Shares in the UK’s Metro Bank were briefly suspended from trading twice on Thursday, after the stock plunged nearly 30% over reports of urgent fundraising efforts to shore up the bank’s balance sheet.
Metro Bank shares have now fallen more than 60% since September 12, when it revealed that UK regulators had failed to approve a plan that would allow Metro to run its mortgage business at a lower cost. The London Stock Exchange confirmed to CNBC that the brief suspensions were triggered by its circuit breaker mechanisms because of Metro Bank’s stock crash. The bank, which was reportedly attempting to raise £600 million ($727 million) in debt and equity, said in a statement on Thursday that it is currently considering “how best to enhance its capital resources.” The options include asking investors to help refinance $424 million worth of debt before it falls due in 2025, as well as raising hundreds of millions of pounds through the sale of debt, shares, or assets. “No decision has been made on whether to proceed with any of these options,” Metro Bank stated. Rating agency Fitch placed Metro on negative watch on Wednesday, citing increased risks to its business model, capital position, and funding. Founded by US billionaire Vernon Hill in 2010, Metro Bank became the UK’s first new high-street bank in more than a century. In 2019, it was hit by a misreporting scandal that led to the exit of its chair and chief executive.
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Recently, actor and comedian Russell Brand has used his celebrity status and his internet-based show to lift up independent-minded people like US presidential candidate Robert F. Kennedy Jr. He questioned the US and NATO involvement in the proxy war against Russia in Ukraine, as well as the mainstream media narrative on Covid-19.
The establishment neoliberals were having none of it. They turned their laser-guided coordinated attacks on Brand, and now he is facing cancelation, MeToo style. He’s been accused of rape and abuse by several women, and as a result has lost his YouTube ad revenue, has had his live shows canceled, has been dropped by his publisher, and has had shows featuring him removed from the BBC’s video-on-demand service, among other things. MeToo started out with a valiant goal, as a movement to empower women to speak out about sexual abuse where they had previously felt pressured into silence. All too quickly it got co-opted by political agendas, becoming a Democrat-backed hashtag used to attack and shut down those who disagree with the establishment narrative. It appears to have faded into relative obscurity since its roaring peak, and this zombie-like return of this style of cancelation comes off as both tiresome and disingenuous. I should know for two reasons: I worked for Democrats, and I was raped by one. The Democrat I was raped by at work is now the president of the United States. There was no investigation into Joe Biden for what he did to me that day, but rather a coordinated attack on me across social media and establishment media alike that lasted years. It destroyed my professional and personal life. The MeToo movement was nowhere to be found for me because the founder of Time’s Up, the primary organization that supported the movement, was on Biden’s payroll. Truth never stood a chance. Even when I came close to testifying before Congress, the DNC machine went full throttle at me, and then there was the part where I had to seek asylum in another country to avoid prosecution or violence. Now, I never expected instant justice. But I never got the justice of even an investigation into him.
I know what it’s like to have the narrative be locked and loaded for your complete destruction, and now so does Russell Brand. The facts on his alleged actions are murky and many of the accusers are anonymous. To date, no criminal charges, investigation, or civil cases have been filed. Just a blurry news program of innuendos latched onto by lap-dog Western media. The allegations against him were brought by Channel 4 Dispatches in a program called ‘Russell Brand: In Plain Sight’ and The Times. The allegations include rape and manipulation. As the news of the journalistic investigation spread, two shows dropped their episodes featuring Brand, and in only a few days, the trial by media had instigated his complete cancelation. Cases involving sexual misconduct, especially when they are about someone famous, are always a headline grabber.
That said, sexual assault and rape are difficult to publicly discuss. On a psychological level, rape is not about sex but power. On a legal level, the issue that swirls around any allegations of sexual assault is consent. Was there consent or not? It seems like a simple enough question, but when it comes to arguing legal definitions, it can get much more complicated, especially when you throw things like capacity to consent and withdrawal of consent into the mix. And then there’s the political level. Rape is a highly politicized issue in the US and the West in general, and no one can politicize it better than the Democrats. When a woman comes forward, her reputation often gets attacked, be it by slut-shaming or through allegations of fishing for attention. The MeToo mantra ‘believe all women’, when co-opted by the Democrat political agenda, is applied very selectively, and it becomes very easy to dismiss a politically inconvenient accuser by destroying her reputation. The accusations themselves then become a tool to deplatform or silence chosen targets. I know what it’s like to have the narrative be locked and loaded for your complete destruction, and now so does Russell Brand. The facts on his alleged actions are murky and many of the accusers are anonymous. To date, no criminal charges, investigation, or civil cases have been filed. Just a blurry news program of innuendos latched onto by lap-dog Western media. The allegations against him were brought by Channel 4 Dispatches in a program called ‘Russell Brand: In Plain Sight’ and The Times. The allegations include rape and manipulation. As the news of the journalistic investigation spread, two shows dropped their episodes featuring Brand, and in only a few days, the trial by media had instigated his complete cancelation. Cases involving sexual misconduct, especially when they are about someone famous, are always a headline grabber. That said, sexual assault and rape are difficult to publicly discuss. On a psychological level, rape is not about sex but power. On a legal level, the issue that swirls around any allegations of sexual assault is consent. Was there consent or not? It seems like a simple enough question, but when it comes to arguing legal definitions, it can get much more complicated, especially when you throw things like capacity to consent and withdrawal of consent into the mix. And then there’s the political level. Rape is a highly politicized issue in the US and the West in general, and no one can politicize it better than the Democrats. When a woman comes forward, her reputation often gets attacked, be it by slut-shaming or through allegations of fishing for attention. The MeToo mantra ‘believe all women’, when co-opted by the Democrat political agenda, is applied very selectively, and it becomes very easy to dismiss a politically inconvenient accuser by destroying her reputation. The accusations themselves then become a tool to deplatform or silence chosen targets. Russell Brand has been accused of rape, sexual assaults and emotional abuse during a seven-year period at the height of his fame. Four women, including one who was just 16 at the time, have alleged sexual assaults occurred between 2006 and 2013, when Brand was working for BBC Radio 2 and Channel 4, as well as starring in Hollywood films. The comedian and actor also faces allegations of controlling, abusive and predatory behaviour, following a joint investigation by The Sunday Times, The Times and Channel 4 Dispatches. Brand vehemently denies the allegations and in a video posted online, stated all of his relationships have been “consensual”, before accusing the media of a “co-ordinated attack”. It comes after Channel 4 Dispatches aired a 90-minute film titled Russell Brand: In Plain Sight on Saturday night, which saw four unidentified women detail their allegations, and other women speak of their experiences working with Brand on TV sets. It included Brand’s former personal assistant Helen Berger, who called him a “narcissist” in an interview for the programme. Meanwhile, Brand appeared as scheduled at the 2,000-capacity Troubadour Wembley Park Theatre in north-west London to perform a sold-out comedy gig on Saturday evening. His show, titled Bipolarisation, had been due to begin at 7pm, but was delayed by more than 45 minutes and lasted around an hour. While not directly addressing the allegations, audience members told the PA news agency Brand said he hoped they could “appreciate” there were things he could not talk about during the set. The allegations made against Brand include one woman who claims she was sexually assaulted during a three-month relationship with him when she was 16 and still at school. The woman described his behaviour towards her as “grooming” as he would allegedly provide her with scripts on how to deceive her parents into allowing her to visit him. In 2020, the woman contacted Brand’s literary agent at the time, who was also the co-founder of talent agency Tavistock Wood. A statement given to the PA news agency by Tavistock Wood said: “Russell Brand categorically and vehemently denied the allegation made in 2020, but we now believe we were horribly misled by him. TW has terminated all professional ties to Brand.” In the vast landscape of music, certain artists possess a rare ability to transcend generations, captivating listeners with their timeless melodies and indelible charisma. Among these luminaries, Sade Adu, simply known as Sade, stands as a paragon of enduring elegance and musical brilliance. With a career spanning over four decades, Sade has woven an enchanting tapestry of sultry, soulful tunes that have left an indelible mark on the world of music.
Born on January 16, 1959, in Ibadan, Nigeria, Sade Adu's journey to international stardom is a tale of determination, talent, and unwavering passion. Raised in both Nigeria and Essex, England, Sade's multicultural upbringing would later influence her unique musical style. Her father's Nigerian heritage and her mother's English roots offered her a rich cultural palette to draw upon in her music. Sade's journey into the world of music began in the early 1980s when she joined a London-based Latin-funk band called "Pride." This initial foray into the music industry laid the foundation for her career as she began to hone her craft and develop her distinct vocal style. Soon, she formed the band "Sade" along with Stuart Matthewman, Paul Denman, and Andrew Hale. This partnership marked the inception of something truly special. In 1984, Sade's debut album, "Diamond Life," was released to critical acclaim. The album's fusion of jazz, soul, and pop elements, coupled with Sade's smoky and velvety vocals, struck a chord with audiences worldwide. The single "Smooth Operator" became a massive hit and catapulted Sade to international stardom. Her ability to blend genres seamlessly and convey deep emotions through her music set her apart as a singular talent. Throughout the 1980s and '90s, Sade continued to release a series of successful albums, including "Promise" (1985), "Stronger Than Pride" (1988), and "Love Deluxe" (1992). Each of these albums showcased her ability to craft beautifully melancholic ballads and catchy, upbeat tracks with equal finesse. Sade's lyrics often explored themes of love, heartache, and resilience, resonating with listeners on a deeply emotional level. What sets Sade apart is not just her exceptional vocal talent but her mysterious aura and penchant for privacy. She has consistently shielded her personal life from the prying eyes of the media, focusing instead on her music. This enigmatic quality has only added to her allure, allowing her music to speak volumes on her behalf. Sade's influence extends far beyond the boundaries of her chart-topping albums. Her contributions to film soundtracks, such as "Your Love Is King" in "The Last King of Scotland" and "No Ordinary Love" in "Indecent Proposal," have further cemented her status as a musical icon. Her songs have also been sampled by numerous artists, attesting to her enduring impact on the industry. After a hiatus in the early 2000s, Sade returned to the music scene with "Lovers Rock" (2000) and "Soldier of Love" (2010), both of which garnered widespread acclaim. These albums showcased her ability to evolve while staying true to her signature style, proving that she remained as relevant and captivating as ever. Sade's accolades are as numerous as they are well-deserved. She has earned four Grammy Awards, including Best New Artist in 1986, and she continues to fill concert halls around the world with adoring fans eager to hear her perform live. In conclusion, Sade's life and career represent a remarkable journey through the annals of music history. Her ability to create music that transcends time, genre, and cultural boundaries is a testament to her artistic genius. With a voice that can soothe the soul and lyrics that touch the heart, Sade Adu has earned her place as an enduring icon in the world of music, leaving an indelible mark on generations of listeners who continue to be captivated by her enchanting melodies and timeless elegance. Bernie Marsden – former Whitesnake guitarist and a legend in the blue-rock sphere – has died at the age of 72. The news, first broken by bassist and friend of Marsden Neil Murray, has since been confirmed by Marsden’s record label Conquest Music, which writes: “On behalf of his family, it is with deep sadness we announce the death of Bernie Marsden. Bernie died peacefully on Thursday evening with his wife, Fran, and daughters, Charlotte and Olivia, by his side.” “Bernie never lost his passion for music, writing and recording new songs until the end,” the label adds.
Born in Buckinghamshire, England on May 7, 1951, Bernard John Marsden landed his first professional guitar gig with UFO in 1972. Thereafter, he worked with Glenn Cornick’s Wild Turkey, Cozy Powell’s band Cozy Powell’s Hammer, and Babe Ruth, with whom he played on two releases: Stealin’ Home (1975) and Kid’s Stuff (1976).
He later played in short-lived band Paice Ashton Lord, which was formed of former Deep Purple members Ian Paice and Jon Lord with singer Tony Ashton. But the gig he perhaps became best known for came in 1978, when he formed a new band with David Coverdale and guitarist Mick Moody, originally named David Coverdale’s Whitesnake. The band later changed their name to simply Whitesnake. Marsden was a member of Whitesnake between 1978 and 1982, during which time he appeared on the band’s first EP, first five albums and a live album: Snakebite (1978), Trouble (1978), Lovehunter (1979), Ready & Willing (1980), Live In The Heart Of The City (1980), Come An’ Get It (1981) and Saints & Sinners (1982). Saints & Sinners would see Marsden, alongside Coverdale, pen the biggest hit of his career: the anthemic Here I Go Again. The automotive industry has witnessed the rise and fall of numerous automobile manufacturers throughout history. Some companies leave an indelible mark with their innovative designs and engineering prowess. Among those unique and distinctive brands, Kellison Cars occupies a significant place. Renowned for their cutting-edge designs and customization options, Kellison Cars enjoyed a brief but impactful existence, leaving a lasting legacy in the automotive world.
The Origins of Kellison Cars: Kellison Cars was founded in the mid-1950s by a talented engineer and visionary, Jim Kellison. Inspired by the burgeoning sports car market, Kellison set out to create high-performance vehicles that combined speed, style, and affordability. His passion for engineering excellence and a keen eye for design led him to produce some of the most iconic sports cars of the era. Innovative Design: One of the distinguishing features of Kellison Cars was their innovative and striking designs. Kellison's vehicles featured sleek lines, aerodynamic contours, and distinctive body shapes that stood out from the crowd. These design elements were not just for aesthetic appeal but also enhanced the car's performance and handling capabilities. Customization Options: Kellison Cars gained popularity for their extensive customization options, allowing customers to tailor their vehicles according to their preferences. From engine choices to body modifications, Kellison provided a platform for car enthusiasts to create their dream machines. This flexibility set Kellison Cars apart from many other manufacturers and attracted a devoted following. Performance and Engineering Excellence: Beyond their eye-catching appearances, Kellison Cars were renowned for their outstanding performance. The company utilized lightweight fiberglass bodies, contributing to improved speed and fuel efficiency. Additionally, Kellison Cars often incorporated powerful engines and advanced suspension systems, ensuring a thrilling driving experience. Racing Success: Kellison Cars' dedication to high-performance design did not go unnoticed in the world of motorsports. Many Kellison models participated in various racing competitions, showcasing their capabilities and bringing recognition to the brand. The success of Kellison race cars demonstrated the engineering prowess and performance potential of their vehicles. Influence and Legacy: Although Kellison Cars had a relatively short lifespan, the brand left an indelible impact on the automotive industry. Many Kellison designs and concepts inspired future generations of sports cars. The company's innovative approach to customization and performance continues to influence modern automobile manufacturers, shaping the development of sports and racing vehicles. Collectibility and Enthusiast Community: Today, Kellison Cars enjoy a cult-like status among car collectors and enthusiasts. The rarity of these vehicles and their historical significance make them highly sought-after by collectors around the world. The strong enthusiast community surrounding Kellison Cars keeps the legacy alive through events, restorations, and preservation efforts. Kellison Cars embodied the spirit of innovation and customization, combining style with high-performance engineering. Despite their relatively short existence, Kellison Cars made a lasting impact on the automotive world. Their iconic designs, dedication to performance, and influence on future generations of sports cars ensure that the name Kellison remains etched in automotive history as a symbol of innovation, creativity, and driving excitement. NATO leaders met Wednesday with Ukrainian President Volodymyr Zelenskyy in the Lithuanian capital as they wrap up a summit that has included an emphasis on supporting Ukraine in its fight against Russia’s invasion and discussion of Ukraine’s future within the alliance.Zelenskyy said at a joint press conference with NATO Secretary General Jens Stoltenberg that he understands that some allies do not want to consider Ukraine joining the alliance right now because of fears of a world war, and that it is clear that Ukraine cannot join during the conflict . with Russia in progress.
NATO leaders said in a written declaration on Tuesday that the bloc “will be in a position to extend an invitation to Ukraine to join the alliance when allies agree and conditions are met,” reiterating its position that it supports Ukraine’s membership but does not pass any specific commitments or timeline Zelenskyy has sought. Zelenskyy said on Wednesday that he understood the statement to mean that the conditions will be met once Ukraine’s territory is secure. Stoltenberg highlighted a three-pronged package to more closely integrate Ukraine with NATO, including work on interoperability between Ukrainian and NATO forces, a new NATO-Ukraine Council that held its first meeting on Wednesday and removing the requirement for Ukraine to complete an action plan for membership about its path to becoming a member. “Today we meet as equals,” Stoltenberg said. “I look forward to the day we meet as allies.” Russia has made several statements during the summit that security assistance to Ukraine and NATO’s expansion pose a threat to Russia. Asked if that could engulf the situation, Stoltenberg said there is already a “total war in Europe” and there is no risk-free alternative. He said the “biggest risk is about the president [Vladimir] Putin wins.” Stoltenberg reiterated NATO’s position that it is only for Ukraine and NATO allies to decide whether Ukraine should join the alliance and that “Moscow does not have a veto.” Britain said members of the Group of Seven, or G7, leading industrialized nations plan to announce a new framework for allies providing long-term security support to Ukraine. Zelenskyy welcomed the move, saying that while the best security guarantee for Ukraine would be NATO membership, the G7 action would be a concrete step in support of Ukraine’s security. He added that Ukraine has already spoken to nations outside the G7 that are also interested in joining. Stoltenberg said that while guarantees, documents and meetings are important, the most urgent task for allies is to provide Ukraine with enough weapons. Zelenskyy was also scheduled to hold separate talks with US President Joe Biden on Wednesday. The US leader is scheduled to deliver a speech that “highlights how the United States, together with our allies and partners, is supporting Ukraine, defending democratic values and taking action to address global challenges,” the White House said. After the two-day summit, Biden will travel to Helsinki on Thursday to meet with leaders of Finland, Sweden, Norway, Iceland and Denmark. When Sweden has joined NATO, all five Nordic countries will be members of the military alliance.
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* Grid penalty In the realm of classic automobiles, the Crosley CC Convertible stands as a symbol of timeless elegance and vintage charm. Revered for its compact design and distinctive features, the Crosley CC Convertible brings forth a nostalgic aura while incorporating modern conveniences. This essay delves into the unique characteristics and enduring appeal of the Crosley CC Convertible, shedding light on its legacy and capturing the hearts of automotive enthusiasts.
A Glimpse into the Past: The Crosley CC Convertible pays homage to an era when automobiles were defined by their simplicity and functionality. Produced by the Crosley Corporation in the mid-20th century, this compact convertible was designed to offer an affordable and efficient mode of transportation. Its compact size, rounded contours, and minimalist aesthetic were a departure from the larger, more extravagant cars of its time. The Crosley CC Convertible embraced practicality while exuding a charm that resonated with a generation. Distinctive Design and Craftsmanship: The Crosley CC Convertible's design reflects the spirit of its era. Its compact body, adorned with chrome accents and streamlined curves, creates a visual appeal that captures the attention of onlookers. The folding soft-top roof adds a touch of versatility, allowing drivers to experience the joy of open-air motoring on sunny days. Despite its modest dimensions, the Crosley CC Convertible's interior offers surprising comfort and well-appointed details, showcasing the brand's commitment to craftsmanship. Efficiency and Performance: While the Crosley CC Convertible may not boast the power of modern sports cars, its lightweight construction and efficient engine were ahead of their time. Equipped with a modest yet reliable powertrain, this convertible delivers a nimble and enjoyable driving experience. The Crosley CC Convertible was designed for efficiency, making it an ideal choice for urban commutes or leisurely drives along scenic routes. Its handling characteristics and compact size allow for agile maneuverability, further enhancing the driving pleasure. Preserving the Legacy: In an era of advanced automotive technology, the Crosley CC Convertible stands as a testament to the enduring allure of vintage cars. Classic car enthusiasts and collectors embrace the Crosley CC Convertible for its rarity and historical significance. Numerous enthusiasts have taken up the responsibility of restoring and maintaining these iconic vehicles, ensuring that the legacy of the Crosley CC Convertible lives on for future generations to appreciate and admire. Community and Camaraderie: Owning a Crosley CC Convertible goes beyond the mere possession of a vintage automobile. It grants entry into a community of like-minded individuals who share a passion for classic cars and the preservation of automotive history. Owners of the Crosley CC Convertible often come together at vintage car shows, exhibitions, and rallies, creating an environment where stories are shared, knowledge is exchanged, and friendships are formed. The Crosley CC Convertible serves as a catalyst for camaraderie among enthusiasts, fostering a sense of belonging and shared admiration for these automotive icons. Conclusion: The Crosley CC Convertible encapsulates the essence of a bygone era, where simplicity, elegance, and affordability coexisted. Its distinctive design, efficient performance, and enduring appeal have secured its place in automotive history. As vintage car enthusiasts continue to restore, cherish, and showcase these iconic vehicles, the Crosley CC Convertible serves as a nostalgic reminder of a simpler time, evoking a sense of wonder and capturing the hearts of those who appreciate the fusion of classic charm and modern allure. Led Zeppelin took stock of their phenomenal fame with Houses of the Holy, with deep contributions from each member of the rock quartet. This fifth album was released in 1973, nearly a full year after it was recorded in the Spring of 1972 at Stargroves, an English country estate owned by Mick Jagger of The Rolling Stones. The major reason for the album’s delay was trouble with designing and printing the unique album cover by the artistic company Hipgnosis, with the band completely rejecting the initial artwork and the first prints of the final artwork accidentally coming out with a strong purple tint. When they finally got the artwork correct, the album was banned from sale in many locations because of the naked children on the cover who pay homage to the Arthur C. Clarke novel Childhood’s End.
Produced by guitarist Jimmy Page (like all Zeppelin albums), the album featured sophisticated layered guitars, the addition of obscure instrumentation, and other rich production techniques. Beyond the Stargroves recordings, the album contains recordings from Headley Grange (site of recordings of their previous album Led Zeppelin IV) with the Rolling Stones Mobile Studio, along with Olympic Studios in London and Electric Lady Studios in New York. There were also several recorded songs not included on Houses of the Holy but released on later albums such as Physical Graffiti and Coda. The album featured styles and sub-genres not heard on previous Led Zeppelin albums, such as funk, reggae, and doo-wop. The album is an indirect tribute to their fan base, who were showing up in record numbers to their live shows. It perfectly straddles the band’s early, more blues-based period from their later work, which consisted of more richly produced studio albums that tilted more towards pop and modern rock. Bass player and keyboardist John Paul Jones temporarily left the band for a few days during this album’s recording but soon returned and stayed with the band until the end. The fact that this album features different sounds is evident right from the top with “The Song Remains the Same”. This song is odd on several fronts, from the pitch-effect vocals of Robert Plant to the extremely bright multi-tracked guitars of Page. Still, the song is great and is set up as a sort of journey, not a rotation. The song is a jam that feels loose yet does not get lost for one second, due mainly to the steady and strong drumming of John Bonham. The song was originally an instrumental which was given the working title “The Overture”, before Plant added lyrics and the title to it. It was originally going to be an intro for “The Rain Song”, and these songs were often coupled together in concert. “The Rain Song” Is an extended piece with eloquent acoustic and electric guitars weaved together. The song also features a long mellotron section (some would say too long) played by Jones, adding a surreal orchestral effect above Page’s guitar before returned to the climatic final verses and soft and excellent guitar outtro. Parts of “Over the Hills and Far Away” written by Page and Plant during the 1970 sessions at the Welsh cottage Bron-Yr-Aur for the album Led Zeppelin III. The song is mostly acoustic throughout but works into a harder rock section during the middle, making it one of the most dynamic Led Zeppelin songs ever. Jones and Bonham add a tight rhythm to Page and Plant’s etheral dynamics. The song was released as a US single, but failed to reach the “Top 40”, faring much better on classic rock radio through the decades. “The Crunge” is a funk tribute to Wilson Pickett, Otis Redding and James Brown and evolved out of a jam session built around Bonham’s off-beat drums and a bass riff by Jones. This song features an overdubbed VCS3 synthesizer to replicated the funk “horn” section, which gives it a totally unique sound of its own. During the jam Plant calls for a “bridge” (imitating Brown’s habit of shouting instructions to his band during live recordings). When no such section materializes, the song (and first side) uniquely ends with the spoken “Where’s that Confounded Bridge?” The closest Led Zeppelin ever came to writing a pure pop song, “Dancing Days” was actually inspired by an Indian tune that Page and Plant heard while traveling in Mumbai. The guitar overdubs are simply masterful in this upbeat song about summer nights and young love. It was played live as early as November 1971 and, although not officially released as a single, it received heavy radio play in the UK. “D’Yer Ma’ker” was released as a single and became the band’s final Top 40 hit (although they didn’t have many of those). The song has a unique sound with Bonham’s exaggerated drum pounding backing a reggae-inspired riff by Page and Jones and Plant’s bubblegum pop vocals. The distinctive drum sound was created by placing three microphones a good distance away from Bonham’s drums, giving him much natural reverb to make the banging sound more majestic. The name of the song is derived from an old joke about Jamaica, and was often mispronounced as “Dire Maker” by those not privy to the joke. John Paul Jones centrepiece “No Quarter” provides a great contrast with a much darker piece about viking conquest, with the title derived from the military practice of showing no mercy to a vanquished opponent. The song features a distinct, heavily treated electric piano throughout with an acoustic piano solo by Jones in the long mid-section. Page doubles up with electric guitars and a theremin for effect, while Plant’s voice is deep and distorted. The album concludes with the upbeat rocker “The Ocean”, which refers to the “sea of fans” at the band’s concerts. Launching from a voice intro by Bonham, the song returns to the heavy riff-driven anthems that were popular on their earlier albums. But this song does contain its own unique parts, including an overdubbed vocal chorus, performed a Capella, by Plant in the middle and a doo-wop outro section that contains a boogie bass with strong guitar overdubs, bringing the album to a climatic end. Houses of the Holy has been certified eleven times platinum and is often included on “greatest albums” lists. It is an odd but brilliant album by Led Zeppelin which finds a balance uncommon by hard rock bands of any era. British guitarist Jeff Beck died of meningitis at the age of 78, his family said. Beck became known to the general public in 1965 as a replacement for Eric Clapton in the rock band The Yardbirds.
Jeffery Beck was born in Wallington, Surrey, England on June 24, 1944. He showed interest for music at a very young age, and he was a part of a church choir and took piano lessons for 2 years. His interest in string instruments came after his uncle showed him how to play an upright bass and the violin. His encounter with an electric guitar was when he went to a Buddy Holly concert at Croydon School in the spring of 1958. This inspired him to get his first guitar which was an acoustic, and which he borrowed from a friend – who never asked it back. He also made an attempt of building his own guitar, but never really succeeded. Jeff joined his first band “the Rumbles” in 1963, with whom he played mostly Gene Vincent and Buddy Holly songs, and he got his first gig as a session guitarist in 1964 on a single by the Fitz and Startz titled “I’m Not Running Away”. His breakthrough came in 1965 when he replaced Eric Clapton in the Yardbirds on the recommendation of his childhood friend Jimmy Page, who also joined the band shortly after. Jeff left the Yardbirds 20 months later, and started doing his own stuff. He recorded a couple of singles, and formed his own band called “the Jeff Beck Group”, whose members among others were Shadow Jet Harris, Rod Stewart, Ronnie Wood, Nicky Hopkins and Micky Waller. From then on Jeff mostly went by himself, but he also appeared on great ton of albums by musicians such as Mick Jagger, Tina Turner, Jon Bon Jovi, Roger Waters, Donovan, Stevie Wonder, and many other. He was even approached by Rolling Stones to join the band following the death of Brian Jones, and he the members of Pink Floyd intended to ask him to join as a replacement for Syd Barrett, but as they said, “None of us had the nerve to ask him.” Today Jeff was considered to by one of the most influential guitarists of all time. Beck has won five Grammy Awards and is fifth on the Rolling Stone list of greatest guitarists of all time. Netherlands, U.K. and Spain among countries investigating claims the stations are used to force Chinese to go home. Portugal became the latest nation to open a probe into allegations that China has been running “illegal police stations” in the country just as Ireland ordered Beijing to shut down its "overseas Chinese police service centre" in Dublin. Portuguese police launched an investigation into China's alleged overseas police "service stations", the Attorney General’s Office confirmed to the Expresso newspaper on Thursday. The authorities are paying “special attention” to the Chinese Embassy in Lisbon after Portuguese lawmakers raised concerns about a report by human rights group Safeguard Defenders in September that Chinese authorities operate 54 “police stations” overseas, including three in Portugal. A growing number of governments including Canada, the United Kingdom, Spain and the Netherlands are investigating reports about Chinese police offices overseas that are accused of coercing emigrants to return home to China to face criminal charges or silencing dissent abroad. Until now, no cases of immigrants living in Portugal having been forced to travel to China are yet known, the Expresso quoted a police source as saying. Also on Thursday, Ireland’s Department of Foreign Affairs ordered the so-called Fuzhou Police Service Overseas Station in Dublin city center to close, Irish media reported. The office opened earlier this year and Chinese authorities said it offered services to Chinese citizens in Ireland such as driving license renewals. However, Ireland’s Foreign Ministry said Chinese officials have never sought permission to set up the station in Dublin. "The Department noted that actions of all foreign states on Irish territory must be in compliance with international law and domestic law requirements," the Irish Times quoted a foreign ministry spokesman as saying. "On this basis, the Department informed the Embassy that the office on Capel Street should close and cease operations.” The Chinese Embassy confirmed that the office has now ceased operations.
China denies reports The Irish statement came after the Dutch government said it would probe service centres in the Netherlands in response to two reports run by broadcaster RTL Nieuws earlier this week. "Appropriate action will be taken. We take this very seriously," a Dutch foreign ministry spokesperson told the station. |
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