Electrolytic Defluoridation Unit
Electrolytic Defluoridation Unit – CSIR – NEERI Technology
Electrolytic Defluoridation Unit
Water fluoridation is the controlled addition of fluoride to a public water supply to reduce tooth decay.
Gold Teeth
Gold Teeth
Event on 2012-01-31 22:00:00
Music style
Grunge, Punk, Rock, Funk, Hip-Hop, Rap, Underground, Reggae
Date
Tue 17.1.2012
Time
22:00 – 02:30 hours
Price
£4 / £5
Minimum Age
18
Description
Every Tuesday
GOLD TEETH
In the Music Hall :::
GIN
Gangsta Rap / Hip – Hop / Reggae etc.
Straight outta Compton.
In the Main Bar :::
SONIC
Garage Rock / Grunge / Punk etc.
Rock…
at The Deaf Institute (formerly The Deaf & Dumb Institute)
135 Grosvenor Street
Manchester, United Kingdom
Margot And The Nuclear So And So’s
Event on 2012-03-11 20:30:00
Supporting Acts: Hope And Therapy
Margot And The Nuclear So And So's
Margot & the nuclear so and so's third album Buzzard is primal and truculent, going straight for the vitals. Opener "Birds" finds the band going to places they haven't before – lovely, languid verses progressing into fuzzed out, howling choruses throughout the song's twists and turns – while still holding to the guitar-based ethos on which the album is founded. "Lunatic, lunatic, lunatic" may be familiar sonic territory for singer/guitarist Richard Edwards, but the (very) dark humor that slowly unveils is something that he has only flirted with (innocently) in the past. "New York City Hotel Blues" and "Claws Off" distill Margot's music to its essence: melody-driven pop music with teeth, set adrift against Edwards' surreal and emotional, if slightly twisted lyrical tendencies. Similarly, "I Do" refines the evocative chamber-pop for which the band is known to its most heart-rending fundamentals, supported by simply Richards' plaintive voice and an acoustic guitar. And there is, of course, an intriguing path that led Margot towards this evolution in sound, which contrasts the lively optimism of 2008's Animal! (and/or Not Animal, simultaneously released after contention with former label Epic). Buzzard was recorded over one freezing month last winter in an abandoned movie theater in Chicago's Ukrainian Village neighborhood. Edwards had taken up residence there after leaving his hometown of Indianapolis, when the house where he and the previous seven members of the band had lived was damaged in a fire last summer. Once settled, he began writing a collection of songs loosely inspired by the 8mm 'nudie cutie' films unearthed in the theater's basement, and the youthful reaction of mixed emotions that the films evoked. After six months of writing, longtime Margot members Tyler Watkins and Erik Kang joined Edwards in Chicago and the three began to dig into the new material. A cast of local musicians, who had begun to come to the theater to watch weekly screenings of Kamikaze Hearts, soon also joined them. It was against this grainy backdrop that Edwards and Co. recorded the songs with the help of these new friends, including drummer/producer Brian Deck, Tim Rutili (Califone, Red Red Meat), Joe Adamik, Cameron McGill, Katie Todd and Ronnie Kwasman. Theater seating was cleared away to accommodate the instruments, while a makeshift control room was assembled in the projection perch. As the days went by, a dusky, Bacchic energy started to fill the theater and Buzzard began to take form. Recording took place between the hours of 10pm and 5am, and no artificial light was allowed (as such, three musicians and engineer Neil Strauch broke bones from tripping over cables). Accidents aside, the willful band – live and manic, newly freed from any past constraints – growled their way through the songs and infused them with a raw, forceful energy that Margot had only hinted at in their past recordings. The result is the band's most immediate studio recording: bigger and louder than ever before, finally capturing Margot's powerful, captivating live show and defiantly Midwestern sound.
at Firebird
2706 Olive Street
Saint Louis, United States
Used Panasonic Ne2180 Panasonic Proii
Used Panasonic NE-2180 Panasonic ProII Sonic Steamer® Microwav
down door, s/s cabinet & cavity, digital display, cavity dimensions; 21-1/16"Wx13"Dx9-7/8"H, UL, NSF
Price: $ 1,695
Location
Nashville, USA
STOVE GE Spectra Ceramic glass top..Great Condion
concentrated heat with the touch of a button that conveniently cleans the oven cavity and eliminates the need
Price: $ 225
Location
Port Huron, USA
Chicago Metallic Multi Tier Cake Pan 4 Cavity, 11.2-Inch by 10.03-Inch by 15-InchMake miniature three tier cakes�.four at a time with the Chicago Metallic 4- cup Multi-Tier Cake Pan. Use your favorite recipe …
Giant Microbes Cavity (Streptococcus mutans) Plush ToyStreptococcus mutans is a facultatively anaerobic bacterium commonly found in the human oral cavity and is a significant contribut…
Professional Home Teeth Tooth
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Things You Can’t Eat With
Things You Can’t Eat With Braces
I’ve put on the list things that my dentist told me from the very beginning not to eat, and I’ve stayed away from them, and some others, which I’ve tried and caused me a lot of pain. Of course, various people react differently, so you might get away with eating some of the things on my list. At least it gets a bit easier in time, so things I couldn’t eat during the first two weeks of wearing braces became more acceptable later on. For others, I got used to how how to cut and prepare them before eating.
popcorn
hard chips
tortilla chips
corn chips (Ok, in fact, I can’t eat any sort of chips, but I’ve seen many people do better then me.)
gummies
hard candy
gum
bubble gum ? Perhaps you don’t think bubble gum deserves a separate entry from regular gum, but try cleaning the gum off your braces and then think again.
nuts ? Replace them with processed products, such as chestnut puree instead of actual chestnuts. It’s not as good, especially if you liked to eat nuts very much, as was my case, but at least it’s something.
corn on the cob
onion and garlic ? This may not be very obvious, but trust me, the stench stays on your braces for weeks! Stay away from any foods that smell.
ice ? When my doctor told me not to chew on ice, I was surprised. Who does that? Now, that I have to pay attention, I’ve discovered that I do that a lot, unconsciously, when drinking iced soda, so I stopped putting ice in my drinks altogether.
apples ? At least not whole apples, you’ll have to cut them in bite-sized bits. Same goes for all hard pieces of fruit, such as pears that are not very ripe and so on.
very cold drinks
very hot drinks
Skittles
caramel and licorice
seeds ? Sees are a huge threat. They’re small and hard, a deadly combination for braces, and, if they get stuck somewhere, they may dislodge the braces and cause them to stick in a position that could harm your teeth even more.
beef jerky
caramel apple ? Well, you can’t eat caramel, and you can’t eat apples, so put them together and you get something you really shouldn’t touch. Sigh. Same goes for chocolate covered peanuts. Double sigh.
spinach ? A bit of good news, in a way. In fact, you can eat spinach with braces, but just not in public, and only somewhere where you can go and clean your teeth immediately. It’s really disgusting to have green bits sticking from your mouth.
pesto sauce ? Same as the above, only it’s worse, trust me.
raw carrots ? Steam or sautee them lightly before. Same goes for broccoli, cauliflower and so on.
soda ? This is dangerous because it can wear off the glue that keeps the braces in place, and thus cost you one more visit to the dentist to have your braces re-attached.
chicken wings ? You’ll have to cut the meat from the bone, if you want to eat them. Have you tried asking for a fork and a knife in a fast-food joint? They look like you’ve just landed an alien ship there.
meat right from the bone ? No more tasty ribs for me.
hard cookies ? You can soften them in tea or milk, but I feel like an old lay when doing that. And again, it’s pretty disgusting to do it in public.
pizza crust ? I always thought that people who cut off their pizza crust are just show offs, but now I find that I have to do it as well.
pretzels
crackers
taffy
citrus fruit ? For the days immediately after having the braces installed or re-attached, it’s very painful.
bagels, hard rolls and French bread crust
whole grains ? This is really annoying, because the best breakfast cereals available out there now are made with whole grains, that don’t soften enough in milk.
dried fruit ? Almost all varieties, but in particular figs.
pickles
soft cheese ? Not all, but certain types stick to the teeth and it’s a pain to clean it off.
toast ? My toaster was the most used kitchen appliance before I got my braces on! Now it’s just gathering dust in a corner.
fingernails ? I know it sounds funny, but if you have that nasty habit of biting your fingernails, you have to get rid of it before having your braces installed.
pens and pencils ? I spend a lot of time writing, and I find myself very often chewing on the ends of pens and pencils. Now, of course, I can’t do it anymore.
Scientology Volunteer Ministers Of Tampa
Los Angeles, CA (PRWEB) January 25, 2012
This year, thousands who came to the Manatee County Fair for the food and the fun came home with something more?practical solutions to brighten their days year-round, thanks to the Tampa Bay Scientology Volunteer Ministers.
The fair was an unqualified success with more than 50 rides in the midway, a petting zoo and pig races, Cajun catfish, Texas barbecue and fried pastries?and a bright yellow Volunteer Ministers tent.
The Tampa Bay Scientology Volunteer Ministers are first responders who earned the Governor?s Points of Light Award in 2004 for the relief they provided in that year?s record hurricane season. But they don?t simply wait for disaster to strike?they set up their tent throughout the region to help Floridians prevail over all life?s disasters, great and small.
They are trained in Scientology principles anyone can use to salvage marriages, resolve conflicts, raise happy children, reduce stress, and overcome study difficulties?19 subjects in all, aimed at assisting people to do better in life.
?There is nothing more rewarding than watching a person brighten up before your eyes,? says one of the volunteers. ?When he sits up, smiles, and says ?I feel so much better,? believe me, you do too.?
In creating the Volunteer Minister movement, Scientology Founder L. Ron Hubbard wrote: ?A Volunteer Minister is a person who helps his fellow man on a volunteer basis by restoring purpose, truth and spiritual values to the lives of others?. He uses the technology of Scientology to change conditions for the better?for himself, his family, his groups, friends, associates and for Mankind.?
To learn more about the Scientology Volunteer Ministers or enroll on a free online Volunteer Minister course, visit http://www.VolunteerMinisters.org.
The Scientology Volunteer Minister program was initiated by Scientology Founder L. Ron Hubbard in 1976. There are now hundreds of thousands of people across 185 nations trained in the skills of a Volunteer Minister.
###
Bright Smile
Paula Reed Bright Smile – Framed Art Print
Bright Starts Tummy Prop & Play Activity Mat, TurtleBright Starts Tummy Turtle Prop & Play MatThe American Academy of Pediatrics recommends supervised tummy time daily from 0 months….
Porcelain Veneers Can Help Create
New York, NY (PRWEB) January 26, 2012
At his center for cosmetic dentistry in New York, Dr. Michael Kosdon says porcelain dental veneers have grown significantly in popularity over the past few years as more and more patients begin to see the benefits that an improved smile can offer to both confidence and appearance. While the American Association of Cosmetic Dentistry (AACD) reports that porcelain veneers procedures have increased by 250% in the past five years, Dr. Kosdon says patients have only recently begun to seek the procedure at his practice as a way to enhance lip fullness and plumpness. He says porcelain veneers can help increase confidence and improve one?s smile by augmenting natural lip shape. ?Dental veneers are a very common cosmetic dentistry procedure in our office, but only recently have patients discovered what veneers can do to produce fuller lips, reduce wrinkles, and improve the appearance of the entire face.?
Sinead O’connor
Sinead O’Connor
Event on 2012-02-21 20:00:00
Sinead O'Connor
Sinead O'Connor How About I Be Me (And You Be You) There has never been mistaking Sinead O'Connor for anybody else. A voice born to break as many hearts as windows, as tender as it is lethal. The face, simultaneously that of ocean-wide-eyed angel and shaven-headed warrior queen. And the spirit, courageous in its conviction, undaunted by controversy and fortified with endless reserves of resilience. Sinead O'Connor is that rare thing in popular music: a complete one-off. From her first breakthrough hit, 1987's 'Mandinka', to the multi-platinum international success of 1990's I Do Not Want What I Haven't Got with its unforgettable number one version of Prince's 'Nothing Compares 2 U', from her fearless genre-crossing forays into Irish folk and roots reggae to her collaborations with artists as diverse as Peter Gabriel, Massive Attack and The Chieftans, O'Connor has trodden a unique path to become the most iconic Irish female artist of the past 30 years. There is no one like Sinead O'Connor. There is only Sinead O'Connor. Lest the world dare forget who Sinead O'Connor is, it's about to be reminded once more. 25 years after her debut, 1987's The Lion And The Cobra, she returns with How About I Be Me (And You Be You), her ninth studio album and as showstopping a performance as her silver jubilee deserves. Produced by long-term collaborator John Reynolds, its ten tracks play like an encyclopaedic definition of O'Connor's oeuvre: songs about love and loss, hope and regret, pain and redemption, anger and justice. "I kind of realised I've spent a lot of my life as an artist being told what I should be," says O'Connor of the title. "Being told you should be this, you should do this, you shouldn't do that. You get to a certain age when you realise no, it's perfectly OK for me to be me, thank you very much, and you to be you. But it's very much an Irish thing. It's really a comment about Ireland and what it's like to be an Irish female artist, and particularly THIS Irish female artist." It begins with O'Connor as a giddy bride-to-be on the infectious hoedown '4th & Vine'; or as she laughingly puts it, one of many "girlie songs" on the album. "There are quite a lot of love songs on the record. It wasn't deliberate, but I'm pleased about it cos I never really did write love songs." So too the rousing 'Old Lady', a tongue-in-cheek punk ballad written about her crush on friend and Crying Game director Neil Jordan, and the buoyant call of 'The Wolf Is Getting Married'. "Another song about girlie issues," she says of the latter. "The title is something I've been wanting to use for years. When I lived in London I was in a cab having a chat with the young Muslim driver. The sky was really grey with just a little bit of blue shining through the clouds. He told me in Arab countries they called that the wolf is getting married, like he's smiling on his way to his wedding. I thought that was a gorgeous expression." Stepping out of herself and into character, the dreamily poignant 'Back Where You Belong' is a love song from a dead father killed in war to his son, originally written for the 2007 children's fantasy film The Water Horse. "There are several songs on the album which are character songs," explains O'Connor, "not necessarily me but a part of me." Equally emotive is the murmuring techno pulse of 'I Had A Baby', sung from the perspective of a single-parent. "It's a subject that people don't really write about. Even thought parentlessness is such a huge thing in the world, you rarely hear about it in a pop song. The character is a woman singing about a child she's had with a married man who's opted to have nothing to do with the child. And really, what that's like for the child and for the mother, how painful that is." The theme of pain, emotional and physical, casts its shadow wide. The beautiful 'Very Far From Home' is a personal catharsis of the loneliness of life on the road, as written and sung by a mother of four. "I can get very lonely on tour," admits O'Connor. "It's funny, I am a strong person but we're all contradictions and I'm quite vulnerable as well. Unless I have my home, my kids and all the things that keep me rooted I get quite freaked travelling around the world. When you're away from home you feel guilty. You're lonely, you're in Ostend or wherever and it's like, what's the fucking point?!" On 'Reason With Me', O'Connor delves even further into the dark, prompted by the personal testimonies of lives ripped to shreds by addiction. "The song is mostly inspired by this guy I met in Ireland, a heroin addict all his life and he thought he was a total piece of shit. He was like someone who had concrete poured all over him. Then I saw him again six months later and there was the same guy after he'd started to take action and there was this light in his eyes, he was a different person, the concrete was off him. He wasn't perfect, but he was happy and hopeful. So the song really sums that up." Living up to O'Connor's reputation as a powerfully original interpreter of other songwriters is the album's one cover version, John Grant's uncompromising lover's kiss-off 'Queen Of Denmark'. "It's a song about taking back your self-esteem and I loved the anger of it," she enthuses. "I didn't know John before but through doing the song we became mates. He has a great way of saying angry things in a terribly funny way." Unquestionably, the album's dramatic highlights are the two songs born of O'Connor's passionate response to the 2009 Murphy Report, the Irish government's enquiry into institutionalised child abuse in the country's Catholic school system and the cover-ups by the church hierarchy. On 'Take Off Your Shoes', O'Connor becomes a mouthpiece for, as she describes it, "the Holy Spirit with an AK rifle on the train on the way to the Vatican." As one of the most vocal campaigners against the attempted whitewash, O'Connor was eager to acknowledge her beliefs in song. "I liked the idea of scaring the fucking shit out of [the Vatican]," she explains. "What makes me angry and a bit of a soldier is I don't like the Holy Spirit disrespected. To me that's how it comes across, that they don't have any respect for the Holy Spirit if they can stand in its presence and lie over the rapes of small boys, covering these crimes up and yet it takes them two minutes to condemn Harry Potter for being evil." Which brings us to the captivating hymnal finale, 'VIP', where O'Connor turns her wrath on her fellow international Irish musicians too timid to step in and help her rattle the Papal cage. "We had a great tradition in Irish history of artists being a major part of the creation of history and the running of our culture," she explains. "They were very involved politically and half of them were driven into exile because they'd challenged society. Writers like Edna O'Brien, J.M. Synge, even James Joyce. Now you have this thing in Ireland where the artists have ceased to be interested in Irish issues and I find that very, very heartbreaking, especially with the publication of the Murphy Report." "I had tried," she continues, "to get a number of enormous internationally successful Irish musical artists to get involved in the struggle, to lend their voice, including someone who had actually endorsed Pope John Paul II and I was met with a stonewall of disinterest. So I think it's kind of criminal that the major musical artists from Ireland are doing nothing. And what annoys me is the one who endorsed the Pope is someone who goes on about believing in God all the time. So my view is, as artists, don't wave your fucking Grammy around going on about believing in God if you're not prepared to stand in the street and fight for the honour of God in your own country when your church has been raping little boys. It's just fucking stupid. And I was a bit nervous of challenging these artists. I've nothing against them personally. But it's time to say things as they are." Saying, and singing, things the way they are: it's what Sinead O'Connor's been doing best for the last 25 years. "I don't like comparing my records," she concludes, "but I do think there is a confidence there with this one. For a few years I went very into myself and I think I wasn't confident to be me because I was taking a kicking every time I did anything. So it seems to me that with this record I am more confident being me. You just grow into that way of thinking, y'know, what?" she laughs, "Fuck off!" The irrepressible, irreplaceable Sinead O'Connor. How about she be she and we just be thankful for it.
at Hollywood Forever Cemetery
6000 Santa Monica Boulevard
Los Angeles, United States
Sinead O’Connor
Event on 2012-02-20 20:00:00
Sinead O'Connor
Sinead O'Connor How About I Be Me (And You Be You) There has never been mistaking Sinead O'Connor for anybody else. A voice born to break as many hearts as windows, as tender as it is lethal. The face, simultaneously that of ocean-wide-eyed angel and shaven-headed warrior queen. And the spirit, courageous in its conviction, undaunted by controversy and fortified with endless reserves of resilience. Sinead O'Connor is that rare thing in popular music: a complete one-off. From her first breakthrough hit, 1987's 'Mandinka', to the multi-platinum international success of 1990's I Do Not Want What I Haven't Got with its unforgettable number one version of Prince's 'Nothing Compares 2 U', from her fearless genre-crossing forays into Irish folk and roots reggae to her collaborations with artists as diverse as Peter Gabriel, Massive Attack and The Chieftans, O'Connor has trodden a unique path to become the most iconic Irish female artist of the past 30 years. There is no one like Sinead O'Connor. There is only Sinead O'Connor. Lest the world dare forget who Sinead O'Connor is, it's about to be reminded once more. 25 years after her debut, 1987's The Lion And The Cobra, she returns with How About I Be Me (And You Be You), her ninth studio album and as showstopping a performance as her silver jubilee deserves. Produced by long-term collaborator John Reynolds, its ten tracks play like an encyclopaedic definition of O'Connor's oeuvre: songs about love and loss, hope and regret, pain and redemption, anger and justice. "I kind of realised I've spent a lot of my life as an artist being told what I should be," says O'Connor of the title. "Being told you should be this, you should do this, you shouldn't do that. You get to a certain age when you realise no, it's perfectly OK for me to be me, thank you very much, and you to be you. But it's very much an Irish thing. It's really a comment about Ireland and what it's like to be an Irish female artist, and particularly THIS Irish female artist." It begins with O'Connor as a giddy bride-to-be on the infectious hoedown '4th & Vine'; or as she laughingly puts it, one of many "girlie songs" on the album. "There are quite a lot of love songs on the record. It wasn't deliberate, but I'm pleased about it cos I never really did write love songs." So too the rousing 'Old Lady', a tongue-in-cheek punk ballad written about her crush on friend and Crying Game director Neil Jordan, and the buoyant call of 'The Wolf Is Getting Married'. "Another song about girlie issues," she says of the latter. "The title is something I've been wanting to use for years. When I lived in London I was in a cab having a chat with the young Muslim driver. The sky was really grey with just a little bit of blue shining through the clouds. He told me in Arab countries they called that the wolf is getting married, like he's smiling on his way to his wedding. I thought that was a gorgeous expression." Stepping out of herself and into character, the dreamily poignant 'Back Where You Belong' is a love song from a dead father killed in war to his son, originally written for the 2007 children's fantasy film The Water Horse. "There are several songs on the album which are character songs," explains O'Connor, "not necessarily me but a part of me." Equally emotive is the murmuring techno pulse of 'I Had A Baby', sung from the perspective of a single-parent. "It's a subject that people don't really write about. Even thought parentlessness is such a huge thing in the world, you rarely hear about it in a pop song. The character is a woman singing about a child she's had with a married man who's opted to have nothing to do with the child. And really, what that's like for the child and for the mother, how painful that is." The theme of pain, emotional and physical, casts its shadow wide. The beautiful 'Very Far From Home' is a personal catharsis of the loneliness of life on the road, as written and sung by a mother of four. "I can get very lonely on tour," admits O'Connor. "It's funny, I am a strong person but we're all contradictions and I'm quite vulnerable as well. Unless I have my home, my kids and all the things that keep me rooted I get quite freaked travelling around the world. When you're away from home you feel guilty. You're lonely, you're in Ostend or wherever and it's like, what's the fucking point?!" On 'Reason With Me', O'Connor delves even further into the dark, prompted by the personal testimonies of lives ripped to shreds by addiction. "The song is mostly inspired by this guy I met in Ireland, a heroin addict all his life and he thought he was a total piece of shit. He was like someone who had concrete poured all over him. Then I saw him again six months later and there was the same guy after he'd started to take action and there was this light in his eyes, he was a different person, the concrete was off him. He wasn't perfect, but he was happy and hopeful. So the song really sums that up." Living up to O'Connor's reputation as a powerfully original interpreter of other songwriters is the album's one cover version, John Grant's uncompromising lover's kiss-off 'Queen Of Denmark'. "It's a song about taking back your self-esteem and I loved the anger of it," she enthuses. "I didn't know John before but through doing the song we became mates. He has a great way of saying angry things in a terribly funny way." Unquestionably, the album's dramatic highlights are the two songs born of O'Connor's passionate response to the 2009 Murphy Report, the Irish government's enquiry into institutionalised child abuse in the country's Catholic school system and the cover-ups by the church hierarchy. On 'Take Off Your Shoes', O'Connor becomes a mouthpiece for, as she describes it, "the Holy Spirit with an AK rifle on the train on the way to the Vatican." As one of the most vocal campaigners against the attempted whitewash, O'Connor was eager to acknowledge her beliefs in song. "I liked the idea of scaring the fucking shit out of [the Vatican]," she explains. "What makes me angry and a bit of a soldier is I don't like the Holy Spirit disrespected. To me that's how it comes across, that they don't have any respect for the Holy Spirit if they can stand in its presence and lie over the rapes of small boys, covering these crimes up and yet it takes them two minutes to condemn Harry Potter for being evil." Which brings us to the captivating hymnal finale, 'VIP', where O'Connor turns her wrath on her fellow international Irish musicians too timid to step in and help her rattle the Papal cage. "We had a great tradition in Irish history of artists being a major part of the creation of history and the running of our culture," she explains. "They were very involved politically and half of them were driven into exile because they'd challenged society. Writers like Edna O'Brien, J.M. Synge, even James Joyce. Now you have this thing in Ireland where the artists have ceased to be interested in Irish issues and I find that very, very heartbreaking, especially with the publication of the Murphy Report." "I had tried," she continues, "to get a number of enormous internationally successful Irish musical artists to get involved in the struggle, to lend their voice, including someone who had actually endorsed Pope John Paul II and I was met with a stonewall of disinterest. So I think it's kind of criminal that the major musical artists from Ireland are doing nothing. And what annoys me is the one who endorsed the Pope is someone who goes on about believing in God all the time. So my view is, as artists, don't wave your fucking Grammy around going on about believing in God if you're not prepared to stand in the street and fight for the honour of God in your own country when your church has been raping little boys. It's just fucking stupid. And I was a bit nervous of challenging these artists. I've nothing against them personally. But it's time to say things as they are." Saying, and singing, things the way they are: it's what Sinead O'Connor's been doing best for the last 25 years. "I don't like comparing my records," she concludes, "but I do think there is a confidence there with this one. For a few years I went very into myself and I think I wasn't confident to be me because I was taking a kicking every time I did anything. So it seems to me that with this record I am more confident being me. You just grow into that way of thinking, y'know, what?" she laughs, "Fuck off!" The irrepressible, irreplaceable Sinead O'Connor. How about she be she and we just be thankful for it.
at Hollywood Forever Cemetery
6000 Santa Monica Boulevard
Los Angeles, United States
Jessie Baylin
Jessie Baylin
Event on 2012-01-31 20:00:00
Supporting Acts: The Watson Twins
Jessie Baylin
When you hear Jessie Baylin sing for the first time, it takes a matter of moments to realize that she's intimately familiar with pop's history – but not at all interested in repeating it. Her songs – and her plangent voice – carry a classic pop tone that evoke memories of the Brill Building and Laurel Canyon in the '70s while retaining a decidedly modern, empowered worldview. "I drew a lot from people like Burt Bacharach and Dionne Warwick, the Brill Building writers," says the New Jersey-born, Nashville-based singer-songwriter. "But I didn't want to make a retro, throwback kind of album. Nostalgia is fine, I have a definite fondness for that, but I didn't want people to listen and think I was trying to recapture something from the past." That's exactly the vibe one gets when immersed in Little Spark, Baylin's third album and first for Thirty Tigers – a relationship she struck up after negotiating her way out of a major label deal that was threatening to mar the clarity of her singular artistic vision. Rather than go with the flow, she went with her gut, gathering what remained of an inheritance from her grandmother – whose nickname Jessie borrowed for the Blonde Rat label moniker – Jessie hired Producer Kevin Augunas, who helped her gather some of the most empathetic musicians she could find, including old-school guitar man Waddy Wachtel, veteran drummer Jim Keltner, Greg Leisz on pedal steel, The Watson Twins on backup vocals and famed Emmy & Grammy winning string arranger Jimmie Haskell (Elvis Presley, Simon & Garfunkel, Bobby Gentry). But it was modern-day auteur and multi-instrumentalist Richard Swift who was Little Sparks chief arranger and with Swift, Kevin, and the musicians in place, Jessie had her creative collaborators and co-conspirators. "They became absorbed into my world to a degree I never expected," she says. "In a lot of ways, I really had these guys live my life with me and I think that closeness is reflected in the music. There was a seamless feeling, like we'd grown up together – it was that tight." Little Spark bears out those words. From the soulful orchestrations of the gently swinging opener "Hurry Hurry" through the high-desert plaint of the wistful "Yuma," Baylin and company move together as if joined at the head, the heart and the hips – leading to a direct connection with the pleasure center. She readily credits the arrangements conjured up by Swift – a veteran of sessions with artists as diverse as The Shins, Stereolab's Laetitia Sadier and Damien Jurado – but the most striking instrument is her own. As borne out in songs like the sigh-inducing:"Love Is Wasted on Lovers" and the country-kissed juke-joint ballad "Holiday," Baylin can use her voice to cut like a stiletto, then to soothe like a balm, often within the same song. "Everyone always told me I had a 'nice' voice, so ever since I was six years old, I had the instinct that I could do it," she says. "But I sometimes felt like I was kind of holding back. I was comfortable singing, and I liked singing, but I don't think I ever felt as open and free doing it until I got into the studio to do this album." Baylin has certainly drawn her share of kudos over the years. Growing up in a small town in New Jersey, she wowed friends and family – who eventually bowed to her pleas to allow her to pursue musical training at a high school for the arts, where she made connections with kindred spirits like Scarlett Johansson (who directed the video for this album's lead-in track, "Hurry Hurry"). Soon afterwards, she moved to Los Angeles, where she expanded her horizons further with a regular gig at the Hotel Café. "That was a great environment because the musicians around me were really inspiring, and the audiences were really insightful," she says. "When a crowd is really there to listen, and they are really into the music, you put more of yourself out there. It's just natural." Jessie's performances drew attention from within her peer group as well which included long-time Norah Jones collaborator Jesse Harris, who teamed with her on her first album, You, which was released through iTunes, as well as the crew that worked on her acclaimed 2008 follow-up, Firesight. It wasn't in the studio that she really cut her teeth, though: It was on the road, the clubs of the Midwest and south and the festival circuit (where she met her husband, Kings of Leon drummer Nathan Followill, with whom she settled outside Nashville a few years back. "Moving to Nashville was a big deal for me, because it changed the way I move through the world," says Jessie. "At first, I was alone a lot when Nathan was on tour, and it was just not my world. It was new, it was unfamiliar and that was both exciting and scary. It's also a lot more slow-paced, compared to everywhere else I'd lived. It forced me to listen more, and you can hear that in these songs, I think." Baylin's ability to listen is palpable throughout Little Spark, in her mellifluous phrasing, the gentle twang that's crept into her voice in recent years. But even more tangible is her ability to feel – and make her listeners feel. Listen to a song like "Joy Is Suspicious" – a starkly vulnerable self-assessment about learning to love against some pretty strong odds – and try to remain unmoved. "Some of the songs I 'm proudest of are the ones that were the hardest to write," she says. "The ones I didn't want to write, but had to. That can be draining, but it's the kind of thing I keep going back to – people know when you mean what you're saying, and they're willing to come into your world. And I want people in my world."
at Troubadour
9081 Santa Monica Boulevard
West Hollywood, United States
Steve Cradock (Ocean Colour Scene / Paul Weller)
Event on 2012-02-17 18:00:00
+ Soldier (Acoustic)
Doors: 6:00 PM
Price: £15adv
Entry: 14+
Room: The Temple
Million selling songwriter, accomplished musician, sharp dresser and all round top bloke, Steve Cradock is familiar to most as the long-serving guitarist in Paul Weller’s band and Ocean Colour Scene. Recruited by Paul Weller in 1993 (Weller recalling Cradock from his days in The Boys), the guitarist’s infectious enthusiasm soon kick-started OCS back into life, with second album ‘Moseley Shoals’ spawning four Top Twenty hits including karaoke perennial ‘The Riverboat Song’. Follow up ‘Marchin’ Already’, knocked Oasis’ ‘Be Here Now’ off the number one spot and the band’s place at Britpop’s top table was undoubtedly confirmed with an appearance at Oasis’ Knebworth mega-gig.
Alternating between OCS and a role as The Modfather’s musical consiglieri ever since, Steve only got round to making his solo debut, the splendid ‘Kundalini Target’, two years ago. ‘Peace City West’, his latest solo album, was recorded over a fortnight at Deep Litter Studios in Devon with a revolving cast of musicians including actor James Buckley (The Inbetweeners) on guitar and vocals. It’s as richly melodic as you’d expect from someone with such an established musical pedigree, with the sort of heart-melting pop songs most bands would give their eye-teeth for.
Check out the video for ‘I Man’:
at HMV Institute
78 Digbeth High Street
Birmingham, United Kingdom
A Day In The Life
A typical day in the life of an Orthodontist. Courtesy of CareerOneStop Learn how to get there at www.MYCAREERRX.com College Educates. We Create Careers.
Video Rating: 4 / 5