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Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is award-winning percussionist Pete Lockett @petelockett
Soundtrack by Pete Lockett with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain, Iron Maiden, U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor
This music is just incredible; I’ve never heard anything like it before.”
I doubt if anyone outside of this community ever has. This is what you get when Brahms and Bach have been living next door to one another for hundreds of years.They don’t even use notation any more.They’ve just devised a way to conduct the whole group with nods, looks and head shakes.Look, can you see them there at either side? Bach is doing all the spiky staccato stuff and Brahms is doing the smooth legato.It’s all totally improvised and will never happen again. Every rendition is completely different.They both claim that it is the highest level of composition one can reach.Instantaneous composition, conducting and performance.”
When Ed Trew wakes up with a killer hangover, little does he realise that it is the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world. In the midst of chaos and confusion he becomes completely seduced by music.
It’s no surprise that music and the arts so often act as a liberating influence, giving some lucky individuals the chance a world of creativity and hope. I am grateful to fate to have been propelled out of an ordinary, functional and less than satisfying existence. Music came and lifted me away and showed me a path towards self fulfilment where my mind could become a canvas for fresh ideas. Everything about music fascinated me and as I grew, I slowly started absorbing influences from every corner of the globe, from India to Africa and Nepal to New York – the systems and techniques, sounds, colours and moods. It also led me to a much deeper understanding of people, their motivations, formalities and habits. The way people make music reveals a lot about the culture from which they have flourished.
This ‘open plan’ consumption and integration of varied influences naturally became a cornerstone of my writing when I finally got around to penning a novel. Having had a great degree of freedom in my interpretation and mixing of musical styles, it was natural that this approach got carried over into ideas and stories.
When I sit down and compose music, I start with nothing. That moment of making the first sound or writing the first note is always special, all the more so because I have no idea where it is going to lead. This influenced me directly to try the same thing with words, to take a simple starting point and embark on a journey, not knowing where or how I would get between the various points along the way.
I knew I wanted to have the same freedom that I find in music, able to bring together seemingly disparate concepts and make a new sense out of it all. To be unbound by all that is ‘normal’ but convincing enough to create a dialogue that stands up under scrutiny. As I wrote more and more, I was amazed about how similar the creative buzz was between both of them. I never thought I would find anything that gave me the spiritual lift that music making did but was convinced otherwise during the writing of A Survivor’s Guide to Eternity.
Just as I would embark on so many journeys with my work as a musician, so the character in my book is thrown headlong into an incredible journey, except his is through life, death, reincarnation and the afterlife. Little does he realise that it’s the beginning of a mind-boggling journey of revelations and surprises that completely reshapes his view of the world.
Structure and suspense
Once I really started to get into it, the writing and music began to feed one another even more in quite an inspiring way. A good gig would send me straight back to the hotel with my laptop to get writing and vice versa. I began to think through certain pieces of music and see how the suspense built up over a set time frame, keeping the listener engaged and waiting for the next development. Indian classical music is perfect for that, especially over long periods of time. I began to experiment to see how I could mirror that in my storytelling, sowing seeds and planting suggestions, but all the while keeping the reader impatient for the detail of the next development. As I thought about it, more and more parallels became apparent between literature and music.
Before I knew it I was unconsciously taking on board the broad shapes of pieces of music, flowing like a river around bends and over rocks, sometimes calm and sometimes ferocious. It gave me a great insight into how to approach the timeline within the novel, sometimes going slowly and patiently before propelling it through rapids and over rocks down towards a calming resolution.
There’s so much in common between the two disciplines. One tells a story with words and the other with sound. We need to keep the listener/reader interested with suggestions but not in a way that paints an obvious picture. We need to create suspense, excitement, anticipation and resolution. I never thought they would be quite so interlinked.
Pete Lockett has recorded and/or performed with Björk, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong, Nicko McBrain (Iron Maiden), U Shrinivas, Ronan Keating, Vanessa-Mae, Errol Brown, Rory Gallagher, Pet Shop Boys, Hari Haran, Kodo, Amy Winehouse, Mel C, A R Rahman, Sinead O’Connor and many more. He arranged and recorded ethnic percussion for five Bond films and other Hollywood blockbusters and has taught and lectured worldwide, including The Royal College, Berklee School of Music Boston, and The Royal Academy of Music in London. He is the author of Indian Rhythms for the Drum Set (Hudson). A Survivor’s Guide To Eternity is his first novel. Here he is on a mountain with percussionist Benny Greb. Find him on Twitter @PeteLockett
A R Rahman, A Survivor's Guide to Eternity, Amy Winehouse, authors, Bill Bruford, Bjork, Craig Armstrong, Damien Rice, Dave Weckl, Desert Island Discs, Dido, drama, entertainment, Errol Brown, fantasy, Hari Haran, Iron Maiden, Jarvis Cocker, Jeff Beck, Kodo, Lee Scratch Perry, male writers, Mel C, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nelly Furtado, Nicko McBrain, outside of this community, percussionist, Pet Shop Boys, Pete Lockett, Peter Gabriel, playlist for writers, Primal Scream, reincarnation, Robert Plant, Ronan Keating, Rory Gallagher, Roz Morris, Sinead O'Connor, Survivor, Texas, The Undercover Soundtrack, The Verve, Thomas Lang, Trans-Global Underground, U Shrinivas, undercover soundtrack, Ustad Zakir Hussain, Vanessa-Mae, writers, writing, writing to music
My guest this week is a percussionist who has worked with an astonishing list of world-class musicians – Bjork, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream, Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong – and more. He found that his music fuelled a desire to write a novel, and after a good gig he would rush back to his hotel room, eager to pour out the next chapter. He says he wanted to take a simple starting point and construct an epic journey that ventured outside the normal – bringing together birth, death, the afterlife, reincarnation and immortality into new coherence, and echoing the journey he takes when working with musicians. The result is A Survivor’s Guide to Eternity; he is Pete Lockett and he’ll be here with his Undercover Soundtrack on Wednesday.
A Survivor's Guide to Eternity, authors, Bill Bruford, birth, Bjork, Craig Armstrong, Damien Rice, Dave Weckl, death, Desert Island Discs, Dido, drama, drummer, entertainment, immortality, Jarvis Cocker, Jeff Beck, Lee Scratch Perry, male writers, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nelly Furtado, percussionist, Pete Lockett, Peter Gabriel, playlist for writers, Primal Scream, reincarnation, Robert Plant, Roz Morris, speculative fiction, Survivor, Texas, the afterlife, The Undercover Soundtrack, The Verve, Thomas Lang, Trans-Global Underground, undercover soundtrack, Ustad Zakir Hussain, world-class musicians, writers, writing, writing to music
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is Foreword Review finalist Linda Collison @LindaCollison
Without a soundtrack a road trip is just humming tires, cacophonous thoughts and monotonous dialogue. Long drives require a soundtrack. So do some novels.
I studied music in high school and wanted to be a musician. Music is eloquent when words fail. In a parallel life I’m a rock star or a concert pianist, but in this life I write. Because I can’t sing. Still, music resonates in my bones and melodies are a time machine. My tastes are catholic: baroque, classical, American jazz and blues, pop, classic rock, alternative rock, hard rock, metal, experimental, folk, bluegrass, sea shanties and show tunes – all have been my muse.
I don’t always play music when I’m at the keyboard working on a novel, but typing is only the tip of the iceberg; much of the writing process occurs when I’m dreaming, driving a car, or doing the dishes. Music affects my stories in ways I can’t even know.
Music plays a big part in Looking for Redfeather, a literary coming-of-age-on-the-road novel. But it ain’t Jack Kerouac’s road trip! I wrote the first draft during National Novel Writing Month (NaNoWriMo) 2007 – the year in which the story is set. It took six years for the edits. Paul Simon’s, I’m Workin’ on the Rewrite comes to mind… In October it was finally published, winning acclaim as a finalist in Foreword Review’s Book of the Year Award.
Looking for Redfeather is set in June of 2007 in the Great American West. Fifteen-year-old Ramie Redfeather hitchhikes out of Cheyenne, Wyoming, bound for Denver, Colorado, 100 miles away. He’s looking for his Apache father, a blues musician playing in a bar called Ziggies (a real blues bar). Ramie’s never met his father and he’s got a bone to pick. Ramie also has to be back in two weeks, for his court date. In his pocket, a cheap MP3 plays Audioslave’s Cochise. The album by the same name, released in 2002, expresses Ramie’s unresolved anger about his absent father.
Meanwhile, a bug-splattered Cadillac Eldorado with Maryland tags is rolling through Cheyenne. The guy behind the wheel is 17-year-old Charles Sweeney, who, until recently has gone by the rather unfortunate nickname Chuck. But Chuck has re-invented himself as Chas and he’s left his Maryland home in a stolen car. Technically, he didn’t steal the car – he borrowed it from his grandmother. Without permission. He has also taken six dusty cases of vintage wine from her wine cellar, which he does not intend to return. Chas’s identifying song is Kid Rock’s Cowboy. He is fleeing his ‘so-called life’ back east. because they’re ‘all brain-dead’. Actually, his mother really is brain dead; she exists in a vegetative state following a drug overdose. His father is on house arrest, and Chas feels the need to escape the prison that is his life. He hopes to experience the great American road trip, envisioning a 21st century On the Road, or Easy Rider without the crash ending. Just south of Cheyenne, he stops for a hitchhiker. It’s Ramie, thumbing his way to Denver. Together, they go looking for Redfeather.
Sixteen-year-old old Faith Appleby has learning disabilities but she has been given an amazing voice. Believing her voice is her only chance for success, Faith changes her name to Mae B LaRoux, buys a fake ID with money she nicked out of the church collection plate, and leaves her conservative Christian home in Baton Rouge, guitar in hand. Her plan is to win the Breakout Blues contest at the Austin Music Festival but she gets on the wrong bus — the bus to Denver. LaRoux’s identifying songs are KT Tunstall’s Big Black Horse and a Cherry Tree and Bobby McGee. She also admires the badass attitude Gwen Stefani exudes in Hollaback Girl.
Ramie and Chas manage to sneak into Ziggies but Redfeather, the scheduled entertainment, is a no-show. Ramie’s father has disappeared again. But Mae B LaRoux shows up, looking for a gig. The three teens connect, heading out on the road to get LaRoux to Austin in time for the contest, looking for Redfeather on the way. Tom Petty’s music, especially Saving Grace, captured our mood and motivation.
I write because I can’t sing. Lucky for me, my sons are musicians. My youngest son, Matt Campbell, wrote a theme song, Outlaw Trail, for his mother’s road trip novel. Check out the entire song list for Looking for Redfeather on YouTube.
Linda Collison’s writing has received awards from Honolulu Magazine, Southwest Writers Workshop, the former Maui Writers’ Conference, and the National Student Nurses Association. The New York Public Library chose her first novel, Star-Crossed, to be among the Books for the Teen Age – 2007. Linda began freelance writing while in college and was a scriptwriter and director of marketing for a small video production company in Cheyenne, Wyoming. She loves to travel by foot, fast car, or sailing ship. Her experience as a voyage crew member aboard the H.M. Bark Endeavour, a replica of Captain James Cook’s 18th century ship, led to the Patricia MacPherson Nautical Adventures: Barbados Bound and Surgeon’s Mate, published by Fireship Press. Her latest book, Looking for Redfeather, was a finalist in Foreword Review’s Book of the Year 2013. Linda blogs on her website and you can tweet her on @LindaCollison
Audioslave, authors, Barbados Bound, coming-of-age novel, contemporary fiction, Desert Island Discs, drama, entertainment, Fireship Press, Gwen Stefani, Honolulu Magazine, Kid Rock, KT Tunstall, Linda Collison, literary fiction, literary novels, Looking for Redfeather, Matt Campbell, Maui Writers' Conference, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, NaNoWriMo, National Student Nurses Association, New York Public Library, Patricia MacPherson Nautical Adventures, Paul Simon, playlist for writers, road trip, road-trip novel, Roz Morris, Southwest Writers Workshop, Surgeon’s Mate, The Undercover Soundtrack, Tom Petty, undercover soundtrack, Women Writers, writers, writing, writing to music
My guest this week says she studied music in high school. She describes music as a time machine, and even indulges a wish that in a parallel life, she became a musician. (I’m sure many of my Soundtrack guests feel this – or at least I do.) In this life, though, her instrument is words, and she compares writing to a long process of dreaming a journey. Her novel is the story of teenagers coming of age on a road trip and was a finalist in Foreword Review’s Book of the Year Award. She is Linda Collison, her novel is Looking For Redfeather, and she’ll be here on Wednesday with her Undercover Soundtrack.
authors, contemporary fiction, Desert Island Discs, drama, entertainment, Foreword Review’s Book of the Year Award, Linda Collison, literary fiction, literary novels, Looking For Redfeathe, male writers, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, playlist for writers, road trip, Roz Morris, The Undercover Soundtrack, undercover soundtrack, USA, Women Writers, writers, writing, writing to music
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is former rock singer and multi-award-winning author Warren FitzGerald @Warren_FitzG
Music is evil. It’s the Juju man messing with your head. It’s the sound of Bacardi Breezers clinking in the park when your soul is really being blasted by icy winds. And worse, perhaps, a carefully chosen trickle of notes can flood your thoughts with broken things when really the forecast is fine.
So says one of the characters in a novel I’m working on at the moment. I agree with her: her reasons. But the conclusion I draw is different. For me music is not evil, music is awesome, powerful, magical. That’s probably something most of us feel, but perhaps I have studied its effect a little more than some because of my previous incarnation as a singer which included the joy and stress of being in a struggling rock band to the buzz of performing all over the world as a session singer to audiences as big as 20,000 people, and trust me that is awesome, powerful, magical!
The inspiration for my latest novel Tying Down The Sun came from my recent travels through South America. A heady few months in a continent booming with music. Latin Americans love their music and they love it loud. But the greater part of this novel concerns itself with a harrowing kidnapping which takes place within the beautiful jungles of the Sierra Nevada, Colombia. A place, which when I trekked through there a couple of years back, was one of the few parts on the continent so remote I did not hear music. But music has been crucial in helping me recall and verbalizethat landscape and its own intense soundtrack sung only by cicadas and silence.
The work of Argentinean musician Gustavo Santaolalla particularly from the film soundtracks for Babel and The Motorcycle Diaries was the obvious choice for me if I ever needed to recapture the atmosphere of those majestic landscapes and precious ruins I came across as I backpacked around Peru, Colombia and Bolivia. Every haunting track Santaolalla produces echoes with the vastness of the great waterways of South America, of the endless rain forests, the mountain ranges, the windswept deserts and their icy emerald lakes. If I ever for a moment forgot what it felt like to be there I would just play Deportation/Iguazu and I would be transported there once again with my characters, perched on the edge of Ciudad Perdida, the lost city, couched among jungle clad mountains which joyfully weep with silent waterfalls. And if that’s all it takes to get me back to those heart-swelling places then music (like literature) is truly magical.
Looking for freedom
The two protagonists in Tying Down The Sun are both young women looking for freedom. We first meet 14-year-old Luz as she is deciding to break away from her isolated Amazonian village and its customs which she finds barbaric, only to escape to a life as a child soldier in the National Liberation Army (ELN), taking freedom from her hostages yet soon realising she is in fact as disenfranchised as them. And we first meet Sarah as she marvels at the natural wonders and ancient indigenous cultures of South America, as she lets her hair down after finishing her degree in London, before she becomes one of those hostages herself.
Some of Sarah’s five fellow captives begin their carefree tourist trek through the rain forests equipped with I-pods to supply them with entertainment on the long nights under the stars, but as the unplanned days and weeks at gunpoint pass, the batteries die and music becomes a rare commodity. Just before the last I-pod loses power, Sarah and Luz cement their unlikely friendship by appreciating a piece by Beethoven. The same piece doesn’t do much for me, but in order to understand how it might move some of my characters I indulged in a piano recording which affects me enormously. I Giorni by Ludovico Einaudi was the piece I used to get myself ‘in the zone’ because the opening few notes alone break my heart every time I hear them. Beautiful because it’s so sad, or sad because it’s so beautiful, this recording makes my heart feel like bursting, I think, because the images it conjures (long lost lovers reunited and caressing each other like blind people feeling their way, crashing waves seen silently through the window of an idyllic cottage, to name a few) are never in reality without their spoiling imperfections.
I played Te Aviso, Te Anuncio and remembered the wonderful ache in my feet as I stomped through cigarette butts and plastic cups. I played Crazy In Love and felt the luxurious sickness in my stomach when I used to twirl until everyone else disappeared.
As the reader and Sarah find out just what horrors Luz has had to endure in her young life already, they surely can’t blame her for her cynicism, but I have hope for Luz because the one word from her indigenous language of Quechua which she clings on to, despite abandoning the rest of her Amazonian roots, is tinkuy. Tinkuy means to dance, but it also means to battle. As Luz’s uncle tells her:
There is no separate word for each. It is just a matter of interpretation, a matter of context. But you have to decide which way you are going to go. Are you going to battle through life or are you going to dance?
I’ll leave the reader to decide if my hope for Luz is justified; to decide whether the novel ends with a battle or a dance.
A graduate of Warwick University and former singer in rock bands, these days Warren FitzGerald often finds himself in remote and ostensibly dangerous corners of the globe. His travel usually involves voluntary work on projects including the building of a health centre in Kibungo, Rwanda (the setting for his first novel, The Go-Away Bird), living on a rubbish dump in Nicaragua (the subject of a documentary film he is currently working on) and trekking through the combat zones and cocaine regions of the Sierra Nevada, Colombia (the setting for his new book Tying Down the Sun).Warren’s first novel, The Go-Away Bird won the Amazon Rising Stars Award 2010, Authors’ Club Best First Book Award (longlisted) 2011 and was Waterstones’ Book of the Month: Oct 2011. He lives in London. Find him on Facebook and tweet him as @Warren_FitzG
Amazon Rising Stars Award 2010, authors, Authors’ Club Best First Book Award, Babel, Beethoven, Bolivia, characters, Ciudad Perdida, Colombia, contemporary fiction, Desert Island Discs, drama, entertainment, Gustavo Santaolalla, hostages, incarnation, kidnap, kidnap stories, Latin America, literary fiction, Ludovico Einaudi, male writers, music, music for writers, music for writing, music of Latin America, music of South America, musician-turned-writer, musicians, My Memories of a Future Life, Nail Your Novel, National Liberation Army, Peru, playlist for writers, rock singer, Roz Morris, session vocalist, Sierra Nevada, singers, South America, Sun, The Go-Away Bird, The Motorcycle Diaries, The Undercover Soundtrack, Tying Down The Sun, undercover soundtrack, vocalists, Warren FitzGerald, Waterstones’ Book of the Month, writers, writing, writing to music
My guest this week has studied music more closely than some. His previous artistic incarnation was a rock singer – both with a band of his own and performing as a session vocalist to vast venues. (If you’re very good, we’ll include a video of him so you can see for yourself.) Now he has settled into an artform of lower decibel, but he hasn’t left music behind. His latest novel, Tying Down The Sun, is the story of a kidnap in the Sierra Nevada and he used music to help him verbalise the landscape and to mark the plight of his captive characters as their ordeal wears on. He is Warren Fitzgerald and he’ll be here on Wednesday with his Undercover Soundtrack.
authors, contemporary fiction, Desert Island Discs, drama, entertainment, incarnation, kidnap, kidnap stories, Latin America, literary fiction, male writers, music, music for writers, music for writing, music of Latin America, music of South America, musician-turned-writer, musicians, My Memories of a Future Life, Nail Your Novel, playlist for writers, rock singer, Roz Morris, session vocalist, Sierra Nevada, singers, South America, The Undercover Soundtrack, Tying Down The Sun, undercover soundtrack, vocalists, Warren FitzGerald, writers, writing, writing to music
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is romance mystery novelist Anne Allen @AnneAllen21
Thanks, Roz, for allowing me to air my thoughts on the music that influences me while I write. Your series has shown how varied the music is that writers listen to in their search for creativity. My own selection is quite limited in comparison but it did inspire me while writing my first novel.
I do love music but there are also times when it seems to get in the way; I find myself so drawn into the music, particularly vocal, that I literally lose the plot! Music helps to create the mood, spark the creativity but then must either be less noticeable or pertinent to what I’m writing at that time. My normal listening taste is quite eclectic; Michael Jackson, Adele, Nina Simone, Pavarotti, 1812 Overture, Chris Rea… And I love the more meditative New Age music which always formed a backdrop to my sessions when I practised as a hypnotherapist.
While writing my first novel Dangerous Waters I started off by playing New World Collection Relaxation II, a compilation of different artists playing hauntingly beautiful music which fed my soul while I stepped into the unknown as a writer. The first track, Wisdom by Philip Chapman, is played on a piano but with strings in the background and always calms me. My central character, Jeanne Le Page, is a young woman returning to her island home of Guernsey for the first time in 15 years, after fleeing to England as a girl of 16. She had lost her family in a tragic accident and now returns after the death of her grandmother, while also mourning the end of a long-term relationship. Tragedy and loss are the cornerstones to the story but as time goes on, hope of a fresh start and new love appear and the mood changes. My favourite track on this album, Soldier of Love by Denis Quinn, is in harmony with this change and provided the ideal background for the latter part of the writing process.
Jeanne experiences so many conflicting emotions through the story and music helped me to identify with them. I cried at times too, the words and music encouraging me to release my own grief as I wrote. I had lost two people I had loved and writing Dangerous Waters proved a catharsis. Another favourite of mine is the Pachelbel Canon which I found inspirational as I grappled with difficult chapters. Bearing in mind that this was the first time I’d written anything more substantial than a 500-word true-life story, I was in a constant state of insecurity; totally untutored. Entering the heads of other characters was also challenging, but I could empathise with some more than others. Molly, a character in the book, was based on a family friend. She was also a hypnotherapist who played a part in helping Jeanne to recover the memory lost after the accident and I played tracks such as Dream by Medwyn Goodall and Wings of the Morning by Terry Oldfield during the hypnosis sessions in the story to evoke the right ambience. At least there I was on known territory!
As Jeanne began to blossom and a new man- actually men! – appeared on the scene, I felt the need for different inspiration and listened to a Rod Stewart album. I know, I know! A bit off piste, perhaps, but it was fun and sexy and that’s what I, or rather Jeanne, needed. The album was If We Fall In Love Tonight. The title says it all, but there were particular tracks that, ahem, helped with certain scenes, such as Tonight’s the Night and Sometimes When We Touch. Rod’s gravelly voice provided, I have to say, both a distracting but complementary background to the writing.
We all respond to music in one way or another. Memories, both good and bad, are triggered by hearing even just a few bars of a tune that resonated with us at one time. Perhaps we take it for granted that it’s there, in the background of our lives, not always listening. But I’m convinced we would miss it if it was no longer there in our world and we have the composers, lyricists and artists to thank for offering us such a rich choice for our inspiration and comfort. Like books, music enriches our lives and I wouldn’t be without it.
Anne Allen lives by the sea in Devon, UK, having finally settled down; perhaps. She spent many years working as a psychotherapist but knew the ‘creative’ in her had to escape one day. In the past two years she has published two novels, Dangerous Waters and Finding Mother; her third book, Guernsey Retreat, is due out later in 2014. Her genre is romance/mystery and romance/family drama and Dangerous Waters won Silver in the Wishing Shelf Book Awards 2012. Her website is www.anneallen.co.uk and she can be found on Twitter as @AnneAllen21.
Adele, Anne Allen, authors, Chris Rea, contemporary fiction, Dangerous Waters, Denis Quinn, Desert Island Discs, drama, entertainment, family drama, Finding Mother, grief, Guernsey, Guernsey Retreat, hypnosis, hypnotherapy, Johann Pachelbel, loss, Medwyn Goodall, Michael Jackson, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, Nina Simone, Philip Chapman, playlist for writers, Rod Stewart, romance, romantic mystery, Roz Morris, Terry Oldfield, The Undercover Soundtrack, tragedy, undercover soundtrack, Wings of the Morning, Wishing Shelf Book Awards 2012, Women Writers, Women's fiction, writers, writing, writing from grief, writing from loss, writing to music
One of the special pleasures of hosting The Undercover Soundtrack is the honesty of the writing. My guests are ready to delve into their innermost creative spaces and share the bare, exacting process of turning memories, experiences and feelings into stories. My guest this week is one of those writers who drew on raw times to create the novel she shares with us. Music helped her examine two tragic losses, with their conflicting emotions and struggling hours. The soundtrack is haunting and melancholic, but is also rakish and fun – Rod Stewart makes a welcome appearance as life recovers and warms up again. The author is romantic mystery novelist Anne Allen and she’ll be here on Wednesday with her Undercover Soundtrack.
Anne Allen, authors, contemporary fiction, Desert Island Discs, drama, entertainment, grief, loss, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, Rod Stewart, romance, romantic mystery, Roz Morris, The Undercover Soundtrack, tragedy, undercover soundtrack, Women Writers, Women's fiction, writers, writing, writing from grief, writing from loss, writing to music
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is editor and author Aaron Sikes @SikesAaron
I go for instrumental over vocal music when I write. Spoken or sung lyrics are a distraction. My mind wants to catch the words and hold them long enough to get immersed in the experience of the song. But with orchestral or ambient electronic music, my imagination is free to roam through my story worlds.
My serialized novel, Gods of Chicago, was drafted to the title track of Joe Satriani’s Time Machine. Satch paints pictures with melody, and every one of his songs can bring an image to mind. Listening to Time Machine as I wrote brought to mind scenes of dirigibles soaring overhead while automatons march on the streets below. Radio signals beep and crackle through the air from spires and beacons. Bootleggers’ sedans rumble down back alleys, and my protagonist, a hard-boiled newshawk named Mitchell Brand, races around the city to find the answers nobody else seems to care about. Following on the tail of Time Machine, I happened upon a mind-blowing noir soundtrack by Josh Pfieffer of Vernian Process (DJ Fact.50). The Mixcloud of his DJ set, Noir Jazz and Swing, saw me through first round revisions.
As I moved into deeper revisions, I got turned onto three soundtracks. I started with Hans Zimmer’s score for The Dark Knight. The moody atmospheric quality of the music was a perfect fit for the noir landscape of my story, and the score really helped me get under Brand’s skin a lot better.
In early drafts of the character, I had him as a mashup of Edward R Murrow and Philip Marlowe as played by Humphrey Bogart in The Big Sleep. This gave Brand a rough exterior and a hard nose for news, but he lacked depth of feeling, and I couldn’t get into his motivation well enough to fix that problem. Once I had The Dark Knight soundtrack playing in the background, I quickly found Brand’s core as a WWI veteran, and much more than the ronin I’d originally thought him to be. He’s still a man obsessed with truth, but he’s also a would-be father to the three newsboys who answer to him. That puts a softer edge to the character, making him feel more like a real person.
I’ve also written to Zimmer’s score for Inception and Daft Punk’s soundtrack for Tron Legacy, which have been incredible for helping me visualize major action scenes, flight and escape scenes, and moments of peril faced by all the major characters in the story. The ambient symphonic quality of both soundtracks is also responsible for me discovering how much more my supporting cast has to say. Previous drafts were Brand-centric, but now I have two major POV characters in addition to Brand, and each supporting cast member gets a little air time of their own.
Last but not least, when it comes to editing, I change gears and go with Adrian Legg – Guitars and Other Cathedrals. The exacting and fluid brilliance of Legg’s fingerstyle playing calms down all thoughts of action and suspense and puts me right into editor mode, smoothing out clunky prose, fixing typos, and ensuring clarity.
Aaron Sikes has been writing and editing full-time since late 2011. Gods of Chicago is his first full-length novel and he has previously had three stories published in anthologies by independent presses. Find him on Twitter @SikesAaron or visit his website http://www.ajsikes.com. He is also one half of the editing/formatting duo, The Wordwrights, with fellow author Colin F Barnes.
Aaron Sikes, Adrian Legg, ambient electronic music, authors, Chicago, Daft Punk, Desert Island Discs, DJ Fact.50, drama, entertainment, fantasy, Gods of Chicago, Hans Zimmer, Humphrey Bogart, Inception, instrumental, Joe Satriani, male writers, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, noir, playlist for writers, Roz Morris, serialised fiction, serialised novels, serialising fiction, The Big Sleep, The Dark Knight, The Undercover Soundtrack, Tron Legacy, undercover soundtrack, writers, writing, writing to music
You could divide my Undercover Soundtrack guests into those who aren’t put off by lyrics and those who are. My guest this week is one of the latter. He says that music with lyrics is too domineering when he’s trying to write – but that orchestral or ambient electronic music sets his imagination free to roam. His novel is a quirky noir of dirigibles, automata, back alleys and a hardboiled hack (the bipedal journalistic sort, not an equine), and his central character was honed by long hours simmering with Hans Zimmer’s soundtrack for The Dark Knight. He is Aaron Sikes and he’ll be here on Wednesday with his Undercover Soundtrack.
Aaron Sikes, authors, Chicago, Desert Island Discs, detective fiction, drama, entertainment, episodes, fantasy, film soundtracks, Gods of Chicago, Hans Zimmer, instrumental music, lyrics, male writers, movie soundtracks, music, music for writers, music for writing, My Memories of a Future Life, Nail Your Novel, noir, noir fiction, playlist for writers, Roz Morris, serial fiction, serialised fiction, steampunk, The Dark Knight, The Undercover Soundtrack, The Wordwrights, undercover soundtrack, writers, writing, writing to music
- 'Constant murmur of pouring rain, piano chords and a stormy sea'
- 'A spellbindingly good yarn'
- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
- Carol is a concert pianist until an injury threatens her career. Desperate for a cure she discovers her future incarnation - or is he a psychological figment? And can he help her recover?
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011, 2012, 2013, 2014. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
Find something unforgettable
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'

domain: literature


DESOTO COUNTY, Miss. — A Mid-South man was arrested after Mississippi authorities say he was involved in two separate accidents while driving drunk.
According to the Horn Lake Police Department, first responders were called to an accident at Goodman and Windchase Thursday evening only to discover that one driver – later identified as Unterio McKinney- had fled the scene.
Several people were injured in the Horn Lake accident, police said. They were treated for minor injuries.
After the crash, McKinney reportedly continued traveling down Goodman into Southaven where he struck several other vehicles. The accident forced authorities to shut down the road and divert traffic.
The 38-year-old was charged with leaving the scene of an accident, leaving the scene of an accident with injuries, no driver’s license, no liability insurance and DUI 3rd offense.
- Atlanta Mayor Keisha Lance Bottoms says she tested positive for coronavirus
- Memphis Union Mission expanding to serve city’s needs
- Man catches 112-pound catfish in Mississippi River
- Harvard researchers think hot weather in South may contribute to COVID spread
- Critical care doctors send strong message on masks to Tennessee governor


text:
He is absolutely right!
Hezbollah Secretary-General Hassan Nasrallah accused the Israeli government of causing an escalation in violence along the Israeli-Lebanese border during a speech today. He also sent several messages to the Jewish citizens of Israel, urging them to leave before Israeli Prime Minister Benjamin Netanyahu’s “stupid government” launches a war.
Nasrallah Photo Credit: Al-Manar/Channel 2 News
On Sunday, Hezbollah Secretary-General Hassan Nasrallah delivered a speech that was broadcasted by the Lebanon-based Al-Manar television network. During his speech, Nasrallah made several threats and warned of an escalation in violence along the Israeli-Lebanese border. Turing to the citizens of Israel, Nasrallah said: “The Netanyahu government is leading you to annihilation and destruction. Don’t let a stupid government take you on an adventure.”
“Netanyahu and his government don’t know whether they’ve started a war and how they will finish [one],” he continued. “They don’t have a real picture of reality. If they had one, they wouldn’t be heading toward this foolishness of war.”
“I call on all the non-Zionist Jews to separate themselves from the Zionists who are leading themselves to inevitable destruction,” Nasrallah added. “I call on all those who came to occupied Palestine to leave and return to the countries from which they came so that they aren’t used as fuel for the war that your stupid government will conduct.”
“Everyone who opposes Zionism is wrongly accused of anti-Semitism,” the leader of the terrorist group continued. “We’ve said from the beginning that our war is with the Zionist invaders of Palestine’s land and not with the Jews as a religion and the People of the Book. The Zionist movement took advantage of the Jews and Judaism in order to establish a colonial initiative under the auspices of the Britons 100 years ago and today, they are working for the Americans. The Jews in the world need to know that they are a British-American tool of war against the Arabs in the region.”
In addition, Nasrallah said that Washington’s actions are resulting in tragedies. “All of the governments in the region need to acknowledge their rivals and friends,” he said. “It’s forbidden to gamble with the Americans. [They should be] relying on themselves.”
Last night, Nasrallah said that his organization “cannot remain silent about the fact that the Israeli military is planting explosive devices in some of the villages along the border.”

domain: politics


Update: The Senate passed the relief package, and the bill will now head to the House of Representatives:
Original Post: A deal on additional funding for the Small Business Administration’s (SBA) Paycheck Protection Program (PPP), between Senate Majority Leader Mitch McConnell, Speaker Pelosi and the White House, has finally been reached.
The package is expected to include $310 billion for the program; it is said to include $25 billion for testing and $75 billion for hospitals. These stipulations were demanded by Democrats, who held up the funding for over two weeks.
JUST IN: Deal to expand virus aid includes $250B+ for the PPP program, $60B more for small lenders, $60B in disaster relief loans, $75B+ for hospitals, and $25B for testing - sources (via @KaylaTausche) https://t.co/yFFst2rZCs pic.twitter.com/ghk8UnpdXm— CNBC Now (@CNBCnow) April 21, 2020
Here’s what’s in the deal: pic.twitter.com/7QhAmXjB7x— Manu Raju (@mkraju) April 21, 2020
Deal on SBA includes more than just SBA money. Includes:— Lauren Fox (@FoxReports) April 21, 2020
-$75 billion for hospitals
-$310 billion for PPP (with $60 billion set aside for smaller financial institutions to lend)
-$25 billion for testing
-$60 billion for EIDL program (other SBA loan program)
Breakdown of funds:— Alayna Treene (@alaynatreene) April 21, 2020
The vast majority — $310B — is for replenishing the PPP. Roughly $60B of that total will be allocated to small lenders and community banks. The rest includes ...
- $60B for EIDL
- $75B for hospitals.
- $25B to expand testing https://t.co/LdSWJ0ZcdS
This deal took weeks to reach as Democrats held up the funding, hoping to include unrelated, political pork barrel in the final legislation. Leader McConnell commended the bipartisan cooperation, even if it took far too long:
McConnell on deal on next coronavirus bill: I am just sorry that it took my colleagues in Democratic leadership 12 days to accept the inevitable, and that they shut down emergency support for Main Street in a search for partisan ‘leverage’ that never materialized.— Chad Pergram (@ChadPergram) April 21, 2020
I am encouraged that Democrats have finally agreed to reopen the Paycheck Protection Program and abandon a number of their unrelated demands. My full statement on Congress’s new bipartisan agreement to provide additional small-business support, more funding for testing, and more: pic.twitter.com/nDnhxbs9KB— Leader McConnell (@senatemajldr) April 21, 2020
The Senate is slated to pass the deal during a pro-forma session at 4p.m. on Tuesday.
Ok ... NOW Coronavirus deal is done. But all 100 senators are now being asked for consent to pass bill at 4 p.m.— Burgess Everett (@burgessev) April 21, 2020
According to summary, it has
-$310B+ for PPP
- $60B for small biz grants and loans
- $75b for hospitals
- $25b for testinghttps://t.co/5pKghvrb3N@heatherscope
Editor's Note: Want to support Townhall so we can keep telling the truth about China and the virus they unleashed on the world plus how the liberal media is walking lockstep on their talking points? Join Townhall VIP and use the promo code WUHAN to get 25% off VIP membership! Get the facts the liberal media will never tell you.


text:
12 September 2020
Milestone achievement as new dung beetle species importation trumps international COVID logistical challenges.
A landmark stage in the Dung Beetle Ecosystem Engineers (DBEE) project has been reached this month with a new species of dung beetle landing on Australian shores.
Over 300 of the Onthophagus andalusicus beetles arrived safely at Canberra’s CSIRO importation facility last week after starting their journey from their native Morocco in 2019. The beetles initially undergo stringent cleaning and rearing in a facility based in Southern France prior to their arrival in Australia. The offspring of O. andalusicus are then securely packaged in France and delivered to Australian biosecurity officials for review, before arriving at the CSIRO beetle importation facility in Canberra where strict procedures ensure no potentially harmful microbes or other pests are introduced into Australian ecosystems in association with the new beetles.
O. andalusicus is the second species to be imported to Australia through the DBEE project, which aims to import three new species to fill current seasonal and geographic gaps of dung beetle activity in southern Australia. These introduced species are credited with the significant reduction of fly and nematode pest numbers in Australia, improvement of pasture growth and recycling of soil Carbon and nutrients.
COVID-19 restrictions, international border closures and nation-wide lockdowns initially caused some logistical problems with importation of the second species for the project team. However, O. andalusicus arrived safely at the CSIRO site on-time and with a clean bill of health.
DBEE’s lead of dung beetle importation, CSIRO’s Dr Valerie Caron says the arrival of the beetles heralds a triumph for the project.
“The efforts of all those behind this project have been tremendous in the face of the challenges of COVID-19, including border closures, national lockdowns and fewer international freight flights. Amazingly, we’re still on schedule”
Onthophagus andalusicus is active in late winter and spring, in both beef and sheep dung – a huge plus for mixed farmers. Hailing from northern Africa, it’s estimated the beetle will thrive in climatic conditions similar to those in central and south Western Australia, southeast Southern Australia, northwest Victoria and central and southwest New South Wales.
DBEE’s lead of training, education and information delivery, Charles Sturt University Professor Leslie Weston, says an abundance of dung beetles could enhance pasture quality across southern Australia while reducing pest burdens, producing an estimated net benefit to farmers in excess of $100/ha in the more intensively grazed areas.
“These beetles will help fill the spring gap in beetle activity across southern Australia and complement the first species of beetle the DBEE team has successfully imported, mass-reared and released, Onthophagus vacca. Importantly, Onthophagus andalusicus typically doesn’t compete with native species which prefer kangaroo and native animal dung, meaning these beetles can safely cohabitate with existing natives” she says.
Understanding the ecological impact of releasing a new species is a lengthy and complicated part of the assessment process, and care is taken to ensure the beetles have little to no impact on the native ecosystems.
Previous experience has shown us that hundreds of thousands of beetles need to be released in order to establish a new species successfully, therefore several generations are raised under lab and protected field conditions to bulk up numbers.
“The mass rearing and release of the Onthophagus vacca has been very successful to date, with more than 10,000 beetles reared at the research facility at Charles Sturt in Wagga Wagga in recent months with over 5,000 released on more than 30 farms across southern Australia. We expect the mass rearing of Onthophagus andalusicus to generate similar results with time” says Professor Weston.
The research is led by Charles Sturt University through funding from Meat & Livestock Australia (MLA) through the Australian Government Department of Agriculture’s Rural Research & Development for Profit program. The project is also supported by eight partner organisations: The University of Western Australia, CSIRO, Manaaki Whenua – Landcare Research, The University of New England, Dung Beetle Solutions International, Warren Catchments Council, Mingenew-Irwin Group and the Western Australian Department of Primary Industries and Regional Development.
For more information about the DBEE project visit https://www.dungbeetles.com.au/ .
Georgie Robertson | The Regional PR Co.
M: 0417 217 869 | E: firstname.lastname@example.org

domain: news


text:
Hannover 96 vs Fortuna Duesseldorf
First half (0:0)
Second half (0:1)
- Hannover 96 53%
- Fortuna Duesseldorf 47%
Shots on Goal
Shots off Goal
Defence5 Felipe 60'
8 Walace 73' 84'
35 Muslija 71'
Preview match Hannover 96 - Fortuna Duesseldorf
Team Hannover 96 is in the releagtion zone of the table. 17 position. In 5 last matches (league + cup) team gain 2 points. Hannover 96 from 5 matches can not beat any rival. To defend Fortuna Duesseldorf the most demanding players will be Ihlas Bebou 3 goals, Bobby Shou Wood 3 goals, Hendrik Weydandt 3 goals, because this season they scored the most goals for Hannover 96 of the entire composition. Most goals developed: Ihlas Bebou 3 assists, Bobby Shou Wood 1 assists.
Injuries in the team Hannover 96: Edgar Prib, Takuma Asano, Ihlas Bebou, Timo Huebers, Noah-Joel Sarenren-Bazee.
Played 16 matches this season. Won 2 matches 5 ended in a draw. 9 were defeated. In 62.50% matches the total goals in the match was over 2.5 goals (Over 2.5). In 93.75% matches the sum of the goals was greater than 1.5 Goals (Over 1.5). In 1 matches Hannover 96 has not lost the goal. In 12 games, each team scored a goal in the match (both teams to score). Average goals: 1.06 per match
Team Fortuna Duesseldorf currently is on lower place in table (15 position). Form team looks like this: In the last 5 matches (league + cup) gain 7 points. from 2 matches team have not been defeated. The most goals in 1. Bundesliga for Fortuna Duesseldorf scored: Dodi Lukebakio 7 goals, Benito Raman 3 goals, Rouwen Hennings 2 goals. Players with the most assists: , Rouwen Hennings 1 assists.
In Fortuna Duesseldorf not occur in the match due to injury: Aymen Barkok, Diego Contento, Raphael Wolf.
Played 16 matches this season. Won 4 matches 3 ended in a draw. 9 were defeated. In 68.75% matches the total goals in the match was over 2.5 goals (Over 2.5). In 87.50% matches the sum of the goals was greater than 1.5 Goals (Over 1.5). In 2 matches Fortuna Duesseldorf has not lost the goal. In 9 games, each team scored a goal in the match (both teams to score). Average goals: 1.13 per match
Direct matches: usually ended with winning of Hannover 96. Balace of both teams games are: 3 won Hannover 96, 1 wins Fortuna Duesseldorf, 1 draws. In 4 matches the sum of the goals both teams was greater than 2.5 (Over 2.5). On the other hand, 4 matches teams scored more than 1.5 goals (Over 1.5). In 3 matches the both teams have shot at least one goal.
If you want to compare this teams or you looking for more stats check this site
If you want to check league table and stats go to this site
You can read full preview Round 17 (matchday) of 1. Bundesliga here

domain: sports


text:
USDA and the Department of Commerce will hold a day-long conference for small business owners who want to learn how to grow and support their businesses by partnering with these and other Federal agencies. The meeting, led by program and small business procurement officials, will focus on Small Business Contracting. Topics include acquisition needs and opportunities, procurement methods, subcontracting opportunities, business development resources, and more.
A workshop will be dedicated to contracting opportunities in rural America. Additionally, there will be an opportunity to meet one-on-one with USDA and DOC small business contracting specialists during a half-day “matchmaking” event. The conference will be held Tuesday, June 28, 2011, from 8:00 a.m. to 4:00 p.m. at the Sheraton Overland Park Hotel in Overland Park, Kansas.
There is no conference fee. Pre-registration is preferred with onsite registration available. For further information call 202-720-7117 or visit www.usda.gov/osdbu.
NAFB News Service


Duxford Aerodrome, near Cambridge, England is one of Britain’s most historic airfields still in operation, dating back to the closing days of WWI. It played a significant role in Britain’s frontline defense, both as a Royal Air Force fighter station, and also as host to units from the U.S. Army Air Forces during WWII. While its time in military service ended more than half a century ago, Duxford has continued as an active airfield, growing into its present status as the European epicenter of vintage aircraft preservation. Owned and operated by the Imperial War Museum since the 1970s, there is a healthy public-private collaboration at the field, with several world-renowned warbird operators and restoration companies also in residence, such as The Fighter Collection, and the Aircraft Restoration Company. Roughly two hundred historic airframes, both ex-military and civilian, call Duxford home.
While the limelight always seems to shine on the airworthy warbirds at Duxford, there are also other restorations underway for static-display purposes as well. One of these is the Imperial War Museum’s rare surviving example of a Yokosuka MXY7 Ohka Model 11. This hurriedly designed Imperial Japanese Navy aircraft was a radical, though misguided concept for its time. It was essentially a human-guided glider-bomb for suicide missions against Allied shipping. It also had a trio of rocket motors which the pilot would engage towards the end of his flight to both extend the weapon’s range and make them harder to shoot down. Even so, Ohkas did not have more than about 25-30 miles range, so a ‘mothership,’ usually a Mitsubishi G4M ‘Betty,’ would carry them to the target area slung underwing. However, this made them incredibly vulnerable to fighter attack as Betty’s were easy meat for the opposing fighters of the day. Indeed, not many Ohkas ever made it close enough to the Allied fleets to deploy, their motherships being cut down before they ever had the chance to perform their mission. And of these, fewer than a dozen Ohkas managed to both reach and strike their targets. Only one Allied ship, the Sumner-class destroyer USS Manert L. Abele, is known to have succumbed to the impact and subsequent warhead explosion (on April 12th, 1945), although a handful of other vessels are confirmed to have received significant damage from such weapons, perhaps seven or so, but only two of these were crippled beyond economic repair.
The Imperial War Museum’s Ohka presently has no known identity, but it is one of several captured examples which ended up in Britain for examination following WWII. This particular Ohka was, for many years, part of a weapons collection held for training purposes at the Defence Explosive Ordnance Disposal School in Chattenden, Kent. When the school moved to another location, the Ohka was surplus to requirements and transferred to the Imperial War Museum. The airframe arrived at Duxford during 2011, going into storage initially. However, in April, 2017, a concerted conservation/restoration effort began.
The airframe was remarkably complete and original, with the only major items missing being the three Type 4 Model 1 Mark 20 rocket motors. However, due to an extended period outdoors in its past, the Ohka required significant preservation work This necessitated de-riveting the original aluminum fuselage skins, as well as repairs to the all-wooden wings. Thankfully though, most of the original structure has been retained. Most of the cockpit instruments were missing, and had to be sourced, but no rocket motors were available, so mockups were created instead. At some point in its life in Britain, the airframe underwent a cosmetic restoration, which included the application of a wholly inaccurate, gloss black paint scheme. The restoration team at Duxford was able to uncover original paint, and indeed some wartime markings, however. These discoveries have allowed them to return the airframe to a more authentic livery. The Imperial War Museum’s restoration team recently completed the Ohka’s restoration inside Duxford’s Hangar 5. She then made the journey to the Imperial War Museum’s facility on Lambeth Road, in London in early March, 2020. The museum’s technicians have now hung the historic airframe in the main gallery. Many thanks indeed to our regular contributor, George Land, for these images of the restoration!


text:
WHERE TO FIND US -By Bus
The Salisbury Reds R12 service stops at the clinic look for the Stratford Bridge Stop.
WHERE TO FIND US -By Car
Our Clinic is located at 5 Deans Farm,
Stratford Sub Castle,
Salisbury. SP1 3YP
There is dedicated free parking at the front of the clinic.
View the video for help with directions via Castle Road (A345). You can also come through Stratford Sub Castle village, or via the Woodford valley from the Devizes Road (A360).

domain: geography


text:
This article was originally published by Vegetable Growers News. A link to the article is placed below.
BASF has closed the acquisition of a range of businesses and assets from Bayer. The transaction is a strategic complement to BASF’s crop protection, biotech and digital farming activities and marks its entry into seeds, non-selective herbicides and nematicide seed treatments. “This strategic move adds excellent assets to our strong agricultural solutions portfolio and enhances our innovation potential. Overall, it ensures an even more comprehensive and attractive offering to our customers,” said Dr. Martin Brudermüller, Chairman of the Board of Executive Directors and Chief Technology Officer of BASF SE.
Read the full article from Vegetable Growers News here.

domain: agronomy


text:
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Dog Shipping, Pet Shipping and Pet Transport Service Provider. Domestic and International Pet Transportation. Webs Most Utilized Air Pet Transport Service Animals Away.
What to Do When You Find a Stray Animal - Must Read Article - Exhausting All Resources to Return a Pet Home

domain: pet


ISLAMABAD: The accountability court hearing corruption cases against members of the Sharif family expressed displeasure on Monday after deposed prime minister Nawaz Sharif failed to appear before the court in the Flagship reference hearing.
Judge Muhammad Arshad Malik warned to cancel Nawaz’s surety bond and issue arrest warrants if the former premier failed to appear before the bench.
Deposition in Al-Azizia, Hill Metals reference concludes
Judge Malik was further irked when defence counsel Khawaja Haris requested, through his associate Munawwar Iqbal Duggal, for a two-day adjournment of Flagship, Al Aziziya and Hill Metal Establishment reference hearings, owing to health issues.
When the judge inquired about Nawaz’s absence, Duggal asserted that the accused was supposed to appear and sought time to probe the matter.
Upon his return, Duggal said the Pakistan Muslim League-Nawaz (PML-N) supremo did not appear owing to “genuine confusion”. The defence counsel added that Nawaz, however, was willing to immediately leave Lahore if the court allowed two to three hours to travel to Islamabad.
NAB officials told to expedite anti-graft investigations
Judge Malik chided defence counsel and the accused of wasting the court and witness’ time but accepted their assurance regarding Nawaz’s appearance for the future hearings.
Referring to Haris’s adjournment appeal, the court noted that the request could only be accepted as far as Flagship reference was concerned and adjourned the hearing until October 4.—INP


text:
By Jide Ajani
Eminent retired Justice of the Supreme Court, Kayode Eso, says the concept of PLEA BARGAIN is not only illegal but it also encourages stealing.
The 86-year old jurist made it clear that it is both anathema to an anti-corruption war and it equally sends a corrupt signal about the government’s war on corruption.
Eso spoke just as the Economic and Financial Crimes Commission, EFCC, explained that the courts have the final say on PLEA BARGAIN.
Meanwhile, fresh posers have emerged regarding the deal disclosed by the Chairman of the Code of Conduct Bureau, CCB, Mr. Sam Saba, about a “restitution” it entered into with some allegedly corrupt former state governors on its books.
The governors have since been let off the hook, according to the CCB Chairman.
The eminent jurist’s and the EFCC’s positions came amid the trial of some former governors for alleged corruption.
ESO ON PLEA BARGAIN
In an exclusive interview with Sunday Vanguard, Eso pointed out that part of the problem with the war on corruption in Nigeria is the “type of punishment against corrupt public officers”.
According to him, “they have the notion of coming out and say plea bargaining. They bargain with the judge, bargain with the accused person, he returns half of the money, then they give him some hairy-fairy punishment. Go and serve three months in prison and the three months will, of course, be in the hospital.
“This is an encouragement for other governors to steal when they come. There is no plea bargaining in our law. The importation is wrong.
(READ DETAILS IN SUNDAY INTERVIEW)
“To me, it is corruption to bring plea bargaining into the law of Nigeria”.
The retired Justice used the “issue of (a former state governor in the South South zone) who was alleged to have stolen billions and billions of naira. They said they had this system of plea bargaining. They asked him to plead to some most minor terms there and then he was fined three million naira which he picked out of his purse and paid there.
It sent a notion that it had been pre-arranged that it would not be more than three million. “Now, after that, they started to gloat and shed crocodile tears and said the punishment was not adequate. Of course, the punishment can never be adequate when they import this issue of plea bargaining.
“Plea bargaining is actually not our law. And they come around and say it is done in other countries; Nigeria is not any other country. Nigeria is Nigeria not just any other country. We never had plea bargaining. It is corruption for anybody who imports plea bargaining into our law”.
EFCC:WE LEAVE IT TO COURTS
In what may be the position of the EFCC, the Commission’s Head, Media and Publicity, Femi Babafemi, explained in an article titled PLACING EFCC MANDATE IN PROPER PERSPECTIVES, that “the contentious issue of plea-bargaining is not an EFCC construct”.
According to him, “It is an issue of global jurisprudence and the local criminal justice system is only adapting it as a practical way of mitigating the effects of corruption on the polity. Again, the judiciary has the final say on the fate of an accused person seeking plea-bargain”.
Further explaining some of the constraints of the Commission in effectively prosecuting offenders, Babafemi said “to underscore the significance placed on conviction of any accused person, the EFCC has been advocating the establishment of Special Courts for the trial of all corruption cases. This is a novel proposition which is bound to fast-track judicial processes on corruption cases. We cannot expect to achieve expeditious resolution of cases of economic and financial crimes through our regular courts unless the rules are amended as in the case of Lagos State”.
CCB ON CORRUPT GOVS
In the meantime, fresh perspectives are being introduced into the deal between the CCB and some former state governors who were said to have been let off the hook after the consummation of such deal.
Sunday Vanguard’s earlier publication of an investigation regarding the chasm between some commissioners in the CCB and their chairman, Mr. Saba, and more particularly regarding the Bola Tinubu trial, drew the Chairman to explain that the former governor of Lagos State was not singled out for trial.
During Saba’s press briefing on Tuesday, September 27, 2011, he explained that the CCB decided to drop the cases instituted against some ex-governors after they admitted guilt and made restitution to the Federal Government, specifically naming the former governor of Jigawa State, Saminu Turaki, among those that benefited from the said process.
Though he declined to reveal the identity of other indicted ex-governors who embraced the ‘plea-bargain’ option, the Bureau Chairman ,however, divulged that 15 former governors would soon be charged to court for allegedly lying in the assets declaration forms they filled and filed while in office, adding that some of their assets are currently undergoing intense verification.
“I want to assure you that verification of the assets of some of the ex-governors is still ongoing including that of even those who are still in power”,the CCB Chairman stated
However, in Part One of the Third Schedule to the 1999 Constitution as amended, the illegality of PLEA BARGAIN is brought further home as maintained by Justice Eso.
Section 3, d and e state as follows, that the CCB shall:
“(d) ensure compliance with and, where appropriate, enforce the provisions of the Code of Conduct of any law relating thereto;
“e) receive complaints about non-compliance with or breach of the provisions of the Code of Conduct or any law in relation thereto, investigate the complaint and, where appropriate, refer such matters to the Code of Conduct Tribunal”.
All through the 1999 Constitution, there was no where the issue of discretionary power of the CCB was mentioned, therefore, rendering Eso’s contention correct.


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'He went for me'
UFC champ Conor McGregor appears to lash out from car window at fan’s phone who is filming him
It's unclear whether or not the Irishman is joking as he reaches out as he is filmed inside his car from the outside
UFC ace Conor McGregor appeared to lash out at man’s phone who was recording the Irishman inside his car.
The Notorious is enjoying some down time back in his hometown as he is having a break from UFC and is looking to relax with his pregnant girlfriend Dee Devlin.
UFC champ Conor McGregor lashes out lad's phone in Dublin
In the clip the fan is thrilled to have spotted McGregor, 28, in his super car and whips his phone out to film the moment he met his idol.
Keep up to date with ALL the UFC news, gossip, plus match-ups, results and live fight commentary
The fan said: "How are you, Conor? It's good to see you"
But instead of responding he lashed out through his car window in an attempt to grab the phone.
The supporter had sharp reflexes and managed to keep hold of his phone and instantly apologised to McGregor as he closed his car window.
Shocking moment pitch invader is tackled after grabbing hold of Cristiano Ronaldo
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EVAN HELP US
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HANG UP THE GLOVES
Katie Taylor's father Peter wants his world champion daughter to RETIRE
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Despite the brief and strange interaction with McGregor, the fan was still delighted and gave a beaming smile to the camera.
The fan captioned the video with: "just met Conor McGregor and he went for me."
In the early hours of Saturday - after this incident - McGregor popped into Archies Burger and Shakes in Manchester.
The superstar made himself his own chocolate milkshake and was more than happy to pose for a photo with a staff member.
Despite spending time away from UFC, McGregor is still looking to seal a mega fight with Floyd Mayweather.
But as his chances of landing a big-money bout against the retired boxer continue to hang in the balance, Manny Pacquiao has volunteered to step in the ring against the Irishman.
Whilst being away from UFC, he has also landed a role in the hit TV show Game of Thrones and is expected to play the role of sailor who cannot speak.
McGregor is also in talks to star in Hollywood blockbuster movie despite ‘p***ing off’ producers last year after pulling out of Vin Diesel project.


A Maryland man being held in a Virginia prison on rape charges was released over coronavirus concerns, then allegedly murdered his accuser, according to police.
Police tracked down and found Ibrahim Bouaichi, 33, in Prince George’s County, Maryland, on Wednesday. Authorities sought Bouaichi in connection with the death of Karla Dominguez, who had accused Bouaichi of rape and testified against him in October, according to The Washington Post.
When police located Bouaichi, he fled in his car until he crashed. Police moving to arrest him found that he had apparently shot himself. Bouaichi remained in critical condition on Thursday.
Partly on Dominguez’s testimony, Bouaichi was indicted on five felony charges of rape, sodomy, strangulation, abduction, and burglary. Bouaichi was held without bail in an Alexandria prison facility until April 9, when Circuit Court Judge Nolan Dawkins ordered his release on a $25,000 bond.
Bouaichi’s attorneys argued that his bail terms were worth revisiting and he should be released to house arrest because of the onset of the coronavirus pandemic. Jails and prisons have been identified as hotspots for the disease because of the facilities’ close quarters. Once the facility is infected, prisoners often don’t have space to socially distance to keep from contracting the virus.
Bouaichi’s attorneys said that continuing to keep him locked up brought increased risk to him, as well as his legal team if they sought to visit him in person. The jail in which Bouaichi was being held had issued rules over so-called “contact visits” between attorneys and inmates, cutting them down to a minimum. Inmates and attorneys moved to meeting via video conference, which Bouaichi’s attorneys complained had “effectively deprived [Bouaichi] of legal counsel.”
Prosecutors argued against releasing Bouaichi since he was indicted for violent crimes and could be a risk to others. Dawkins sided with the defense, and allowed Bouaichi to be released back to his home in Maryland.
On July 29, police responded to reports of gunfire at an apartment building in Alexandria. Police found Dominguez lying dead outside of her apartment. Police obtained a murder warrant for Bouaichi on July 31, and found him in Maryland on Wednesday.
The coronavirus pandemic has confounded authorities and elected officials from the local to national level. Justice system officials have attempted to balance the risk from the coronavirus to inmates with the increased risk to society if certain prisoners are allowed to be set free.
California Democratic Gov. Gavin Newsom is set to release 8,000 inmates from state prisons by the end of August over the coronavirus.
As The Daily Wire reports:
The CDCR will release prisoners in three stages. The state will begin releasing prisoners with 180 days or fewer left on their sentences who have not been convicted of a violent crime or are registered or required to register as a sex offender.
In the second stage, inmates age 30 and older with less than a year left on their sentences will be eligible for release if they are being held in one of eight prisons with “large populations of high-risk patients.” For the third stage, prisoners deemed at high risk of the coronavirus will be released as long as they are not convicted of a violent crime, required to register as a sex offender, or serving a life sentence without the possibility of parole.
At the end of July, California authorities released a woman who had served about 20 years of an 84-year sentence for murder under a state code “which allows the release of an incarcerated person in the case of an emergency that endangers their life.”


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There is still life left in Bombardier's CRJ family of aircraft, a test flight of the CRJ1000 NextGen reveals. The future may belong to larger aircraft, such as the airframer's CSeries, but the NextGen family of CRJs delivers a comfortable passenger experience - plus fuel savings of up to 12% on a 1,000nm (1,850km) stage length, compared with competitive aircraft.
Bombardier senior engineering test pilot Andy Litavniks was the host for my flights - one in the CRJ1000 and one in the CRJ700 - conducted from Bombardier's Mirabel CRJ production site north of Montreal. Flying the aircraft back to back allowed me to note how the CRJ1000's fly-by-wire rudder compares with the CRJ700's conventional one.
From a pilot's perspective, the NextGen line offers several advantages. While the flightdeck is still a Rockwell Collins Pro Line 4, it incorporates several Pro Line 21 units.
The altitude heading reference system has been upgraded to laser ring gyros from the previous flux valve units. Optional NextGen cockpit items include a Class 2 electronic flight bag, sourced from CMC Electronics, and a Collins head-up guidance system. With proper training and authorisation, the head-up guidance system can allow for reduced visibility take-offs as well as a Category IIIa landing capability.
Unfortunately, neither the EFB nor the head-up system were installed on the test aircraft, which was a production example in Brit Air colours.
With the outside temperature hovering around -15°C (5°F), the pre-flight walk-around inspection was conducted in the warmth of a hangar. The inspection itself was straightforward, and the longer fuselage and larger wing were obvious.
I used the seat alignment balls on the centre pillar to gain a comfortable seating position. With a few minor exceptions, the flightdeck is identical to that of the CRJ900 I had flown earlier.
The six 6 x 7in (15 x 18cm) cathode ray tube displays - leading edge when the Pro Line 4 avionics suite was first deployed - seem merely adequate in today's marketplace. Aircraft systems are primarily controlled by switches and push-button lights on the well-arranged overhead panel.
The flight guidance control panel on the glareshield provided ready access to autopilot and flight-director modes, and the forward instrument panel was arranged in the conventional manner, each pilot having a dedicated primary flight display and multifunction display.
Two flight management system control units are at the head of the centre pedestal. Unlike the CRJ700/900, which has a manual alternate gear-release lever aft of the pedestal, the CRJ1000's alternate gear system is electrically actuated and controlled by a switch next to the gear lever.
Flight's test pilot Mike Gerzanics infront of the CRJ1000
After completion of pre-start flows, both engines were started using bleed air from the tail-mounted Honeywell auxiliary power unit. The automatic starts are triggered by the full-authority digital engine control, the only pilot action being to move the respective throttle from "shut off" to "idle" at 20% N2.
Starter cut-out was at 50% N2, and the peak inter-state turbine temperature of 475°C for both engines was well below the limit of 815°C. Post-start flows were easily accomplished and the flaps were set to position 8 for our take-off. Once the aircraft was rolling, idle thrust was sufficient to move at a comfortable taxi speed. Rudder-pedal-actuated steering gave +/-7° of displacement and was used on the straight portions of the taxi, while the tiller, with +/-70° of displacement, was used for large turns.
During the taxi to Runway 06, I found the steer-by-wire nose wheel steering allowed me to precisely track taxiway centrelines. Mirabel is an uncontrolled field and, after visually clearing final, we lined up on Runway 06. I pushed the throttles to the TOGA detent, N1s settling at 85.9%N1.
On that cold day the aircraft raced down the runway, Litavniks calling "rotate" at an indicated airspeed of 133kt (245km/h). Yoke forces were light as I pulled the aircraft into a 12° nose-high take-off attitude. Had I been overly aggressive during the rotation, an enhanced pitch director mode of the flight director would have commanded a lower rotation rate/pitch attitude in an effort to prevent a tail strike.
Bombardier lists a maximum take-off weight of 40,825kg (90,000lb) for the base line CRJ1000. With 7,785kg of fuel (8,820kg maximum) our take-off weight of 31,300kg was not representative of an actual airline operation. The aircraft cleared the runway after a 1,000m (3,280ft) ground run, about one half of the certificated take-off distance, which includes clearing a 35ft obstacle at maximum take-off weight.
After cleaning up the aircraft, and when passing 1,000ft above the ground, I retarded the throttles to the "climb" detent.
A turn was made to the north, air traffic control clearing Canadair 112 into one of Bombardier's local test areas.
I hand-flew the aircraft until we passed 10,000ft, where a climb speed of 290kt was captured and held by the autopilot. With the throttles in "climb" detent, the full-authority digital engine controls kept the optimum N1 setting. When the aircraft passed 32,000ft, Mach 0.77 was captured and held until we reached our cruise altitude of FL350. Time from brake release to level-off was only about 18min.
Once level, I established M0.78 cruise point, Bombardier's recommended normal cruise speed. I found the airspeed tape's trend arrow allowed me to expeditiously set and hold the desired speed. A total fuel flow of 1,480kg/h was needed to hold M0.78/262kt with a resultant true airspeed of 454kt.
Next, the power was increased and an M0.80 cruise speed was established. Total fuel flow increased to 1,740kg/h with a resultant true airspeed of 473kt.
To a working airline pilot, the prospect of being stuck behind slower traffic is never appealing. Bombardier's CRJs can definitely keep up with traffic - and even outpace aircraft such as the Boeing 737 Classic.
The ambient noise level was reasonably low, on a par with the flightdeck of a 737. For the flight we used David Clark headsets, which further reduced background noise. At altitude I found the flightdeck a pleasant environment to work in. Given the CRJ1000's 1,345nm range, with 100 passengers and IFR reserves, legs with three-plus hours of block time will not be out of the question.
While still at altitude, Litavniks put the flight-control page schematic up on one of the centre multifunction displays.
The rudder schematic showed actual rudder displacement against a lateral scale. Nothing unusual in that, but what was interesting was the two sets of lateral limits displayed. Large hash marks indicated the ultimate displacement limit, while smaller moving ones inside them showed the displacement allowed given the current flight conditions and aircraft configuration. At FL350 and cruise conditions, only about a quarter of maximum rudder displacement was available.
The CRJ1000 is the only CRJ to have a fly-by-wire rudder. While almost all transport aircraft have some sort of rudder travel limiter, what distinguishes the CRJ1000 is how the FBW scheme is implemented. In the CRJ1000, the pilot always has full rudder pedal travel, only the resultant rudder displacement is reduced.
Reducing rudder pedal travel is another method of limiting rudder displacement. Reduced rudder pedal travel has, however, been cited as a contributing factor in several accidents. The crash of an American Airlines Airbus A300 after take-off from New York Kennedy in 2001 is one salient example.
Bombardier's decision to develop a fly-by-wire rudder for the CRJ1000, instead of using the proven existing design, may have been driven more by a corporate strategy to gain fly-by-wire experience for the forthcoming CSeries than by any pressing technological issues unique to the CRJ1000.
During the descent to medium altitude, I accelerated the CRJ1000 to its maximum of M0.80 at 28,000ft. At MMO, small, sharp control inputs in all three axes elicited a well-damped response.
To slow the aircraft, I retarded the throttles and extended the speedbrakes to their full open position. There was a noticeable burble but no untold pitching motion as the aircraft slowed.
I stowed the speedbrakes and continued the descent to 18,000ft, where I would be able to evaluate the CRJ1000's handling characteristics. At an indicated 300kt, I accomplished a series of 45° angle-of-bank steep turns.
I did these with my feet on the floor, allowing the digital yaw damper - part of the rudder control scheme - to co-ordinate the turns. Roll in and out of the turns was crisp, with good harmony between the pitch and roll axes.
Slowing to 250kt, I again did 45° steep turns. At the higher speed, aircraft response was crisp and the turns well co-ordinated.
The flight-control schematic was put up on a multifunction display where, in a clean configuration and 220kt, a maximum available rudder deflection of 1/4th was indicated.
Next, I did a wings-level sideslip and found breakout forces for the rudder to be about 7kg. Full travel required about 20kg of force, with rudder deflection roughly proportional to pedal forces. Allowable rudder deflection increases as speed decreases and the flaps are extended. Speeds below 150kt and flaps to position 30/45 allow full rudder deflection of 33°. Loss of an engine roughly doubles the available rudder deflection at any given speed and flap setting.
Two stalls were accomplished next. The first was in a clean configuration and with a fuel load of 6,470kg. Slowing at 1kt/s in level flight, trim in the pitch axis was halted passing 166kt. Ignoring the slow speed warning on the primary flight display's airspeed tape, the stickshaker actuated at 142kt.
The wing remained steady and level as the airspeed continued slowing. At 131kt, the stick pusher fired, prompting me to recover the aircraft by lowering the nose to break the stall and advancing the throttles.
Adding power caused a slight nose-down pitching motion, further aiding the recovery. The last stall was in the landing configuration, flaps set to "45" and gear extended. The shaker activated, slowing through 128kt with the pusher firing at 106kt.
As with the clean stall, control in all three axes was good at these very slow speeds. The wings remained level and displayed no tendency to oscillate or drop.
After recovering to normal flight conditions, the gear was retracted and flaps retracted to position "8". At 150kt, a half-amplitude rudder doublet was used to excite the CRJ's Dutch roll mode.
With the yaw damper disengaged, aircraft response was lightly damped with a roll to yaw ratio of about one to one. Engaging the yaw damper served to quickly damp out the motion. Aircraft motion from another rudder doublet, with the yaw damper engaged, was quickly damped out without pilot intervention.
Return to Mirabel was via radar vectors to an instrument landing system approach to Runway 06. Litavniks installed the approach procedure in the flight management system, which auto-tuned the navigation radio to the ILS localiser frequency - a handy feature.
Nearing the final approach course, I disengaged the autopilot and hand-flew the aircraft. Extending the landing gear and the initial flap extension to position 8 caused minor changes in pitch force, easily countered with pitch trim.
Flight-director guidance allowed me to roll out on course, as I continued to slow the aircraft. The flaps were extended to position 45 and aircraft slowed to a target speed of 126kt as we approached glideslope intercept. A good amount of pitch trim was needed to null out the change in pitch forces due to flap extension. Again, the flight director provided excellent cues, allowing me to easily capture and track the glideslope.
At about 30ft above ground level I started a slight pre-flare, and retarded the throttles to idle passing about 15ft above ground level. Main-wheel touchdown occurred in a 5° nose-high attitude. After lowering the nose wheel to the runway, Litavniks raised the flaps to position 20 and reset the pitch trim in preparation for the go portion of our touch and go.
With flaps and trim set, I advanced the throttles to the TOGA detent. Litavniks called "rotate" at 126kt, our previous approach target speed.
With the landing gear retracted and safely on a crosswind leg for a visual circuit, Litavniks rapidly pulled the right engine to "idle", to simulate an engine failure.
The CRJ1000's rudder authority is increased in the event of engine failure, and referencing the flight control page on the multifunction display confirmed the FBW system was working as advertised.
Less than 10kg of pedal force was needed to maintain co-ordinated flight at pattern altitude. Rudder trim was more than sufficient to zero out pedal forces, but I elected to fly the approach and landing with rudder trim centred. The simulated single-engine approach and full-stop landing was flown with flaps set to 20.
I found the FBW rudder allowed me to maintain co-ordinated flight on final approach, as I used the left engine to maintain a target speed of 138kt.
As with the first approach, I started a flare at about 30ft above ground level. I centred the rudders as I reduced power on the good engine passing 20ft above ground level.
Just before touchdown, I slightly reduced yoke back-pressure and the CRJ1000 settled down nicely on the runway. With the nosewheel on the runway centreline, I used reverse thrust on both engines and moderate wheel braking to sharply slow the aircraft to a stop.
Bombardier lists a landing field length of 1,754m, a believable number given the short ground roll I observed for the 29,000kg test aircraft.
After my 1h 37min block-to-block flight in the CRJ1000, I was able to jump in the left seat of a CRJ700 Next Gen for a short familiarisation hop with Litavniks.
During the flight we sampled a number of the events we had undergone in the CRJ1000. Aside from gaining a better feel for the CRJ family of aircraft, I was also able to subjectively compare the FBW rudder to the conventional one. In all sampled flight regimes, aircraft responses in the lateral directional axes (roll and yaw) were similar.
Had I not known of the two different control schemes, my brief flights in the CRJ700 and CRJ1000 would not have alerted me to the fact.
MORE THAN A DC-9
More than nine years ago, I had the opportunity to fly the then new CRJ900 from Bombardier's Wichita, Kansas flight-test site.
It was my first exposure to the cockpit of a CRJ, other than the several times I had ridden on cockpit jump seats. I stated then that the CRJ900 blurred the distinction between regional and mainline jet and, in fact, could be considered a mainline jet.
On reflection, I find delineation had more to do with who was flying the jet than what the jet was capable of doing. Several regional jets in current production have seating capacities dictated/limited by labour agreements, not actual aircraft capabilities.
The original Douglas DC-9-10 airliner sat 80 in dual-class and 90 in single-class configuration. The CRJ900/1000, as well as the Embraer 190/195, all have seating capacities equal to or greater than the original DC-9-10. While the CRJ1000 may well be called a regional jet, it is a capable aircraft that can do more than a DC-9-10.

domain: design


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The Finder is an American drama series created by Hart Hanson for Fox as spin-off of Bones. It was cancelled during its first season.
Walter Sherman (Geoff Stults) is a detective with a difference - he can find absolutely anything he puts his mind to - but whose brain damage (sustained during his time as a soldier) makes him paranoid and prone to asking very blunt questions. He is joined by his colleague and lawyer, Leo Knox (Michael Clark Duncan); reformed second-generation criminal Willa Monday (Maddie Hasson) and deputy US Marshal Isabel Zambada (Mercedes Mahsohn).
- The series was spun out of Bones, in the episode 'The Finder' from its sixth season. It featured guest appearances from Bones characters, most notably Dr Lance Sweets (John Francis Daly), a recurring, and later regular, character in Bones who appeared in 'Bullets', the second episode of The Finder.

domain: entertainment


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Pizza & Food Delivery from Domino's at 9448 Slauson Ave in Pico Rivera
Pizza, chicken, pasta, sandwiches, and more! Can mealtime get any better?! Domino's on Slauson Ave is the Pico Rivera pizza restaurant that delivers it all. Order your food online, by calling 562-222-2207, or through the Domino's app for delivery or carryout!
Pico Rivera Pizza Delivery Starts with Domino's on 9448 Slauson Ave
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Curb Every Craving: Pasta, Sandwich, or Chicken Wing Delivery on Slauson Ave
Foodies know: Domino's on Slauson Ave delivers more than some of the best pizza in Pico Rivera. You can also get chicken wings, oven-baked sandwiches, pasta, and salads! Domino's started adding non-pizza items to the menu in 2008 and since then, has gradually become one of the biggest sandwich delivery places in Pico Rivera. Chow down on Domino's oven-baked Philly Cheese Steak, Chicken Bacon Ranch, or Chicken Habanero sandwich and you'll see what all the fuss is about! In 2009, they added Chocolate Lava Crunch Cake and baked pasta, along with an entirely new pizza recipe for crust, cheese, and sauce. Chicken wings came in 2011, plus more sugary goodness like Domino's indulgent Marbled Cookie Brownie™. Trust Domino's at 9448 Slauson Ave for food delivery in Pico Rivera that's beyond good. Your nearby Domino's on Slauson Ave is ready to make you happy with a colorful salad, handcrafted pasta, pizza, or sandwich!
Domino's Pizza Delivery, Takeout, & More
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Domino's Pizza Deals on Slauson Ave?
When you catch that first look at your Domino's pizza box, you want to be 100% sure that you're going to bite into a made-to-order pizza that's all yours, one with a lightly toasted crust, layers of melted cheese, and mounds of yummy vegetables and savory meats. You also want to know that you get more than amazing food with Domino's. Become a Domino's Piece of the Pie Rewards® member and begin earning points towards a totally free pizza when you order. You'll also receive access to exclusive pizza promos and offers! But you don't have to join a program to win big. Every pizza lover deserves to save on the thing they love most. That's why on top of crave-worthy pizza, Domino's has awesome Pico Rivera pizza coupons. Call your Pico Rivera Domino's pizza restaurant at 562-222-2207 to learn more about current pizza deals and Pico Rivera coupons. Pick from a mix and match deal, combo deal, carryout deal, and more! Your local store's pizza offers are updated regularly. Slauson Ave Domino's is Pico Rivera's pizza place! Get the food you want, how and when you want it. So, what are you waiting for? Order drool-inducing chicken, pizza, pasta, or sandwiches today! Your Slauson Ave Domino's offers both delivery and carryout in Pico Rivera!

domain: food