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'Not the gun but the word is the symbol of authority.' Charles Lindblom, former American political scientist and economist. Public discussion and debate are essential in a social democracy such as Barbados. Indeed, effective political language and communication are healthy for good governance, especially in a context where there is a contest of alternative policies and programmes by competing political parties. There is a held view in Political Science that 'politics without communication is like having blood without veins and arteries: it's not really going anywhere.' Surely, Barbadians are prompted to ask what is the logic or intent of Prime Minister Freundel Stuart's abysmal communication style?
Stuart's intrinsic disinclination to engage the nation is problematic, and the lack of substance coming from the Democratic Labour Party (DLP) is taking Barbados nowhere favourable. While the policy orientations of the Ministers of Cabinet may have flowed from manifesto promises or to address Barbados' systemic shortcomings, their discursive practices – contextually constructed phenomena reflecting their power positions – have singed the local landscape by being shambolic. The fact is, policy-making is a constant discursive struggle in which strategic communication is a prerequisite for national solutions. Political language fused into broader communication dynamics happens to be one of the main tools of policymaking.
Strategic political communication refers to a multiplicity of techniques that reach out to audiences to build and maintain relationships and, to coordinate activities that can mobilize supporters and rally the nation. This type of communication helps to persuade and/or convince the audience to actively support the efforts being articulated.
However, one must not fall into the trap of thinking that political communication and propaganda are one and the same thing. Propaganda is‘systematic strategic mass communication conveyed by an organization' such as our political parties, to ‘shape perceptions and manipulate the cognitions of a specific audience' so as to achieve the goal of directing ‘the audience's behaviour to achieve a response that furthers the political objectives' of the organization. It is not necessarily framed in or for the national interest, nor is it conducive to encouraging constructive criticism. By their definitions, political communication and propaganda can be informative. However, strategic communication will be inclusionary, but propaganda will not engender deliberation and participation.
Propaganda does not tolerate discussion and by its very nature, it rejects contradiction and discussion. The propagandist posturing evident in Barbados, is precisely the way Stuart and the DLP function. They have resorted more to propaganda than on fixing the problems which occurred under Stuart's stewardship.
On the verge of what is expected to be a stubbornly fought general election, the language of politics will become more divisive, and increasingly unclear and conflicting. Numerous Barbadians have become aware that Stuart often reveals a greater propensity to scuttle national consensus-building than inspire through effective, transformational leadership. Stuart's limited communication reveals that he can be utterly dismissive, thus producing disruptive national outcomes.
Popular discourse indicates that Barbadians in droves are ready to again express dissatisfaction with the current DLP Government. Simutech Troubleshooting Keygen Software. This displeasure goes beyond the previously held marches of protest and disgust. There are Barbadians hopeful of solace and are gravitating towards the inspiration of the Leader of the Opposition and the Barbados Labour Party (BLP).
To a lesser extent, small portions of the Barbados society are also drawn to emergent political entities. Noteworthy, is that the‘third' political parties have no relevant or proven track record of performing and delivering in the national interest, although all things are possible. The next prime minister must seal a by far better deal for all Barbadians. Urgently required is an empathetic leader who will talk, can inspire, and will prioritize the needs of Barbados.
That leader must communicate a clear vision arising from nothing short of‘rubbing shoulders' with the electorate and listening to the expectations and complaints of the nation. Barbadians are craving for truthful information.
Admittedly, Prime Minister Stuart means well, but he has been ineffective on leadership. He does not seek to motivate and enhance national performances or even productivity. Strategic and effective political communication has escaped his attention. Indiscipline within his Cabinet divulges the validity of that sentiment.
Furthermore, when there is necessity to inform Barbadians about the state's priorities and the ills affecting society, or the means for achieving national goals, Stuart is frequently mute. Stuart's breastplate overly relies on serendipity, while this conundrumis amplified by an ongoing mismatch between Stuart's DLP as the key speakers and Barbadians as the listeners. There is definite gross misunderstanding between the expectations of the governed and the objectives of the governing. Stuart, invariably, buckles when it comes to utilizing and maximizing soft power. Soft power arises from factors such as consideration for traditions, drawing on local political culture, and inculcating the dominant values that would have emerged in the post-independence period. Stuart's resistance to local value systems and attributes that were essential in guiding Barbados' local practices and policies since 1966, regularly scuttles his ability to obtain the DLP's vision of ‘continuing on the pathways to progress'.
Stuart's woeful stance has redirected the DLP to becoming more autocratic while relishing on secrecy, coercion, and of course, propaganda. Why hasn't Stuart seized the moment and the DLP utilize strategic communication and stakeholder deliberation as the means for igniting national reforms in governance? With strategic communication and the use of soft power, PM Stuart could have achieved many positive things for Barbados.
Surely, Barbadians are being short-changed by this DLP government. The hiatus in governance continues to widen due to the paltry efforts at communicating with the public. For example, it is true that Barbados ought to soon have a Teaching Service Commission. Yet, teachers have not had adequate input into the constitutive elements of this innovation. The void is likely to throw out another set of avoidable controversies for the DLP.
Stuart's refusal to use soft power, also fosters resentment on taxation. The DLP is unlikely to overcome Barbadians' rejection of the National Social Responsibility Levy (NSRL). The Finance Minister tersely pushed the NSRL up by 400% from its original two per cent, but last week, he boasted that the tax was raking in more than expected since implementation. Sinckler's brag was followed by the lukewarm defence of Minister Donville Inniss, and retreat by Stuart. Surely, the $50 million in revenues are intended to enhance benefits for the people. With the credibility of the DLP near rock-bottom, how does one explain the authoritarian disdain?
Today, Barbadians still need to understand where the country's economy lurks. How many more sacrifices will be necessary to stop the entire country from falling over the cliff?
Secrecy and surprise are normally essential weapons of war, but these are undermining Barbados' social democracy. There can be no war among ourselves. Acting Governor of the Central Bank, Cleviston Haynes interestingly stated more than a year ago that: 'We must bring new energy and bold strategies to the challenges which we all face. The real enemy is not each other, but unemployment, poverty and the need to renew our confidence in the Barbados economy.'. Important Jewels and Jadeite, Hong Kong, 12 Oct 2017, 02:00 PM comment5, Hitler, 454, Arms Production in the United Kingdom: Problems and Prospects, 9732, Heaven Knows, 062, Jumanji, ljrwar, Roads for the West Country, 3894, The Architecture of Europe,%-DD, Moose Country 2002 Calendar: 16 Month, 55533, At Home With the Word 2001: Sunday Scriptures and Reflections, >:-), We provide Training, Interview support (Male/Female) & Job support for almost all IT courses / technologies in market.
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Today, prescription and synthetic opioids crowd America's medicine cabinets and streets, driving a modern crisis that may kill half a million people over the next decade. Image by Lead Pipe Productions Pty Ltd Doctors thought the syrup would be 'non-addictive.' Instead, it turned into a More than 70 percent of the world's opium — 3,410 tons — goes to heroin production, a number that has more than doubled since 1985. Approximately 17 million people around the globe used heroin, opium or morphine in 2016. Today, prescription and synthetic opioids crowd America's medicine cabinets and streets, driving a modern crisis that. Opioids claimed 53,000 lives in the U.S. Last year, from the Centers for Disease Control and Prevention —.
How did we arrive here? Here's a look at why our brains get hooked on opioids. The pain divide Let's start with. They go by different names depending on which scientist you ask.
Peripheral versus central pain. Nociceptive versus neuropathic pain. The distinction is the sensation of actual damage to your body versus your mind's perception of this injury. Your body quiets your pain nerves through the production of natural opioids called endorphins. Stuff that damages your skin and muscles — pin pricks and stove burns — is considered peripheral/nociceptive pain.
Pain fibers sense these injuries and pass the signal onto nerve cells — or neurons — in your spine and brain, the duo that makes up your central nervous system. In a normal situation, your pain fibers work in concert with your central nervous system. Someone punches you, and your brain thinks 'ow' and tells your body how to react.
Stress-relieving hormones get released. Your immune system counteracts the inflammation in your wounded arm. New Jack Swing Gold Rar. Your body quiets your pain nerves through the production of natural opioids called endorphins. The trouble is when these pain pathways become overloaded or uncoupled. One receptor to rule them all Say you have chronic back pain.
Your muscles are inflamed, constantly beaming pain signals to your brain. Your natural endorphins aren't enough and your back won't let up, so your doctor prescribes an opioid painkiller like oxycodone. Prescription opioids and natural endorphins both land on tiny docking stations — called receptors — at the ends of your nerves. Most receptors catch chemical messengers — called neurotransmitters — to activate your nerve cells, triggering electric pulses that carry the signal forward. The Mu-opiate receptor is responsible for the major effects of all opiates, whether it's heroin, prescription pills like oxycodone or synthetic opioids like fentanyl.
The Mu-opiate receptor is responsible for the major effects of all opiates, whether it's heroin, prescription pills like oxycodone or synthetic opioids like fentanyl, said Chris Evans, director of Brain Research Institute at UCLA. 'The depression, the analgesia [pain numbing], the constipation and the euphoria — if you take away the Mu-opioid receptor, and you give morphine, then you don't have any of those effects,' Evans said.
Opioids receptors trigger such widespread effects because they govern more than just pain pathways. When opioid drugs infiltrate a part of, their receptors slow respiration, cause constipation, lower blood pressure and decrease alertness., where opioids receptors switch off a batch of nerve cells called GABAergic neurons. GABAergic neurons are themselves an off-switch for the brain's euphoria and pleasure networks. When it comes to addiction, opioids are an off-switch for an off-switch. Opioids hold back GABAergic neurons in the midbrain, which in turn keep another neurotransmitter called dopamine from flooding a brain's pleasure circuits. Image by Adam Sarraf Once opioids shut off GABAergic neurons, the pleasure circuits fill with another neurotransmitter called dopamine. At one stop on this pleasure highway — the nucleus accumbens — dopamine triggers a surge of happiness.
When the dopamine rolls into amygdala, the brain's fear center, it relieves anxiety and stress. Both of these events reinforce the idea that opioids are rewarding. These areas of the brain are constantly communicating with decision-making hubs in the prefrontal cortex, which make value judgments about good and bad. When it hears 'This pill feels good. Let's do more,' the mind begins to develop habits and cravings. Taking the drug soon becomes second nature or habitual, Evans said, much like when your mind zones out while driving home from work.
The decision to seek out the drugs, rather than participate in other life activities, becomes automatic. The opioid pendulum: When feeling good starts to feel bad.
It is the surge of withdrawal from opioids that makes the drugs so inescapable. Opioid addiction becomes entrenched after a person's neurons adapt to the drugs. The GABAergic neurons and other nerves in the brain still want to send messages, so they begin to adjust. They produce three to four times more cyclic AMP, a compound that primes the neuron to fire electric pulses, said Thomas Kosten, director of the division of alcohol and addiction psychiatry at the Baylor College of Medicine. That means even when you take away the opioids, Kosten says, 'the neurons fire extensively.' The pendulum swings back. Now, rather than causing constipation and slowing respiration, the brain stem triggers diarrhea and elevates blood pressure.
Instead of triggering happiness, the nucleus accumbens and amygdala reinforce feelings of dysphoria and anxiety. All of this negativity feeds into the prefrontal cortex, further pushing a desire for opioids.
While other drugs like cocaine and alcohol can also feed addiction through the brain's pleasure circuits, it is the surge of withdrawal from opioids that makes the drugs so inescapable. Could opioid addiction be driven in part by people's moods? Chronic pain patients have a very high risk of becoming addicted to opioids if they are also coping with a mood disorder. Photo by Roy Morsch/via Getty Cathy Cahill, a pain and addiction researcher at UCLA, said these big swings in emotions likely factor into the, especially with those with chronic pain. A person with opioid use disorder becomes preoccupied with the search for the drugs. Certain contexts become triggers for their cravings, and those triggers start overlapping in their minds.
'The basic view is some people start with the pain trigger [the chronic back problem], but it gets partially substituted with the negative reinforcement of the opioid withdrawal,' Cahill said. That's why Cahill, Evans and other scientists think the opioid addiction epidemic might be driven, in part, by our moods.
Patients on morphine experience 40 percent less pain relief from the drug if they have mood disorder. Chronic pain patients have a very high risk of becoming addicted to opioids if they are also coping with a mood disorder. A 2017 study — 81 percent — whose addiction started with a chronic pain problem also had a mental health disorder. Another found patients on morphine experience 40 percent less pain relief from the drug if they have mood disorder. They need more drugs to get the same benefits. People with mood disorders alone are also more likely to abuse opioids. A 2012 survey found patients with depression.
'So, not only does a mood disorder affect a person's addiction potential, but it also influences if the opioids will successfully treat their pain,' Cahill said. Meanwhile, the country is living through sad times.
Some research suggests social isolation. While the opioid epidemic started long before the recession, with every 1 percent increase in unemployment. Can the brain swing back?
As an opioid disorder progresses, a person needs a higher quantity of the drugs to keep withdrawal at bay. A person typically overdoses when they take so much of the drug that the brain stem slows breathing until it stops, Kosten said. Many physicians have turned to opioid replacement therapy, a technique that swaps highly potent and addictive drugs like heroin with compounds like methadone or buprenorphine (an ingredient in Suboxone). These substitutes outcompete heroin when they reach the opioid receptors, but do not activate the receptors to the same degree. By doing so, they reduce a person's chances for overdosing.
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These replacement medications also stick to the receptors for a longer period of time, which curtails withdrawal symptoms. Buprenorphine, for instance, while morphine only hangs on for a few milliseconds.
Science correspondent Miles O'Brien discovers future pain treatments may rely on virtual reality. For some, this solution is not perfect. The patients need to remain on the replacements for the foreseeable future, and some recovery communities.
Adobe dreamweaver cs3 keygen activation. Plus, opioid replacement therapy does not work for fentanyl, the synthetic opioid. Kosten's lab is one of many working on a opioid vaccine that would direct a person's immune system to clear drugs like fentanyl before they can enter the brain. But those are. And Evans and Cahill said many clinics in Southern California are combining psychological therapy with opioid replacement prescriptions to combat the mood aspects of the epidemic. 'I don't think there's going to be a magic bullet on this one,' Evans said. 'It's really an issue of looking after society and looking after of people's psyches rather than just treatment.' The post appeared first on. Manager of Litigation Support and eDiscovery Duties: Manage and support all litigation and technological services and requirements for the delivery of advocacy and dispute resolution services involving electronically stored information and eDiscovery.
Preparing paperless workflows; Identifying, purchasing and implementing new technology beneficial to paperless workflows; Working directly with IT and. The demand in the smart toys market, a sector born out of industrial and technological convergence, is projected for an impressive CAGR during the forecast period of 2017 to 2022. Albany, NY -- () -- -- A fresh market study by the researchers at Transparency Market Research (TMR) reports that the global smart toys market is heavily dependent on product innovation, and that an increasing number of players are venturing into the competitive landscape, eating out significant chunk of the total shares. That being said, a few companies do hold a respectable position in the global smart toys market, such as Activision Blizzard Inc., Fisher-Price Inc., The Hasbro Inc., LeapFrog Enterprises, Inc., Spin Master Corp, Seebo Interactive Ltd, Wow Wee Group Ltd, Genesis Toy Co. Ltd, Reach Robotics Ltd, and SmartGurlz ApS. While Activision Blizzard is a little ahead of the curve, Hasbro is concentrating on revisiting the most popular toys and games. LEGO too has made heavy investments for research and development in the recent past to emerge as a notable competitor in the global smart toys market.
View and Download TOC of Smart Toys Market Research Report@ Nascent Market Has Strong Potential for Product Innovation The demand in the smart toys market, a sector born out of industrial and technological convergence, is projected for an impressive CAGR during the forecast period of 2017 to 2022. However, the market for smart toys is still at its early stage, with Sphero BB8 App-Enabled Droid being the only one that has achieved broad consumer appeal in the toys to life segment.
In the near future, currently ongoing R&D efforts by the market leaders is expected to bear fruits and newer products are anticipated to make an impression on a wider population. That is when the demand in the global smart toys market will witness an escalation. Based on toy-type, the global smart toys market gains maximum demand for voice or image recognition toys, accounting for US$2,271.7 mn in 2017 and projected for a CAGR of 3.7% during the forecast period of 2017 to 2022. This segment is growing at US$ 89.7 mn annually over the course of the forecast period, and this absolute growth is larger than the any other segment, viz. Request and Download Sample Report@ App-enabled mechanical toys, screenless toys, toys-to-life, puzzles and building games, health tracking toys, wearables, and others. North America is identified as the most lucrative regional market for smart toys, promising a revenue worth US$2,119.2 mn by 2022.
On the other hand, the demand for smart toys in the region of Asia Pacific expect Japan (APEJ) is anticipated to expand at an above-average CAGR of 3.9% during the same forecast period. Increased Disposable Income of Urban Population Driving Demand Urban population is growing increasing inclined towards restless lifestyle and while they have managed to add to their disposable income, time for personalized parenting is diminishing.
Smart toys utilize artificial intelligence, and are punctuated with microprocessors, input and output devices, and volatile or nonvolatile memory units. Smart toys goes beyond just being educational toys, as they can recognize speech as well as react to their surroundings in order to provide a comprehensive entertainment and engagement to children between the age group of five to 14. The growth of the global smart toys market is also a reflection of increasing awareness towards the smart toys and the availability of diverse indoor and outdoor sports and educational toys. On the other hand, high cost of these products, the lack of awareness among large masses, particularly in the emerging economies, regulatory issues for overseas distribution, and impending innovations are some of the challenges that are hindering the prosperity of the global smart toys market. The emergence of the Internet of Things (IoT) is having tremendous positive effect on the global smart toys market too. With IoT, modern toys are increasingly becoming a potential area wherein connectivity and existing toy types can be collaborated together to innovate appealing new devices, referred to as connected or 'smart toys'.
1. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Chikada Haruo: Heavy [近田春夫: HEAVY] (1987)
4. Jagatara: Sorekara [じゃがたら：それから] (1989)
5. Sandii: Mercy [サンディ：MERCY] (1990)
Takahashi, pop theoretician, serves up some fairly conventional picks with a nod toward worldbeat (Jagatara, Sandii).
1. Food Brain: Bansan [フード・ブレイン: 晩餐] (1970)
2. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
3. Shiba: Aoisora no Hi [シバ：青い空の日] (1972)
4. Sadistic Mika Band: Sadistic Mika Band [サディスティック・ミカ・バンド: サディスティック・ミカ・バンド] (1973)
5. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
Takahashi's fairly conventional new music picks include one from psychedelic supergroup, Food Brain, and one from singer-songwriter, Shiba.
1. Chakra: Satekoso [チャクラ：さてこそ] (1981)
2. Plastics: Welcome Back Plastics [プラスティックス：ウェルカムバック・プラスチックズ] (1980)
3. Yoninbayashi: Golden Picnics [四人囃子: ゴールデンピクニックス] (1976)
4. YMO: X∞Multiplies [イエロー・マジック・オーケストラ:増殖 ] (1980)
Tanaka, blogger, best known for his work on Japanese electronica, stays true to form with his four picks.
1. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
2. Snakeman Show: Isoide kuchi de sue [スネークマン・ショー: 急いで口で吸え] (1981)
3. Yamashita Tatsuro: Melodies [山下達郎：Melodies] (1983)
4. Plastics: Origato Plastico [プラスティックス：オリガト・プラスチコ] (1980)
5. Melon: Deep Cut [メロン：ディープ・カット] (1987)
'Dictionary's' picks are straightforward electropop, with some comedy (Snakeman Show) and singer-song writer pop thrown in.
1. Panta: Kristal Nacht [パンタ：クリスタル・ナハト] (1987)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. The Stalin: Stop Jap [ザ・スターリン：ストップ・ジャップ] (1982)
4. Yoshino Daisaku & Prostitute: Ushiro sugata no sutekina bokutachi [吉野大作＆プロスティテュート：後ろ姿の素敵な僕たち] (1985)
5. Kina Shoukichi & Champloose: Bloodline [喜納昌吉 & チャンプルーズ: ブラッド・ライン] (1980)
Tanaka's picks are eclectic, leading with Panta's memorial to the events of 1938, and proceeding through the prog rock of Yoninbayashi, the hardcore punk of Stalin, the postpunk of Yoshino Daisaku, and the Okinawan pop of Shoukichi Kina.
1. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
2. Zunou Keisatsu: Zunou Keisatsu [頭脳警察:頭脳警察] (1972)
3. Murahachibu: Live [村八分：ライヴ] (1973)
4. RC Succession: Single Man [RCサクセション: シングルマン] (1976)
5. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
Writer, producer, DJ, musician, translator, and cat fancier, Torii, who produced the Tokyo New Wave ‘79 compilation and participated in the production of the Inu record, picks some conventional rockers.
1. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
2. P-Model: In a Model Room [P-Model: In a Model Room] (1979)
3. Kenzi: Bravo Johnny wa konya mo happy end [ケンヂ：ブラボー・ジョニーは今夜もハッピーエンド](1986)
4. VA: Tokyo Rockers [東京ロッカズ] (1979)
5. VA: City Rockers [シティー・ロッカズ] (?)
Writer and television personality, Nakagome, picks from the punk/new wave/indies scene.
1. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Flower Travellin' Band: Made in Japan [フラワー・トラベリン・バンド: Made in Japan] (1972)
4. Zunou Keisatsu: Zunou Keisatsu 2 [頭脳警察:頭脳警察2] (1972)
5. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
Nakamura's picks are conventional early 1970s rock.
1. Panta: PANTAX'S WORLD [パンタ: PANTAX'S WORLD] (1976)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. Chikada Haruo & HARUOPHON: Dengekiteki Tokyo [近田春夫＆ハルヲフォン: 電撃的 東京] (1978)
4. Moonriders: Camera=Mannenhitsu [ムーンライダーズ: カメラ＝万年筆] (1980)
5. Roosters: Four Pieces [ルースターズ：FOUR PIECES] (1988)
Nara, who wrote the award-winning comic novel, Chin-Don-Jan, is fairly conventional in his choice of artists, though a little unusual in his choice of specific works.
1. EP-4: Lingua Franca 1 [EP-4: リンガ・フランカ１] (1983)
2. EP-4: Multilevel Holarchy [EP-4: マルチレーベル・ホラーキー] (1983)
3. Zigzag: Mad Power [ZIGZAG: マッド・パワー] (1981)
4. VA: Awa [VA: Awa] (1980?)
5. Lizard: Lizard [ リザード: リザード] (1980)
Nanbu is being willfully obscure, with two from indie funk band, EP-4, and another from legendary Kyoto punk band, Zigzag. Lizard is the only conventional pick. The 'Awa' compilation comprised two discs worth of avant-garde material from Kansai bands.
1. Endo Kenji: Tokyo Wasshoi [遠藤賢司:東京ワッショイ] (1979)
2. Hadaka no Rallies: Les Rallizes Denudes ‘77 LIVE [裸のラリーズ: Les Rallizes Denudes ‘77 LIVE] (1991)
3. Yazawa Eikichi: Goldrush [矢沢永吉: ゴールドラッシュ] (1978)
4. Uchida Yuya: Saraba aishiki hito yo [内田裕也：さらば愛しき人よ] (1981)
5. Totsuzen Danball: Naritatsu ka na? [突然段ボール：成り立つかな] (1981)
Nemoto, underground cartoonist, picks from all over the stylistic map. Endo's folk rock, Les Rallizes' noise psych, Yazawa's pop rock, Uchida's classic rock, and the post-punk of Totsuzen Danball.
1. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
2. Moonriders: Camera=Mannenhitsu [ムーンライダーズ: カメラ＝万年筆] (1980)
3. Ohtaki Eichi: A Long Vacation [大滝詠一：A LONG VACATION] (1981)
4. Sano Motoharu: No Damage [佐野元春：ノーダメージ] (1983)
5. Unicorn: Kedamono no Arashi [ユニコーン：ケダモノの嵐] (1990)
Nohji's picks are fairly conventional. The (pop rock) Ohtaki, Sano, and Unicorn picks would probably be included in best of lists today.
1. Ohtaki Eichi: Niagara Moon [大滝詠一：NIAGARA MOON] (1981)
2. Sugar Babe: Songs [シュガーベイブ：ソングス] (1975)
3. Arai Yumi: Misslim [荒井由美：ミスリム] (1974)
4. Hosono Haruomi: Bon Voyage Co. [細野晴臣: 泰安洋行] (1976)
5. Yazawa Eikichi: Door o akeru [矢沢永吉: ドアを開ける] (1977)
Hagiwara, leading rock critic, record producer, and TV personality, picks from the softer rocking new music era.
1. Inoue Yosui: Koori no Sekai [井上陽水: 氷の世界] (1973)
2. Yamashita Tatsuro: For you [山下達郎：フォー・ユー] (1982)
3. Carol: Funky Monkey Baby [キャロル: ファンキー・モンキー・ベイビー] (1973)
4. Sano Motoharu: Heart Beat [佐野元春：ハート・ビート] (1981)
5. Watanabe Misato: Lovin' you [渡辺美里：ラヴィン・ユー] (1986)
Haruna, who managed Sano and Watanabe early in their careers, goes for the singer-songwriters (with retro-rockers, Carol, thrown in).
1. ARB: Bad News [A.R.B.: バード・ニュース] (1980)
2. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
3. Sano Motoharu: Visitors [佐野元春：ビジターズ] (1984)
4. BOØWY:BOØWY [BOØWY: BOØWY] (1985)
5. Flipper's Guitar: Camera! Camera! Camera! [フリッパーズ ギター：カメラ！ カメラ！ カメラ！] (1990)
Hirayama throws in an oldy (Happy End), and a new one (Flipper's Guitar–Camera! was actually the single from Camera Talk), but is mainly focused on commercial rock from the early 1980s.
1. Sandii & the Sunsetz: Immigrants [サンディ＆ザ・サンセッツ：イミグランツ] (1982)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
4. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
5. Unicorn: Hige to Boin [ユニコーン：ヒゲとボイン] (1991)
Hoshina, best known for his book on The Who, wrote the liner notes for the Yoninbayashi record. His picks are somewhat conventional, plus Sandii's ethno-new wave and Unicorn's power pop.
1. Friction: Atsureki [フリクション: 軋轢] (1980)
2. P-Model: In a Model Room [P-Model: In a Model Room] (1979)
3. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
4. Jagatara: Hadaka no Ohsama [じゃがたら：裸の王様] (1987)
5. A-Musik: MKWAJU [A-MUSIK: ムクワジュ]
Ero-writer, Matsuzawa, goes for the punk/new wave picks, including one ultra-obscure release by political noise-maker, A-MUSIK.
1. Yoshida Takuro: Genki desu [吉田拓郎 元気です] (1972)
2. Yazawa Eikichi: I love you, OK [矢沢永吉: アイ・ラヴ・ユーOK] (1975)
3. Sentimental City Romance: Sentimental City Romance [センチメンタル・シティ・ロマンス：センチメンタル・シティ・ロマンス] (1975)
4. Sano Motoharu: Back to the Street [佐野元春：バック・トゥ・ザ・ストリート] (1980)
5. The Mods: Fight or Flight [The Mods [ザ・モッズ]: Fight or Flight] (1981)
Maruyama, now better known for his role in developing the PlayStation, was an influential figure in corporate rock circles. With the exception of the punky Mods, he goes for commercial rock here–all released on his labels!
1. YMO: Public Pressure [イエロー・マジック・オーケストラ: パブリック・プレッシャー] (1980)
2. Carol: Last Live [キャロル: ラスト・ライブ] (1975)
3. Sadistic Mika Band: Hot Menu [サディスティック・ミカ・バンド: ] (1975)
4. Yuukadan: Yuukadan Live [憂歌団:憂歌団ライブ] (1975)
5. Yano Akiko: Gohan ga dekita yo! [矢野顕子：ごはんができたよ] (1980)
Miura, who recently worked on a photobook project with Tamio Okuda, is rather conventional in his band choices, though idiosyncratic in specifics (Hot Menu!).
1. Timers: The Timers [タイマーズ : ザ・タイマーズ] (1989)
2. Endo Kenji Band: Fumetsu no Otoko [遠藤賢司バンド:不滅の男] (1991)
3. Ueda Masaki & Ariyama Junji: Bochibochi ikoka [上田正樹と有山淳司:ぼちぼちいこか] (1975)
4. Bo Gumbos: Bo & Gumbo [ボ・ガンボス：BO & GUMBO] (1989)
5. Oshima Nagisa: Iden & Titi [大島渚：アイデン＆ティティ] (1990)
Miura, underground culture provocateur, makes some rootsy picks, including the faux New Orleans pop of Bo Gumbos. 'Oshima Nagisa,' named after the director, was Miura's Ikaten band. (He later toured as a member of the 'Bronsons'–inspired by the macho stylings of the actor).
1. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
2. Sakamoto Ryuichi: [坂本龍一：B2-ユニット] (1983)
3. Jacks: Legend [ ジャックス: レジェンド] (1988)
4. Hamada Shogo: Umarete tokoro o tooku hanarete [浜田省吾：生まれてところを遠く離れて] (1976)
5. Hamada Shogo: Love Train [浜田省吾：ラブ・トレイン] (1977)
Minakami, who has written extensively about Western rock, is largely conventional in her picks, but shows a clear weakness for the pop idol rock of Shogo Hamada.Miyabe Kazuhiko, Inner Directs [宮部和彦：インナー・ディレクツ]
1. Flower Travellin' Band: Satori[フラワー・トラベリン・バンド: Satori] (1971)
2. Panta & HAL: Malakka [パンタ&HAL: マラッカ] (1979)
3. The Mods: Fight or Flight [The Mods [ザ・モッズ]: Fight or Flight] (1981)
Sano Motoharu No Damage Rare
4. Hotei Tomoyasu : Guitarrhythm [布袋寅泰：ギタリズム] (1988)5. Boredoms: Soul Discharge [ボアダムズ：ソウル・デスチャージ] (1989)
Miyabe, of the indie label, Inner Directs, is very conventional until his last pick–the Boredoms!
Moriwaki Mikio, music critic [森脇美貴夫: 音楽評論家]
1. The Stalin: Mushi [ザ・スターリン：虫] (1983)
2. Star Club: Punk! Punk! Punk! [スター・クラブ：パンク！パンク！パンク！] (1985)
3. Lizard: Lizard [ リザード: リザード] (1980)
4. Friction: Atsureki [フリクション: 軋轢] (1980)
5. G.I.S.M: Detestation [ギズム：ディテステション] (1983)
DOLL editor, Micky Moriwaki, goes for Japanese punk.
Yamakawa Kenichi, artist [山川健一：作家]
1. Panta: Kristal Nacht [パンタ：クリスタル・ナハト] (1987)
2. RC Succession: Rhapsody [RCサクセション: ラプソディー] (1980)
3. Dare ga kaba yanen rock ‘n roll show: Waoo… [誰がカバやねんロックンロールSHOW: WAOO…] (1980)
4. Sheena and the Rokkets: Synk Pack [シーナ＆ロッケツ：真空パック] (1979)
5. Never Mind Troubles: So Much Trouble [ネヴァー・マインド・トラブルズ：ソー・マッチ・トラブル] (1992)
Author/musician, Yamakawa, makes two popular picks, adds new waver Sheena, and then goes for two idiosyncratic picks. 'Dare ga cover yanen' is a Kansai rock band that had a TV show. Never Mind Troubles is Yamakawa's own band. (He also wrote a book about Kristal Nacht).
1. Hadaka no Rallies: Les Rallizes Denudes ‘77 LIVE [裸のラリーズ: Les Rallizes Denudes ‘77 LIVE] (1991)
2. Endo Kenji: Fumetsu no Otoko [遠藤賢司バンド:不滅の男] (1991)
3. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
4. Totsuzen Danball:Naritatsu ka na? [突然段ボール：成り立つかな] (1981)
5. Hovrakin: Indo no Toragari [ほぶらきん：インドの虎狩り] (1982)
Author/musician, Yuasa, offers an eclectic set of picks, including an album by Kansai art punkers, Hovrakin.
1. Gastunk: Dead Song [ガスタンク：デッド・ソング] (1985)
2. Newest Model: Soul Survivor no Gyakushuu [ニューエスト・モデル：ソウル・サバイバーの逆襲] (1989)
3. Nukey Pikes: Nukey Pikes [NUKEY PIKES: ニューキー・パイクス] (1991)
4. Outrage: The Final Day [アウトレイジ：ザ・ファイナル・デイ] (1991)
5. Gas Boys: Kyouretsu! Ogeretsu! Let's Get Ill! [ガス・ボーイズ：キョーレツ！オゲレツ！レッツ・ゲット・イル！] (1991)
Koji, whose magazine (trans., 'Let's Start a Band!') was a band boom staple, goes largely for punk/heavy metal with the rootsy Newest Model and hiphoppers, Gas Boys, thrown in.
1. Moonriders: Mania Maniera [ムーンライダーズ: マニア・マニエラ] (1982)
2. Panta & HAL: 1980X [パンタ&HAL: 1980X] (1980)
Today, prescription and synthetic opioids crowd America's medicine cabinets and streets, driving a modern crisis that may kill half a million people over the next decade. Image by Lead Pipe Productions Pty Ltd Doctors thought the syrup would be 'non-addictive.' Instead, it turned into a More than 70 percent of the world's opium — 3,410 tons — goes to heroin production, a number that has more than doubled since 1985. Approximately 17 million people around the globe used heroin, opium or morphine in 2016. Today, prescription and synthetic opioids crowd America's medicine cabinets and streets, driving a modern crisis that. Opioids claimed 53,000 lives in the U.S. Last year, from the Centers for Disease Control and Prevention —.
How did we arrive here? Here's a look at why our brains get hooked on opioids. The pain divide Let's start with. They go by different names depending on which scientist you ask.
Peripheral versus central pain. Nociceptive versus neuropathic pain. The distinction is the sensation of actual damage to your body versus your mind's perception of this injury. Your body quiets your pain nerves through the production of natural opioids called endorphins. Stuff that damages your skin and muscles — pin pricks and stove burns — is considered peripheral/nociceptive pain.
Pain fibers sense these injuries and pass the signal onto nerve cells — or neurons — in your spine and brain, the duo that makes up your central nervous system. In a normal situation, your pain fibers work in concert with your central nervous system. Someone punches you, and your brain thinks 'ow' and tells your body how to react.
Stress-relieving hormones get released. Your immune system counteracts the inflammation in your wounded arm. New Jack Swing Gold Rar. Your body quiets your pain nerves through the production of natural opioids called endorphins. The trouble is when these pain pathways become overloaded or uncoupled. One receptor to rule them all Say you have chronic back pain.
Your muscles are inflamed, constantly beaming pain signals to your brain. Your natural endorphins aren't enough and your back won't let up, so your doctor prescribes an opioid painkiller like oxycodone. Prescription opioids and natural endorphins both land on tiny docking stations — called receptors — at the ends of your nerves. Most receptors catch chemical messengers — called neurotransmitters — to activate your nerve cells, triggering electric pulses that carry the signal forward. The Mu-opiate receptor is responsible for the major effects of all opiates, whether it's heroin, prescription pills like oxycodone or synthetic opioids like fentanyl.
The Mu-opiate receptor is responsible for the major effects of all opiates, whether it's heroin, prescription pills like oxycodone or synthetic opioids like fentanyl, said Chris Evans, director of Brain Research Institute at UCLA. 'The depression, the analgesia [pain numbing], the constipation and the euphoria — if you take away the Mu-opioid receptor, and you give morphine, then you don't have any of those effects,' Evans said.
Opioids receptors trigger such widespread effects because they govern more than just pain pathways. When opioid drugs infiltrate a part of, their receptors slow respiration, cause constipation, lower blood pressure and decrease alertness., where opioids receptors switch off a batch of nerve cells called GABAergic neurons. GABAergic neurons are themselves an off-switch for the brain's euphoria and pleasure networks. When it comes to addiction, opioids are an off-switch for an off-switch. Opioids hold back GABAergic neurons in the midbrain, which in turn keep another neurotransmitter called dopamine from flooding a brain's pleasure circuits. Image by Adam Sarraf Once opioids shut off GABAergic neurons, the pleasure circuits fill with another neurotransmitter called dopamine. At one stop on this pleasure highway — the nucleus accumbens — dopamine triggers a surge of happiness.
When the dopamine rolls into amygdala, the brain's fear center, it relieves anxiety and stress. Both of these events reinforce the idea that opioids are rewarding. These areas of the brain are constantly communicating with decision-making hubs in the prefrontal cortex, which make value judgments about good and bad. When it hears 'This pill feels good. Let's do more,' the mind begins to develop habits and cravings. Taking the drug soon becomes second nature or habitual, Evans said, much like when your mind zones out while driving home from work.
The decision to seek out the drugs, rather than participate in other life activities, becomes automatic. The opioid pendulum: When feeling good starts to feel bad.
It is the surge of withdrawal from opioids that makes the drugs so inescapable. Opioid addiction becomes entrenched after a person's neurons adapt to the drugs. The GABAergic neurons and other nerves in the brain still want to send messages, so they begin to adjust. They produce three to four times more cyclic AMP, a compound that primes the neuron to fire electric pulses, said Thomas Kosten, director of the division of alcohol and addiction psychiatry at the Baylor College of Medicine. That means even when you take away the opioids, Kosten says, 'the neurons fire extensively.' The pendulum swings back. Now, rather than causing constipation and slowing respiration, the brain stem triggers diarrhea and elevates blood pressure.
Instead of triggering happiness, the nucleus accumbens and amygdala reinforce feelings of dysphoria and anxiety. All of this negativity feeds into the prefrontal cortex, further pushing a desire for opioids.
While other drugs like cocaine and alcohol can also feed addiction through the brain's pleasure circuits, it is the surge of withdrawal from opioids that makes the drugs so inescapable. Could opioid addiction be driven in part by people's moods? Chronic pain patients have a very high risk of becoming addicted to opioids if they are also coping with a mood disorder. Photo by Roy Morsch/via Getty Cathy Cahill, a pain and addiction researcher at UCLA, said these big swings in emotions likely factor into the, especially with those with chronic pain. A person with opioid use disorder becomes preoccupied with the search for the drugs. Certain contexts become triggers for their cravings, and those triggers start overlapping in their minds.
'The basic view is some people start with the pain trigger [the chronic back problem], but it gets partially substituted with the negative reinforcement of the opioid withdrawal,' Cahill said. That's why Cahill, Evans and other scientists think the opioid addiction epidemic might be driven, in part, by our moods.
Patients on morphine experience 40 percent less pain relief from the drug if they have mood disorder. Chronic pain patients have a very high risk of becoming addicted to opioids if they are also coping with a mood disorder. A 2017 study — 81 percent — whose addiction started with a chronic pain problem also had a mental health disorder. Another found patients on morphine experience 40 percent less pain relief from the drug if they have mood disorder. They need more drugs to get the same benefits. People with mood disorders alone are also more likely to abuse opioids. A 2012 survey found patients with depression.
'So, not only does a mood disorder affect a person's addiction potential, but it also influences if the opioids will successfully treat their pain,' Cahill said. Meanwhile, the country is living through sad times.
Some research suggests social isolation. While the opioid epidemic started long before the recession, with every 1 percent increase in unemployment. Can the brain swing back?
As an opioid disorder progresses, a person needs a higher quantity of the drugs to keep withdrawal at bay. A person typically overdoses when they take so much of the drug that the brain stem slows breathing until it stops, Kosten said. Many physicians have turned to opioid replacement therapy, a technique that swaps highly potent and addictive drugs like heroin with compounds like methadone or buprenorphine (an ingredient in Suboxone). These substitutes outcompete heroin when they reach the opioid receptors, but do not activate the receptors to the same degree. By doing so, they reduce a person's chances for overdosing.
These replacement medications also stick to the receptors for a longer period of time, which curtails withdrawal symptoms. Buprenorphine, for instance, while morphine only hangs on for a few milliseconds.
Science correspondent Miles O'Brien discovers future pain treatments may rely on virtual reality. For some, this solution is not perfect. The patients need to remain on the replacements for the foreseeable future, and some recovery communities.
Adobe dreamweaver cs3 keygen activation. Plus, opioid replacement therapy does not work for fentanyl, the synthetic opioid. Kosten's lab is one of many working on a opioid vaccine that would direct a person's immune system to clear drugs like fentanyl before they can enter the brain. But those are. And Evans and Cahill said many clinics in Southern California are combining psychological therapy with opioid replacement prescriptions to combat the mood aspects of the epidemic. 'I don't think there's going to be a magic bullet on this one,' Evans said. 'It's really an issue of looking after society and looking after of people's psyches rather than just treatment.' The post appeared first on. Manager of Litigation Support and eDiscovery Duties: Manage and support all litigation and technological services and requirements for the delivery of advocacy and dispute resolution services involving electronically stored information and eDiscovery.
Preparing paperless workflows; Identifying, purchasing and implementing new technology beneficial to paperless workflows; Working directly with IT and. The demand in the smart toys market, a sector born out of industrial and technological convergence, is projected for an impressive CAGR during the forecast period of 2017 to 2022. Albany, NY -- () -- -- A fresh market study by the researchers at Transparency Market Research (TMR) reports that the global smart toys market is heavily dependent on product innovation, and that an increasing number of players are venturing into the competitive landscape, eating out significant chunk of the total shares. That being said, a few companies do hold a respectable position in the global smart toys market, such as Activision Blizzard Inc., Fisher-Price Inc., The Hasbro Inc., LeapFrog Enterprises, Inc., Spin Master Corp, Seebo Interactive Ltd, Wow Wee Group Ltd, Genesis Toy Co. Ltd, Reach Robotics Ltd, and SmartGurlz ApS. While Activision Blizzard is a little ahead of the curve, Hasbro is concentrating on revisiting the most popular toys and games. LEGO too has made heavy investments for research and development in the recent past to emerge as a notable competitor in the global smart toys market.
View and Download TOC of Smart Toys Market Research Report@ Nascent Market Has Strong Potential for Product Innovation The demand in the smart toys market, a sector born out of industrial and technological convergence, is projected for an impressive CAGR during the forecast period of 2017 to 2022. However, the market for smart toys is still at its early stage, with Sphero BB8 App-Enabled Droid being the only one that has achieved broad consumer appeal in the toys to life segment.
In the near future, currently ongoing R&D efforts by the market leaders is expected to bear fruits and newer products are anticipated to make an impression on a wider population. That is when the demand in the global smart toys market will witness an escalation. Based on toy-type, the global smart toys market gains maximum demand for voice or image recognition toys, accounting for US$2,271.7 mn in 2017 and projected for a CAGR of 3.7% during the forecast period of 2017 to 2022. This segment is growing at US$ 89.7 mn annually over the course of the forecast period, and this absolute growth is larger than the any other segment, viz. Request and Download Sample Report@ App-enabled mechanical toys, screenless toys, toys-to-life, puzzles and building games, health tracking toys, wearables, and others. North America is identified as the most lucrative regional market for smart toys, promising a revenue worth US$2,119.2 mn by 2022.
On the other hand, the demand for smart toys in the region of Asia Pacific expect Japan (APEJ) is anticipated to expand at an above-average CAGR of 3.9% during the same forecast period. Increased Disposable Income of Urban Population Driving Demand Urban population is growing increasing inclined towards restless lifestyle and while they have managed to add to their disposable income, time for personalized parenting is diminishing.
Smart toys utilize artificial intelligence, and are punctuated with microprocessors, input and output devices, and volatile or nonvolatile memory units. Smart toys goes beyond just being educational toys, as they can recognize speech as well as react to their surroundings in order to provide a comprehensive entertainment and engagement to children between the age group of five to 14. The growth of the global smart toys market is also a reflection of increasing awareness towards the smart toys and the availability of diverse indoor and outdoor sports and educational toys. On the other hand, high cost of these products, the lack of awareness among large masses, particularly in the emerging economies, regulatory issues for overseas distribution, and impending innovations are some of the challenges that are hindering the prosperity of the global smart toys market. The emergence of the Internet of Things (IoT) is having tremendous positive effect on the global smart toys market too. With IoT, modern toys are increasingly becoming a potential area wherein connectivity and existing toy types can be collaborated together to innovate appealing new devices, referred to as connected or 'smart toys'.
1. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Chikada Haruo: Heavy [近田春夫: HEAVY] (1987)
4. Jagatara: Sorekara [じゃがたら：それから] (1989)
5. Sandii: Mercy [サンディ：MERCY] (1990)
Takahashi, pop theoretician, serves up some fairly conventional picks with a nod toward worldbeat (Jagatara, Sandii).
1. Food Brain: Bansan [フード・ブレイン: 晩餐] (1970)
2. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
3. Shiba: Aoisora no Hi [シバ：青い空の日] (1972)
4. Sadistic Mika Band: Sadistic Mika Band [サディスティック・ミカ・バンド: サディスティック・ミカ・バンド] (1973)
5. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
Takahashi's fairly conventional new music picks include one from psychedelic supergroup, Food Brain, and one from singer-songwriter, Shiba.
1. Chakra: Satekoso [チャクラ：さてこそ] (1981)
2. Plastics: Welcome Back Plastics [プラスティックス：ウェルカムバック・プラスチックズ] (1980)
3. Yoninbayashi: Golden Picnics [四人囃子: ゴールデンピクニックス] (1976)
4. YMO: X∞Multiplies [イエロー・マジック・オーケストラ:増殖 ] (1980)
Tanaka, blogger, best known for his work on Japanese electronica, stays true to form with his four picks.
1. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
2. Snakeman Show: Isoide kuchi de sue [スネークマン・ショー: 急いで口で吸え] (1981)
3. Yamashita Tatsuro: Melodies [山下達郎：Melodies] (1983)
4. Plastics: Origato Plastico [プラスティックス：オリガト・プラスチコ] (1980)
5. Melon: Deep Cut [メロン：ディープ・カット] (1987)
'Dictionary's' picks are straightforward electropop, with some comedy (Snakeman Show) and singer-song writer pop thrown in.
1. Panta: Kristal Nacht [パンタ：クリスタル・ナハト] (1987)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. The Stalin: Stop Jap [ザ・スターリン：ストップ・ジャップ] (1982)
4. Yoshino Daisaku & Prostitute: Ushiro sugata no sutekina bokutachi [吉野大作＆プロスティテュート：後ろ姿の素敵な僕たち] (1985)
5. Kina Shoukichi & Champloose: Bloodline [喜納昌吉 & チャンプルーズ: ブラッド・ライン] (1980)
Tanaka's picks are eclectic, leading with Panta's memorial to the events of 1938, and proceeding through the prog rock of Yoninbayashi, the hardcore punk of Stalin, the postpunk of Yoshino Daisaku, and the Okinawan pop of Shoukichi Kina.
1. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
2. Zunou Keisatsu: Zunou Keisatsu [頭脳警察:頭脳警察] (1972)
3. Murahachibu: Live [村八分：ライヴ] (1973)
4. RC Succession: Single Man [RCサクセション: シングルマン] (1976)
5. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
Writer, producer, DJ, musician, translator, and cat fancier, Torii, who produced the Tokyo New Wave ‘79 compilation and participated in the production of the Inu record, picks some conventional rockers.
1. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
2. P-Model: In a Model Room [P-Model: In a Model Room] (1979)
3. Kenzi: Bravo Johnny wa konya mo happy end [ケンヂ：ブラボー・ジョニーは今夜もハッピーエンド](1986)
4. VA: Tokyo Rockers [東京ロッカズ] (1979)
5. VA: City Rockers [シティー・ロッカズ] (?)
Writer and television personality, Nakagome, picks from the punk/new wave/indies scene.
1. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Flower Travellin' Band: Made in Japan [フラワー・トラベリン・バンド: Made in Japan] (1972)
4. Zunou Keisatsu: Zunou Keisatsu 2 [頭脳警察:頭脳警察2] (1972)
5. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
Nakamura's picks are conventional early 1970s rock.
1. Panta: PANTAX'S WORLD [パンタ: PANTAX'S WORLD] (1976)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. Chikada Haruo & HARUOPHON: Dengekiteki Tokyo [近田春夫＆ハルヲフォン: 電撃的 東京] (1978)
4. Moonriders: Camera=Mannenhitsu [ムーンライダーズ: カメラ＝万年筆] (1980)
5. Roosters: Four Pieces [ルースターズ：FOUR PIECES] (1988)
Nara, who wrote the award-winning comic novel, Chin-Don-Jan, is fairly conventional in his choice of artists, though a little unusual in his choice of specific works.
1. EP-4: Lingua Franca 1 [EP-4: リンガ・フランカ１] (1983)
2. EP-4: Multilevel Holarchy [EP-4: マルチレーベル・ホラーキー] (1983)
3. Zigzag: Mad Power [ZIGZAG: マッド・パワー] (1981)
4. VA: Awa [VA: Awa] (1980?)
5. Lizard: Lizard [ リザード: リザード] (1980)
Nanbu is being willfully obscure, with two from indie funk band, EP-4, and another from legendary Kyoto punk band, Zigzag. Lizard is the only conventional pick. The 'Awa' compilation comprised two discs worth of avant-garde material from Kansai bands.
1. Endo Kenji: Tokyo Wasshoi [遠藤賢司:東京ワッショイ] (1979)
2. Hadaka no Rallies: Les Rallizes Denudes ‘77 LIVE [裸のラリーズ: Les Rallizes Denudes ‘77 LIVE] (1991)
3. Yazawa Eikichi: Goldrush [矢沢永吉: ゴールドラッシュ] (1978)
4. Uchida Yuya: Saraba aishiki hito yo [内田裕也：さらば愛しき人よ] (1981)
5. Totsuzen Danball: Naritatsu ka na? [突然段ボール：成り立つかな] (1981)
Nemoto, underground cartoonist, picks from all over the stylistic map. Endo's folk rock, Les Rallizes' noise psych, Yazawa's pop rock, Uchida's classic rock, and the post-punk of Totsuzen Danball.
1. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
2. Moonriders: Camera=Mannenhitsu [ムーンライダーズ: カメラ＝万年筆] (1980)
3. Ohtaki Eichi: A Long Vacation [大滝詠一：A LONG VACATION] (1981)
4. Sano Motoharu: No Damage [佐野元春：ノーダメージ] (1983)
5. Unicorn: Kedamono no Arashi [ユニコーン：ケダモノの嵐] (1990)
Nohji's picks are fairly conventional. The (pop rock) Ohtaki, Sano, and Unicorn picks would probably be included in best of lists today.
1. Ohtaki Eichi: Niagara Moon [大滝詠一：NIAGARA MOON] (1981)
2. Sugar Babe: Songs [シュガーベイブ：ソングス] (1975)
3. Arai Yumi: Misslim [荒井由美：ミスリム] (1974)
4. Hosono Haruomi: Bon Voyage Co. [細野晴臣: 泰安洋行] (1976)
5. Yazawa Eikichi: Door o akeru [矢沢永吉: ドアを開ける] (1977)
Hagiwara, leading rock critic, record producer, and TV personality, picks from the softer rocking new music era.
1. Inoue Yosui: Koori no Sekai [井上陽水: 氷の世界] (1973)
2. Yamashita Tatsuro: For you [山下達郎：フォー・ユー] (1982)
3. Carol: Funky Monkey Baby [キャロル: ファンキー・モンキー・ベイビー] (1973)
4. Sano Motoharu: Heart Beat [佐野元春：ハート・ビート] (1981)
5. Watanabe Misato: Lovin' you [渡辺美里：ラヴィン・ユー] (1986)
Haruna, who managed Sano and Watanabe early in their careers, goes for the singer-songwriters (with retro-rockers, Carol, thrown in).
1. ARB: Bad News [A.R.B.: バード・ニュース] (1980)
2. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
3. Sano Motoharu: Visitors [佐野元春：ビジターズ] (1984)
4. BOØWY:BOØWY [BOØWY: BOØWY] (1985)
5. Flipper's Guitar: Camera! Camera! Camera! [フリッパーズ ギター：カメラ！ カメラ！ カメラ！] (1990)
Hirayama throws in an oldy (Happy End), and a new one (Flipper's Guitar–Camera! was actually the single from Camera Talk), but is mainly focused on commercial rock from the early 1980s.
1. Sandii & the Sunsetz: Immigrants [サンディ＆ザ・サンセッツ：イミグランツ] (1982)
2. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
3. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
4. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
5. Unicorn: Hige to Boin [ユニコーン：ヒゲとボイン] (1991)
Hoshina, best known for his book on The Who, wrote the liner notes for the Yoninbayashi record. His picks are somewhat conventional, plus Sandii's ethno-new wave and Unicorn's power pop.
1. Friction: Atsureki [フリクション: 軋轢] (1980)
2. P-Model: In a Model Room [P-Model: In a Model Room] (1979)
3. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
4. Jagatara: Hadaka no Ohsama [じゃがたら：裸の王様] (1987)
5. A-Musik: MKWAJU [A-MUSIK: ムクワジュ]
Ero-writer, Matsuzawa, goes for the punk/new wave picks, including one ultra-obscure release by political noise-maker, A-MUSIK.
1. Yoshida Takuro: Genki desu [吉田拓郎 元気です] (1972)
2. Yazawa Eikichi: I love you, OK [矢沢永吉: アイ・ラヴ・ユーOK] (1975)
3. Sentimental City Romance: Sentimental City Romance [センチメンタル・シティ・ロマンス：センチメンタル・シティ・ロマンス] (1975)
4. Sano Motoharu: Back to the Street [佐野元春：バック・トゥ・ザ・ストリート] (1980)
5. The Mods: Fight or Flight [The Mods [ザ・モッズ]: Fight or Flight] (1981)
Maruyama, now better known for his role in developing the PlayStation, was an influential figure in corporate rock circles. With the exception of the punky Mods, he goes for commercial rock here–all released on his labels!
1. YMO: Public Pressure [イエロー・マジック・オーケストラ: パブリック・プレッシャー] (1980)
2. Carol: Last Live [キャロル: ラスト・ライブ] (1975)
3. Sadistic Mika Band: Hot Menu [サディスティック・ミカ・バンド: ] (1975)
4. Yuukadan: Yuukadan Live [憂歌団:憂歌団ライブ] (1975)
5. Yano Akiko: Gohan ga dekita yo! [矢野顕子：ごはんができたよ] (1980)
Miura, who recently worked on a photobook project with Tamio Okuda, is rather conventional in his band choices, though idiosyncratic in specifics (Hot Menu!).
1. Timers: The Timers [タイマーズ : ザ・タイマーズ] (1989)
2. Endo Kenji Band: Fumetsu no Otoko [遠藤賢司バンド:不滅の男] (1991)
3. Ueda Masaki & Ariyama Junji: Bochibochi ikoka [上田正樹と有山淳司:ぼちぼちいこか] (1975)
4. Bo Gumbos: Bo & Gumbo [ボ・ガンボス：BO & GUMBO] (1989)
5. Oshima Nagisa: Iden & Titi [大島渚：アイデン＆ティティ] (1990)
Miura, underground culture provocateur, makes some rootsy picks, including the faux New Orleans pop of Bo Gumbos. 'Oshima Nagisa,' named after the director, was Miura's Ikaten band. (He later toured as a member of the 'Bronsons'–inspired by the macho stylings of the actor).
1. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
2. Sakamoto Ryuichi: [坂本龍一：B2-ユニット] (1983)
3. Jacks: Legend [ ジャックス: レジェンド] (1988)
4. Hamada Shogo: Umarete tokoro o tooku hanarete [浜田省吾：生まれてところを遠く離れて] (1976)
5. Hamada Shogo: Love Train [浜田省吾：ラブ・トレイン] (1977)
Minakami, who has written extensively about Western rock, is largely conventional in her picks, but shows a clear weakness for the pop idol rock of Shogo Hamada.Miyabe Kazuhiko, Inner Directs [宮部和彦：インナー・ディレクツ]
1. Flower Travellin' Band: Satori[フラワー・トラベリン・バンド: Satori] (1971)
2. Panta & HAL: Malakka [パンタ&HAL: マラッカ] (1979)
3. The Mods: Fight or Flight [The Mods [ザ・モッズ]: Fight or Flight] (1981)
Sano Motoharu No Damage Rare
4. Hotei Tomoyasu : Guitarrhythm [布袋寅泰：ギタリズム] (1988)5. Boredoms: Soul Discharge [ボアダムズ：ソウル・デスチャージ] (1989)
Miyabe, of the indie label, Inner Directs, is very conventional until his last pick–the Boredoms!
Moriwaki Mikio, music critic [森脇美貴夫: 音楽評論家]
1. The Stalin: Mushi [ザ・スターリン：虫] (1983)
2. Star Club: Punk! Punk! Punk! [スター・クラブ：パンク！パンク！パンク！] (1985)
3. Lizard: Lizard [ リザード: リザード] (1980)
4. Friction: Atsureki [フリクション: 軋轢] (1980)
5. G.I.S.M: Detestation [ギズム：ディテステション] (1983)
DOLL editor, Micky Moriwaki, goes for Japanese punk.
Yamakawa Kenichi, artist [山川健一：作家]
1. Panta: Kristal Nacht [パンタ：クリスタル・ナハト] (1987)
2. RC Succession: Rhapsody [RCサクセション: ラプソディー] (1980)
3. Dare ga kaba yanen rock ‘n roll show: Waoo… [誰がカバやねんロックンロールSHOW: WAOO…] (1980)
4. Sheena and the Rokkets: Synk Pack [シーナ＆ロッケツ：真空パック] (1979)
5. Never Mind Troubles: So Much Trouble [ネヴァー・マインド・トラブルズ：ソー・マッチ・トラブル] (1992)
Author/musician, Yamakawa, makes two popular picks, adds new waver Sheena, and then goes for two idiosyncratic picks. 'Dare ga cover yanen' is a Kansai rock band that had a TV show. Never Mind Troubles is Yamakawa's own band. (He also wrote a book about Kristal Nacht).
1. Hadaka no Rallies: Les Rallizes Denudes ‘77 LIVE [裸のラリーズ: Les Rallizes Denudes ‘77 LIVE] (1991)
2. Endo Kenji: Fumetsu no Otoko [遠藤賢司バンド:不滅の男] (1991)
3. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
4. Totsuzen Danball:Naritatsu ka na? [突然段ボール：成り立つかな] (1981)
5. Hovrakin: Indo no Toragari [ほぶらきん：インドの虎狩り] (1982)
Author/musician, Yuasa, offers an eclectic set of picks, including an album by Kansai art punkers, Hovrakin.
1. Gastunk: Dead Song [ガスタンク：デッド・ソング] (1985)
2. Newest Model: Soul Survivor no Gyakushuu [ニューエスト・モデル：ソウル・サバイバーの逆襲] (1989)
3. Nukey Pikes: Nukey Pikes [NUKEY PIKES: ニューキー・パイクス] (1991)
4. Outrage: The Final Day [アウトレイジ：ザ・ファイナル・デイ] (1991)
5. Gas Boys: Kyouretsu! Ogeretsu! Let's Get Ill! [ガス・ボーイズ：キョーレツ！オゲレツ！レッツ・ゲット・イル！] (1991)
Koji, whose magazine (trans., 'Let's Start a Band!') was a band boom staple, goes largely for punk/heavy metal with the rootsy Newest Model and hiphoppers, Gas Boys, thrown in.
1. Moonriders: Mania Maniera [ムーンライダーズ: マニア・マニエラ] (1982)
2. Panta & HAL: 1980X [パンタ&HAL: 1980X] (1980)
3. Hosono Haruomi: Paraiso [細野晴臣: はらいそ] (1978)
Sano Motoharu No Damage Rar Cover
4. Ohtaki Eichi, Yamashita Tatsuro, Ito Ginji: Niagara Triangle Vol 1 [大滝詠一,山下達郎,伊藤銀次:ナイアガラトライアングル VOL 1.] (1976)
5. Sadistic Mika Band: Kurobune [サディスティック・ミカ・バンド: 黒船] (1974)
Yoshihara offers fairly conventional new music picks.
Sano Motoharu No Damage Rar Code
1. Sugar Babe: Songs [シュガーベイブ：ソングス] (1975)
2. Yoshida Minako: Monsters in Town [吉田美奈子：モンスター・イン・タウン] (1981)
3. Hosono Haruomi: Bon Voyage Co. [細野晴臣: 泰安洋行] (1976)
4. Plastics: Welcome Plastics [プラスティックス：ウェルカム・プラスチックス] (1978)
5. Kosaka Chew: Horo [小坂忠: ほうろう] (1975)
Watanabe goes for the lighter, poppier side of things.
Sano Motoharu No Damage Rar Release
1. Boredoms: Soul Discharge [ボアダムズ：ソウル・デスチャージ] (1989)
2. Inu: Meshi Kuu Na! [ INU: メシ喰うな!] (1981)
3. Ankoku Tairiku Jagatara: Nanban Torai [暗黒大陸じゃがたら：南蛮渡来] (1982)
4. Omoide Hatoba: Daiongaku [想い出波止場：大音楽] (1990)
5. Hovrakin: Hovrakin [ほぶらきん：ほぶらきん] (1982)
Legendary scene supporter, Watanabe, picks from the artier/noisier side of post punk, including Boredom Seiichi Yamamoto's project, Omoide Hatoba.
Sano Motoharu No Damage Rar Key
1. Machida Machizou: Doterai Yatsura [町田町蔵：どてらい奴ら] (1986)
2. Ill-bone: Shisha [イル・ボーン: 死者] (1985)
3. Mikami Kan: Bang! [三上寛：BANG!] (1975)
4. Fools: Weed War [フールズ：WEED WAR] (1984)
5. Hosono Haruomi: Cochin Moon [細野晴臣: コチンの月 ] (1978)
Bonus participant #60, Niwa goes for the eccentrics. (Ill-bone was a 1980s industrial/goth band).
