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page 1 of 7
Published: 07 Jan 2008
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In the first part of the series, Scott examines the LINQ dynamic query library. You will learn how to download it and also to build a simple application using the library. Scott provides a brief summary of the documentation which ships with the library along with the complete source code in both VB and C# which enables you to test the application he has created.
by Scott Guthrie
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Republished with Permission - Original Article

LINQ (language integrated query) is one of the new features provided with VS 2008 and .NET 3.5.  LINQ makes the concept of querying data a first class programming concept in .NET, and enables you to efficiently express queries in your programming language of choice.

One of the benefits of LINQ is that it enables you to write type-safe queries in VB and C#.  This means you get compile-time checking of your LINQ queries, and full intellisense and refactoring support over your code:

Figure 1

While writing type-safe queries is great for most scenarios, there are cases where you want the flexibility to dynamically construct queries on the fly.  For example: you might want to provide business intelligence UI within your application that allows an end-user business analyst to use drop-downs to build and express their own custom queries/views on top of data.

Traditionally these types of dynamic query scenarios are often handled by concatenating strings together to construct dynamic SQL queries.  Recently a few people have sent me mail asking how to handle these types of scenarios using LINQ.  The below post describes how you can use a Dynamic Query Library provided by the LINQ team to dynamically construct LINQ queries.

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  • Duration: 00:13
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Oilers Compete at Hilltopper Relays

Oilers Compete at Hilltopper Relays

The University of Findlay men's and women's track and field teams completed the first day of the 2018 Hilltopper Relays in Bowling Green, Kentucky on April 6.

Senior Trey Everett earned second place in the men's long jump, earning a new Great Midwest Athletic Conference (G-MAC) record with a distance of 7.26m (23-10.00).

In the men's shot put junior Dequan Lovell threw for 17.14m (56-03.00) to earn second place and a new conference record.

In the men's 4x400 meter relay, the Findlay men ran a 3:20.72 to earn the third best time in G-MAC history. Senior George Effah, sophomore Kurt Grieger, sophomore Gavin Stepansky, and Everett earned second place as a team.

The Oilers earned two of the top five spots in the men's triple jump. Sophomore Martin Etsey placed second by jumping for 14.85m (48-08.75) to earn the fifth best jump in league history. Junior Khalil Capers jumped for 13.45m (44-01.50) to take fifth place.

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Senior Milani Glass took first place in the women's 100 meter hurdles with a time of 13.87, the seventh best in G-MAC history.

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The Oilers had a great showing in the women's shot put. Coming in first place and earning a new league record was senior Alex DeVinentis, throwing for 14.78m (48-06.00). Junior Hannah Hahler came in second with a distance of 14.24m (46-08.75), and junior Holly Averesh came in sixth, throwing for 13.29m (43-07.25).

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The women's 4x100 meter relay team earned fifth place. Glass, Hemmings, sophomore Aubreah Manns, and Shipman collectively ran a 49.38.


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Danielle Allen, chief operating officer of ATX Seed Ventures, is bringing a dose of Wall Street to Austin.  By Elizabeth Ucles, Photo by MacKay Shields With…

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What Lizard Is That?

by Steve Wilson and Gerry Swan

Page Extent:184 pages
Book Size:245 x 165 x 10 mm (Height x Width x Depth)

Quick Overview

Availability: In stock

Australia has a unique and diverse lizard fauna with nearly 650 named species, and this list grows each year as more are discovered. What Lizard is That? offers a glimpse into the lifestyles and variety of these amazing Australian animals. This book covers all the main groups of Australian lizards and includes general pointers on appearance, behaviour and ecology. Illustrated with hundreds of striking photographs, it is an invaluable reference and guide for the enthusiastic amateur or keen naturalist. Reptile experts and authors Steve Wilson and Gerry Swan have written many books on Australian reptiles including What Snake is That? and A Complete Guide to Reptiles of Australia.

About the Authors

Gerry Swan

Gerry kept geckos while at school and after moving to Australia from New Zealand in the 1960s a chance encounter with a blue tongue lizard rekindled his interest in reptiles. An Associate of the Australian Museum and past editor of the journal Herpetofauna, Gerry has written and co-authored more than 9 books about reptiles; including What Snake is That, What Lizard is That, and Complete Guide to Reptiles of Australia. He also works as a reptile consultant and has a particular interest in the reptiles of the arid and semi-arid regions of New South Wales.

Steve Wilson

Steve lifelong love affair with reptiles has taken him to some of Australia most remote places. For the past 30 years he has been working to compile a comprehensive photographic documentation of Australia reptiles. He has authored/co-authored more than 5 books, including A Field Guide to Reptiles, What Snake is That, and What Lizard is That and has written many magazine articles on reptiles. For the past 20 years Steve has worked at the Queensland Museum, educating the public, identifying their specimens and (hopefully) instilling a desire to conserve our unique biological heritage.


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Mossgreen holds its most valuable art auction

Author: Richard Brewster | Posted: 29th May, 2015

Mossgreen will hold its highest ever value auction when works in its Fine Australian & International Art sale go under the hammer from 6.30pm Tuesday June 2 at 926-930 High Street, Armadale.

With a mid-estimate of more than $4 million, the auction features works from several important private collections including one of Australia’s greatest entrepreneurs Ian Gowrie-Smith who, as a passionate art collector, has been particularly fascinated by Brett Whiteley.

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Dog’s Palace, Venice by Arthur Streeton, painted during the artist’s honeymoon with wife Nora, is another great work to feature in the sale.

From a private collection it has never been seen on the auction market.

Jeffrey Smart’s Conversation Piece 1997, belonging to a private Melbourne collector, also is bound to generate interest. One of the artist’s finest works, it has an outstanding exhibition history.

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Also included is the collection of the late Peter Elliott - one of national importance and featuring rare Chinese and Asian ceramics and works of art, an exceptional group of Oceanic and tribal arts and European antiques.

To the extent permitted by law, neither AAR nor the registered owner of this website is responsible for any content of any advertisements published on this website. You should contact directly the advertiser to confirm the accuracy of any details contained in any advertisement.


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Last year was my first in a behind the scenes role at the Australian Women Writer’s Challenge and I took it on along with a lot of other changes in my world so I never quite got as organised as I planned. I also didn’t have a yearly wrap-up post to do. I think it’s a little lucky for me that the Crime wrap-ups are only every second month, it means I can focus on the year that was in this one, and then look more just at 2019 next month.

We are getting close to the end of school holidays here and I have been neck deep in spreadsheets trying to allocate book club books for the last week so this is going to be a welcome change.

Let’s start with some basic stats:
335 Reviews posted
144 Books reviewed
101 Authors

I am pretty impressed with 335 reviews, that’s almost one a day for a whole year, what a fabulous plug for Australian authors. Looking at those numbers I can see we have a lot of multiple reviews so let’s take a look at who featured the most prominently.

  • Jane Harper was the author most reviewed with 26 reviews, of 3 different books.
  • Liane Moriarty was reviewed 19 times across 6 books.
  • Dervla McTiernan received 13 reviews of her highly regarded debut The Ruin, which *sob* I haven’t managed to get to yet but know many are excited about The Scholar which is due for release next month.
  • Kerry Greenwood had the most books reviewed with 11 reviews of 9 different titles.
  • Emily O’Grady had 10 reviews of The Yellow House.
  • Fleur McDonald was reviewed 9 times over 4 titles.
  • Sulari Gentill was also reviewed 9 times, over 3 titles.
  • Jenny Ackland was another author reviewed 9 times, all for Little Gods.

Books that featured most prominently can probably be gathered from the list above but let’s take a proper look at those stats.

  1. The Ruin – Dervla McTiernan – 13
  2. The Yellow House – Emily O’Grady – 10
  3. Force of Nature – Jane Harper – 10
  4. Nine Perfect Strangers – Liane Moriarty – 10
  5. Little Gods – Jenny Ackland – 9
  6. The Dry – Jane Harper – 8
  7. The Lost Man – Jane Harper – 8
  8. Beneath The Mother Tree – D.M. Cameron – 7
  9. The Clockmaker’s Daughter – Kate Morton – 7
  10. The Portrait of Molly Dean – Katherine Kovacic – 7

Liane Moriarty, Nine perfect strangers

Without our amazing reviewers we wouldn’t have a challenge so let’s look at our most prolific reviewers for a minute:

  1. Brenda – 48 (one was a double up entry)
  2. Amanda @ Mrs B’s Book Reviews – 34
  3. Claire Holderness – 25
  4. Theresa Smith Writes – 24
  5. Cloggie Downunder – 20
  6. Carolyn Scott – 19
  7. Jennifer Cameron-smith – 16
  8. Cass Moriarty – 13
  9. Ashleigh Meikle 12 (one was a double up entry)

And I didn’t even make the list with a small 6 reviews. But I do have a couple of Crime novels I read that didn’t make it to review stage so that might have made a difference. Let’s extend a huge thanks to our top reviewers for their support of Australian Women Writer’s. A few of our top 9 are also editors of the AWW Challenge with genres of their own to focus on so well done to them.

Emily O'Grady, The yellow house

I look forward to seeing what 2019 has in store for us. I am already anticipating some great Crime releases.

For now I’ll sign off and see you next month.

We would love to hear what you read and loved in 2018….

About Me:

I am a SAHM of 4 who loves words; written, spoken, sung… if it has words I’m there.
I have been reviewing at Beauty and Lace for coming up to 8 years. I started as a lover of horror, fantasy and crime but my time reviewing has broadened my horizons enough that I read pretty much anything, when my gorgeous rugrats allow me the opportunity.
You can find me on Facebook, Twitter and Instagram.


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Home / Gaming / Parsec puts life into cloud gaming with Party Finder – VentureBeat

Parsec puts life into cloud gaming with Party Finder – VentureBeat

Parsec is one of a handful of companies trying to make real cloud gaming happen. It has a low-latency, 60 frames per second interactive game streaming service that allows PC gamers to play their games remotely. And earlier this month, it launched Party Finder, which allows customers to find other people to play games with via a click of a button.

Cloud gaming suffered a black eye when OnLive crashed in 2012, and shut down in 2015. But each new entrant says they have learned from OnLive’s problems, and Parsec is one of the startups that is offering a variation on the theme, as you can download its software and host cloud games on your own computer.

New York-based Parsec has created a platform that is optimized to take cloud-related delays out of the system. So when you play a game on Parsec, it runs fast. If you connect to Parsec’s servers in the data center, then you pay by the hour for it. That may sound expensive, but Benjy Boxer, CEO of Parsec, said in an interview that it’s cheaper for casual hardcore gamers, who no longer have to buy a $2,000 gamer PC that will be obsolete in a couple of years.

Above: Benjy Boxer is CEO of Parsec.

Image Credit: Parsec

But if you download the software to your own PC and turn your PC into a host, you don’t have to pay anything at all. Your PC can run the game, but you can display it on any device that connects to your PC, Boxer said. The host is the screen being captured and the client is the one that the video inputs are delivered to.

“We had to do a lot of work to make sure any gaming PC in the wild could be a host and any gaming PC could be a client,” Boxer said.

And now Parsec’s Party Finder feature gives gamers the ability to match up with other members of the Parsec community to play games like Wizard of Legend, Overcooked, Cuphead, and Sausage Sports Club online. Your friend could play one of those games on a device with a screen that has the Parsec client installed. You can also connect with random parties for multiplayer co-op. The co-op streaming technology effectively turns local-only games, like Cuphead (which is a couch multiplayer game), into an online multiplayer game.

Parsec launched its cloud gaming service in 2016, with a the twist that allowed PC gaming machines to become cloud gaming hosts. Any gaming PC can be a host and every gamer can find a friend or someone new to play games with on Parsec. Parsec has moved slowly to ensure that it can deliver the best low-latency service to gamers.

Party Finder is still in a beta test. With Party Finder, each party has a chat room, lets a player connect to the person hosting the party, and gives the permission to allow the player to play offline multiplayer games together online while the party is live. It also limits what a client can do to a host during the gameplay session.

Above: Parsec’s Party Finder lets you make new friends.

Image Credit: Parsec

It’s cheaper because only the host needs a copy of the game. Players can also join party communities dedicated to a specific game or online community on another site. The company teamed up with the developers to run Wizard of Legend, Sausage Sports Club, and Super Clash Bros. party communities.

Parties makes it easy for a game developer to introduce a matchmaking system to their community, enable online multiplayer without writing a single line of code, and make it easier to support co-op gaming without having to worry about netcode. Creating a party can either be public or private. You just share a link with friends.

The party can be associated with a specific community or open to the general public. You can find public parties on the main page of Party Finder. Parsec has added location filtering based on regions, allowing players to optimize for low-ping connections to reduce lag. It took about a year of engineering work to build Parsec’s technology, which now includes low latency video streaming networking protocol and NAT traversal techniques that have a 97 percent success rate on peer-to-peer connections.

Above: Parsec lets you find friends for co-op games.

Image Credit: Parsec

Since then, more than one hundred thousand links have been generated by users to play games together. Recently, more than 10,000 hours of game streaming happened through Parsec over a weekend.

Parsec raised $2.25 million in a seed round nine months ago from investors Lerer Hippeau Ventures, Nextview Ventures and Notation Capital. It has nine employees, and it leverages partners such as Amazon Web Services. HP is preinstalling Parsec on all of its HP Omen gaming computers.

Rivals include Sony’s PlayStation Now, Blade’s Shadow, LiquidSky, LogMeIn, and VNC. Microsoft has said it will enter cloud gaming in the future. Parsec wants to become more competitive by adding more games and services to go with them.

“Everyone has their own take on cloud gaming,” Boxer said. “There’s a lot of challenges that exist in running your own data center or cloud gaming systems. Bandwidth is expensive. The hardware is expensive. There’s no virtualization possible. Hosting in the cloud is expensive and you have to count on people not using it to be profitable. With Parsec, because we allow people to host on their own computers, we aren’t worried about the hardware. We are worried about making the streaming really good and creating unique experiences around it.”

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This Singapore bank is encouraging millennials to save more through gaming – Mashable SE Asia

Singapore’s United Overseas Bank (UOB) is certainly revolutionizing the banking industry because it is set …

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He moved back to Philadelphia and got a graduate degree in Environmental Science from Drexel University. It's not about whether you can force your body into advanced postures, but about the conversation that occurs between your mind and your body, and about loving yourself for who you are right now. From this awareness comes control, and from control comes grace and beauty. Even postures approximated by beginning students can carry the germ of poise and elegance.

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We have not produced or scanned those images ourself nor do we claim the rights to those images. In the yoga classes, the emphasis is on progress not perfection. Sometime around , a spiritual transformation of sorts began for him. I have sought spiritual connection through a myriad of external stimuli. Sex stars video 4 Celebrity nude fakes 4 Celebrity thumbs 1.


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Used Car

Some Helpful Tips In Selling Your Used Vehicle

Selling your used vehicle isn’t as simple as locating a buyer and signing an agreement. There are many steps to follow along with to guarantee the selling process runs easily as well as your used vehicle adopts both your hands of the appropriate owner. For the part, it’s also wise to make certain that you can to market your automobile in a good cost. In the following paragraphs we share some tips about how to sell your used vehicle.

Determine the marketplace cost

The very first factor you need to do when you’re going to sell your vehicle would be to determine its market cost. There are lots of ways to get this done, however the fastest the first is to check on online adverts and find out in case your vehicle model has elevated levels of demand or otherwise and also at what cost. It may also assistance to visit vehicle dealer websites and find out just how much they cost their second hands cars.

You may also check newspaper classifieds and find out just how much vehicle sellers are requesting their used cars for sale. But do note to determine the adverts featuring vehicles that are the same one you are going to sell. Read how detailed they’re to describe their car’s condition, age and mileage. Fundamental essentials factors to help you gauge your car’s selling cost.

Know your potential buyer

Your potential buyer will likely be in line with the kind of used vehicle you have. Whether it’s a sports vehicle or convertible, odds are your potential customers are single men. But when it is a sedan or van, then suburban families will probably be your likely customers. After you have determined this, you have a concept where one can put your advert and the way to write it.

This will also help you identify the optimum time to place your used vehicle on the market. For convertibles, it might be better to sell these throughout the summer time once the weather conditions are warm while family sedans could be offered all-all year round since you can use it any season.

Provide your used vehicle a makeover

Purchasing your used vehicle could be a significant investment for your potential buyer, which means you owe it for them to achieve the vehicle in great shape. Before selling your vehicle get it completely cleaned inside and outside. If there are plenty of undesirable personal products inside, make certain you discard them so your vehicle can provide a great first impression and also the new owner will not accidentally bring your possessions.

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Produce a appealing advertisement

Since your vehicle is prepared because of its new owner, you’re ready to advertise! Create a billboard which you’ll publish online or perhaps in newspapers. Include all of the necessary details which can make people wish to phone you to investigate. Be sure to place your phone number or email to enable them to achieve you.

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Auto Transport Group

Dependable Corporate Relocation Faq's

Most Asked Questions About shippers to College

How many vehicles can we ship?

If you have 1 - 100 we can assist you. We can ship 8 to 10 vehicles per truck and we have as many trucks as you need.

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As long as you schedule your appointment in advance we can usually arrive within 24 hour of the agreed to time.

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Yes, if its mailed to us in advance.

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Yes, as long as arrangements are made in advance. We are experienced corporate relocation specialist and we will get the job done right!


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quantum mechanics

God Loses Dice

Salt Lake City, August 22, 2033 -- According to messages posted simultaneously on all Lost and Found bulletin boards in the world, God, considered by many to be an important force in the creation and ongoing maintenance of the universe, has lost his dice and urgently needs them back.

God's diceGod's dice

Cloned Schrödinger's Cats to Flatten Future Tsunamis

Upton, New York, March 29, 2009 -- A team of physicists at Brookhaven Lab in Upton, New York are currently developing a revolutionary system that will protect coastal areas of the world against future tsunamis using the unique quantum mechanical characteristics of physicist Erwin Schrödinger's cat. The system should be operational within three years or as soon as a sufficient number of Schrödinger's cats can be cloned, whichever comes first.

STRAI tsunami cat (interior view)STRAI tsunami cat (interior view)

Kansas Education Board Touts Flat Earth Curriculum

May 11, 2006 -- The Kansas Education Board, which gained new momentum in its efforts to "de-emphasize" rational scientific inquiry after a decision last November requiring Kansas teachers to define the widely accepted theory of evolution as "godless Communist propaganda" in favor of creationism, also known as intelligent design, is now promoting a full-fledged faith-based curriculum touted by the board as "the One True Way".

Earth (side view)Earth (side view)

Quantum Particles Have Tiny Faces

Pork Barrel, UT, August 30, 2019 -- Researchers at the prestigious Umberthumb Institute's Very Tiny Particle Refractor announced yesterday a remarkable new insight into the characteristics of the numerous and disparate subatomic particles that form the building blocks of atoms. Data from the recently enhanced reflector have allowed scientists to "view" the particles for the first time, with astounding results.

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Botanical Synonym results for "Greenovia":

"Greenovia aurea" - Aeonium aureum

"Greenovia diplocycla" - Aeonium aureum

"Greenovia rupifraga" - Aeonium aureum

All the "Greenovia" from our database

including currently available Greenovia, and Greenovia for which we do not have a current source.

Greenovia aurea La Orotava Tenerife

If you did not find the "Greenovia" you are looking for, here are some ideas:

Perhaps you found "Greenovia" in a book, another catalogue or among personal communications
B and T World Seeds may be using a different spelling ( there are typos in our database - please tell Matthew if you find any ).

Try a more simple search. If you are looking for Capsicum frutescens Polo Pipiki try just Capsicum, for a broad search, or Pipiki for a narrow search.
Search and Shop also allows for searches with just bits of the name: cap iki Useful if you only have part of the name. Spaces are used as wildcards: Greenovia.

Horticultural names and Herbal Medicinal names are often different to Botanical names, we try to include Horticultural names as synonyms (as well as recognised Botanical synonyms).
Herbal Medicinal names frequently refer to the part of the plant used and a version of the Latin name, for example "Belladonnae Radix", are the roots of Atropa belladonna ( the botanical name is sometimes written Atropa bella-donna )

Check google, to see whether "Greenovia" is the usual Botanical plant name
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Mini-comp Results 2017

Congratulations to Igor Veljacic for taking home the Ernie Melville most consistent brewer award for his performance in the mini-comps throughout the year.

  • Trophy winner: Igor Veljacic
  • First runner up: Nick Holt
  • Second runners up: Troy Parker and Dion Clark
  • Third runner up: Tony VanDerLinder

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Monday, November 27, 2006

I can't wait to be a mom, BUT I LOVE BEING AN AUNT!

Anyone that knows me knows that one of my greatest joys in life is being an aunt! And who wouldn't love it when you look at these beautiful faces! Megan, Phoebe, Ela & Cami! (left to right) They are all such sweet beautiful girls, and they are all anxiously waiting to see if another girl is added to the mix, or if they will have to break in the first boy! We'll know soon!

We go to the doctor today and this begins our weekly appointments. We have about 4 1/2 weeks left until we all get to meet the newest addition to the family! Toby or Addison, we love you so much and can't wait to meet you face to face.

Thursday, November 09, 2006

Who has the biggest changes coming?

Joe and I talk about how our life is about to be turned upside down, but the real question is...Who has the biggest change coming?
I will not be returning to work, I will have an infant to care for, and will for sure lack many hours of sleep.
Joe will also be lacking sleep, but will have to go to work every day and he will be helping me care for this little helpless being.
And Max, our dog...The center of our family, our first child, the love of Joe's life--behind me of course. Max gets treats, table scraps, and tons of affection.

The verdict is in!...Max has the biggest change on the horizon. He has no idea what's coming and how he is about to get bumped down a peg or two. Poor little guy.

you know this kills me!

I know that you all want to see how BIG I've gotten to rejoice with us, but posting a picture of myself really kills me! We did have a great weekend with Betsy Eric and Ela! We always love the time we get to spend with them.

And me big news of the day is that we have 50 days to go!!!!!!!!!!!!!!!!!!!!!! I can't believe it. We are finishing the nursery next week, so stay tuned for more pictures.

Thanks for being patient with my inability to keep this blog updated!

What a great dad Joe is going to be!!!!!!!

Here are some pictures of Joe and Ela, his sister's little girl! Isn't she beautiful and doesn't he look ready to be a dad!


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The Comeback Kid: ‘Fast’ Eddie Clarke seeks redemption

Legendary guitarist revisits the glory days of Fastway
By Peter Lindblad

The Comeback Kid: Eddie Clark

Just as “Fast” Eddie Clarke was getting back on his feet in 1982 and putting the ugliness of his shocking departure from Motorhead behind him, fate pulled the rug out from under the guitar great.  For months, Clarke and Pete Way, who had then recently walked away from UFO, had been plotting their next move and in doing so, they recruited a talented crew of rock and roll mercenaries for a potential supergroup that aimed to shake up the balance of power in heavy metal.

Former Humble Pie drummer Jerry Shirley was already in the fold when they discovered a singer from Ireland with the screeching, switchblade-wielding voice of an angry god in Dave King, who would later go on to front the Emerald Isle-meets-America punks Flogging Molly. The rehearsals had been scintillating. Every piece of the puzzle was in place. Then, just as quickly as it had all come together, something happened that drove the project dubbed Fastway off the rails.

“I’ll tell you what, man. It was fantastic,” recalls Clarke, talking about those early Fastway sessions. “Of course, we put so much into it, and it was fantastic, and then Pete fucking disappeared! We go to fucking rehearsals, and I’d say, ‘Where’s Pete?’ ‘Well, we don’t know.’ So, I went around the office and I said, ‘Where’s Pete?’ And they said, ‘We heard he’s going with Ozzy Osbourne.’ I said, ‘What?’ Apparently, Sharon [Osbourne] had offered him a job with Ozzy, ‘cause they were doing three [shows at Wembley Stadium] here in London. And they didn’t have a bass player, or their bass player couldn’t make it or something. So they asked Pete to do it, and Pete agreed. I didn’t see him again for seven years.”

As is often the case in such matters, the original Fastway was undone by record company entanglements, as Clarke would find out. Years later, the two would reconcile and rehash what had happened. “I was coming out of my flat in London and who was walking along the street with his girlfriend? Pete,” recounts Clarke. “I said, ‘Pete. It’s you.’ And we had a cup of tea and a chat and all that. And I mean he’s such a lovely bloke.”

As Clarke tells it, he invited Way’s label, Chrysalis, to the studio to review the demos they’d made. Only Chrysalis never showed. “I mean, it had been three days, and I said, ‘Well, what’s the problem here?’ recounted Clarke. “I said, ‘Well, okay. Come to a showcase at the rehearsal room.’ They didn’t show up. But CBS did show up, and my business guy – because we’d gotten a manager by then, an accountant who was helping me out – he said, they’ve got Billy Squier’s management and Gary Moore, and he said, ‘Well, what do you want to do?’ I said, ‘Well, look. Let’s play it this way: The first one with a check on the table, we’ll take it.’”

Ready to make a deal, Clarke remembers, “I didn’t even care what the amount was. I said, ‘The first one who puts their money where their mouth is, they can have the band.’ I thought that was fair, you know. Well, CBS bikes over a check and within two hours, there’s a check on the table. It’s just a down payment, but of course, Chrysalis got to raving and said we’re not going to let Pete go.”

Try as he might to smooth things over, Clarke couldn’t get Chrysalis to cut Way loose. “I said, ‘How come you’re not going to let this go? I’ve given you every opportunity to sign the band,’” said Clarke. “They said, ‘No, no, no. We’re not going to let Pete go.’ I went up to their offices and said you’ve got to sort this out. But it really upset Pete.” And Clarke believes that is ultimately why he took the Ozzy offer, “ … and that was that – which was a tragedy.”

Although Fastway went on to record one of the most underrated debut albums in metal history, 1983’s hard-charging, bluesy haymaker Fastway, and produced six more LPs of varying quality, including 1984’s All Fired Up, 1986’s Waiting For The Roar and The World Waits For You, 1987’s Trick Or Treat soundtrack, 1988’s On Target and 1990’s Bad Bad Girls, the band’s star-crossed first chapter came to an ignominious conclusion as the ‘90s ushered in the era of grunge. As for Clarke, he often wonders what might have been had Way stayed on.

“I never really got over Pete leaving, ‘cause you know, it was our thing,” said Clarke. “And so Pete leaving was … I never really recovered to be honest. I never recovered.”

Redemption Songs

In April, Clarke and a revamped Fastway, including vocalist/bassist Toby Jepson, released Eat Dog Eat, a tasty, satisfying dish of meat-and-potatoes, no frills hard rock that’s a welcome return to form for a band that’s been away far too long. Harkening back to the street-tough blues rock, razor-sharp guitars and thumping rhythms of Fastway’s eponymous debut album, Eat Dog Eat emphasizes a back-to-basics approach that targets and hits the erogenous zones of anyone who fancies old-school, early ‘70s metal dressed up in frayed denim and leather.

For Clarke, recording Eat Dog Eat was a chance to right two wrongs – namely 1988’s On Target and 1990’s Bad, Bad Girls, the two records that sullied Fastway’s reputation and discouraged Clarke so thoroughly that he avoided stepping foot in a formal recording studio for two decades.

About recording Eat Dog Eat, Clarke said, “We went to a studio I used in the late ‘80s. There were a couple of dodgy Fastway records at the end there, On Target and Bad, Bad Girls, which actually didn’t have much to do with me, but they were done at this studio in Lincolnshire – it’s an old chapel. So I revisited that, and I’d forgotten how great it was to set up in the chapel live. And we just started jamming, and I’d just forgotten what a blast it was to be in the studio, to be backed by big monitors and all that. For me, it was the memory of how great recording can be and listening back to it and saying, ‘This is great, man’ and playing a solo and thinking, ‘Wow, wow. I’ve done it. I love it. That’ll do it.’ I enjoyed every minute of it, and I can only say, it was the best money I’ve ever spent in my life.”

Feeling vindicated by the lean, mean sonic quality and hard-hitting nature of Eat Dog Eat, Clarke had long been troubled by how he’d left things with Fastway all those years ago. “Well, in the ‘90s, or really the end of the ‘80s, I was messed up, you know,” said Clarke. “The last two, the On Target and Bad, Bad Girls albums, I wasn’t on ‘em really. I did a little bit of help with them, but that was it, because I was in a bit of a state. And the guy [Lea Hart, who replaced original Fastway vocalist Dave King] that took over by then – ‘cause I’d lost track of it before and I lost track of it again – he kind of took over and sort of just angled it the way he wanted it to go, with keyboards and all that. Of course, for the second album, Bad Bad Girls, I was actually in the hospital most of the time, in rehab ‘cause I was really ill. I got really ill. I was close to death, and I was really tanking it with the old booze. So I was in rehab for five weeks, and they let me out for one weekend to go up and have a listen to what was going on. But you know, I got back to the old hospital and the album was kind of done without me. And so, when I hit the ‘90s, I stopped drinking and I had to stop drinking because I was in such a mess, and that takes a little bit of a while to get over.”

In recovery, after doing a solo album in 1993 – which featured Lemmy singing on one of the tracks – that fizzled thanks to the rise of Brit-pop in the U.K., Clarke retreated from the public eye, buying a little house in the west of England where he “… just hung out there, just played a bit and just did a little bit of recording at home … and generally just wasted my time.” A call from Lemmy drew him out.

“What happened was, Lemmy called me in about 1999 and we were talking,” said Clarke. “And he invited me down to the 25th anniversary of Motorhead and he said, ‘Well look, why don’t you come down?’ And I said, ‘Okay, I will.’ He said, ‘Come to the sound check. We’ll work out what we’re going to do and all that.’ I was really chuffed that Lemmy phoned me, so I went down there and I did that, and it kind of started me back up a bit.”

Ready to get back in the saddle, Clarke set about restoring his legacy. The way he went about it speaks to the man’s preference for that which is simple and uncomplicated. “So the next few years – I've got a little studio built down here – I started to try to get new equipment in,” said Clarke. “And then about 2005, I’m starting to write a bit of material, I’m working on new stuff. Then the record company asked me if I’d put an anthology together, so I put an anthology together in 2006. And then 2007 came along, and there was the offer of doing some Fastway shows. I mean, I kind of got Lemmy to thank for that because he got me back into believing in myself.”

Still, Clarke wondered if anybody still cared about him or Fastway. Was anybody clamoring for their return? As it turned out, the answer was a resounding “yes.” “If you’re gone too long away, you tend to think that everybody’s forgotten about you and nobody gives a sh*t,” said Clarke. “But when I got down with Motorhead in Brixton, the crowd went absolutely ape-sh*t. They really did, and I was really chuffed. And I thought, ‘Well, hang on, maybe I should be doing some more here’ … and that made me realize that there were people out there who didn’t want me to drop dead just yet.”

Turning the Ignition

Back in 1982, however, Clarke’s career, though, was on life support when he split from Motorhead. Upon returning to the U.K. after the divorce, the realization of just how dire his situation was hit Clarke full force.
“It was, “Oh, f**k. What am I going to do now?’” said Clarke. “I was heartbroken to be honest. We had a bit of a set-to, but I never ever imagined that I wouldn’t be in Motorhead. I thought we were there for life. And it’s funny how circumstances … they rally against you. Suddenly, you’ve got all these things going on that dictate the way things are going, and you just couldn’t even imagine that it would go that way. It wasn’t even on the menu, me leaving the band. But, one row and then another and they didn’t want me in the band anymore, and when I said, ‘Look, let’s carry on.’ They told me to f**k off. You know, ‘We don’t want you anymore,’ and I came back to England on the next plane over. And I remember tottering down the streets with half a bottle of vodka in me pocket, thinking, ‘What am I going to do now?’”

Complicating matters was the fact that Clarke and the rest of Motorhead lived in the same house in England. So, he had to move out. With no place to live and none of his equipment, which was still with the band in America, Clarke felt a bit lost. He also had no money to speak of. “I’ve got no money, because we never got any money in those days,” said Clarke. “We never really got paid, you know. A couple hundred well, you know, $250 a week, but … well, you don’t really need a lot when you’re on the road and everything’s paid for. You don’t kick up a stink. So I was poor, and they were very difficult times. And of course, we were huge here. We were Motorhead. So, it was a bit weird really. We had #1 albums and songs out … no money of course, because managers don’t like giving you money (laughs). They keep you under the yolk, you know.”

There was someone who understood all too well what was happening to Clarke. It was Way, who was undergoing a separation from his band, UFO. Somebody decided to play matchmaker. “I got a call from somebody at the Motorhead office in London, somebody who obviously felt a bit sorry for me or whatever,” said Clarke. “And it came out of the blue, and I said, ‘What’s this? I didn’t expect to hear from you.’ They said, ‘We just thought we’d let you know that Pete Way has left UFO and would you like to get together with him?’ And I thought, ‘Hey, I’ve got nothing going on here.’ I said, ‘Yeah, cool.’”

Previously, the only contact Clarke and Way had ever had was in the pubs. “I mean, I knew Pete a little bit, but only from being drunk together in the Marquee [the venerable London concert venue],” said Clarke. “We’d never had much to say, but … ‘Hey, do you wanna have a drink?’ ‘Fantastic.’ (laughs) So, I didn’t really know Pete. I knew he was a nice guy, but that was all. But we got together, and we hit it off right away because we both liked to drink. I had a drinking problem. He had a drinking problem. We had our drinking problems together, and it was a lot of fun. I think we were both relieved that we found someone who was in the same position.”

With Clarke on guitar and Way on bass, the budding partnership began laying the foundation for what would become Fastway by finding a rehearsal space … and a new friend. “That’s when we met Topper,” said Clarke, referring to Topper Headon, drummer for punk heroes The Clash.

By way of explanation, Clarke related how he and Way went to find the guy who ran the place where Motorhead once jammed. “Motorhead used to rehearse at this lovely place, a big old house in Notting Hill. We said, ‘Why don’t we go there and see if we can strike a deal with the guy?’ So we went around there to see the guy and said, ‘Can you sign us up for a few rehearsals? I can’t pay you immediately, but I can when things pick up.’ He said, ‘Yeah, no problem.’ And who was there? Topper Headon from The Clash, the drummer! And we all got chatting and we had a laugh, and he said, ‘My drums are here. Why don’t we have a rehearsal?’ So, the next day, we all picked up and borrowed a couple of amps that were out the back there, plugged in and off we went. But we had a couple of weeks, and playing with Topper, it was brilliant. It really was fun. We’d all laugh and get pissed and then go back and make some noise.”
Though word was getting around that a new supergroup was taking shape, Headon did not sign up for Fastway. He had other obligations. “So, then, of course, Topper did have a few problems with The Clash, and he had a few problems anyway, one thing and another,” said Clarke. “So, he said, ‘Look guys, I’d love to do it, but I can’t really. I’m just not well enough really.’”

No matter, Way and Clarke weren’t through taking applications. “By this time, we were doing a few interviews in newspapers and people had gotten wind of it, that this could be the first heavy metal supergroup, with members from UFO and Motorhead,” remembered Clarke. “And that’s when we sort of decided to advertise; in these interviews, we’d advertise we were looking for drummers. So we used to get all these tapes every day. We’d have about 50 tapes coming in every day … well, maybe not 50, maybe 20 or 30 in like a carrier bag, you know. Every day these tapes would fly in and Pete and I would listen to them, and all that.”

Serendipity would strike again with news of a certain drummer’s unexpected availability. “Then, a friend of Pete’s said, ‘You know, Jerry Shirley’s in town’ – Jerry, from Humble Pie,” said Clarke, who still sings Shirley’s praises, saying he’s right up there with Led Zeppelin’s John Bonham and that “ … he used to hit [his drums] like canons.”

Continuing with the story, Clarke added, “And I said, ‘If we could get Jerry Shirley, wouldn’t that just be the biscuit.’ He said, ‘Well, I’ll get you the number.’ So we got his number and we made a phone call, and he was about 25 miles out west this way. And we heard he was painting and decorating. So we made the meet with him, and we went down to see him after work. And he comes in the pub all covered in paint, you know. He said, ‘Hi guys. Why don’t I buy you a drink?’ And we said, ‘Sure.’ (laughs) We sat down and started drinking. We got chatting and he said, ‘Well, guys, my drums are in hock at the moment.’ I said, ‘No problem, we’ll get them out. Do you fancy the idea?’ He says, ‘I love it.’ So we sorted his drums out.”
Astounded at their luck, Way and Clarke went back to sorting through the tapes to find a singer. Way found two diamonds in the rough.

“Pete comes round my door one morning. He’s got a beer in his hand. It is 11 o’clock in the morning and a beer in his hand, you know,” said Clarke. “He said, ‘I’ve got two singers who are fantastic, two Robert Plants.’ And I said, ‘Oh.’ So we go down and we put the tapes on, and one of ‘em did ‘Communication Breakdown’ and it was out of this world. But he was in Australia, this guy. So that’s how big this got. People were sending us tapes from all over the world, wanting to be in the band. And then he played Dave [King]. And I said, ‘Oh, I like this guy,’ ‘cause he didn’t sound so Robert Plant-y. And you could just tell. I said, ‘Man, this is the guy.’ And Pete said, ‘Yeah, he’s good, isn’t he?’ I said, ‘Yeah, let’s call him.’”
And call him they did, even going so far as to propose sending him a plane ticket to fetch him from his home in Ireland. “So we called him and said, ‘Look, can you come over,’” said Clarke. “So we sorted it out and said, ‘Look, Davey, we’ll get a plane ticket to you and you can come over.’ And he said, ‘Oh, I’ll pay for my own ticket,’ and all that. He was real independent. He was only about 20. And the rest is history. We picked him up from the airport, took him to the rehearsal room and said, ‘Well, here are a couple of the ideas we got.’ And he’s singing ‘em straight away. And it was like, ‘Oh, this is brilliant.’ I mean, Jerry, he was an old soldier, and he said, ‘Man, this is really going somewhere now.’ And it really was. It was like a light came … we saw the light.”

A New Way

Ah, but that light dimmed considerably with Way’s confounding exit. Still, Fastway soldiered on, tabbing Charlie McCracken, formerly of Taste, as Way’s permanent replacement on bass, although they used session player Mick Feat during the recording of Fastway.

On the strength of the snaky, biting single “Say What You Will,” Fastway won over critics and fans with its tough, no-nonsense attitude and ballsy rock ‘n roll songs that sounded like back-alley knife fights, such as the menacing “Heft!” and the thrilling, nitro-burning opener “Easy Livin’” that brackets Fastway with the seductive, Zeppelin-like closer “Far Far from Home,” a separate promotional single attached to the first vinyl issue of the LP. These days, Clarke is feeling a bit of déjà vu when it comes to “Say What You Will,” a song that coalesced in much the same way as Eat Dog Eat’s “Leave the Light On.”

A swaggering bit of raucous, riff-heavy hard rock that packs a punch and delves deeply into spiritual matters, “Leave the Light on” [for more on the songs from Eat Dog Eat, please read “’Fast’ Eddie Clarke talks Fastway’s new record, Eat Dog Eat”] was largely unfinished, but the record company wanted 11 tracks, not 10 for Eat Dog Eat. “Funny thing is, the first Fastway album, if we’d had 11 songs, the one we would have left off would have been … ‘Say What You Will.’ Yeah, can you believe that?” exclaimed Clarke.

Hard to believe, though true, the story of how “Say What You Will” almost didn’t make Fastway is not so unusual in rock history.  “Jerry and I, in those days, we didn’t like really like ‘Say What You Will,’” said Clarke. “We had nine tunes, and we had to write one more. And it was like, ‘Oh, bloody hell.’ We just didn’t have too many ideas in our heads, so we said, ‘Why don’t do this.’ Jerry had a bit of a riff and I got a hold of that, and I said, ‘We can’t use that. It’s moving around a bit.’ So we sort of transformed the riff, and then it was like, ‘Okay Dave, well look, I’ll tell you what I’m going to do. I’ll start playing here and you start singing.’ (laughs) And then Jerry and the bass player, you keep playing, and then we did it like that. I think it was the simplicity of it that made it such a killer track. But of course, because it had been written like that, we didn’t think much of it, because you know what musicians are like. You’ve got to have it all complicated and it’s got to be fancy and all that. So we didn’t think much of it. But, of course, to our amazement, it became the biggest track on the radio that year. And like I said, we would have left it off. Of course, we don’t know anything. We’re musicians. We really are daft, you know.”

Off and running again, Fastway embarked on a tour that would see McCracken come aboard. Not long after coming off the road, Fastway went right back in the studio to record All Fired Up. And though it was deemed a success, both critically and commercially, Clarke knew something was missing. “It’s got some good spirit on it, but it wasn’t really like the first one,” said Clarke. “It didn’t have the spirit of the first one. To me, albums are all about spirit, and that’s why [Eat Dog Eat] is so nice. It’s got that spirit, you know – that sort of thing where you can’t put your finger on what it is.”

The lack of proper rest may have had something to do with it. Clarke’s troubled personal life also, perhaps, contributed to the flagging energy of All Fired Up. “I think the expectation was very high, because the first album had done so well, which always puts you on the back foot,” said Clarke. “We had started it in March or so. My mother had died that Christmas, which didn’t help and really put a downer on everything. And then of course we’d only gotten back from America on Dec. 15. We needed a bit of time. What record companies didn’t seem to understand back then was that you need a bit of space to come back from a six-month tour. You need some time off to re-energize yourself to start writing tunes again. Of course, we went straight into the rehearsal room. The same thing happened with Motorhead with the Iron Fist album. They threw us straight into it. They said, ‘We need an album next week,’ you know. So, you’re trying to write songs, but of course, you’re trying too hard.”

Making matters worse, Clarke feels producer Eddie Kramer, lauded for his work with Jimi Hendrix and other rock legends, didn’t give his all in the making of All Fired Up, after his excellent work on Fastway.
“Then, of course, Eddie Kramer, he didn’t come up with the goods the second time with the sounds on the album,” Clarke opined. “I thought the sound on the first one was brilliant. I thought the sound on All Fired Up was left wanting a bit. I thought Eddie Kramer sold us short on that one. We used the same band, the same studios … it should have sounded exactly the same as the first one. But it wasn’t, you know. It wasn’t. He was in a hurry to get back to America. He said, ‘Oh man, I can save you some money if we can cut this short by a whole week.’ We said, ‘Why would we want to do that?’”

Following Kramer’s advice, Fastway took the short cut. “And then of course, what happened was, we did the album,” continued Clarke. “He hurried back to America. Then the record company called me up. I was down fishing in Cornwall. I thought I’d get a bit of fishing in and hang out down there. I got this phone call in the middle of nowhere saying, ‘You’ve got to go back to the U.S. to remix half the album.’ And it kind of summed up my feeling about All Fired Up. Eddie Kramer sold us short on it. It’s just one of those things. And that’s why I never used Eddie again. I wouldn’t touch him, because I thought he really let us down. You know, when we remixed the album, I think we went to the Record Plant. And it was fun being in New York, but you know, it had gone down on tape wrong. Whatever we tried to do, I could hear that we weren’t actually doing anything to make it any better really.”

Whatever his feelings about the record were, the genie was already out of the bottle. All Fired Up was a fait accompli, and Clarke couldn’t scrap it and start over. “That wasn’t an option,” said Clarke. “The record company and management were leaning so heavily on us that that wasn’t an option. They never gave us that option. And of course, the record company, they don’t f**king know. ‘Oh, it sounds all right to us.’ Of course it didn’t sound right. If you thought it did, you wouldn’t have dragged me over here to remix half of it. ‘Yeah, yeah, yeah, but …’ It was all that. And we got off to a bad start.”

In support of All Fired Up, Fastway were road warriors, but scattershot planning killed any possible momentum. After backing Iron Maiden and Saxon after the first album, Fastway toured with AC/DC for three months, “ … which was fantastic and they really know how to do it.” With All Fired Up, however, Fastway did a couple of weeks with the Scorpions, a couple of weeks with Rush and a few gigs with Billy Squier and then Ratt. “It was all broken up,” said Clarke. “So it was very hard to get any continuity going.”
According to Clarke, everybody in Fastway was unsatisfied with All Fired Up.

“I think we all thought we’d failed with the second record,” said Clarke. “And then the sh*t really hit the fan. Jerry went his way. I said I’d never work with Eddie again and that caused problems with Jerry. And one thing led to another, and Dave went back to Ireland then and started playing with his Irish band. And that’s when he said, ‘Look, why don’t you come over here and play with this band?’ And like an idiot, I said, ‘Okay.’ That was another mistake. That’s where the third record came from.”

That band included musicians from King's first group Stillwood. But with Waiting for the Roar, fans waited but the roar would never come. A chance for redemption, however, came to fruition in the form of a soundtrack for the horror movie “Trick or Treat.” It was to be King’s last dance with Fastway. “That was brilliant, because the third album had failed and Dave was already on his way out,” said Clarke. “Him and his Irish band, they wanted to go off and do something that was more Irish sounding group thing than heavy rock. He had started to complain, ‘I’m sick of every rock band. I’m sick of every rock thing.’ So we had our differences. But when I was off with ‘Trick or Treat,’ I said, ‘I’d love to do it.’ So I spoke to the director Charles Martin Smith [who also has acted in ‘American Graffiti’ and ‘The Untouchables’], and he was really up for it. And I said to Dave, ‘Well, let’s do this.’”

King, however, was reluctant, but Clarke was convincing. “I said, ‘Look man, you’re going to have to do it.’ I said, ‘Let’s do it as our swan song,’ our last thing together, because I discovered the guy for f**k’s sake. You know, I wanted to end on a high, rather than the other f**king thing, Waiting for the Roar. So we finally agreed. It was hard going, but it’s a bit like the track I was telling you about, ‘Leave the Light On’ or ‘Say What You Will,’ because it was a little bit strange. It was a little simpler, do you know what I mean? It was a little simpler and of course, I was being directed by Charles Martin Smith. He’d phone me up and say, ‘Look, we need a track for this thing,’ or ‘We need a track for this thing and such and such and such and such – something in that groove, you know that tempo.’ So I listened, just to get the groove and the tempo. And then I got an idea or would sit down and write something. But of course it was all simple because Dave wasn’t really into embellishing too much. It was all done pretty straightforward. And I thought the album came out fantastic. I really did with Trick or Treat.

King, on the other hand, didn’t. “Dave hated it. Oh yeah, yeah, yeah. He hated it. Oh man, I’m sitting there, we’re on our last day of mixing, and I didn’t see him after that. He was gone. It was sad really, because I always thought he was me younger brother, you know. We had 10 years between us. I thought we’d been through a lot together, you know. I don’t know. I’ll never understand this f**king business and singers are very f**king hard work, man.”

New Beginnings

At ground zero again after King took almost everybody but Clarke who was left in Fastway and went on to form Q.E.D., Clarke picked up the pieces and teamed up with Hart. By then, however, Clarke’s drug and alcohol addictions had taken their toll, and Clarke was incapable of working much. Hart assumed the reins of Fastway and the result was On Target and Bad Bad Girls.

Fast forward to 2012 and Fastway is back, reloaded with Jepson and drummer Matt E. Eat Dog Eat has, at least to Clarke’s ears, erased some of the bad memories of the diminished states both Fastway and Clarke were in near the end. Tracks like the brooding “Fade Out,” which blooms into something more sprawling in the supernova choruses, and “Deliver Me,” with its sonic crunch, prove that Clarke is on to something, as do the dark acoustic meditation “Dead and Gone” and the driving “Sick as a Dog.”
As for what’s ahead with Fastway, Clarke is hopeful that the band will make a return to U.S. shores, provided that America will welcome them back.

“At the moment, we’ve just got to see … the album’s got to do a bit of business before we put any shows on for it,” said Clarke. “I’m hoping to get some feedback from America, maybe some offers, maybe we can do a few gigs here or there … I mean, I’ve got the guitar. I’m ready to go. I’m waiting, I’m keeping me powder dry at the moment, just going to wait and see what happens … and we’ll see if we get some good news and some positive signs.

Though he admits he’s had his day in the sun, Clarke would like Fastway to take off again so Jepson and Matt E. can experience the kind of wide acclaim he once did. That said, one last tour of America would be the icing on the cake for Clarke.

“Hey man, my dream is to strap on the guitar and take it to America one more time,” said Clarke. “It meant a lot to me when we were there with Fastway, because we did Fastway in England and we died here. Because of the Motorhead connection, a lot of the fans didn’t turn up. And I did think with the end of the tour here … well my career is over. Then we got a call from America saying, ‘Hey man, get over here. F**k, everybody’s playing ‘Say What You Will’ and you’re big.’ American fans saved my life, so I owe it to them … I’d love to do it one more time and play in America.”

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CD Review: Jonathan Rundman – Look Up

CD Review: Jonathan Rundman  Look Up
Salt Lady Records
All Access Rating: A-

Jonathan Rundman - Look Up 2015
Absence has only made the heart grow fonder for Jonathan Rundman's brand of intelligently designed and altogether charming power-pop. His first album in a decade, Look Up will make you wish he'd come around more often.

A native of Michigan's Upper Peninsula now based in Minneapolis, the multi-instrumentalist has assembled a who's who of the Twin Cities' finest musicians to help him realize his vision of a lush, warmly modern world of sound with plenty of room at the inn for traditional folk sketches such as the spare, haunting "Home Unknown." All of it holds the wonderfully told tales of Look Up in a loving and empathetic embrace, Rundman's easy grace and search for simple, lasting truths born of a hopeful theology and the inexplicable wonders of art and science.

Providing most of the instrumental support are Owl City guitarist Jasper Nephew, Sara Bareilles drummer Steve Goold, bassist Ian Allison (Jeremy Messersmith), and Leagues guitarist Tyler Burkum. Other guests include frequent collaborator Walter Salas-Humara of The Silos, as well as guitarist Parthenon Huxley of Eels and ELO, and vocalist Brent Bourgeois of Bourgeois Tagg and Todd Rundgren, among others. And while the cast is, indeed, impressive, it's Rundman's evocative lyrics, his deep sincerity, his brainy curiosity about the world and its unknowable secrets, and gift for penning affecting, indelible melodies that make Look Up absolutely sparkle.

Released this past winter but made for long summer drives with no particular destination, although the icy waters of "The Ballad of Nikolaus Rungius" – the beautifully rendered, multi-layered history of a beloved vicar, the hardships of his parish and a "holy mystery" – could bring on hypothermia, Look Up pops the top on fizzy, electric rushes like "Flying On A Plane," "Helicopters of Love," "The Science of Rockets" and "Prioritize Us" that bubble up like a shaken bottle of soda.

Comparisons to Fountains Of Wayne are inevitable, but a lot of Look Up seems to have distant relations to the music of John Vanderslice, his intimate, space-age production values, flowing melodies and ability to spin compelling yarns born again in Rundman's work. When the spirit moves him, however, as it does in "Painter" and the autumnal "Second Shelf Down," Rundman seems naturally inclined to wander purposefully in the cloudy harmonies and gossamer acoustic sweeps of Simon & Garfunkel, and on "Home Unknown," he plays all the instruments, from harmonium to banjo and mandola and probably 12 more that aren't even listed.

Don't be such a stranger, Jonathan. You're welcome here any time.
– Peter Lindblad

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The Ballantyne Racing Stable has been enjoying a good string of wins with Long Knife winning his last two starts on 26/06 and 09/07 and Korenica winning again on Saturday 12/07.

Graeme and his team would like to congratulate all the winning connections and looks forward to placing his runners to continue the flow of winners.


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Home / Gossip / Warrant Issued For 6ix9ine’s Arrest Over Physical Altercation With Fan

Warrant Issued For 6ix9ine’s Arrest Over Physical Altercation With Fan

Looks like #6ix9ine’s patterns of reckless behavior have officially caught up to him, as IHeartRadio reports the Brooklyn rapper is wanted by police.

According to the publication, Houston police are on the lookout for “Blicky Got The Sticky” rapper over a physical altercation that occurred back in January at a meet and greet at Galleria Mall.

Months after the incident, a complaint was filed by the Houston Police Department and signed off by the D.A. to serve as a warrant for 6ix9ine’s arrest for misdemeanor assault on Santiago Albarran.

It all started after Albarran tried to record 6ix9ine at the meet-and-greet. According to the complaint, the rapper grabbed the 16-year-old by the neck and demanded he delete the footage. As a result, in an effort to settle the dispute, Albarran deleted the clip and reported the incident to police.

Now, an arrest warrant has been issued for the rainbow-haired rapper.

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Jen is a Writer and Content Curator for Baller Alert, who writes under the alias “MsJennyb.” In this role, Jen develops and contributes relevant special-themed content to attract readers. Before joining the Entertainment Industry via Baller Alert, Jen spent one year as a Freelance Writer and two years as a Human Resources assistant in a corporate office. Jen has a degree in Criminal Justice from Rutgers University with a concentration in Africana Studies. To contact Jen please email [email protected]

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Targeted Assassinations: Challenging US Policy

Expanding Bush policies, CIA operatives and Special Forces death squads have been authorized to kill even US citizens abroad.

by Stephen Lendman
Thursday, 5 August 2010
"President Obama is claiming the power to act as judge, jury and executioner while suspending any semblance of due process....The US government is going outside the law to create an ever-larger global war zone and turn the whole world into a battlefield."

The WikiLeaks "Afghan War Diaries" provided documented evidence of America's out-of-control lawlessness, including Special Forces death squads (Task Force 373) extrajudicially murdering or capturing suspected Taliban and Al-Qaeda figures, many hundreds or perhaps thousands on a so-called Jpel (joint prioritized effects) list, also willfully killing civilian men, women and children, the London Times Kabul-based Jerome Starkey reporting earlier on these crimes, suppressed in US media accounts, presenting an embedded view of the war, omitting the targeting of Americans until then Director of National Intelligence Dennis C. Blair acknowledged it in February, explaining that:

CIA operatives and Special Forces death squads have been authorized to kill US citizens abroad, suspected of terrorist involvement, Blair saying:

"If we think that direct action will involve killing an American, we get specific permission to do that," the criteria being "whether that American is involved in a group that is trying to attack us, whether that American is a threat to other Americans. Those are the factors involved. We don't target people for free speech. We target them for taking action that threatens Americans or has resulted in it," based on suspicions, not evidence.

Muslim cleric Anwar al-Awlaki, a US citizen living in Yemen, was perhaps the first "announced" candidate, targeted for opposing US belligerency, not crimes.

In late June, Deputy White House National Security Adviser for Homeland Security and Counterterrorism, John O. Brennan, acknowledged a hit list with dozens of other names, saying:

"There are, in my mind, dozens of US persons who are in different parts of the world, and they are very concerning to us, not just because of the passport they hold, but because they understand our operational environment here, they bring with them certain skills, whether it be language skills or familiarity with potential targets, and they are very worrisome, and we are determined to take away their ability to assist with terrorist attacks."

"If an American person or citizen is in Yemen or in Pakistan or in Somalia or another place, and they are (suspected of) trying to carry out attacks against US interests, they also will face the full brunt of a US response. What we need to do is to apply the appropriate tool and the appropriate response," leaving little doubt what he meant, putting all Americans at risk globally, based on suspicions, not proof - potential targets for lawless assassinations with impunity.

It was standard policy under George Bush's November 2001 Military Order Number 1, authorizing the capture, kidnapping, or otherwise neutralizing of non-citizens (and later citizens) suspected of terrorist involvement, holding them indefinitely without charge, evidence, or due process, treating them as non-persons, disappearing them forever, the practice continuing under Obama.

Last September, it was learned that then Central Command head General David Petraeus issued a secret directive to send covert US Special Operations forces to friendly and hostile states in the Middle East, Central Asia, the Horn of Africa, and by implication anywhere in the world to "penetrate, disrupt, defeat or destroy" terror threats and "prepare the environment" for planned military attacks.

On June 4, Washington Post writers Karen DeYoung and Greg Jaffe headlined, "US 'Secret War' Expands Globally as Special Operations Forces Take a Larger Role," saying:

The Obama administration "has significantly expanded a largely secret US war against al-Qaeda and other radical groups with Special Ops forces in 75 countries, compared with about 60 at the beginning of last year."

On June 5, London Sunday Times writers Tim Reid and Michael Evans repeated it, headlining, "Obama secretly deploys US special forces to 75 countries across the world," saying:

He usurped even greater power than George Bush to pursue an "aggressive secret war against al-Qaeda and other radical groups," using increased drone attacks and 9,000 Special Forces in Afghanistan and Pakistan, killing hundreds, perhaps thousands, of civilians, operations continuing daily.

Petraeus' order "also allowed for US special forces to enter Iran to gather intelligence" for potential future operations. The Pentagon's Joint Unconventional Warfare Task Force Execute Order authorizes Special Ops forces sent anywhere, and its Joint Special Operations Command (JSOC) deploys covertly to kill suspected suspects, including US citizens.

Washington Denying Anwar al-Awlaki's Right to Legal Representation

US Treasury's Office of Foreign Assets (OFAC) regulations, under The International Emergency Economic Powers Act, prohibit lawyers from defending accused terrorists pro bono without government permission, violators subject to up to 20 years imprisonment and fines up to $1 million.

According to Bill Quigley, Legal Director for the Center for Constitutional Rights (CCR), the prohibition is unconstitutional, violating the Separation of Powers and First Amendment protection of "the right of non-profit lawyers and legal organizations to give pro bono legal representation to any US citizen," guaranteed also under the Fifth Amendment. CCR/ACLU'/s brief states:

"The notion that the government can compel a citizen to seek its permission before challenging the constitutionality of its actions in court is wholly foreign to our constitutional system, (and as) non-profit organizations dedicated to protecting civil liberties and human rights, Plaintiffs have a First Amendment (Fifth Amendment, and Separation of Powers) right to represent clients in litigation consistent with their organizational missions."

US law, not al-Awlaki, is at issue, the Obama administration exceeding its predecessor's lawlessness, expanding its imperial wars, threatening other parts of the world on every continent, openly targeting US citizens globally, perhaps even in America covertly by disappearing them, and denying lawyers the right to represent them - a clear example of despotism.

Several times it tried unsuccessfully to kill al-Awlaki. Covert efforts continue. CCR and ACLU want to defend him, saying civil law must decide, not Treasury regulations or Pentagon/CIA assassins. His father said "If the government has proof his son violated the law, then they should charge him in public and let the law take its course."

According to Quigley and others supporting the rule of law, "The right to go to court to challenge the government is a core US value."

As a result, on August 3, CCR and the ACLU sued Treasury Secretary Tim Geithner and Adam Szubin, Office of Foreign Assets Control Director,

"challeng(ing) the legality of a regulatory scheme that requires attorneys to seek permission from the government before providing uncompensated legal representation to or for the benefit of individuals whom the government has designated as terrorists. In this case, the effect of the scheme may be to deny legal representation to a United States citizen whom the government is attempting to kill without any legal process."

The suit seeks an emergency order, invalidating the Treasury's unconstitutional regulation, permitting pro-bono representation to proceed without criminal or monetary penalties. If successful, a second suit will try to enjoin al-Awlaki's assassination. However, in today's lawless environment, the federal courts stacked with right-wing ideologues, and a reckless, out-of-control administration, CCR and ACLU lawyers face daunting obstacles to succeed - despite only wanting constitutional law enforced.

In early July, Nasser al-Awlaki, Anwar's father, retained CCR and the ACLU on his behalf. On July 16, OFEC named him a "specially designated global terrorist," prohibiting legal representation without permission. CCR and ACLU sought it but were denied, their suit challenging OFAC's decision "to invalidate the regulations and to make clear that lawyers can (represent "designated") individuals without first seeking the government's consent."

Its purpose is to challenge the lawless decision to kill American citizens, including al-Awlaki, without charge, evidence, trial, or due process - authority not allowed under US and international law.

"Under international human rights law, lethal force may be used in peacetime only when there is an imminent threat of deadly attack and (killing) is a last resort."

Designating US citizens terrorists, providing no criminal proof of guilt or evidence of an imminent threat, and denying them legal representation is lawless and egregious by any standard. Yet, post-9/11, "the US government has (targeted and) detained thousands of men as terrorists, only for courts or the government itself later to discover that the evidence (or charge) was wrong or unreliable and released them."

No one should be denied due process and judicial fairness. US policy is shocking, egregious and illegal, CCR, ACLU, numerous human rights groups, and others challenging it courageously, representing our rights like al-Awlaki's, fighting for the rule of law to prevent further democratic freedom erosions, vanishing in plain sight.

A Final Comment

In a late development, Politico.com reports that the Treasury Department will let CCR and ACLU represent al-Awlaki, OFAC Director Szubin saying Treasury's policy "is to broadly authorize the provision of pro bono legal services....To the extent that the particular legal services that the ACLU (and CCR wish) to provide in this instance do not fall into any of the broad categories that are generally licensed, (OFAC) will work with (them) to ensure that the legal services can be delivered."

At issue now is enjoining al-Awlaki's assassination, CCR Executive Director saying:

"President Obama is claiming the power to act as judge, jury and executioner while suspending any semblance of due process....The US government is going outside the law to create an ever-larger global war zone and turn the whole world into a battlefield. Would we tolerate it if China or France secretly decided to execute their enemies inside the US?"

In a separately filed March Freedom of Information Act (FOIA) suit, the ACLU wants information on procedures followed to put individuals like al-Awlaki on an unconstitutional hit list.

Stephen Lendman

Stephen Lendman lives in Chicago and can be reached at lendmanstephen@sbcglobal.net. His blog is sjlendman.blogspot.com.

Listen to Lendman's cutting-edge discussions with distinguished guests on the Progressive Radio News Hour on the Progressive Radio Network Thursdays at 10AM US Central time and Saturdays and Sundays at noon. All programs are archived for easy listening.

Mr. Lendman's stories are republished in the Baltimore Chronicle with permission of the author.

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This story was published on August 5, 2010.