On their tour promoting Daylight Again, Crosby, Stills & Nash played three nights at the Universal Amphitheater in Los Angeles over the Thanksgiving Day weekend in 1982, and they taped and filmed the shows for a TV special. The Dutch Immortal label has licensed the audio tracks for this 21-song, 105-minute, two-CD set, and it chronicles a high point in the band's career. (Immortal also has a DVD version of Live in L.A., which is essentially a reissue of the 1983 MCA home video called Daylight Again.) At the outset, a professional-sounding announcer talks over the instrumental opening of 'Turn Your Back on Love,' stopping the split second the vocal begins, just like a disc jockey. But that is the only incursion into the show, which otherwise draws from CSN's back catalog of hits and favorites in a familiar format, starting with an electric set that gives way to an extended acoustic segment that further breaks down into solo spots, and then revving back up for an electric finish before sending the crowd out with a singalong of 'Teach Your Children' and the folk blues 'Daylight Again' as a coda. After months on tour, the singers' voices are a bit the worse for wear, or maybe it's just that one is accustomed to the polish of the studio recordings. It doesn't hurt the performances, which actually sound all the more fervent for the occasional vocal grit. Along with the CSN hits, there are occasional borrowings from the individuals' repertoire (Crosby & Nash's 'Wind on the Water' suite, Stills' 'For What It's Worth' from his Buffalo Springfield days, a CSN arrangement of the Beatles' 'Blackbird'), but most of the show is given over to evergreens and then recent radio hits from Daylight Again, notably 'Southern Cross,' which was peaking in the Top 20 at the time of the concert. Live in L.A. captures a resurgent Crosby, Stills & Nash before their hometown crowd. Clouds may have been gathering on the horizon, with Crosby's substance abuse problems threatening the band's future, but at these shows all seemed well. ~ William Ruhlmann
Released hot on the heels of their strong major-label debut, No Rest for the Wicked, 1984's Walkin' the Razor's Edge was Helix's fourth album and brought the hard-working Canadian quintet -- at the time already celebrating almost a decade of activity, amazingly enough -- to the very cusp of mainstream recognition. Unfortunately, it couldn't quite push them over the edge, though (peaking at number 69 on the Billboard charts), despite boasting a balanced set of muscular, self-penned heavy rockers and anthemic singles culled from outside songwriters that were seemingly tailor-made for American radio. Among the former were riff-powered vehicles like 'Young and Wreckless' [sic], 'When the Hammer Falls,' and 'My Kind of Rock' recalling early-?80s Judas Priest at their commercial best (think simplistic but infectious numbers like 'Heading Out to the Highway,' 'You've got Another Thing Comin',' etc.), and these became fast favorites among the group's heavy rock-loving supporters. Among the latter were the album's opening cheerleader chant of 'Rock You' (a number by Priest collaborator Bob Halligan, Jr. that was virtually all chorus, no set-up), a reworked 1969 hit for obscure Canadian bubblegum outfit Crazy Elephant named 'Gimme Gimme Good Lovin'' (for which a racy video featuring a topless, then 16-year-old Traci Lords, was shot for airing on the Playboy Channel), and a sleepy ballad named '(Make Me do) Anything You Want' (another Canadian rock relic originally released by A Foot in Cold Water) -- all of which ultimately performed short of label expectations. These also revealed Helix's Achilles' heel: their songwriting limitations, something that no amount of drive or live experience on the band's résumé could overcome. And still, Walkin' the Razor's Edge was quickly certified platinum in Canada with sales exceeding 100,000 copies, and moved another 400,000 units in the U.S.: had it not suffered from internal restructuring and inconsistent support from Helix's then record label, Capitol, there's no telling how far Helix could have gone in their career. [Reissued in 2009 by Rock Candy Records, Walkin' the Razor's Edge was augmented with three live recordings captured at the band's January 1985 performance at London's legendary Marquee Club.] ~ Eduardo Rivadavia
Southern Culture on the Skids pay enthusiastic homage to zombies, vampires, swamp monsters, and other assorted beasties known to haunt rural drive-ins and the shelves of cut-rate video stores on Zombified, a collection of horror-themed tunes which adds a tone of tongue-in-cheek menace to the band's trademark, twangy thunder. Musically, Zombified plays to SCOTS' strengths, with the emphasis on Rick Miller's fleet-fingered guitar work, as bassist Mary Huff and drummer Dave Hartman lay down a solid beat behind him, but with an extra portion of minor-key menace in the melodies, and the spook show thematics that dominate the lyrics make for a nice change of pace from the band's usual obsession with the seedy side of Southern life. SCOTS also dip their toes into West Indian sounds on 'Bloodsucker,' and they tighten up with an inspired instrumental cover of Credence Clearwater Revival's 'Sinister Purpose,' which proves to be a great showcase for Miller's guitar work and Chris Bess' keyboards (SCOTS version of Kip Tyler's 'She's My Witch' is similarly impressive). Coming from a band that often seems likely to turn into a novelty act, Zombified doesn't exactly take this band in a more serious direction, but it is a genuine change of pace and the band takes to these songs like an undead duck to brackish water: if you're looking for the right sounds for your next Halloween party, this should fill the bill with screams to spare. ~ Mark Deming
De meest goedkope en eenvoudige manier om veel water te besparen. De waterbespaarder is een in een handomdraai geplaatst. Daarna verbruikt u tot 50% minder water, zonder dat u daarbij hoeft in te leveren op comfort. De waterbespaarder is een plastic dopje van nog heen halve gram. De waterbespaarder is zodanig gedimensioneerd dat het watervolume met de helft wordt gereduceerd. Echter zonder dat drukvermindering optreedt.De Waterbespaarder past op praktisch alle standaardkranen, er zijn echter enkele types die afwijken. De diameter van de Lieventum (3 op kaartje) is 20 mm en past op kraantypes M22 en M24. Dit zijn de meest voorkomende kranen in Nederland. Is de diameter van uw Perlator (uiteinde kraan) breder dan 20 mm, past de Lieventum niet. De groene waterbespaarders (2 op kaartje) hebben een diameter van 15 mm.Uw Besparing per Waterbespaarder: 2.000 liter Water 16 KG CO2 9 m3 Gas 3 maanden 9,10 Euro Besparing per jaar voor een gemiddeld huishouden van 3 personen. Deze video laat zien hoe eenvoudig de waterbespaarder te plaatsen is.Product specificaties:- Materiaal: Non-toxic/ recyclebaar kunststof - Niet vervormbaar tot 100 graden Celsius - Geen kalkhechting - Gewicht : 0,65 gram - Diameter: 20 mm- Waterdoorstroming : 6,7 tot 7 liter per minuut, onafhankelijk van waterdruk, zonder comfortverlies - Levensduur : In principe onbegrensd - Eenvoudige montage - Te gebruiken in combinatie met bestaande schuimstraalmond Wist u dat...- Er 15 liter water per minuut in het riool verdwijnt bij het tanden poetsen, handen wassen, voedsel bereiden enz. - We in West Europa per persoon 135 liter water per dag gebruiken. Op jaarbasisis is dat 50.000 liter. - Slecht 3% van het water dat we verbruiken wordt daadwerkelijk gebruikt als drinkwater of voor voedselbereiding.- De waterbespaarder een Nederlandse uitvinding is.- Als heel Nederland dit zou gebruiken we jaarlijks het Sneekermeer eén de Biesbosch aan water besparen.- Er wereldwijd al meer dan 2,6 miljoen waterbespaarders in gebruik zijn.
On their tour promoting Daylight Again, Crosby, Stills & Nash played three nights at the Universal Amphitheater in Los Angeles over the Thanksgiving Day weekend in 1982, and they taped and filmed the shows for a TV special. The Dutch Immortal label has licensed the audio tracks for this 21-song, 105-minute, two-CD set, and it chronicles a high point in the band's career. (Immortal also has a DVD version of Live in L.A., which is essentially a reissue of the 1983 MCA home video called Daylight Again.) At the outset, a professional-sounding announcer talks over the instrumental opening of 'Turn Your Back on Love,' stopping the split second the vocal begins, just like a disc jockey. But that is the only incursion into the show, which otherwise draws from CSN's back catalog of hits and favorites in a familiar format, starting with an electric set that gives way to an extended acoustic segment that further breaks down into solo spots, and then revving back up for an electric finish before sending the crowd out with a singalong of 'Teach Your Children' and the folk blues 'Daylight Again' as a coda. After months on tour, the singers' voices are a bit the worse for wear, or maybe it's just that one is accustomed to the polish of the studio recordings. It doesn't hurt the performances, which actually sound all the more fervent for the occasional vocal grit. Along with the CSN hits, there are occasional borrowings from the individuals' repertoire (Crosby & Nash's 'Wind on the Water' suite, Stills' 'For What It's Worth' from his Buffalo Springfield days, a CSN arrangement of the Beatles' 'Blackbird'), but most of the show is given over to evergreens and then recent radio hits from Daylight Again, notably 'Southern Cross,' which was peaking in the Top 20 at the time of the concert. Live in L.A. captures a resurgent Crosby, Stills & Nash before their hometown crowd. Clouds may have been gathering on the horizon, with Crosby's substance abuse problems threatening the band's future, but at these shows all seemed well. ~ William Ruhlmann
Released hot on the heels of their strong major-label debut, No Rest for the Wicked, 1984's Walkin' the Razor's Edge was Helix's fourth album and brought the hard-working Canadian quintet -- at the time already celebrating almost a decade of activity, amazingly enough -- to the very cusp of mainstream recognition. Unfortunately, it couldn't quite push them over the edge, though (peaking at number 69 on the Billboard charts), despite boasting a balanced set of muscular, self-penned heavy rockers and anthemic singles culled from outside songwriters that were seemingly tailor-made for American radio. Among the former were riff-powered vehicles like 'Young and Wreckless' [sic], 'When the Hammer Falls,' and 'My Kind of Rock' recalling early-?80s Judas Priest at their commercial best (think simplistic but infectious numbers like 'Heading Out to the Highway,' 'You've got Another Thing Comin',' etc.), and these became fast favorites among the group's heavy rock-loving supporters. Among the latter were the album's opening cheerleader chant of 'Rock You' (a number by Priest collaborator Bob Halligan, Jr. that was virtually all chorus, no set-up), a reworked 1969 hit for obscure Canadian bubblegum outfit Crazy Elephant named 'Gimme Gimme Good Lovin'' (for which a racy video featuring a topless, then 16-year-old Traci Lords, was shot for airing on the Playboy Channel), and a sleepy ballad named '(Make Me do) Anything You Want' (another Canadian rock relic originally released by A Foot in Cold Water) -- all of which ultimately performed short of label expectations. These also revealed Helix's Achilles' heel: their songwriting limitations, something that no amount of drive or live experience on the band's résumé could overcome. And still, Walkin' the Razor's Edge was quickly certified platinum in Canada with sales exceeding 100,000 copies, and moved another 400,000 units in the U.S.: had it not suffered from internal restructuring and inconsistent support from Helix's then record label, Capitol, there's no telling how far Helix could have gone in their career. [Reissued in 2009 by Rock Candy Records, Walkin' the Razor's Edge was augmented with three live recordings captured at the band's January 1985 performance at London's legendary Marquee Club.] ~ Eduardo Rivadavia
Southern Culture on the Skids pay enthusiastic homage to zombies, vampires, swamp monsters, and other assorted beasties known to haunt rural drive-ins and the shelves of cut-rate video stores on Zombified, a collection of horror-themed tunes which adds a tone of tongue-in-cheek menace to the band's trademark, twangy thunder. Musically, Zombified plays to SCOTS' strengths, with the emphasis on Rick Miller's fleet-fingered guitar work, as bassist Mary Huff and drummer Dave Hartman lay down a solid beat behind him, but with an extra portion of minor-key menace in the melodies, and the spook show thematics that dominate the lyrics make for a nice change of pace from the band's usual obsession with the seedy side of Southern life. SCOTS also dip their toes into West Indian sounds on 'Bloodsucker,' and they tighten up with an inspired instrumental cover of Credence Clearwater Revival's 'Sinister Purpose,' which proves to be a great showcase for Miller's guitar work and Chris Bess' keyboards (SCOTS version of Kip Tyler's 'She's My Witch' is similarly impressive). Coming from a band that often seems likely to turn into a novelty act, Zombified doesn't exactly take this band in a more serious direction, but it is a genuine change of pace and the band takes to these songs like an undead duck to brackish water: if you're looking for the right sounds for your next Halloween party, this should fill the bill with screams to spare. ~ Mark Deming
This established, popular textbook provides a stimulating and comprehensive introduction to the insects, the animals that represent over half of the planet's biological diversity. In this new fourth edition, the authors introduce the key features of insect structure, function, behavior, ecology and classification, placed within the latest ideas on insect evolution. Much of the book is organised around major biological themes - living on the ground, in water, on plants, in colonies, and as predators, parasites/parasitoids and prey. A strong evolutionary theme is maintained throughout. The ever-growing economic importance of insects is emphasized in new boxes on insect pests, and in chapters on medical and veterinary entomology, and pest management. Updated 'taxoboxes' provide concise information on all aspects of each of the 27 major groupings (orders) of insects.Key Features:All chapters thoroughly updated with the latest results from international studiesAccompanying website with downloadable illustrations and links to video clipsAll chapters to include new text boxes of topical issues and studiesMajor revision of systematic and taxonomy chapterStill beautifully illustrated with more new illustrations from the artist, Karina McInnesA companion resources site is available at www.wiley.com/go/gullan/insects. This site includes:Copies of the figures from the book for downloading, along with a PDF of the captions.Colour versions of key figures from the bookA list of useful web links for each chapter, selected by the author.
