#the p.a scenario

[qprconcepts]

is posible to be on a QPR in this scenario? sorry if it's an absurd question, I'm new to this topic and idk,,,,:

- person A is aromantic and platonically loves too much person B!! and wants a QPR with them

- person B is demiromantic, and is romantically attracted to person A, but also wants a QPR, because p.B wants p.A with them for the rest of their life

- both would like to be together as a QPR since they know each other very well, and they're deeply comfortable with each other,,

yes this is a perfect example of a QPR! As long as person A is fine with knowing and accepting that person B has romantic attraction to them. They both chose to be in a relationship with each other!

[skeletonpunching]

Buddy Daddies producer interview

Interview with Tsuji Mitsuhito (P.A. Works producer) and Toba Yosuke (Aniplex producer)

Interviewer: "Buddy Daddies" is an original work, but how did the initial concept for the project come about?

Tsuji: I'd just started parenting children of my own, and I had a discussion with Toba-san about how it might be nice to do something with that theme - that was the start of it. To be honest, I'd brought this up to various producers before, but I was told that stories about "parenting" were a hard sell…

Toba: Personally, I didn't say it was "impossible" from the start. I said first off, I'd go home and think it over. Building a new piece of entertainment around "parenting"... I thought about it, and in the past, there were foreign TV shows like the sitcom "Full House". Going with that general vibe, I thought it might be fun to have a story about people who have no affinity for parenting getting jerked around by children, and having to struggle through it. And also, I thought about including anime-typical action… For example, wouldn't it be fun if someone who usually murders people gets saddled with parenting? It might feel like "Léon" [1994 movie by Luc Besson] or "A Perfect World" [1993 movie by Clint Eastwood], wouldn't it? Something like that. And then Tsuji-san brought up the topic of the Netflix-distributed movie "Polar" [2019 movie, known for starring Mads Mikkelsen], and this became the story of a hard-boiled man raising a child.

Tsuji: The protagonist of that story was an old assassin guy, so I tried to picture him raising a child.

Toba: But characters who are "old guys" are a tough sell, so I wondered, what comes next? (laughs) And there's the common trope of an assassin taking in the child of a target they killed, but it seemed rather hard to set up a natural way for a killer to take in a child of their own accord. Like in the case of "Léon", the young girl Mathilda voluntarily seeks out the assassin herself - that's a good fit. But Tsuji-san said he didn't want the child to be old enough to make up their own mind and act on it themselves. He preferred a younger child.

Tsuji: After all, it's incredibly difficult parenting kids in early childhood, when they're getting wilful and assertive. I wanted to create a character at that age.

Toba: If so, I thought it'd be tough to develop things further… And then I met Shimokura-san [Shimokura Vio, writer for Nitroplus] on another project, and we got to chatting, and I asked for his opinion. And he said, "In that case, having a duo would work well." One of them is a guy who wants to ditch the child and leave them be, but the other's personality is the opposite, and the interactions and dialogue between these two inevitably create a back-and-forth. If you set up a scenario like this, it's bound to go somewhere, he said. I think Shimokura-san helped me immensely by coming up with this excellent idea. So I decided, let's go straight down the route of odd-couple assassins raising a child.

Tsuji: And I think that's how the idea of this as a "buddy story" really got started. The protagonists were a bit younger than the original concept, but we got them up to around their late twenties to thirties.

Toba: And I thought it'd be nice if these two men took on the roles of father and mother. The two men are bringing up a child without any blood ties to them - that's quite a modern story, reflecting how values are diversifying, and I figured this would work well. "Family with no blood ties" and "two people of the same gender raising a child" - I think both of those are really great themes.

Interviewer: In a so-called "buddy story", the way the main characters' dynamic is written is really essential - what did you focus on in the creation process?

Toba: The two of them essentially get along well, but their personalities being direct opposites is easier to work with, so we used that as a base.

Tsuji: One of the characters is in the mother's role, shouldering the main burden of parenting; the other character is a deadbeat dad who takes up the father's role anyway… Starting from this, we came up with their dialogue and personalities.

Toba: A caring mother, and a father who takes his regular job seriously but does absolutely nothing once he gets home. We basically took that setup and changed them into assassins.

Interviewer: Since this is an original work that was created from scratch, was there anything you got especially hung up on?

Toba: The question of how to depict "parenting". If I had to put it into words now, I'd say that "becoming a family" ended up being a major theme.

Tsuji: (Kurusu) Kazuki has experienced lost love, and (Suwa) Rei is a character with no idea what love is, and all this changes through living with the child (Unasaka) Miri. So portraying the changes the two of them undergo is a big part of it.

Toba: Another detail of the story is the inclusion of "relatable parenting moments". For example, how two men go about "hokatsu" (the hunt to enrol their children in daycare), or what reaction two men have the first time they visit a "specialty children's store"... that's fun to see, isn't it? A guy pedalling around with a child on his bicycle, and he's actually an assassin - stuff like that. I think that sort of minor detail brings out the comedic elements and makes the story more engaging.

Interviewer: So basically, making the details of parenting more realistic.

Toba: Of course. Since many of our staff on this project are veteran parents.

Tsuji: There are also veterans among the writers, so they incorporate plenty of "relatable parenting moments".

Toba: We have a scene along the lines of getting a call from the daycare while you're at work, and being told that your child has a fever, and thinking, "Seriously? I'm on the job (assassination) right now."

Tsuji: The protagonists are basically newbies to parenting, so how will they cope with this… I thought it'd be interesting to show that.

Toba: After all, given their positions, they live in the shadows. There's no one they can discuss this with.

Interviewer: What is the appeal of Kazuki and Rei as characters?

Tsuji: At the outset, Rei doesn't have much emotion, and has no idea about love - but over the course of all 12 episodes, he displays really subtle changes, and I hope the viewers will sense that evolution. I would be very happy if you get emotionally invested in his progression towards understanding love; it's charming and worth watching.

Kazuki's buddy dynamic with Rei, and his parent-child dynamic with Miri, are a lot of fun. Toyonaga-san (Toshiyuki) plays Kazuki, and you get to enjoy his incredible range as an actor. He puts in flourishes that we never imagined, and it's delightful; I feel like he's enhanced Kazuki's charm.

Interviewer: We've already mentioned the actors, but Toyonaga Toshiyuki-san, who plays Kazuki, and Uchiyama Koki-san, who plays Rei, are both perfectly cast.

Toba: I feel like Uchiyama-san is almost just playing himself (laughs), but Toyonaga-san suits the role so well it's like it was written for him. I was amazed just how well it fit. It's like Kazuki is Toyonaga-san and Rei is Uchiyama-san in disguise - it feels as if they themselves are on the screen. It's incredible. That's what I think, personally.

Interviewer: Was the casting this time determined by audition?

Toba: We held auditions. But before that, there was already some talk floating around about how Rei was "very Uchiyama-san". 

Tsuji: There were lots of opinions like that, about the atmosphere and the voices. Previously, I'd worked on another P.A. Works project with Toba-san, and Uchiyama-san played the protagonist there. Generally, in the anime world, you don't often reuse a previous lead actor in your next project, but this time we couldn't shake that feeling of "Uchiyama-san really would be great for this". So who would be good as Uchiyama-san's buddy Kazuki… And we decided on Toyonaga-san. The two of them were a duo in "Zetsuen no Tempest" about 10 years ago, and since then, they've co-starred in various works. They already had a strong rapport, so it seemed like they'd make a good match.

Toba: When it came to this series, I really placed a lot of weight on that aspect as well. I requested that the performances feel a little raw, and as close to their actual selves as possible. So, rather than fitting themselves to the characters, the true goal was to fit the characters to the real people themselves. At that point, we could see Uchiyama-san doing that, and then we thought, "If Toyonaga-san is a good fit too…" And he turned out to be an even more perfect fit than we'd imagined. He's practically just being himself by now. (laughs)

Tsuji: Toyonaga-san comes to pretty much every audition for a P.A. Works project, so I knew that he'd tackled all sorts of challenges in his performances, and had a very wide range. Kazuki is a free-spirited character who isn't constrained by any mould, so I thought he'd be perfect for Toyonaga-san, who can throw himself so freely into his performances, and brings so much to every role. It also felt like P.A. Works had finally found a character that would let us work at full power with Toyonaga-san.

Toba: In that sense, it feels like Kazuki was truly finalised as a character after Toyonaga-san was cast.

Interviewer: Unasaka Miri holds the key to this story - how about Kino Hina-san, who plays her?

Toba: Miri's performance was also mostly left up to Kino-san herself.

Tsuji: Miri is a 4-year-old child, and personally, I wanted to depict a realistic child in anime. So, ever since the audition phase, I requested that everyone steer clear of the sort of stock phrases and mannerisms you find in so-called "kids' anime". If possible, I wanted a naturalistic portrayal of a child. And then I suddenly found myself very taken with Kino-san's performance. In that instant, Director Asai [Yoshiyuki] and I spontaneously glanced at each other, like, "It's her." After she graced us with such wonderful acting, it was a simple decision.

Interviewer: So you wanted the tone and vocal quality to be realistically childlike.

Tsuji: That's right. I was aiming for a performance close to a realistic 4-year-old, but Kino-san is really smart, and gave a take that was uniquely hers. I'm grateful that I could watch the recording process with no worries as well. When all three of the main actors were present, it felt like witnessing a parent-child conversation for real.

Interviewer: You brought up foreign TV shows at the start - so did you consciously draw inspiration from foreign works when writing characters who were involved in the assassin trade?

Toba: It was quite a conscious decision. As mentioned before, the cast's performances were fairly raw, and we were sticklers for realism. We wanted it to feel more like a work which had been dubbed [into Japanese]. We were envisioning something like those really straightforward foreign dramas, which are so-called crime/suspense stories containing comedic elements. I was thinking along the lines of, "This is something J. J. Abrams (American movie and TV producer) would make!" (laughs)

Tsuji: Or rather, let's get J. J. to make a live-action version. (laughs)

Toba: A live-action foreign drama about an assassin raising a child has plenty of possibilities.

Interviewer: Now, please say what you think are the selling points of this series "Buddy Daddies".

Toba: The ups and downs of the buddies' interactions. The comedic contrast of usually-cool assassins being jerked around by a 4-year-old. I think those are the most enjoyable parts to watch. Of course, like I said just now, the main theme is something like "murder and parenting, work and family, which to choose?!", and what conclusion they'll reach in the end… Those dramatic parts are another highlight.

Tsuji: When Miri is riding roughshod over those two adults, she's animated in a really adorable way - I hope you pay attention to all her fun movements. Also, as mentioned before, I'd like you to carefully follow Rei's emotional development. 

Toba: By the way, Tsuji-san's child is also part of the production staff.

Tsuji: I got them to draw Miri's drawings which appear onscreen.

Toba: I said I wanted a real child to do Miri's drawings, and he was like, "Isn't there one right there?" (laughs)

Tsuji: My kid is 6 years old, but it's quite tough to get them to draw. Of course, doing all of it was out of the question, so I mostly asked them to draw the key pictures.

Toba: That sort of realism can't be achieved by an adult, even a professional animator. Getting a child to draw it is significantly more convincing. We made sure to properly include them in the staff credits; I truly hope you look forward to seeing where this art is used.

Interviewer: Finally, please give a message to everyone who is anticipating this series.

Toba: It's a really fun comedy, so I think it's just right to watch without getting too worked up. Just relax and enjoy yourself for 30 minutes.

Tsuji: Personally, I hope that people who are tired out from parenting will watch this and feel that empathy of, "Oh, I'm not alone after all!" I'd like this series to bring them some relief. Of course, not just those people - I want people with no experience of parenting to also watch this and think, "Children are pretty nice."

[dolliedarlin]

don’t know if you remember but you never finished that ask about the P.A poly, where they had their children travel in time to warn them about a villain attack hindering them from attending Y/N giving birth to 5 healthy girls. It stopped at Bakugou calling Y/N to see why she’s taking so long to come back up to work. Soon after Y/N told him the issue at hand to which Bakugou promised he would be down to see the situation himself. The issue was a little girl who Y/N currently didn’t recognize was injured and calling her mom, the girl looked like a mixture of Y/N and Denki. Hopefully that jogged your memory. :)

hello, darling!

yes, i do remember that ask, the person who asked that actually reached out to me and we tried to write it together but i've just been so busy i completely forgot about it

i don't know when or if i'll ever go back to complete it as it's not even a part of my series. for now, i can't guarantee the continuation of it but i do remember this scenario and ask; i'll be prioritising my actual 'The P.A' series progression

i hope that's alright with you, my love and i'm sorry to disappoint

[citynewsglobe]

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[danastroutattorney]

How a Commercial Litigation Lawyer Can Protect Your Business Interests - Dana Strout

Dana Strout Camden Maine

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[scienza-magia]

Guerra delle valute, primi dissensi interni al Brics

L’India frena i Brics sul progetto di valuta alternativa al dollaro. Il gruppo Brics, composto da Brasile, Russia, India, Cina e Sudafrica, coltiva il progetto di un anti-dollaro. La moneta USA ha l’importante ed indispensabile funzione sia di divisa di scambio nei commerci internazionali che di riserva valutaria per tutte le economie del pianeta. Ma ora l’India frena i Brics sul progetto di valuta alternativa al dollaro. Anti-Dollaro? L’India dice: “i tempi non sono maturi” Il piano dei Brics per creare la nuova valuta comune, da utilizzare inizialmente negli scambi commerciali tra i suoi aderenti, per poi eventualmente estenderla ad altri utilizzi, continua. L’argomento è all’ordine del giorno del vertice di Johannesburg in Sudafrica, programmato in agosto. Ma mentre gli altri quattro membri del gruppo Brics sembrano sposare il progetto valutario antagonista, negli ultimi giorni Nuova Dehli ha dato chiari segnali di dissenso.

Le recenti dichiarazioni del Ministro degli Esteri indiano non lasciano molti dubbi sulla posizione dell’India. L’autorevole rappresentante del Governo di Nuova Dehli ha chiaramente affermato, durante una conferenza stampa ufficiale, che il suo paese non ha alcun piano per la creazione di una valuta Brics. La motivazione addotta dal Ministro poggia sulla volontà del Governo di rafforzare la valuta nazionale, la rupia appunto, in una fase economica importante per le vicende del gigante asiatico. Cosa c’è dietro il dissenso indiano? L’India infatti è, tra i paesi Brics, quello che sta facendo meglio in termini di crescita del prodotto interno lordo (7% p.a.). Come previsto da molti analisti, è iniziata una competizione interna ai Brics tra Cina e India. Secondo Lettieri & Raimondi “L’India ha maggiori possibilità di internazionalizzare la sua valuta rispetto alla Cina in quanto è ritenuta più orientata al mercato e più trasparente”. L’India, infatti, aderisce alle sanzioni occidentali contro Russia, Iran e Myanmar. Inoltre, New Dehli sa che le tensioni internazionali spingono per sistemi di pagamento alternativi. Ma l’obiettivo è creare sistemi paralleli per il commercio nei teatri di crisi, non la guerra al dollaro. Lettieri & Raimondi spiegano che “la rupia indiana può fornire uno di questi meccanismi”. Ciò è già avvenuto in passato. Fino al 1971, la rupia è stata utilizzata come valuta da molti stati del Golfo Persico, Emirati Arabi Uniti, Kuwait, Bahrain, ecc. Poi, ripetute svalutazioni hanno spinto questi paesi a creare le proprie monete. Tra Oriente e Occidente Inoltre, ciò che influenza più di ogni altra cosa questa decisione dell’India non è stato esplicitato dal Ministro degli Esteri. Il sottinteso della sua dichiarazione riguarda l’attuale scenario geopolitico dell’indo-pacifico nel quale Nuova Dehli gioca un ruolo decisivo anche se alquanto ambiguo. Nel quadrante dell’indo-pacifico l’India si presenta sia come un componente dell’alleanza Brics, che come un membro del Quad, ossia l’alleanza militare tra USA, Giappone e Australia, alla quale prende parte in prevalente funzione di contenimento della Cina. L’appartenenza a due alleanze divergenti negli scopi non sembra però mettere più di tanto in difficoltà i vertici politici di Nuova Dehli che si sono finora abilmente barcamenati tra l’una e l’altra. L’appartenenza al gruppo Quad ha però anche profonde implicazioni politiche ed economiche che si riflettono sul dossier della vagheggiata valuta Brics. L’India, infatti, ha da poco inaugurato una stretta cooperazione militare con Washington, volta ad ammodernare i suoi obsoleti strumenti bellici. Le forniture militari promesse dagli USA sono però da negoziare in dollari, come pure i progetti congiunti di cooperazione e sviluppo di nuovi armamenti. La visita compiuta dal Segretario alla Difesa degli Stati Uniti Lloyd Austin a Nuova Dehli, ad inizio giugno, è stata l’occasione stabilire una tabella di marcia per la cooperazione nel settore della difesa per i prossimi anni, tra USA e India. Per Washington è importante approfondire i legami con il più grande importatore di armi al mondo ma anche fungere da partner militare strategico in contrapposizione a Pechino. Da parte sua, invece, Nuova Dehli ha interesse ad attenuare la dipendenza dalla Russia nelle forniture militari, diversificando gli approvvigionamenti in altre direzioni- principalmente USA, Francia ed Israele. L’alleanza con gli USA è un’alleanza regionale Attraverso la cooperazione nell’industria della difesa con gli USA, l’India ambisce a rafforzare la sua posizione di player regionale. L’obiettivo dell’India è diventare, in un prossimo futuro, anche esportatore di armamenti verso i paesi circostanti. Inoltre, New Dehli sta cercando di sviluppare una produzione interna di droni da combattimento e da sorveglianza, per impiegarli nelle sue aree calde, vale a dire nel Kashmir conteso con il Pakistan e sul mai pacificato confine indo-cinese. Tutto ciò non depone certo a favore di una posizione dell’India a favore di un’eventuale valuta Brics, che gli USA vedono come una minaccia all’egemonia del dollaro. Read the full article

[patronsainto]

Authorized by, G.E.

All right reserved, @PatronSainto.

Code: The Whispered Words of an Eternal Bond.

4th pages of July; 1982. I, muttered to God—the author of our scenario: “I love him to death, forever unbound.” (@channel | PRIVATE.)

Code: Shadows of Pain: A Lament of Loss.

p.a. My dead soul wounds ache in dark sympathy—each day feels like a battle I can't win. (sheets of @channel, my mind lost in a sea of sin.)

Code: The Eternal Promise of Love.

(b.a, 1991.): piece of memories. ╱ @channel, “I will let you live in every stanzas of my poems—‘til you lost your breath in my celestial.”

Code: Stuck in a Never-Ending Nightmare.

I am hunted by a past, full of nightmares and a melancholy day. Here I am again—lost and never found. ╱c.ba, in @channel I remain alive.

Code: A Poem of Sorrow.

Scheme. I: burning poetry. | I, wrote these letters with every ounce of my heart, now they're buried deep. “The sea has swallowed my plea.”

Authorized by, G.E.

All right reserved, @PatronSainto.

Code: A Love Story in the Fires of Hell.

(p.a) If I were to kiss you and fall to hell, I would do it without a single farewell. | @channel, to be forever remembered in fiery abyss.

Code: A Timeless Treasure.

PRIVATE. | taken in 1990: In @channel memories bound with paper and love, captured moments that astound. A keepsake to cherish forevermore.

Code: Heaven's Fortune Unleashed.

Kiss me at once, Name. And I shall break the dough of Heaven into a thousand brooks of boons. (1892’s) “In your kiss, I find my sacred space.”

Code: An Ode to Longing for the Perfect Love.

p.a, (soulfully, b.m.) I crave a love that tastes like poetry, yet all I get is bland mediocrity and my heart is left with unfulfilled fears.

Code: Overwhelming Anguish.

All that blood was never once beautiful, just a shade of red that left me doubtful. In every drop, I saw nothing but pain. (p.a—@channel.)

[jiraafinvestment1]

Different Types Of Interest Rate – Terminologies

Types of Interest Rates 

Simple Interest and Compound Interest 

Let’s get back to school mathematics!

Simple Interest is where, if you invest money, you earn a fixed interest on it every year. For example, if you invest Rs. 100 at a 10% simple interest, you’ll earn Rs. 10 at the end of the year as interest, and your principal (Rs. 100) will be paid back to you after the said duration. 

Compound Interest is different. Here, you get interest on the principal + interest on interest. 

Confused? Don’t worry, let’s take the same example for compound interest. 

Now, if you invest Rs. 100 at 10% compound interest, in the first year, you earn Rs. 10 as interest on Rs. 100. But in the second year, your principal is now Rs. (100+10) = Rs. 110. So in the second year, you’ll make 10% of Rs. 110 = Rs. 11. The third year will make your principal as (110+11) = Rs. 121, and your interest will be Rs. 12.10 

Do you see how your money gets multiplied every year? That’s compound interest! 

That’s the reason Einstein, says that “compounding is the eighth wonder of the world”. It truly compounds your wealth! 

Coupon 

If you’ve ever invested (or considered investing) in bonds, you would have come across “coupon”. The coupon for a bond is nothing but the interest that the bond issuer pays an investor on the face value of the bond. 

Wait, what’s “face value” now?

Well, face value is the price of the bond set by the issuer. So, for a bond of face value 100 and coupon 7% p.a, you, as an investor will get Rs. 7 every year as interest. 

But this coupon is calculated on “face value”. The actual market price of the bond could be different, depending on demand-supply and market volatility. So essentially, the “ROI” that you make on a bond will be different from the coupon. Let’s see what that is! 

Yield 

Just like stocks, bonds have a face value (determined by the bond issuer) and a market value (which is determined by demand and supply). 

Now, let’s take the above example of a 100-rupees bond with a 7% coupon. Now say that the demand for this bond is high, and people are willing to pay Rs. 105 for the same bond. You, therefore, buy it for Rs. 105.  

But here’s the thing – the coupon for a bond is fixed and does not change. So Rs. 7 is the interest you receive but on your investment of Rs. 105.  

This makes your effective ROI not 7% but (7/105) = 6.67%. That is your bond’s yield. 

Discount Rate 

The interest rate used to determine the present value of future cash flows is called a discount rate. This can be understood better with a simple example. 

Imagine a scenario where you invest Rs 1000 in two different investments – Option A & Option B, both are let us say debt instruments.  

Option A repays Rs 200 every year for 10 years, while Option B repays Rs 300 every year for 5 years. You want to discount both these investments at 10% assuming that is the needed annual return you typically want in your investments. 

 

Click here to know more about

[voidsaveforthestars]

black box.

there are bars on the doors at school.

cast-iron braces just above the floor.

a black box bolted to the wall holds iron pins,

that fit like a glove in the holes drilled in the floor.

they're working on rigging a system

to alert the office if the black box starts recording.

a phone picks up the p.a.

this is a lockdown drill for an external threat.

continue teaching.

this is only a drill.

this is a lockdown drill for an internal threat.

turn off the lights and move to the corner. 

this is only a drill.

this is a lockdown for an external threat.

lock your doors. continue teaching.

this is only a drill?

this is a lockdown for an internal threat.

you forgot to say drill.

this is a lockdown for an internal threat.

drill?

internal threat.

this is only a drill.

internal. internal. internal.

right?

this is a lockdown for an internal threat.

turn off the lights and move to the corner.

text your parents that you love them.

the black box is screaming.

how do i tell my mother goodbye?

how do i tell my father i love him?

where is my brother?

i need my siblings to know that i love them.

there's not enough time.

i need more time.

time, time, time,

please, i'm only seventeen, i need-

breathe.

breathe.

breathe.

this is a lockdown drill for an internal threat.

drill. drill. drill.

the black box is silent.

you are okay.

it's all in your head.

you are okay.

it's just your imagination.

it's as statistically likely as lightning.

you're fine, it's just in case.

worst case scenario.

worst case scenario.

worst case scenario.

the black box is silently screaming.

[solar-charging-station-b2yf]

Divorce Lawyer Durham NC

Ann M. Credle, P.A. 3500 Westgate Dr Suite 501 Durham, NC 27707 (919) 213-7449 https://goo.gl/maps/NGvZMkYpg9htW5Tv9

Durham North Carolina Divorce Lawyers That Can Aid You Obtain a Bargain on Your divorce Introduction Introduction: If you're in the market for a divorce, you might be stunned to discover that there are a number of good divorce lawyers in North Carolina. We've gathered some of the finest NC divorce lawyers as well as placed them into one easy-to-read table. What is a Divorce A divorce is a legal process in which one or more events to a partnership decide to end the partnership. The primary advantages of divorce are that it can liberate sources for both the separated event as well as the spouse who was married to them prior to the split. In addition, a divorce can assist clear economic issues between both individuals, as well as might supply an opportunity for new beginning in life. Just How Can You Obtain a Bargain on Your Divorce. There are numerous methods to get a good deal on your divorce, yet some essential approaches consist of: - Searching for a separated attorney who is experienced in divorces as well as knows exactly how to renegotiate settlements as well as compromises - examining the different kinds of divorces offered in North Carolina as well as discovering one that will fit your needs the very best - working with an lawyer before declaring divorce so that you have accurate details regarding what is involved - talking with friends and family who have been via a divorce before to get their guidance regarding what they believe would certainly be best for you - speaking with a economic planner to get an suggestion of your likely divorce budget Just How to Get going in the Divorce Process. Discovering a divorce attorney can be among the most vital choices you make in your partnership. Prior to beginning the divorce procedure, it is very important to locate an lawyer that represents your benefits. You can save a great deal of money as well as trouble by working with an knowledgeable attorney who will collaborate with you to get a good deal on your divorce. Bargain on Your Divorce When negotiating on your divorce, it is very important to concentrate on the economic aspects of the scenario. Do not try to poundwise as well as penny-wise -- concentrate on obtaining the very best deal possible for both of you. This suggests learning as long as possible regarding your specific finances so you can negotiate a reasonable agreement that works for both of you. Check out the Documents as well as Strategies of Your Divorce Prior to beginning settlements, it's additionally vital to acquaint on your own with all of the documents involved in your divorce. This will assist ensure that your arrangements are lawfully sound as well as shield both of your rights throughout proceedings. read more Work Out a Great Divorce deal It's time to begin the arrangement procedure when you have a good understanding of your finances as well as divorce strategies. mediator with your attorney ahead up with a deal that is finest for both of you. Ensure to consider all of your individual needs as well as desires in order to locate a compromise that is acceptable to both of you. Tips for Effective Divorce. One of the most vital things you can do to begin the divorce procedure efficiently is to get a good divorce settlement By doing your research study as well as negotiating wisely, you'll be able to get a economical as well as reasonable divorce. Work out for a Great settlement. It's vital to be delicate to your companion's feelings as well as comprehend their needs as well as desires when it comes to the divorce procedure. To see to it your settlements are productive, try to concentrate on locations where you both agree. Be prepared for tough discussions by understanding what your companion is likely to want as well as exactly how they could really feel regarding obtaining that specific outcome. Stay Safe throughout the Divorce Process Security is always a top priority in any type of divorce proceedings, so see to it you take measures like staying safe in the house, taking a trip with marginal safety risk, as well as utilizing sex-safe precautions while in thedivorce state. By following these precautions, you'll be able to have a safe as well as successful divorce. Conclusion Isn't it a easier time when there was simply one person to deal with - the one who got separated? Below are 3 essential points to keep in mind as you work via the divorce procedure: 1. It can be tough to get a good divorce settlement - nevertheless, there are numerous sources offered to assist you. 2. You must see to it that you comprehend all of the documents involved in your divorce (including the Strategies of Forfeit as well as Splitting Up). This will assist ensure that you're obtaining the very best possible deal on your own as well as your kids. 3. Stay safe throughout the divorce procedure by following these ideas: read the documents thoroughly, deal effectively, as well as remain notified regarding advancements in your situation. Introduction: If you're in the market for a divorce, you might be stunned to discover that there are a number of good divorce lawyers in North Carolina. The primary advantages of divorce are that it can free up sources for both the separated event as well as the spouse who was married to them prior to the split. You can save a whole lot of money as well as trouble by functioning with an knowledgeable attorney who will work with you to get a good deal on your divorce. As soon as you have a good understanding of your finances as well as divorce strategies, it's time to begin the arrangement procedure. Isn't it a easier time when there was simply one person to deal with - the one who got separated? https://divorcelawyerdurhamnc534.blogspot.com/2023/01/divorce-lawyer-durham-nc.html Divorce lawyer Durham NC Ann M. Credle Durham NC https://columbusohiohelicopterride177.blogspot.com/ https://columbusohiohelicopterride177.blogspot.com/2023/01/columbus-ohio-helicopter-ride.html https://mountlandsdaynursery904.blogspot.com/ https://mountlandsdaynursery904.blogspot.com/2023/01/mountlands-day-nursery.html https://garagedoorsorangecountyca22.blogspot.com/

[brocfinance]

How To Analyse Your Loan Interest Rates: A Beginner’s Guide To Getting The Best Value

The demand for business loans in Australia has remained high with post-Covid recovery and a strong economic climate for SMEs. More and more business owners are exploring credit instruments to fund their operations and grow their businesses. If you are looking at your business loan options, you are probably comparing them by their interest rates. However, as experts will tell you, this approach is not enough. You need to analyse your interest rates in greater detail to uncover the best value while looking for loans. Whether you want short-term business loans or long-term financing, understanding your loan costs is essential for making the right choice. Let's discuss how you can get the best value from your business loan! 

Understanding Your Business Loan Interest Rate: Factors That Influence It

The lender charges an interest rate based on several factors. Here are the top aspects that play a role in determining your interest rate:

●      Security: Secured loans for larger sums of money often have lower interest rates. For example, if you opt for business vehicle loans, you can borrow a substantial amount with your new vehicle as collateral. In such a scenario, the lender will charge a lower interest.

●      Credit History: Lenders assess the creditworthiness of borrowers by evaluating their credit scores while approving loans.

●      Cash Rate: The Reserve Bank of Australia’s cash rate, a reflection of the current economic trends, can influence your interest rate.

●      Trading History: Your history of operating the business can have an impact on your interest rate. The lender may look at cash flow and revenue records to evaluate the situation. 

Calculating Loan Costs: Using APR To Analyse Your Loan

While the interest rate is a critical component of your loan cost, it is not the only consideration. Your business loan can have other costs like:

●      Application or establishment fees to set up the loan account.

●      Documentation fees to cover processing and verification costs.

●      Direct debit fees to cover transaction charges during repayment.

●      Monthly or annual fees to maintain lines of credit or certain loan accounts.

All these costs may or may not be present in the loan of your choice. However, you should read the loan terms in detail to identify these additional costs. You can also have some rebates which lower your overall loan costs. Accounting for all these amounts can help you calculate the final cost of the loan. 

Annual Percentage Rate (APR) can reflect the total cost of the loan taking into account the reducing balance of the loan amount after each perioding repayment. Here is an example to understand how to calculate the APR:

●      Assume you have borrowed $50,000 and have to pay $2590 as interest, this works out to  a simple interest rate of 5.18% p.a.

Now, say if the loan needs to be paid in 52 equal weekly installments, the APR consdering the reducing balance at teh end of each week comes to 10% p.a. 

How To Take The Final Call

Your final choice will depend on your priorities. You can consider the trade-offs between mortgaging an asset and paying higher interest to understand what the rate means for you. At the same time, you should consider the repayment term while comparing APRs. An extended loan period is usually less costly than a shorter repayment window. All these factors interact with your business circumstances to help you determine the best value for your loan.

If you need help choosing a business loan that works for you, reach out to the experts at Broc Finance today! 

Source: https://www.brocfinance.com.au/blog/how-to-analyse-your-loan-interest-rates-a-beginners-guide-to-getting-the-best-value/

[dolliedarlin]

~HEADCANON MAYBE…?

This has been on my mind ever since I read the backstory of y/n's quirk in the PA series. I have this headcanon I guess, where she graduated high school early {at 16} and finished college early too {at 20} she's now 22 {meaning the bakusquad is slightly older 24-25 I reckon}.. Her age is significant because of her bullying, I think the bullying didn't just stem from her quirk but her also being younger and SHORTER {4’11} they saw her as weak...this is why she didn't even dream of being a pro-hero. I know this is pretty random but I thought I’d share. Ohh, also when y/n was younger she got into UA but never went. {she got in on recommendations} Even now, y/n’s super smart and very capable of being a pro.

-pstttt....imagine the hugs y/n would get with her soulmates being sm taller than her so cute!-

~IDEA

Makes sense for the squad to know y/n's age but I imagine they almost forget because of how mature she is. Plus her age doesn't really effect the way they treats her........One day they may come across some of y/n's documents that reveal she got into UA the same year as the rest of the squad, but she was obviously younger than them. This may or may not fit into your writing since last chapter they showed slight interest in y/n's talents {hero stuff..}.

~EXTRA

We know y/n is quite attractive so I'd only assume people flirty with her all the time and I think it makes the squad pretty uncomfortable even though she's not officially theirs yet. Like imagine another pro-hero seeing her at one of the events and openly being flirtatious with her around them...not good!

~LAST BUT NOT LEAST

How are Dollie? Have you drank enough water today? If not here's your friendly reminder to do so :D! Also I must ask what got you interested in writing?

pheww so sorry that's sm!

{if you like this idea feel free to use it entirely <3}

~Sincerely the "P.A series fanatic anon!"

goodness...you won't believe-

i just love how the series is becoming everyone's it's so wholesome 🥺💕 i just imagine you dolls daydreaming about all these scenarios and it's so cute - you're all such cuties but you all better stop before things get dangerous okie?!

y/n is just too smart and talented, she knew she was better than what those bullies we're trying to bring her down for so she worked hard and look at where that got her? from that experience, she really got to understand the value of hard work and, although, that got her through a lot of hardships in life, she's fallen into a workaholic trap and it's up to the bakusquad to ease her out of it gradually and with all the love and patience in the world. they won't be perfect but it's the thought and their efforts that count most.

just to add onto your scenario there, the hugs: y/n won't feel very comfortable at first but over time, the more the consistently hug her, the more she begins to enjoy it but only from them lol XD as a result, whenever others would get flirty with her in front of the squad, she'd be really oblivious bc she isn't familiar with such cues, this makes whoever is flirting with her get touchy and the instant that happens, she turns cold and shuts them down right away. the squad figure out that they're the only ones that can get that close and touchy with her and it makes them so happy (and smug) you won't believe! it comes to a point where they actually begin to hold back laughter whenever they see y/n get hit on - they know she can handle herself so they just let her do what she does best XD

honestly, you dolls are a fountain of fantasies and i love it, i don't know why my requests are always closed but as soon as i get my life sorted and get the time for myself, i'll let you beautiful people work my imagination however much you lovelies want <3

[shittysawtraps]

Hello, Katrina.

Imagine, if you will, a dance studio. This studio is regarded globally as one of the, if not the most prestigious academy of its kind. It can accommodate dozens upon dozens of troupes, and provides arrangements specific for every single style of dance, no matter how specific. Even the design of the building itself is very ergonomic: the main entrance, or lobby, leads into a neat row of hallways, one for each generic classification (tap dance, ballet, etc). These broad, “generic” hallways then branch into several narrower “subtype” paths, which finally lead to a sort of cul-de-sac of individual, enclosed studio rooms for several groupings of dancers to practice in.

Now, back in the lobby, there is a P.A. speaker hanging in the entranceway of each “generic” hallway. These speakers play live audio feeds of the dancers practicing in each studio room, swapping to the next after allotments of about twenty seconds. The sound systems are in excellent quality, and you can listen with near-perfect clarity whence you are near them. Not only that, but they are spaced just so that- as long as you are not standing in the front of the lobby, or in between two of the halls- you will only hear one P.A. speaker at a time.

Now, imagine a pack of enraged silverback gorillas are released all at once into the dance studio. It does not matter in what mode of transport they were delivered, or the party who delivered them. What matters is that they are all profusely enraged, and looking to attack anything that poses a modicum of a threat to them. Normally, this would extend to the gorillas fighting each other- but in this scenario, every individual gorilla is enclosed in a personalized forcefield bubble that prevent them exclusively from harming another gorilla. Any given primate cannot punch, kick, or throw objects at another gorilla. As such, they instead focus their anger on the likes of the dance studio- and the people inside it. The gorillas, being naturally intelligent creatures, listen in to the P.A. speakers one by one, as to decide which studio room to target first (they are unfamiliar with the terrain, and because they cannot harm each other, they have decided to operate as a single unit).

Now, Katrina, in these circumstances, what type of style- depending on music, and then the specific movement of the dance- do you believe would be the most objectively likely to merit the wrath of a tribe of embittered, invincible, silverback gorillas? There is a pen and paper on the table before you to write down your answer, as well as a cohesive list illustrating every style of dance being practiced in the studio. In the far left corner, there is a 1980s Emerson 13" CRT Tube Color TV, and roughly 450 VHS cassette tapes containing footage of each dance style practiced, nearly identical to the list- though in a separate order entirely. Additionally, these VHS tapes are labeled using doctors’ prescription shorthand, and thus are very difficult to decipher for anyone unfamiliar with the methodology.

If you are unable to provide a written answer, provide an unclear written answer, or an incorrect written answer, in the provided span of six hours, then forty outraged silverback gorillas will be unleashed upon you via the row of forty separate chambers, paneled on the south wall and currently locked.

Good luck, Katrina. You are going to need it.

[melisa-may-taylor72]

QUEEN BEFORE QUEEN

THE 1960s RECORDINGS

➖➖➖➖➖➖➖➖➖

PART 4:

THE OPPOSITION

JOHN DEACON WAS THE QUIETEST MEMBER OF A MIDLAND-BASED FIVE-PIECE WHOSE GREATEST AMBITION WAS TO PLAY ANOTHER GIG.

Initial research John S. Stuart. Additional research and text: Andy Davis.

John Deacon was the fourth and final member to join Queen. He became part of that regal household 25 years ago this month, enrolling as the band’s permanent bassist in February 1971. His acceptance marked the culmination of a six-year ‘career’ in music, much of which he spent in an amateur, Leicestershire covers band called the Opposition.

From 1965 until 1969, Deacon and his schoolmates ploughed a humble, local furrow in and around their Midlands hometown, reflecting the decade’s mercurial moodswing with a series of names, images and styles of music. The most remarkable fact about the Opposition was just how unremarkable the group actually was.

Collectively, they were an unambitious crew: undertaking precisely no trips down to London to woo A&R men; winning only one notable support slot for the army of chart bands who visited Leicester in the ‘60s (opening for Reperata & the Delrons in Melton Mowbray in 1968); and managing even to miss out on the option of sending a demo tape to any of the nation’s record labels. The band’s saving grace is its solé recorded legacy: a three-track acetate — although even this was done for purely private consumption, and has rarely been aired outside the confines of their inner circle.

It is perhaps indicative of the Opposition’s modest outlook that their most promising bid for stardom, a beat contest, was called off before they had the chance to play in the finals. For John Deacon and friends, it seems, merely being in a band was reward enough.

Considering of all of this, it’s easy to imagine the response to the following story, related in the ‘60s to one of the Opposition’s guitarists, Ronald Chester:...[ ]

...[ ] “There was a teacher who worked at Beauchamp School, which John attended, who told fortunes. They went to see her one Saturday and were told, ‘John Deacon is going to be world famous and very, very rich. Of course, they all fell about laughing. She was determined that this was going to happen. But they all thought it was a joke."

What particularly amused Deacon’s colleagues was the unlikeliness of this scenario, given the plain facts of his demeanour. John was born in Leicester in 1951, the product of affluent, middle-class, middle England. As a youngster, he was known to his friends as ‘Deaks’ and grew up to be quiet and reserved, what Mark Hodkinson referred to in ‘Queen — ‘The Early Years’ as “a ghost of a boy".

“He is basically shy,” confirms Richard Young, the Opposition’s first guitarist/vocalist, and later keyboardist. “I suppose he was quieter than the rest of us — but he was fairly static with Queen if you look at him on stage.”

Ron Chester agrees: “John was quiet by nature. His sister, Julie, was the same. Once he got going, though, he wasn’t any different from anybody else. But on first approach, you really had to coax him out of his shell. We’d have to pick him up. He couldn’t walk down the road to meet us."

CONFIDENT

Despite any lack of personal dynamics, Deacon was a capable teenager: “He was very confident," recalls another of the band’s guitarists, David Williams. “But in a laidback sort of way. He didn’t have a problem with anything. ‘Yeah, I can do that’, he’d say. We used to call him ‘Easy Deacon’, not because of any sexual preferences, but because he’d say something was easy without it sounding big-headed. I remember saying to him once, I’m going to have to knock off the gigs a bit to revise for my ‘A’ levels. What about you?’ ‘No’, he said, ‘I don’t need to. I’ve never failed an exam yet, and I’ve never revised for one’. Ultimately, he was just confident, with a phenomenally logical mind. If he couldn’t remember something, he could work it out. And, of course, he got stunning results.”

John’s earliest interest was electronics, which he studied into adulthood. He also went fishing, trainspotting even, with his father. Then music took over. After dispensing with a ‘Tommy Steele’ toy guitar, John used the proceeds from his paper round to buy his first proper instrument, an acoustic, when he was about twelve. An early musical collaborator was a school mate called Roger Ogden, who like Roger Taylor down in Cornwall, was nicknamed ‘Splodge’. But his best friend was the Opposition’s future drummer, Nigel Bullen.

“I’d first got to know John at Langmore Junior School in Oadby, just outside Leicester, in either 1957 or 1958,’' recalls Nigel. “We were both the quiet ones. We started playing music together at Gartree High School, when we were about thirteen. We were inspired by the Beatles — they made everybody want to be in a group. John was originally going to be the band’s electrician, as he called it. He used to build his own radios, before we had any amps, and he fathomed a way of plugging his guitar into his reel-to-reel tape recorder. He was always the electrical boffin."

The prime mover in the formation of the group was another Oadby boy they met on nearby Uplands Park, Richard Young. “Richard was at boarding school," recalls Nigel Bullen. “He was always the kid with the expensive bike. He played guitar, and what’s more had a proper electric, with an amplifier. He instigated getting the band together. Initially, we rehearsed in my garage, and then anywhere we could. John played rhythm to begin with. He was a chord man, the John Lennon of the group, if you like."

SWITCH

Despite his later switch to the bass, Deacon’s technique on the guitar also developed, as Dave Williams reveals: “Later on, I remember he could play ‘Classical Gas’ on an acoustic, which was a finger-picking execise and no mean feat. It’s a bit like ‘McArthur Park’, a fantastic piece of music, and when I heard it, I thought, ‘Bloody hell. You dark horse!’ Because he never showed off."

The Opposition’s first bassist was another school friend of John’s called Clive Castledine. In fact, the group made its debut at a party at Castledine’s ouse on 25th September, 1965 (their first public performance took place the...[ ]

...[ ] following month at Gartree’s school hall). Clive looked good and appreciated the kudos of being in a group, but he wasn’t up to even the Opposition’s schoolboy standards. “I was the least proficient, to put it mildly,” he admitted to Mark Hodkinson.“His enthusiasm was 100%,” adds Richard Young, “but his actual playing ability was null, so we had a meeting and got rid of him.” Deacon took over, initially playing on his regu­lar guitar, using the bottom strings. “John was good,” Young continues. “It was no problem for him to switch to bass. He hit the right notes at the beginning of the bar, and we were a better band for it. Whereas Clive made us sound woolly, as anyone who just plonked away on any old note would, John was solid.”

DIARY

Young turned out to be the Opposition’s archivist, keeping a diary of each gig played, the equipment used, and the amounts of money earned (as indeed did John Deacon). Richard’s diary documented the day Deacon — now, of course, bassist in one of the world’s most famous groups — first picked up his chosen instrument. “In an entry for 2nd April, 1966,” says Young, “it reads, ‘We threw Clive out on the Saturday afternoon. Had a practice in Deaks’ kitchen, and Deaks went on bass. Played much better.’ John didn’t have a bass, so we went down to Cox’s music shop in King Street in Leicester, and bought him an EKO bass for £60. I paid for it, but I think he paid me back eventually.”

“John’s bass style with the Opposition was the same as with Queen,” reckons Nigel Bullen. “He never used to play with a plectrum, which was unusual, but with his fingers, which meant that his right hand is drooped over the top of the guitar. Also, he plays in an upward fashion, which I’d never seen before, certainly when we were in Leices­ter. Over the years, I’ve watched many bass players adopt that style. I’d say he has been copied a lot. I’ve mentioned this to him, but he doesn’t agree.”

Clive Castledine wasn’t the last member of the band to be dismissed. “The vocal and lead guitar side of the Opposition was changing all the while,” recalls Nigel. “Myself, John, and Richard Young were always there — as were Dave Williams and Ron Chester later on — but we had a succession of other musicians who I can hardly remember now. There was a guy called Richard Frew in the very early days, and a young lad called Carl, but he didn’t fit in. After we began playing proper gigs, Richard decided he wasn’t happy with his singing and wanted to move onto keyboards, so we brought in Pete Bart (formerly with another local band, the Rapids Rave) as a guitarist and vocalist. He was good, but again, didn’t last long.”

“Bart was a bit of a rocker, while we were all mods,” remarks Dave Williams. “We were impressed by mod bands like the Small Faces and the original Who. Bart seemed to come from a different era altogether.”

“Deaks had the Parka with the fur collar,” remembers Ron Chester. “And short hair, a crew cut. Mirrors on his scooter.” Richard Young agrees: “John was more of a mod than us. But you couldn’t really pigeonhole the band, because our music went right across the board”.

”Buying Deacon his bass was no one-off, and Richard Young is remembered as the group’s benefactor. Being older than the others, he had a steady job working for his father’s electronics company in Leicester, which brought him a regular, and by all accounts, generous wage. He rarely thought twice before splashing out on equipment for the other members.

RECEIPTS

“Richard bought me a P.A.,” recalls David Williams. “But he didn’t ask, he used to think that the group needed it. He’d buy it and then say, ‘You owe me this’. My mum used to get really annoyed. She’d was at that going- through-my-pockets stage, probably looking for contraceptives. She once found a receipt from Moore and Stanworth’s, a local music shop. It was for a Beyer microphone, which cost about £30. I was still at school, getting pocket money, and my mum said, ‘What on earth is this?!’ Receipts on the Sunday dinner table, that sort of thing. It was good, though. The group needed it.”

“I was dead serious about the band,” claims Young, who switched to organ with the arrival of Williams in July 1966. “Perhaps more so than anybody else. I could see it going nowhere if money wasn’t pumped into it.”

“Dick Young was an accomplished organ player,” adds Dave, “and he improved the group quite a lot. He always had plenty of dosh, and a car. But he was totally mad, a crazy bloke. He’d come round with an organ one week, then next week, he’d have a better one. He ended up with a Farfisa, with one keyboard on it, then one with two keyboards — one above the other. Then he had a Hammond, an L 100. which was really heavy. Then he had a ‘B’ series one. The ‘L’ was top-of-the-range and he sawed it in half to make it easier to carry!”

Dave Williams helped to improve the group as well. “He was at school with us,” says Nigel Bullen, “but in another band, who we always looked up to.” That band was the Leeds-based Outer Limits (who went on to issue several singles — without Dave — in the late ‘60s). “I joined the Opposition after they asked me to watch them and tell them what I thought,” recounts Dave. “The Outer Limits were older lads, all mods, but I was after something a bit more easy going, and the Opposition were my own age. They were okay, but I first saw them at John’s house, when they were still practising in bedrooms, and they were absolutely awful. I said, ‘Have you thought of tuning up?’ They said they had. But it sounded like they were playing in different keys — totally horrendous. It was so funny. They were so conscientious, they’d all learned their bits, but hadn't tuned up to each other. That was my first tip.”

“Our first proper gig was supporting a local band, the Rapids Rave, at Enderby Coop Hall,” recalls Nigel Bullen. “They used to play at this village hall every week. and then we ended up doing it every week for quite some time.” Richard’s diary records the Opposition’s debut taking place on 4th December 1965, and that the band’s fee was £2. Thereafter, they began to offer their Services in the local ‘Oadby & Wigston Advertiser’, which led to bookings in youth clubs and village halls in local hot-spots like Kibworth, Houghton-on- the-Hill, Thurlaston and Great Glen.

SCHOOL WORK

By spring 1966, the Opposition were playing every weekend, school work permitting. The peaks and troughs of their career are illustrated by the following memorable gigs: one at St. George’s Ballroom, Hinckley, on 23rd June 1967, when just two people turned up and the band went home after a couple of numbers; and a September appearance in a series of shows at U.S. Airforce Bases in the Midlands, at which they were required to play for four-and-half hours with just two twenty-minute breaks. It was nothing if not diverse.

“It didn’t seem to matter what you played,” says Dave. “People would clap simply because you were making music. They never said, ‘Do you do Motown, or soul stuff?’ ” The band’s repertoire initially consisted of chart sounds and the poppier end of the R&B spectrum. “Although we were inspired by the Beatles, we never did any of their songs,” claims Nigel. “But we covered the Kinks, the Yardbirds, and things like Them’s ‘Gloria’, and the Zombies’ ‘She’s Not There’.

They also altered their name slightly to the New Opposition, which they unveiled at the Enderby Coop Hall. “The name-change was decided overnight, when John moved from rhythm to bass guitar,” recounts Richard, whose diary records the date of the transition as 29th April 1966. Interestingly, though, it makes no mention of another local group also called the Opposition, long thought to have been the reason for Deacon’s crew adopting the ‘New’. The change did act as an impetus for further development, however, instigated by Dave Williams, who soon took over as the group’s lead vocalist.

“When I joined they were doing all Beach Boys stuff,” he recalls, “and I think I may have brought in a little credibility. In the Outer Limits, I’d been playing John Mayall, the Yardbirds, that sort of thing, plus that group was into really good soul like the Impressions, and fantastic vocal bands from the States. So I had a broad musical knowledge by then, whereas the Opposition had been a bit poppy.” Appropriately, the words “Tamla” and “Soul” were now added to the Opposition’s ads and calling cards.

Towards the end of 1966, the New Opposition were enhanced further by the arrival of Ron Chester, who’d previously played with Dave Williams in the Outer Limits, as well as in an earlier band, the Deerstalkers. “Ron Chester was a bit eccentric,” claims Richard Young. “He never used to go anywhere without his deerstalker. He was a really good guitarist (“stunning”, adds Dave Williams). We were probably at our best when Ron was in the band.”

On 23rd October 1966, the New Opposition entered the local Midland Beat Contest. They won their heat, landing themselves a place in the semifinals on 29th January 1967. They won this, too, and steeled themselves for the finals, which were due to be held on 3rd March 1967, when they were to be pitched against...[ ]

...[ ] an act called Keny. The stars of the show would have been the nearest the Opposition came to having a rival: an outfit called Legay. (A year later, incidentally, this band issued a now collectable single, “No One” (Fontana TF 904,£80J.) Unfortunately, for all concerned, however, the contest never took place. “That was a fiasco,'' laughs Ron. “Somehow we won those heats, but in fact, I don’t remember seeing anybody else playing. I don’t know whether we won by default or not. After that, they pulled the plug on the competition — probably because they knew we’d be playing again!”.

CASINO

“The heats took place in a club in Leicester called the Casino, which was the place to play,” adds Nigel. “The guy who ran the competition was an agent for the club. His company was called Penguin (or P.S) Promotions and he walked like a penguin too, with his feet sticking out. The final was going to be held in the De Montford Hall, which is still the main venue in Leicester. We thought, ‘Crumbs, this is it, perhaps we might make the big time.’ But the guy did a runner with all the money — people had to pay to come to the heats. So the final was called off.”

David Williams wasn’t too fussed, as he scored another prize that night: “I remember taking a girl back to Dick’s car on the strength of us winning our heat. I said, ‘Can I borrow your keys, Dick? He said, ‘What for? You can’t drive!’ “

Were the New Opposition — or the Opposi­tion, as they dropped the ‘New’ again in early 1967 — left in limbo by the cancellation of the Beat Contest? Having achieved the most public recognition of their talents so far, were they disappointed with the loss of the chance to prove themselves further?

“No. It was almost insignificant,” reckons Ron. “We didn’t really look upon it as a stairway to stardom.” And what would John Deacon have thought? “Nothing really,” suggests Chester. “ ‘It’s cancelled. What are we doing next, then?’ That would have been about the depth of it. We were a village band, all gathering at the church hall to try and improve our abilities. The financial aspect of it wasn’t in the forefront of our minds. We were more concerned with our music, and if we could get a booking doing it as well, to pay off some of the equipment, then that was a real bonus. Three bookings a week was enough for us while we were working or still at school.” Despite any dodgy dealings, history does have the Penguin promoter to thank for the only professionally-taken photograph of the Opposition. (“We didn’t go much on photos in the band,” remembers Dave Williams.) On Tuesday, 31st January 1967, two days after winning the semi-finals, the ‘Leicester Mercury’ dispatched a staff photographer over to Richard Young’s parents’ house in Oadby. Here, the group lined-up in the front room, looking more like refugees from 1964, rather than 1967. The only indications of the actual date are perhaps Ron Chester’s deerstalker hat and the ridiculous length of David Williams’ shirt collars — seven inches, no less, from neck to nipple.

“Dave was very extrovert,” recalls Nigel. “But we all had those silk shirts with the great long collars made by our mums and grandmas for our stage gear.” Dave admits: “Our clothes were all a bit mixed up. We had silk shirts with tweed jackets — which were fashionable for a while — and bell-bottoms. Musically, we were pretty good, better than...[ ]

...[ ] most of the local bands around that time, but we had this squeaky-clean, schoolboy image which let us down. I used to get frustrated when we were billed with other bands, and they’d all play with so many wrong chords but had a better image and still the punters applauded. Were they stupid? We were still at school — we didn’t leave until we were eighteen — and weren’t allowed to grow our hair long”.

“After the mod thing,” he continues, “long hair became really important. Bands were growing their hair right down their backs. I remember getting to one gig with John and Nigel a year or so later, and the other group were already on. And when they saw us they turned round and said, ‘Look! They’ve got no hair!’. We were quite upset about that”.

“We also went through the flower-power look,” Dave adds. “And then we got into those little jumpers without any sleeves that Paul McCartney used to wear, the ones so small that half your stomach showed. And then it was grandad shirts without the collars and flares.” Ron Chester: “The flowery shirts and flared trousers were everywhere. We looked like a right shower of poofters. But so did everybody else. You stood out if you didn’t wear them.”

1967 also heralded the arrival of an additional attraction to the Opposition’s stage show: two go-go dancers. At least, it did if the existing literature on the subject is to be believed. “I vaguely remember it,” admits Richard, “but speaking to Nig, neither of us can recal who those dancers were”.

Dave Williams throws some light on the subject: “They were the jet-set girls of the sixth form, they came from the big houses. They came to a couple of gigs and just started dancing. Somebody who booked us for the following week actually advertised us ‘with go-go girls’. But they were never really part of the show.”

ART

On 16th March, 1968 for a gig at Gartree School, the Opposition changed their name once again. “We called ourselves Art,” reveals Nigel, “because Dave was arty, that is, he was training as an artist. It was as simple as that.” Dave agrees: “It was my idea, because I’d been doing art at school.” Nigel Bullen was aware of another band using that name around the same time (the pre-Spooky Tooth outfit), but assuming them to be American, reckoned they’d be no confusion. As the Leicester-based Art never made it to London, there wasn’t.

Despite wording like “A time to touch and feel, to taste and experience, to hear and understand” appearing on the group’s tickets, Richard maintains that Art was “just the same band” as before. “Nothing changed."

“It was mutton dressed up as lamb, really,” admits Ron Chester. “We thought if we were called something different, people might come because they were curious. But it didn’t make a lot of difference. The audiences were captive at the places we played anyway. There was nowhere else to go on a Friday or Saturday night. Everyone used to roll up to see whoever was on, whether they’d heard of them or not.”

1968 was the year psychedelia caught up with many provincial British bands. The Art were no different, but their acknowledgement of what had been last year’s scene in London was via sight rather than sound. Their light shows seem to have been particularly memo­rable, as Dave Williams explains: “They were brilliant. We used the projectors from school, filled medicine bottles with water and oil, and projected through them to get this lovely golden, amber backdrop. As the image came out upside down, when we poured in some Fairy Liquid, it dropped straight through in a blob, but came out on the wall like a giant green mushroom cloud. It was amazing, and we had about four of them at the back, projecting over the band.”

John Deacon was party to another of Dave’s exploits. “One day,” recalls Williams, “John and I bought a 100-watt P.A. — which was pretty big for those days — and took it into the lecture theatre full of kids at Beauchamp School (which Deacon had attended since September 1966) for our version of Arthur Brown’s ‘Fire’. We cranked it up as loud as we could, put the light show on, and let off these smoke bombs, which were DDT pellets we’d got from the chemist. All the kids started choking, and then the headmaster walked in...[ ]

...[ ] with a load of governors. You could see the fury in his face. One of the governors asked what we were doing. ‘It’s a demonstration in sound and light, sir,’ I said. ‘We’re using these ink bottles turned upside down, but we’re a bit worried about these DDT pellets so we might knock the smoke on the head, but we’re still experimenting.’ And he fell for it!”.

INFLUENTIAL

Towards the end of 1968, a crop of new groups began to have a profound effect on the maturing schoolboys: Jethro Tull, the Nice, Taste, and in particular Deep Purple. Ron: “We used to buy Purple records and learn to play them. We’d seen John Mayall’s Bluesbreakers and the Downliners’ Sect in Leicester, the Nice, King Crimson. These sort of groups. We learned a lot from just watching them. They were influential. There was always a big discussion in the band as to whether we should do a particular song. Once we’d decided that, there’d be another big discussion as to how we should do it. Everybody had their say.”

Hair, too, had finally began to grow: “John grew his quite long,” recalls Ron. “We all had longish hair, but not shoulder length. We couldn’t look too unkempt for the normal side of life, but we didn’t want to be too prissy for the other end of the spectrum. That was when we started playing universities, and we went a bit heavier. The audiences were far more serious minded about music and more enthusiastic. In some of the youth clubs we’d been playing, the audience would be moving around on roller skates, or peeling bananas all over the place, things like that”.

“We felt we were making an impression towards the last year or two of the band,” he continues. But it went no further: “We were at school, some of us had jobs, and there was an element of common sense overriding what we would have liked to have done. None of us wanted to chuck in our apprenticeships or courses. If we’d had a flair for writing our own material, we might have taken off. But we just played what was popular, nothing different from most other groups. That wasn’t a basis on which to launch ourselves. So it never happened."

“We didn’t think that far ahead,” admits Richard Young. “I just thought of playing and getting repeat bookings. John was probably the least ambitious of all of us, to be honest. I think he felt that there was no mileage in what we were doing, although it was good fun. I think he had the impression that this was a hobby, a phase he was going through.”

Sometime in the Sixties, possibly 1969, but maybe earlier, Art recorded an acetate. Whatever the date, the crucial point is that John Deacon was present at the session. “We weren't asked to do it,” recalls Nigel. “We just wanted to make a disc. I think it cost us about five shillings.”

The venue was Beck’s studio, thirty miles south east of Oadby in Wellingborough, Northamptonshire. “I’d never been in a studio before and it seemed awesome, really,” recalls Dave Williams. “It was a fairly decent-sized room for acoustics. It was all nicely low-lit, with lots of screens. The guy knew what he was doing.” Richard Young was less impressed, though: I’ve been in studios all my life,” he says. “That was just another session. Nothing about it stood out.”

The “guy” Dave remembered was engineer Derek Tomkins, who informed the group that they could record three tracks in the time allotted. “We’d only gone in there with two, ‘Sunny’ and ‘Vehicle’,” says Nigel, “and we didn’t want to waste the opportunity, so Richard knocked up a little instrumental called Transit 3’ — named after our new van, the third one — right there in the studio. Although we were purely a covers band, everybody had a bash at writing, but we never did anything of our own on stage. The exception was Transit 3’, which was incorporated into the set after this session.”

“ Transit 3’ was about about the only track we ever wrote," reckons Richard Young (“Heart Full Of Soul”, as reported in ‘As It Began’, is in fact a Graham Gouldman nurnber). “I initially had the idea, but I can’t really remember anything about it. It’s very basic. It wouldn’t take a great deal of effort to write something like that.” To the objective observer, “Transit 3”, taped in mono but well recorded, is a fairly uncomplicated, organ-led scale- hopper, reminiscent of Booker T & the MGs.

 “Everybody was listening to ‘Green Onions’,” confirms Nigel, “so Booker T would have been an influence there.” But for all that, it’s well- played, with memorable lead and twangy, wah-wah guitar passages courtesy of Dave Williams. And, crucially, John Deacon’s thumping bass is plainly audible throughout. On this evidence, the Opposition were clearly a tight, confident outfit. “Transit 3” could have been incorporated into any swinging ‘60s film soundtrack, and no one would have jumped up shouting, “Amateurs”!.

UNFAMILIAR

The other two tracks, covers of Bobby Hebb’s ‘Sunny' and the more obscure, soul- tinged ‘Vehicle’ (later a hit for the Ides of March), featured a vocalist, but an unfamiliar one: another of the Opposition’s fleeting frontmen. “We had a singer for a while called Alan Brown,” recalls Nigel. “He came and went fairly quickly. He was good, really good. Too good for us, I think. That wasn’t him saying that. We just knew it.”

On both songs, Brown is in deep, soulful voice, sounding not unlike a cross between Tom Jones and the early Van Morrison — if such an amalgam can be imagined. The Art’s reading of “Vehicle” is edgy and robust, dominated by Richard Young’s distinctive keyboards and Nigel Bullen’s bustling drum work. Dave Williams is again in fine form, delivering more sparkling wah-wah guitar, while on the cassette copy taped from Nigel Bullen’s acetate, at least, John’s bass is very prominent, over-recorded in fact, booming in the mix.

“Sunny” goes one better, breaking into jazzy 3/4 time halfway through, before slotting back into the more traditional 4/4. It’s an imaginative arrangement, with alternate soloing from both Dave and Richard, while the whole track is underpinned by swirls of Hammond organ and John Deacon’s pounding bass.

“We did ‘Sunny’ as part of our stage set,” says Nigel, “but I don’t recall us ever going into the jazzy bit. That’s quite interesting. We might have talked about that before we went into the studio, but I think it was just for this session. Dave had two guitars, a six-string and a twelve-string, or it could even have been twin-necked. I still quite like the wah-wah he played on that track. By this time Richard would have been onto his second or third organ — he was heavily into Hammonds and Leslies."

Operating as they did in a fairly ambition- free zone, and having prepared the listener for a mundane set of recordings with their trademark laid-back approach, Art’s acetate comes as something of a revelation. Let any bunch of today’s schoolboys loose in a studio for an afternoon and defy them to come up with something half as good!

Just two copies of the Art disc are known to have survived. John Deacon’s mother is believed to own one and Nigel Bullen has the other. “I’d forgotten all about this record,” admits Nigel. “We know that one copy was converted to an ashtray!. We stubbed out cigarettes on Richards at rehearsal one night.” Although treated with anything but respect at the time, the importance of the disc is now apparent to Nigel Bullen: “This is probably John Deacon’s first recording, apart from tracks he did in his bedroom on his reel-to-...[ ]

...[ ] reel, which are probably long gone. Although, knowing John, they’re probably not!”

The beginning of the end for Art came in June 1969, when John Deacon left Beauchamp. With a college course lined up in London, his days with the band were obviously numbered. He played his final gig with the group on 29th August at a familiar venue, Great Glen Youth and Sports Centre Club. By October, he’d moved to London to study electronics at Chelsea College of Technology, part of the University of London.

Another blow was dealt in November, when the band's lynchpin, Richard Young, left to join popular local musician Steve Fearn in Fearn’s Brass Foundry.

“They were a Blood, Sweat and Tears-type of group,” recalls Richard, “and paid better money than I’d been used to. I was out five nights a week, on about £3 per night, against an average of about £10 between us.” The previous year, Richard had played session keyboards on the Foundry’s two Decca singles: “Don’t Change It” (F 12721, January 1968, £10) and “Now I Taste The Tears” (F 12835. September 1968, £8).

SAVAGE

Ron Chester departed shortly afterwards, and gave up music: “I left in the early 70s, after John Deacon moved to London. John was replaced by a bass player was called John Savage, who unsettled me. He had different tastes and drove us a bit hard. His approach was totally different from Deaks's, and he was much more interested in the financial side of things. We’d all been mates before, we didn't just knock about for the band. It just wasn’t the same.”

Nigel, Richard and Dave pushed on into 1970 with the new bassist, changing the band’s name again, this time to Silky Way. They returned to Beck’s studio to record a cover of Free’s “Loosen Up” with another vocalist, Bill Gardener, but that was the band’s last effort. Dave left after falling into Nigel’s drumkit, drunk on stage at a private party one Christmas. “I waited for them to pick me up the next day,” he recalls sheepishly, “but they never carne.”

Richard and Nigel moved into a dinner- dance type outfit called the Lady Jane Trio — “Corny, or what!”, laughs Bullen — but Nigel left music altogether soon afterwards to con­centrate on his college work. Richard turned professional, moving into cabaret with the Steve Fearn-less Brass Foundry, before forming a trio called Rio, finding regular work on the holiday camp and overseas cruise circuit. In the late ‘70s, he joined a touring version of the Love Affair.

Down in London, John Deacon caught a glimpse of his future world-beating musical partners as early as October 1970, when he saw the newly-formed Queen perform at College of Estate Management in Kensington. “They were all dressed in black, and the lights were very dim too,” he told Jim Jenkins and Jacky Gunn in ‘As It Began’, “All I could really see were four shadowy figures. They didn’t make a lasting impression on me at the time.”

While renting rooms in Queensgate, John formed a loose R&B quartet with a flatmate, guitarist Peter Stoddart, one Don Cater on drums and another guitarist remembered only as Albert. The new band was hardlv a great leap forward from Art: they wrote no originals, and when asked to perform their only gig at Chelsea College on 21st November 1970, supporting Hardin & York and the Idle Race, they hastily billed themselves — in a rare fit of self-publicity for the quiet Oadby boy — as Deacon.

A few months later in early 1971, John was introduced to Brian May and Roger Taylor by a mutual friend, Christine Farnell, at a disco at Maria Assumpta Teacher Training College. They were looking for a bassist. John auditioned at Imperial College shortly after­wards. Roger Taylor recalled Queen’s initial reaction to Deacon in ‘As It Began’: “We thought he was great. We were so used to each other, and so over the top, we thought that because he was quiet he would fit in with us without too much upheaval. He was a great bass player, too — and the fact that he was a wizard with electronics was definitely a deciding factor!”

How did the members of the Art/Opposition back in Leicester, view John’s success with Queen? “It wasn’t sudden”, says Ron Chester. “First we heard he’d got into another group. We couldn’t believe that — were they deaf? There were all these sort of jokes going along. Then we heard he’d got a recording contract and the next thing he had a record out. It was a gradual progression. No one dreamed he would end up the way he did.”

“I don’t think we expected success for any of us" admits Nigel Bullen. “Richard maybe. He was the first one to go professional. But when John left for London to go to college, he left all his kit here. I thought that was the end of it for him. He had absolutely no intention of continuing. His college course was No.1. It was only after he kept seeing adverts for bass players in the ‘Melody Maker’ that he became interested again.”

He also seemed to lose some of that ‘Easy Deacon’ touch which so impressed Dave Williams in the ‘60s. “He’d ring up these bands,” continues Nigel, “but when he found they were a name act, he bottle out. When he went to auditions for anonymous bands, where he would queue up with about thirty other bass players, he had a bit of confidence. He just wanted to play in a decent band. Once I heard what Queen had recorded at De Lane Lea, and John played me the demo of their first album, I thought they were well set.”

CABARET

By early 1973, Dave Williams had forsaken a career in animation to join Highly Likely, a cabaret outfit put together by Mike Hugg and producer Dave Hadfield on the back of their minor hit, “Whatever Happened To You (The Likely Lads Theme)”. While Dave was in the band, they recorded a follow-up single which wasn’t released, before evolving into a glam rock outfit, Razzle, which later become the Ritz, who issued a few singles. “During Queen’s early days, before they’d had any real success, John came to see us once,” recalls Dave, “and said, ‘I wish I was in a band like this which could actually play some gigs’.” Dave concludes: “I remember John coming round once around that time, saying I’ve got a demo’. ‘So have I!’, I said. So we put his on first, and the first track was ‘Keep Yourself Alive’. My mouth dropped wide open and I thought. ‘Bloody hell! What a great track’. I remember saying that the guitarist was as good as Ritchie Blackmore — who was still our hero then — and thinking ‘They’re serious about this. This is the real thing’.”

RECORD COLLECTOR Nº 198 FEBRUARY 1996

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