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3rd Ear Music Hidden Years Archives Where are they now? Part 10
Where are they now? Part 10 <15 14 13 12 11 10 9 8 7 6 5 4 3 2 1>
If you have any comments about these people, please drop us a line.
Feel free to comment - dates & facts may need tweaking
Witbank News 1961
The Boys Band Witbank Moth Hall Session 1963
l-r Johnny Kambouris, Nick Rowlands, Peter Farnham & David Marks
The Boys ST Margaret’s Church Hall Session – Witbank 1962
l-r Cecil Patterson, David Marks, Peter Farnham, Jannie Hank Bee Maree & Johnny Kambouris (Photo – Mervyn Van Rooyen)
Peter Sprint Farnham Cecil Paterson
Jannie ‘Hank Bee’ Maree Johnny Kambouris
Witbank Technical College Cadet Band 1962 David Marks Centre Jannie Maree (Lance Corporal Bugler) 2nd row right. Mervyn Van Rooyen (Sergeant Trumpeter) 1st Row right. Note the Rock String Ties – I thought it would be cool to substitute the old school tie tradition with a colourful braid & high shorts. Some say it cost us the Eastern Transvaal band competition – won by Belfast High.
The Boys Band ST Margaret’s Church Hall Session – Witbank 1962 l-r Cecil Patterson, David Marks, Peter Farnham, Jannie Hank Bee Maree & Johnny Kambouris – Note the 2 Amp PA (Photo – Mervyn Van Rooyen)
The Boys Band Witbank Moth Hall – the last session 1964
DEAN 4 1963 – basis of the Jamtarrie’s Mine Rock Band – BRUCE McKEWAN (Drums), BILLY ASHCROFT (Lead Guitar) DEAN (Vocals) & TOM DOOLEY (Vocals & Guitar)
Headline Die Ster, March 1967 warning SAfrica that Folk singing will eventually lead to a communist take-over. So it was written!
Free Peoples Concert, Wits 1972 – Johnny Clegg, Sipho Mchunu & WaMadlebe
Studs Turkel & Jeremy Taylor Reunion, Chicago 2005
Tom Dooley Guitarist, humorist, humanitarian Welkom 1963
Ian Bubb UK Rock & Stones Fan with my Painted 1960 Beleni Guitar, St Helena Gold Mine 1964
Ray Watson on his Savannah Northern Botswana 2000 - still smiling & singing!
The Boys Band Jive, Rock & Boppers Witbank Moth Hall Session 1964
The Boys Band Witbank – 1961 to 1964 Founder & leader Peter Sprint Farnham attended our opposition high school, Witbank Hertzog High. In 1961 he was considered the second fastest under-16 100-yard sprinter in the world. The record holder was another SAfrican, Paul The Dash Nash. Both did the sprint in less than 10 seconds flat. The dashing good-looking Farnham was indeed a local hero in Witbank & possibly the reason why our sessions were always so packed with faithful pretty girl fans & so many athletic looking boys. Peter's dad was the town’s Judge.
The Boys Band had another good looking Oke - a Cliff Richard look alike, tall dark & handsome vocalist, Cecil Paterson; he left the band after a year to become rich & famous. We never heard from him again. (Although we were told, some 40 years later, that Cecil was still singing & performing somewhere in Durban.)
Jannie ‘Hank Bee’ Maree was our lead guitarist – our own Hank B. Marvin in every department, sound & chord – except for the looks… well almost. Bespectacled, brilliant, belligerent, spoilt & rotund, Jannie was an Afrikaner pioneer in Rock & Roll. An enigma indeed! Especially in early 60’s Witbank. Always first in class, Jannie was the sort of guy that hung around with the skinny smoking gang as a decoy; to detract the attention of the weighty 4-eyed chaperone from the girl you aimed to kiss at the Church Hall sessions during the Orange Juice, Tea & biscuit breaks.
Jannie was one of those hidden talents who wilted under the pressure of pleasure. He could play Hank B Marvin solos better than Hank B Marvin – or so we all thought; but come the day & the solo & Jannie would just have to fluff the odd note & pound a missed chord. But he was a genius. Jannie Maree hand-carved a duplicate Hank B. Marvin Fender Stratocastor in the School workshop for himself & fashioned me a white 4-string Fender Bass as well - from magazine pictures of Jet Harris’s Bass.
Johnny Kambouris was the Witbank village Drummer with merchant connections & he too came from our opposition school – Hertzog High. Johnny was suave & cool & one of those drummists who could whack out a back beat without one strand or streak of his shinny black Greek hair moving out of place.
(Both Jannie & Johnny were in their respective school Cadet (Brass & Field) Bands. In 1962 I was appointed Sergeant Drum Major (Band Leader) for Witbank Technical College – in between Rock sessions & Rugby, a combined Witbank Schools Cadet Band was formed to parade through the streets of the town.)
Nick Killian (Rowlands) replaced Jannie in the Boys Band in 1963 – a time when Pete decided to move us out of The Shadows & into the Beatles. Great move. Nick was working at a Steel Mill & Jannie got very hurt at being dropped from the A team band. But it was only Rock ‘n Roll! Nick joined Lee Men Limited in Durban around 1967 & became a name in the 70’s as Nick Rowlands & Birds of a Feather - one of Clive Calder & Ralph Simon’s many bands in the 1970’s. Nick played left hand - a real lead guitar player with a real Vox AC30 amplifier & a real Fender Strat.
1963 I was working underground on the East Rand Gold Mines & bought myself a solid body Hofner Bass, an SAR railway waistcoat & a BMW (motorcycle) on the never-never. With Bass on my back I’d do the Springs Journey every Session Saturday after work. I stayed with the Le Roux’s – my girl Lucile’s place. We loved those dances; despite the distances – between Springs in the East Rand & Witbank.
Peter Farnham did the singing & I tried my hand at harmonies after Cecil departed – but as some say we were more of a live Witbank instrumental session band than a 3 part harmonious Liverpool outfit. Back then the general rule-of-thumb was that one was appointed into the position of Bass player - usually because you couldn’t play the guitar past 3 chords & because the Bass Man was often the one with the van – or the transport & organiser; the duty dude with access to resources such as church halls & poster paint.
Bassists were also usually the sound person with a Busker’s know-how of how best to hot-wire or connect two microphones & 3 guitars into one single guitar amplifier.
The rhythm Guitarist was the one who worked out all the songs & was usually the guy who had access to some girls & money – from an uncle or an aunt who owned pre-GI Blues Elvis Presley & a few Cliff or Fats Domino records.
The drummer kept the girls together (& more often than not the band apart with the racket) & he also attracted groupies while the lead guitarists just kept coming & going; more especially if they didn’t have a hand in posters or recycled cardboard. Lead guitarists in my experience also never, ever learned to drive an automobile.
Bass guitarists usually ended up becoming sound engineers & record producers in the 80’s. (I have a list of 30) but my own ambitions, as a songwriter rather than a singer, were getting the better of me.
I heard the future & it was Sound. It wasn’t in the 4-string plank I was spanking. Teenage love songs didn’t work that way for me! I also found it a whole lot easier, & far more fun, to carve out my own lyrics with the 3 chords I’d learnt on my One Pound Fifty BELINI (Gallotone) Guitar, than it was to figure out the session songs from the top-40. In English SAfrica, nobody that we knew of or heard on LM or Springbok Radio was playing his or her own songs. You wouldn’t get gigs.
Between SAfrican Rock & a Hard Space – Covers - Careful What & Where you Sing
There was no such thing as original English SAfrican Rock & Roll in the 50’s & 60’s – other than the occasional American sounding pop tune. The bands that I worked in would listen to but not consider doing my wordy ‘folk’ feel songs. Bob Dylan hadn’t come into the picture in 1962 / 64 but after being turned on by Jeremy Taylor’s wordy ballads (at the Rand Easter Show in 1961) I just knew that there was a place for words in Rock ‘n Roll – despite what Pythagoras had to say, 3000 years ago, about mixing words with music. Dangerous!
I loved Roy Malan doing Little Richard on his yellow Uke (See Pretoria Bugle Boys 1958 / Roy’s Ukulele Hatfield Primary) - Tuti Fruti or A Wop Bop a Loo Bop a Whop Boom Bang made far more sense to me & my rock friends than anything we could understand.
Somehow I preferred the word of Lonnie Donnegan’s Deep South Negro Folk Songs (I didn’t know where they come from until years later) or a lyrical Tommy Steele show tune or two. (Although one would never let the Boys in the bands know you were listening to that sort of stuff.) And then Sam Cooke’s Chain Gang – Zap! It pushed me over the edge in 1962. So powerful was this Rock I thought, that with a few well placed words neatly tied up in a couple of tuneful chords through the power of sound (a couple of Vox AC 30’s) we would conquer the world & free mankind from slavery forever. Especially those folk down at the bus rank opposite Costa’s Café in Witbank. (Where I shook shakes on a Saturday Morning & spent all my money in the Juke listening to Sam Cooke, Roy Orbison & Elvis Presley.)
But it was songs like Jeremy’s Ag Pleez Deddy, The Lift Girl’s Lament, the Ballad of The Northern Suburbs & Hennie Von Saracen that really turned me on. And pretty soon I was pouring out tunes about Gold miners & Diamond Diggers, 5 Iron Southern Suburbs Pinball Legends & Coal Mine disasters. But the boys in the bands I was in, for obvious social session & radio play reasons, wouldn’t listen. This wasn’t easy for me to accept; I usually got a good response from the odd original song that I did do solo. And I certainly was no singer – so I figured it must have been the songs.
After the Boys Band disbanded, late 1964, I got transferred down to St. Helena Gold Mine, Welkom, in the Free State & joined the Jamtarries – a great local weekend Rock band of underground Gold Miners – Billy Ashcroft (Lead Guitar), Tom Dooley (Rhythm Guitar), Bruce McKewan (Drums) & Dean (Vocals.) As with The Boy’s Band the JT’s also started by stepping out in the Shadows of Cliff Richard, Elvis & the Beatles.
The Jamtarrie’s band was the official backing band for the weekly Goldfields Mine Variety Concerts. We played all over the States. Between Variety sets & band changeovers, I would sometimes be invited to do two or three acoustic guitar-picking tunes on my Nylon strung Levin. I would start my solo song-set with the obligatory Donovan tune (Dylan hadn’t been invented yet - the early 60’s OFS) & some or another familiar crowd favourite – usually a medley of old Afrikaans Cape Malay folk songs – and then into Mountains of Men or Fairy Gold & on one occasion, The Coalbrook Mine Disaster.
Mountains of Men had reached number 17 on the LM Radio charts while I was working underground at Saint Helena in 1966. Mainstream Goldfields wasn’t entirely LM Radio country, that’s for sure, but Mountains soon became a favourite in those Mine Variety Concerts. It was the first time I ever signed autographs; Tom Dooley was an expert hand at signing those programmes & pink autograph books and advised me not to stand on ceremony; just sign. I spent hours underground & in between my surface song-writing sessions, perfecting a fancy unique revolting rocker’s signature. Throttle Jockey I scribbled. After all we had our own pretty crimplene skirted groupies to impress. Fame at last!
Gold mining town audiences, on a Saturday night - although usually polite & great fun at the start of a session or show - didn’t always remain like that. If the concert crowds (or our St. Helena teams) lost the Rugby that day - and Orange Free Stators were sort of sensitive to these social sporting issues, especially over a few fruity Brandies & Cokes - one would never know what to expect. What if they ventured to closely & listened to a tune that they’d never heard before, mentioning Men slaving & Men working? I wasn’t naïve to the politics of paranoia in and around South Africa at the time. Self-censorship was taken for granted.
While playing my own songs solo, sans the bands, before I joined & after I’d left the Jamtarrie Variety Conecrts, a polite talking too was given on a few occasions. Why do you sing songs that could cause agitation? South African men shouldn’t do those sort of irresponsible things in public. You should sing Pat Boone, Johnny Mathis or more Ricky Nelson tunes. You don’t need to sing or say silly things on behalf of the Natives; you’re a nice young white gold mining male of rugby & reason! And besides they have their own music & we have ours. This didn’t always inspire a pleasant evenings entertainment, when a gang of bearded giants would storm out loudly, giving the folk singer the finger as they swayed past the stage murmuring Moffie, or Communist, or some such refined remark.
All that stuff had to be taken into consideration when trying to get a band to play your wordy folksy ballads. And whether you thought about it out loud or not, self-censorship prevailed even back then & it made one think about playing the music or singing the song - before a note was wrote or sang. And as I soon discovered, there was always a suit at the top of a Record label pile or lurking in the SABC library calling the tune anyway. (Cecile Pracher (RIP) – FREEMUSE)
This self-censoring thing spilled over into the mainstream pop market where compromise & caution had become a way of life...can’t sing this...can’t play that. It’s no wonder the world couldn’t listen to music from South Africa. Taking a break from The Boys Band story – herewith a brief (?) preacher break:
The only original SAfrican music of note – on record or in concert – came from white & brown Afrikaners & black Africans; white English African bands of Eurocentric decent singing original songs were virtually unheard of on radio or record. The rare American sounding original SAfrican pop piece only proved the rule. South African Music publishers were set-up to collect vast amounts of foreign royalties in this territory. And to retain those lucrative foreign catalogues, local commercial record labels & music publishers would insist that SAfrican pop & rock musicians’ record covers - the international quotas. SAfrican Rock music & musicians were not going anywhere anyway. With a limited market (75th smallest in the world at the time) it was not worth investing in local music. Talk about cultural genocide? 2005 & this inherited legacy is clearly seen & heard in the abuse & exploitation of young people in Pop Idols & the commercial cabaret & band scene in general. 10 years after liberation & still we do not hear a note of indigenous SAfrican music – traditional or contemporary - at any foreign tourist Holiday Hotel in South Africa, unless there’s a conference. Strange?
No matter that some of the less aware but overtly PC among us today may deny this – and it’s nothing that needs proof at this point - but we sometimes get the feeling that SAfrica’s vibrant & colourful hidden history is purposely being avoided; and the reasons are obvious.
Firstly – and I repeat, our Hidden Years Music Archive Project is NOT a witch-hunt; no regrets or recriminations; but there are a number of radio control freaks & record industry suits, who seem to have a lot more to answer for than we believe is important; and maybe something to hide? Whatever – drop it! We certainly aren’t going to get past you or the Beemers that front the BEE by digging our roots. It has little to do with nostalgia – because that would presume that we’ve all heard the music before & know the musicians & can sell the stories; that’s what makes the 2nd reason all the more illuminating.
It is simply non-cost effective to the catalogued nostalgia industry to sink corporate cash, media time & advertising space into education & information. The youth are brought up (or down) on the need-to-know basis; a careful measured diet of loud abusive miss-information in skin tights, hips, lips & tits. The last thing the catalogue or nostalgia industry needs is some old experienced elder of my ilk turning the young off a segregated hit target market mainstream & damming up a mass of money to be made. Potential product addicts & commodity junkies need to be force-fed the illusion of a material & PC driven life-style.
For me, these omissions & denials are not unlike the fear & paranoia that the old political masters suffered. For politics then, read economics now. If this assumption weren’t true (paranoia? - sure if you can afford to label me as such) - why after 10 years would we have no bottom-up roots music development or transformation programmes in place? Not a minute’s airtime or a centimetre column space that deals with basic hidden music history – outside of what the broadcasters & media are force-fed by the commercial record industry? More strange! There are students & children in Norway, Denmark, Germany and Sweden forming iNgoma dance troupes, iSicathemiya groups & singing songs in Afrikaans. Johnny Clegg & Sipho Mchunu ventured into that cross-cultural mind-field in 1970 & we’ve heard nothing of any collaboration since Paul Simon’s Gracelands. Shouldn’t this have something to do with so-called Local content, rather than have us believe that by selling more local product we would further the cause of art & culture? If it hasn’t worked now, after all these years, it won’t work through legislation. That’s for sure. But who other than the corporate controlled media is listening?
What we have now is ICASA & a handful of professional recording musicians, insisting that Radio & TV be forced to programme 50% so-called local content. I say it should, by now be 100% local – but it would have had to grow from the bottom up. It hasn’t. What they gonna do? Put us in camps & force-feed us Harlem hip-hop & multi-track American Kwaito?
As things now stand, who benefits from this ill-advised local content farce? The commercial recording industry – again? They made their fortunes off the back of the international cultural boycott at our (indigenous musicians’) expense… and they are going to do it again. This wouldn’t be a problem… they are free to do what they like with their profits; however given the situation in South Africa these past 350 years, would investment in local music education, information, from street level & grass roots not be the fairest & most logical way to go? Can we really blame the handful of pro local content musicians, the broadcast programmers & the media hacks for insisting that people be forced to hear what the commercial industry wants to sell? For music education South Africa has no more than 10 music books that could be used as textbooks. 7 of these were written & researched by foreigners – in 350 years? Those in control still know more about Harlem, Hollywood & New York than they do about Hillbrow, Soweto or Sophiatown.
Could we imagine for a moment what it would be like to visit Mali, Greece or Zimbabwe & not hear a note of the indigenous music in any hotel, club or on radio to which tourists have access? Wouldn't we think it odd? I'm not suggesting that every hotel in Durban should present indigenous music. But surely, somewhere in a tourist city of this size - be it on Radio, Theatre, or in clubs, couldn’t a tourist expect to hear musicians singing about, or praising the area (and the country) in which they work, live & breath, any night of the week? Is something wrong or what?
But back to The Boys Band & Other Banned Stories
Jeremy Taylor was perhaps the first SAfrican English-speaker of pale Euro decent to record an LP of original songs, back in 1962. Banned for airplay by the SABC.
Cabaret rock ‘n pop bands –The Bats, Dominoes, A-Cads & Dickie Loader & The Blue Jeans, often included original songs in their club & concert sets; they also had some local chart success with the odd self-penned pop song. But by and large the commercial industry’s hold on local pale English cover bands would not let go. It would be some years before the cross-cultural experiments between the segregated cultures, would take root. And 3rd Ear Music is proud & privileged to have played a major role in that process. (See Malombo – Township Blues Crews and Look Up Brother / Clive Calder / Hawk Story.
Johnny Kongos, Davey James & Freedom’s Children recorded original albums pre-1970 & Nick Taylor’s 1967 LP of South African Song writers, even found its way, by request, into the Robben Island Music Library. This RCA album, Shiny Shiny Fairy Gold (the title of one of my early 60’s songs) included tunes by Zimbabwean, John Edmond, new South African Mike Sears and myself. They were songs about South Africa, the bush & the mines, in English - a rarity indeed for those times. Unfortunately Mountains of Men – my tune about the so-called Gold Mine Dumps – was scratched out with a nail (or nail-file?) by the authorities; deemed undesirable for political detainees. (See Arne Leitz)
It wasn’t until 1969 / 1970, when Ben Segal’s 3rd Ear Music inspired singer-songwriters began to make records featuring local musicians recording their own experiences & putting it to music. Despite the few (original English) LPs of songs recorded by these popular concert & club bands, not one would get radio (SABC) play.
Mike Dickman - Yesterday’s Papers (3rd Ear Music 1969), Abstract Truth - Silver Trees (EMI 1970), Freedom’s Children - Astra (EMI 1969), Paul Clingman - Morning on The Line (Satbel 1973) & Brian Finch - Bringing Back The Good Times – were simply ignored.
See Clive Calder productions.
These musicians would fill concerts, clubs & festivals through word of mouth, silk-screened hand-made posters & the odd Hermes typewritten & hand sketched newsletter – no airplay.
Gerald McGrath the CEO of TEAL / RCA records in South Africa at the time was particularly adamant that South Africans didn’t have the ability or the talent to compete (his words not mine) with the foreign pop song onslaught; and for every track on an LP that wasn’t a catalogue cover, the South African publishers would be loosing revenue on sales & airplay, he once warned. The few original SAfrican albums that there were, just added fuel to his fury - I told you so McGrath would rant... a pathetic 200 or 250 units sold. He was soon to be proved right for all the wrong reasons.
3rd Ear Music - formed 1969 by Ben Segal & TEAL publisher Audrey Smith (I joined officially in 1970) had a mission to produce, promote & protect SAfrican songs – regardless of class, creed, colour or chord chart. Gerald McGrath was furious & responded with a threatening note to record labels & the SABC – avoid 3rd Ear Music. And he won!
Popular club & concert band, 4 Jacks & A Jill, had an international hit with one of my early gold mining songs in the 60’s – Master Jack. Today, strangely, it remains the most successful exported locally written, recorded & produced song; yet record labels insisted that signed bands should record foreign covers only. 4 Jacks followed MJ with 2 more Miner hits (Mr. Nico & Hey Mister – the Limehill Song) into the USA Billboard hot 100 in 1968.
Meanwhile back at the St. Helena Mine Hostel in 1964, my underground buddies Ray Watson & John Booth – as well as a number of the East Rand learner miners who’d been transferred down to St. Helena – grew to appreciate the original songs. Songs about Barberton, the Vaal River & gold mine dumps were popular with my gold mine friends & immigrants. One such foreigner claimed, some years before Master Jack became a hit, that he could see my songs being well accepted where he came from. Ian Bubb was a quietly raucous Englishman, a Rolling Stones fanatic & a mine-Geologist. With all this disparate opinion on the ground (& underground, true) the songs could be sung & accepted anywhere, without offending anyone. So despite my vocal limitations I began singing out loud. Enter the Sound Systems.
The one good friend who did encourage me & pushed the songs Big Mac (Neil McCallum) – Mac introduced us Miners to The Troubadour & the Folk Scene in Johannesburg 1965 - stayed mining up at Grootvlei in Springs. So down in Welkom, Ray would act like an ad hoc manager & somewhere in the middle of an inebriated mining sing along – after rugby or cricket - he’d shout out – hey David play Mountains of Men or Fairygold. And sometimes our favourite import tunes by American protest writer Phil Ochs – real wordy journalist type stuff that we’d brought down from those dens of iniquity - There But For Fortune, I Ain’t Marching Anymore, The Ballad of Medgar Evers & others. Listen to this, Ray would encourage everybody, cracking another bottle & singing along lustily… there but for fortune go you, you or I; you or I.
The Silent Revolution? Thanks John Kane-Berman for the book of the same name.
Commercial music cynics would say that the Gold Miners were either too far-gone to notice - not capable of enjoying those wordy ballads? Are we perhaps talking of genuine or potential revolting bleeding heart liberals here… the 60’s Gold Mines in the Orange Free State?? Other than the occasional ultra conservative advice about the dangers of songs with strong words – as if anybody was really listening - nobody on the mines ever punched us out on the content. So what was this problem that Record companies, radio compilers & pop bands seem to have had about SAfrican songs in English? They were making us feel far more important than we really were. Great for PC credentials as the years to revolution spun on.
Those songs I wrote were not written to piss anybody off. To have them recorded was not the main objective either – most of the songs dealt with issues that only a small circle of people could relate too anyway – to sing them for the fun of it was all that mattered! Nothing was as serious as this sort of hindsight wordage seems to be...we were just gliding!
So, given this genuine & relatively popular street level gold mine-village & small town support, one would have thought (in hindsight) that the music media would have been far more receptive to indigenous culture than they were… and remain. Music has never been seen or heard as a human right here; it was never part of our cultural upbringing; it remains a commercial commodity or a pop idol product only. So what upsets me is that I was denied access to cultures & music & musicians that I, and many like me - my straight-laced rugger-bugger underground gold mining comrades included - would easily have absorbed & related to. Ray Watson was an exception; a 3rd generation white Tswana who could speak the indigenous language before he learnt English. With that African cultural background came a broader universal appreciation & unquestionable acceptance of other traditions.
The point is, with a level playing field & the reaction on the ground (as it were), South African songs & singers could easily have made the cross-cultural grade – relatively speaking... and this country would have been a better place for it. What happened is now history – and the best we could do perhaps, is to not to repeat it. Incidentally, for the music materialists it would also have meant a wider African audience & perhaps far bigger unit sales as well. The politics of fear was a factor, which seemed to force some Captains of industry to leave the ship. Not a brave move considering that they could have helped establish a unique & viable SAfrican popular music culture. To quote from the Sunday Times 13th Aug 1994.
SUNDAY TIMES EDITORIAL, August 13th 1995 "...foremost among (the reasons for newspapers not fulfilling their primary function of informing the public) has been the failure of the industry - or, at least the English-language newspaper industry - to train, nurture & reward journalists. English South Africa remains dominated by a mining man's culture that disdains intellectual life. The poor quality of Newspapers is accompanied by poor theatre audiences and poor support for the arts in general, and the question must be asked whether English South Africa has not been intellectually crippled by the emigration of so many of its finest sons & daughters during the apartheid years...."
I can’t help but wonder that if 4 Jacks & A Jill could do it with a nebulous little 4-chord English versed miner ditty, what would have other talented SAfrican songwriters, bands & producers achieved? Many forced into exile & eventually onto international success. They could have easily carved out a niche & laid some foundations for SAfrican music today.
Old Roots & New Directions
Hearing Bob Dylan in 1966 & the Beatles (that Pete Farnham had turned us onto in 1963) was the key to our freedom. Playing in bands, we too soon learnt that not all American songs were crafted like Da Vinci‘s strokes in perfect multi-track studio productions.
My tour of the USA in 1969 made me aware that the American bands were constituted of ordinary young (and older) people the same as us. No more or less talented or diverse in our cultures, traditions & upbringing. Just out there doing what they believed in & having a great time doing it. The US & UK music infrastructure created support - if unintentionally & in the free spirit of rock ‘ roll – for even the most bizarre & revolting rock rebels; and nowhere on earth do you get to notice the human extremes as you do in mainstream America… especially in 1969 at the height of the Vietnam conflict, Woodstock, Rock ‘n Roll, freedom fighters, religious fundamentalists, the KKK, Jazz & R&B. Back home in SAfrica, despite the packed weekend sessions – in suburban garage or township Shebeens & Stokvels throughout the country – the commercial mainstream record industry & the State’s radio controlled Station Masters, insisted that they knew what the people wanted & that we should produce & record whatever they think we needed, or be-damned. Still stuck in the material groove of an inherited mining-man’s culture today?
So why in the face of this cover-version demand from radio, records & audience would one persist with & insist on writing songs that, as the producers would say, nobody cares for or knows & who wants too anyway? The answer, for me, was simple.
Without thinking too hard about it back then, it just seemed easier to write my own words & create my own tunes (as close as dammit without actually stealing any IP) than it was to go through the hassle of learning those wonderfully sweet Lennon & McCartney choruses & chords that we so loved or to try & remember all those words? And who would listen?
The Coffee Bars became my hunting ground from 1965 - although I carried on playing bass for cover bands in Johannesburg, Durban & Welkom for rent money; & besides I used to love those weird, strange & often tough Rock sessions. The Coffee Bars and Folk Festivals – of which there were many – were the only regular outlet for the SAfrican songs. I didn’t have to be a great dexterous player or feel in the slightest bit intimidate by the wonders of John, Paul, George or Dylan…
Big Mac & David … Now & Then – Hair today & yesterday. 1966 Troubadour Johannesburg & the 2005 set-up in Durban. (Photos by Manfred Lindner & Fran Marks)
The Silent Revolution? (John Kane-Berman’s title… from his book of the same name)
It may be cold comfort or it may be a little over the top to even vaguely equate what revolting musicians did in terms of the struggle. Some would (and do) argue that to even remotely consider or compare what musicians suffered compared with their comrades-in-arms is an insult. But here’s the thing. In spite of being ignored & sometimes even banned by the State & the SABC & avoided by the mainstream record industry & media at times, I believe that SAfrican songs & songwriters, the bands & the groups – from Maskandi to Jazz, nDlamu to Rock, the folk music of our time – eventually did help to contribute, however small, to what we are blessed with in SAfrica today. Not so you say?
The Curious Beauty of African Music is that it uplifts as it tells a sad tale. You my be poor, you may have only a ramshackle house, you may have lost your job, but song gives you hope. African Music is often about aspirations of African people, and it can ignite the political resolve of those who might otherwise be indifferent to politics. One merely has to witness the infectious singing at rallies. Politics can be strengthened by music, but music has a potency that defies politics
The words & the music became more than just another escape from the daily bizarre routine & reality of South Africa from the 60’s into the 70’s & 80’s – even if we didn’t take ourselves as seriously as the authorities did. What is known, and just as the political masters’ feared, is that the hearts & minds of thousands of people who were lucky enough to get tied up in the 3 chord folk process & those who listened to the words or followed the muse & music into the Coffee Bars, the Folk festivals, the Free Peoples Concerts & the odd record, were indeed turned by this little revolution of the universal spirit that drove it. The Folk ‘n Rock youth of the day were suitably if subtly changed or tweaked forever.
And I note, with a certain amount of pride & a mild sense of accomplishment – I’m old enough to be vain, proud & pompous all at the same time – that some of today’s leaders were among those attracted by the magic of the music & the mystery of the muse.
SAGE on STAGE – 3rd Ear Music / NUSAS / SAFMA Free Peoples Concert, Wits 1974 – Photo by Frank Black The Star
David Marks Mixer producer Free Peoples Concert 1972 - Photo Frank Black The Star
Many would stumble into those alternative 3rd Ear Music clubs, concerts & events; sometimes by accident & more often than not through word of mouth, for over 2 decades - Free Peoples, Totum, Troubadour, Nite Beat, Mangles, Market Theatre, Le Chaim, Chelsea Underground, Wits Great Hall, Guitars for Africa, Music for Africa & more
Reflection in summary - I believe that the commercial record industry, the SABC & even a few current mainstream political leaders, are desperate to re-invent or recreate the past or to paint a cost-effective target market future for their consumers. Heritage may spoil it?
What I find difficult to understand though, is that surely the brain’s-trust, the so-called intelligencia & academia - the keepers of our indigenous knowledge systems, control freaks in charge of art & culture today - should know the importance of showing new generations that they cannot simply start a life from scratch every time a new technology or revolution is turned? There just isn’t enough space & time down here to do that. We’d still be in caves.
Indigenous knowledge isn’t only what the corporations or political masters claim it is. Heritage is a process & our survival depends on fertile well-established & reasonably maintained environment in which our roots, that are universal in nature, can grow. Our wholeness depends on the sum of our tried & tested past parts, not in some unknown bright future with shiny new blinding bits & pieces that nobody knows how to assemble.
It doesn’t suit some suits to know that there were people who played & stayed together & who helped change hearts & minds, in spite of the political & social situation at the time. And it’s that natural root force that has been prevented from growing or developing in South Africa.
Chris Austin & Jeremy Marre - Rhythms of Resistance (Virgin Records) focusing in black & white back in 1976 (and later having to deal with the reality of history because they also followed a PC agenda) wrote the following - it applies today to all SAfricans who can stand up to the commercial record industry, especially those who couldn’t, wouldn’t, won’t make recordings or speak for the State & the New-Aged Global Corporate Radio Controlled censors.
"Resistance evokes images of guns & guerrillas, the fight for freedom, yet there is nothing aggressive in this music. A contradiction? No, because resistance is more than a fight itself. It is also about staying human in the face of inhumanity...affirming life in the face of a rigid denial of it. Black South Africans seldom lament or sing the blues. (Ed's note: A reality that Doc Hugh Tracey was shot down for pointing out in the 50's & 60's. And we noted that only us white suburban Libs sang & listened to blooze!) They (black South Africans) show their superiority to an oppressive system by their joyfulness, their warmth & delight in living. Their music is vibrant & assertive, but gentle. Defiant without being bitter; it is resistance: a creative resistance that springs from a living musical culture."
The value or the worth of these hidden history or corporate censored treasures may not be fully comprehended by those on the outside of the record, music & broadcast industries; either because there is no cost-effective bottom line in sight or because there really are more important issues in the world to deal with. Hidden as it may be behind political smoke & mirrors, roots music can help redress the past & reshape the future by helping take the descendents of those who won’t listen or who couldn’t look, out of the denial spiral.
I think that America & the world learnt a lot more about slavery & themselves, through a few loud longhaired British rockers’ love for the blues, than any tricky Dick history book could ever teach, reveal or discover. There’s a lesson to learn for us in South Africa; for the PC, the denialists, the entitlement holders, victims & victors. History belongs to us all!
Foreigners have asked me in disbelief, how come there was no bloody civil war in South Africa post 1994? It could just be that quite a number of angry SAfricans were moved by the muse & the magic of Folk ‘n Rock to turn the silent revolution into a music miracle?
The Hidden Years Story Part 1 (of 3) for issue in 2006 by Penguin Books
Comments Welcome (p)© David Marks / Penguin Books / 3rd Ear Music / HYMAP 2005
Page - PAGE 11 - Confidential Created on 21 July 2001 8:00AM // DATE 14-09-2005
The Boys & Other Band Stories – SAfrican Covers & Songs 1961 to 1967
THE HIDDEN YEARS STORY (Book 1)
email: thirdear
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QuEST Global Acquires NeST Software
posted by Krishna November 9, 2014 Tech Stories
QuEST Global, a world leader in diversified engineering solutions has announced the acquisition of NeST Software. This acquisition will strengthen the width and depth of engineering service offering to QuEST�s customers in terms of engineering software, embedded systems, mechanical systems and structures as well as enhance QuEST�s capabilities in energy and transportation, and add-on other verticals such as healthcare, communication & consumer, semiconductor to QuEST�s portfolio. The acquisition of Nest Software will help QuEST gain a stronger presence in its core target markets of US, Western Europe and Japan.
NeST Software is a premier engineering software services company servicing Fortune 500 clients across US, Japan, Europe and India and was founded in April 1995, . With more than 1900 employees NeST Software, like QuEST, has vast experience in establishing and operating dedicated off shore development centers for global MNC’s. The company currently offers product engineering, value engineering and sustenance services across research, development, validation, and in service stages of product life cycle.
�When NeST Group was planning to divest, we were looking for a potential consolidator who has a proven track record, market reputation, and engineering focus just as NeST. QuEST was the best fit. Together QuEST and NeST Software have significant growth opportunities. I wish both the QuEST and NeST teams continued success.� – says�NeST Group Founder and Chairman Dr Javad Hassan
QuEST Global is a pure play engineering solutions company with a proven track record of over 17 years that serves the product development needs of high technology companies with a 7000 strong workforce spread across globally. A pioneer in product development engineering, QuEST Global is one of the largest engineering service providers that cater to diversified verticals. With its local-global model, QuEST Global combines physical proximity to the customer providing domain knowledge and ease of interaction, along with delivery from cost optimized locations that also provides easy resource ramp-up / ramp-down.
�To emerge as the most trusted and long-term engineering solutions providers for our customers, we are constantly on the lookout for assets with outstanding engineering capability. NeST Software has talented and experienced engineering software and embedded system engineers across various verticals. By integrating our talented engineering teams worldwide, we will be able to emerge as a top preferred engineering partner for our customers.� – said�CEO Ajit Prabhu, QuEST Global while commenting on the acquisition
Source: NeST Software Press Release
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The Unsinkable Molly Brown – 1990 Show
Made in Dagenham: Tickets on sale now!
Made in Dagenham Welcome Meeting & Auditions
Allegro seek Production Team for Made in Dagenham
Rock of Ages Dress Rehearsal
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alliancenepal.org
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Companies & Organizations:
WFEL Ltd
Sir Richard Fairey Road, Heaton Chapel
Stockport Cheshire SK4 5DY
The Dry Support Bridge (DSB) is the new generation of tactical military bridging. Deployable by just eight soldiers and a single launch vehicle, the DSB can get traffic moving over a 46 metre gap in less than 90 minutes. Its primary mission is to support the momentum of attack. Its secondary mission is emplacement on main supply routes to the rear of the combat zone to help keep military and civilian traffic flowing. The DSB is made from a specially manufactured lightweight aluminium alloy under licence to WFEL.
The DSB’s military load classification (MLC) of 120 at 46 metres and width of 4.3 metres makes it one of the most advanced tactical bridging systems ever designed. Covering wet or dry gaps up to 46 metres, the DSB offers incredible operational flexibility and has already proven itself in the field following deployment in the USA, Germany, South Korea and during Operation Iraqi Freedom. Over the next 10 years in excess of 100 DSB systems will have been fielded.
In the late 1990s, the U.S Department of Defense identified a requirement for a new generation of tactical bridging systems that were rapidly deployable, versatile, modular, reliable and user-friendly. Following the most high profile procurement contest in military bridging history, WFEL was awarded a production order for the design of what was to become the DSB. Bearing the hallmarks of WFEL’s near century long history of engineering excellence, early testing showed that the DSB was surpassing all the operational demands placed upon it including 18,000 simulated crossings without a single failure.
Technical Data Specification
Maximum clear gap 46m
Span Range Up to 46m in 6m increments
Military Load Classification Normal 80 (T)/96 (W) at 46m Maximum 120 (W) at 46m
Road Width 4.3m
Bank Heights +/- 3m at 40m
Longitudinal bank slope 1 in 20 (reduced capacity at 1 in 10
Lateral bank slope 1 in 20
Build Crew 8
Launch Time Less than 90 minutes
Launch vehicle Stowed (LWH): 12m x 2.98m x 3.985m Weight: 39,000kg
Parallel Module Stowed (LWH): 5.95m x 2.44m x 1.1m Deployed (LWH): 5.95m x 4.3m x 1.19m Weight: 4,417kg
Ramp Module Stowed (LWH): 5.95m x 2.44m x 1.1m Deployed (LWH): 5.96m x 4.3m x 1.19m Weight: 4,080kg
End beam (LWH): 2.5m x 0.375m x 0.56m Weight: 357kg
Approach ramp (LWH): 4.09m x 0.42m x 0.19m Weight: 86kg
Decking and kerbs Integral, part of bridging sections
Vehicles and trailers for 40m bridge Launch vehicle with trailer & 2 support vehicles with trailers
Vehicles and trailers for 40m bridge
(U.S Army specification with added vehicles with trailers capability to build two smaller bridges) Launch vehicle with trailer & 3 support
Launch vehicle with trailer & 3 support vehicles with trailers
The five-year agreement will see WFEL procure and fit upgrade kits to 97 of its Dry Support Bridge (DSB) 40-metre systems to enable the US Army to cross gaps of 46 metres. A total of 34 systems will be upgraded in the first 12 months.
Comprising an additional bridge panel and new launching beam, the upgrade kit also includes additional items to strengthen the launch vehicle, and can be retrospectively fitted to the 40-metre system.
Bridges, girder, tactical
Defense Products & Services: Dry Support Bridge (DSB) by WFEL
Defense Products & Services Sectors: Bridges, girder, tactical
Country: United Kingdom of Great Britain and Northern Ireland
Description: Dry Support Bridge (DSB) by WFEL
Source of Information: WFEL Ltd
Defense Product & Services: Dry Support Bridge (DSB) by WFEL
Companies & Organizations WFEL Ltd
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Tysons Corner, VA 22102
William Artz is a successful medical malpractice lawyer who has served the Virginia area for over 46 years. He is committed to advancing the legal rights of those who have been a victim of medical malpractice and negligence.
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If you or someone you love has been a victim of a medical malpractice or negligence, please contact us today at 703-243-3500 to discuss your possible case confidentially.
William E. Artz, Esq. has been inducted into the Inner Circle of Advocates, a prestigious national organization limited to the top 100 Plaintiffs lawyers in the United States. He has also been inducted into the International Academy of Trial Lawyers. The Academy seeks out, identifies, acknowledges and honors those who have achieved a career of excellence through demonstrated skill and ability in jury trials. The Academy invites only lawyers who have attained the highest level of advocacy. Mr. Artz has been evaluated by his colleagues and the judges in his jurisdiction and has been highly recommended by them as possessing these qualifications and characteristics.
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The 2013 rating for the Washington, D.C. Super Lawyers are in - William E. Artz claims a spot in the top 100.
WEA, PC - Million Dollar Settlement & Largest Verdicts. Read More
Artz Law Office located in Tysons Corner, Va. serving all of Virginia and the District of Columbia.
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Time Travel Via Shiny Plastic Marketing: The New York ComicCon
February 8th, 2009 by Jeff Simmermon
I spent most of the NYC ComicCon lurching in circles with my mouth half-open, hunting for a copy of Detective Comics # 587 and spending way too much money on plastic bullshit that reminds me of my childhood. The experience was spectacular.
I haven’t been to a comic book convention since 1991, in Virginia Beach — the whole enterprise was dusty, pasty and pungent. Not now, baby. Now that comics, computers and sci-fi are billion dollar businesses, nerds are out of the basement and blinking in the klieg lights. Pop culture’s always been a byproduct of marketing campaigns, but we are now in a golden age of hype and shiny bullshit.
Today’s thirtysomethings were the target audience back in the ’70s and ’80s when Star Wars, Indiana Jones, and other pop mythologies did the first Triple Lindy into the collective consciousness. Now we’re just old enough to have kids who get just as pumped about Star Wars as we did, and fetishizing fictional universes is a family affair.
Whenever alien archaeologists unearth whatever temples we leave behind, they’re gonna think that Spiderman was our God and stormtroopers were some kind of high priests. Frankly, I’m thrilled. Digging through comic boxes and buckets of chipped action figures gets me all stoked and unstuck in time and I get the same sense of wow, cool wonder that I got when my dad took me to see Star Wars for the first time.
But this thing was for everybody. Really, it was just like the Mermaid Parade except indoors and marginally less sexualized. The people-watching and the costumes were spectacular and totally worth the admission price.
This is my favorite photo from this weekend’s NYC ComicCon, but there’s a lot more after the jump:
When I first passed the guy above, the look on his face was perfect: slack-jawed, lips hanging open with a drool stalagmite beginning to form. I stopped and started to take his photo, and he instantly began to pose. I totally forgot my manners and said “no, no, do what you were doing before, walking around with your mouth all hanging open.” What you see here is a sort of halfway pose between the gaping maw and the cocky grin.
It’s almost impossible to take candid photos at a comic convention. It’s a lot like a drag show in that regard . Everyone’s put so much effort into drawing attention to themselves that they pose as soon as they see a camera lens.
This is pretty much the single coolest image I saw all day — a unabashed reference to Prince’s “Purple Rain,” but in Batgirl form. Check out the Adam West-style Batman back in the doorway.
I would really love to have video of this guy’s helmet getting decorated like this.
This was hands-down the coolest and scariest costume on the premises Saturday. There’s another photo for reference in my gallery. The guy in there is on stilts and wearing this Hulk-style scarecrow robot shell. If I’d seen it as an 8-year-old, I’d still be wetting my pants.
This is how you know you’re at a comic convention, Renaissance Faire or something like it, when you see this kind of setup on a table. There was also a well-stocked open-air corset booth with a sign that said “ABSOLUTELY no photography!” I saw this one woman lacing herself into a corset, and I have to say that it enhanced her cleavage pretty dramatically. But because this a comic convention, the enhanced cleavage was in the middle of her back.
This guy was dressed up like a banana with a Watchmen smiley face on it. No real reason. You can’t see it in the photo, but the banana suit was filthy, like he’d worn it while sleeping on the subway.
I think this costume was created as a joke, but it’s the most realistic Spider-Man costume ever, if you think about it. According to the legend, a teenaged Peter Parker whipped together some Spidey duds real quick one weekend. It’s a lot more believable that he made them out of old jammies and bathrobes than whatever super-polymers they dress Tobey Maguire in in the movies. I especially love the peeling, busted eyepiece.
The best part was seeing folks half in an half out of their costumes at the end of a long day, when the makeup’s smeary and the suit is saggy and everyone’s had a long long day. This trooper’s so over it right here.
There’s a lot more photos in this set, if you want to see more. Me, I’m going to rest my legs, eyes and wallet for another year.
Filed under Art & Design, Geekdom & Nerdery, Jeff Simmermon, New York City, Pop Culture having 1 Comment »
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Brexit to hurt Bangladesh export
Britain’s exit from the European Union (EU) will hurt Bangladesh exports especially the RMG sector to its markets as it will cast shadow on the exchange rates, fear the economist and exporters.
In a referendum held on June 23, the UK people decided to leave EU as 52% people voted for exit while 48 cast vote to stay with the union.
“The short-term visible impact of the Brexit is devaluation of currency that has already witnessed an about 10% fall. Bangladesh will bear the brunt of the exit as it is the third largest single export destination for our products,” Bangladesh Garment Manufacturers and Exporters Association (BGMEA) President Faruque Hassan told the Dhaka Tribune yesterday.
“As a result, the buyers will try to cut prices and to some extent even to cancel the orders.”
In July-May period of the current fiscal year, Bangladesh exports to the UK stood at US$3.44 billion, of which $3.18 billion came from the readymade garments sector.
“Exchange rates of Euro and Pound against US Dollars already fall. If the trends continues and take a permanent look, it will hurt Bangladesh export to UK markers,” said AB Mirza Azizul Islam, former advisor to the Caretaker Government while talking to the Dhaka Tribune.
Due to the turmoil in the UK, the demands for clothing products have come down, which will hurt Bangladesh export to large extend, said Hassan.
UK, the third largest single export destination for Bangladesh, is very important for us as the exporters enjoy duty-free market access for all products under Generalised System of Preferences (GSP). That is why, it has become a big question for the country as to whether it will be able to enjoy the trade facilities or not after the exit.
Talking on the issue Hassan said: “I hope that the duty-free facilities will remain same even after the Brexit”.
“Otherwise, the sector people as well as the government have to handle the issues diplomatically and politically.”
Since, the exit will be executed by next two years, Bangladesh has to negotiate with UK for continuing the trade facilities which may not be effective after two years, opined Islam.
“As an exporter, I used to get better price in UK market, but due to the exit plan, I will get less price, which will hurt the overall export earnings,” Exporters Association of Bangladesh (EAB) President Abdus Salam Murshedy told the Dhaka Tribune.
Salam said: “The exit of Britain from the EU will cast shadow on its employment as the EU members countries would pull out investment from the country. If there is crisis on employment, it would lower the consumption of clothing products.”
According to the forecast, Britain’s unemployment rate which is now at a 10-year low of 5% will be increased as soon as it leaves the EU although even after the previous financial crisis, Britain somehow managed to avoid job losses on the scale seen it other countries.
On the other hand, there is a big question over the Generalised System of Preferences (GSP) as to whether Bangladesh will get it or not after the exit, said Salam urging the government to start negotiation to deal the issue bilaterally.
Source: Dhaka Tribune
The global economy is likely to rebound in 2020, but the IMF warns of eerie parallels to the 1920s
Bill on allowing government to use Tk 2 lakh crore surplus funds cleared
Customs duty collection Tk 13,031cr short of target in H1
Uniqlo Brings Fashion Back to the Source; Opens 2 Stores in Bangladesh
bdchronicle - July 6, 2013
Ctg customs to auction off abandoned cargoes
The Bangladesh Chronicle - August 23, 2017
‘Online ads sucking money out of Bangladesh’
The Bangladesh Chronicle - April 7, 2018
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Sabermetric Research
Phil Birnbaum
Does the NHL's "loser point" help weaker teams?
Back when I calculated that it took 73 NHL games for skill to catch up with luck in the standings, I was surprised it was so high. That's almost a whole season. In MLB, it was less than half a season, and in the NBA, Tango found it was only 14 games, less than one-fifth of the full schedule.
Seventy-three games seemed like that was a lot of luck. Why so much? As it turns out, it was an anomaly -- the NHL was just having an era where differences in team talent were small. Now, it's back under 40 games.
But I didn't know that at the time, so I had a different explanation: it must be the extra point the NHL started giving out for overtime losses. The "loser point," I reasoned, was reducing the importance of team talent, by giving the worse teams more of a chance to catch up to the better teams.
My line of thinking was something like this:
1. Loser points go disproportionately to worse teams. For team-seasons, there's a correlation of around .4 between negative goal differential (a proxy for team quality) and OTL. So, the loser point helps the worse teams gain ground on the better teams.
2. Adding loser points adds more randomness. When you lose by one goal, whether that goal comes early in the game, or after the third period, is largely a matter of random chance. That adds "when the goals were" luck to the "how many goals there were" luck, which should help mix up the standings more. In fact, as I write this, the Los Angeles Kings have two more wins and three fewer losses than the Chicago Blackhawks. But, because Chicago has five OTL to the Kings' one, they're actually tied in the standings.
But ... now I realize that argument is wrong. And, the conclusion is wrong. It turns out the loser point actually does NOT help competitive balance in the NHL.
So, what's the flaw in my old argument?
I think the answer is: the loser point does affect how compressed the standings get in terms of actual points, but it doesn't have much effect on the *order* of teams. The bottom teams wind up still at the bottom, but (for instance) instead of having only half as many points as the top teams, they have two-thirds as many points.
Here's one way to see that.
Suppose there's no loser point, so the winner always gets two points and the loser always gets none (even if it was an overtime or shootout loss).
Now, make a change so the losing team gets a point, but *every time*. In that case, the difference between any two teams gets cut in half, in terms of points -- but the order of teams stays exactly the same.
The old way, if you won W games, your point total was 2W. Now, it's W+82. Either way, the order of standings stays the same -- it's just that the differences between teams are cut in half, numerically.
It's still true that the "loser point" goes disproportionately to the worse teams -- the 50-32 team gets only 32 loser points, while the 32-50 team gets 50 of them. But that doesn't matter, because those points are never enough to catch up to any other team.
If you ran the luck vs. skill numbers for the new system compared to the old system, it would work out exactly the same.
In real life, of course, the losing team doesn't get a point every time: only when it loses in overtime. Last season, that happened in about 11.6 percent of games, league-wide, or about 23.3 percent of losses.
If the loser point happened in *exactly* 23.3 percent of losses, for every team, with no variation, the situation would be the same as before -- the standings would get compressed, but the order wouldn't change. It would be as if, every loss, the loser got an extra 0.233 points. No team could pass any other team, since for every two points it was behind, it only gets 0.233 points to catch up.
But: what if you assume that it's completely random which losses become overtime losses? Now, the order can change. A 40-42 team can catch up to a 41-41 team if its losses had randomly included two more overtime losses than its rival. The chance of that happening is helped by the fact that the 40-42 team has one extra loss to try to randomly convert. It needs two random points to catch up, but it starts with a positive expectation of an 0.233 point head start.
If losses became overtime losses in a random way, then, yes, the OTL would make luck more important, and my argument would be correct. But they don't. It turns out that better teams turn losses into OTL much more frequently than worse teams, on a loss-for-loss basis.
Which makes sense. Worse teams' losses are more likely to be blowouts, which means they're less likely to be close losses. That means fewer one-goal losses, proportionately.
(a) bad teams have more losses, but
(b) those losses are less likely to result in an OTL.
Those two forces work in opposite directions. Which is stronger?
Let's run the numbers from last year to find out.
If we just gave two points for a win, and zero for a loss, we'd have:
SD(observed)=16.47
SD(luck) = 9.06
SD(talent) =13.76
But in real life, which includes the OTL, the numbers are
Converting so we can compare luck to talent:
35.5 games until talent=luck (no OTL point)
35.4 games until talent=luck (with OTL point)
It turns out, the two factors almost exactly cancel out! Bad teams have more chances for an OTL point because they lose more -- but those losses are less likely to be OTL almost in exact proportion.
And that's why I was wrong -- why the OTL point doesn't increase competitive balance, or make the standings less predictable. It just makes the NHL *look* more competitive, by making the point differences smaller.
Labels: distribution of talent, hockey, luck, NHL
posted by Phil Birnbaum @ 12/18/2018 12:30:00 PM 0 comments
Name: Phil Birnbaum
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Home Board index General Discussion Sports
First unread post • 13 posts • Page 1 of 1
Unread post by Vrede too » Tue Sep 20, 2016 11:36 pm
Insane Russian Gymnasts Are Probably Not Human
Seth Milner
Location: Somewhere on Lake Keowee, SC
Re: Gymnastics
Unread post by Seth Milner » Fri Sep 23, 2016 1:16 pm
Don't take life too seriously; No one gets out alive
Unread post by Seth Milner » Sat Sep 24, 2016 9:56 pm
I think beach volleyball is more fun to watch!
Unread post by billy.pilgrim » Sun Sep 25, 2016 1:52 pm
Seth Milner wrote: I think beach volleyball is more fun to watch!
More proof that all nationalities are very much alike
Unread post by Seth Milner » Sun Sep 25, 2016 2:19 pm
billy.pilgrim wrote:
Ya think photos 11 and 22 are hand signals?
Unread post by Vrede too » Sat Nov 03, 2018 11:41 pm
Simone Biles caps worlds as most decorated female gymnast ever
Simone Biles, after 14 months away from the sport and while carrying a kidney stone, finished the best major gymnastics meet of her life on Saturday.
Biles became the most decorated female gymnast in world championships history with four golds, a silver and a bronze in Doha this week. She matched retired Russian Svetlana Khokrina‘s record 20 career medals, but owns the tiebreaker with a record 14 golds.
“If you look at how many world medals I have, and then Olympics, it’s just like, how old is this chick? She needs to leave!” joked the 21-year-old Biles, who returned to training last November after four golds in Rio. “I’m really not that old yet.”
Biles, with floor exercise gold and balance beam bronze on Saturday, became the first gymnast to earn medals in every event at worlds in 31 years. And the fourth in history to earn medals in every event at an Olympics or worlds with at least four gold medals.
The others were Soviet Larissa Latynina‘s five-gold, one-silver effort at 1958 Worlds (while four months pregnant), Czech Vera Caslavska‘s four-gold, two-silver haul at the 1968 Mexico City Games and Soviet Ludmilla Tourischeva at 1974 Worlds (four gold, one silver, one bronze).
Only Vitaly Scherbo and Kohei Uchimura have more world medals than Biles with 23 and 21. Expect Biles to snatch that record next year in Stuttgart, Germany....
Simone Biles - Floor Exercise - 2018 World Championships - Events Finals
Unread post by Vrede too » Mon Jan 14, 2019 12:12 pm
UCLA Gymnast's Flawless Michael Jackson-Inspired Routine Is A Thriller
Unread post by Vrede too » Mon Apr 08, 2019 10:37 pm
Auburn gymnast dislocates both knees in horrific accident in her final meet
Auburn Tigers senior gymnast Samantha Cerio suffered a gruesome and devastating injury in what will be her final performance. At the NCAA Regional Semifinals, Cerio landed awkwardly, dislocating both knees and tearing multiple ligaments.
Cerio injured herself while performing a handspring double front. The maneuver required Cerio to pull off a blind landing, which means she was unable to see the ground before she landed.
Cerio reached for the ground too early, according to Auburn coach Jeff Graba. That led to dislocated knees and multiple torn ligaments. Initial reports claimed Cerio also broke both legs, but further exams revealed that was not the case.
There is video of Cerio’s injury, but be warned that it is extremely graphic. If you would like to watch the video anyway, you can do it here....
I have twice relocated knees on dance floors, but there was no traumatic impact like she suffered. I'm sure that she had to wait for x-rays to rule out fractures before an MD did the relocations.
Unread post by billy.pilgrim » Tue Apr 09, 2019 9:48 am
I haven't had the nerve to watch. Terrible injury but at least they are no longer saying 2 broken legs.
Unread post by Vrede too » Tue Apr 09, 2019 10:41 am
Yeah, probably don't watch, then, easy to assume that it was 2 broken legs.
Unread post by Vrede too » Sun Aug 11, 2019 2:27 pm
Simone Biles Makes History Again With Jaw-Dropping Beam Dismount
The Olympic champion became the first gymnast to land the double-twisting, double somersault move.
... Biles, the most decorated U.S. gymnast of all time, ended her nearly 1.5-minute routine with the incredible move at the 2019 U.S. Gymnastics Championship in Kansas City, Missouri.
The dismount will be named after Biles once she completes it during an international meet, Team USA said in a press release....
The 22-year-old almost made history earlier Saturday during her floor routine when she attempted to perform a triple-double ― two flips and three twists in the air. But she fell forward as she landed, touching the mat with her hand.
Despite a few missteps, Biles is expected to take home her sixth U.S. title on Sunday, tying Clara Schroth Lomady’s record set in 1952.
Watch her incredible performance on the beam below:
Unread post by Vrede too » Sun Aug 11, 2019 10:59 pm
Simone Biles makes more history at U.S. Gymnastics Championships
One night after becoming the first person ever to land a double-double dismount at the U.S. Gymnastics Championships, Simone Biles continued to make jaws drop on Sunday with more history.
Biles became the first woman to land a triple double (two flips and three twists) in competition on the floor during her routine:
https://twitter.com/NBCOlympics/status/ ... 29210.html
Here is a slo-mo. This is art:
Are we sure that she is human? ...
Unread post by Vrede too » Mon Aug 12, 2019 10:35 am
She did win.
Return to “Sports”
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‘I was left with a stranger. There was a growing darkness in the pit of my stomach. I held on for dear life. I would keep trying despite the terror and numbness.’
“‘Honey can you come and pick me up? I think something is really wrong with me.’ I felt extremely dizzy. My senses seemed heightened. The world was closing in on me. I was shaking. That morning, all that would change.”
‘CHILDREN SHOULD NOT BREATHE THROUGH THEIR MOUTHS. Not while awake, not while asleep. Never.’: Mom shares parenting plea after son’s rising medical issues
“No one, in my 12 years of parenting, ever told me any of this. All the signs were there, right in front of our eyes, and I had no clue. Our son’s pediatrician, who we loved and trusted, never said a word. I had to find this, diagnose this, and push for treatment myself. And thank God I did.”
‘Dr. Diane, something is very wrong with Elizabeth.’ I watched in horror as her dad carried her down the hallway. She looked stiff. What in the world? My stomach sank.
“‘It’s acute flaccid myelitis.’ ‘WHAT?!’ – I nearly spit out my drink. This was almost a myth. A pediatric rarity. ‘The rare polio-like illness that’s affecting kids across the country’. What was it doing in my office – heck, in my city…. in my state?”
‘As we entered our street, the driver said, ‘Which house is it?’ Then he stopped mid-sentence. ‘Oh… never mind, you’ve got quite a crowd waiting.’’
“I looked out the ambulance window and started bawling as I saw the crowd so excitedly yelling for Ellie. I couldn’t help but think about heaven, and how I could taste a small glimpse of what it will be like.”
‘He stopped breathing. His body went limp in my arms’: Mom of son with Down syndrome declares ‘CPR should be MANDATORY for parents to learn’
“He started to turn blue. I remember his big eyes staring up at me – they were like an endless pit of blackness. He was scared, and I couldn’t do anything to help.”
‘She was completely blue and lifeless’: Baby’s MIRACULOUS turnaround after she STOPPED BREATHING 18 minutes after birth
“How was this the same perfect baby I had just delivered 2 hours ago, whose blue eyes opened up so perfectly and looked into mine?”
‘The last note he wrote me said ‘LOVE’’: Dying father’s handwritten notes to daughter before she had to do ‘THE HARDEST THING’ for him
“It’s hard to read, but I knew what he was trying to say. As he was writing it, I said, ‘Are you writing you love me?’ He shook his head yes.”
‘It’s Mom, she’s gone.’: For the motherless on Mother’s Day
“I was sitting in my car in the parking garage, getting ready to leave work.”
Heartbreaking account of ‘perfect’ rainbow baby’s suspected sudden infant death syndrome
“Our world came crashing down around us. I saw him pale and staring at the ceiling blankly. I grabbed him and there was no reaction from him.”
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HomeACTION NEWSMassive Fund Raiser : APC demonstrates capacity to forget misgivings, unite and move forward TOLONGBO to victory to continue good work for nation
Massive Fund Raiser : APC demonstrates capacity to forget misgivings, unite and move forward TOLONGBO to victory to continue good work for nation
February 12, 2018 Publisher and Chief Executive Officer KABS KANU ACTION NEWS, COMMENTARY, INSIGHT, Uncategorized 0
FULL EYEWITNESS REPORT AND ANALYSIS
BY KABS KANU
Posted by Wilfred Leeroy Kabs-kanu on Saturday, February 10, 2018
The ruling All People’s Congress ( APC ) staged a massive, spirited, well-organized and thrilling fundraising ceremony in Maryland last Saturday, in readiness for a mammoth campaign for victory in the March 7, 2018 elections.
As the party that has the largest following both in Sierra Leone and the diaspora, the APC produced a showpiece event that was jammed to full capacity with throngs of lively, convivial and excited party supporters clad in red , chanting the APC slogan for the 2018 elections, TOLONGBO, dancing the night away and contributing funds substantially to ensure victory in a few weeks.
FROM LEFT : MRS . KAMARA AND MRS. BAH
The huge turnout and the fervent , willing and enthusiastic spirit of APC stalwarts and supporters in the diaspora dispelled the erroneous belief that was spread by opponents of the party– The Sierra Leone People’s Party (SLPP ), the National Grand Coalition ( NGC ) and the so-called Campaign For Change ( C4C ) —that resentment over the recent symbol brouhaha had fractured peace and fine fellowship within the APC and melted away popular support from the party’s bases in the U.S and the diaspora.
PART OF THE NEW JERSEY DELEGATION
It must be recalled that the APC, in keeping with the dictates of Section 76 (1) of the constitution, did not award symbols for parliamentary seats to Sierra Leoneans with dual citizenship, since the constitution states that they are not qualified to be President, ministers and parliamentarians. The APC said it was abiding strictly with the constitution and the laws of the land.
MR. AGIBU JALLOH
Contrary to the beliefs of opponents, the fundraiser turned out to be a show of strength and solidarity for the APC, demonstrating that the ruling party is still solid at its bases and ready to win the 2018 elections.
SOME OF THE PARTY STALWARTS
Every member I spoke to was in jubilant mood and was exuberant and positive about victory of March 7. They have forgotten whatever misgivings they had about the symbol issue , since they fully understand it was the law, and were now willing to press forward for the party to go on and win the elections .
Because the electioneering campaign had started in earnest in Sierra Leone , the presidential flagbearer, Dr. Samura Kamara and running mate, Hon. Chernoh Bah, were represented in the fundraiser by their lovely wives , Mrs. Elizabeth Samura Kamara and Mrs. Hawa Bah, who led the APC delegation that also included the Government Spokesman, Mr. Agibu Tejan Jalloh and Mr. Abdul Mackie.
The delegation got a red carpet welcome.
The whole hall exploded with joy and merriment when both spouses were each introduced in turn , starting with Mrs.Bah and then Madam Kamara, and each came out of her seat to dance with excited supporters before they were each given the opportunity to make statements.
YOUR HUMBLE SERVANT AT THE EVENT
Both women spoke eloquently and thanked APC USA for the wonderful reception they received and charged supporters to continue their support for the party to make victory certain on March 7. COCORIOKO WILL PUBLISH THE STATEMENTS IN FULL IN SUBSEQUENT ISSUES.
Numerous supporters of the APC told COCORIOKO that they were delighted with the spirit of unity , commitment, dynamism and determination to succeed that they saw . They said that the APC has shown once again that it is United and committed to continue providing inspiring leadership to Sierra Leone under the guidance of outgoing President Ernest Koroma, the President -in – waiting , Dr. Samura Kamara and prospective Vice-president Hon. Chernoh Bah.
Members of the various chapters of the APC traveled from all parts of the Continental USA to attend the occasion.
The fundraising segment was conducted by Mr. Agibu Tejan Jalloh , who earlier eloquently outlined all the achievements of the APC in power.
FROM LEFT–PASCO TEMPLE, BEATRICE CONTEH AND KABS KANU
New Jersey was represented by a 16-member delegation headed by Minister Plenipotentiary Leeroy Wilfred Kabs-Kanu and the hardworking President of the Chapter, Mr. Alimamy Turay .
The event was also attended by the Head of Mission at the Sierra Leone Embassy to the U.S.in Washington DC , Deputy Ambassador , His Excellency Mr. Coulson Turay , and other high-ranking members , including the Chairman of APC USA, Mr. Unisa Kanu, his deputy , Mr. Bobson Kamara and the President of the APC Washinton DC Chapter, Mrs. Beatrice Conteh, former Interim Cahairman of APC -USA, Mr. Ibrahim Sanpha Kamara , among hundreds of other officials.
Many diasporans also said they will be going to Sierra Leone to campaign vigorously for the APC to enable it to emerge victorious on March 7.
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Ambasssador Sumah briefs Foreign Minister and AU Permanent Representatives on the current state of play in UN Security Council Reform negotiations
January 27, 2017 Publisher and Chief Executive Officer KABS KANU 0
Sierra Leone’s Permanent Representative to the United Nations, Ambassador Adikalie Foday Sumah , has briefed the country’s Minister of Foreign Affairs and International Cooperation, Dr. Samura Kamara and African Permanent Representatives […]
Kono turns red for APC
Police Boss warns against public incitement over vehicular ban on polling day
Blood-thirsty SLPP supporters attack APC party office, injuring many
Rowdy and blood-thirsty supporters of the ruling Sierra Leone People’s Party (SLPP) today attacked the party office of the opposition All People’s Congress ( APC) at Brookfields, Freetown. According to […]
President Koroma Receives New UNMEER Head
By State House Communications Unit President Ernest Bai Koroma Friday 15 May met with the newly appointed Head of the United Nations Mission on Ebola Emergency Response (UNMEER) Mr Peter […]
An open letter to President Bio on national interest issues since he came to power
*National Interest* 🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱🇸🇱 *This is an open letter to President Julius Maada Bio* I write most humbly and respectfully to inform my President, Rtd. Brig. Julius Maada Bio about […]
Six – Man Chinese Technical Team departs for Freetown ahead of arrival of 100 buses July 8
With 100 buses purchased in China by the Government of Sierra Leone slated to arrive the shores of Sierra Leone July 8, a six man technical team will be […]
Ambassador Kamara nominated by the African Union Peace and Security Council to address the Pan African Parliament
Sierra Leone’s Ambassador to the Federal Democratic Republic of Ethiopia, Mr. Osman Keh Kamara has been nominated by the Chairperson of the African Union Peace and Security Council (PSC) […]
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Joe Kates
Ken Kula
Bob Shane
OCEANA 2019 – ANOTHER GREAT AIR SHOW!
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The USAF’s 2016 Phinal Phantom II Tour
Posted by Ken Kula on March 25th, 2017
Photographic coverage by: Joe Kates, Ulrich Seibicke, Scott Jankowski, Mark Hrutkay, Beau Goff, Bob Shane, and Scott Zeno.
Story by Ken Kula with Steve Lewis
After 53 years of service and having five main versions of the airframe produced, the last United States Air Force examples of the McDonnell Douglas/Boeing F-4 Phantom II were retired from flying service in 2016. Although removed from frontline service in 1996 (when the last F-4G Wild Weasels were retired), more than 300 specialized target versions were converted from surplus airframes by BAE, and began operations during that same year with the 82nd Aerial Target Squadron (82nd ATRS). These allowed for unmanned QF-4 aircraft to be controlled from the ground, often as disposable targets for live-fire testing. The Phantom IIs were also flown by veteran pilots in various scenarios for non-destructive testing.
QRF-4C taken in 2013
Various versions of Air Force Phantoms were modified under the Full Scale Aerial Target (FSAT) program, the last three versions being the QF-4G, QRF-4C, and QF-4E. Visually, distinct orange wingtips and tail markings helped distinguish the targets from other jets.
Merriam-Webster’s on-line dictionary, in part, defines the word “finale” as: “the last and often climactic event or item in a sequence ”. During the last year of operation of the QF-4s, the Air Force made it a point to provide Phantoms for major aviation events throughout their final year of operation. Thus, what we call the USAF’s Phinal Phantom II Tour, became the type’s finale on the country’s aerial stages. Untold thousands of Phantom II fans, former pilots and crew, and maintainers with a soft spot in their hearts for the aircraft, attended these shows. And whenever possible, the thunderous roar of QF-4 afterburners was heard at these venues. Here are some highlights from the now–distant tour, as seen by numerous Photorecon.net, ClassicWarbirds.net and PHXSpotters photographers…
Spirit of St. Louis Air Show and STEM Expo, May 2016
EAA AirVenture 2016, Oshkosh WI, July, 2016
National Championship Air Races, Reno NV, September, 2016
Nellis AFB Air Show and Open House, November, 2016
Holloman AFB Phantom Finale, December 2016
Other events in 2016 where Phantoms appeared included the MCAS Miramar Air Show, Fort Worth Alliance Air Show, and a flyby at the Texas Motor Speedway.
Star Wars Canyon Final Passes, October, 2016
Another fitting ceremonial display occurred as a low-profile, high impact traverse through the Sidewinder Low Level Route, JEDI Transition, of the R5208 Military Training area in California. A pair of QF-4s visited NAWC Point Mugu CA in October, 2016. A meeting at a Camarillo CA restaurant (sounds familiar... more than a few brilliant aviation ideas have been sketched out on a napkin during a meal...) between two 82nd ATRS QF-4 pilots ('Wam' and 'Elvis'), Photorecon.net’s own Steve Lewis, and another photographer ensued, to plan a flight through a particular canyon (otherwise known as Star Wars or Rainbow Canyon) while enroute to Hill AFB in Utah after the visit.
The Low Level Route lies almost directly in between the two bases, and the thought of Phantoms in the valley one more time (this wouldn’t be the first time Phantoms roared through the canyon!) was a wish on many photographers’ minds – especially when the Phantom’s time in the air became limited. Armed with maps and charts, Steve and the pilots planned out times, routes, and determined the geographic points that would allow the pilots to present the QF-4s for the best photographic results. Steve would fly an American Flag at their location for the pilots to verify their navigation. Later the pilots, armed with all of the information they needed, went to work and coordinated their flight plans and use of the low level route. There were a few items that could interfere with the plan… fuel would be one of these. A major consideration, as Phantoms gobble down large quantities of gas anyway, would be a low level segment that would burn up a higher quantity of fuel than a normal overflight would. As long as the jets could climb to a more efficient altitude quickly and not be routed further away from their filed flight plan route, the mission to fly the Canyon would go on.
Sure enough, on the morning of their flight to Hill AFB, the pair of Phantoms dove down into the canyon and presented the assembled pack of photographers their final opportunities to photograph the jets airborne against the stunning scenery… with a pair of passes. Then, the QF-4Es climbed on course to Utah, and the Air Force maintenance depot at Hill AFB, where a ceremony was planned.
Phantom Phinale, Holloman AFB, NM
Although a dozen or more airframes began the year with the 82nd ATRS at Holloman AFB, NM, attrition as live-fire targets whittled the last operational aircraft to about half a dozen for the final retirement ceremony on December 20, 2016 at Holloman AFB, New Mexico. Four QF-4E aircraft flew the type’s final sorties just days before the end of the year.
The sound barrier was broken for all to hear, a series of passes in front of the crowd offered some final photos of Phantoms in the air, and after landing, a water cannon salute was given to the quartet and their pilots. The flyers would go their separate ways after the last QF-4s landed; retirement, upgrade to the QF-16 program, and other endeavors were discussed. An official release said that the QF-4s would be utilized as ground-based targets after their flying was done, towed out into the desert ranges of Holloman AFB.
Only a handful of Air Forces around the world still operate Phantoms in early 2017; the USAF’s finale put to bed what was once the largest Phantom fleet in the world (the U.S. operated almost eighty percent of all Phantoms produced). Japan (three units with F-4EJ and RF-4EJ), Turkey (one unit with upgraded F-4E 2020 jets), South Korea (two F-4E units) and Greece (5 units with upgraded F-4Es and RF-4Es) are four countries that still fly the big jets. Iran has a number of squadrons still operating a handful of F-4D, F-4E and RF-4C Phantoms too.
The USAF has replaced the QF-4 series of Full Scale Aerial Targets with the QF-16... although the bright orange panels used for visual tracking and identification still remain. With the retirement of the American Phantoms in 2016, a noteworthy type of phighter was pheted with a grand phinale during its phinal year of phlying!
Posted in airshows, U.S. Air Force Tags: BAE Systems, Boeing, EAA Airventure 2016, F-4 Phanton, FOrt Worth Alliance Airport, Holloman AFB NM, MCAS Miramar, McDonnell Douglas, Phantom Phinale, QF-4, Rainbow Canyon, Reno Air Races 2016, Spirit of St. Louis Airport, Star Wars Canyon
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Home / Central Data Catalog / IND_2010_AGC_V01_M
Agriculture Census 2010-2011
India, 2010 - 2011
Department of Agriculture and Cooperation
IND_2010_AgC_v01_M
India IND
Agricultural Census [ag/census]
In India, the Department of Agriculture & Cooperation has been organizing Agricultural Census, quinquennially, since 1970-71 in collaboration with the States and Union Territories as part of programme of World Census of Agriculture. In the two Agricultural Censuses, namely, 1950 and 1960, data required for the World Agricultural Census were collected through sample Surveys carried out by the erstwhile Directorate of National Sample Survey (Now called 'National Sample Survey Office) which gave estimates for the country as a whole and also for States.
Beginning 1970-71 Census, the methodology adopted was complete enumeration wherein data available in the land records were re-tabulated which was in line with the method recommended by the FAO. In the non-land record States, where comprehensive land records were not maintained, the data were collected through sample surveys.
Due to changes taking place in Indian Agriculture at very fast pace, the National Commission on Agriculture, in their report submitted in 1976, recommended that Agricultural census be conducted on quinquennial basis. Accordingly, the second Agricultural census was conducted with 1976-77 as the reference year. In this Census, information on number and area of operational holdings was collected on complete enumeration basis in land record States and detailed information on characteristics of operational holdings was collected on a sample basis. An Input Survey, in a sample of 2% villages, was also carried out for the first time. In this survey, data relating to use of various inputs such as fertilizers, manures, livestock, agricultural implements & machinery and Agricultural credit provided by various credit institutions to different categories of operational holdings were also collected.
The third and fourth Agricultural censuses were carried out with the Agricultural Year 1980-81 and 1985-86 as the reference periods. However, from Input Survey 1991-92, the sample size has been raised to 7% villages in each stratum. So far, eight Agriculture Censuses with reference years 1970-71, 1976-77, 1980-81, 1985-86, 1990-91, 1995-96, 2000-01 and 2005-06 have been conducted. The reference period in Agriculture Census is the agriculture year starting from July to June. The current Agriculture Census with reference year 2010-11 is ninth in the series.
The current India Agriculture Census with reference year 2010-11 is ninth in the series.
The Department of Agriculture and Cooperation, Ministry of Agriculture, Government of India conducts Agriculture Census, quinquennially, to collect data on operational holdings in the country. The reference period for Agriculture Census is the Agricultural year (July-June). Being the ultimate unit for taking agriculture-related decisions, operational holding has been taken as statistical unit at micro-level for data collection.
The Agriculture Census was conducted in three distinct Phases. The provisional results for first Phase of the current Census were released at State and all India level in October, 2012. After, scrutinizing the results at District/Tehsil level, this database has now been finalized and is being published in the form of an All India Report on number and area of operational holdings.
The main objectives of the Agriculture Census are:
i) To describe structure and characteristics of agriculture by providing statistical data on operational holdings, including land utilization, irrigation, source of irrigation, irrigated and unirrigated area under different crops, live-stock, agricultural machinery and implements, use of fertilizers, seeds, agricultural credit etc.
ii) To provide benchmark data needed for formulating new agricultural development programmes and for evaluating their progress.
iii) To provide basic frame of operational holdings for carrying out future agricultural surveys and,
iv) To lay a basis for developing an integrated programme for current agricultural statistics.
Census/enumeration data [cen]
Agricultural household, individual
The scope of the Agriculture Census 2010-2011 includes:
Phase I: Number and area of operational holdings for different size classes (marginal, small, semi-medium, medium, large), social groups (scheduled castes, scheduled tribes, others), type of holding (individual, joint, institutional) and gender (male, female);
Phase II: Tenancy, terms of leasing, land-use, irrigation-status, sources of irrigation, number of wells and tube wells, crop profile, dispersal of land;
Phase III: Use of inputs like manures, fertilizers, livestock, agriculture implements & machinery, institutional credit, use of improved seeds besides age, educational qualification and household size of the holder.
Department of Agriculture and Cooperation Ministry of Agriculture
The Agriculture Census data is collected following two broad approaches; in States where comprehensive land records exist (Land Record States), for Phase-I of the Census, the data on primary characteristics of operational holdings are collected and compiled on complete enumeration basis through re-tabulation of information available in the Village Land Records. For other States (Non-Land record States), this data is collected on sample basis following household enquiry.
In land record States,data on Agriculture Census is pooled for all the parcels of an operational holding irrespective of its location. However, for operational convenience, the outer limit for pooling is restricted to taluka. This pooling is done for each operational holder in the village of his residence. In the non-land record States, the data is collected through sample survey in 20 per cent of villages in each block. These villages are selected through simple random sampling method and all the operational holdings in the selected villagesare enumerated following household enquiry approach.
In smaller UTs, like Lakshadweep, Daman & Diu etc., no sampling is done. i.e. all holdings in all the villages are surveyed for collection of data.
Agricultural Census Division Department of Agriculture and Cooperation, Ministry of Agriculture http://agcensus.nic.in/
Dr. Vidya Dhar Department of Agriculture and Cooperation, Ministry of Agriculture agcensus.krishi@nic.in http://agcensus.nic.in/
- the title of the survey (including country, acronym and year of implementation)
DDI_IND_2010_AgC_v01_M_WB
Development Data Group DECDG The World Bank Documentation of the DDI
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University of Kentucky | UK HealthCare | News and Events | Jobs | Give to Medicine | About Our College | Diversity
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Adult/Juvenile Drug Court Evaluation
Funding Agency: Kentucky Administrative Office of the Courts/Bureau of Justice Assistance
Purpose: The Kentucky Administrative Office of the Courts receives funds from the Bureau of Justice Assistance to implement and operate Adult and Juvenile Drug Court programs throughout the state of Kentucky. The Center on Drug and Alcohol Research has been contracted to provide process and outcome evaluations for all Drug Court programs funded through the Bureau of Justice Assistance.
Aims: (1) To conduct a process evaluation for the implementation of funded Drug Court programs to provide an in-depth description of program delivery and functioning. Methods used for data collection include extensive personal interviews with Program Coordinators and Judges, treatment team focus groups, staffing and court observations, reviews of program literature, including participant handbooks, newspaper articles, brochures, policy and procedure manuals, and other available materials, data extraction from participant files (including demographic characteristics, prior drug use characteristics, phase promotions/demotions, sanctions/rewards, urine screens, employment status, housing stability, educational success, criminal justice history, health/mental health history), and review of monthly statistical information submitted to the Kentucky Administrative Office of the Courts. (2) To conduct an outcome evaluation which gauges program effectiveness. Data are extracted from participant files, monthly statistical information submitted to the Kentucky Administrative Office of the Courts are reviewed, and recidivism information obtained from Kentucky CourtNet on terminated, graduated, and current participants is analyzed.
Contact: Jennifer Havens @ 859-323-6553 or jennifer.havens@uky.edu
Current Evaluations : Clark/Madison Counties Juvenile Drug Court and Bell County Adult Drug Court.
Technical Reports:
Hiller, M.L., Malluche, D., Patterson, B., Abensur, R.L., Bryan, V., & Dupont, L. (2003). An Implementation Evaluation of the Fayette County Juvenile Drug Court. Lexington , KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M.L., Malluche, D., Patterson, B., Abensur, R.L., Bryan, V., & Dupont, L.(2003). An Implementation Evaluation of the Laurel and Knox Counties Adult Drug Court. Lexington , KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M.L., Malluche, D., Patterson, B., Abensur, R.L., Bryan, V., & Dupont, L. (2003). An Implementation Evaluation of the Clinton, Wayne, and Russell Counties Adult Drug Court. Lexington , KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Martin, B., Cobb, K., & Bryan, V. (2005). Adair/Casey Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., & Cobb, K. (2006). Adair/Casey Counties Adult Drug Court Outcome Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Martin, B., Cobb, K., & Bryan, V. (2005) Caldwell/Lyon/Livingston/Trigg Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Logan, T., Williams, K., Luekefeld, C., & Lewis, B. (1999). Campbell County Drug Court Program Process Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Logan, T., Williams, K., Luekefeld, C., & Lewis, B. (2000). Campbell County Juvenile Pilot/Planning Grant Drug Court Program Process Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Logan, T., Lewis, B. & Luekefeld, C. (1999-2000). Christian County Juvenile Drug Court Process Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M., Malluche, D., Patterson, B., Abensur, B., Bryan, V. & Dupont, L. (2003). Christian County Juvenile Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M., Malluche, D., Patterson, B., Abensur, B., Bryan, V. & Dupont, L. (2003). Clark/Madison Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M., Havens, J., Malluche, D., Martin, B., Bryan, V., Dupont, L., Abensur, B., Lekefeld, C., & Krieger, J. (2004). Clinton/Russell/Wayne/Monroe/Cumberland Counties Adult Drug Court Process/Outcome Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M., Malluche, D., Martin, B., Valerie, B., & Dupont, L. (2003). Daviess County Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Hiller, M., Malluche, D., Patterson, B., Abensur, B., Bryan, V. & Dupont, L. (2004). Fayette County Juvenile Drug Court Process/Outcome Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Cobb, K., Martin, B., & Bryan, V. (2005). Greenup/Lewis Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Martin, B., Cobb, K., & Bryan, V. (2005). Henry/Oldham/Trimble Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J. & Cobb, K. (2006). Henry/Oldham/Trimble Counties Adult Drug Court Outcome Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Cobb, K., Bryan, V. & Martin, B. (2005). Jefferson County Family Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J. & Cobb, K. (2006). Johnson/Lawrence/Martin Counties Adult Drug Court Implementation/Outcome Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Logan, T., Williams, K., Luekefeld, C., & Lewis, B. (1999). Kenton Drug Court Process Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J., Bryan, V., Cobb, K., & Martin, B. (2005). Scott/Bourbon/Woodford Counties Adult Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Logan, T., Williams, K., & Luekefeld, C. (1999). Warren County Drug Court Program Process Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J. Cobb, K., Martin, B., & Bryan, V. (2005). Warren County Juvenile Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
Havens, J. & Cobb, K. (2006). Warren County Juvenile Drug Court Implementation Evaluation. Lexington, KY: University of Kentucky, Center on Drug and Alcohol Research.
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Page last updated Wednesday, December 15, 2010
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Home>Entertainment> Future's Alleged Baby Mama Claps Back At Fans: "Mind The Business That Pays You"
Future's Alleged Baby Mama Claps Back At Fans: "Mind The Business That Pays You"
Eliza Reign wants to know why everyone is so concerned about Future.
Throughout her pregnancy, Eliza Reign has been bombarded with Instagram comments about her alleged baby's father. She claims to be carrying Future's child but the Atlanta rapper has not confirmed whether or not the child is his. People are peeved that he hasn't acknowledged the allegations but apparently, Eliza couldn't give less of a damn. She recently took to her comments section to tell fans that he wasn't even invited to her baby shower after they inquired about his whereabouts. Now, she's back to spill some more tea. This time, she's clapping back at a couple of fans who wanted to involve Future and his other baby mama Joie Chavis in their conversation.
One woman wrote that she was sad Future isn't owning up to the baby and taking responsibility on Eliza's latest post. After a back-and-forth conversation with another fan, Eliza decided to shut things down, telling them that they know nothing about what goes on in her personal life. "1. I am not a first time mommy," said Eliza, correcting the commenter who said that she wouldn't be able to raise her first child by herself. "2. He was never invited to my baby shower..... 3. Are you on the phone line when we converse with each other? I'm fine and will always be fine. Now mind the business that pays you."
It appears as though Eliza Reign is tired of hearing about Future in her comments. It likely won't end anytime soon, though. The self-proclaimed "Haitian Goddess" looks like she's due any day now.
Entertainment News Future Eliza Reign baby mama pregnant pregnancy instagram instagram comments clapback
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ENTERTAINMENT Future's Alleged Baby Mama Claps Back At Fans: "Mind The Business That Pays You"
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