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María Julia Hernández
María Julia Hernández, fighter for human rights, died on March 30th, aged 68
WHEN forensic teams from Argentina dug in 1992 into the earth at El Mozote, in the mountains of eastern El Salvador, they first came upon a reddish rubble, mixed up with the roots of thorn-plants and weeds. A little deeper they uncovered small, thin skulls, some of them blackened by fire. Underneath these were bundles of what seemed to be brown rags: the blood-soaked cotton dresses, trousers and socks of what had once been children, killed more than a decade before. The pockets of some still held their lucky plastic toys.
The forensic work at this, the most dreadful killing-field of modern Latin America, was memorably reported by Mark Danner in the New Yorker. But it might never have been carried out, and the massacre of 794 people, overwhelmingly civilians, in December 1981 might never have been forced to the world's attention, if María Julia Hernández had not been on the case. She was in charge of the Socorro Jurídico, later the Tutela Legal, which during El Salvador's murderous civil war of 1980-92 kept track of human-rights abuses for the archdiocese of San Salvador. She was therefore the person to whom Rufina Amaya Márquez first told her story.
Rufina had been the sole survivor of the massacre. When the troops of the elite Atlacatl battalion of the Salvadoran army had come to the village to flush out leftist rebels, she had been locked up with the other women. She had seen her husband beheaded with a machete; her baby daughter had been torn from her breast. But as the women were led away Rufina managed to hide beside a crab-apple tree, and the screaming of the others distracted the soldiers from seeing that she had gone. When night fell she crawled away into the maguey plants, her skirts knotted up so as not to hamper her, and dug a little hole into which she could press her face to weep without being heard.
Miss Hernández took all this down. She was a homely, sympathetic sort, who in her old-fashioned print dresses looked much like a priest's housekeeper; but she had been a professor of law at the University of Central America in San Salvador, and would fix those who tried to deceive her with a stony, intellectual stare. Since 1978, as El Salvador slid into disorder, she had been compiling for the archdiocese a book of the dead. These were the corpses left by right-wing death squads in the city streets most nights, their faces dissolved by battery acid and their backs or chests scored with the tags of their killers. Her colleagues would take photographs, and relatives of the missing would come to her office to leaf through the portfolio in the hope, or fear, of finding them. But El Mozote was an atrocity beyond any of this.
For years, with a lawyer's thoroughness and steely determination, Miss Hernández amassed the evidence. The government would not help; it denied that anything had happened, and dismissed Tutela Legal as a guerrilla front. The Reagan administration, intent on stamping out communist infection, agreed that Miss Hernández was a trouble-maker. She was undeterred. In 1989 six Jesuits were shot dead at her old university; Tutela Legal did the first investigation, and found that the army had ordered it. In 1991 her office published the first investigation into El Mozote, including the names of all the dead.
The signing of peace accords the next year ended the civil war, set up a Truth Commission and led to the dig at the site of the massacre. Miss Hernández had the names of those responsible; but in 1993 the new government declared an amnesty for all of them. She kept going, campaigning to overturn the amnesty and to bring the killings before the Inter-American Court of Justice. On her death the case had been reopened and, with her help, evidence was slowly being gathered again. She was also publicising corruption and brutality in El Salvador's police force.
The heart entire
Her life was full of risks, cheerfully faced. Each day, settling to her work in a room as bare as a nun's cell, she began with a prayer: "Well, God, will I see you today, or will you leave me a bit longer, fighting?" Papers carrying death-threats were often pushed through the door. She drew strength from her dearest friend, Oscar Romero, who in 1977 had become archbishop of San Salvador and had set up the human-rights office. Like Christ calling the disciples, as she liked to remember it, he had summoned her from the university, "and I didn't really know how to [follow him], but I said yes." Once she went searching for the archbishop, out into the countryside, and found him saying mass for the campesinos under a tree. From him she learned to love and defend the poor; and when he too was murdered by a death squad, at the altar, in 1980, she felt bound to continue the work he had begun.
She died relatively young, from a heart attack, in the same month that Romero had been killed and on the very day of his burial. Salvadorans found a fascinating symmetry in that. Miss Hernández had liked to show visitors where he was buried and to tell the story that, though he had been shot in the chest, his heart had been undamaged. She was sure it was still whole under the earth, evidence of his continuing power to encourage her, just as the reddish soil at El Mozote had preserved, in blood and bones, the truth.
This article appeared in the Obituary section of the print edition under the headline "María Julia Hernández"
From the April 14th 2007 edition
Discover stories from this section and more in the list of contentsExplore the edition
More from Obituary
Hilary Mantel saw things that others couldn't
The prizewinning author of the "Wolf Hall" trilogy died on September 22nd, aged 70
Frank Drake believed that the universe had to contain other intelligent beings
The intrepid radio astronomer died on September 2nd, aged 92
Elizabeth II never laid down the heavy weight of the crown
Britain's longest-serving monarch died on September 8th, aged 96

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Alcohol usage level has been elevated to a high range in the United States
United Statesmilitary force. For almost twenty years now, the army has been unable to lower the figures of military personnel who are alcohol abusive drinkers. Findings show that military people between 18 to 25 years of age tend to drink more than their civilian counterparts.
As is the case for most abusive drinkers, stress and tension are the primary forces behind such excesses. The military personnel however, face an altogether different kind of stress. Their training programs are not only physically demanding, but also mentally challenging. To make them tougher and ready to deal with any kind of situation, they are deliberately put through strenuous training. Many try to look for solace in alcohol to deal with so much exertion. Many even find it difficult to strike a comfortable balance between their family and military responsibilities. At times of war or conflict, pressure and expectations increase.
Things are especially tough for women military personnel. They need to establish themselves and prove their worth in what is traditionally defined as a "man's" arena. With an extra burden of this kind, tensions reach sky high. Sexual harassment at work is another issue, which women have to tackle with.
The army recognizes the need to control this rise in the number of abusive drinkers. Such activities affect the over all performance of the army, as it reduces efficiency. An ill and hurt soldier is of absolutely no asset to the army during war. Studies show that abusers are more likely to abuse their spouses thus crating bitterness in the working.


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Cowtippers – an iconic and popular LGBT restaurant for more than two decades – is shutting its doors and closing in late January, likely making way for new Beltline-adjacent apartments.
It's the second of a one-two punch to LGBT staples in recent months. Jungle closed in November and now Cowtippers will be no more on Jan. 28, according to Tomorrow's News Today.
Popular Midtown eatery Cowtippers Steaks & Spirits will close at the end of business on Sunday, January 28. The restaurant, located on Piedmont Avenue near its intersection with Monroe Drive, has been in business since 1993. Cowtippers, like a number of other in-town eateries, is owned by Metrotainment Cafes. While a representative for the restaurant confirmed the closure, they did not shed any light on the reasoning or timing of it.
The closing of Cowtippers comes less than two years after nearby property that includes Smith's Olde Bar was sold, raising speculation that the restaurant would be next. Cowtippers wasn't included in that sale.
But the pressure and allure of a sale might have been too much for Metrotainment to resist. The company – which also owns popular LGBT haunts Joe's and Einstein's – paid $1.2 million for the property in 2002, according to Tomorrow's News Today.
Local sources indicate that the property was sold for the construction of a high-rise apartment building. While this has not been verified, it would not be shocking considering the multi-family construction boom across key intown markets. That said, the Cowtippers property reportedly lies within the Atlanta BeltLine planning area, and any planned redevelopment must therefore be presented to the BeltLine Design Review Committee. It's unlikely a sale would have closed on the restaurant site if the proper approvals for a redevelopment had not been received. As of today, no public submission for redevelopment has been made for the site. The Committee will meet for the first time in 2018 on January 17, with submissions due by January 10.
Cowtippers has been home to Heifers, beer busts, fundraisers, political stump speeches, sexy car washes and so much more since 1993. Even that cute server who used Grindr to serve your every need.
UPDATE | The property, which sits at 1600 Piedmont Ave., is being sold to a developer, though Metrotainment wouldn't say to which one, according to What Now Atlanta.
Until the sale is complete, Metrotainment Cafes' catering company Epic Events Catering will use the space for private events.
UPDATE | Metrotainment CEO Jeff Landau confirmed in a statement that Cowtippers is closing and that the company is "weighing options" on the future of the property. He also thanked patrons for more than two decades of support.
"Metrotainment Cafes can confirm that Cowtippers will unfortunately be closing at the end of this month. The restaurant has been a part of our restaurant group for a very long time, and we're proud of the more than 20 years we have been in business, but with the changing climate of the city, we are going to close the restaurant and turn our attention to our other successful concepts including Hudson Grille, Einstein's, Joe's on Juniper, Hudson FC and Guaco Joe's," said Metrotainment Cafes CEO Jeff Landau.
"Metrotainment Cafes still owns the property and we are weighing several options including selling the restaurant and property. In the interim, we will use the space for private events handled by our catering company, Epic Events. We are thankful for the many years of patronage from Atlanta and looking forward to continued success with our other concepts as we continue to grow in this city."


text: I had this at a friend's house while we were making caramels and marshmallows and gingerbread (oh my!). The experience? Was wonderful. The tea? Merely meh. I must have oversteeped it. I wasn't really paying attention what with the caramel-y goodness going on. It tasted bitter and vaguely unpleasant. Ah well. Can't complain too much—an afternoon of friends and candy goodness can't possibly be spoiled by a subpar cup of tea.


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Now and then, along comes a book that reminds you of what it feels like, being a fan, and what it means to see your favorite band that way. Gary J. Jucha's latest tome, THE CLASH FAQ: ALL THAT'S LEFT TO KNOW ABOUT THE CLASH CITY ROCKERS (Backbeat Books: 2016) is one of those books.
And it's a massive one, weighing in at 424 pages. However, it's not some overwrought, academic-oriented affair (God knows, we've had enough of 'em, when it comes to the Clash). Nor is it yet another rehash built on the bones of so many chroniclers past. Instead, Jucha takes more of a quirky, compendium-oriented approach, which is how sections on Mick Jones's top 10 vocal features ("Sing, Michael, Sing!") can coexist with extended revisits of Rude Boy, the Clash's lone feature film entry, and the nature of Keith Levene's and Terry Chimes's contributions to the Only Band That Matters.
Yet, at the same time, The Clash FAQ offers a more personal take on the band than most of its chroniclers have offered -- which is why you also get a chapter on Jucha's determined effort to follow them on their 16 Tons UK tour....which he did, from January to June 1980, and brings back to life, based on extensive notes taken from each concert that he witnessed. The last line of this chapter captures that wonderful sense of serendipity that prompted so many fans, including myself, to follow the numerous twists that ran through Clash City:
"I was happy to have seen the Clash play six concerts within nine days, but a little sorry I wouldn't have this opportunity again. How could I have known that, in less than a year, the Clash would be playing seventeen shows in my dirty old home town of New York City?"
Better yet, a strong sense of fun -- a word not commonly associated with the Clash, yet one that needs to be aired, at least periodically, in discussing them -- runs through the enterprise, as well. For example, each chapter title bears a quote taken straight from the band's lyrics (hence, a look at their February '79 New York concerts is called, "Now, There's A Move Into The Future For The USA")...and there's plenty more irreverence where that came from. With those thoughts in mind, I fired off some questions to Gary about his book -- here's what he had to say about it.
CHAIRMAN RALPH (CR): First, tell me a little bit about yourself. who (or what) influenced you to become a writer, and how did the punk/postpunk explosion of the late '70s/early/'80s figure into that path? Where did you grow up, and what other bands (besides the Clash, and the Cramps) did you enjoy or champion most?
GARY JUCHA (GJ): The short answer to the first part of your question is that as a kid and teenager and even into my college years, I stuttered. I was drawn to writing so I could speak.
Music figured into that path in the following way: there weren't many books in my household while growing up and one of the first that I really read was THE ROLLING STONE RECORD REVIEW, the magazine's first collection of their record reviews. I saw the paperback in a local pharmacy and I remember that I stole it because I couldn't afford it. I loved the writing; the way they could go on for four double-columned pages about The Beatles' White Album. I'm probably exaggerating but that review seemed to me to go on forever and I loved that. Here were writers who took as rock and roll as seriously as I did. With my five dollar allowance I was also growing my record collection one each week at a time and they had these in depth reviews of Jimi Hendrix and The Rolling Stones albums that I didn't know much about but that I was buying. That's part of what I try to do nowadays: shed a light on important recording artists that young people don't know and can't see. I recently came across a Hendrix quote where he said "each era gets its music" and it's so true. Part of writing about The Clash for me is just spreading the word. People need to listen to The Clash more than ever now that Trump's distorting American values. I was just reading about Trump's invitation to pay a state visit to Great Britain and heard Joe Strummer in my head singing "If Adolf Hitler flew in today, they'd send a limousine anyway."
I grew up in New York City - mostly in Flushing, Queens - and my interest in writing was wildly abetted by the emergence of the Patti Smith Group in 1975. I had seen Alice Cooper, Black Sabbath, Led Zeppelin, The Who, and The Rolling Stones but Patti was like an epiphany. I read an article on her in The New York Times and was intrigued by things she had to say about dead rock stars and French Symbolist poets that I had never heard of and hurried out to buy HORSES at Korvettes for $3.99. I was never the same. What was Patti's quote? Oh yeah, "Three chords merged with the power of the word." I was just beginning college and though I was reading Hugh Selby Jr. and Proust and Celine, it was Patti that really got me to take writing seriously. I saw the PSG 17 times between April 1976 and August 1979 and no two concerts were alike. The best was the benefit concert for St, Mark's Church at CBGBs. The church had been damaged by fire. She played five hours that night. She was so inspirational.
Of course being a New Yorker also meant seeing Lou Reed, one of the fathers of punk, fairly regularly during the 1970s, his peak decade. I'm more into his solo recordings than the Velvet Underground. That succession of albums - from Berlin through Street Hassle - were so literate. He definitely affected my desire to write.
Of course, my intent was not to write rock books. Like everyone else, I wanted to write the great American novel. Unable to know what to write about, however, I followed Truman Capote's advice for the young writer, which was to live and you could write about you experienced later.
So I was going to all these concerts and seeing Talking Heads and The Ramones and The Cramps and on one of the many nights that I was in Bond's watching The Clash, I realized that I could use the Bond's Residency as a backdrop for a fictional work just like Alfred Doblin had used Berlin or John Dos Passos America. That was greatest impact that the punk/postpunk explosion of the late '70s/early /80s had on my path. I would feverishly be taking notes at concerts by The Dead Kennedys, Birthday Party, Husker Du, The Pogues, The Butthole Surfers and many other so that one day I could use those shows as a backdrop for my fictional works.
I've already mentioned a lot of recording artists that I championed back in the day but punkwise, I'm also a big fan of The Fall, Swell Maps, The Minutemen, and X. X to me is the American equivalent of The Clash.
CR: The subtitle of your book, ALL THAT'S LEFT TO KNOW ABOUT THE CLASH CITY ROCKERS., suggests a be-all, end-all type of situation. But it's also a paradox, since we all know, that won't be the end of it - I'm co-writing a book, and I suspect the line of would-be Clash Boswells forms to the right. What rationale went into choosing it (other than that it's part of a series from Backbeat Books)?
GJ: Frankly, it was foisted on me. Like you said, it's part of the Backbeat series and all books in that series have to have a similar subtitle. It was a small price to pay to finally get a book on The Clash in print. So few are from an American's perspective. A better subtitle would be SOME MORE THAT'S LEFT TO KNOW ABOUT THE CLASH CITY ROCKERS. I've always enjoyed what you've written on The Clash and I'm sure you have some very interesting things to add. And then there's Baker Glare aka as Barry Auguste, The Clash's roadie and drum tech from 1976 through 1983. He has a blog that he occasionally posts. He wrote an insightful piece about the filming of HW10, The Clash's home movie. He was very even-handed in what he wrote about everyone. His is the Clash book I really want to read.
CR: What motivated you to write a book about the Clash, beyond your own love of the band? How did you go about deciding what subjects to cover, and how did you go about organizing your book?
GJ: When Joe Strummer unexpectedly died in December 2002, I decided it was finally time to write that fictional book using The Bond's Residency. I was actually at a Patti Smith concert on December 30th, Patti's birthday, and a few days after Joe's death when I made up my mind. It took six years and hell of a lot of research on the concerts and New York City during that May and June 1981 period. I finally finished it in 2008 and was shopping it around when my mother fell, broke her hip and the two years of hell that followed took the wind out of my sails.
Anyway, my friend Vic Marinelli had started a website called Hellbomb in late 2009 and asked me if I wanted to write for it. He actually said that I might get a book deal out of it. I thought that was farfetched but what the hell was I doing anyway? But when I wrote a feature on my trip to England to see The Clash, it caught the eye of Robert Rodriguez, then the FAQ Series Editor. He said it was unlikely that Backbeat would do a book on The Clash, but would I be interested in contributing to the series?
I saw it as a way to get my foot in the door and one day publish the work of fiction I had on my hard drive. I made several suggestions and signed a contract to write about Jimi Hendrix. I got good reviews but the best thing was hearing from a friend of Jimi's who said he would've liked the book. Then Backbeat asked me if I would be interested in writing about The Rolling Stones and I said that I'd really like to write about The Clash. So I signed contracts for both. When The Rolling Stones FAQ got sidetracked, I moved onto The Clash FAQ.
One thing that is great about the editors at Backbeat is that they really allow the writers great freedom in choosing the subject matter. I really was artistically free. Originally I wanted to write 36 chapters and mirror the 36 tracks on Sandinista!, my favorite Clash album, but I ran out of time. It would have been way over the contracted word count anyway.
As for content, I wanted to write mostly about The Clash as I knew them, which is really from June 1978 onward, and topics that I felt got slighted or overlooked in other books on The Clash. I knew I had cover the UK punk period but always felt I'd be on shaky ground because I didn't really experience that period so I tried to get that over as fast as possible. But the concerts I'd attended, the Clash's reggae, Rude Boy: they were either events I felt I could add something to or topics that I felt got slighted in other books on the Clash and Joe Strummer because the biographies are almost always chronological in nature. What I like about FAQ books is that they are almost post-modern in structure. For example, other books touch on The Clash's reggae music but it's usually spread over 200 pages and never explored in concentrated detail. As far as I'm concerned, The Clash were the best British reggae band ever, certainly better than The Police and UB40 - I know this is practically blasphemous, but I think they are even better than Bob Marley and The Wailers - and so I wanted to write a chapter on that. You could do a whole book on the subject if you really wanted to. When you talk about "root rock rebel" The Clash have got the rock and rebel camps covered.
CR: You spend a fair chunk of time giving a tip of your hat to Terry Chimes, and Keith Levene, who - in some ways - are the "lost" members of the Clash, in that they don't seem to generate as much ink as the classic foursome lineup of Strummer and company. In your opinion, what did they bring to the band, musically speaking?
GJ: I hate it when band members get written out of history. Levene and Terry Chimes especially had a lasting impact on The Clash. Let's face it, the first 19 recorded songs have Terry Chimes behind the drumkit and for some punkers that's all The Clash songs that do matter. I always feel I'm at a disadvantage writing about drummers. I don't really know the drummer's lingo, but Terry Chimes helped lay the drumming blueprint for punk rock through his energetic, bouncy intro on "Janie Jones" and the knocking drums on "Career Opportunities" and his lasting contribution needs to be acknowledged. I also saw him with The Clash six times in 1982 and I thought he was Topper's equal in ability except on the reggae numbers. He was more muscular for sure.
And getting back to Keith Levene, it is interesting to ponder what PiL's guitarist and musical mastermind could have brought to Clash records. For example, he brought a Britified type of dub to PiL recordings. Imagine that approach being applied to The Clash's dub recordings.
CR: I appreciated your spirited defense of GIVE 'EM ENOUGH ROPE, which - as a casual visit to the If Music Could Talk board will demonstrate - still has its own passionate army of admirers. What makes this album a hidden gem in the Clash's discography, and - more to the point - a reference point for their transition to the wider-screen (figuratively speaking) musical terrain that they explored on LONDON CALLING, and SANDINISTA!? Why should those who dismiss ROPE give it another listen?
GJ: The funny thing about GIVE 'EM ENOUGH ROPE is it was a big hit when it was released. Number 2 in Great Britain. It is only in retrospect that its reputation has been tarnished. GIVE 'EM ENOUGH ROPE is the first Clash album I bought the day it was released. It came out just as they were touring America and seeing them in concert was a revelation. They lived up to all of my great expectations. Here was a band with something important to say that could really move you and make you feel something.
I think all of The Clash's first four albums are perfect. You can make the argument that each is their best. There's something about that era; all of the bands - Talking Heads, Elvis Costello, X - seemed to put out four perfect albums before faltering.
I could give many reasons why GIVE 'EM ENOUGH ROPE is a hidden gem in the Clash's discography, but let's just say that of The Clash albums, this is the closest to what The Clash were like live. When I play GIVE 'EM ENOUGH ROPE (as I'm doing right now), I feel like I am back in The Palladium on February 17, 1979 and The Clash is on stage. It is powerful, it is strident, it is hardcore. Hardcore punk for me starts with Give 'Em Enough Rope. And I was there when the Bad Brains first invaded Manhattan.
I think the biggest impact GIVE 'EM ENOUGH ROPE for their transition to the musical terrain that they explored on later recordings was what Mick Jones learned sitting at the elbows of Sandy Pearlman and Corky Stasiak about record production.
And the willingness to bring session musicians into the studio to flesh out the music. What would LONDON CALLING be without the horns?
CR: Of course, we can't discuss the Clash without recognizing the difference between the live show, versus the studio aspect - a gap that, over time, grew more pronounced (in my humble opinion). It's amazing what keeps turning up - I still have to edit a soundcheck tape from the 9-21-79 NYC show, in which they run through five or six songs instrumentally, with Mickey Gallagher - makes you hear those songs in a whole different way.
GJ: I would love to hear that. I had a friend named Lee Sherman who crossed paths with The Clash in San Francisco and was invited to a rehearsal. Lee used to write for rock magazines. Anyway, Lee told me that during the rehearsal Joe didn't sing so he could save his voice for the concert. I don't know what year that was. I would love to hear that.
One of the unwritten chapters for THE CLASH FAQ was going to be on their bootlegs but I'm not really an expert on Clash bootlegs even if I have over 150. I've probably listened to two-thirds of them. I do know the Bonds recordings inside out. I've taken extensive notes on all 17 shows. I can tell you every cryptic statement Joe made and every ad-lib.
I love bootlegs but the problem I have with Clash bootlegs is that most of them sound inadequate. The Clash were such a ferocious live band that most concert recordings - even soundboard recordings - sound too compressed. Something - perhaps an existential quality of the band - is lacking. It couldn't be taped.
That being said, fans still have to hear the boots for things such as "The Bankrobbing Song" on Sixteen Tracks (mislabeled as "Rudie Can't Fail" on my copy) that is a version of "Bankrobber" before Mikey Dread slowed it down, or Rankin' Roger's guest vocals on "Armagideon Time" on Stinkfoot In Hollywood or the "Police & Thieves/"Blitzkrieg Bop" medley on 1977 recordings. I could go on and on.
You're correct that my favorite bootlegs come from The 16 Tons Tour. There are two I really enjoy. First is CAPITOL RADIO from the Capital Theatre in Passaic, New Jersey. It's the full concert with both encores, not a duff song all night long. It's the rare recording that captures the excitement in the theatre that evening. I love hearing the crowd going crazy after hearing "London Calling" live for the first time. It's got the "Koka Kola"/"I Fought The Law" medley and Mikey Gallagher is on hand adding atmospherics to "Jimmy Jazz," "Wrong 'em Boyo" and "Armagideon Time" (though I wish he had sat out the punk numbers). Even Mikey Dread can be heard toasting on a few numbers.
Second, is THE CLASH IN HAMBURG when the German punkers keep invading the stage, accusing the band of selling out and disrupting everything and Joe trying to reason and deal with them. It just feels to me to capture how unruly Clash concerts I went to could be. It reminds me of being in Newcastle and someone setting off a smoke bomb and seeing Mick's look of concern. It drove home for me the danger the band members were really in.
Another reason for The Clash fan to acquire bootlegs is that there is no other way to really experience The Clash in concert. I'm sure you'd agree that because of its chronological sequencing of songs as they were released, From Here to Eternity doesn't reflect any Clash concert you were ever at. That's why I didn't write about it in my book. Live at Shea is only the band as an opening act. It's good, but not the real McCoy. I keep wondering why the show Sony recorded at Bond's has never been cleaned up and released.
CR: In hindsight, it might be suggested that 1979-80 marked the Clash's creative peak - from which we got LONDON CALLING, and SANDINISTA! - plus a steady spate of singles, THE COST OF LIVING EP, and a consistent touring schedule (without which, I reckon, many of those ideas would have taken longer to emerge). Do you share this view? Why or why not?
GJ: I certainly share that view. You left out the rerecorded soundtrack for RUDE BOY in March or April of 1979. I think the break-up of The Sex Pistols and demise of UK punk rock allowed them to grow as a musical outfit. There really is this blend of the four members' musical interests that constituted The Clash. The best bands are really those whose members do not share the same musical interests such as The Pixies or Radiohead. With Joe's interest in rockabilly and New Orleans R&B, Mick's love of the golden age of rock and roll and later hip hop, Paul's roots in Jamaican reggae and Topper's jazz background, The Clash's music was cooked in a huge melting pot.
I also think they were still fighting for The Clash as a unit. Success really undermined them. Terry Chimes told me that Joe really had a tough time coping with financial success during the Combat Rock period.
CR: I enjoyed the section on RUDE BOY, and share your agreement that it's an underrated effort - no matter how post-production overdubbing was required to hold the proceedings together. What makes it worth watching today, and is its place in the Clash's (admittedly) non-musical canon due for a second look?
GJ: That's why I devoted a chapter to it. It needs a second look. Personally, I think it is the second best rock movie ever made. Only A HARD DAY'S NIGHT is better. I wish they'd re-edit it and re-release it. Like I say in my book, start with the scene of The Clash performing "Police & Thieves" and then introduce Ray as the everypunk. And cut out all that stuff about the black pickpockets. It has nothing to do with the movie. Nobody filmed The Clash better Jack Hazan. It's the first place I'd tell anyone interested in experiencing The Clash to go. At least the DVD allows you to just play The Clash scenes.
I also wish they'd officially release the soundtrack. It's great to have the bootleg but I'm sure a better sounding recording could be issued. Both the DVD and the soundtrack should have been part of Sound System.
CR: COMBAT ROCK: again, I share your assessment that it's half a great album. I remember, with amusement, listening to "Sean Flynn" - then me and my best friend shrugged, "Oh, well, guess they're not playing that one on tour!" On the other hand, considering that it got slagged in certain quarters as "too commercial," or "too slick," it contains some of the Clash's wiggiest music, and unlikely collaborations - notably, Allen Ginsberg, on "Ghetto Defendant" - so is it time to rethink its status, or is it simply too dated for words?
GJ: That's a great response to "Sean Flynn". I'm glad that we have the unedited version on SOUND SYSTEM. I used to not like the fade out but given that Errol's son really did vanish the fade-out is aesthetically appropriate. Nobody knows what happened to him.
Listening to COMBAT ROCK again while writing about it for THE CLAH FAQ, I was really surprised how "wiggy" it sounded. It's a wonder it was as successful as it is. Then again, other than "Red Angel Dragnet," all the "wiggy" stuff is on Side Two. Four of the six songs on Side One are among the band's best.
But I don't think you can reassess its status. Side Two of COMBAT ROCK is the only truly bad album side they ever released. (Although admittedly some feel that way about Side 6 of SANDINISTA!.) I think "Overpowered By Funk" and "Death Is A Star" are two of their worst songs ever.
CR: You write powerfully of your disappointment at seeing the remade Clash at Hofstra University. (Incidentally, I'm curious - why do you call them, The Clash, Round Two? They're always referred to in articles as Clash Mark II, or simply, Clash II.)
Given that I'm chronicling this period myself, we're bound to disagree - Hofstra is a show that I happen to like, boot-wise - but made that night seem so disappointing, making you un-inclined to see them anymore? Beyond Mick's and Tops's absence, what else made you fall out of love (so to speak), especially as a long-time fan?
GJ: I call them The Clash, Round Two because that's how Joe Strummer referred to the outfit in an interview. The Clash, Mark II sounds too much to me like Keith Richards talking about The Rolling Stones Mark II with Mick Taylor.
Hofstra was disappointing for several reasons. First, it was overcrowded. And packed with the type of jocks that Kurt Cobain hated that were coming to Nirvana concerts. "Rock the Casbah" was a Top Ten hit in January 1983, which meant that The Clash with Mick had only played a handful of shows in America after they broke big Stateside. You had so many first timers that had to see the band they now loved. I remember I left with a bruised rib. That's how crowded it was.
Second, Mick Jones was obviously gone. The Clash was his band and Joe's foil on stage. It would be like seeing The Butthole Surfers without Paul Leary. The band's dynamics was badly skewed. You needed Mick to counterbalance Joe a bit. On top of that, the two new guitarists could not mask his absence. The band was limping. Mick wasn't the best lead guitarist but he was tuneful and he was always exploring new sounds. I know Joe had a problem with his guitar effects but I really missed them.
I don't know if I would characterize my reaction as falling out of love with The Clash. If they had toured America again, I would have given them a second chance. I would always go see Joe when I could, which is why I did see him with the Latino Rockabilly War and The Pogues and The Mescaleros. If Joe had reshuffled the line-up like Mark E. Smith reshuffles The Fall, I would have kept giving him and The Clash more chances.
CR: CUT THE CRAP, as you correctly acknowledge, is far from an accurate snapshot of how the second Clash lineup sounded - take "Play To Win" and "Fingerpoppin'" off, stick "In The Pouring, Pouring Rain" and "Jericho" in their place, and you're suddenly talking about a stronger record. What else could have been done to improve it (besides the obvious - letting Vince, Nick and Pete play on it)?
GJ: The irony of Joe Strummer is how someone who came across as so forceful and certain in interviews could be so insecure and abdicate control of The Clash, Round Two's album. We all know it is more Bernie Rhodes' record than Joe's and that is still mind-boggling. Bernie was a good manager but he didn't have any musical talent.
What could have been done to improve it is a good question. The short answer would be for Joe to stick to his guns and what he said in interviews while touring with The Clash, Round Two, which is a return to the punk roots. What should have happened is after they toured America in early 1984, they should have gone into the studio and cut the record quickly.
It's my belief that set lists are a good way to gauge the pulse of a band and you can see that after this tour, Joe started having doubts and was wavering and that's why he started playing more of the catalog rather than the new songs. Maybe if he had committed these songs to tape the band could have found a way forward, which might have been to get back on the Combat Rock path, which is where The Mescaleros picked up from.
What Joe really needed was a different producer and music arranger. Joe was incapable of fulfilling that role, which was proven by what Antony Genn and Martin Slattery brought to The Mescaleros' records. And only proves that the dismissal of Mick Jones from the band was so dumb. It's like Joe intentionally sabotaged his outlet for making music, which is what he lived for.
I also think Joe working with Elvis Costello might have worked. Costello produced amazing records for The Specials and The Pogues and was a fan of Joe's. I think they could've created something unique.
CR: Of all the ex-Clashmates' solo ventures, Mick seemed to pick up where he'd left off, at least initially - with the first BAD album - while Joe seemed to struggle for a long time to find his feet. What, in your opinion, accounts for the disconnect - a case of the old firm (Strummer-Jones) breaking up, the parts needing to make up the whole, whatever metaphor you care to use - or are there some lost gems that could have given a glimpse of how the Clash might have moved forward?
GJ: Mick could move forward because he was best equipped to do so: he could write and arrange songs, sing and produce. It's been said that part of Joe and Paul's frustration was Mick's objection to touring but maybe Mick's uncooperative behavior stemmed from his unhappiness over the band's musical direction. More than the others he saw a way forward that merged dance music and rebellion. The firing also left Mick with something to prove.
To this day, I still don't understand how Joe thought The Clash was going to make music without Mick in the ranks. It must be the worst conceived idea in the annals of rock music. Sure I can understand being annoyed with Mick being late for rehearsals or not wanting to tour but wasn't there ever a voice in the back of his mind that asked who was going to be The Clash's musical mastermind if Mick was no longer there?
CR: The Clash's non-reunion will always remain one of those fun pop music parlor games that critics and fans like to play. Could you have seen the Clash existing as the '80s progressed, and do you think a reunion - not a "greatest hits" cash grab tour, but one with an eye toward new material - could really have worked? Why or why not?
GJ: There was too much rancor for them to have survived in the '80s. And when Joe was ready, Mick wasn't, and vice versa. The best shot at a successful reunion was with the Rock and Roll Hall of Fame induction. It seems likely that The Clash would have played that event, though possibly without Paul Simonon. After that, who knows what might have happened. I think Joe was proud of the music he was making with The Mescaleros but a little annoyed at opening for the likes of U2. I think he might have pushed for a reunion and a new album and a tour in 2003, but we'll never know.
CR: How you do see the Clash's body of work standing up today? I actually now hear "London Calling" being played on oldies (!) stations, even the odd classic rock one, which seems to suggest they've joined the all-timers' inner ring - right up there with the Beatles, and the Stones, in terms of popularity, and perception. Do you feel that's the case, or does that storyline have a way to go yet, in developing?
GJ: Well, I heard that Black Flag is now referred to as being "chubby dad rock" so certainly you have to see The Clash as being viewed by Millennials as part of the inner ring. Still, The Clash's music is timeless and that's why they are still relevant. Joe was very clever with his lyrics in that he rarely sang about the current events of his day. That way, his lyrics are not dated like The Dead Kennedys. Instead he would reference Victor Jara in "Washington Bullets" or Fredrico Lorca in "Spanish Bombs" and use these figures as universal symbols of injustice. Many of the unjust things in the world that The Clash questioned or railed against are, unfortunately, still with us. What is amazing about The Clash to me is how their music connects with people in Asia and South America and Africa. It's not just America and Europe. I think it's the lyrical themes but it's also their wingspan, so to speak. Because all of the records sound different, they can appeal to a wider audience.
CR: And lastly, without letting too much out of the bag - what's next, beyond your coming of age novel during the Bond's era shows? Do you see yourself sticking with music, or possibly branching out into other things?
GJ: The revision of the coming of age novel with the Bond's Residency is done. I'm shopping for an agent. It's rewritten as a standalone but truly is part of a trilogy about the 1980s. If the first book ever gets published then I have the other two volumes fairly well sketched out.
There's talk about THE ROLLING STONES FAQ being revived. It's already written, although I'd like to revisit a chapter or two that I was never satisfied with. That might be out before the end of the year. A German version of THE JIMI HENDRIX FAQ will definitely be published in Germany this year. I'm hoping the same happens with THE CLASH FAQ.
Beyond that, I'd love to contribute to the 33 1/3 Series. There are so many bands not represented yet such as The Butthole Surfers and The Mothers of Invention and Fucked Up that I'd like to write about, but if I was given the opportunity I think I'd write about The Cramps' SONGS THE LORD TAUGHT US for that imprint.
I'm retiring from my day job sooner rather than later and plan on focusing on writing full time. I truly believe The Rolling Stones deserve a tome along the lines of the epic biography that Mark Lewisohn is writing of The Beatles. If Hendrix was right and rock and roll was our era's music, The Rolling Stones was active for 95% of that era. I just feel like someone has got to be more up to that task than me. But it needs to be written.
I also want to write about The Patti Smith Group, not Patti, which is what most books on her are about. The Patti Smith Group was one of the five best rock bands ever and really are sort of forgotten. I have another idea for a book on Hendrix and several on The Clash.
I'm beginning to think that when I stole that book of Rolling Stone reviews, I was motivated by this vague intuition that I was going to write about rock music one day.
Author Interviews
Remember: as new entries are posted, previous ones are pushed further back, and seem to vanish off the page -- but they're still here! For a complete list, just click the "Archive" button (above), then hit the appropriate link to find your favorite interview.


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Barack Obama wants us all to turn down our thermostats, get rid of our SUVs, and monitor each other's tire pressure to conserve energy and rescue the planet. How about going after the lavish consumption of his fellow purported eco-warriors?
Let's start with Green Messiah Al Gore's massive boat outside Nashville. It's docked at Hurricane Marina on Center Hill Lake in Smithville, about an hour east of Nashville.
Steve Gill has the goods on Gore's "Bio-Solar One"–which is supposed to be environmentally acceptable because it's biodiesel-fueled and solar-powered.
Only, it didn't have the solar panels until local whistleblowers called attention to it (his spokespeople now say the panels will be installed today) and has instead been plugged in, "sucking a lot of energy from the 'evil' energy companies," as Gill points out:
How many conscience-easing carbon offsets do you think this behemoth will need?
I hear there's a bumper sticker on the back of it that says "My other boat is a sailboat. Trust me."
Contest time: Name Gore's boat.
My suggestion: H.M.S. Eco-hypocrisy.
All aboard.
Commenter lawbwrs: "It's official name is 'Bio-Solar One'..yes.. he named his boat "BS1″! We CAN[']T do better than that!"
Update: Steve Gill has more at PJM.


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3 Color Trends to Steal from Spring Fashion Runways
Perfect paint matches for the biggest runway color trends? We've got you covered.
With every runway season, be it Fall, Spring, Pre-Fall, or Resort (yes, those are "seasons" too in the fashion world) comes a definitive set of trends. From New York to Milan, London, and Paris, fashion designers showcase their wares, and often, a few similarities arise from collection to collection—a handful of shows reference the 1960s, another grouping favors animal print. (You can see plenty of those in our Fashion vs. Function series.) The most compelling pattern in our eyes, however? Color trends.
Pale blue, generally associated with spring and rebirth, emerged in full force on the fashion runways last fall. From Parisian Joseph Altuzarra to newcomer Zoe Jordan, who both managed to make outerwear sexy with their cool-hued coats, to Delpozo and Marchesa, where eveningwear sang in the frosty shade, next fall is sure to be icy—regardless of the weather forecast. Get the fashion-forward look for your walls with Benjamin Moore's Soft Sky paint.
When perusing the looks from the recent Pre-Fall 2015 collections, one of the most striking hues that continuously popped up was a vibrant mustard yellow—a few years back, interior designers might have called it Harvest Gold. Offered full-force in a pants look by Belgian Cédric Charlier or as a more nuanced lining by American Narciso Rodriguez, the color took center stage on certain runways and acted as a supporting figure in others—to no less impactful effect. Hoping to achieve the of-the-moment look in your home? Paint your walls in Farrow & Ball's sunny "Babouche."
The standout moment of fashion month happened this morning in Paris at the Valentino runway presentation (no, it wasn't the barely there orange dress pictured in the above right corner, though that was a showstopper, too). Ben Stiller and Owen Wilson strutted the catwalk—and stole the show—as their fashion-world alter egos Derek Zoolander and Hansel to eruptions of cheers from a typically-blasé crowd. Equally hot runway moments came from Brits Christopher Kane and Emilia Wickstead and French houses Dior and Celine, where orange-tinged paprika red emerged as a clear statement color for Fall 2015. Interested in making an equally bold statement in your home? Try Benjamin Moore Aura Interior Paint in Tawny Day Lilly.


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The catalog of cooking utensils for Russian manufacturer. It shows the advantages of each collection, each item from a different angle. The overall picture is complemented by photos of products, spices, herbs. The main cover of the catalog is made with a cutting in the form of a frying pan, through which the color photo of the new collection shows through. The handles of the frying pan and pots on the second cover are varnished by soft-touch laque, imitating the actual coverage of these handles.
Bronze in Promotional Materials 2019


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After months of following a whole food plant based diet that was low fat, low sodium and almost gluten free, the pressures of life started chipping away at my resolve and I started to fall into some junk food vegan habits. Buying one tub of Ben & Jerry's Non-Dairy ice cream to try as a treat turned into bags of Lays Potato Chips, even more non-dairy ice cream, fast food french fries and veggie burgers nearly every day of the week. As my apartment heated up with summer my will to prepare any kind of good food wilted, dried up and turned to dust.
So it was bound to happen sometime.
It seems that the best time to go to the Emergency Room at my local hospital is 7 am Sunday morning. I know because I was there last weekend and only one other person was in front of me. While I have heard lots of horror stories of people waiting all day to see a doctor, I was home asleep again an hour and a half later.
The lady who checked me in remarked that they hadn't seen me for a very long time when she pulled up my file. I went to the walk in clinic once in 2012 and again maybe in 2014 for antibiotics to cure infections that were too far gone to be fixed with cranberry and Vitamin C. In 2009, I had a mammogram. Before that it had been over 10 years since I'd been to a doctor for any reason. I'm generally healthy and if I'm not I prefer natural cures or alternative medicines. A couple of years ago I visited an osteopath twice for a frozen shoulder. She was very helpful, but those types of treatments aren't covered under medicare, so the hospital wouldn't have known. Even on Sunday, I had fixed myself before I actually got in to see the doctor. If I had just waited it out a bit longer at home, the whole thing could have been avoided.
It seems that my recent descent into junk food veganism has not only stalled my weight loss but the high fat content has made my gall bladder very angry. I've been having mini-episodes without realising that's what they even were. A couple of uncomfortable nights of painful bloating that I blamed on overeating and gas. One particular night where I could only get comfortable to sleep if I propped myself up with six pillows on the couch. I was oblivious!
Until last week when I went to house and pet sit at my sisters while the family went on a trip for a week. I drank a whole bottle of wine each night I was there to help me relax and sleep, but when I'm in the relaxing stage I like to eat … and when I have wine any willpower I might have to resist chips or ice cream goes out the window. So when I discovered the largest bag of Lays chips that I'd ever seen in the cupboard, I ate them all! Back to back with a huge serving of tortilla chips smothered in black beans, salsa, and a heaping mound of guacamole. And then I ate half a container of Ben & Jerry's (it was the last half thank goodness or I might have eaten a whole tub!) And just as the food and wine coma started to send me off to dreamland, the pain started. My stomach was swollen and hard, there was pain between the top of my stomach and the bottom of my breasts. It was bad, but not so bad that I couldn't fall asleep, and when I woke up the next morning it was gone. So I just thought I had eaten too much and had some painful indigestion and gas issues. I wasn't concerned.
That was Tuesday or Wednesday night and I came home to my place on Friday. It was a busy day of things to do and appointments to keep. I hadn't eaten all day and I was starving by the time the Tall Ships were supposed to be making their way up our mighty river for the festival on the weekend. My boyfriend and I decided to sit out on a restaurant patio and eat while we watched them sail in. We shared a plate of nachos with veggies and salsa (no cheese or sour cream), a veggie burger with fries, and an order of onion rings. I had two small glasses of white wine. We didn't finish the nachos and got the leftovers wrapped to take home.
I felt fine after the meal and we did some shopping before coming back to the apartment. My boyfriend went to take a nap and I put on Netflix and poured another glass of wine. It wasn't long before I felt hungry again so I ate the rest of the nachos. My boyfriend got up and we watched a movie. It was really hot in my apartment and I was craving something sweet so I opened a container of So Delicious cashew salted caramel non-dairy ice cream that we had bought earlier to try for the first time. My boyfriend didn't want any. Salted caramel is a weakness of mine. I just couldn't stop eating it. I was beyond stuffed, already starting to feel the swelling of my belly, and still I ate the whole thing.
By bedtime I was in agony. I knew I had overeaten big time and figured I was having another gas episode, but I thought I would be able to get into one position where it would be tolerable enough so I could fall asleep and then when I woke up the next day I would be okay again. But this pain was much more intense than any other episode. It felt like right below the band of my bra had been put into a vice and now it was squeezing. There wasn't any tolerable position where I might fall asleep. Thinking I had gas, my boyfriend went out and bought me over the counter pills for that. I took one but it had no effect, so I took another. I felt like if I could only burp or something to relieve some of the pressure I might be okay. And I did feel a little better after a burp here or there, but nothing substantial and certainly not enough to allow me to sleep. I spent the whole night travelling back and forth from the couch to the bed and crying. A couple of times I nearly passed out from the pain.
Finally early Saturday morning the pain subsided enough so I could fall into a restless sleep for a couple of hours and when I woke up it was gone completely. But I felt sore from the spasms. I didn't eat anything for fear of starting it up again. I just drank water and gingerale to try and keep things settled. Then around supper time I felt hungry and I decided to eat just a little something. I had a bag of mccain potato wedges in the fridge so I put them in the air fryer. I had a little bowl and instantly perked up a bit and felt a little better, so I had another little bowl because I was still hungry. And for awhile it seemed okay, but then the pain came back even worse than before. I couldn't find any relief, no comfort of any kind. I paced from bed to couch to bed to couch, trying to find some way to be that didn't feel like I was dying. Lying, sitting, standing, walking, staying still, there was no way to be that wasn't excruciating. It was a very hot and humid day and I felt cold, actually covered up in a blanket. My boyfriend touched me and recoiled because he said I felt like ice to touch. He was worried and wanted to take me to the hospital right then but I refused. I thought I could wait it out that it would go away and I vowed that when it did I was done eating … period!
I started Googling my symptoms to see what I could find out and it didn't take long to see that it could be my gall bladder. My best friend had gall bladder problems and I remembered her gruesome stories of the pain induced episodes. She eventually had hers removed. This definitely sounded like that. The pain was so intense that I couldn't even stay still long enough to research the issue and look for possible home remedies in one sitting. I kept getting up and moving to another room, another place, another position before I'd be able to continue reading. I eventually discovered a recipe for a concoction of organic apple cider vinegar mixed with organic apple juice that many people said would make the pain stop. I didn't have any apple juice and all I had was No Name generic apple cider vinegar, but I was ready to chew off my own arm if that would help so I headed to the kitchen and swigged back a couple of shot glasses of vinegar. Nasty! It burned going down and the taste lingered even after I drank water and gingerale to clear my palate. I thought it had been all for nothing because nothing happened right away, but about 30 minutes later the pain subsided and I collapsed in bed beside my boyfriend and fell asleep.
My rest was short lived as the pain returned a couple of hours later, early Sunday morning. I was beside myself with feelings of despair. I didn't know what to do. I couldn't take it anymore. I managed to gag back some more apple cider vinegar but nothing happened. A half hour went by and I was no better and maybe even getting worse. So I called my mom at 6:30 in the morning to see if she could offer any kind of insight or advice. She told me to go to the hospital. So then I woke my boyfriend and we went. I just couldn't do it anymore and I prayed they would give me morphine or something to knock me completely out. But while we waited for the doctor, the pain went away. The apple cider vinegar had just taken a bit longer to kick in than I thought it would.
Nevertheless, I took my turn with the doctor and he agreed that it sounded like an angry gall bladder to him. He brought in a portable Ultrasound machine and had a look but none of us could see any gall stones. He told me we couldn't be sure until I had a full ultrasound with a technician, they would be able to see little stones if they were there and then I might be looking at surgery. He told me to eat a low fat diet in the meantime. He didn't need to tell me that! I was ready to never eat anything only plain brown rice again if that was what it took! But certainly I am done with all the chips and ice cream!
My ultrasound is this week, early Friday morning. I have emergency bottles of organic apple juice and Bragg's organic apple cider vinegar in my refrigerator in case I have another episode. So far I have been okay. On Sunday I mostly slept and drank herbal tea. Later in the evening I had some ginger soup with noodles. I never eat soup. If I am having soup, then I am unwell for real. On Monday I started eating some food but just very small portions of oats, brown rice, peaches, quinoa, and blueberries. I continued that on Tuesday. Today I was a bit more adventurous and added in some Ezekiel bread, tomatoes, beans and salt-free organic hot sauce. It's all good.
My angry gall bladder has really been a blessing in disguise because it's got me off the junk food vegan trail and back onto my original whole food low fat path. It's reminded me of what I already knew, that junk food is bad for me. So there is a good although painful lesson. I have also been reminded that if I don't bring these things home I can't be tempted and they won't be here to eat if I have cravings. When my boyfriend left to go home this week, I cleared out my cupboard and fridge of any lingering fries, ice cream, vegan cheese, and other fatty things that don't fit the Engine 2 diet guidelines. He can have all that if he wants, it's his health. But at my place, we're not doing that anymore.
I already feel better. Sometimes you just need a whisper to get the message, but sometimes you need a beat down before you're ready to listen. I got a big ass beat down last weekend and I'm hearing that message loud and clear once again … IT'S THE FOOD!!!


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Skandika SF-1140 Features
- Foldable in half
- Heart rate tracking
- Advanced computer system
- Easy to transport
- Amazing instruction manual
- Silent poly fibre pull system
Skandika SF-1140 Specification
- Dimensions – 130 cm x 55 cm x 95 cm
- Weight – 23kg
- Max user weight – 110 kg
- Two-year manufacturer warranty
Skandika SF-1140 Rowing Machine Review
Skandika SF-1140 Regatta Pro 5 is an amazing rowing machine that is very practical and affordable for most people. This machine will allow you to build body muscle, improve your stamina as well as aid your weight loss.
This machine has a fantastic design, and it can even be put with some of the high-end models for comparison. This machine is using magnetic resistance, hence making it very quiet to operate and also it is shallow on maintenance. To adjust resistance, all you have to do is turn a knob in front of the machine.
This machine has five different resistance levels that are of moderate difficulty. Maximum supported user weight is 110kg.
This rower comes with adjustable handles. You can use the handlebar to do the rowing. Or you can switch to a unique single handle that can be used to work your triceps, chest, core, biceps and more.
Think of this machine as of an ultimate mini full-body workout machine. Typical users get up to 86% of their body working when rowing. This is an amazing total body workout!
To aid your workout, this machine comes with an onboard. This computer will provide you with all vital stats during your exercise as well as will help you to push yourself to the limits. The display will show you:
- Time elapsed
- Strokes
- Calories Burned
- Rowing speed
This console also comes with a fantastic feature that helps you program your training goals right into it. It will help you track your performance and will allow you to take full control of your workouts.
After you finish your rowing session, you can grab the two handles and fold machine in half. Then you can easily transport the machine to the corner of a room or put it in a storage room. Very convenient for those who have limited space available.
Skandika SF-1140 Pros
- Affordable for beginners
- Easy and quick assemble by yourself
- Hear rate analysis additional option
- Adaptable to a wide range of exercises
Skandika SF-1140 Cons
- Not ideal for all users
- Not ideal for advanced users
What customers say about Skandika SF-1140
This machine is good all round. Not too difficult to assemble. It is compact and light enough for me to move it around my flat. Love it!
This machine is not for the professional rowers, but for me – it is great. It runs smoothly and does the job that it is intended for!
Very good rowing machine that feels great. Although it is a bit cramped and the maximum resistance level is a bit too easy for me. Other than that – it does a good job.
Very good quality machine. Very easy to build and move it around. It took me about 20 minutes to assemble it all by myself.
This machine is an amazing pick for everyone who may not have enough space in their flat for a great rowing machine. For those who do, it may appear a bit cramped compared to other rowing machines. If you are over 5'8", this machine will not be a good pick for you. It will be too little for comfortable rowing, and you won't be able to extend on it fully.
We recommend this machine to beginners and intermediate rowers. But you have to be under 5'8" to use it comfortably.


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MySpaceTV lands global TV distribution deal
The move is a play to make shows such as MySpaceTV's "Quarterlife" or "Roommates" available outside of the United States, or create localized versions of the shows, said Travis Katz, managing director of MySpace's international arm.
The partnership with ShineReveille, the distribution arm of Elisabeth Murdoch-founded Shine Group, is one of News Corp's most ambitious plays to underscore MySpace as a media platform, distinguishing itself from fast-moving rival Facebook.
"Partnering with ShineReveille empowers us to export MySpaceTV content to local TV networks globally -- something we've never been able to in the past," Katz said in a phone interview.
Just last week, MySpace announced a deal with three big music companies to start an online music service, seen as a rival to Apple Inc's popular digital entertainment service iTunes.
Its latest deal comes amid a broad rethinking of the way shows make it onto TV. A prolonged U.S. writers strike forced big media companies to reconsider the time-honored tradition of paying for expensive pilots only to reject many of them.
General Electric Co's NBC Universal has gone as far as to say it aims largely to avoid the development of pilots.
MySpace's deal also raises questions on the potential for Web-developed shows on TV. When "Quarterlife," a show about young adults that originally aired on MySpace, made it to NBC television, the show's ratings tanked. The TV version combined more than thirty short videos into six hour-long episodes. Despite 5.5 million views on MySpace, its NBC broadcast drew 3.1 million viewers, placing it last among the big U.S. TV networks in its time-slot.
Forrester Research analyst James McQuivey said big media companies have spent years trying to use the Web as a content laboratory, but few, if any, have been successful so far.
"It hasn't produced bankable shows outside of the Internet, or even on the Internet," McQuivey said. "If you look at it (Web shows), there's a good reason why -- it's mostly bad."
Yet Katz said the migration of Web content to TV was a work in progress that may forge a new model for show production.
The Shine deal, in which the companies will share licensing revenue, gives new generations of budding producers a global platform. "You're (producers) not just stopping with MySpace," Katz said. "You're tapping into a much broader audience."
MySpace's first UK-programming co-production deal is with legendary British horror film imprint Hammer Films. "Beyond the Rave," a feature-length film about vampires and dance music, will air on MySpaceTV on April
Shine, renowned for making hit versions of local programs in other regions, brought British comedy "The Office" to the United States. It purchased in February TV production company Reveille, founded by NBC Entertainment Co-Chairman Ben Silverman.
MySpace will retain all Internet rights for its programs globally and all media rights in the United States.
Forrás: http://www.reuters.com/article/technologyNews/idUSN0929275920080410?pageNumber=2&virtualBrandChannel=0


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Rockline was a much better moving option than getting my friends to help. Their affordable pricing was good and they finished quickly too. Not all the movers in Atlanta are created equal. I wanted to hire a professional local mover and Rockline Moving fit the bill, thanks!


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- An Australia law requiring tech companies to pay publishers led Facebook to ban news on the platform.
- Microsoft's president Brad Smith said he hoped other countries adopt similar measures.
- Microsoft is also working with European publishers on an "Australian-style arbitration mechanism."
- Visit the Business section of Insider for more stories.
Microsoft President Brad Smith said that he hopes the US and Europe take a similar approach to Australia's move to require tech companies to pay news publishers.
Facebook last week banned users in Australia from sharing, interacting or viewing links to news articles after the country passed a law requiring companies like Facebook and Google to pay news publishers for content that is shared on their platforms. Google also initially protested the law but eventually made deals top pay news publishers like News Corp. Australian Prime Minister Scott Morrison said on Saturday that Facebook was back to negotiating with Australia.
Smith has been vocal about supporting the Australian government and critical of Facebook and Google's handling of the stand-off. He said he wants the US to make similar moves to Australia's.
"I'm hopeful that the Biden administration will support and embrace this kind of policy to redress the imbalance between something like a search service by Google and the position of the news publishers," he told Insider's Nicholas Carlson on Thursday.
"There's some important legislation in Congress that will enable publishers to join together and bargain collectively and give them anti-trust immunity to do so," he said. "That's part of the Australian proposal that I think is innovative and deserves attention."
He said the need to hold Facebook and Google accountable for misinformation was recently reflected in the January 6 riot on the US Capitol.
"You cannot have a well-informed public without a healthy, independent base of professional journalism, so think all of these things are coming together in 2021 and they should," he said.
Microsoft is working with European news publishers to set up an "Australian-style arbitration mechanism" requiring tech companies to pay publishers. European news publishers also lobbied the European Union last week to use parts of the law that would require tech companies to pay news publishers.
Smith said that Microsoft News has shared more than $1 billion with US publishers through a revenue-share program. He cited Apple News and news initiatives from Facebook and Google as "good" examples of how tech companies pay publishers, but said governments need to be involved, too.
"You need to look at the economic value that in effect is being transferred, I believe, from the news industry to the tech gatekeepers simply by virtue of being able to include and make use of their news content on a search service or on a social media platform — this is where I think that we need the intervention of government," he said.
Smith said there's a need for independent journalism and that Australia's law defines independent journalism as an enterprise that doesn't act on behalf of groups like government or advocacy organizations.
"There are going to be many different ways and needs for us to support journalism — it's not just a panacea that comes from one innovation and change between tech platforms and journalism," he said. "But I do believe that this change that we're seeing from Australia is relevant to the world and will make the world's democracies healthier."
Source: Read Full Article


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A divorce is ever a troublesome event for each of the sides. The spouses are full of multiple emotions, and the unpleasant ones are most predominant. Nowadays, in order to make your divorce much more convenient and effective, there is a possibility to establish an Online Divorce that is really a helping hand for the couples who are willing to deal with the entire procedure as fast as it can be. What is the crucial difference between the traditional way of the divorce and the modern one? We will tell you about every issue with ease. Let's start.
The Traditional Divorce
The traditional way of the divorce is a little bit out of date. Firstly, you have to meet the residency requirements that are an inescapable part of any divorce. The residency requirements depend on the state and county, moreover, they also depend on the courts, that can change several requirements in their opinion. The divorcing couple can easily get the necessary information on the official websites of the courts of the counties they are living in. The traditional divorce can both Contested and Uncontested ones. The Contested Divorce is far different from all other types of the divorce due to its complicacy. The spouses have the apparent grounds for the marriage termination, and they want to fight for their interests like the child custody, the spousal support, the alimony, etc. The division of the property is absolutely another side of the coin where nobody is eager to let another one choose what part to take. If you have the Contested Divorce, it is a great deal to agree within the couple all the burning issues of the marital property division.
The Uncontested Divorce is much easier to get, therefore, the couples are trying to get this type of the divorce. Here everything is amicable and friendly. No claims and extra deals, no mediation processes, no negotiations, etc. The Uncontested Divorce is much faster due to all these reasons and requires less money, that is also a significant fact. For each of the divorce types, you may need to file for. You can go to the lawyer and pay him/her $600 for every working hour or else you can do the preparation of the documents by yourself. It can take much time and insurance in your skills. Nobody begins the process if you are not absolutely sure in the case and the main proceedings of your divorce. When the papers are ready, you can serve your spouse with all the necessary information and the documents for the divorce process. Then, you wait for a particular period of time and get the signed or rejected divorce papers back. The next steps will be going to the Family Court, and follow the court decision regarding your case. The Contested Divorce may last for a year or more, the Uncontested Divorce can last much less, for 60-days or even less if everything is done correctly and on time.
The Online Divorce
The Online Divorce is the tool that can be exactly helpful with the preparation of the documents for the Family Court. When the couple is having the Uncontested type of the divorce, they need to save their time and money, and also they want to stay in friendly relations. The Online services are available 24/7, it is a fast way of the preparation of the documents, it costs only $139-149 and requires no hidden fees. The magic stick is right here, why not to try? If you want not to use the help of the attorney and do not plan to take the Contested Divorce, such a thing will be just in a great demand. You simply find the well-trusted service, order your documents for being processed, pay the fee for the preparation of the documents, etc, wait for 2-3 days and get the ready divorce paperwork done. The online service does its work with no breakdowns and mistakes. The Family Court can take your papers and approve them with the 100% warrant. Then, you will pay twice less and will not be worried about the result, Sounds rather well, does not it?
It is not a secret that nowadays more and more people avoid getting their papers done by means of the attorney and trust the online services more. The easiness and the high efficiency of such services prove that it is worth digging into this idea and read more about the whole divorce process in general. We recommend to search for the further information in especially your case, but also we are sure that the Online Divorce is really best-selling due to the huge account of its pros.
Published by john paret


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German pop singer Kim Petras dropped a string of new singles today, including the SOPHIE-featuring track "1,2,3 dayz up." Petras also shared "If U Think About Me..." and "Homework," the latter enlisting Los Angeles artist lil aaron. Listen to all three songs below.
Petras released her most recent EP Turn Off the Light, Vol. 1 in October 2018. SOPHIE's debut full-length OIL OF EVERY PEARL's UN-INSIDES arrived last June. Read "How SOPHIE and Other Trans Musicians Are Using Vocal Modulation to Explore Gender" on the Pitch.


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SAN JOSE — The developer of two of downtown San Jose's tallest towers has bought a historic building that's rented to a prominent pizza parlor, hoping to guarantee a lively retail scene across the street from the future residential complex.
Bayview Development Group, acting through an affiliate, has bought a historic brick building at the corner of South Fourth and East Santa Clara streets that's right across the street from City Hall and the site of the under-construction Miro residential towers.
"In this case, the building is adjacent to one of our core projects," said Ted McMahon, chief investment officer with San Jose-based Bayview Development, which is developing Miro.
Miro, which will consist of a pair of 28-story residential towers, is poised to dramatically re-shape San Jose's skyline and would bring 630 units to the area.
The Bayview Development affiliate, Sunstone Fund I, paid $4.5 million on Feb. 1 for the two-story building, according to Santa Clara County public documents.
The building contains ground-floor retail, including 4th Street Pizza. It also has residential units upstairs.
Historically known as the State Meat Market, the building was originally constructed in 1900, according to San Jose's list of city landmarks. The building is in the style of "Edwardian commercial," according to the National Register of Historic Places.
Bayview Development bought the 11,000-square-foot building, located at 148 and 150 E. Santa Clara St., despite its growing reluctance regarding purchases of downtown properties.
"Generally, we've dialed back acquiring in downtown," McMahon said. "Pricing has become unrealistic relative to our current rent projections."
Prices have risen as investment, development and tenant interest in downtown San Jose has intensified in recent years, partly due to mega expansions being planned by two tech behemoths.
San Jose-based Adobe, which now occupies a three-skyscraper headquarters campus near Park Avenue and South Almaden Boulevard, is actively planning construction of a fourth tower next to the existing complex, enough new space to accommodate 4,000 of the tech titan's workers.
Near the Diridon train station downtown, Google has proposed development of a transit-oriented community of office buildings, homes, shops, restaurants and parks where 25,000 people could work, including 15,000 to 20,000 of the search giant's employees.
At the Miro, the development will also offer 18,000 square feet of commercial space, including enough room for a sit-down restaurant, a coffee shop and other retailers.
Bayview executives believe the recent purchase will bolster the retail and restaurant efforts at Miro, and benefit the development's future residents.
"We want to do our part to ensure the neighborhood has owners that care about creating a vibrant community," McMahon said.
And for now, 4th Street Pizza will be retained as a business that can add to that vibrancy.
"We like the actual pizza and the tenant," McMahon said. "No current plans for any change."
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don't subscribe
Obituary: With revenues of $20 million and 700,000+ subscribers and with the branding strength of a cable channel's strongest franchise, Biography Magazine is "re-organizing" itself into a quarterly "club magazine," according to adage.com. Even with co-owners Hearst, Disney and GE, the magazine couldn't quite figure out the formula for dropping some of the $20 million to the bottom line. (Too many experts?)
Club magazine obviously means "member" magazine or, for rexblog regulars, a custom magazine. I predict this means we'll be seeing trend stories in a day or two speculating if this is a bad indication for the "launch" of MTV Magazine and Lifetime and, I'm thinking, ESPN, the magazine (which, by the way, is quickly making it's way up the ladder of my favorite magazines, but I digress, which, I guess so did Biography).
My suggestion is that American Media buy it and let Bonnie Fuller pump it up.


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'I Dig Long Beach' - Tree Planting Project
The "I Dig Long Beach" tree-planting project funded by a Port of Long Beach grant is doing more than greening neighborhoods and building community pride – it's also providing a chance for local businesses to participate.
When more than 100 people gathered on Saturday, September 20, at Los Cerritos Park in the Bixby Knolls area of Long Beach for the planting of 60 trees, they were joined by Port of Long Beach contractor Edgemoor Infrastructure and Real Estate, who deployed one of its 2,500-gallon water trucks to assist with watering the saplings. Each of the young trees needs 15 gallons of water upon planting to ensure a healthy start and successful growth.
Edgemoor, a Maryland-based real estate, development and finance company, is part of the construction group that worked on the new Long Beach Courthouse and the 405/22 Freeway interchange. Edgemoor contacted the Port for opportunities to contribute to a green community project. The Port steered Edgemoor to "I Dig Long Beach."
Edgemoor spokesman Jeff Fullerton said, "As a company we really like to focus on giving back both time and money to the communities that we have active projects in, helping offset our carbon footprint and making those communities as livable as possible."
The tree planting honored the memory of Long Beach resident Lillian Kawasaki, environmentalist and former board member of the Water Replenishment District of Southern California who died last year. As a special tribute to Kawasaki, a jacaranda tree was planted to commemorate her environmental efforts.
The Los Cerritos Park tree planting is part of a citywide project funded by the Port's Greenhouse Gas Reduction Grant Program. The Port has awarded over $18 million since 2009 in community grants to reduce the health effects of port-related air pollution and greenhouse gases.
With its landmark Green Port Policy, the Port of Long Beach is a recognized industry leader in environmental stewardship worldwide.


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Famous BBQ Chicken Pizza - 3 Pack
Pete and Sam's
(Customer Reviews)
Sam Bomarito founded Pete & Sam's with his cousin Pete Romeo shortly after being discharged from the Army Air Corps in 1948, and since then the restaurant has become a certified Memphis institution, serving traditional Italian and American dishes based on family recipes that haven't changed in decades.
Pete & Sam's continues to be owned by the Bomarito family, and it's become especially renowned for its thin-crust pizzas. Topped with house-smoked pulled pork, this pizza is a true taste of Memphis history.
More Details
This package serves 6-9 people and includes 3 BBQ Chicken Pizzas (12" each)
Instructions / Storage
- Pizzas ship frozen with dry ice
- Do not remove dry ice with bare hands
To Serve
- Preheat oven to 415 degrees Fahrenheit
- Preheat metal pan
- Remove plastic wrap and cardboard from pizza and place pizza on the preheated metal pan
- Bake for 8 minutes on metal pan until cheese is melted
- If a crispier crust is desired, bake for an additional 2 minutes
- Bake for 10–12 minutes until cheese is melted
- If a crispier crust is desired, bake for an additional 2 minutes
Shipping Details
- Pete & Sam's ships Monday-Friday of each week
- Orders cannot be shipped to P.O. Boxes
- Orders shipped to Alaska and Hawaii via 2-day will incur an additional $20 charge or $35 for Overnight Shipping. Sorry guys!
- Have more questions about Shipping? Read our Shipping FAQ page.
Corporate Gift Orders
You can send this item to up to 15 different addresses using our regular checkout. Looking to send this item to more than 15 people? Have our Corporate Gifting Team assist you.


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One of the most difficult aspects of any analytics implementation is that often the person setting up the analytics has no ongoing access to the back end of the website; this makes adding tracking codes and making changes a potential challenge, as you may need to navigate different teams and site stakeholders in order to get anything done.
Update: While this method is still valid, GTM now supports automatic event tracking. Find out more here.
This article assumes that you already have GTM installed on one of your sites. If you're wondering how to do this, here's a short video from Google that shows you how:
The Code
Traditional Google Analytics event tracking and Google Tag Manager import event data in slightly different ways. Analytics events get pushed directly to the tracking code while Tag Manager pulls in event data from something called the data layer. Both methods require the same elements in order to function properly, but they each use a different syntax:
//Traditional Google Analytics Event Tracking onClick="_gaq.push(['_trackEvent', 'category', 'action', 'optional_label', optional_value, optional_noninteraction']);" //Google Tag Manager onClick="dataLayer.push({'eventCategory' : 'category', 'eventAction' : 'action', 'eventLabel': 'optional_label', 'eventValue' : 'optional_value', 'event' : 'eventName'});"
While the event tracking code still uses an onClick event, there are 3 noticeable differences:
- Everything is pushed to the data layer (via the dataLayer.push method) instead of to the _gaq tracking object.
- A data layer name and a value need to be defined (as opposed to just a value).
- The syntax is slightly different; name and value are both defined, separated by a colon.
Use the tag manager code just as you would a regular event tracking code. Use the syntax above, but replace the values with your own; leave the variable names ('eventCategory', 'eventAction', etc.) as-is.
Here's an example of how you could code the submit button of a contact form:
Updating Your Tags
Setting Up the Event Tracking Code
This will be very similar to traditional event tracking, with the only real difference being that we'll be pushing name/value pairs to the dataLayer instead of values straight to the tracking code. Use the syntax below, and replace 'category', 'action', etc. with whatever values you would usually use. Note the 'event'/'eventName' pair: this is the only entirely new name/value pair. Again, name this whatever you want, but keep it descriptive.
onClick="dataLayer.push({'eventCategory' : 'category', 'eventAction' : 'action', 'eventLabel': 'optional_label', 'eventValue' : 'optional_value', 'event' : 'eventName'});"
Setting Up Your Macros
Next up, you're going to want to log into your Tag Manager account and navigate to your website's main interface. Click the 'New Macro' button on the top right portion of the header.
Macros are basically name /value pairs that help transition information from the data layer to your Google Analytics account. We're going to create a dataLayer variable macro for each variable name in the Tag Manager event tag. Use the same terminology we used above, and ignore the 'eventName' for now, we'll get to that in a sec:
Repeat this for each variable (eventCategory, eventAction, etc.). We'll be using these macros in a later step to convert our dataLayer information into values Google Analytics can use.
Creating the Tag
In order to get the event tracking data into Google Analytics, we'll need to set up a tag that will fire only when the event is triggered. If you've already set up a GA tag using Tag Manager, this will be quite familiar.
From the Overview page, click the 'New Tag' button at the top of the screen. You'll be brought to the tag interface, where you can input the tag name and choose which type of tag you'd like from the dropdown. For this article we're going to set up an event to track contact form submissions, so I've named the tag accordingly and chosen 'Google Analytics' for the tag type. Enter your GA property ID and choose 'Event' in the track type dropdown box.
Adding the corresponding macros to the event tracking macros is all you need to do to ensure that all the appropriate data eventually gets passed to your Analytics account (see above). Please note that you don't need to include the optional macros if you a) don't have values for them, or b) don't care. You won't need to use any actual values in these parameter boxes, just the macros.
With our tag set up, there's just one more step before our event tracking setup is complete: we need to set up a rule. GTM rules dictate when a tag fires. The usual Google Analytics tracking code will have a rule to fire on all pages. A rule for event tracking codes needs to be fired whenever your event name is sent to the data layer. If you've completed all of the previous steps, the rule will look like this (replace the event name with whatever you used in the above steps):
Click save, and that's it! You've set up your first event in Google Tag Manager. Publish your new tag container and it will begin tracking immediately. As always, check your analytics in a day or two to make sure everything's tracking OK.


text: We are thrilled that you are interested in finding out more about who we are. We'd love to earn the right to learn more about who you are as well. We are a medium sized youth ministry but we do our best to welcome those who enter the room. Our goal is to do everything we can to help you feel welcomed and included among us. Here are three things you can do to help us out with this:


text: Charleston and the town of Flers de L'Orne, France, in the region of Lower Normandy, have had a special relationship since the days after WWII when Charleston aided the battered town by providing over 100 tons of supplies. This Friday morning during the 7:30am meeting of the Rotary Club of Charleston – Breakfast we will welcome Mayor Tecklenburg and a delegation from the town as they visit Charleston. All Rotarians and welcome to attend.


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Course for landlords registered with South Lanarkshire Council – Awareness Session on the new Scottish Private Residential Tenancy (Ref: 26418SL)
Council Offices
- April 26, 2018
2:00 pm - 5:00 pm
This course is being run in partnership with South Lanarkshire Council to provide landlords registered with this local authority access to essential tenancy management information. Landlords looking to attend this course are required to provide their South Lanarkshire landlord registration number. If you have not provided this information you may still get an email saying that your booking has been received, but your place is not confirmed until you receive a booking confirmation email.
The course concentrates on the new Private Residential Tenancy (PRT). A private rented sector tenancy with a start date of 1st December 2017 onwards will be a Private Residential Tenancy. The course will cover all the documentation and associated processes for a PRT. The course will also provide clarification of the differences in operating this new tenancy and Short Assured Tenancy that will run on past 1st December 2017.
Course Content
- Types of tenancy agreement with emphasis on Private Residential Tenancies (PRT)
- Contractual clauses
- Grounds for repossession of Private Residential Tenancies and Assured/Short Assured Tenancies (SAT)
- Serving notice for PRT and SAT
- The role of the First-tier Tribunal
Course tutor: Gail Bowden, LAS Tutor, Landlord Accreditation Scotland
Venue: Corporate Dining Room. Floor 1, Council Offices, Almada Street, Hamilton, ML3 0AA
Parking information: Free Parking is available behind the building: Beckworth Street Car Park
*Please fill in your landlord registration number in the LAS Member No. space.
Course LocationAddress:
Registering for a course
Registering for a course is simple. Select the number of delegate places required from the list and click 'register' now. Immediate payment is required to secure a place on the course.
If you cannot select the number of delegate places you require, the course may be full. Please contact the LAS office on 0131 553 2211.


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NEW YORK, November 7, 2010 – FilmDistrict, the recently announced company founded by Graham King, Tim Headington and Peter Schlessel, has acquired all US rights to EuropaCorp's sci-fi action adventure film, starring Guy Pearce and Maggie Grace. James Mather and Stephen St. Leger will direct LOCKOUT from their script co-written with Luc Besson, who also serves as the producer of the film. Peter Stormare and Tom Hollander co-star.
Set in the near future, LOCKOUT follows a falsely convicted ex-government agent (Pearce), whose one chance at obtaining freedom lies in the dangerous mission of rescuing the President's daughter (Grace) from rioting convicts at an outer space maximum security prison.
"EuropaCorp is one of the most dynamic production companies with a great track record of delivering high octane product," says Peter Schlessel, CEO of FilmDistrict. "They make bold commercial movies which fit perfectly with FilmDistrict's mandate to release quality films in wide distribution."
"Luc and I, and everyone at EuropaCorp are thrilled there is a new and exciting distribution company in the US. We have great respect for Peter and the team, and this deal is about friendship and creativity," says Pierre-Ange Le Pogam, co-founder of EuropaCorp. "We are proud and excited to be a part of this new adventure, and we plan to deliver a unique film. We are looking forward to working with Peter, Bob and everyone at FilmDistrict. It will be fun."
"Luc and Pierre-Ange are creating a highly entertaining sci-fi film with classic action sequences, a gripping story and a great cast that audiences will love," said Bob Berney, President, Theatrical Distribution.
The deal was negotiated by Peter Schlessel and Pierre-Ange Le Pogam.
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