Our Label Records was founded in March 2005 by DJ Gu from Bremen, Germany and his brother Andreas Gutjahr, London, England to produce and publish funk mainly on 7" [vinyl].
The label was born to produce and publish funk music that is still hand made today, despite sounding like straight out of the 1970s. For the first release funk legends The New Mastersounds from Leeds, England were approached and DJ Gu produced and co-wrote an A and B side called Give Me A Minute. Released in late 2005 the single quickly moved up the top 10 lists of funk lovers and DJs all over the world and was sold out within a few months.
The second release Bread and Water by The Inmates was produced by funk grandmaster Keb Darge and Eddie Roberts of The New Mastersounds. Jazzman Records in London describes it as: "Proto-disco action produced by none other than disco queen KEB DARGE and ably accompanied by New Mastersounds leader Eddie Roberts. There's a wee nod at 'Boogie with Your Baby' here but nowt wrong with that cos it's as good as they come. Classy sounds for the club indeed & with bonus beats on the flip!"
Gjorgi Hadzi-Angelkovski (in Macedonian: Ѓорѓи Хаџи-Ангелковски ) ( born in 1960 ) is an eminent Macedonian neuropsychiatrist and medical researcher that promotes several novel solutions for the treatment of mentally handicapped persons, which have gained significant following within the scientific community in the Republic of Macedonia as well as abroad.
He is a promotor and follower of a strictly psycho-pharmacological approach in both prophylaxis during the prodrome as well as during treatment of acute and chronic states of mental disorders
The basis of his medical approach towards treatment of persons suffering from several mental disorders which are in his domain are following:
1) Avoidment of standard treatment of mixed depressive-anxiety state with conventional usage of anti-depressants plus anxiolytics, instead using small doses of SSRI anti-depressants and a concomitant combination of atypical anti-psychotic (most often risperidone) in low-to-medium dose and a relatively large dose of typical antipsychotics (usually promazine and thioridazine), without anxiolytics such as benzodiazepines or buspirone.
2) Treatment of acute mania caused by substance abuse with low doses of lithium followed by tappering of the original substance of abuse and quick discharge from the inpatient setting.
3) Prescription of nutrition based on zero table salt and caffeine intake as a supportive measure in psychotic states.
4) Promotion of vital role of intramuscular usage of typical antipsychotics during several weeks in persons with strong aggressive impulses and persons with predictable temability in clinical setting.
5) Treatment of paraphiliac behaviour (excessive sexuality, [...] addiction) with chemical castration, with prolonged abstinence achieved via long-term hospitalization.
6) Usage of moderate and dosed applications of physical punishment in non-[...] patients as a method for a re-integration of the ego.
His other areas of interest which are part of his professional involvement are: problems of heroine abuse and the efficiency of methadone therapy, human trafficking and treatment for the victims based on a wholesome psychiatric and physiological approach.
He is an author of several scientific articles of medical and legal character.
Charles Sansbury, Sculptor. (1916-1989)
Charles Sansbury was a respected sculptor and artisit based in the North-East of England. He was born in Watford in 1916, and by the time he was in his teens, painting was already an important part of his life.
Education
In 1943, under the Emergency Teacher scheme, he trained as an Art and Craft Teacher at Shoreditch Training College and taught in schools for fourteen years.
In 1957 he was granted leave of absence from Bedlington Grammar School and went to Kings College, Durham to read for a B.A. in Fine Art. Here he came under the influence of Victor Pasmore, who was then Master of Painting.
Following a year of general art studies he concentrated on sculpture and began to work in metal. He learnt to weld and Swinneys Engineering Works in Morpeth, in order to make an armature for a large clay figure. Whilst working there he found inspiration in the scrap metal bins. He became fascinated with assembling such material into new and evocative forms. He found that his pieces of sculpture grew in unpredicatable ways: some were variations on others, whilst some started simply from an enthusiasm for the shape of a piece of discarded metal. As his technique improved he began to cut and form his own shapes and was thus able to dictate to the material.
Professional Work
After he finished his degree he became a lecturer at Lincoln Diocesan Training College, now known as Bishop Grosseteste College, and whilst he was there designed the gates for the main entrance to the College. He also began work on a commission from Newcastle City Council for 480 miniature metal sculptures for the lift doors of the new Civic Centre. The design of each piece was unique.
In 1964 he moved back to the North of England to work at Northumberland College of Education in Ponteland. He moved to Allendale where he had a large workshop at the back of his home.
In 1965 he was again commissioned by Newcastle City Council, this time to make seven rise and fall portcullis screens, 170ft (51.8m) long and weighing 55 tons (56 tonne) and later, to make a series of gas flambeaux for the main entrance area.
These commissions were followed by others in various parts of the country, but as well as doing his own work he wanted to create work for local people. For several years he ran a small workshop, 'Mithras' in his studio as well as a craft shop next door. Many of the small mild steel pieces made in the workshop were sold in the shop. His own, domestic sized sculptures were bought by people from many parts of the country.
He exhibited in various galleries including; Lincoln Theatre Royal, the Moot Hall in Hexham, the Caloustie Gulbenkian Gallery in Newcastle as well as the Art Galleries at Middlesborough and Billingham.
Two attacks of pneumonia in the early 1970s curtailed his own work in metal, but his larger commissions continued to be made at Swinneys in Morpeth.
He had always maintained an interest in painting, both in oil, and to a lesser extent in watercolour. In the 1980s he was able to visit Italy for some weeks each summer and here here he began to work more and more in watercolour, drawing his inspiration from the Italian landscape.
A severe heart attack in 1985 put an end to his work as a metal sculptor, but until the end of his life in 1989 he continued to paint, draw and make small pieces in clay.
Selected Works
- Portculis Screens - Newcastle Civic Centre (1965)
- Locomotive - Stephenson Shopping Centre (1971)
Quotations
Some memorable quotations about Charles Sansbury.
- "Although I am interested in and aware of most of the latest developments in conteporary sculpture, I am.....content to stand apert and endeavour to exploit the aesthetic potential of welded mild steel, whilst using imageary that comes most naturally to me. Sculptural forms are made in iron by bending, planishing and forging. In addition, forms can be built up during the actual process of welding and a combination of these techniques results in one that is both direct and satisfying. It is, however, difficult,....the mastery of the technical problems of welding sometimes precludes the success of a sculptural idea. In most constructivism the process of welding is used purley as a means of joining one piece of metal to another. This is entirely acceptable, but, to me, the marks left by the welding torch on iron are as personal as those left by the modelling tool and spatula on clay or plaster....If the texture is the direct product of a sculptural process, it becomes an itegral part of tha sculpture, enhancing it and itentifying it with the hands that made it" — Charles Sansbury (1967)
- "His work displays a lucid exploration of the challenges and opportunities offered by metal and welding with such skill and conviction that his pieces are as enjoyable, stimulating and instructive as they were when first constructed. Some pieces use the flame of the welding torch 'as a brush' exploring changing surfaces and patterns, focussing attention in and around the various planes of the work" — Mary Telford
- "I first met Charles through a Hexham Moot Hall exhibition in 1969. He had a warm and generous nature, a genuine interestr in the work of others, and was always ready to give help and encouragement. He showed great imagination and inventiveness in the way that he used his media, but was modest and self depreciating. To know his work, and to have known him, was an enriching experience." — Birtley Aris
External links
De facto is a Latin expression that means "in fact" or "in practice". It is commonly used in contrast to de jure (which means "by law") when referring to matters of law, governance, or technique (such as standards), that are found in the common experience as created or developed without or against a regulation. When discussing a legal situation, de jure(lawful) designates what the law says, while de facto(unlawful) designates what happens in practice.
The term de facto may also be used when there is no relevant law or standard, but a common practice is well established, although perhaps not quite universal.
A de facto government is one that maintains itself by a display of force against the will of the rightful legal government and is successful, at least temporarily, in overturning the institutions of the rightful legal government by setting up its own in lieu thereof. Wortham v. Walker, 133 Tex. 255, 128 S.W.2d 1138, 1145. Black’s Law Dictionary 4th Edition (1951) page 504.