM) Date: Tue, 15 Apr 1997 16:20:56 -0400 I few more observations about this show: Based on the reviews of the previous shows this month, I was expecting a show with a surprise song or two but with frequent lapses in communication within the band. However, this was IMHO the smoothest of the five shows I've seen in the neverendingtoursaga. Watchtower was perhaps the first big test of the night, and Bob did indeed pull it back and slow it down at the end, but the guys stayed right with him. Larry Campbell watched Bob intently all night, smiling frequently, esp. at the end of Watchtower and FOTD. Never did I notice a look of ire from Larry of Bob at any time. When Bob looked at Larry, he usually seemed to be confirming that they were indeed on the same page. Admittedly, when Bob was taking lead, esp. on acoustic, Larry's parts consistedly primarily of strumming, and Larry looked a bit bored--for instance, on "Hard Rain's a Gonna Fall." I have a friend who's toured with Larry before with the Cyndi Lauper band, and she says Larry's a genius. He can play any stringed instrument, has like 40 of them you've never heard of before. He definitely seemed happiest to me playing violin on FOTD, and I wonder if he'll stay on with Bob for very long if he's not given more to do. I enjoyed Bob's electric lead playing but didn't think his tone or choices were especially distinctive. WATCHING Bob play is great--but until he finds a more original voice I'm going to hope he'll surrender duties to Larry (just as I loved and preferred GE, Robbie, JJ, etc.) Now I was really glad to hear Bob take lead on TUIB, Masters of War and esp. Hard Rain. These were beautiful. He's picking out lovely, interesting parts and really doing himself proud. The latter two were definitely the best live perf. I've heard of these two. Beautiful, clear singing, sharp phrasing, weathered, warm, full sound from the band--was this show really in an aluminum gym and not an oak barn? I disagree with those who say this TUIB sounded just like the BOTT studio version. While the lyrics were nearly the same (this has been well-covered now), the vocal melody was new-at least new to me. Unfortunately, I cannot remember it well enough to cite examples, but the hopefully forthcoming tape should bear this out. I'd never hear "You Ain't Going Nowhere" "Peggy-O" or "Born In Time" live before, and I definitely think all three are keepers. YAGN had a lovely countryish quality and "Born In Time" was so sexy. More than once in this show I felt something of Elvis in Bob's performance. I'd love to hear a "Lay Lady Lay" on this tour. This is a really versatile band and I think will get much more so if Bob allows it. Larry's violin, Bucky's elec. mandolin and lap steel (as well as his mainstay pedal steel), add so much. Also, Garnier now uses a hand held fretted acoustic base at times as well as his elec. and standup acoustic and always holds things together in a and provides the emotional as well as musical energy that Dylan's bass probably ought to. I didn't form any strong impressions of the new drummer. He never irritated me, and I did really like what he contributed to Born in Time. In general I felt like he had a lighter touch than Winston. All in all, I loved this show and encourage everyone to try to see him on this tour! Bob is working really hard, seemingly as hard in rehearsal as in front of the audience, and it's paying off. One other observation: the most age-varied audience I've been a part of yet. Lots of whole families and teenagers. Never smelled any pot! Only saw a few obvious Deadheads, not many people who looked like students of William Paterson College either. Everyone, young or old seemed to be dancing and having a great time, coming away starry-eyed and happy though. Long live Bob! - Christopher Pelham email@example.com "Dig my grave with the ace of spades." -- Blind Willie McTell
Subject: From the Chick with the RMD sign at Wayne (long) From: RJATKO (Rdjxejk@cris.com) Date: Tue, 15 Apr 1997 22:15:13 -0400 Charlie and RK and I got to Wayne about 2:30, whereupon we went to the diner and met our fellow rmders--all fantastic people, needless to say. By 3:30, we were waiting on line, about 70 people back from the door. I occassionally held up my R.M.D. sign, trolling for fellow rmders (more about the sign later). Quite a few came over, and I got to meet many rmders for the first time--what a blast! Finally the doors opened and we took off. I wound up one person back from the stage, about 10 feet to the right of Dylan. The guy in front of me was a tall rmder and was kind enough to let me stand in front of him (but I was so excited that I misremember his name--thank you, thank you, geneticist and fellow rmder from Ohio!) So I was right on the rail, which is about two feet back from the stage. The stage itself is low, maybe three and 1/2 feet high. Dylan and the band sauntered out at around 7:30--there was no opening act. Dylan was wearing a yellowish-gray sharkskin suit (a definite step up from the dreaded blue sashed satin shirt, but not as good as the long black coat outfit), a white cowboy hat with a black band and small turquoise feather, a white shirt, a black gambler tie, and white cowboy boots. I forget what the rest of the band looked like :-) (Actually, BB and Larry had long jackets on, the goateed TG had a loose fifties-style shirt and a black leather cap, and I couldn't really see the drummer.) Larry played a Telecaster most of the show, although we got a bit of violin from him on Friend Of The Devil. On Hard Rain, TG played an acoustic bass guitar--not the upright. It looked just like an regular electric acoustic guitar, but with only four strings. Dylan was in good form and seemed to be enjoying himself. His voice was strong, and his electric guitar playing was much improved since I last saw him in Pittsburgh 96. Very little of that annoying 3 note noodling, thank goodness. Hard Rain was my favorite, and I liked Born In Time a lot. During You Ain't Going Nowhere, Dylan stopped singing and let the audience sing the chorus (we did a good job, too :-), while the band clapped encouragement. AATW was very good too, not at all a throw-away song. But my favorite song of all was Hwy61R. Why was that, you ask? Well, I'll tell you. My favorite song was Hwy61R because, right before it started, when the spotlights were on the audience, I held up the R.M.D sign, at about waist level. With no one in front of me, it was very visible from the stage. (To backtrack a little, I had done the same thing last year at Drew, but I was two people back at that venue, so I had to hold the sign up in the air. Nonetheless, I did get him to squint at it, and do a double-take and squint at it again. He looked puzzled. But that was then. ) This time, he squinted at the sign, looked at me, and pointed to himself, saying "That's me?". I nodded. He smiled, albeit a small smile (like he has any other kind :-) Then he looked at it again and said either "I *love* you" or "I *know* you". (The exact words were debated later at the bar. Actually, the other rmders debated. I was too spaced out by the whole thing to think clearly. Believe me, once he looked at me, once those intense blue eyes met mine, I was like one of those butterflies pinned to a board. Yes I was. My, my.) Then he finished the song, and at the end looked at me again (sigh), and pointed, and said "*You!*" (BTW, the various theories thrown about the bar were that if he said "I know you", it was either because he remembered me from the Drew show [not me personally, of course, but me as in "the chick with the R.M.D. sign"] *or*, [wishful thinking on many rmders part coming up], he actually reads rmd [or maybe has someone save and printout certain posts, esp. concert reviews], and saw the mention of the sign in my last year's Drew review. I thought he said "I *love* you". Either way, I sure did like it.) It was a great set and a fantastic show. I like these small gymnasiums and I think Dylan does too. Last year at Drew wasn't as strong performance-wise --it was the first show of the year--but was my favorite show last year anyway because of the intimate and casual setting. He actually interacts with the audience a bit in these venues, and that suits me just fine, especially if I'm a bit of the audience that he interacts with :-) Robin
Subject: Another Wayne review From: MLPman219x (firstname.lastname@example.org) Date: 19 Apr 1997 17:10:55 GMT I posted this on Counsel Connect, a computer bulletin board for lawyers (no flames, please... have met some of the greatest dylan fans I know there). Appended By: Michael Perlin Date: Mon, 14 Apr 1997 10:14:17 EDT Subject: How does it *feeeeeeeel*? -Wow!! You've all heard me wax rhapsodic abt Bob concerts before -- caveat: to those who havent seen him since '92, ignore any post-Petty tour memories u may have had (the new Bob sounds nothing like the late 80's/early 90's Bob); to those who think this is Lawrence Welk for graying Boomers, welcome to the real world -- but this one topped any of the ones I've seen in the past three years. An amazing musical evening. First things first >> the set-list: Crash on the Levee (Down in the Flood) Pretty Peggy-O All Along the Watchtower You Ain't Going Nowhere Watch the River Flow Silvio Friend of the Devil (a) Masters of War (a) Tangled Up in Blue (a) Seeing The Real You At Last Born in Time Highway 61 Like a Rolling Stone (e) A Hard Rain's a Gonna Fall (e) (a) Rainy Day Women #12 & 35 (e). A few observations now and more after class ... 1. The second live performance *ever* of You Ain't Going. 2. The best Highway 61 I have ever heard .. by far (I had always thought that Bob shd retire this from his repetoire, esp. after the Johnny Winter version at the Tribute concert. This smoked.) 3. My 2d Hard Rain in 2 concerts over a 15 month period. No idea what the odds are on that but... 4. New lead guitar player played violin on Friend. 5. Slide show on a screen during the acoustic set included portraits of Allen Ginsburg at the end of Tangled. 6. 4 "first-time-ever-in-persons" for me >> Peggy, You Ain't, Friend and Born. 7. Bob's voice stronger than I can remember, esp. on Crash, Peggy, the acoustics and the encores. 8. Bob's lead guitar playing amazed me.. I remember Jeff scoffing at my praising his guitar work at the Roseland concert (10/94), and, in truth, the 2 times I saw him aftr that before this, he had kinda gone back to playing chords and basic riffs. But last nite he *stunned* the crowd. 9. Sound check (hear half of from outside waiting for gate to opne) included Dignity ... never played in the US exc on MTV Unplugged show 10. Friend of friend saw original planned set list: Stuck Inside of Memphis was listed as alternate to Seeing the Real You, and Lonesome Death of Hattie Carroll as alternative to Hard Rain... He'll be in Providence and Hartford this week, then back to NJ to Monmouth College on Sunday, then Penn State and then he moves a bit south and then west. If u can see him, GO! Time to teach... more later...
Appended By: ..... Date: Mon, 14 Apr 1997 21:38:09 EDT Subject: OOooWee are we gonna fly . . . Thanks perf, for the set list. "Seeing the REal You at Last" got my attention. Haven't thought about that song in quite some time. Sounds like the Bobster was back to his rockin' persona like he was when I saw him in Atlanta Midtown Music Festival, May, '96. Missi
Appended By: Michael Perlin Date: Tue, 15 Apr 1997 13:48:26 EDT Subject: It *scorched*, Missi There are those who simply don't believe/refuse to believe/can't believe that Bob rocks. He does. Song after song after song. I had wondered whether the new iteration of the backup band was gonna be able to keep up the same propulsive beat that the 94-96 band did w/ Winston as the drummer. And, truth be known, I didnt find that Kemper had the same charismatic drive that Winston did have (the glass shields around the drum set were missing also), but no matter... the band cooked and swung and flat out rocked. Bob's guitar playing -- as I hope I mentioned in the earlier post -- was stunning. No other word for it. I didnt mention a/thing abt Seeing the Real You in my last post 'cause I was so blown away by the Hiway 61 in the same set. My error > he rocked the hell out of it and the audience was bobbing and moving and jiving and shaking along the entire way. Bob, btw, was dressed in gunslinger attire. Cowboy hat, black Wyatt Earp-esque tie, long coat... looked ready for a remake of Pat Garrett and Billy the Kid. By the end, there was as much sweat pouring off of him as you see on Patrick Ewing's brow at the end of a playoff game... Having thought some more, I have an idea that there are gonna be surprises galore on the rest of the tour. There are loads of songs he's newver sung or hasnt sung since Rolling Thunder days, and my guess is that once Campbell becomes more comfortable w Bob's style and gestalt of concertizing, that there'll be bombshells aplenty before he leaves for Switzerland in June. Again, as I posted somewhere, he's done Idiot Wind, Dignity and ALl I Really Wanna Do in his soundchecks... who knows what's next? (Several posters on rec.music.dylan have said basically what I did abt fact that Campbell plays violin... maybe, just maybe, some of the Desire violin tracks will finally be resurrected. It's almost too much for this geezer to hope for).
Subject: Wayne World - Review - 4/13/97 From: "Beck, Frederick J." (fbeck@PICA.ARMY.MIL) Date: Mon, 28 Apr 1997 15:40:40 -0400 So much has already been said about the Wayne Show. Still, thought I'd put in my 2 cents, for what it's worth. The best way to describe this show is that it was "full of surprises" (at least for me). When Bob came out in his gray Colonel Sanders outfit, white ten gallon hat and white boots, I wondered if it would be worth the wait. THAT thought evaporated quickly, as soon as Bob broke into: 1. Crash - Yeah, it's predictable but it works really well as an opener. Not as rocking as the Drew show but still quite effective. Larry C was giving a number of big grins during this one. 2. Pretty Peggy O - Surprise #1 ! Never heard this song before but it had a nice country "bop" to it. 3. Watchtower - Say what you will, this is one of those songs that always seems to stir the crowd. With a slower tempo than last year, Bob's phrasing was clear and deliberate (unlike last year's rushed delivery). 4. You Aint Goin Nowhere - I thought he was going into 4th street but this was surprise # 2! A similar feel to peggy o, sweet and delightful. 5. Watching the river flow- Hmm, is there a pattern here? Again: a slower tempo than last year's "carl perkins" version but it certainly moved! I liked when he rhymed: " wonder why" with"goose was really fried"! Great, Bob! 6. Silvio - Yes, Yes.VERY predictable but it functions well in slot 6. It certainly got the Deadheads in the crowd excited. Made for an excellent lead in to the acoustic set, where I got Surprise #3: 7.Friend Of the Devil - I'm not crazy about hearing covers @ Bob shows but THIS performance was nothing short of wonderful! Larry C's violoin added nicely. 8. Masters Of war- Powerful, emotion filled! The folks near me who remembered his village days were hanging on every word, and so was I. Amazing. 9. Tangled- Same arrangement as last year, it was an appropriate closing to the acoustic trilogy. They were flashing slides throughout the ac set and you could see Ginsberg's photo @ the end of this song. Tangled Up In Blue, indeed. The curtains closed on the slide show, and then the band rocked us into: 10.Seeing the Real you @last- Surprise#4 It was at this point that the guys began to cut loose (just a little)! I wasn't impressed with the arrangement but it was still great to hear this one live, for the first time. 11.Born In Time - This was one of the high points for me. The lyrics were clear and this version was superior to the UTRS version. Up to this point: no harp, but he played it here! A standout and Surprise#5. Can't wait to hear this one on tape! 12.Hiway 61- Similar in tempo (and feel) to the original. We all went wild when he did this! Encores: 13 LARS - Always great to hear, and a good lead in from song 12. Seemed to be some sort of technical difficulty halfway through. Bob and Larry worked it out, though. 14.Hard Rain- Surprise #6. I REALLY didn't expect Hard Rain. What a haunting, mesmerising (and I suspect:rare) performance by Bob. Worth the price of admission! At this point the house lights came up and I was wondering: "is that it"? Nah, of course not! IT'S NOT OVER TIL THE RAINY DAY WOMEN SING!: 15.RDW12&35- The crowd goes wild! Extended version, no last verse, but it didn't matter. They could have gone on w/this song for another hour and I wouldn't have cared! Fred was dancing like a madman! To summarize: a surprisingly good, if slow paced show. Bob was "on" from the beginning and seemed very focused and clear thoughout, he even smiled a number of times! You could tell that alot of preparation went into this show and it paid off! It had a consistent feel throughout and therefore worked very well as an overall performance, as opposed to other shows I've seen that seemed to be a series of random "set pieces". I've seen him 6 times since '88 and this was, IMHO the best performance I've seen Bob give yet! For those of you who will see Bob in the next few weeks or so, I believe you will be pleasantly surprised, as I was! Fred PS Thanks evrybody for making the before and after parties a resounding success! Let's do it again real soon! PPS If you want to know about before or after parties at any of the upcoming shows be sure to contact Andra @ email@example.com!


Jeffrey E. Bauer
Jeffrey E. Bauer is deputy director of the Dryden Advanced Planning and Partnership Office. His responsibilities include the center's development of test services and capabilities for remotely or autonomously piloted aircraft systems.
Nominators said Bauer will help Dryden in its business development efforts and called him "a great DFRC advocate." He received a NASA Leadership Medal in 2007 for his work with remotely flown aircraft. In 2006, Unmanned Vehicle Systems International presented him with the Catherine Fargeon Award for his contributions in enabling remotely or autonomously piloted aircraft to fly in the national airspace. In addition, he has received several group achievement awards.
Bauer previously served as deputy director for exploration systems at Dryden. He was responsible for coordination and management of Dryden's activities in support of NASA's Exploration Mission Directorate.
He has more than 15 years' experience in flight research with remotely piloted aircraft systems. He understands private industry's need for routine access to the national airspace. Bauer led the industry and government team that comprised the Access 5 effort, designed to develop suggested rules and certification guidelines for the Federal Aviation Administration for incorporating high-altitude uninhabited aerial vehicles into the national airspace. The team included six aircraft manufacturers, NASA, the departments of defense, homeland security and commerce, the FAA and the international aviation community.
Bauer was an Environmental Research Aircraft and Sensor Technology program manager. He also worked on the X-29 forward swept wing demonstrator, the X-31 aircraft and the X-43A, a hypersonic aircraft.
John T. Bosworth
John T. Bosworth is Dryden's project chief engineer for the F-15 Intelligent Flight Control System aircraft.
Nominators wrote that Bosworth is an "outstanding chief engineer on the Intelligent Flight Control System;" "a huge proponent of IFCS and it contributions;" and a "brilliant principal investigator" who finds "practical solutions."
Nominators also called him a "world leader in controls," "expert in application of adaptive controls," a "model project chief engineer," a "smart guy," and noted his technical expertise in several disciplines.
Bosworth has worked in the area of flight control system analysis and design and handling qualities analysis for 27 years. His experience includes serving as NASA's chief engineer for the X-31 Enhanced Fighter Maneuverability Technology Demonstrator program and the F-16XL Digital Flight Control System upgrade program.
He also supported the F-14 High-Angle-of-Attack research program, the X-29 Forward Swept Wing Technology Demonstrator program, the X-30 National Aerospace Plane program and the X-38 Crew Return Vehicle program.
Bosworth is a senior American Institute of Aeronautics and Astronautics member and a core member of the National Engineering and Safety Center (headquartered at Langley Research Center, Hampton, Va.) Guidance and Controls problem resolution team.
He serves as a co-associate principal investigator on NASA's Integrated Resilient Aircraft Control program. IRAC is part of the Aviation Safety Program under the Aeronautics Research Mission Directorate. Program goals are to develop technologies, tools, and methods to improve aircraft safety, and overcome technology barriers that could constrain full realization of a Next Generation Air Transportation System.
Albion H. Bowers
Albion H. Bowers is director of Dryden's Aeronautics Research Mission Directorate, but he still thinks of himself as an engineer and researcher.
Nominators called Bowers "extremely supportive and fair," "passionate," "bright," and an "aerodynamics guru." Others said he was a "great Aeronautics Research mission directorate advocate" with "inspired determination" and is a good leader who "helps keep Code R on track." In addition, nominators said Bowers worked well with students, was "insightful and forward-thinking" and a "great motivator, innovator, visionary and NASA promoter." He also has a wide base of knowledge and is an "agency-respected mover and shaker," nominators wrote.
Prior to his current post, Bowers was deputy director of research and engineering. Before accepting that job, he served as project chief engineer on seven projects at Dryden, including as the first chief engineer for research involving the SR-71s. Bowers also helped advocate for the first experiments flown on the Blackbirds.
He was the final chief engineer on the F-18 High Alpha Research Vehicle and worked on 204 of the total 396 missions. He credits such people as Don Gatlin, Ed Schneider and Joe Wilson for helping him to grow during the project. Bowers said he also learned much from the team that included Marlin Pickett, Joe Pahle, Bob Antoniewicz, Vicki Regenie, Brad Flick, Mike Earls, Art Tanaka and many others. He served as chief engineer for the Eclipse project.
For Bowers, people are what make Dryden a great place to work and are the reason great achievements are seen here. He especially appreciates the young people he has worked with as a mentor. He believes they are up to the challenges that lie ahead.
Trong T. Bui
Trong T. Bui is an aerospace engineer in the Research Aerodynamics, Propulsion, and Performance branch and is the group lead of the Flow Physics group.
Nominators said Bui had made significant contributions to propulsion and was "a true forward-thinking flight researcher." The engineer was also called an "ultra mentor" and "extremely talented, humble, inspirational and has a great attitude." Some nominators called him a "genius."
Trong was also honored for his humility and for his willingness to give honest assessments, even when it is difficult to hear. He also is known for having a flare for conveying his opinion in an unbiased manner and seeing the big picture.
Bui was the principal investigator on the Dryden Aerospike Rocket Test flight research project, in which two aerospike rockets and one conventional rocket were successfully flown to supersonic speeds, providing the first known set of transonic flight-performance data for aerospike rockets.
He originally proposed the Air-Launched Small Missile (or ALSM, pronounced "awesome") flight testbed for hypersonic systems and served as principal investigator for the initial advocacy and feasability study efforts.
Bui proposed using the U.S. Navy's surplus Phoenix guided air-to-air missiles, launched from the Dryden F-15B aircraft, as boosters for hypersonic flight research payloads. This proposal eventually evolved into the Phoenix Missile Hypersonic Testbed project at Dryden, but funding shortfalls led Aeronautics Research Mission Directorate officials to cancel the project.
He also is known as an excellent mentor, who sees a need to pass knowledge to the next generation of researchers. He is known to assist those who seek his help.
Jennifer H. Cole
Jennifer H. Cole is the Aerodynamics and Propulsion branch chief.
She has been a contributor to several Dryden research projects. Among her favorites was the Propulsion-Controlled Aircraft Recovery, or PCAR, project, a collaborative effort with other government entities and industry that sought to leverage NASA knowledge and experience.
Cole's first work at the center was on the Autonomous Formation Flight, or AFF, project, where she spent many hours in the control room exploring the benefits and challenges of formation flight. Technology demonstrated through the AFF project paved the way for several follow-on flight efforts, including the Automated Aerial Refueling project. Dryden's formation flight research and flight data are frequently referenced and requested, according to nominators.
Her "technical leadership and expertise" are seen as some of her strongest skills and nominators see her as "a rising star." Aside from being "extremely bright and competent" and possessing good people skills, her nominators also said she was "willing to get involved," was "a team builder" that "understands employees" and is "easily approachable," "a role model for young women," and "a talented, compassionate, thoughtful, great engineer and leader."
She also has helped mentor co-op students and inspires young people at Dryden events or in the community.
For example, at the 2003 Math and Science Odyssey, Cole used the Wright brothers' theme in her presentation to inspire students about the Centennial of Flight. Using a hands-on activity, she demonstrated concepts similar to those that helped the Wrights brainstorm solutions to some of their engineering problems. Students were engaged in her presentation.
Gary B. Cosentino
Gary B. Cosentino is lead flight operations engineer for the Science and UAVs group at Dryden.
Cosentino "consistently does above and beyond for support" and is "passionate about getting the work done," nominators said. Many also pointed to his UAV knowledge, his contributions to the X-48B project and technical expertise that has made him an "unmanned aircraft expert (who) works well with outside customers, both government and industry." Another nominator's comments punctuated the nomination: "(he) gives 200 percent without asking for recognition."
He began his career at Ames Research Center, Moffett Field, Calif., where he worked on computational fluid dynamics for futuristic aircraft configurations, culminating in what became the X-36 research aircraft. He was known at Ames for computing data that compared well with wind-tunnel results.
Cosentino transferred to Dryden in January 1998 as project manager for the X-36 flight test project. He also was given project management responsibilities for other unmanned technology demonstration aircraft, including the Altus II and Perseus B.
After 6 1/2 years leading the planning and flight test effort for the X-45A Unmanned Combat Air Vehicle and Joint Unmanned Combat Air System, Cosentino was then assigned to the X-48B.
The X-36 and X-45A projects featured two aircraft each, which are on permanent display in museums.
Cosentino said the center's role in the X-45A J-UCAS flight test program contributed to its reputation as the center of excellence in the country for uninhabited aerial vehicles and uninhabited aircraft systems and X-plane engineering and flight test.


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text:
By Tamar KAHN
VITALITY Institute head Derek Yach has joined global public health experts in calling for the sale of tobacco products to be phased out by 2040, in an article published on Friday in the UK medical journal The Lancet.
The US-based institute was established by JSE-listed health and life insurer Discovery.
Tobacco is expected to cause 1-billion deaths worldwide by the end of this century, if efforts to tackle smoking and other tobacco products are not accelerated, according to the World Health Organisation (WHO). More than 80% of those deaths will be in low- and middle-income countries.
“A goal of a tobacco-free world by 2040 where less than 5% of adults use tobacco is socially desirable, technically feasible, and could become politically practical,” wrote Dr Yach and his co-authors in a paper timed to coincide with the 2015 World Conference on Tobacco or Health taking place in Abu Dhabi, United Arab Emirates. They said a tobacco target should be included in the post-2015 sustainable development health goal, and that implementation of the WHO Framework Convention on Tobacco Control needed to be accelerated, with an amendment to include a global tobacco reduction target.
South Africa was still regarded as a leader among developing countries in its efforts to control tobacco, but could do more, said Dr Yach. “This years budget included increases in excise tax on all tobacco products, proof that it remains committed to the most powerful single approach to address consumption. There are, however, several areas of weakness: the emergence of increased smoking among girls and women still does not evoke the type of outrage and action it should, childrens access to tobacco products remains weakly controlled, and access to effective means of quitting remains poorly addressed despite most smokers seeking help to do so,” he said.
Dr Yach said tobacco control issues no longer enjoyed the media prominence they did a decade ago, leaving many people with the sense that the job had been done.
He and his co-authors argued that e-cigarettes had an important role to play in curbing the consumption of tobacco products, but needed to be more closely regulated.
National Council Against Smoking CEO Yussuf Saloojee said the average consumer in SA smoked about eight cigarettes a day, considerably less than the pack-a-day average smoked in developed countries, and that more could be achieved by fully implementing the Framework Convention on Tobacco Control than by trying to get people to switch to alternative nicotine delivery systems. “The greatest potential for e-cigarettes is an alternative (potentially less harmful) exclusive source of nicotine for heavy, addicted smokers who have tried and failed to quit,” he said.
Mr Saloojee said greater tobacco control would increase jobs, citing research conducted by the University of Cape Town (UCT).
“In 1998, (when the tobacco bill was being debated) economists at UCT published a study showing if people stopped smoking over 50,000 new jobs would be created in SA. They compared the spending patterns of smokers and ex-smokers and found that ex-smokers spent more on education, clothing (childrens) and entertainment than smokers. Since these industries are more labour intensive than cigarette manufacturing, a switch in spending would in the medium term result in the creation of jobs rather than a loss of jobs,” he said.
The Tobacco Institute of Southern Africa CEO Francois van der Merwe said extreme measures to control tobacco were inappropriate. “Rather, the answer lies in the responsible and legal production, manufacture, distribution and use of the product which could be achieved through the education of the public, and particularly children, of the risks involved in its consumption,” he said.
Image credit: THINKSTOCK, via BDLive
To access original article, click here.

domain: medical


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fonefan (49376) - VestJylland, DENMARK - MAY 9, 2008
Bottle. Clear medium amber orange (cola) color with a average, frothy, good lacing, mostly lasting, off-white head. Aroma is moderate malty, caramel, toffee, brown suager. Flavor is moderate sweet and light light acidic with a average to short duration. Body is medium to light, texture is oily to watery, carbonation is soft. (060408) oberabcbbsok (692) - Hoboken, BELGIUM - FEB 5, 2008
Had it on bottle at beertasting Verhaege. Not confusing this beer with Cambrinus Pils a 4.9 % beer from same brewery. This beer is an amber ale. hopdog (12584) - Lansdale, Pennsylvania, USA - FEB 1, 2008
25cl bottle labeled BB 08 08 06 (no wonder why the previous ratings were from Oct ’06). Poured a medium amber color with smaller sized off white head. Aromas of roast, wood, burnt caramel, vinegar, and fruity. I would have guessed a Flemish Sour with this aroma. Tastes of caramel, toffee, fruity, and light vinegar. Finished lighlty tart. Call me crazy, but I was into the tart vinegar side of this one. TomDecapolis (4618) - Milton, Delaware, USA - JAN 31, 2008
Thanks to hopdog. Pours a translucent amber with a small bubbly off white head. Aroma of caramel, vinegar, mixed fruits, nuts and some toffee. Flavor of toffee, metallic, some various fruits...not a whole lot more. oh6gdx (26488) - Vasa, FINLAND - OCT 26, 2006
Bottled. Copper colour, mediumzsized bubbly beige head. Aroma is saccarine along with sweet tropical fruits and slight toffeeish hints. Flavour is the same, but the sweeness has turned into a biting sourness and bitterness. So from sweet tropical fruit to dry, sour fruit. Also rich carbonation tickles the tongue. Mouthdrying finish.
Augustijn55 (82) - Izegem, BELGIUM - SEP 21, 2006
Amber color. Nothing specials.
Aroma is better than the taste. Little sweet taste. Dry at the end.
Jerre (3399) - Waregem, BELGIUM - SEP 2, 2006
It is like one beer to the palm family.
But better. A typical product off Verhaeghe.
A little bit sweet. This beer i liked all over 20 years. BeerPrince (1701) - Vancouver, British Columbia, CANADA - AUG 28, 2006
Amber brown colour with minimal head. Some bread in the nose and some toastiness. Flavour was some malts but little else before ending slightly sour. Oakes (17684) - Vancouver, British Columbia, CANADA - AUG 24, 2006
Light hazy amber colour. Toasty, caramelly aroma. Quite toasty character. Oxidized maybe? Either way, not much to see here. Hugh (212) - Zillebeke, BELGIUM - JUN 20, 2006
Excessive foaming on opening bottle. An amber red colour. Fruity flavour but essentially uninteresting. A feeling that life was too short to bother with this beer overwhelmed me. zzzzz

domain: hobby


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Will the Ebola Crisis effect worldwide Food Supplies?
By now most of us have taken the Ebola crisis seriously regardless of where we reside in the World. Some of us believe that the reported cases and the status of the crisis are being heightened by the media while others think that the governments worldwide are downplaying the actual threat of the virus. Various reports are stating that upwards of 8,000 or more people have been infected by the disease and that upwards of 4,000 people have died. One thing that those in the food logistics and production industries are thinking is how this will affect production, movement, and the trade of food worldwide. As stated from TIME (web article), The U.N. Food and Agriculture Organization (FAO) is warning that food prices in Liberia, Sierra Leone and Guinea – the three countries most stricken by the Ebola epidemic, are expected to rocket due to restricted movement throughout the afflicted regions (per Reuters). Food prices in the U.S. are high right now but can you envision 80% of your income normally going towards your food budget increasing dramatically due to the crisis locally in some of the areas within the highly affected regions. Families are spending a lot more to feed their families due to scarcity. In fact, as reported by Natural News (online article) West Africa’s state radio is reporting that quarantined individuals are even running out of food and are threatening to break out of isolated quarantines. This is indeed a disturbing human crisis. How does all this affect the movement of food and prices worldwide? So far, I have not read or heard any reliable sources of speculations that the Ebola is projected to have a real impact on food travel and pricing with exception to the regions being affected the most, which are in the continent of Africa. Locally, those farms are usually managed manually and are typically social according to the Desmoine Register. If you use the regions being hit the hardest as an indicator of how bad things could get worldwide if the epidemic spreads throughout other countries and communities within, then one could say that the toll would be devastating! This could cause famine and economic hardship in the virus’s path. Right now trade is primarily being interrupted in the most visible areas being affected by the virus.
We are praying for Africa, the World, solutions and solidarity towards the Ebola and other worldwide crisis.

domain: news


One water-based sublimation ink system, serving a dual purpose: TexaJet DX-SHM is suitable for transfer as well as direct digital printing. TexaJet DX-SHM (Sublimation-Hybrid-Mimaki) was espacially developed for best performace on Mimaki printers running on SB300 sublimation ink and achieves most brilliant colours.
Print direct-to-fabric or transfer to polyester and polyamide (nylon) fabrics. Rigid polyester-coated materials. Blended fabrics containing at least 60% polyester.


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Beni Ourain Design Wool Carpet
Moroccan carpets were made by nomadic tribes, typically Berbers or Moroccans, in a flat weaver or thick pile style. Their use was utilitarian as well as decorative; designs were passed down from weaver to weaver and therefore carry a sense of tradition and history with them. The most important city for producing carpets was Fes, the capital, which reached its Golden Age in the 13th century, when thousands of weavers were employed. The coastal city of Rabat is famous for its floral and diamond patterns. The sequence of motifs will often signify life events. Modern carpets are usually woven by tribal groups without any formal art training.
We are always happy to collaborate with you on a custom carpet that meets all your specifications...and your wildest dreams! Of course, it will be woven on our very own looms with the best materials under the supervision of our experts. .
Design: Beni Ourain Design Wool Carpet
Style: Modern Moroccan Wool Custom Carpet Collection
Material: 100% Wool
Colors: Blue, Gray
Size: 9' X 12'
Rug Number: 70003227
Modern Moroccan carpets are well known for their dynamic color palette and bold geometric designs. Today, the Moroccan rug is one the industry’s hottest design trends, and are most notable for their colorful modernist decoration as well as for their strong sense of symmetrical structure, and abstract designs. With their eye-popping color palettes, these versatile carpets make great statement pieces that will withstand the test of time regardless of changing trends in the design field.
Moroccan rugs vary in texture, from being very thick with a heavy pile, to flat woven and light, and can be found with different styles of weaving: knotted, flat weave, and weft substitution, which is a variation of flat weave that involves creating complicated patterns from the back of a loom using different colored weft threads.
Decorating your interiors with Moroccan carpets is a fantastic way to elevate your style. Whether you are furnishing your home with classic traditional and glamorous decor, or vintage mid-century modern accouterments, you can be sure to find the perfect Moroccan carpet that will offer a more natural appeal and organic texture to your stylish display. With their minimalist, tribal designs, these rugs complement most interior designs, ranging from minimal tribal tones, to bright shags with an array of earthy colors, the Moroccan Rug will make a great addition to your home or office.

domain: artistic


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DirectedBy Kevin Fair, ‘He’s Not Worth Dying’ is a romantic thriller movie about two girls in love. Isla MastersShe is a well-known beauty and fashion influencer. Grace HeinemannEveryone expected her to be the valedictorian of her class, an aspiring veterinarian. BothMany of them believe they are in the perfect relationship. TheirWhen they discover they are dating the exact same boy, their notions of love are broken. Jake. JealousThey are very supportive of one another and use social media to bring each other down. HoweverThe argument quickly escalates into real life, and the outcome is disastrous. aA fatal turn
The Lifetime movie is a mysterious ride that is hard to keep one’s eyes away from. The actors do aFantastic job in portraying the characters, and keeping the audience engaged throughout. The film’s realistic storyline also plays aIts appeal is greatly affected by the settings used to shoot the movie. NaturallyFans of the movie are curious to learn more about the origins of the love triangle. Well, here’s everything we know about the movie’s origins and production!
Is He’s Not Worth Dying a True Story?
Yes, ‘He’s Not Worth Dying’ is based on a true story. The movie is aPart of Lifetime’s ‘RippedFrom the Headlines’ series, which includes several movies inspired by true events. ‘He’s Not Worth Dying’ is aRetelling the story Rachel WadeAnd Sarah Ludemanncase from Pinellas Park, Florida. Both girls were attracted to Joshua Camacho and had been competing for his heart for months. Rachel quit school at the age of 16 and completed her GED. She was working at an Applebee’s to pay for her apartment. Before Joshua, Sarah had no dating experience, was a straight-A student, and aspired to be a veterinarian. Another girl, Erin Slothower, was also involved with Joshua and had gotten pregnant with his child.
When Rachel and Sarah learned that Joshua was dating them both at the same time, both of them became furious. They constantly harassed each other over texts, voicemails, and posts on Facebook and MySpace. The online fight soon bled through to the real world, and both girls started fighting with each other in real life. Their behavior baffled those close to them as their arguments escalated.
On April 14, 2009, things took a fatal turn. Rachel suspected that Joshua was spending time with Sarah. When her suspicions were confirmed, Rachel became enraged and went over to where the two were staying. She then texted Joshua that she knew that he was not talking to her because he had Sarah. Joshua confirmed her statement and told Rachel he didn’t like her anymore, so she should go home. Rachel replied, “No. I’ll wait for her to go home.” Witnesses also reported that Rachel called Sarah and threatened to stab her and her boyfriend on speakerphone.
Later, when Sarah learned that Rachel was staying at a friend’s house, she decided to confront her about the whole thing. However, when she did reach her destination, things quickly turned south. According to Rachel, Sarah had come out of her car and was moving towards her angrily. However, other witnesses stated that Sarah barely had a chance to move out of her vehicle. Rachel stabbed Sarah multiple times, including a bow through the heart. The wounded girl was rushed to the hospital but could not be saved.
Despite Rachel’s claims that she had acted in self-defense, the jury did not believe her. Rachel was sentenced to 27 years in prison for second-degree murder. The tragic tale became the inspiration for Lifetime’s ‘He’s Not Worth Dying.’ The movie stays mostly true to the case of Rachel Wade and Sarah Ludemann, though some changes have been made to accommodate the decade-long gap between the film and the actual incident. Some traits of certain characters have also been modified.
He’s Not Worth Dying Filming Locations
‘He’s Not Worth Dying’ was filmed primarily in British Columbia. The entirety of the Lifetime crime movie was lensed under the cinematography of Mike Kam. Let’s take a closer look at the details of the filming location.
Vancouver, British Columbia
The city of Vancouver served as the major shooting spot for ‘He’s Not Worth Dying.’ The movie takes advantage of the scenic locations in the area to film romantic scenes with characters. Given the movie’s real-life inspiration and the dire picture that it paints about social media, the film heavily influenced the thought process of the leading three actors.
“Doing the movie made me more aware of the purpose and point behind posts,” Lachlan Quarmby, who plays Jake, told MediaVillage. “Like, ‘Why am I posting this?’ I’ve stopped myself a couple times and asked myself, ‘Is this for me, or is this for other people and to get a reaction?’ I’m trying to post more positive stuff, as I’d rather post something cheesy than somethingFrom the wrong place in my heart. I’m [now] more conscious of that.”
Despite the heavy nature of the movie, the actors seem to have enjoyed their time during the filming process. The levity missing within the movie could easily be seen on the set when the cameras were not rolling. Vancouver served as a great location to shoot the real-life inspired film, given the numerous facilities available within the city. In fact, Vancouver has served as the host for several Lifetime movies like ‘Dirty Little Secret‘And ‘Dying to Belong.’
He’s Not Worth Dying Cast
Actress Rachel Boyd takes up the role of Isla Masters in the Lifetime movie. You may have seen her in ‘Grand Army‘And ‘The Bold Type.’ Joining her is Hilda Martin as Grace Heinemann, who has also worked in ‘Superman & Lois‘ and ‘Our Christmas Journey.’ Lachlan Quarmby completes the love triangle with his portrayal of Jake in the film. If his face seems familiarTo you, it may be because of the multiple projects that he has been a part of, including ‘A Very Merry Bridesmaid‘And ‘Charmed.’ Interestingly enough, the movie marks the first time that the three actors are essaying a leading role. Robin Givens appears as Grace’s mother CherIn the film, while Todd Thomson plays Ivan. Other notable appearances in the thrille movie include Geraldine ChiuAs Cami, Kaitlyn Santa JuanaAs Ari, and Katarina MuellerAs Kiley.
Read More: Is Lifetime’s Who Kidnapped My Mom a True Story? Where Was it Filmed? WhoIt is located in the Cast?


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As we want to keep track on the latest developments, BeenInAsia travels to its destinations, to see the newest hotels and the latest interesting tours. We now went to Northern Vietnam, as this area is developing fast !
We started in Hanoi, buzzling city, cyclo riders all around, bikes with baskets of flowers. Early in the morning people start the day with traditional tai chi and the delicious pho along the Hoan Kiem Lake. We checked several hotels, as we want to know if they are good, in the right area and if it is 'BeenInAsia proof'.
Time for the night train to Sapa. This is always quite an experience. In the evening you go to the railway station of Hanoi, look for the right train and off you go. The train is very simple and it goes slow, but it brings you where you want to be. Our guide is waiting for us, after breakfast we take off to the Bac Ha market. On the way we go by boat on a peaceful river, before we get to the weekly local market, which is very colorfull and the social event of the week for local people of the tribes. Buffalo's are being sold, chickens and birds. Fantastic !
Tired but satisfied we drive to Sapa, where we will stay in the hilltop Topas Ecolodge with it's stunning views over the valley and rice terrases. Topas Ecolodge is located 18 km from Sapa, deep in the Hoang Lien Mountains. Here you will experience the comfort of quality accommodation whilst enjoying pure nature, peace and unique views over the mountains. After a tasteful dinner we sleep well.
The morning after we want to go to see a new lodge. We drive a fantastic road down in the valley, along the river, passing so many paddy fields, where crops have just been harvested. Nam Cang Riverside Lodge is located deep in the remote Sapa Valley with a beautiful river running in front of the lodge and green forest just behind. You don’t find a better location for staying overnight in an old traditional minority village, in the heart of the Vietnamese mountains. This simple lodge with comfortable beds is built and owned by a Red Dao minority family and operated in partnership with Topas and opened in the end of 2013. After inspection of the lodge we discovered the little village. We brought some warm blankets and winter cloths for the local people and they were very happy to receive our presents ! We would see how they cook and make their daily living. Then we did few hours of trekking through the mountenous area, before heading to Sapa.
Sapa has become much more crowded then a few years ago. More tourists, more souvenirs. That's why we are always looking for new places, off the beaten track, away from the crowds. And I'm sure we found it ! With our partner we could make some fantastic new tours in this area - I promise use: our tours are unique in what you see, without losing the quality of accommodation and the authenticity of activities we are looking for.
We are happy that we can offer now:
- 5 days Victoria Sapa & Topas Ecolodge package: explore the luxury Victoria hotel and the unique Topas Ecolodge and enjoy the colorful markets and trekking
- 5 days Best of Sapa Tour: a combination of hilltop Topas Ecolodge with Nam Cang Riverside Lodge down in the valley. Discover an even more authentic area of Sapa
- 10 days North Vietnam Highlights: discover North Vietnam: Hanoi, Sapa, Red River Delta and Halong Bay. We promise you 10 amazing days !
If you have any questions and want to make a combination with others areas, kindly let us know. We can tailor your holiday !
Your experience on BeenInAsia?
Send us your travel experience in Asia today!

domain: geography


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The continued use of plants by women to prevent pregnancy suggests there are plants out there with potential use as contraceptives. In Zimbabwe, Pouzolzia mixta
is used as a “morning after” contraceptive, thus it may possess postcoital antifertility activity. To test contraceptive activity, animals (n=8/group) were orally pretreated with aqueous (AqPM) or ethanolic (EtPM) extract of P. mixta
at 300mg/kg b.wt for 7 days followed by mating with continued treatment for 10 days post-conception. To test for postcoital activity, treatment was initiated on day-1 of pregnancy and continued for 10 days. Laparotomy was performed and implantations counted. For estrogenic activity, immature ovariectomised rats were treated for 7 days after which vaginal opening and uterine weights were determined. in vitro
oxytocic effects were performed using uterine tissue in an organ bath with De Jalon’s solution. Acetylcholine (Ach) was the positive control. Results showed modest contraceptive activity with EtPM more effective in inhibiting fertility compared to AqPM (37.5% vs 25%) with a similar trend for antiimplantation effects (31% vs 19%). There was potent postcoital antifertility effects with AqPM more effective in inhibiting implantation (94.6% vs 86%) and fertility (87.5% vs 75%) compared to EtPM. Immature rat bioassay for estrogenic activity demonstrated pronounced estrogenic activity by both extracts. Oxytocic effects at 400ng/ml were more pronounced for the AqPM (92% of 100ng/ml Ach) than EtPM (25% of 100ng/ml Ach). Findings demonstrate the antifertility effects of aqueous and ethanolic extracts of P. mixta
. The antifertility effects may be attributed to antiimplantation, estrogenic and oxytocic effects of the plant extracts.

domain: literature


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February 27, 2018
At the time of independence, one of the primary points of focus for the newly formed Indian Government was protecting the lifeblood of the economy i.e. agriculture. Towards achieving this goal, the Government introduced a bill in 1938 for regulating agricultural produce markets. This bill formulated guidelines and created a template on agricultural marketing legislation that could be adopted by the various States desirous of implementing a system of regulation and standardization of agricultural markets. However, since the Constitution envisaged agricultural marketing as a State subject i.e. a subject for which the State government has the authority to legislate on and not the Central government, it became the various States’ prerogative to adopt this bill. The bill was not adopted by majority of the States and hence local agricultural reform was put on the backburner. As a result of the States’ unwillingness to adopt the bill, there was a vacuum in agricultural reform for half a century.
The liberalization of the Indian economy in 1991 opened up unchartered avenues for the service sector. The external trade economy was de-regulated in order to accommodate the new liberalized policies. On the flipside, the agricultural sector suffered as a result of the lack of attention paid to it. This was evidenced from the growing disparity in output growth rates of agricultural sectors when compared to non-agricultural sectors. Lack of price incentives, arbitrary fragmentation of markets, inefficiency of unscientific and low-scale methods of production combined with a tangled mess of middlemen and brokers were already prevailing problems in the agricultural sector. The liberalization of the economy aggravated the already bad state of the agricultural sector with new problems such as rural influx of farmers into urban areas and subsequently, the growing imbalance between the agricultural and service sectors.
2003 MODEL APMC ACT & ITS GENESIS
As per the 1938 bill, the whole geographical area in the State was to be divided into separate territories, and each one was appropriated a market area to be managed by the committee constituted by the State Government (“APMC”). The APMCs consisted of representatives of farmers, traders, warehousing entities, registrar of cooperative societies etc. The State Government was also directed to constitute a market board to supervise these APMCs. The market board generally consisted of chairmen of all State APMCs and representatives from the relevant Government Departments.
After a particular area was declared a mandi (colloquial term for market area) and fell under the jurisdiction of a specified APMC, the wholesale marketing activities of that particular area was to be regulated by the local APMC. A few States adopted this bill post-independence, notably Maharashtra and Andhra Pradesh among others.
Improving on earlier iterations of a template legislation, the Ministry of Agriculture came up with the State Agricultural Produce Marketing (Development and Regulation) Act, 2003 (“Model APMC Act”) and requested the State Governments to suitably adapt and amend their corresponding legislations accordingly. The purpose of enacting the Model APMC Act was to facilitate the efficient allocation of agricultural produce markets to certain State territories and subsequently to achieve an efficient system of buying and selling of agricultural commodities in these markets aka mandis. The Model APMC Act mandates that the mandis under APMCs shall be the point of first sale of certain notified agricultural commodities produced in the region. The sale must be conducted by licensed agents of the APMC, subject to payment of various taxes and fees. The producers of agricultural products are thus forced to conduct their first sale in these markets.
ISSUES CREATED BY THE APMC SYSTEM
The APMC system was introduced to prevent distress sale by farmers to their creditors, and to protect farmers from the exploitation of intermediaries and traders. It also aimed at ensuring better prices and timely payment for their produce through the auctions in the APMC area.
However, the APMC system also has the following drawbacks:
- It restricts the farmer from entering into direct contract with any processor/ wholeseller/bulk processor as the produce was required to be compulsorily routed only through the APMC markets. Therefore, it curbs farmer freedom in choice of point of sale.
- APMCs charge a market fee from buyers and a licensing fee from the commissioned agents who mediate between buyers and farmers. They also charge small licensing fees from various other ancillary entities such as warehousing agents, loading agents etc. In addition, commissioned agents charge additional unwarranted fees on transactions between buyers and farmers. All these levies adding up to hefty amounts, create strong entry barriers for willing participants and discourage both producers and buyers.
- Further, multiple licences are necessary to trade in different mandis in the same State. This has led to a highly fragmented and high-cost agricultural economy, which prevents economies of scale and seamless movement in intra-State trade.
Over a period of time, these mandis have acquired a notorious reputation as being unnecessarily restrictive and harming the farmers rather than helping them to realise competitive prices for their produce. This is a stark contrast to the manufacturing and services sectors that were opened up to the market forces by liberalization and where the price was determined by the free market forces. The agricultural sector was not liberalized, in that the farmers were forced to sell their produce in a fixed and highly regulated marketplace, thereby never realizing the market-determined value of their produce.
The motivation for a unified market platform can be traced back to the Rashtriya e-Market Services (ReMS), an initiative of Karnataka State Agricultural Marketing Board with National e-Markets Limited (NeML), erstwhile National Commodity and Derivatives Exchange (NCDEX) Spot Exchange, started in 2013. The joint venture has integrated 55 out of 155 principal APMCs into a single licensing system and accommodated many farmers and traders in the electronic auctioning of pulses. Using Karnataka APMC model as the basis for reform, the newly elected Modi government, in the 2015 Union Budget proposed the introduction of a unified common market platform. Such platform was to incorporate technological innovation and infrastructural standardization for the benefit of local farmers. The Cabinet Committee on Economic Affairs approved the abovementioned proposal after a year. It also allocated INR 200 crore from the Agricultural Technology Infrastructure Fund for this project. This fund allocation was appropriated towards integration of a targeted 585 APMCs into a common market platform till 2018. This project was christened the National Agriculture Market (NAM).
The objectives of NAM, as stated on its website are as follows:
- To establish a national e-market platform for transparent sale transactions and price discovery in regulated markets. Implementing States may accordingly enact suitable provisions in their respective legislation for promotion of e-trading by their APMC.
- To implement a liberal licensing system for traders/buyers and commission agents without any pre-condition of physical presence or possession of shops/premises in the mandi.
- To prevent a multiple licensing regime and ensure a single license for a trader, valid across all markets in the State.
- To ensure harmonisation of quality standards of agricultural produce and provision for quality testing infrastructure in every market to enable informed bidding by buyers.
- To prevent multiple points of levy of market fees.
- To provide for Soil Testing Laboratories in/or near the selected mandi to facilitate visiting farmers to access this facility in the mandi itself.
The basic rationale behind instituting an online national agricultural market is reducing pricing anomalies at the wholesale and primary rural markets. A unified market platform is expected to have several benefits such as bringing transparency in the price discovery process, making farmers financially literate, exposing them to spot trading mechanics and enabling primary stakeholders to compare commodity prices across the secondary and terminal markets that could reduce their information searching costs. Moreover, the common market platform will facilitate a single licensing system across the implementing States, connecting APMCs, and thereby ensuring a single point levy of market fee instead of multiple points of payment due to non-standardization of markets. The rationale behind creating an online portal for this market platform is to enable the buyer to transfer funds directly to the farmer’s account and the concerned APMC’s accounts after the delivery of produce from the farmer to the purchaser is ensured.
Various stakeholders, including farmers have lauded the simplicity of adopting a model which maximizes farmer benefit and through regulation keeps the middlemen, who dilute the farmers’ revenue share unfairly, at bay. However, farmers are now faced with a new challenge altogether. The power to issue licenses is in the hands of the respective APMCs. The reasonable apprehension here is that, due to the very nature of constitution of the APMCs, which interestingly remains unchanged, the age-old problem of corrupt licensing machinery could crop up. It may also lead to the arrival of a new breed of middlemen who facilitate such licensing.
Further, the organization of mandis under a regulated and standardized licensing format would require them to fulfil an additional compliance which was not required of them in the unorganised setup. The digitization of the trading exercise needs to be accepted and reconciled by the farmers who are predominantly tech-illiterate.
Thus, this well-intentioned move by the Ministry of Agriculture could end up being just that – a well-intentioned move without the teeth required to bite deep into the real-world considerations of rural market trading. However, like any new initiative, it would only be fair to allow transitory mistakes and adjustments for a reasonable period of time.
So far, 470 mandis in 14 states have been integrated with the eNAM platform, launched in April 2016. The implementing State Governments have promised to link 109 more mandis on the platform by February, 2018. States have responded positively to the government’s call of action. It is now time to assess the real time impact of APMCs and whether this move has had a real quantifiable impact on market conditions or not.
The Ministry of Agriculture has come up with a new model Agricultural Produce Market Committee (APMC) Act (“New Model APMC Act”) to be enforced by the implementing States. This New Model APMC Act proposes a single-point levy of market fee across the State and a united single trading licence for ease of compliance and subsequently the ease of transaction. It has also suggested abolition of fragmentation of market within the State by removing the concept of notified market area in so far as enforcement of regulation by the APMC is concerned. Agriculture Minister Radha Mohan Singh has remarked that he is hopeful that most States would adopt the New Model APMC Act.
Despite the nobility of this initiative, it would be prudent to keep in mind the Dalwai Committee Report on Doubling Farmers’ Income. This report has pointed out that the share of farmers in consumer’s price is as low as 15 to 40 per cent. The increasing intervention of middlemen is primarily responsible for farmers not realising a reasonable price for their produce, lowering farm income and profitability. The agriculture markets are crowded with middlemen and commission agents. There are as many as 22,000 commission agents and innumerable middlemen in each market. According to Ashok Gulati, former chairman of the Commission for Agricultural Costs and Prices, commission agents in Delhi charge exorbitant fees ranging from 6 per cent to 15 per cent.
In the author’s humble opinion, the key to this initiative’s success would be to prevent a new class of middlemen from cropping up and intervening in the licensing procedure under NAM. The agricultural sector can take inspiration from other sectors that have undergone regulatory overhaul such as the telecom sector with the institution of TRAI and the insurance sector with IRDA. By instituting an autonomous body, either at State or Central level (sans participation from market stakeholders, unlike APMCs) that is tasked with issuing, renewing, revoking and maintaining licenses independent of the corresponding APMCs, the licensing procedure will be insulated from the ills of middlemen and agents.
Another method of realizing the untapped potential of national produce is by adopting a public-private partnership model championed by the Maharashtra grape cluster or the Mahagrapes, as it is more popularly known. The Mahagrapes initiative combined primarily private participation through the various grapes’ co-operatives in the State of Maharashtra with financial backing from both the Centre and the State. This is a useful model to emulate because it is governed by an underlying need to collate the farmers and farmer groups into manageable clusters, the same objective as NAM.
Learn more about our Social Enterprises practice.
#NationalAgricultureMarket #APMC #SocialEnterprises #GameChangerLawAdvisors
Image Credits: Neil Palmer (CIAT)

domain: law


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Giuseppe Ottaviani, John O’Callaghan and more to play Subculture Thailand festival next year
Written by ABR on 29/11/2022
Renowned trance label and brand Subculture will be organising a one-day festival in Bangkok next February.
- READ MORE: Maho Rasop 2022 review: Bangkok’s premier indie music festival returns in all its eclectic glory
Titled Subculture Thailand, the event’s lineup includes label founder John O’Callaghan, Bryan Kearney, Cold Blue, Craig Connelly, Factor B, Giuseppe Ottaviani, and Maria Healy. John O’Callaghan and Bryan Kearney will also present another set under the collaborative alias Key4050.
For those looking to keep the party going & make the most of your time in Bangkok! We are delighted to announce our…
Posted by Subculture on Thursday, November 24, 2022
The festival will take place at Show DC Hall next year on February 11. Tickets are currently on sale via Ticketmelon. Phase 1 tickets go for THB2,600, while VIP tickets – which offer elevated stage views, extra dancing space, VIP restrooms and fast entry lanes – are available for THB4,000. VIP Sofa packages are also available, ranging from 58,000 to 120,000 THB. Get tickets here.
Following the main event, the label will also host an official afterparty, which will also feature sets by O’Callaghan and Healy, as well as appearances from producers Paul Denton, Philippe El Sisi, and Nikolauss. Tickets to the afterparty are sold separately and currently go for THB590. Get them here via Ticketmelon.
The event will follow tightly in the footsteps of the Pattaya-hosted Unkonscious Music Festival, which will take place from February 9 to 10 at the Alexa Beach Club. The festival is the largest trance festival in Asia.
The lineup for Subculture Thailand 2022 is:
Giuseppe Ottaviani Live 3.0
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Facing cataract surgery in Michigan can be a scary prospect, but it doesn’t have to be. When the right physician is on the job, the chances for success without complications are near 100 percent. And, considering it’s your vision on the line if this procedure isn’t taken care of, making the right hiring decision is critical.
When to Consider Surgery
Years ago cataract surgery would be put on hold until the cloudiness of the lens caused serious vision interruptions. This was called waiting for the cataract to “ripen.”
Today’s advanced surgical procedures have made it feasible for doctors to perform cataract surgery in Michigan much earlier. There’s no real reason to wait until blurry, obstructed vision becomes a problem. Generally, when your eye doctor says it’s time to explore the procedure, it’s time.
Finding the Right Doctor
Since your regular eye doctor may not also be a skilled surgeon, it’s likely you’ll have to seek out an expert in the field. To find the best surgeon for cataract surgery in Michigan, be sure to:
- Ask your doctor for recommendations – Chances are your personal eye doctor or even your family doctor will have some recommendations to make on who should perform the procedure. Be sure to take these recommendations seriously, but don’t just stop there.
- Research potential candidates – Take the time to research the recommendations your doctor provided. It can also help to ask friends and family who have undergone similar procedures for their advice. With a few names in hand, visit the doctors’ websites, look at their experience and success rates and find out a bit more about them. It can also be helpful to call the practices or even visit to learn more.
- Go with the one you feel the most comfortable with – Once you’ve done your research and have narrowed down the options of highly qualified candidates, go with the doctor you feel confident in.
What to Expect
Cataract surgery is a fairly simple procedure that involves the removal and replacement of your clouded lens. The operation takes place under local anesthesia and typically doesn’t take very long. Once it’s over, you may feel a little discomfort and might find that you are light sensitive for a few days. Be sure to follow all post-op orders and it’s likely you’ll enjoy full recovery in no time at all.