Teenage Caveman (2002) DVDRIP   
TÍTULO ORIGINAL Teenage Caveman DURACIÓN 90 min. GÉNERO Ciencia ficción, Thriller, Terror PAÍS Estados Unidos DIRECTOR Larry Clark FORMATO MKV CALIDAD DVDRIP IDIOMA Inglés SUBTITULOS Si (Español) TAMAÑO 800 MB SOURCE XVID-USC REPARTO Andrew Keegan, Tara Subkoff, Richard Hillman, Tiffany Limos, Stephen Jasso, Crystal Celeste Grant, Shan Elliot, Hayley Keenan, Paul Hipp, Larry Clark. SINOPSIS […]
          Sweetwater Blues Band – Charlevoix Summer Concert Series – June 29, 2017   
[ June 29, 2017; 7:00 pm; ] Sweetwater Blues Band has been a favorite throughout Northern Michigan for many years, having played numerous venues and festivals including opening for such acts as Thornetta Davis, Larry McCray and The Fabulous Thunderbirds. Concert Series - Sweetwater Blues Band Thursday June 29th, 2017 - 7:00pm - 9:00pm <> Visit Sweetwater Blues Band - Charlevoix Summer Concert Series on Facebook [...]
          She's a librarian for kids who could use some curation: Larry Wilson - LA Daily News   

LA Daily News

She's a librarian for kids who could use some curation: Larry Wilson
LA Daily News
If books are forever being written off, they've got nothing on librarians. And for such a weird reason. As if the mess that is the Internet isn't the best object lesson ...

and more »

          Mulgrew Miller: “Living in the Shadows of Giants”   

© -Steven Cerra, copyright protected; all rights reserved.


“Don’t cross a bridge to get home or to work:” I guess the expression contains more than a hint of caution and admonition, especially if you’ve lived some time in the San Francisco Bay area and seen the nightmarish traffic back-ups a closed bridge can cause on the local, television news.

Thankfully, I never experienced such a delay in all the years I lived and worked in San Francisco,

But I sure caught a taste of what such an experience would be like as I was headed north back to the Oakland, CA airport to catch a return flight to my relocated home in southern California following some business appointments in the Silicon Valley.

A major accident on the Bay Bridge between San Francisco and Oakland had caused a traffic back-up so serious that it extended south on US 880 to about 10 miles below the airport.

The was no alternative and plenty of later flights so I just relaxed and turned on the FM-Jazz station while I waited things out in the rental car that was crawling along at death-defying speed of 3 MPH.

The radio broadcast that I tuned into was an interview with pianist Mulgrew Miller who was appearing through the upcoming weekend with his trio at Yoshi’s Jazz Club located on a portion of the waterfront which the City of Oakland had reclaimed from surplus shipping docks and refurbished into a lovely commercial-cum-residential area.

I knew of Mulgrew’s work through recordings he had made during his long association with drummer Tony Williams’ quintet in the 1980s and 1990s, but I had never heard him play in person.

He sounded very warm and cordial during the radio interview and I thought, “Well, at the rate things are going with the crawling traffic, maybe I’ll just book into a local hotel and catch one of Mulgrew’s sets at Yoshi’s.”

Of all the remarks Mulgrew made during the exchange with the interviewer, one stayed with me: “It’s tough to get any recognition as a Jazz musician today because we are living in the shadow of Giants.”

This is not verbatim, but earlier in his talk, Mulgrew had said that many of the pianists  during the bebop era, for example Al Haig, Joe Albany, Dodo Marmarosa, John Lewis, and even some pianists during the later hard bop era like Sonny Clark, Horace Silver and Walter Bishop, Jr., were not original stylists.

They basically played in the manner of Bud Powell and gained a certain measure of recognition and approval for being able to do so.

But musicians like himself, who continue in this bebop piano tradition and perhaps add some of the newer influences like Ahmad Jamal, McCoy Tyner or Keith Jarrett to their approach get little respect because we are not “… the next Bud Powell or Art Tatum or Bill Evans.”

“Why? Not all of us can be giants like Bud and Art or Charlie Parker and Dizzy Gillespie. We are doing our part to keep the Jazz tradition alive and even move it forward a little, but we get little respect for what we do accomplish and put down for what we don’t.”


None of this was conveyed with animosity by Mulgrew, but you could certainly sense his disappointment and his displeasure.

The interview then trailed off and was replaced by the playing of one of Mulgrew’s recordings in its entirety.

By some miracle I was just pulling into the hired car parking lot when the interviewer returned so I did not get to hear the rest of Mulgrew’s talk.

The following year The Mulgrew Miller Trio Live at Yoshi’s was issued as a double CD on MaxJazz [[MXJ 212/208] and I picked up a copy along with the March 1, 2005 edition of Downbeatin which the following article about Mulgrew by Ted Panken appeared.

Mulgrew passed away on May 28, 2013 and the editorial staff at JazzProfiles thought it might be nice to remember him on these pages with a reprint of his Downbeat interview and the Nat Chinen obituary that was published in The New York Times.  

Copyright © Downbeat/Ted Panken/2005 Bell & Howell Information and Learning Company. All rights reserved.

Mulgrew Miller: No Apologies 

“Ironies abound in the world of Mulgrew Miller. On the one hand, the 49-year-old pianist is, as Eric Reed pointed out, "the most imitated pianist of the last 25 years." On the other, he finds it difficult to translate his exalted status into full-blown acceptance from the jazz business.

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Miller would seem to possess unsurpassed qualifications for leadership. As the 2004 trio release Live At Yoshi's (MaxJazz) makes evident, no pianist of Miller's generation brings such a wide stylistic palette to the table. A resolute modernist with an old-school attitude, he's assimilated the pentagonal contemporary canon of Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea and Keith Jarrett, as well as Woody Shaw's harmonic innovations, and created a fluid personal argot.

His concept draws on such piano-as-orchestra signposts as Art Tatum, Oscar Peterson, Ahmad Jamal and Erroll Garner, the "blowing piano" of Bud Powell, the disjunctive syncopations and voicings of Thelonious Monk, and the melodic ingenuity of gums like Hank Jones, Tommy Flanagan and Cedar Walton. With technique to burn, he finds ways to conjure beauty from pentatonics and odd intervals, infusing his lines with church and blues strains and propelling them with a joyous, incessant beat.


"I played with some of the greatest swinging people who ever played jazz, and I want to get the quality of feeling I heard with them," Miller said. "It's a sublime way to play music, and the most creative way to express myself. You can be both as intellectual and as soulful as you want, and the swing beat is powerful but subtle. I think you have to devote yourself to it exclusively to do it at that level."

Consequential apprenticeships with the Mercer Ellington Orchestra, Betty Carter, Johnny Griffin and Shaw launched Miller's career. A 1983-'86 stint with Art Blakey and the Jazz Messengers put his name on the map, and he cemented his reputation during a long association with Tony Williams' great cuspof-the-'90s band, a sink-or-swim environment in which Miller thrived, playing, as pianist Anthony Wonsey recalls, "with fire but also the maturity of not rushing."

By the mid '80s, Miller was a fixture on
New York's saloon scene. Later, he sidemanned extensively with Bobby Hutcherson, Benny Golson, James Moody and Joe Lovano, and from 1987 to 1996 he recorded nine trio and ensemble albums for Landmark and RCANovus.

Not long after his 40th birthday, Miller resolved to eschew club dates and one-offs, and to focus on his own original music. There followed a six-year recording hiatus, as companies snapped up young artists with tenuous ties to the legacy of hardcore jazz.

"I won't call any names," Miller says, "but a lot of people do what a friend of mine calls 'interview music.' You do something that's obviously different, and you get the interviews and a certain amount of attention. Jazz is part progressive art and part folk art, and I've observed it to be heavily critiqued by people who attribute progressivity to music that lacks a folk element. When Charlie Parker developed his great conception, the folk element was the same as Lester Young and the blues shouters before him. Even when Ornette Coleman and John Coltrane played their conceptions, the folk element was intact. But now, people almost get applauded if they don't include that in their expression. If I reflected a heavy involvement in Arnold Schoenberg or some other ultra-modern composers, then I would be viewed differently than I am. Guys who do what I am doing are viewed as passé.

"A lot of today's musicians learn the rudiments of playing straight-ahead, think they've got it covered, become bored, and say, 'Let me try something else,'" Miller continued. "They develop a vision of expanding through different areas - reggae here, hip-hop there, blues here, soul there, classical music over here and being able to function at a certain level within all those styles. Rather than try to do a lot of things pretty good, I have a vision more of spiraling down to a core understanding of the essence of what music is."

This being said, Miller-who once wrote a lovely tune called "Farewell To Dogma" -continues to adhere to the principle that "there is no one way to play jazz piano and no one way that jazz is supposed to sound." He is not to be confused with the jazz police. His drummer, Karriem Riggins, has a second career as a hip-hop producer, and has at his fingertips a lexicon of up-to-the-second beats. When the urge strikes, bassist Derrick Hodge might deviate from a walking bass line to slap the bass Larry Graham style. It's an approach familiar to Miller, who grew up in
Greenwood, Miss., playing the music of James Brown, Aretha Franklin and Al Green in various Upper Delta cover bands.

"It still hits me where I live," he says. "It's Black music. That's my roots. When I go home, they all know me as the church organist from years ago, so it's nothing for me to walk up to the organ and fit right in. I once discussed my early involvement in music with Abdullah Ibrahim, and he described what I went through as a community-based experience. Before I became or wanted to become a jazz player, I played in church, in school plays, for dances and for cocktail parties. I was already improvising, and always on some level it was emotional or soul or whatever you want to call it. I was finding out how to connect with people through music.

"By now, I have played jazz twice as long as I played popular music, and although that style of playing is part of my basic musical being, I don't particularly feel that I need to express myself through it," he continued. "It's all blues. The folk element of the music doesn't change. The blues in 1995 and in 1925 is the same thing. The technology is different. But the chords are the same, the phrasing is the same, the language is the same-exact same. I grew up on that. It's a folk music. Folk music is not concerned with evolving."

For all his devotion to roots, Miller is adamant that expansion and evolution are key imperatives that drive his tonal personality. "I left my hometown to grow, and early on I intended to embrace as many styles and conceptions as I could," he said. "When I came to
New York I had my favorites, but there was a less celebrated, also brilliant tier of pianists who played the duo rooms, and I tried to hear all of those guys and learn from them. The sound of my bands changes as the musicians expand in their own right. I'm open, and all things are open to interpretation. I trust my musicians-their musicianship, insights, judgments and taste-and they tend to bring things off in whatever direction they want to go. In the best groups I played with, spontaneity certainly was a strong element."

Quiet and laid-back, determined to follow his muse, Miller may never attain mass consumption. But he remains sanguine.

"I have moments, but I don't allow myself to stay discouraged for long," he said. "I worked hard to maintain a certain mental and emotional equilibrium. It's mostly due to my faith. I don't put all my eggs in that basket of being a rich and famous jazz guy. That allows me a certain amount of freedom, because I don't have to play music for money. I play music because I love it. I play the music I love with people I want to play with. I have a long career behind me. I don't have to apologize to anybody for any decisions I make." -Ted Panken” 

Mulgrew Miller, Dynamic Jazz Pianist, Dies at 57

Copyright © The New York Times/Nate Chinen/May 29, 2013.

“Mulgrew Miller, a jazz pianist whose soulful erudition, clarity of touch and rhythmic aplomb made him a fixture in the postbop mainstream for more than 30 years, died on Wednesday in Allentown, Pa. He was 57.

The cause was a stroke, said his longtime manager, Mark Gurley. Mr. Miller had been hospitalized since Friday.

Mr. Miller developed his voice in the 1970s, combining the bright precision of bebop, as exemplified by Bud Powell and Oscar Peterson, with the clattering intrigue of modal jazz, especially as defined by McCoy Tyner. His balanced but assertive style was a model of fluency, lucidity and bounce, and it influenced more than a generation of younger pianists.

He was a widely respected bandleader, working either with a trio or with the group he called Wingspan, after the title of his second album. The blend of alto saxophone and vibraphone on that album, released on Landmark Records in 1987, appealed enough to Mr. Miller that he revived it in 2002 on “The Sequel” (MaxJazz), working in both cases with the vibraphonist Steve Nelson. Among Mr. Miller’s releases in the last decade were an impeccable solo piano album and four live albums featuring his dynamic trio.


Mr. Miller could seem physically imposing on the bandstand — he stood taller than six feet, with a sturdy build — but his temperament was warm and gentlemanly. He was a dedicated mentor: his bands over the last decade included musicians in their 20s, and since 2005 he had been the director of jazz studies at William Paterson University in New Jersey.

If his sideman credentials overshadowed his solo career, it wasn’t hard to see why: he played on hundreds of albums and worked in a series of celebrated bands. His most visible recent work had been with the bassist Ron Carter, whose chamberlike Golden Striker Trio featured Mr. Miller and the guitarist Russell Malone on equal footing; the group released a live album, “San Sebastian” (In+Out), this year.

Born in Greenwood, Miss., on Aug. 13, 1955, Mr. Miller grew up immersed in Delta blues and gospel music. After picking out hymns by ear at the family piano, he began taking lessons at age 8. He played the organ in church and worked in soul cover bands, but devoted himself to jazz after seeing Mr. Peterson on television, a moment he later described as pivotal.

At Memphis State University, he befriended two pianists, James Williams and Donald Brown, both of whom later preceded him in Art Blakey’s Jazz Messengers. Mr. Miller spent several years with that band, just as he did with the trumpeter Woody Shaw, the singer Betty Carter and the Duke Ellington Orchestra, led by Ellington’s son, Mercer. Mr. Miller worked in an acclaimed quintet led by the drummer Tony Williams from the mid-1980s until shortly before Williams died in 1997.

Mr. Miller’s survivors include his wife, Tanya; his son, Darnell; his daughter, Leilani; and a grandson. He lived in Easton, Pa.

Though he harbored few resentments, Mr. Miller was clear about the limitations imposed on his career. “Jazz is part progressive art and part folk art,” he said in a 2005 interview with DownBeat magazine, differentiating his own unassuming style from the concept-laden, critically acclaimed fare that he described as “interview music.” He added, “Guys who do what I am doing are viewed as passé.”


But Mr. Miller worked with so many celebrated peers, like the alto saxophonist Kenny Garrett and the tenor saxophonist Joe Lovano, that his reputation among musicians was ironclad. And his legacy includes a formative imprint on some leading players of the next wave, including the drummer Karriem Riggins and the bassist Derrick Hodge, who were in one of his trios. The pianist Robert Glasper once recorded an original ballad called “One for ’Grew,” paying homage to a primary influence. On Monday, another prominent pianist, Geoffrey Keezer, attested on Twitter that seeing Mr. Miller one evening in 1986 was “what made me want to be a piano player professionally.”

In the performance from the At Yoshi’s 2004 double CD that forms the sound track for this video tribute to him, Mulgrew has cleverly adopted Comes Love to the arrangement Ahmad Jamal used on Poinciana from his At The Pershing Room Argo LP, one of the most successful Jazz recordings ever issued.

The insistent rhythm is formed by Karriem Riggins use of mallets on the drum set’s tom toms and the insistent accent played by the high hat on the 2nd and 4thbeat of each measure.

On the original version, instead of the usual “clicking” sound made by stepping on the high hat’s cymbals to close them, Ahmad’s drummer, Vernel Fournier, played the high hat cymbals open [barely touching them together] creating more of a “chinging” sound to simulate finger cymbals.

You can hear this effect in a more pronounced manner as played by Karriem at 4:21 minutes of Mulgrew’s version.





          Pops and O.P. - "You Go To My Head"   
© -Steven Cerra, copyright protected; all rights reserved.


“Louis Armstrong  was the father of “vernacular music,” which was made possible by the microphone.  Anyone with any kind of contemporary rhythmic concept —be they singer, instrumentalist, or composer-arranger— owes a debt to Armstrong.  By the way, my favorite Armstrong performance, both playing and singing, is his 1957 recording of “You Go To My Head” with Oscar Peterson. If you want to understand where Miles Davis came from, and why Armstrong is still relevant today, listen to this.  I often play it for students, and many of them find it a life-changing record.”
- Bill Kirchner, Jazz musician


Returning to the subject of favorite recordings, Louis Armstrong Meets Oscar Peterson [825 713-2] has been included in that group since Verve released it in 1957.


Louis’ meeting with Oscar Peterson's trio, is as Richard Cook and Brian Morton in The Penguin Guide to Jazz on CD, 6th Ed “perhaps a mixed success, but nevertheless an intriguing disc.”


Peterson can't altogether avoid his besetting pushiness, yet he's just as often sotto voce [a quiet or understated voice; literally “under the voice”] in accompaniment, and on the slower tunes especially - Sweet Lorraine and Lets Fall In Love and You Go To My Head.”


But the important point here is that “the chemistry works, and Louis is certainly never intimidated.”


I also agree with them when they assert: “It’s good to hear [Pops] on material more obviously 'modern' than he normally tackled and, although he sometimes gets the feel of a song wrong, he finds a surprising spin tor several of the lyrics.”


But I think, the most important point to be made in its favor is that, thanks again to the intercession of impresario Norman Granz in, that the album exists!


How many times have you heard friends’ remarks about Wish List recordings - “Gee, I wonder what it would have sounded like to have so-and-so performing with such-and-such - while knowing that the reality is that’s never going to happen because those artists are no longer with us?


I’ve often longed for a Louis Armstrong-Art Tatum recording, but that never happened, either. Thankfully, this one did, especially since Oscar Peterson gets a close to Tatum as anyone ever did.


Put another way, although a modern stylist and very much his own man, Peterson’s homage to Tatum is very much apparent in his playing and is what I think that Cook-Morton are referring to when they mention Oscar’s “besettling pushiness.” But that’s not the way I hear it. What’s on display here is a great accompanist offering his talents to a great soloist, one very much deserving of his respect.


More about the special nature of Louis Armstrong Meets Oscar Peterson [Verve 825 713-2] is revealed in Leonard Feather's liner notes from the original LP release of this material:


"When I was a kid," Louis Armstrong says, "I used to go singing around in churches or choirs or on street corners. You'd get four hustlers on a corner who could make a sharp quartet. 1 was about seven years old when I started singing. We'd pass the hat and sometimes we'd make as much as $1.50 a night. That was like $150 a night now"


This recollection places Satchmo's vocal career ahead of his horn-blowing life by several years and means that he has been singing, for pleasure and money, over half a century. Since today his popularity with the general public can be credited even more to his singing than to the trumpet that originally made him a globally known figure, and since the present album is basically a set of vocal performances, it is interesting to note that this thorny, rock-bottomed approach to the use of the human voice predated (and in a sense predicted) similar melodic and rhythmic nuances on the cornet and trumpet.


As George Avakian pointed out in The Jazz Makers (Grove Press), Louis "developed a whole school of jazz singing, based on a literal interpretation of the folk and blues singers' approach to the voice as an instrument. Louis showed that the emotional meaning of o lyric can be expressed through vocal inflections and improvisations of a purely instrumental quality just as effectively — more so, in fact — as through words. This line of development paralleled the growth of his instrumental influence. It still embraces every jazz and popular singer today"


All this can be applied at full strength to the dozen interpretations on these sides of material that generally falls in the popular song category. What Louis may lack in clear understanding of the lyrics' meaning in occasional lines is more than compensated by his overall feeling for the mood of both lyrics and melody. And there are, of course, additional virtues in the presence of his companions. The Oscar Peterson Trio Plus One (Louis Bellson again rounds out the rhythm section as he did on previous albums in which Oscar's trio played for Louis, Ella Fitzgerald and others) is perhaps the most perfectly integrated rhythmic unit of its kind in contemporary jazz.

Peterson's background is about as different from Louis' as Admiral Byrd's from Dr. Livingstone's; yet it is this very contrast, and the eclectic quality in his work, that makes him the ideal accompanist, for any singer or instrumentalist of any jazz school. What Louis learned on the streets and in the Waifs' Home in New Orleans has its best possible complement in what Oscar learned during rigorous classical studies north of the border. Neither had to bend a millimeter in musical concession to the other; the blend of spontaneous musicianship and academic knowledge was natural and immediate.


All the songs in this are from 15 to 30 years old; all have been used extensively by jazzmen, though in several instances Louis had never before recorded them. ...


You Go To My Head is, unless memory fails, Louis' first recorded performance of a number he could and should have introduced as soon as it was published, over 20 years ago. Perhaps in an effort to compensate for keeping us waiting so long, he plays an entire chorus and sings another. Not since Billie Holiday has there been a comparable sympathetic treatment….


Hearing Louis in the un-frilled, ungimmicked setting of the Oscar Peterson rhythm section will be a treat for those who have often seen him in person and wished for fewer encumbrances. Basically Louis needs nobody but Louis — he could stand all alone in the middle of the Sahara, singing selected excerpts from the Tunis telephone directory, and we suspect he could make it for a week without food and water. But if there must be someone else, let it be the man whose team made this
session such a happy occasion for all concerned. The meeting of Armstrong and Peterson marked one of the most catalytic moments since the day when Peterson met Norman Granz.”


Of You Go To My Head, Ted Gioia has written in The Jazz Standards: A Guide to the Repertoire [Oxford]


You Go to My Head
Composed by J. Fred Coots, with lyrics by Haven Gillespie


“In 1934, this same songwriting duo collaborated on "Santa Claus Is Coming to Town," which endeared itself to Mom and Dad by getting countless youngsters to move from the naughty to nice cohort group. Four years later, some of those nice kids had grown up, but I'm confident few parents encouraged their headstrong teens to follow the lead of the new Gillespie-Coots hit "You Go to My Head." This song was a paean to romantic infatuation, packed with similes relating love to booze; in the course of a few bars — musical ones, that is, not those called "Dew Drop Inn" — we get references to champagne, burgundy, and a kicker of julep. Indeed, this song comes closer than any tune I know to capturing in musical form the feeling of losing control.


If the words were a bit too sophisticated for the kids, so was the music. "You Go to My Head" is an intricately constructed affair with plenty of harmonic movement. The song starts in a major key, but from the second bar onward, Mr. Coots seems intent on creating a feverish dream quality tending more to the minor mode. The release builds on the drama, and the final restatement holds some surprises as well. The piece would be noteworthy even if it lacked such an exquisite coda, but those last eight bars convey a sense of resigned closure to the song that fittingly matches the resolution of the lyrics.


Four artists had hit records with this song during the summer 051938. Larry Clinton's version was the biggest success, reaching as high as #3, but Teddy Wilson, Billie Holiday, and Glen Gray's Casa Loma Orchestra each enjoyed placement in the top 20 with their releases. The song fell out of circulation during the early 19403, but was widely covered during the second half of the decade, with artists from a range of stylistic camps — including Dizzy Gillespie, Gene Krupa, Lena Home, Coleman Hawkins, Dave Brubeck, Artie Shaw, and Lennie Tristano — bringing their individual talents to bear on it.


Vocalists tend to take this song at a "deep ballad" tempo, sometimes so extremely slow that they test the competence of the rhythm section to maintain a sense of swing while moving along at less than 40 beats per minute. Check out the recordings by Betty Carter and Shirley Horn for examples of how this can work when the instrumentalists on hand match the skill of the singer. In contrast, Bill Evans — whom one might expect to linger over the chart — delivers a simmering hard bop treatment on his 1962 Interplay album, helped along by Jim Hall and Freddie Hubbard.


Dave Brubeck and Paul Desmond take a different approach in their 1952 duet performance from Storyville, mixing romanticism and cerebral deconstruction in equal doses. Desmond had such fondness for this recording that when he and Brubeck reunited for a duet project in 1975, he wanted to showcase "You Go to My Head" again, and the song served as the emotional centerpiece of the resulting album. Both versions are worth hearing, but the earlier track is especially revealing of the simpatico relationship between these two artists, and is my favorite performance from their work for the Fantasy label.”


Here’s a video of Pops and OP performing You Go to My Head.




          Shamokin show postponed until Sunday   
<p>LARRY DEKLINSKI/STAFF PHOTO</p><p>Members of Citizens Fireworks Inc. and Citizens for a Better Community, co-sponsors of the annual Shamokin fireworks show, and other volunteers unload tubes and other materials from a trailer parked on the Glen Burn culm bank on Friday. The show and related roadside collections have been postponed to Sunday due to unfavorable weather that is forecast to impact the area today. </p>
BY LARRY DEKLINSKITHE NEWS-ITEM larry_d@newsitem.com

SHAMOKIN — The annual fireworks show and related roadside collections have been moved to Sunday due to unfavorable weather that is expected to impact the area today.

35723412

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          Larry Coryell - I'll Be Over You (1994)   
Larry Coryell - I'll Be Over You (1994)

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          Comment on How MedData is Preparing for ICD-10 by LarryTaind   
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          Xbox Ultimate Game Sale 2017 är nu officiellt igång   

Det är dags att öppna portmonnän och göra sig redo för spelrea. Larry "Major Nelson" Hryb har nu officiellt sparkat igång Xbox Ultimate Game Sale 2017, vilken håller på...


          Comment on Contact by Larry Geiger   
For a WR offseason study. It would look at routes of Antonio Brown, Emmanuel Sanders, Dez Bryant, Beckham Jr..... I saw your breakdown of Josh Gordon, and noticed per your comments and my observation that his routes are not top tier like the guys I listed. I want to look at WHY the best are the best..... The four I listed are known as being the best route runners in the game...
          Dredging Part of Ocean City Boat Ramp Project   
Maryland Governor Larry Hogan joined Maryland Department of Natural Resources Secretary Mark Belton and Ocean City Mayor Rick Meehan two days ago to officially open the public 64th Street Boat Ramp. “The boating industry is incredibly important to our state; it supports thousands of jobs and contributes $2 billion to our state economy,” said Governor Hogan. […]
          What Software Architects Can Learn From Baseball Teams   

Originally posted on: http://brustblog.net/archive/2013/05/29/what-software-architects-can-learn-from-baseball-teams.aspx

WhiteSox20130513_81_1

My friend Larry Calrkin did a whole series on Architecture by Baseball, but after going to a recent White Sox game I got to thinking about the how baseball mirrors my experience.  For me it boils down to specialization, team work and leadership.

Every team member has their specialty.  Infielders have great reactions and throwing accuracy.  Outfielders can cover distance quickly and throw long distances.  There are starting pitchers who have great control and endurance and closers who throw nasty pitches for a short time.  Likewise, there are specialized positions on a development team.  There are UI developers who improve the user experience.  Your have performance experts who can find every potential roadblock in a a piece of code.  Then there are security specialists, database gurus and product experts.  Each specialist has something to add to the quality of the final product.  As an architect you need to give each of these specialists room to do what they do best.

This then leads to team work.  You can have a team of great specialists, but if they don’t come together as a team it can mean failure.  If baseball players don’t communicate you end up with errors that can gift wrap runs for the opposing team.  The problem with a software team is that the opposing teams are called missed requirements, missed deadlines and poor quality software.  As an architect we can help identify which of our specialists are best to attack a particular problem and also help the entire team understand how their tasks fit into accomplishing the project.  This helps to bring the team’s focus together instead of working as individuals.

Who brings all this together?  The manager is the leader on the field.  I look at this position being where the architect works.  Yes there is a project manager, but I think of them as the general manager who clear the way so the manager can get the goals of the team accomplished.  The architect should be the person who brings the team together and gives it direction.  I also believe it is part of my job as an architect to help the developers on my projects to improve their code quality and the way they interact with stakeholders.  Leading also means being willing to build proof of concepts or even taking on coding components so that your team members understand that you really practice what you preach.

Ultimately you need know as much as you can about every position, leverage your specialist like pitching and hitting coaches to fill in missing information, bring your players together to win and be a leader on the field.  Good luck.


          9/11 Simplified...   
9/11 Simplified...
James Perloff

Yes, Virginia, there really were hijackers on the 9/11 planes—but not the ones we were told

This post is not intended to be taken dogmatically; I do not insist that its conclusions are correct; they are just presented for consideration.
In this post, though they have already been much discussed and debated within alternative media, I’ll address three major components of the 9/11 controversy: (1) what brought down the Twin Towers; (2) what initially struck the Towers; and (3) what happened to the original planes and passengers.
However, there is a valid complaint often voiced in the Truth Movement, which runs like this: “I really don’t care how 9/11 was done and I’m tired of all the infighting about this. What really matters is, we know the government’s story is bogus, so we need to focus on identifying the criminals and bringing them to justice.”



I consider this a very legitimate grievance. But I don’t think we can separate “who” from “how.” When a prosecutor presents his case in a courtroom, he doesn’t name a crime’s perpetrator without describing how the crime was carried out. Nor does he present the jury with the crime’s details and methodology without identifying the suspect(s).
So let’s tackle both how and who, and we’ll start with “who,” because doing so clarifies a lot of “how.”

The Who

What’s wrong with the following math equations?
3 + 3 = 68
98 – 7 = 2
58 X 7 = 35
What’s wrong, of course, are the 8s. Take away the 8s and each equation reads correctly.
I believe that, when it comes to resolving the mystery of how 9/11 was executed, the Truth Movement suffers from a major “8” (in addition to any individual doses of cognitive dissonance that have been deliberately sprinkled in). I believe that “8” is:
9/11 was an inside job.
I believe a far more correct rendering is:
9/11 was an outside job, done by Israeli operatives, but with consent and cooperation at the highest levels of the U.S. government.
To understand this, it may be helpful to compare Israel’s vicious 1967 attack on the USS Liberty. It is well understood that President Lyndon B. Johnson and Defense Secretary Robert McNamara fully cooperated, by twice recalling U.S. fighters that the Sixth Fleet had sent to rescue the Liberty, and later by ordering a cover-up. However, at the physical operational level, the attack was carried out by Israelis, not by Americans in an “inside job.”
OK, but what’s the evidence that Israel was behind 9/11? By far the best summary I’ve seen is the WikiSpooks post 9-11/Israel Did It. (Incidentally, as many of my regular readers know, I’m half-Jewish on my father’s side, so knee-jerk charges against me of “anti-Semitism” can be stuffed in the appropriate place.)
A sampling of highlights:
• The five notorious “dancing Israelis” who filmed the Twin Towers’ destruction, after which they celebrated, high-fiving each other and even photographing themselves flicking a lighter against the backdrop of the smoking ruins. They were arrested after driving off in a van whose license number was reported by a neighbor. Later it was revealed that at least two of them were agents of Mossad, Israel’s intelligence service.
• Michael Chertoff was put in charge of the Justice Department’s investigation of 9/11, despite his mother having been a Mossad agent, and Chertoff himself reportedly holding dual citizenship in Israel. Chertoff released hundreds of arrested Israelis back to Israel, including the notorious “dancing Israelis.”
• Quoting Wikispooks: “The company that ran airport security at all three airports where the alleged hijackings originated was Huntsleigh USA, a wholly owned subsidiary of ICTS International and owned by Ezra Harel and Menachem Atzmon —both Israeli Jews.”
• ”Lucky Larry” Silverstein, who became the new owner of the World Trade Center less than two months before the attacks, and earned an insurance payout of nearly $5 billion on his $124 million investment (after missing the disaster due to a fortuitous doctor’s appointment on the morning of 9/11) was such good friends with Benjamin Netanyahu that the Israeli newspaper Haaretz reported in November 2001: “Every Sunday afternoon, New York time, Netanyahu would call Silverstein. It made no difference what the subject was or where Netanyahu was, he would always call.”1
• Supported by funds from Israel’s government, Zim Israel Navigational was the world’s ninth largest shipping firm. It had its American headquarters in the World Trade Center—until about two weeks before 9/11. Zim then moved its offices and employees to a new building, claiming rent was cheaper there.
• The 9/11 Commission’s executive director was Philip Zelikow, a dual U.S.-Israeli citizen. Why should anyone with sworn loyalty to a foreign nation be entrusted with such a position?
• On 9/11, the chairman of George W. Bush’s Defense Policy Board was Richard Perle, whom the National Security Agency had caught spying on the U.S. for Israel in 1970.
• On 9/11, employees of the Israeli instant messaging company Odigo received messages two hours before the attack, warning them not to be in the World Trade Center.
• Ptech, a software firm linked to Israeli intelligence, had provided vital software being used by the FAA, FBI, and U.S. armed forces on 9/11.
• On 9/11, seated in row 9 of Flight 11 (directly behind “Mohammed Atta”) was Danny Lewin, a former captain in the IDF (Israeli Defense Force), and who served in the Sayeret Matkal, which specializes in counter-terrorism, hostage rescue, and assassination. Lewin could bench-press 315 pounds and “was trained to kill terrorists with a pen or a credit card, or just his bare hands.”2 In 2000, he had himself photographed in front of panels resembling the Twin Towers, wearing a Swatch Watch whose model name was “Hijacker.” The hour, minute and second hands were all on the “11” and the date was set to the 11th, even though the picture was taken on the 10th.




The odds against all four time indicators being on “11” are more than 20,000 to 1. Times the odds of the watch model being named “Hijacker”: unfathomable.
That’s just a small sampling of the evidence that Israel did 9/11. When police detectives try to solve a murder, among the first questions asked is: Who benefitted from the crime? In 9/11’s case, Middle Eastern Muslims did not benefit—the U.S. has been making war on them for 16 years. America did not benefit—we’re suffering the casualties and trillions in costs from the wars, as well as degradation of our liberties in the name of security. The only beneficiary was Israel—her enemies have been neutralized one by one, courtesy America, in fulfillment of the Greater Israel plan, with Iran reputedly next on the hit list.
That’s the main who; let’s talk about the how.

(1) How were the Twin Towers destroyed?

Within alternative media are three major schools of thought about this. One is nano-thermite, largely advocated by Architects and Engineers for 9/11 Truth. Another is Directed Energy Weapons (DEWs), whose foremost advocate is Dr. Judy Wood. The third is nuclear devices, which I and a few others support. Let me be clear: I have friends in all three camps, and differing opinions on this matter don’t impede our friendships.
I’ve laid out why I believe the Twin Towers’ collapse was a nuclear event in an extensive blog post. To minimize redundancy, I’ll shrink this to a “top ten” list:

TOP TEN REASONS THE WTC COLLAPSE WAS A NUCLEAR EVENT

1. Thyroid cancer occurs at above-average frequency in 9/11 first responders more than any other type of cancer (see full post for citations). This is a signature of nuclear bombs; they emit iodine-131, which collects in the thyroid, often causing cancer. (This is why some people keep potassium iodide tablets on hand—to protect their thyroid glands in case of a nuclear attack.)
2. World Trade Center dust samples examined by the United States Geological Survey (USGS) found Uranium, Strontium, Barium, Thorium, and other products of nuclear fission, in high concentrations that only an atomic blast could explain. Although the Survey avoided calling attention to the significance, William Tahil vetted it in his pioneering 2006 book Ground Zero: The Nuclear Demolition of the World Trade Centre. (The phrase “ground zero,” incidentally, had only been applied to nuclear detonation sites prior to 9/11.)
3. There was molten steel underneath the rubble of the World Trade Center, whose fires kept burning for over three months. Extraordinary heat is yet another signature of a nuclear bomb.
(Note: I’m aware that molten steel was seen at a corner of the South Tower before its collapse; I don’t doubt that pre-planted explosives were in the Towers, probably including the incendiary thermite, but I don’t believe these explosives were what destroyed the WTC. To clarify, each Tower had six basement levels, and the thesis of my full post—which I had excellent assistance with—is that each Tower was destroyed by a suitcase nuke positioned at the lowest point in either building: the services pits beneath elevator 50. This was the only elevator that ran the full length of either Tower, and the only elevator whose service pits were carved into the bedrock beneath the World Trade Center. This location would make the ideal “launching pad” for a nuke, as the bedrock would contain the sideways and downward force of a nuclear explosion, which would follow the path of least resistance up through the shaft. See the full post for diagrams.)
4. The Towers did not simply “fall,” they exploded, throwing chunks of steel weighing multiple tons hundreds of feet. Check, for example, this piece that embedded itself in the American Express Building across the street:

No exotic weapons are needed to explain this. A nuclear bomb is the most powerful explosive known.
5. The Towers’ inner contents were vaporized: no furniture, filing cabinets (except one), computers, or toilets survived. All turned into dust. Even the buildings’ concrete became dust, instead of falling as chunks of debris. The vaporization, of course, included the people inside (whole bodies that were found belonged to people who jumped before the Towers disintegrated). Not only is a nuclear bomb the most powerful explosive known, its blast—unlike conventional explosives—endures for several seconds, enabling it to inflict considerably more damage.
6. At the times of the two Tower “collapses,” seismographs at Columbia University’s Lamont-Doherty Earth Observatory in Palisades, New York, recorded enormous off-the-chart spikes consistent with huge explosions.


This shot of the South Tower exploding caught a huge singular upward burst of energy.
7. A nuclear blast explains the damage to the rest of the World Trade Center. Buildings 5 and 7 suffered enormous fires, and building 6 was cratered out. These phenomena could not have begun before the Towers’ destruction; otherwise, videos of the burning Towers would have shown additional smoke plumes, and cameras would have panned to the blazes.
Nuclear blasts originating at the lowest levels of the Twin Towers may provide the answer. Underground the World Trade Center was interconnected by pipes, not only for sewage, but a 3-foot-wide storm water drainage system.
Any building’s place at greatest risk for flooding is its lowest point. For the Twin Towers, this would have been Elevator 50’s service pits. From here flood water would be pumped through pipes to the 36-inch storm drain. Thus atomic blasts here would not only follow the path of least resistance through Elevator 50’s shaft, but through the 36-inch storm water drain, traveling through the underground pipes and shooting up through buildings 5, 6 and 7, igniting them. Falling debris could not have caused the raging internal fires seen in the smaller buildings; edifices outside the World Trade Center (American Express Building, Winter Garden Atrium) were heavily impacted by debris, but they did not catch fire. THEY WERE NOT CONNECTED TO THE WTC’S UNDERGROUND DRAINAGE SYSTEM.
Please see my full post for elaboration and documentation of the above point.
8. On 9/11, New Yorkers fled two terrifying dust clouds that engulfed the area surrounding the WTC. Anyone who watches videos of nuclear bombs detonating will see that they create sprawling ground-level clouds. Although building demolitions also routinely make dust clouds, the 9/11 ones seemed to have had a life of their own.

READ IT ALL HERE!
https://jamesperloff.com/2017/06/30/911-simplified/ 


Chris Bollyn "9-11 Deception: Greater Killsrael"  


          Practical parallelism   
A new system dubbed Fractal achieves 88-fold speedups through a parallelism strategy known as speculative execution. Courtesy of the researchers (edited by MIT News) Click for a full size image   Practical parallelism New system enables large speedups — as much as 88-fold — on common parallel-computing algorithms. Larry Hardesty The chips in most modern ...
          7/2/2017: REVIEW: My Cup runneth over   
Here’s a crazy idea: We should use an event that rewards good design and innovative thinking with some good design and innovative thinking. So yes, although I’d love to watch Larry Ellison arrive in his private jet only to be stuck on an Auckland...
          Tonight’s Tomato Sauce   
When Larry Aronson stepped in to substitute for a scheduled chef during a recent Garden Chef Series demonstration, the long-time Chicago Botanic Garden volunteer brought three important things with him: His chef son, Richard, who helped demonstrate alongside his dad. Decades of cooking and restaurant experience as the owner of My π Pizza Unique Pizza in […]
          Comment on 5 Things You Probably Didn’t Know about the Busbice Family, the Stars of A&E’s ‘Country Buck$’ by Larry   
As to which if he was an average joe, Big Bill would be doing time behind bars.
          Com "oi" de Larry Bird, Augusto inicia trajetória nos Pacers por vaga na NBA   
Com "oi" de Larry Bird, Augusto inicia trajetória nos Pacers por vaga na NBA
Ainda sob contrato com o Real Madrid, brasileiro, de 25 anos, estreia neste sábado na Liga de Verão de Orlando. Jogador terá cinco partidas para mostrar seu talento
          Russell Westbrook Reportedly May Delay Signing Contract After Paul George Trade   

Oklahoma City Thunder star Russell Westbrook has a standing contract offer from the team that he will reportedly hold off on signing.

USA Today's Sam Amick reported Saturday that Westbrook isn't expected to sign a five-year, $217 million extension with the Thunder right away but that it will remain on the table until he does or the deadline to sign it expires at the start of the 2017-18 season.

ESPN.com's Royce Young reported Saturday one reason for Westbrook's delay is the presence of the newly acquired Paul George, since both players could become free agents after next season.

Amick noted Westbrook is a "happy superstar" following the Thunder's surprise acquisition of George.

After Kevin Durant left Oklahoma City to join the Golden State Warriors last summer, Westbrook agreed to a three-year, $86 million extension with the Thunder that he can opt out of after the 2017-18 season.

Amick reported in April that George was "hell-bent" on joining the Los Angeles Lakers when he becomes a free agent. The Thunder have at least given themselves a chance to offer him more years and money than any other team by virtue of acquiring him.

Westbrook is eligible for the super-max extension after being named to the All-NBA first team each of the last two years. He was also named the 2016-17 NBA MVP after averaging a triple-double with 31.6 points, 10.7 rebounds and 10.4 assists in 81 games.

Read more NBA Northwest news on BleacherReport.com


          Manage Your Clients, Don’t Let Them Manage You   
Larry Wolfe, CPA and medium firm practitioner, discusses his firm's approach to workload compression and highlights having a niche practice, client management, and leveraging your network.
          Former MSU Sports Doctor To Stand Trial On More Sex Assault Charges   
Dr. Larry Nassar claims the practice is a legitimate procedure to re-align hips. 
          Larry Sabato on Republican Win: The Reality is, It's Going to Be a Long Struggle for Dems to Retake the House    
Larry Sabato on implications of Ossoff defeat: 'It's pretty depressing' for Democrats

The euphoria of defeating Donald Trump has been replaced with reality he says here on CNN





          602: We discuss E3 2017, what we are playing and more   
Larry Hryb, Xbox Major Nelson Gamertag: lollip0p Gamertag: Rubes Name The Game E3 2017 stories and more

          Year One of the Chris Holtmann Era Will Be Painful but Consistent With Precedent   
Chris Holtmann is in a for a bumpy first year which is simply part of the rebuilding process.

Chris Holtmann replaced Thad Matta as Ohio State's head coach exactly 23 days ago. 

In that window, he's officially brought on his former Butler assistant coaches, welcomed former Butler signee and Ohio hooper Kyle Young, retained David Egelhoff as director of basketball operations, announced Dave Richardson will vacate the strength and conditioning role, first suspended then booted redshirt freshman swingman Derek Funderburk, and announced incoming freshman Braxton Beverly will not be a Buckeye. 

In addition, he and the staff have been evaluating players and making offers right and left. 

With all that activity, he now sports a roster with nine scholarship players, one of which belongs to a former walk-on. 

The moral of those last three paragraphs? Get ready for some spectacular turbulence this season. Embrace it as part of the rebuilding process. It's unavoidable after Gene Smith unfortunately, but finally, saved Thad Matta from himself. 

How bad the on-court output will be in Year One remains to be seen but for context, I was curious how past Buckeye head coaches fared in their own first year. As you'd expect, for the most part, the results weren't much to write home about. 

Here's the goods dating back to Fred Taylor's arrival in 1958:

INAUGURAL SEASON SUCCESS OF PAST OSU HOOPS COACHES
SEASON HEAD COACH OVERALL RECORD CONFERENCE RECORD POSTSEASON?
1958-59 FRED TAYLOR 11-11 7-7 (5TH) NO
1976-77 ELDON MILLER 9-18 4-14 (10TH) NO
1986-87 GARY WILLIAMS 20-13 9-9 (6TH) NCAA 2ND ROUND
1989-90 RANDY AYERS 17-13 10-8 (6TH) NCAA 2ND ROUND
1997-98 JIM O'BRIEN 8-22 1-15 (11TH) NO
2004-05 THAD MATTA 20-12 8-8 (6TH) NO - INELIGIBLE

1958-59: FRED TAYLOR

A former OSU baseball player who went on to play professionally before returning to Ohio State as an assistant basketball coach, Fred Taylor took over as head coach the following season. 

His first year in Columbus was meh as the Buckeyes turned out an 11-11 record including 7-7 in the conference, good for 5th place and no postseason. 

His first team featured Larry Siegfried (19.6 ppg) Larry Huston (16.4) and Dick Furry (11.5) but not much else. 

Of course that one year of pain was quickly forgotten as the 1959-60 season saw Jerry Lucas (26.3 ppg, 16.4 rpg), Mel Nowell (13.1 ppg) and John Havlicek (12.9 ppg), among others, join Siegfried in a march to the program's one and only national championship. 

OSU would make it to the title game each of the next two seasons but fall both times to Cincinnati. 

1976-77: ELDON MILLER

Fresh off a six-year stint at Western Michigan which produced the program's only MAC championship to that point, Miller took over for Taylor ahead of the 1976-77 season. 

Year one was a total dud as the Buckeyes went 9-18 overall and 4-14 in league play to finish 10th and obviously sat on the postseason sidelines. 

Kelvin Ransey was the star of Miller's first season (13.1 ppg) with an assist from Larry Bolden (11.8 ppg) and Terry Burris (11.0 ppg). 

Year two welcomed Herb Williams (16.7 ppg, 11.4 rpg) alongside Ransey (17.6 ppg) and another newcomer, Ken Page (12.3 ppg), to form a more formidable squad but the end result was still just a 16-11 overall mark which again fell short of any postseason bid. 

Miller would reach the NIT semifinals in year three but things finally clicked in year four as the Buckeyes reached the Sweet Sixteen after going 21-8 overall including a 2nd place finish in the B1G powered by Williams, Ransey, Clark Kellogg and Carter Scott. 

1986-87: GARY WILLIAMS

Dennis Hopson scored at-will in college.

After a four-year stop in Boston College, Gary Williams took over at Ohio State in time for the 1986-87 season. 

With Brad Sellers off to the NBA but Dennis Hopson still in the fold, year one of the Williams era saw the Buckeyes post a 20-13 mark and 9-9 in the B1G (6th) leading to an NCAA tournament appearance which ended in the 2nd round. 

Williams employed a hectic 94-feet of basketball mentality creating a new excitement in St. John Arena which quickly helped him earn love from the fans. 

One of only two OSU coaches to win at least 20 games in their first year, Williams struggled to build on the early success as year two produced an identical 20-13 mark but that was only good enough for an NIT berth ending in the finals while year three slipped to 19-15 and an NIT quarterfinals appearance. 

Williams split for his alma mater, Maryland, the following year. 

1989-90: RANDY AYERS

With Williams understandably leaving Ohio State just three years into his tenure, the school turned to Randy Ayers, giving him his first collegiate head coaching gig. 

Ayers went 17-13 in his first season including 10-8 in league action which led to an NCAA tourney bid ending in the 2nd round. 

Lucky for Ayers the cupboard wasn't bare upon arrival as a kid named Jimmy Jackson (16.1 ppg, 5.5 rpg) teamed with veteran pivot Perry Carter (15.2 ppg, 7.8 rpg), Alex Davis and Mark Baker. A slew of young kids still finding their way included names like Chris Jent, Treg Lee, Jamaal Brown and Bill Robinson. 

The next two years produced a Sweet Sixteen (27-4 overall) and a disappointing run to the Elite Eight (26-6 overall) along with a pair of B1G titles. 

Annnnnd then the wheels fell off (or maybe they were shot out) spectacularly over the next five years. The end. 

1997-98: JIM O'BRIEN

Michael Redd got buckets.

Again massaging that Boston College pipeline, Ohio State tabbed Jim O'Brien as the coach to clean up a program in shambles following Ayers' departure. 

With an almost entirely new starting five highlighted by Michael Redd's arrival, OSU went 8-22 overall and produced one league win in 16 tries. 

The following season, however, with Scoonie Penn now eligible post-transfer to team with Redd and the more-seasoned Ken Johnson and Jason Singleton, along with George Reese, the Buckeyes reached the Final Four. 

O'Brien would make the Dance each of the following three seasons but fail to get beyond the 2nd round before the program eventually slipped into dumpster fire status complete with NCAA penalties. 

While the public embarrassment sucked out loud, O'Brien's activities paved the way for something special.. 

2004-05: THAD MATTA

Most of you remember this era clearly. After arriving at Ohio State via Xavier, Matta took a team ineligible for postseason play to 20 wins including an upset of then No. 1 and undefeated Illinois in a program-defining win

Ohio State finished just 6th in the league that season (8-8) but Matta's guidance had lifted the clouds over the program brought on by O'Brien's misdeeds. 

Matta would reach the Dance's 2nd round in year two after capturing his first B1G title (26-6, 10-4) and year three was even better as the Buckeyes again won the conference championship (34-4, 15-1) and made it all the way to the NCAA title game before falling Florida. 

2017-18: CHRIS HOLTMANN

With just those aforementioned nine scholarship players on the roster, one of which recently shed his walk-on status, it's looking like year one of the Holtmann era will be a rocky ride.

That said, it's a necessary evil for a program hanging on for dear life before his arrival. 

With his assistants in place he just needs to find a new strength and conditioning guy after he chose to not to retain Matta leftover, Dave Richardson. 

While at least one prominent local beat reporter believes Richardson was a convenient fall guy, I couldn't disagree more. The logic from the reporter was that players who wanted to get stronger got stronger. My response to that would be do you think Urban Meyer's strength guy, Mickey Marotti, accepts that type of mind-set from a football player? 

Bottom line, year one will require a case of Rolaids but it should not define Holtmann's tenure based on existing factors and what we've seen from inaugural seasons of past coaches.

There's simply too much to fix.


          Looming Large: Ohio State's Five Biggest Recruiting Battles for the Remainder of the 2018 Cycle   
It's shaping up to be an Urban Meyer/Tom Herman battle for five-star cornerback Anthony Cook.

There's still a long way until February, but Ohio State has already secured commitments from several top prospects from around the nation. It's a tall task to recruit at such an elite level, and the country's top-ranked 2018 class already features a handful of noteworthy victories over some of college football's top programs. 

Urban Meyer beat out Jimbo Fisher and the Seminoles for five-star defensive tackle Taron Vincent and Teradja Mitchell – the nation's No. 2 inside linebacker. Notre Dame was in the same boat for Dallas Gant as was Oklahoma for Josh Proctor. USC was right up there on Jaiden Woodbey's list and five-star Georgia pass-rusher Brenton Cox spurned the in-state Bulldogs in favor of the Buckeyes.

Several other battles will wage on over the course of the next eight months, but right now we feel there are a handful that stand out above the rest. 


Anthony Cook • Cornerback • ★★★★★ • Biggest Threat: Texas

It's debatable at this point as to who exactly is Ohio State's top remaining cornerback target. It's also probably a moot point, however, as the staff is likely to take two more to complement Sevyn Banks

The Buckeyes signed Lone Star state prospects Jeffrey Okudah, Baron Browning, and J.K. Dobbins for the 2017 class, and all three are poised to make an impact as true freshmen. Tom Herman wasn't hired until November, so it's hardly fair to consider either one of them a real Meyer vs. Herman recruiting battle. 

Five-star cornerback Anthony Cook is a different case. 

The Houston (Lamar) defender is in the process of narrowing things down, and it's no doubt that the Buckeyes and Longhorns likely top his list. The nation's No. 2 corner will enroll early and a decision is expected sometime before November. The aforementioned Okudah is a close friend, but Cook's current teammate – 2018 wideout Al'Vonte Woodard – is expected to commit to Texas in just two weeks.

Tyson Campbell • Cornerback • ★★★★ • Biggest Threat: Miami

Out of all the prospects on the list, this one may be the toughest pull. The Buckeyes may very well be out in front right now for American Heritage cornerback Tyson Campbell, but the 6-foot-2.5, 180-pound corner resides less than an hour from Coral Gables and will surely be on Miami's campus multiple times between now and signing day. 

The Hurricanes do already have four cornerbacks committed, but Campbell is a player that any team in the country would find room for. Teammate Nesta Silvera has already pledged to Mark Richt, but four-star defensive end Andrew Chatfieldanother member of a loaded Heritage roster – has sided with Urban Meyer.

There's a long way to go with this one and Nick Saban is also involved, but we expect this recruitment to come down to the Buckeyes and Hurricanes.

Micah Parsons & Jayson Oweh • Defensive Ends • ★★★★/★ • Threat: Penn State

Ohio State's defensive line class is already off to an incredible start with commitments from the nation's top defensive tackle and one of the top pass-rushers. The Buckeyes are set to lose a number of starters following the 2017 season, and this is likely the most important unit to address. 

James Franklin and Co. aren't going to go down without a fight for two of America's best defensive ends. Micah Parsons backed off of his Penn State pledge in April, and while Ohio State is in a great spot, it's probably too early to pencil him into the class. It's been rumored that distance from home could be a factor, and though a number of SEC visits are in the works, the five-star still seems likely to wind up in Big Ten country. 

Jayson Oweh – the nation's No. 10 defensive end – may have more upside than any other player in the country. The 6-foot-5, 235-pounder has only played organized football for one year, and Larry Johnson seems to be a huge fan of the four-star from Blairstown, New Jersey. Penn State appeared to have the upper hand through the spring, but a visit to Columbus for the June 9th camp has put the Buckeyes right at the top. 

Ohio State may run into a bit of a numbers crunch at defensive end, but it's reasonable to expect at least one of these two to ultimately side with the Buckeyes.

Jeremy Ruckert • Tight End • ★★★★ • Biggest Threat: Michigan

We've long talked about Jeremy Ruckert's status as one of the top overall targets for the 2018 class, and as a commitment inches closer, nothing has happened to change that. 

The Buckeyes have been out in front for some time now, but anytime the other school is Jim Harbaugh's Wolverines, then the battle is that much more important. Michigan has shown how much it loves to use its tight ends, and the Maize and Blue is still lurking as a threat for the Lindenhurst, New York star.

Reports out of Beaverton have been extremely positive thus far, and there's already some discussion that the 6-foot-5.5, 238-pounder could potentially earn his fifth star. Ruckert – who checks in as the country's No. 75 prospect – has been the focal point of Ohio State's tight end recruiting for just about an entire calendar year.

A decision is expected this summer.

L'Christian Smith • Wide Receiver • ★★★★ • Biggest Threat: Kentucky

Regardless of where Blue Smith falls on Ohio State's board at receiver, it's become pretty clear that Urban Meyer has every intention of signing the state's most gifted athlete. Kentucky appeared to surge a bit throughout the spring, and while the Wildcats are certainly still in the running, the Buckeyes look like the favorites here. 

“It's two completely different places,” Smith said, explaining how things are a little more personable and relaxed in Lexington in terms of fan engagement and his relationship with the staff. “Ohio State is more of a business. They are really detailed with what they do and the players that they get.” Via

Smith had been planning to make an announcement in July, but that timeline has been pushed back to late August. Could that bode well for the Wildcats? It's certainly possible, and Kentucky has had some major success in Ohio lately; albeit for prospects that don't have Buckeye offers.

But this doesn't look like one that Meyer is going to let get away.


          2018 Cleveland Heights Four-Star Defensive End Tyreke Smith Includes Ohio State in Top 5   
Smith

Cleveland Heights four-star defensive end Tyreke Smith made headlines for his choice of apparel during Ohio State's one-day camp earlier this month. And while the responses to his message varied, all of Buckeye Nation can certainly get on board with the visor he wore for check-in this afternoon at The Opening Finals in Beaverton, Oregon.

Shortly after he arrived, Smith announced his Top 5 schools on Twitter, listing Ohio State alongside Alabama, Oregon, Penn State and USC.

"The relationship I have with coach [Larry] Johnson and coach Meyer [stand out about the Buckeyes]," Smith told Eleven Warriors. "He's a great coach and a great person. We have a good relationship. That's my guy."

The 6-foot-3, 260-pound Smith is considered the fourth-best weak-side defensive end and No. 107 prospect overall in the Class of 2018. He had never played a down of high school football before last season, but the athleticism he showed on the basketball court caught the attention of a number of college coaches from across the country. He came onto Ohio State's radar during a one-day position camp last June, and the two sides started to build a relationship thereafter.

Smith attended two games last fall, including the Buckeyes' double-overtime win over Michigan. He finally earned an offer in late January and has been a regular on campus since, with the camp visit marking his fourth trip to Ohio State in as many months. 

Though he hasn't set a decision date, one is expected before the end of the summer. Smith plans to visit Los Angeles in the next few weeks before a potential return to Columbus for Friday Night Lights on July 21.


          Copy "Breakfast"   

Official music video for Copy's song "Breakfast" from the album Hard Dream (Audio Dregs 2010). Directed by E*Rock (inspired by Larry Cuba's Calculated Movements).

more info: http://www.audiodregs.com

Cast: Audio Dregs Recordings

Tags: copy, audiodregs, e*rock and larry cuba


          PYLON   

Sound and Visions by Larry Carlson, 2006

Visually arresting and deliciously weird smorgasbord of strangeness. A virtual psychedelic trip.

Download the free mp3 of this soundtrack at
http://larrycarlson.com/mp3.htm

Check out larrycarlson.com for more of his mind morphing work.

Cast: Larry Carlson

Tags: psychedelic, trippy, psy, lsd, dmt, shrooms, WTF?, vj, weird, visionary, surreal, visuals, stoner, videoart, hippie, collage, acid, hallucinogen, photoshop and 420


          Warren Buffett is now the largest owner of 2 of the world's biggest banks (BAC, JPM, WFC, GS)   

warren buffett

Warren Buffett's Berkshire Hathaway is now the biggest owner of two of the world's largest banks: Bank of America and Wells Fargo.

On Wednesday, the Federal Reserve cleared the way for Buffett to become Bank of America's largest shareholder.

It passed all the big banks on their so-called stress tests, giving them permission to use their capital for things beyond buffering against disaster, including share buybacks and dividend payments.

Bank of America raised its dividend to $0.12 a common share.

That made it compelling for Berkshire to convert its preferred shares into common stock, giving it shareholder ownership, and earning as much as $12 billion in profit. Berkshire announced on Friday that it would exercise its warrants to buy 700 million common shares of Bank of America, the third-largest US bank by market cap, instead of waiting until just before their expiry in 2021.

In a statement, the bank said it welcomed Buffett's decision.

With $2.19 trillion in assets, Bank of America ranked ninth in the world, according to an S&P Global Market Intelligence ranking released in April.

Buffett's initial investment in the bank dating back to 2011 was a thumbs-up of sorts to CEO Brian Moynihan, who had recently taken the helm. It was also a bet that the bank would recover from the fallout of toxic mortgage securities.

He acquired $5 billion of Bank of America preferred stock with a 6% dividend, or $300 million annually, in August 2011, at a time when investors worried about the bank's capital needs, Reuters reported.

The conglomerate said last July that it owned more than 10% of Wells Fargo, which on Friday amounted to nearly 537 million shares, according to Bloomberg. It's the second-largest bank in the US by market capitalization and was the 10th largest in the world by assets, according to S&P.

Berkshire Hathaway also owns smaller stakes in Goldman Sachs and JPMorgan.

SEE ALSO: Japan can help us better understand one of the biggest puzzles facing the US economy

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NOW WATCH: An economist explains what could happen if Trump pulls the US out of NAFTA


          Broad Swath of S. Africans Meets on Nation's Future    

THE broadest spectrum of parties ever to come together for political talks in South Africa gathers here today to plan a resumption of negotiations on the country's transition to democracy.

Ten months after multiparty talks broke down, the groups are returning to the table with a new sense of urgency. Three months of bilateral talks between the ruling National Party and the African National Congress (ANC) have cleared the way for a resumption of full negotiations.

"They're back at the table at last and this time there are more of them and the chemistry is looking good," says a Western diplomat monitoring the negotiation process.

Today's meeting, which will set a date for the resumption of full-blown multiparty talks, for the first time will include white right-wing parties and radical black rivals to the left of the ANC.

Participants are expected to include 23 delegations from 21 political groups - four more than the 19 delegations that attended the Convention for a Democratic South Africa, which deadlocked last May after five months of deliberations. Wide spectrum of parties

Among the attendees will be the militant Pan-Africanist Congress (PAC), which failed to reach agreement with the government in talks this week about the suspension of the armed struggle being waged by its radical military wing, the Azanian Peoples Liberation Army.

The right-wing Afrikaner Volks Unie, which broke away from the more hard-line Conservative Party last year, will take part in a six-party committee chairing the meeting. This marks the first direct involvement of a right-wing party in steering multiparty talks.

There is also cautious optimism that Chief Mangosuthu Buthelezi, leader of the Inkatha Freedom Party (IFP), is preparing to put his full weight behind multiparty talks.

Today's meeting will be attended by chief negotiators rather than political leaders. A delegation from the semi-autonomous KwaZulu homeland could provide the mechanism for the Zulu king, Goodwill Zwelithini, to attend the next round of talks.

There is still disagreement over the boundaries, powers, and functions of South Africa's regions and whether they should be bound in a federation or a looser arrangement. But consensus is growing among the parties that the new constitution will need to provide for a high degree of autonomy for regional governments to prevent secessions that could fragment the country.

In the past three months, the ANC has made major concessions in the direction of a federal-type system and ANC leader Nelson Mandela has gone out of his way to recognize the principle of self-determination in talks with white right-wing leaders.

Multiparty talks, which could be held this month, must reach agreement on the powers and functions of a Transitional Executive Committee (TEC), an independent Electoral Commission, and an independent Media Commission that will have the task of leveling the political playing field.

The TEC, a multiracial super-advisory body, will function with sub-councils that will establish multiparty management of the security forces during the run-up to the elections. The three commissions should be established by June, by which time the multiparty forum is expected to have agreed on an election date.

"I think by the time we get to July it will be all systems go for the election," says ANC Electoral Commission head Popo Molefe.

The talks take place in the wake of the March 2 massacre of six school pupils in the violence-racked hills around Pietermaritzburg, which has served as a grim reminder of the bitter war still raging between supporters of the ANC and the IFP in that province.

The killing of the pupils has evoked national outrage across the political spectrum and Law and Order Minister Hernus Kriel has offered an $80,000 reward for information leading to the arrest of those responsible.

Nobel peace laureate Archbishop Desmond Tutu visited the bereaved community with other church leaders yesterday in a bid to calm political passions and prevent revenge killings.

Figures published Wednesday by the Human Rights Commission, a civil rights group that monitors political violence, indicate that deaths this year from political violence have dropped to levels well below the 300-a-month average for 1992. Coalition government

Today's talks will take place against the backdrop of an understanding reached last month between the government and the ANC that the drafting of a democratic constitution after the first democratic ballot will be followed by a period of coalition rule lasting up to five years.

The coalition government will include all parties that win at least 5 percent of the vote. According to recent polls this is sure to include the ANC and the National Party and is likely to include the PAC, the IFP, and possibly the right-wing Conservative Party.

"One could say that the real challenge of the ballot will be about whether South Africa can hold a peaceful election rather than who will win the election," says Larry Garber, an official of the National Democratic Institute in Washington, which helps run a South African voter education program.

The major challenge prior to the election will be to educate an estimated electorate of 21 million - about 16 million of whom are blacks who have never voted before - in the basics of democracy and electoral procedures.

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          David Paulino suspended 80 games after testing positive for PEDs   
With a number of key starters already on the disabled list, the Houston Astros now find themselves down another. Jon Morosi of MLB Network reports on Saturday that Astros right-hander David Paulino has been suspended for 80 games after testing positive for Boldeone, a performance-enhancing drug. #Astros pitcher David Paulino suspended 80 games after testing...Read More
          Joel Embiid tweets love to Bryan Colangelo after JJ Redick signing   
Joel Embiid finally appears to be buying into Sam Hinkie’s successor. After his Philadelphia 76ers reached an agreement with veteran sharpshooter J.J. Redick on Saturday, Embiid sent a tweet with the hashtag #TrustBC, a nod to Sixers general manager Bryan Colangelo. Trust The Process….. Guys it's happening #TrustBC — Joel Embiid (@JoelEmbiid) July 1, 2017...Read More
          Matt Bush loses closer role, Rangers will use committee   
The Texas Rangers continue to be unsettled by a struggling bullpen, and they’re once again making a change at closer. Manager Jeff Banister said Saturday that the team was removing Matt Bush from the closer’s role and going with a “no roles bullpen” for the foreseeable future. Matt Bush won't be the #Rangers closer today...Read More
          Commerce Awards Grant for Bismarck State College Workforce Training Program   
By: ND Commerce
BISMARCK, N.D. – The North Dakota Department of Commerce announced two workforce enhancement grants for Bismarck State College (BSC) totaling $328,376. Workforce enhancement grants enable two-year colleges to apply for funds to create or enhance training programs that address workforce needs of North Dakota’s private-sector employers. Projects require a dollar-for-dollar match of all state money with private funds. 

“We are grateful for these grants and also for the generosity of our industry partners who provide the dollar for dollar match,” BSC President Larry C. Skogen said. “Private-public partnerships like this allow us to do even more to ensure that our students succeed and North Dakota industry grows.” 

 The first grant in the amount of $314,300 will be used for BSC’s energy industry programs. The grant will provide equipment upgrades for the power plant technology, process plant technology, energy services and renewable technician and mechanical maintenance programs. It will also update the non-credit welding program.

The second grant in the amount of $14,076 will be used for BSC’s precision agriculture program and update the technology of the program to meet the needs of the agriculture industry.

“Workforce enhancement grants help to increase the capacity of our higher education institutions like BSC to provide a consistent stream of qualified workers,” said Wayde Sick, workforce development director at the North Dakota Department of Commerce. “The partnership of industry, education, and state and local governments is needed to meet the developing workforce needs of North Dakota.”

Grant funding may be used for curriculum development, equipment, recruitment participants, and training and certifying instructors. Funds may not be used to supplant funding for current operations. 

The Workforce Enhancement Council reviews all proposals and provides funding recommendations to the commissioner of the North Dakota Department of Commerce. The council consists of the private-sector membership of the North Dakota Workforce Development Council, the state director of the Department of Career & Technical Education, and the division director of the Workforce Development Division of the North Dakota Department of Commerce, who serves as the chair.

The North Dakota Department of Commerce works to improve the quality of life for North Dakota citizens by leading efforts to attract, retain and expand wealth. Commerce serves businesses and communities statewide through committed people and partners who offer valuable programs and dynamic services. 

For more North Dakota news and information subscribe to the Commerce News RSS Feed or go to www.NDCommerce.com.

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          BSC Completes Wind Technician Training Tower   
By The Bismarck Tribune
When a worker has to perform maintenance on one of the hub of one of the many wind turbines dotting rural North Dakota skylines, they have to essentially walk backward off the side of the tower to get to the hatch leading into the hub. Then they must enter at an awkward 45 degree angle.

“Doing that for the first time at 280 feet can be nerve wracking,” said Bruce Emmil, dean of the Bismarck State College National Energy Center of Excellence

The school has an indoor ladder tower where students have been able to do basic things, like learning how to work their climb assist, Emmil said, but completion of the new Nacelle Tower will provide more training and education to students.

“The new one is quite a bit taller,” Emmil said and allows them to practice more skills, trying out techniques and equipment for maneuvers like descents.

The 32-foot Nacelle Tower, located on the west lawn of the National Energy Center of Excellence, replicates the top portion of a commercial wind tower, complete with a nacelle, the large box-like component at the top of turbine towers, and a hub, which typically houses the generating components of the tower.

A commercial nacelle is about 300 feet tall but the lower height of the Nacelle Tower on the BSC campus allows practice in a more true to life, yet controlled environment. When students graduate, Emmil said, in addition to a degree, they will leave with a climb and rescue certification. About a dozen students are enrolled in the wind technician program this fall.

The site will also be opened up to industry partners wishing to conduct annual training.

The Nacelle Tower project began in 2014 after industry sought a place for safety, rope and rappelling training for wind technicians. Montana-Dakota Utilities Co. and Minnesota Power each contributed $30,000 towards the project. A North Dakota Department of Commerce grant matched an additional $60,000. NextEra Energy also contributed $30,000 and final funding was secured from the Energy Generation Conference board and a U.S. Department of Labor Training for Regional Energy in North Dakota grant.

“It has been said that ‘Success is where preparation and opportunity meet.’ This new training facility will not only allow the students and our employees to learn to safely use their equipment and the critical techniques in a controlled environment, but it offers a cost effective way for them to acquire the repetitions that are vitally needed to be prepared,” Director of Generation for Montana-Dakota Utilities Co. Alan Welte said in a statement.

“Grants and partnerships with industry really enhance our ability to get students prepared to hit the ground running upon hire. Ensuring our students are well prepared for the workforce, and helping companies train their employees is work we are very proud to do,” BSC President Larry Skogen added.

BSC Completes Wind Technician Training Tower - The Bismarck Tribune

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          APUC Committed Funding Requests Totaling $394,317   
The North Dakota Agricultural Products Utilization Commission (APUC) awarded funding requests for six projects totaling $394,317 at its quarterly meeting Nov 19th at the Sleep Inn & Suites – North Convention Meeting Room in Minot.

APUC is a committee of the North Dakota Department of Commerce that administers grant programs for researching and developing new and expanded uses for North Dakota agricultural products. The grants can be used for basic and applied research, marketing and utilization, farm diversification, nature-based agritourism, prototype and technology and technical assistance. 

The following requests were awarded: 
LL International, LLC (Bismarck) was awarded $5,250 to identify markets for North Dakota commodities such as oilseeds, oilseed oils and pulse crops. It will also introduce new specialty crop products and uses for foreign markets. Contact Larry White at (701) 471-4698. 

Tereza Kozubikova and Miroslv Sumbera (Bismarck) were awarded $119,500 to launch the state's first cold weather hardy grapevines nursery at Chateau Moravia. Contact Tereza Kozubikova at (701) 255-1052. 

Amity Technology, LLC (Fargo) was awarded $162,000 to build a demonstration plant that can lead to the commercialization of a patented process which converts North Dakota agricultural waste into high value industrial chemicals. Contact Marc Ziesmann at (701) 237-2144. 

Field of View, LLC (Grand Forks) was awarded $18,080 to develop a thermal aerial mapping payload that is equipped with a high-accuracy GPS receiver. Contact David Dvorak at (701) 203-3757. 

NDSU Department of Veterinary & Microbiological Sciences (Fargo) was awarded $74,787 to modify a first novel anti-microbial biomaterial. This modification will allow the biomaterial to be more effective against a broader range of pathogens. Contact Dr. Birgit Pruess at (701) 231-7848. 

Nick Mathern (Edgeley) was awarded $14,700 to produce a product to test moisture levels in cereal grains via a mobile application and reader which is compatible with smartphones. The device will calculate and display the amount of moisture as well as temperature of grain. Contact Nick Mathern at (701) 709-0102. 

The next APUC board hearing will be held February 18, 2016 in Fargo. Applications for the February meeting must be received by January 1, 2016. 

APUC is an office within Economic Development and Finance, a division of the North Dakota Department of Commerce. 

For additional program information please visit North Dakota APUC at http://www.NDAPUC.com or find us on Facebook at www.facebook.com/NDAPUC.
 

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          APUC to Review Funding Requests Totaling $489,317   
By ND Commerce
The North Dakota Agricultural Products Utilization Commission (APUC) will review funding requests for seven projects totaling $489,317 at its quarterly meeting November 19th in Minot.

APUC is a committee of the North Dakota Department of Commerce that administers grant programs for researching and developing new and expanded uses for North Dakota agricultural products. The grants can be used for basic and applied research, marketing and utilization, farm diversification, nature-based agritourism, prototype and technology and technical assistance.

The following requests will be reviewed:
  •  LL International, LLC (Bismarck) is requesting $5,250 to identify markets for North Dakota commodities such as oilseeds, oilseed oils and pulse crops. It will also introduce new specialty crop products and uses for foreign markets. Contact Larry White at (701) 471-4698.
  • Tereza Kozubikova and Miroslv Sumbera (Bismarck) are requesting $119,500 to launch the state's first cold weather hardy grapevines nursery at Chateau Moravia. Contact Tereza Kozubikova at (701) 255-1052.
  • NDSU Department of Veterinary & Microbiological Sciences (Fargo) is requesting $74,787 to modify a first novel anti-microbial biomaterial. This modification will allow the biomaterial to be more effective against a broader range of pathogens. Contact Dr. Birgit Pruess at (701) 231-7848.
  • Amity Technology, LLC (Fargo) is requesting $162,000 to build a demonstration plant that can lead to the commercialization of a patented process which converts North Dakota agricultural waste into high value industrial chemicals. Contact Marc Ziesmann at (701) 237-2144.
  • Field of View, LLC (Grand Forks) is requesting $18,080 to develop a thermal aerial mapping payload that is equipped with a high-accuracy GPS receiver. Contact David Dvorak at (701) 203-3757.
  • Nick Mathern (Edgeley) is requesting $14,700 to produce a product to test moisture levels in cereal grains via a mobile application and reader which is compatible with smartphones. The device will calculate and display the amount of moisture as well as temperature of grain. Contact Nick Mathern at (701) 709-0102.
  • Agri Bio Systems LLC (Fargo) is requesting $95,000 to research and find value-added applications for agricultural waste streams. Contact Robert Ryan at 612-708-0361.
 
APUC is an office within Economic Development and Finance, a division of the North Dakota Department of Commerce.

For additional program information please visit North Dakota APUC at www.NDAPUC.com or find us on Facebook at www.facebook.com/NDAPUC

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          54 SINGS 1776, Kyle Dean Massey, Samantha Barks and More Coming Up at Feinstein's/54 Below This July   

This July, Feinstein's/54 Below, Broadway's Supper Club & Private Event Destination, presents some of the brightest stars from Broadway, cabaret, jazz, and beyond.

Scroll down for details, and to purchase tickets or for more information, visit www.54Below.com/Feinsteins or call (646) 476-3551.


RED, WHITE, AND BROADWAY: PATRIOTIC SONGS FROM BROADWAY MUSICALS! JULY 1 AT 7:00PM:

Join Dream Theater Productions as they kick off the Fourth of July weekend with patriotic songs from classic Broadway musicals. Featuring songs, old and new, from Assassins, The Civil War, Hair, Rags and many others. Red, White, and Broadway features a cast of young, up and coming talent just starting out on their American Dreams!

Featuring Alex Birchwale, Stephanie Anne Christian, Shannon Doyle, Kate Glennon, Rashad Guy, Hunter Kovacs, Zach Miller, Erica Morreale, Alexandra Vecchio, and Matt Weinstein.

$35-45 cover charge. $75 premium seating. $25 food and beverage minimum.

54 SINGS DOONESBURY, JULY 2 AT 7:00PM:

Garry Trudeau's iconic characters come to life onstage in the satirical musical comedy Doonesbury, by Trudeau and Tony-nominated composer Elizabeth Swados. Based on the Pulitzer Prize-winning comic strip, this musical follows Mike Doonesbury and his pals as they get ready to graduate, leave their cozy Walden College enclave, and face the real world. The biting and tuneful satire of Doonesbury is more relevant than ever in 2017. Produced and directed by Mark Falconer, with musical direction by Will Buck (Oh, Brother! at Feinstein's/54 Below.)

Featuring original cast members of the 1983 broadway production Rachel Rhodes-Devey (Carousel at Lincoln Center, Most Happy Fella at Encores!), Colleen Hawks (The Boy From Oz, Shrek the Musical), Ron Spivak (Oh, Brother!, Mademoiselle Colombe, Henry, Sweet Henry), Kenny Metzger (Beautiful: The Carole King Musical), John Jarrad Klapko (Oh, Brother!), Lendsey Kersey (The Mistress Cycle), Philip Jackson Smith (The Rage: Carrie 2, An Unauthorized Musical Parody in Concert), Eric Williams (Full House! The Musical!), Heath Saunders (Natasha, Pierre, and the Great Comet of 1812), and Stephanie Jae Park (War Paint).

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

Jennifer DiNoia, JULY 2 AT 9:30PM:

Jennifer DiNoia, currently starring as Elphaba in Wicked on Broadway, makes her Feinstein's/54 below and New York City solo concert debut. Jennifer has performed the role of Elphaba in seven companies across four countries, more than any other actress in the show's history (Broadway, Chicago, both North American National Tours, London, Korea, and Australia). Having started her career with the First National Tour of Mamma Mia! and the original company of We Will Rock You in Las Vegas, Jennifer will be sharing the stories and tunes that inspired her along the way. Jennifer leads us on a rock-driven musical journey that spans the 1930s to today, with updated arrangements by Ben Cohn. Personal, poignant, and electrifying, this is an evening of music you won't want to miss.

$35-45 cover charge. $70 premium seating. $25 food and beverage minimum.

54 SINGS 1776, JULY 3-4 AT 7PM & 9:30PM:

The Fourth of July meets Broadway in the fourth annual concert staging of the beloved musical, 1776, at Feinstein's/54 Below. Showcase your patriotism with some of Broadway's brightest stars singing numbers such as "Sit Down, John," "He Plays The Violin," "Molasses To Rum" and more, as we celebrate the great sacrifices our friends, family, and founding fathers have made to shape our nation. Feinstein's/54 Below is delighted to wave the American flag proudly at this most beloved Broadway score as some of New York's most exciting voices proffer these uniquely American tunes. Join AbiGail Adams, Benjamin Franklin, Martha Jefferson, and John Adams as they descend upon the stage for what promises to be the perfect theatrical fit for the Fourth of July. Music direction by Geraldine Anello. Produced by Amy Sapp. Directed by Matt Redmond.

Featuring Kyle Scatliffe (The Color Purple, Les Miserables), Carrie St. Louis (Wicked, Rock of Ages), Kyle Timson (Shrek in International Tour of Shrek), Ryan Vona (Paramour, Once), Michael McCorry Rose (Wicked, A Gentleman's Guide To Love and Murder), Sam Hartley (The Lightning Thief: The Percy Jackson Musical), Kim McClay (I'll Be Home for Christmas World Premiere), Wade McCollum (Ernest Shackleton Loves Me, Wicked), Alex Prakken (Newsies National Tour), Connor F. Deane (Les Miserables at the MUNY, Broadway Method Academy Executive Director), Michael Hull (Avenue Q, That Golden Girls Show), Ben Biggers (Elementary on CBS, Aida at the MUNY), Jordan Jacobs (Peter and the Starcatcher at Oklahoma CityRep), and Nathan Goodrich (The Fantasticks).

$25-45 cover charge. $60-70 premium seating. $25 food and beverage minimum.

Nancy Anderson: TEN CENTS A DANCE, JULY 5 AT 7PM:

Let Nancy Anderson take you back to a time when speakeasies were born and jazz was king. With Ross Patterson and his little big band, Nancy, fresh off Broadway's Sunset Boulevard (where she understudied Glenn Close), revisits her critically acclaimed debut album Ten Cents a Dance in a nightclub uniquely appropriate to her quintessential jazz-age take on enduring classics by Cole Porter, Rodgers and Hart, Irving Berlin, and the Artie Shaw Orchestra. Nancy Anderson is a multiple-time Drama Desk Award nominee who has appeared in such Broadway shows as A Class Act, Wonderful Town, and Sunset Boulevard. Her show, Nancy Anderson: Ten Cents a Dance, is produced and directed by Scott Siegel.

$35-45 cover charge. $75 premium seating. $25 food and beverage minimum.

JOAN VÁZQUEZ- SOMETHING'S COMING: A TRIBUTE TO SONDHEIM, JULY 5 AT 9:30PM:

Joan Vázquez, star of the Spanish productions of Merrily We Roll Along, Hair, and Mamma Mia!, makes his Feinstein's/54 Below debut in Something's Coming: A Tribute To Sondheim after his West End debut at Live at Zédel. Accompanying himself on piano, Joan celebrates music theatre genius Stephen Sondheim with legendary songs such as "Losing My Mind", "Finishing the Hat", "Send in the Clowns" and "Being Alive", while delivering Mr. Sondheim's witty quotes on the state of the art, love, and life. Don't miss this solo show by the new guy in town performing in the style of recent actor-musician Sondheim productions on Broadway.

Featuring special guests Natalie Weiss and Trey Ellet.

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

Carole J. Bufford: THE FEARLESS FEMALES OF THE 1960S, JULY 6 AT 7PM:

With music made famous by Janis Joplin, Dusty Springfield, Tina Turner, Carole King, Lesley Gore and more! Carole J. Bufford returns to Feinstein's/54 Below with the debut of her brand new show, "You Don't Own Me," celebrating the songstresses of the 1960s. Putting her own inimitable spin on these classics, Carole will delve into and celebrate a time of great change and transition in America and across the pond. The musical and cultural landscape was never the same after these bold and daring women planted their flags and ensured their voices were heard.

$25-45 cover charge. $60-75 premium seating. $25 food and beverage minimum.

THE REAL LA LA LAND, WITH Renee Olstead, DAVE DAMIANI & THE NO VACANCY ORCHESTRA, JULY 6 AT 9:30PM:

The Real La La Land is a musical revue from the perspective of the former jazz club bartender/singing waiter turned band leader Dave Damiani. Like Ryan Gosling's character in the film, Dave Damiani and his group of young talented jazz musicians are in pursuit of bringing back the class, style, and swagger of places like the 500 Club, The Copacabana, Copa Lounge, and The Cocoanut Grove. With stories of actual successes and failures working for such musicians as Michael Buble', Justin Timberlake, The Jersey Boys, Steve Tyrell, and more... this show will warm your heart with the true experience of being a working musician and singer in the jazz community in Los Angeles. This amazing quartet will perform songs from great artists such as Frank Sinatra, Frankie Valli, Dean Martin, Nat "King" Cole, Johnny Mercer, The Beatles, and many more!

Featuring Renee Olstead (vocalist & actress, Warner Brothers, David Foster, Unfriended, The Secret Life of the American Teenager), Dave Damiani (vocalist & bandleader, Sinatra 100, Polo Ralph Lauren), Bijon Watson (trumpet player from La La Land, Michael Bublé & Natalie Cole), Graham Dechter (guitarist from La La Land, Michael Bublé & The Clayton-Hamilton Jazz Orchestra), and Alex Frank (bassist from the film Jersey Boys).

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

Christine Andreas, JULY 7, 11, 14, & 15 AT 7PM:

Celebrate Edith Piaf... brought to life in the words of her friends, her triumphs and her music. An extraordinary portrait in song, performed in French and English... "La Vie En Rose," "Hymne a L'Amour," "L'Accordeoniste," "Milord," et "Je Ne Regrette Rien.'"

$50-60 cover charge. $85 VIP seating. $95-100 premium seating. $25 food and beverage minimum.

THE PERKS OF BEING A SNOWFLAKE: SONGS BY BILLY RECCE, JULY 7 @ 9:30PM

He's offensive, he's irreverent, and he can't buy liquor! Billy Recce (NYMF's youngest ever composer for Balloon Boy: The Musical, Rachel Unraveled) makes his Feinstein's/54 Below debut in an evening of outrageous, irreverent, and bitingly satirical musical theatre songs about what it means to be young, idealistic, and emotionally vulnerable in America. Often compared to a young Tom Lehrer, nineteen-year-old Recce's songs are tuneful and poignant, shamelessly laughing in the faces of Betsy DeVos, Neo-Nazis, Tomi Lahren and beyond. Joined by a colorful cluster of the country's most talented up-and-comers, an eight-piece band, and maybe even a few special guests, this "Yuge"-ly original song cycle is an unmissable event that'll trigger even the toughest snowflakes! A portion of the proceeds from the concert will benefit the ACLU.

Featuring Patrick Swailles Caldwell (PharmaBro), Lindsay Nicole Chambers (Kinky Boots, Lysistrata Jones), Lynn Craig (Lazarus), Roger Dawley, Victoria Duffy, Alexa Joseph, Laura Laureano (Shrek), Sarah Rachel Lazarus, and Rachel Ravel.

$30-40 cover charge. $70 premium seating. $25 food and beverage minimum.

PORTER CARROLL, JR. & THE TAMBOURINE BAND, JULY 8 AT 7PM:

Porter Carroll, Jr., founder of Atlantic Starr, the rhythm and blues hit machine from the 70s and 80s, makes his Feinstein's/54 Below debut! Recently seen performing worldwide with Hall & Oates as their percussionist and vocalist, Porter Carroll, Jr., now brings to New York his own show, The Evolution of Cabaret. He will be joined by the amazing Wali Ali, Dave Livolsi, Erik Perez, and Danny Obadia. Featuring a tasty musical panoply that runs the gamut from rhythm and blues and improvisational jazz to soul, funk, blues, and rock & roll, this will be a concert to remember.

$40-50 cover charge. $85 premium seating. $25 food and beverage minimum.

FRANK SHINER, JULY 8 AT 9:30PM:

It's always a special night when singer Frank Shiner returns to Feinstein's/54 Below, and this show, Lonely Town, Lonely Street, promises to be his best yet. Taking its name from his new sophomore album, (produced by twelve-time Grammy winner Jay Newland) Shiner has put his stamp on some of the best blue-eyed soul classics of all time including songs by Elton John, Daryl Hall and John Oates, Randy Newman, The Rascals, Justin Timberlake, Amy Winehouse, Van Morrison, and others. His version of Tony Joe White's classic "Rainy Night In Georgia" has drawn raves from the songwriter himself, posting on Facebook and Twitter his fondness for Frank's version.

Featuring an all-star band including guitarist Sherrod Barnes (Whitney Houston, Beyoncé, Earth Wind & Fire), keyboardist Eric Finland (Greg Allman, Michael McDonald), drummer Dan Weiner (house drummer for America's Got Talent, Wu Tang Clan), saxophonist Jay Rodriquez (Elvis Costello, Patti LaBelle), and bassist Chris Anderson (Rachel Platten).

$30-40 cover charge. $70 premium seating. $25 food and beverage minimum.

54 SINGS GODSPELL, JULY 9 AT 7PM & 9:30PM:

Join us at Feinstein's/54 Below for a delightful evening featuring the songs of the beloved musical Godspell! In an unforgettable celebration of the Stephen Schwartz and John-Michael Tebelak show, experience "Day By Day," "Beautiful City," "By My Side," "All For The Best," and "Learn Your Lessons Well" like you've never heard them before! Featuring an all-star cast, this concert is produced and directed by Nicole Lippey and A Work of Heart Productions. Music Directed by Adrian Ries.

Featuring Pablo Barajas, Matt Giroveanu, Melanie Beck, Joel De Candio, Alexandra Doman, Laura Laureano, Nicole Lippey, Carli Naff, Cadence Owensby, Taylor Patno, Adrian Ries, Jenna Rocca, and Danny Peter Smith.

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

BROADWAY GOES A CAPPELLA 2, JULY 10 AT 7PM:

After a sold-out debut, Broadway Goes A Cappella returns to Feinstein's/54 Below! Broadway and a cappella veterans come together for another very special performance of all new arrangements of classic and contemporary theatre songs, performed completely without instruments. Produced by Sam Strum. Concept & Musical Direction by Evan Feist.

Featuring: Atiles Sisters (2017 Aca Idol Champions), Miche Braden, Barry Carl (Rockapella), Harrison Chad (Caroline, or Change, Beauty and the Beast, Dora the Explorer), Amanda Cornaglia (FloVoice, Clear Harmonies), Evan Feist (FloVoice), Judy Fontana Minkoff (Stiletta, SingStrong), Tim Foust (Home Free), Charlie Friday (Clear Harmonies, Euphonism), Alex Green, Bryan Guffey, Candice Helfand-Rogers (Pitch Perfect, Pitch Perfect 2, Broadway Inspirational Voices), Jamie Lee, Abena Mensah-Bonsu, Rene Ruiz (Toxic Audio, Bastard Jones), Kaitlyn Sheehan Ramirez, Marc Silverberg, Adam Spiegel (Camp Rolling Hills, Cloned!), Eric Spiegel, Jeff Thacher (Rockapella), Bryant Vance (Rockapella, Vocalosity), Darryl Williams (Avenue X, After Midnight, A Cappella the Musical), Emily Young, Satellite Lane (2 time NY Harmony Sweeps Audience Favorite), CONNECT (ACAIdol Winner 2015 & 2016, NY Harmony Sweeps Winner), and Low Key (Gotham, Z100).

$40-50 cover charge. $80 premium seating. $25 food and beverage minimum.

WELL-STRUNG JULY 10 AT 9:30PM:

The all-male string quartet, Well Strung, has been receiving rave reviews at Feinstein's/ 54 Below and all over the world, and now they bring their brand new show to the venue in honor of Pride! A New York City based string quartet, the group derives their unique blend of vocals and strings by fusing classical music with the pop music of today. Members Edmund Bagnell (1st violin), Chris Marchant (2nd violin), Daniel Shevlin (cello), and Trevor Wadleigh (viola) spend their time making new music and touring internationally. The group was conceived by producer Mark Cortale and Chris Marchant.

$35-50 cover charge. $75-80 premium seating. $25 food and beverage minimum.

Kyle Dean Massey, JULY 11, 13, & 15 AT 9:30PM:

Returning to Feinstein's/54 Below by popular demand, Kyle Dean Massey, star of Broadway's Next to Normal, Wicked, and Pippin, as well as the ABC series Nashville, looks back, not at the things that were, but at the things that weren't. Come listen to Kyle share songs he heard nightly but never sang himself, the ones he played on guitar or belted in the shower, the ones that made him dance or mended his broken heart ... all songs he was not able to share the way he wanted until now.

$35-50 cover charge. $75-85 premium seating. $25 food and beverage minimum.

54 SINGS MAN OF LA MANCHA, JULY 12 AT 7PM & 9:30PM:

Man of La Mancha is among the greatest of all Broadway musicals; its enduring appeal is marked by four Broadway revivals as well as productions all over the world that continue to this day. It won the Tony Award for Best Musical, made Richard Kiley a star, and has since been a star vehicle for the likes of Raul Julia and Brian Stokes Mitchell. But the show's greatest achievement is its magnificent score, highlighted by the classic hit song, "The Impossible Dream." In our concert version of the show, you will hear the remarkable story of how this show came to be, plus witness, in live performance, the exciting, rich, and vibrant songs that propelled this exquisite, emotionally towering saga into musical theater history. The concert version of Man of La Mancha is conceived, directed, and hosted by New York impresario Scott Siegel.

Featuring William Michals (South Pacific, The Scarlet Pimpernel), Lesli Margherita (Matilda, Dames at Sea), Bob Stillman (Two-time Tony nominee), and Anthony Santelmo, Jr.

$35-50 cover charge. $75-80 premium seating. $25 food and beverage minimum.

Michael Lavine & FRIENDS, JULY 13 AT 7PM:

Broadway vocal coach, performer, and sheet music guru Michael Lavine is bringing his show Michael Lavine & Friends to the East Coast. He's done it five times all over Los Angeles with many stars, including Norm Lewis, Ellen Greene, Jack Noseworthy, Andrea Marcovicci, Daisy Eagan, Jason Graae, Vicki Lewis, and Jeff Marx. Join us as Michael hosts and tells fascinating stories about his work over the years with Broadway performers and writers, including Adolph Green, Sheldon Harnick, and Hugh Martin. A portion of the proceeds from the evening will go to The Actor's Fund.

Featuring special guests Mark Blowers, Steven Brinberg (Simply Barbra), Fay DeWitt (Niteclub Confidential), Tony Award Winner Daisy Eagan (The Secret Garden), DiAnne Fraser, Tony Award winner Debbie Gravitte (Jerome Robbins' Broadway, Les Miserables), Heather MacRae (Hair), Christine Pedi (NEWSical the musical), Tony Award Winner Tonya Pinkins (Caroline, Or Change), Clarke Thorell (Hairspray, Titanic), Sarah Wadsley, and Carol Weiss (Composer).

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

54 SINGS BROADWAY'S GREATEST HITS, JULY 14 AT 9:30PM:

If you skip through cast albums just to hear the very best songs in each show, this is the nightclub concert event for you. If you love the classics of the Great White Way, come and hear the songs that made Broadway great, that made your heart soar, that you used to sing (maybe still do) in the shower! But at Feinstein's/54 Below, you will hear the greatest Broadway songs of all time performed by today's greatest stars, singing them straight up, the way you want to hear them. Produced, directed and hosted by Scott Siegel.

$35-55 cover charge. $75-90 premium seating. $25 food and beverage minimum.

A BROADWAY MUSICAL, BY Charles Strouse, Lee Adams, AND William F. Brown, JULY 16 AT 7PM & 9:30PM:

From idealistic playwrights to jaded theatre party ladies, from egotistical stars to meek directors, A Broadway Musical, written by the Tony Award-winning team behind Bye Bye Birdie, lovingly spoofs all those crazy people who make up that business called "show." In 1964, Charles Strouse and Lee Adams adapted Clifford Odets' play Golden Boy for Rat Packer, Sammy Davis, Jr. The trials and tribulations of creating Golden Boy became the springboard for Strouse and Adams' 1978 musical, A Broadway Musical. Despite a fantastic score, and a witty book by The Wiz's William F. Brown, A Broadway Musical closed on its opening night and has not been heard by New York audiences since that fateful performance in 1978. Now, for one night only, Feinstein's/54 Below will take everyone back to 1978 and give audiences a second chance to hear what only a few got to experience on December 21st, 1978 when we present A Broadway Musical in concert. Directed and Produced by Robert W. Schneider.

Starring Major Attaway (Aladdin), Glory Crampton (Rothschild & Sons), Clifton Davis (Aladdin, TV's Amen), Sarah Routh Ellis (A Gentleman's Guide To Love and Murder), Jason Graae (Forever Plaid & International Cabaret Artist), Kyle Scatliffe (The Color Purple), and Neva Small (Henry, Sweet Henry).

And starring from the original cast Gwen Arment, Maris Clement, Michael Kubala, and Larry Marshall (The Color Purple).

Also featuring Roger Dawley, Sean Green, Kyle Javon, Mychael Leverage, Lethabo Moffome, Paris Alexander Nesbitt, Ruby Shadley, Rebecca Spigelman, and Alexia Sielo.

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

Eleanor Reissa, JULY 17 AT 7PM:

The soulful "Yiddish diva" Eleanor Reissa (currently on Broadway in the cast of Indecent) and the Grammy Award-winning "mystical high priest of New Wave Avant-Klez jazz" Frank London (just back from Havana where his Yiddish/Spanish opera premiered) have been inspiring each other and their audiences in widely-acclaimed concerts for over a decade. Finally appearing at Feinstein's/54 Below to celebrate their first collaborative album, Vilde Mekhaye (Wild Ecstasy), they are backed by London's Klezmer Brass All Stars, featuring the best of a new generation of Klezmer artists Michael Winograd, Brian Drye, Ron Caswell, Aaron Alexander, Brandon Seabrook and Patrick Farrell.

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

NEW MUSICAL: SWEETWATER BY Sean Mahoney AND Patricia Noonan, JULY 17 AT 9:30PM:

Join us at Feinstein's/54 Below for a high-flying evening featuring the songs of Sweetwater, the original, true story of the Women's Air Force Service pilots of World War II. In a one-night-only, unforgettable celebration of the new musical by Patricia Noonan (book and lyrics) and Sean Mahoney (music), experience the songs from this brand-new show for the first time in public! Featuring an all-star cast of Broadway regulars, come join us at Avenger Field for this truly epic story of sacrifice, honor, and duty in an America at war. Directed by Gina Rattan. Music Directed by Vadim Feichtner.

Featuring Ally Bonino, Hannah Elless, Alexandra Ferrara, Jessica Fontana, Jenn Gambatese, Alyse Alan Louis, Jillian Louis, Eric William Morris, Patricia Noonan, and Pearl Sun.

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

CHRIS NICOLOSI: I'M BACK BITCHES, JULY 18 AT 7PM:

Following his outrageous and mildly offensive album release show at Feinstein's/54 Below last fall, pint-sized NYC diva Chris Nicolosi is back, baby, whether you like it or not. As usual, Mr. Nicolosi will perform a stunningly eclectic setlist of pop/funk/r&b covers from his debut LP "Down with the Flippy Floppies" but - STOP THE PRESSES - he will also premiere some ORIGINAL music. And we're not just talking about his acclaimed Dunkin Donuts "Cold Brew Jam" co-written with his comedy partner Roo McGoo. Oh no folks, Chris is breaking out into legit songwriting, and there is no turning back. Will his storytelling rival that of Taylor Swift? Or will he go down in flames? Find out when Chris hits the stage with his funky band and special guests for a wacky and wild evening.

$25-35 cover charge. $50 VIP seating. $60 premium seating. $25 food and beverage minimum.

Daniel Koek, JULY 19 AT 7PM:

Daniel Koek is an international artist who has made a name for himself in London's West End, as well as Australia and some of the greatest theaters in Europe. An evening not to be missed, Daniel's show charts his transformation from SA Opera's Young Artist 2003 to one of Australia and the UK's best leading men. A sung-through timeline of Dan's career highlighting how a country boy with a big dream made it to the top! Produced by Megan Minutillo. Music direction by Dan Mertzlufft.

Daniel will be joined by special guests Betsy Struxness (Hamilton, Matilda) and Alicia Krakauer - with additional special guests soon to be announced!

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

Meghan Murphy: THE BIG RED SHOW, JULY 19 AT 7:30PM:

Songstress powerhouse Meghan "Big Red" Murphy has taken the world by storm! Come see what all the fuss is about in an evening of songs, stories, sexiness, and sass by the diva herself! From pop to jazz, blues to folk, soul to showtunes, she'll sing 'em all and turn you into her next biggest fan! She's an old broad with a new twist. So come on down for a brassy, bawdy, boozy good time! Big voice. Big laughs. Big Red.

Joining Big Red is her long time accompanist Jimmy Morehead (Music Director of the Chicago Gay Men's Chorus; The Wiz, Theater Wit) on piano, Louis Tucci (Dear World, York Theater; A Comedy of Errors, Hartford Stage) on bass and guitar, and Jeff Roberts (Kinky Boots 1st Nat. Tour, Barrington Stage) on drums. Special guest star Michael Buchannan (The Book of Mormon 1st Nat. Tour, Broadway: The Addams Family, Crybaby) will also join.

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

Savannah Frazier WITH SPECIAL GUESTS Aaron Young AND Kyle Scatliffe, JULY 20 AT 9:30PM:

Savannah Frazier (Amazing Grace, Wonderful Town) joyously makes her Feinstein's/54 Below solo concert debut. Come see this tall, gangly ingenue joined by some of her most talented special guest friends including Broadway's JacoB Smith (Frozen; Doctor Zhivago), Aaron Young (Fiddler On The Roof) and Kyle Scatliffe (Les Mis, The Color Purple, Big River). Savannah will dazzle you with tunes ranging from the classic "Will He Like Me?" and "My White Knight" to newer work from The Bridges of Madison County and Bright Star, to the comedic landscape of Sondheim's Company. Ever-Long: Tales from a Tall Ingenue and Other Short(er) Stories is a night of comedy and heart not to be missed!

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

Samantha Barks, JULY 21-22 AT 7PM:

Samantha Barks makes her New York cabaret debut at Feinstein's/54 Below with 2 exclusive shows. After rising to fame as a contestant on BBC talent show I'd Do Anything in 2008, Samantha has wowed fans and critics alike with her stunning voice and captivating performances in film, theatre, and television. It was Barks' performance as Éponine in the West End production of Les Misérables, however, that led to her first movie credit, reprising the role in Tom Hooper's Oscar winning adaptation. Expect musical theatre classics and songs from Samantha's new album including "On My Own," "As Long as He Needs Me" and even some Disney as she makes her New York cabaret debut!

$65-75 cover charge. $85 VIP seating. $125-130 premium seating. $25 food and beverage minimum.

KATIE WELSH: THE EVOLUTION OF THE BROADWAY MUSICAL HEROINE, JULY 21 AT 9:30PM:

Katie Welsh returns to Feinstein's/54 Below in her brand new show, The Evolution of the Broadway Musical Heroine. In this evening of song, Katie travels through the decades, from the 1940s to the 2010s, on a quest to understand how Broadway's leading ladies have changed over time. For example, what makes a Rodgers & Hammerstein heroine different from a Sondheim heroine? How do our favorite female characters navigate the world of relationships in similar and different ways? Katie considers these questions as she sings songs from a range of beloved musicals, including Oklahoma!, South Pacific, Bells Are Ringing, Anyone Can Whistle, Sweet Charity, Jesus Christ Superstar, Sunday in the Park with George, Into the Woods, and many more.

$25-35 cover charge. $65 premium seating. $25 food and beverage minimum.

LADY AND THE VAMPS, JULY 22 AT 9:30PM:

Lady and the Vamps takes the stage with a "sex"tet of Manhattan's finest jazz musicians and a group of diversely talented performers for a sultry evening filled with guilty pleasures. Under the direction of Hope Echols Jarman (Vocals), and the musical direction of Yoonmi Choi (Piano), Ménage á Trios is a variety show that will keep you begging for "MORE!" Lady and the Vamps prides themselves on their technical abilities and musical versatility, breaking boundaries with their unique sound. Produced by the creative team that brought Salute the Troops to Feinstein's/54 Below last Memorial Day, Ménage à Trois will blur the lines of a promiscuous affair between colorful genres of music including sultry jazz standards like "Comes Love," to disco classics like "It's Raining Men" and chart topping hits like "That's What I Like" by Bruno Mars.

For one night only at Feinstein's/54 Below, Tommy J. Wright will host this class act extravaganza with guest performances by Cenny Ray, Julianna Ward, Danielle Summons, and Jordan Fife Hunt. We welcome you to leave your inhibitions at home for a one-night stand with Lady and the Vamps.

$25-35 cover charge. $65 premium seating. $25 food and beverage minimum.

DEMARIUS R. COPES, JULY 22 AT 11:30PM:

DeMarius R. Copes is excited to debut his solo show at Feinstein's/54 Below! Most recently seen in The Prom at ALLIANCE THEATRE, DeMarius also may be recognized as an original ensemble member of the first National Tour of Newsies. The night will be set with an eclectic mix of songs, including musical theater (Dear Evan Hansen, if you're lucky), jazz, and pop music. Laugh as he shares the most welcoming shade you've ever experienced. Smile as he takes you on a vocal journey like no other. And, of course, drink as he sings - until the bartender cuts you off - because let's face it, it's Saturday night in Manhattan with DMC!

$15 cover charge. $35 premium seating. 2 drink or $20 food and beverage minimum.

Tim Realbuto & FRIENDS SING Jeanine Tesori, JULY 23 AT 9:30PM:

Join award-winning performer/composer Tim Realbuto (The Emperor's Club; Off-Broadway's YES) as he returns to Feinstein's/54 Below for the fifth time, this time celebrating one of Broadway's greatest treasures, Tony Award-winning composer and women's history maker Jeanine Tesori. Songs from Tesori's Thoroughly Modern Millie, Fun Home, Caroline, or Change, Violet, and Shrek the Musical will come alive for one night only! Show created and conceived by Tim Realbuto. Musical direction by Julianne B. Merrill. Directed by Paul Mitchell Wilder.

Featuring Rozi Baker (Shrek the Musical, Bonnie & Clyde), Yvette Bedgood (Caroline, or Change, Freedom's Song), Grace Bennett (Dooples the musical), Nicole Corris (Forbidden Broadway: SVU), Eddie Egan (West Side Story, The Radio City Christmas Spectacular), Mallory Escott (Violet), Grace Field (After We're Gone), Jennifer Fouché (Sistas the Musical, Rock of Ages), Nick Gaswirth (The Great Comet, A Christmas Story), Jenna Leigh Green (Wicked, Sabrina The Teenage Witch), Kimberly Faye Greenberg (Danny and Sylvia, Fabulous Fanny), Teresa Hui (Candide),Mara Kaye (SpongeBob SquarePants the Musical), Erin Leddy (Ghostlight), Sarah Litzsinger (Beauty and the Beast, Amour), Katie Mack (No Filter: A Love Story), Brianna Morris (Young Frankenstein), Lieselotte Nickmans (9 to 5), Marissa O'Donnell (Shrek, Annie), Chazmond J. Peacock (Porgy and Bess, Oliver!), Tim Realbuto (Ghostlight), Kevin Riddagh (Gaybraham Lincoln: The Musical), Laurissa "Lala" Romain (South Pacific, Chris Rock's Top Five), Christina Sajous (American Idiot, Spiderman), Joshua J. Schwartz (42nd Street), Mavis Simpson-Ernst (Evita; You're A Good Man, Charlie Brown), Allison St. Rock (Wunderkind; Hair), Lauren Testerman (Love Quirks, The Black Book), Sofia Trimarchi (Fun Home), Adena Walker (Carrie), Morgan Weed (American Psycho), Paul Mitchell Wilder (City of Angels), Noah Zachary (Poster Boy, I Am Anne Hutchinson/I Am Harvey Milk), Eva Zazzali (Broadway's Next Generation, Shrek), Valentina Zazzali (Reddi High, Shrek), Mindy Cassle, MariaElisa Rosta Costa, Mary Hannah Dober, Cameron Draper, Erin Elizabeth Eichorn, Stevie Elle, Deborah Heagen, Casey Miko, Kristina Platé, Kathryn Porterfield, Jackie Reynolds, Shannon Rowland, Brianna Leigh Smail, Krystal Sobaskie, Eric Stephenson, Steve Walsh.

$25-35 cover charge. $60 premium seating. $25 food and beverage minimum.

HELLO MUDDAH, HELLO FADDUH! 25TH ANNIVERSARY REUNION CONCERT, JULY 24 AT 7PM & 9:30PM:

Share an evening of hilarity with the original cast as they celebrate the 25th Anniversary of Hello Muddah, Hello Fadduh! - the off-Broadway musical celebrating the music of comedy genius Allan Sherman. The show opened at Circle in the Square downtown in late 1992 to rave reviews and audience delight and included such classics as "One Hippopotami," "Harvey and Shelia" and the classic title song. The cast, under the musical direction of David Evans, shares the story of one 'Barry Bockman' from cradle to the grave with laughter, wit and tears. This is the ONE family reunion you don't want to miss this summer. Conceived and written by Douglas Bernstein and Rob Krausz.

FEATURING Tovah Feldshuh, Mary Testa, Jason Graae, Paul Kreppel, and Stephen Berger.

$35-45 cover charge. $75 premium seating. $25 food and beverage minimum.

Liz Callaway: THE BEAT GOES ON, JULY 25, 28, & 29 AT 7PM:

Tony nominee and Emmy Award-winning actress, singer and recording artist, Liz Callaway, returns to Feinstein's/54 Below this summer with an evening of music from the 1960s called The Beat Goes On. Featuring pop hits of the era and music from Broadway and the movies, the show also includes songs from her iconic album The Beat Goes On.

$40-50 cover charge. $80-85 premium seating. $25 food and beverage minimum.

54 SINGS PANIC! AT THE DISCO, JULY 25 AT 9:30PM:

Grab your best excessive smoky eye and join some of your Broadway faves for a moment you'll never remember, and a night you'll never forget! Audiences can expect to hear everything from the quintessential "I Write Sins Not Tragedies" and "Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off" to the more recent "Hallelujah," "This Is Gospel," "The Good, The Bad, and The Dirty," and many more. If you've ever screlted Spring Awakening alone in your bedroom, written Newsies fan fiction, or cried because American Psycho closed, this is a concert you don't want to miss! Music Directed by Eric Sorrels. Produced by Ashlee Latimer.

Featuring Nicholas Barasch, Alex Boniello, Max Chernin, Kaitlyn Frank, Kathryn Gallagher, and Natalie Walker.

$30-40 cover charge. $65 premium seating. $25 food and beverage minimum.

THE CAST OF CATS SINGS Andrew Lloyd Webber, JULY 26 AT 7PM & 9:30PM:

Jellicle cats come out tonight! Jellicle cats come one, come all! Sir Andrew Lloyd Webber is one of the most successful composers in musical theatre history - and now the first to have four shows running on Broadway at the same time. In this concert, the cast of Cats salutes the man and his music with songs from Evita, Sunset Boulevard, The Phantom of the Opera, Starlight Express, and more. Come hear a cast of "feline, fearless, faithful, and true" vocalists pay tribute to the music of the legendary composer.

Featuring Richard Todd Adams, Lili Froehlich, Francesca Granell, Jessica Hendy, Harris Milgrim, Madison Mitchell, Megan Ort, Arianna Rosario, Christine Cornish Smith, and Tanner Ray Wilson.

$35-45 cover charge. $75 premium seating. $25 food and beverage minimum.

CHEEK TO CHEEK: A BROADWAY ROMANCE WITH Tiffany Haas AND Michael McCorry Rose, JULY 27 AT 7PM:

Tiffany Haas and Michael McCorry Rose, former "Glinda" and "Fiyero" in Broadway's smash hit Wicked, return to Feinstein's/54 Below with their concert Cheek to Cheek: A Broadway Romance, a fun and flirty evening of popular Broadway love songs and the untold stories behind the composers who wrote them. Expect cherished classics from landmark songwriters: George and Ira Gershwin, Rodgers and Hammerstein, Irving Berlin, Lorenz Hart, Johnny Mercer, Stephen Sondheim, Adam Guettel, and more, including songs by some of New York's best new musical theater songwriters. Join them for an enchanted evening of romance on Broadway.

Please call 757-873-0454 for tickets. For more information please visit www.cheektocheek.info.

THREE-MAN LITTLE SHOP OF HORRORS, STARRING THE HEAVYWEIGHTS! JULY 28 AT 9:30PM:

"The Heavyweights" Jeremy Geller (The Great Blueness), Larry Owens (Spamilton), and Cole Ragsdale (Gigantic), with special guest TBA, premiere their madcap, rambunctious, three man concert of Little Shop of Horrors! These comedic and vocal powerhouses will show you that it doesn't matter what you look like to get the girl, wish the grass was greener, fight the monster, or fall in love. Try not to blink...these three play every role and switch characters almost every scene! Featuring "Somewhere That's Green," "Feed Me (Git It)," and "Suddenly, Seymour" by Howard Ashman and Alan Menken. This is the Little Shop of Horrors you know and love, but turned on its head!

$30-40 cover charge. $70 premium seating. $25 food and beverage minimum.

MUSEMATCH 10.0, JULY 28 AT 11:30PM:

MuseMatch is a "Musical Theater Blind Date" where composers are paired with singers they don't know and asked to share themselves authentically leading to daring, bold new material. Music Directed by Nathan Dame. Produced by Scott Guthrie and Bill Coyne.

Featuring Emily Gardner Hall & Michael Deleget, Devin Ilaw & Spencer Robelen, Badia Farha & Emily Rose, Lauren Blackman & Dylan Marcaurele & Mike Ross, David Alan Thornton & Angela Sclafani, Taylor Iman Jones & Brett Macias, Bryant Martin & Ryan Kelly Berkowitz, Angel Reda & BRandon Lowden, Joanna Burns & Jessica Hendy, Brenna Yeary & James Stewart, Caitlin Lee Reid & Andrew Hanley, and Jamal Crowelle & Ilene Reid with Michael Heitzman.

$20 cover charge. $45 premium seating. 2 drink or $20 food and beverage minimum.

BROADWAY BY THE TEAR: BROADWAY'S GREAT TORCH SONGS & TEAR JERKERS, JULY 29 AT 9:30PM:

There is nothing like a great torch song. The reason: we've all been there! We know what those emotions feel like, and Broadway's grea

          Estimating the equilibrium real interest rate   

The equilibrium real funds rate: Past, present and future

James Hamilton, Ethan Harris, Jan Hatzius, Kenneth West 15 November 2015

Are low real interest rates in the US here to stay? Or will the long-delayed,­ but presumably upcoming round of nominal rate hikes lead to real interest rates comparable to those that prevailed prior to the Great Recession?

There seems to be a consensus that we are heading towards a new world where the equilibrium – or long-run – value of the safe real interest rate will be lower than was conventionally thought to be normal. The Federal Open Market’s Summary of Economic Projections provides a baseline for conventional values. In December 2012, across the members of the Federal Open Market’s Summary, the median ‘longer-run’ forecast for the nominal Federal funds rate was 4%, for inflation it was 2% The implied safe real rate is thus 2%.

By contrast, Summers (2013) says that we may need to “think about how we manage an economy in which the zero nominal interest rate is... chronic”. Financial markets agree that typical rates have fallen. As of this writing, Federal funds futures over the next three years peak at about 1.5%. And in September 2015, in the Fed’s most recent Summary of Economic Projections, the median longer-run forecast for the Federal funds rate fell slightly to 3.5%. With an inflation forecast of 2%, all three sources quoted suggest a steady state real rate that is spectacular, either notably (Fed funds futures) or modestly (Summary of Economic Projections) below the 2% value that once was conventional wisdom.

Using reduced form evidence, we argue that it would be foolish to attempt to pin down a precise value for the steady state real rate. This rate is highly uncertain.  It is also highly variable.  Presumed constancy at 2% or any other value was a fiction even prior to the Great Recession. In addition, the steady state real rate is influenced by many variables.

In our view, a plausible range for the steady state real rate is wide, from a little above zero to a little below 2%.1

Determinants of the steady state real rate

An influential literature has zeroed in on growth in potential output or productivity as a prime determinant of the equilibrium rate.2 Unfortunately, the link does not seem to be present in the data, at least not in a clear or even moderately supportive way. Using rolling averages as a measure of steady state values, we find that the correlation between steady state output growth and steady state real rate is numerically small, with a sign that is sensitive to the exact sample used. This applies to averages over business cycles in the US going back to 1869 and to cross-data as well.

Here is one illustration: for the most recent seven business cycles in the US, Figure 1 plots peak to peak values of average GDP growth and of the average ex ante real rate of interest.3 To understand the figure, consider the dot corresponding to the peak in 1980:1. In the 25 quarters between the previous peak in 1973:4 and the 1980:1 peak, GDP growth averaged 2.8% and the real interest rate averaged 0.7%. Other dots are interpreted similarly.

Figure 1. Peak-to-peak average real GDP growth versus average r, quarterly data, 1969:4-2007:4

It is manifest that the link between steady state output growth and the steady state real rate is noisy. Clearly peak-to-peak GDP growth of approximately 3% can be associated with a wide range of peak-to-peak average values of the ex ante real rate – 0.7 % (1980:1), 2.9 % (2001:1) and 5.0% (1990:3). Clearly the correlation is negative (at -0.4, it so happens), rather than positive as suggested by theory. Just as clearly, dropping the 1981:3 peak would turn the correlation positive (+0.3).

We do not doubt that lower safe real rates are associated with higher spending and thus higher output, and vice versa for higher safe real rates. But that association is mediated by a host of factors, so much so that a simple bivariate relationship seems to be more noise than signal over periods as long as a business cycle. For example, the high (4.9%) average value for the real rate in the 1981:3-1990:1 cycle can be attributed in part to the overhang of high inflation from the 1970s. Investors demanded high insurance against inflation taking off again. Over time, that concern about a resurgence of inflation abated, contributing to the fall in the average value of the real rate to 2.9% in the 1990:1-2001:1 cycle. During these and other episodes, trends in inflation, time varying volatility, financial frictions, incomplete markets, heterogeneous agents, bubbles and other factors contributed substantially to the value of the steady state real rate.

The post-war average value of the ex ante real rate is 1.95%. As well, in episodes in which the rate was low, it stayed low temporarily. For example, in the cycle that ended in 2007:4, the ex ante real rate was at or below 0.3% for nearly four years (2001:4-2005:3), and below zero for over two years (2002:4-2005:1). It subsequently peaked at 3.1% in 2006:4. Hence there is evidence that mean reversion has acted as a powerful force. We are doubtful that secular stagnation looms as a force to overrule mean reversion. The possibility of such mean reversion accounts for the upper end of our 0-2% range for a possible value for the steady state rate.

Long-run tendencies of the real rate

The lower end of our 0-2% range results from a dramatically different tack. First, we look to long-term annual data. Second, we model the real rate as non-stationary. Third, we compute the steady state as an explicit time series forecast. We do so in a bivariate error correction model in which the US ex ante rate is co-integrated with a measure of the long-run, or steady state, world rate. In a given year, the world steady state rate is the median, across the 17 countries, of country-specific steady state rates. Country specific steady state rates are computed from rolling 30-year samples.

Figure 2 plots the US rate and the long-run world rate.  One can see that the annual ex ante real rate is highly variable. In the last century, this rate has shown long secular swings, going down roughly from the end for World War I to the late 1940s, up from the late 1940s to the late 1970s, and down from the late 1970s to the present. In the estimates of the error correction model, we find that if the US rate is (say) 1% below the world rate, then all else equal, we expect the US rate to move 40 basis points closer to the world rate in the next year.4 Peculiarly, there is little evidence of a symmetric effect for the long-run world rate to be pulled to the US rate. In the equation for the long-run world rate, the parallel movement is 2 rather than 40 basis points. In any event, the fit is noisy. In the equation for the US rate, the standard deviation of the residual is 260 basis points: despite co-integration, in any given year, substantial divergence between US and world rate is possible.

Figure 2. Long-run world real rate (lt' in blue) and U.S. ex-ante real rate (rUS,t' in black)

Figure 3 plots a forecast for the US rate and the long-run world rate. The forecast for the US rate asymptotes at about 0.4%, with a huge confidence interval. This 0.4% figure rationalises the lower end of our 0%-2% plausible range.

Figure 3. Forecasts for US and long-run world real rates along with 90% confidence intervals for the latter.

Monetary policy implications

All our evidence – from mean reversion or from unit roots, from narrative evidence or from formal regressions – indicates considerable uncertainty about the steady state real rate. Using a small scale New Keynesian model, Orphanides and Williams (2003) argue that uncertainty about exact value of the equilibrium rate will lead a policymaker to move interest rates more slowly than she would in the absence of such uncertainty.

We have evaluated this proposition with the Fed’s ‘FRB/US’ model (the US Federal Reserve Board model), using data that ended in 2014:4. We take data from the December 2014 Survey of Economic Projections as a baseline path for the Federal funds rate and inflation. We assume that policymakers recognise that the actual path may be above or below the baseline. We find that such uncertainty about the future real rate leads to more inertial policy. Lift-off is delayed, and there is a steeper path once rates are raised (see Figure 4).

Figure 4. Alternative funds rate paths

Conclusion

There is much uncertainty about the steady state, or equilibrium, real rate. This rate varies considerably over time. Its determinants are manifold and time-varying, with the effects of trend output growth generally dominated by those of other factors.  Looking forward, a plausible range for the equilibrium rate is wide, perhaps ranging from a little above zero up to 2%. The lower end is consistent with a view that the rate is trendy, or unit root like. The upper end is consistent with the view that the rate will mean revert to its traditional level.

References

Hamilton, J D, E S Harris, J Hatzius and K D West (2015), “The Equilibrium Real Funds Rate: Past, Present and Future” ,Proceedings of the US Monetary Policy Forum.

Laubach, T and J C Williams (2003), “Measuring the Natural Rate of Interest”, The Review of Economics and Statistics 85(4): 1063-1070

Orphanides, A and J C Williams, (2002), “Robust Monetary Policy Rules with Unknown Natural Rates”, Brookings Papers on Economic Activity 2002(2): 63-145.

Summers, L (2013), “Larry Summers Remarks at IMF Annual Research Conference”, available at https://www.facebook.com/notes/randy-fellmy/transcript-of-larry-summers-speech-at-the-imf-economic-forum-nov-8-2013/585630634864563.

Footnotes

1 Details on the discussion below may be found in Hamilton et al. (2015).

2 For example, Laubach and Williams (2003).

3 The ex-ante rate was computed from Federal funds and a forecast of inflation computed from rolling auto-regressions in GDP inflation.

4 For this and other numbers in this paragraph, see equations (5.4) and (5.5) and associated discussion in Hamilton et al. (2015).

Topics:  Macroeconomic policy

Tags:  interest rates, Fed, Federal Reserve


          Search for yield   

Search for yield

David Martinez-Miera, Rafael Repullo 12 October 2015

The 2015 Annual Report of the Bank for International Settlements opened with the following sentence: “Globally, interest rates have been extraordinarily low for an exceptionally long time, in nominal and inflation-adjusted terms, against any benchmark”, adding that “[s]uch low rates are the most remarkable symptom of a broader malaise in the global economy… which has proved exceedingly difficult to understand”. In particular, the report argues that the malaise “reflects to a considerable extent the failure to come to grips with financial booms and busts that leave deep and enduring economic scars”.

Our recent paper (Martinez-Miera and Repullo 2015) tries to face up to the challenge of providing a theoretical model of the connection between real interest rates, credit spreads, and the structure and the risk of the banking system. Specifically, we show how an increase in aggregate savings leads to a reduction in interest rates and spreads, inducing financial intermediaries to search for yield, which ultimately leads to financial instability.

We characterise the endogenous structure of a competitive financial system in which both shadow and traditional banks emerge in equilibrium. We also provide a framework for understanding the emergence of endogenous boom and bust cycles, as well as the procyclical nature of the shadow banking system, the existence of countercyclical risk premia, and the low levels of interest rates and spreads leading to the build-up of risks during booms. Our findings provide a consistent explanation for a number of stylised facts of the period preceding the 2007-2009 financial crisis (see Brunnermeier 2009 for a recollection of some of these facts).

Interest rate spreads and financial sector structure

To analyse the links between aggregate savings, interest rates and financial instability, we focus on the role of banks as intermediaries between entrepreneurs, who need funds for their investment projects, and (uninsured) investors. Banks can monitor entrepreneurs’ projects, which reduces their probability of default but entails a cost for the banks. We assume that monitoring is not contractible, so there is a moral hazard problem, which is the key informational friction driving our results. We show that there are circumstances in which banks choose not to monitor entrepreneurs and others in which they do choose to monitor them. We associate the first case to (shadow) banks that originate-to-distribute, and the second case to (traditional) banks that originate-to-hold.

Our (partial equilibrium) results show that which case obtains depends on the spread between the lending rate and the expected return required by the investors, which under risk-neutrality equals the safe rate. In particular, a reduction in this spread reduces monitoring, and makes it more likely that banks will find it optimal to originate-to-distribute.

To endogenise interest rates and interest rate spreads, we embed our model of bank finance into a general equilibrium setup in which a large set of heterogeneous entrepreneurs that differ in their observable risk type seek finance for their investment projects from a competitive banking sector. We assume that the higher the total investment in projects of a particular risk type, the lower the return, and characterise the equilibrium for a fixed aggregate supply of savings. We show that safer entrepreneurs will borrow from shadow banks while riskier entrepreneurs will borrow from traditional banks.

Aggregate savings and financial instability

To assess whether a global savings glut may have an impact on financial stability, we investigate the effects of an exogenous increase in the aggregate supply of savings. We show that a global savings glut (to use the terminology of Bernanke 2005) leads to a reduction in interest rates and interest rate spreads, an increase in investment and in the size of banks’ lending to all types of entrepreneurs, an expansion of the relative size of the shadow banking system, and a reduction in the monitoring intensity and hence an increase in the probability of failure of the traditional banks. Hence, we have a model that links aggregate savings with the structure and the risk of the banking system.

Although we focus on the effects of an exogenous increase in the supply of savings, the same effects obtain when there is an exogenous decrease in the demand for investment, due for example to a negative productivity shock. Thus, the model provides an explanation of the way in which changes leading to a reduction in the equilibrium real rate of interest, as those noted by Summers (2014), can be linked to an increase in financial instability.

A first extension of our results shows that the effect of a savings glut on financial stability critically depends on the increase in the size of the traditional banks. When banks that originate-to-hold cannot increase their balance sheets, there will be a greater increase in the size of the shadow banking system, a greater reduction in the safe rate, and wider spreads for the traditional banks, so they will become safer. But as soon as these banks are able to relax the constraint, they will become riskier. This result allows us to distinguish between the short- and the long-run effects of a savings glut, and provides a rationale for the idea that the build-up of risks happens when (real) interest rates are ‘too low for too long’.

A second extension deals with the case where investors are risk averse. We show that a reduction in risk aversion has similar effects as a savings glut except for the level of the safe rate, which goes up instead of down, due to the shift in investment toward riskier entrepreneurs that reduces the funds available for safer ones. This provides a simple way to empirically distinguish a savings glut from a reduction in investors’ risk appetite.

Endogenous booms and busts

Finally, we extend our model to a dynamic setting in which the aggregate supply of savings is endogenous. Specifically, the supply of savings at any date is the outcome of agents’ decisions at the previous date together with the realisation of a systematic risk factor that affects the return of entrepreneurs’ projects. For good realisations of the risk factor, aggregate savings will accumulate (the boom state) leading to lower interest rates and spreads, which translate into higher risk-taking. In this situation the economy is especially vulnerable to a bad realisation of the risk factor, which can lead to a crisis (the bust state). The associated reduction in aggregate savings leads to higher interest rates and spreads, which translate into lower risk-taking and a safer financial system. Then savings will grow, restarting the process that leads to another boom and a fragile financial system. In this manner, we can generate endogenous boom and bust cycles.

The dynamic model yields other interesting testable results. First, interest rates and interest rate spreads are countercyclical. Second, during booms the safe rate may be below investors’ subjective discount rate, and it may even be negative. Third, the shadow banking system is highly procyclical. Fourth, even when investors are risk neutral, they behave as if they were risk averse, so risky assets have positive risk premia. Fifth, even when investors’ preferences do not change over time, such risk premia are countercyclical.

Conclusion

Summing up, our research addresses a challenging issue, namely to provide an explanation for the connection between interest rates and financial stability. Specifically, our results rationalise the links between a global savings glut, the low level of real interest rates, and the incentives to search for yield by financial intermediaries. Moreover, the results provide a rationale for a number of empirical facts in the run-up of the 2007-2009 financial crisis.

It should be noted that we abstract from any kind of nominal frictions, which is why monetary policy is absent from our model of search for yield. Introducing nominal frictions would allow studying the connection between monetary policy and financial stability, a topic that merits further research.

References

Bank for International Settlements (2015), 85th Annual Report, Basel.

Bernanke, B (2005), “The Global Saving Glut and the U.S. Current Account Deficit”, Sandridge Lecture, Virginia Association of Economists, Richmond, Virginia.

Brunnermeier, M (2009), “Deciphering the Liquidity and Credit Crunch 2007-2009”, Journal of Economic Perspectives 23: 77-100.

Martinez-Miera, D, and R Repullo (2015), “Search for Yield”, CEPR Discussion Paper No. 10830.

Rajan, R (2005), “Has Financial Development Made the World Riskier?”, Proceedings of the Jackson Hole Conference organized by the Federal Reserve Bank of Kansas City.

Summers, L (2014), “US Economic Prospects: Secular Stagnation, Hysteresis, and the Zero Lower Bound”, Business Economics 49: 65-73.

Topics:  Macroeconomic policy

Tags:  yield, interest rates, Fed, Bank of England


          Irmãos Gémeos “Les Twins” Arrasam Em Atuação No World of Dance 2017   

Os irmãos gémeos Laurent e Larry, mas conhecidos como Les Twins, estão de volta com mais um grande vídeo. Desta vez, com a fantástica performance no World of Dance 2017, onde a dupla não deixou os créditos por mãos alheias. Simplesmente brutal….

O post Irmãos Gémeos “Les Twins” Arrasam Em Atuação No World of Dance 2017 aparece primeiro no .


          WCSC 2017   
...
IT
Ubaldo Andrea Farina
Deep Shredder
DE
Stefan Meyer-Kahlen

Jonny
DE
...
Don Dailey, Larry Kaufman, Mark Lefler
Erdogan Günes (book, operator)
Shredder
DE
Stefan Meyer-Kahlen

The Baron
NL
...
Jonny - The Baron
{WCSC2017_R1_Jonny-TheBaron.JPG}
...
in Jonny -vs The Baron
[Event "WCSC 2017"]
[Site "Leiden"]
...
41.Bd1 Rxd1+ 42.Ke2 Rd3 43.Qb5 Rxe3+ 44.fxe3 Qd6 45.Qb1 c3 46.Qa2 Qd7 47.Qc2 Qb5+ 48.Ke1
Qb2 49.Kd1 Qxa3 50.Ke2 Qb2 51.Kd3 Nd5 52.Qxb2 cxb2 53.Kc2 Nxe3+ 0-1
Round 2
{WCSC2017_R2_Komodo-Jonny.JPG}
Short book line in Komodo vs Jonny which ended in a draw

Round 4
{WCSC2017_R4.JPG}
...
for Computerschaak
Ziggurat vs Chess Ebiz 9 1-0, Komodo vs Shredder and Chiron vs Jonny drew their games

Publications
The Board of the ICGA (2017). Five ICGA Events in Leiden, the Netherlands: July, 2017. ICGA Journal, Vol. 39, No. 1

          David Paulino suspended 80 games after testing positive for PEDs   
With a number of key starters already on the disabled list, the Houston Astros now find themselves down another. Jon Morosi of MLB Network reports on Saturday that Astros right-hander David Paulino has been suspended for 80 games after testing positive for Boldenone, a performance-enhancing drug. #Astros pitcher David Paulino suspended 80 games after testing...Read More
          Joel Embiid tweets love to Bryan Colangelo after JJ Redick signing   
Joel Embiid finally appears to be buying into Sam Hinkie’s successor. After his Philadelphia 76ers reached an agreement with veteran sharpshooter J.J. Redick on Saturday, Embiid sent a tweet with the hashtag #TrustBC, a nod to Sixers general manager Bryan Colangelo. Trust The Process….. Guys it's happening #TrustBC — Joel Embiid (@JoelEmbiid) July 1, 2017...Read More
          Matt Bush loses closer role, Rangers will use committee   
The Texas Rangers continue to be unsettled by a struggling bullpen, and they’re once again making a change at closer. Manager Jeff Banister said Saturday that the team was removing Matt Bush from the closer’s role and going with a “no roles bullpen” for the foreseeable future. Matt Bush won't be the #Rangers closer today...Read More
          John Farrell skipped Red Sox game on Saturday to watch son make MLB debut   
John Farrell the Skipper is giving way to John Farrell the Father for a day. The Boston Red Sox manager skipped the team’s game against the Toronto Blue Jays on Saturday to watch his son Luke, a pitcher for the Royals, make his MLB debut against the Minnesota Twins in Kansas City. “You get to...Read More
          JJ Redick reportedly headed to Sixers on one-year deal   
The Process continues to push further toward completion in Philadelphia. The 76ers are reportedly signing J.J. Redick to a one-year deal, according to Adrian Wojarowski of ESPN. JJ Redick has agreed to a one-year, $23 million deal with the 76ers, league sources tell ESPN. — Adrian Wojnarowski (@wojespn) July 1, 2017 Redick all but confirmed...Read More
          Andre Iguodala reportedly cancels remaining free agent meetings   
Andre Iguodala appears to have narrowed down his free agency choices. The Vertical’s Shams Charania reports that Iguodala has canceled the remainder of his free agent meetings: Andre Iguodala has canceled the remainder of his free agency meetings, league sources tell The Vertical. — Shams Charania (@ShamsCharania) July 1, 2017 This news comes after Iguodala...Read More
          Yankees videochatted with Dustin Fowler after his surgery   
The New York Yankees are keeping Dustin Fowler in mind following the rookie’s unfortunate turn of events. Fowler made his MLB debut on Thursday night and suffered a horrific knee injury crashing into a fence in his first career MLB game. He ended up with a ruptured right patellar tendon — an injury that required...Read More
          Did Pacers take less to keep Paul George out of East?   
The return package the Indiana Pacers finally got in exchange for Paul George was quite underwhelming, but some ulterior motives may have been behind it. On Saturday, ESPN’s Jeff Goodman cited a number of NBA executives who believe that Pacers president Kevin Pritchard was “just too hell-bent” on keeping George out of the Eastern Conference...Read More
          Six NBA teams that need to make big moves in free agency   
As free agency gets underway, teams are formulating their strategies and considering the feasibility of the big moves they want to make. Some teams will lurk in the background, focusing on smaller moves to augment their rosters. There are a handful of teams, however, with both the means and the reasons to make potentially seismic...Read More
          Isaiah Thomas to join Celtics for meeting with Gordon Hayward   
The Boston Celtics will be pulling out all the stops in an effort to impress free agent Gordon Hayward. Even team point guard Isaiah Thomas will be heading to Boston to join the meeting. The Boston Globe’s Adam Himmelsbach reports the news about Thomas joining the meeting: According to a league source, Celtics point guard...Read More
          Kevin Wells "Little Acts Of Treason" (1985) -AOR-   


Label : Sunset Dreams Records


01 - I'm Still Waiting (Kevin Wells)
02 - Stronger Than The City (John McFee)
03 - Agony And Ecstacy (Kevin Wells & André Pessis)
04 - Never Too Late (Kevin Wells, John Main, André Pessis & Matthew Wilder)
05 - Nightlife (Kevin Wells & André Pessis)
06 - Out Of My Hands (Kevin Wells)
07 - Time Heals (Kevin Wells & André Pessis)
08 - Love Is On The Line (Kevin Wells)
09 - Talk To Me (Kevin Wells & André Pessis)


Produced by Peter Bunetta & Rick Chudacoff
Executive Producer : Shingo Take for Whiteboard Inc.
All Songs Recorded & Mixed at Conway Studio by Csaba Petocz except "Talk To Me" & "I'm Still Waiting" Recorded by Steve Zaretsky
Production Manager : Al Bunetta
Production Assistant ; Joanne Amador & Dan Einstein
Assistant Engineers : Jeff Stebbins & Rick Clifford
Additional Recording at Alpha Studio
Engineer : Gary Brandts
Red Wing Studio /Assistant George Deering
Mastered at Bernie Grundman Mastering

Musicians :
Kevin Wells : Lead vocals, Keyboards & Drums
Dann Huff : Guitars
John McFee : Guitars & Bass
Brian Ray : Guitars
Rick Chudacoff : Bass
Roger Freeland : Bass
John Main : Bass
Kerry Hatch : Bass
Bill Cuomo : Keyboards
Richard Gibbs : Keyboards
Bill Elliott : Keyboards & Piano
Vinnie Colaiuta : Drums
Peter Bunetta : Drums
Jim Photoglo : Backing vocals
Matthew Wilder : Backing vocals
Leslie Smith : Backing vocals
Joe Turano : Backing vocals
Hamish Stuart : Backing vocals
Larry Hoppen : Backing vocals
Annie Stocking : Backing vocals
          Firefighters' Parade to open 51st annual G'hog Fest   

A summertime tradition returns this year to Punxsutawney following a two-year absence, as the Punxsutawney Firefighters' Old Home Week Parade will kick off at 4 p.m. Saturday on West Mahoning Street in Punxsutawney.


          Training Camp Update Three - Broncos prepare for Bears   
Another three days of training camp are in the books, as well as the annual scrimmage at Mile High report. And now the first preseason game is drawing near. The Broncos play the Bears on Thursday night. But first notes from camp...

Day Eight
Thursday morning’s practice was once again open to the public, and fans showed up in record number — the 5,034 in attendance set another Dove Valley record. It’s the third time an attendance record has been broken during this year’s training camp, and the fans in attendance certainly got a show.

Injuries/Absences:
Yesterday, Head Coach John Fox reported that wide receiver Eric Decker had a groin strain. On Thursday, Decker was back on the field in full pads.

Missing from practice were safety Quinton Carter (hamstring and knee) and wide receivers D’Andre Goodwin (foot) and Greg Orton (ankle). Wide receiver Tyler Grisham (knee), running back Ronnie Hillman (hamstring) and tackle Orlando Franklin (concussion) were all on the practice field wearing shorts, but did not participate.

Newly signed wide receiver Cameron Kenney, wearing No. 19, participated in his first practice.

Quick Hits and Playmakers:
There were plenty of playmakers during Thursday’s session, but we’ll start with Thomas. In the first team drill of the morning, Thomas caught a Manning pass on the sideline while on his knees. The very next play was another connection from Manning to Thomas on the sideline. This time, Thomas was on his feet, and he quickly used them to juke a defender and then stiff-arm another to the ground en route to what would have been a long touchdown.

In the next team drill, Manning and Thomas were at it again. After taking the snap, Manning dropped back and fired a pass deep down the middle of the field for Thomas. Safety Rahim Moore was right there in coverage and cornerback Drayton Florence was closing fast, but Thomas leaped up and over Moore to bring down the ball, running the rest of the way for the score. When he got to the back of the end zone, Thomas high-fived a group of young fans. On his way back to the sideline, he was met by cornerback Champ Bailey for another five, and Manning congratulated the receiver with a helmet tap on the sideline.

Defensive end Elvis Dumervil had a "sack" on Manning during team drills, but the play was allowed to continue and Manning still let a pass fly toward Thomas, but Bailey was in tight coverage and forced the incompletion.

Quarterback Adam Weber made his reps count on Thursday, first lofting a deep pass through coverage into the waiting hands of wide receiver Gerell Robinson for a big gain. At the very end of practice during a red-zone drill, Weber found a leaping Joel Dreessen in the back corner of the end zone for a touchdown that drew cheers from both the crowd and the offense.

Running back Xavier Omon had a highlight of his own early in team drills, running through two tackles and spinning out of another for a long gain that got the crowd riled up.

Referees watched Thursday’s morning session, signaling when players scored touchdowns and even throwing an occasional flag.

Defensive end Jason Hunter got reps with the first-unit D-line for the second straight practice. Defensive tackle Justin Bannan was also back with the ones, alongside fellow defensive tackle Ty Warren.

As a whole, the offensive line seemed to win Thursday’s one-on-one session against the defensive line, but defensive end Ben Garland still managed a big highlight for the D. He bullied his way past rookie guard/center Philip Blake into the backfield, drawing praise from his defensive teammates.

Video One

Video Two

Photos

Day Nine
Friday’s practice was highlighted by a number of big plays on both sides of the ball. Wide receiver Demaryius Thomas continued to get into a rhythm with quarterback Peyton Manning, but in his battle with veteran cornerback Champ Bailey, both players got the best of each other at least once.

Injuries/Absences:
Safety Quinton Carter (hamstring and knee), wide receivers Tyler Grisham (knee) and Greg Orton (ankle), running back Ronnie Hillman (hamstring) and tackle Orlando Franklin (concussion) did not practice Friday.

Head Coach John Fox said that Franklin has been cleared by team doctors.

"We’ll use him sparingly tomorrow," Fox said.

Defensive tackle Justin Bannan left practice early due to a calf injury.

Quick Hits and Playmakers:
In seven-on-seven’s, Bailey jumped up to knock the ball away from Thomas, tipping it into the air. It nearly led to an interception for safety Mike Adams, but he was unable to corral the deflection before it hit the ground.

Bailey also made a nice play in coverage on wide receiver Eric Decker, slapping the ball out of Decker’s hands to prevent a sideline reception.

Later in seven-on-seven’s, Thomas again found himself covered by Bailey, but this time, Thomas hung on for the catch despite a diving effort by Bailey.

Also during team drills, Weber connected with wide receiver Gerell Robinson, who made a quick grab while reaching over his head on the run. Weber quickly went right back to him on the following play, but the two were unable to make it back-to-back completions because cornerback Joshua Moore was able to break up the pass.

A pass near the goal line was deflected by cornerback Chris Harris, but the offense caught a break when tight end Jacob Tamme was able to make the catch anyway in the back of the end zone for a touchdown.

Cornerbacks Drayton Florence, Syd’Quan Thompson and Omar Bolden all had pass breakups in the drill. Bolden’s involved the rookie leaping to swat away a pass intended for Gerell Robinson at the last moment. "Nice job, Omar!" Secondary Coach Ron Milus shouted. "Good play, Omar!"

Friday’s practice saw some chippiness between the offensive and defensive lines. Defensive end Jason Hunter, who has been practicing with the first-team D-line, got into a few shoving matches with offensive linemen during both the line drills and full-team drills. He ended up with his helmet off after one play, and Wesley Woodyard came over to help calm him down. Meanwhile, behind the play, linebacker Von Miller was dancing in what looked to be an effort to cool some of the tension between the lines.

Executive Vice President of Football Operations John Elway watched parts of practice alongside Coach Fox.

A handful of Broncos alumni, including Billy Thompson and Larry Brunson, watched practice from the sideline. A number of University of Colorado and University of Wyoming football coaches took in the session as well. Former Broncos safety Renaldo Hill, now a coach at Wyoming, was at practice.

Video One

Photos

Day 10 - Scrimmage

Live Blog from the Scrimmage

Broncos set Attendance Record

Mario Fannin was injured during the scrimmage. He tore his Achilles. Fannin will have to undergo his second season ending surgery for the second straight year. Fannin Injured

Pictures of the Scrimmage

Article from the scrimmage

DB.com Scrimmage Photos

Broncos Vs Bears Preview


The Broncos first game of the 2012 season and their first preseason game is against the Bears. But the game and result are not overly important. A win is nice but what we are looking for is the play of our players. The fringe guys and players fighting for a roster spot. Here are some position battles to take notice of during the game.

Also of interest is to take note of the depth chart and where guys are playing. First, Second or Third string.

Quarterback
The number two Quarterback spot is up for grabs. By all accounts Hanie hasn't been playing as well as the other two. Let's see if he can do something.

Runningback
With Fannin injured who will step up and take the positions available behind McGahee. Hillman will probably be held out with his hamstring injury. Meaning Moreno, Omon, Johnson and Ball have to step up and take it to the next level.

Wide Receiver
The fourth and fifth spot is up for grabs. Stokley and Ninja Willis have the inside track but I have heard good things about Gerell Robinson.

Offensive Line
The right tackle position seems to be the only position up for grabs with Franklin out. Can Ryan Harris step it up and push the subject to the coaches?

Tight End
Will Green or Thomas show us anything?

Defensive Tackle
Who is going to win a spot. Unrein and Siliga are the ones that need to have good games.

Defensive End
For me this is all about Hunter Vs Ayers. Who wants that starting spot more? Plus we get our first look at Garland.

Cornerback
That fifth and maybe sixth spot are there for the taking. Watch for Squid to have a big game.

Well enjoy the first Broncos game, I know I will ~ Aussie.
          Re: 3 Strange Startup Ideas   

Regarding idea #2, interactive fiction game SDK for the web: are you referring to the classic adventure games of the DOS days like King's Quest, Monkey Island, and Leisure Suit Larry? I was a huge fan of point-n-click adventure games, but I have a hard time believing they'd make a come-back in today's gaming age, with such a large emphasis on 3D and multiplayer. I think it's a great idea, but will it be adopted, or does this gaming genre need something even bigger to see a come-back in the near future?


          Comment on California’s Gun Control Efforts Suffer Two Legal Setbacks by LarryMH47   
One problem. Guns don't cause 'gun violence'. Bad people do.
          Batman V Superman Cinematographer Shares IMAX Test Images   
Batman V Superman Ben Affleck Bruce Wayne Fight Poster
Batman V Superman: Dawn of Justice cinematographer Larry Fong reveals some never before seen images from the IMAX camera test.
          Nothing to Hide   

This article supplements Slate’s Conspiracy Thrillers Movie Club. To learn more and to join, visit Slate.com/thrillers.

Most generally but most straightforwardly, surveillance narratives relying heavily on satellite and GPS imagery indicate the place surveillance technologies have come to hold in the formations of geopolitics, particularly through the integration of system and subject. This integration can be traced directly to the manner in which surveillance is incorporated into a film’s storyline, but, perhaps more importantly, also to its increasingly privileged place as an aspect of cinematic continuity systems. What one finds in films that incorporate locative technology and satellite imaging is that both systems serve dual and interrelated purposes: to visually establish an individual subject from a great distance, and to find a technological means within the narrative for motivating crosscutting between shots that construct elaborate plot connections between spaces, people, events, and actions. Whether they include a liberal surface critique of surveillance in their narrative, or unabashedly celebrate the spectacle of global surveillance, such films work to legitimize that caricatured element of the “world image.”

There are myriad examples: In the seminal example of such films, Enemy of the State, the numerous shots coded as satellite images, targeting the protagonist from high above, visually situate him in a variety of complex urban spaces. These shots are then “put into play” as they are crosscut with shots of the satellites themselves in orbit, the satellite operation center, and other figures in the political drama that unfolds.

GPS imaging, a digitally animated rendering of a figure in a given space enabled by satellite locative technologies, serves a similar purpose in these narratives, and is used both alongside and interchangeably with satellite photography. The image, though this time arguably more mediated by digital animation than photographic images, is designed to show a point on a map from above. These data visualizations appear in the same cinematic genre and with an almost identical narrative function as the satellite photography—to visually pinpoint a singular figure within a broad narrative and visual context—and thus GPS also provides a tie between the general and the particular, an individual body and a system. Satellite and GPS images often serve the function of establishing shots, providing the context for the individual storylines that will develop either within the entire film, or within the scene that shot is establishing. Here, however, the establishing shot is a continuous presence, insistently tying the individual’s image and action to its context—a context that includes not just the space the satellite provides an image of, but the space that includes the satellite—a world system in which satellite technologies have an integral part, both symbolic and literal. The cinematic satellite image is, like many surveillance moments within these narratives, a type of point-of-view shot—an image that, insofar as it is highlighted as a technologized vision set apart from the other cinematic images, insistently refers back to itself as much as it refers to the objects it provides images of.

The satellite and GPS images within these films also clearly function as a narrative device, a technique that motivates crosscutting or establishes other cinematic forms of narrative connectivity. The satellite or GPS image almost never exists as a signifying image in and of itself; instead it is used as a mode of producing narrative relationality across very broad fields, and almost inevitably, in a manner that highlights the individual as a geopolitical subject. Most frequently and simply, this will take the form of a chase scene, in which we see not only what is happening on the ground but also the third and broader term in the chase—the larger agency monitoring and directing the chase through satellite and GPS, an agency that represents the broader political context of the smaller, individual actions below. Within these scenes, the surveillant image and the surveilling agency are frequently the narrative touchstone, the fulcrum of the scene, as much if not more than the protagonist (who is rarely aligned with the surveillant gaze) and in this way, we see the further invitation to the film’s spectators to identify themselves with both the system of surveillance and a globalizing visual logic, even as they are also identified with a character subjected to that system.

The fact that the great majority of scenes utilizing satellite and GPS are chase scenes that culminate in destruction and often death (though rarely of the protagonist) is crucial to understanding exactly what kind of global system this is: All the films use surveillance technology that visualizes “location” in such a way that it serves as a narrative and stylistic pivot that constructs relationships among individual bodies, inter- and transnational spaces, and broad global systems through economies of violence. The agency and world citizenship of the protagonists of current political action-thrillers is offered only in relation to a violent targeting, even as they gain increased value within a larger symbolic economy of “global” politics. The frequent result is that these films follow both a narrative and spatial trajectory that frequently establishes Americans as geopolitical subjects through monitored immersion in globalized urban locations.

Enemy of the State, as suggested above, has come to serve as the model for more recent films that incorporate satellite imaging as an integral part of the narrative, and Tony Scott (before his suicide in 2012) was becoming somewhat of a surveillance auteur, continuing these themes and aesthetics in the 2006 action-sci-fi-terrorism-thriller Déjà vu. Enemy of the State tells the fictionalized story of the political intrigue surrounding a bill that allows the U.S. government broad powers of surveillance, pitting corrupt National Security Agency leadership against resistant members of Congress and unwitting citizens. The political tale is told through the filter of one of these citizens, a labor attorney played by Will Smith. With the casting of Smith, Enemy of the State establishes itself as an action-based political film with a personality-based narrative, even before the narrative unfolds. While it is “set” entirely within the U.S., both the political stakes around national security and the use of GPS and satellite within the narrative make this a film that presents domestic concerns (in a number of senses) as on the cusp of global political significance.

Smith’s character, Robert Dean, finds himself by pure happenstance at the center of this intrigue when an old college buddy surreptitiously drops a computer disk into Dean’s shopping bag as he runs for his life. The disk contains surveillance footage of a congressman’s murder, which Dean’s friend, a wildlife researcher, captured unintentionally with a hidden camera intended to record birds. This series of purely accidental encounters results in a large-scale manhunt (already begun with the chase of the friend who slips the disk to Dean), with the massive technological and political power of the NSA unleashed upon Dean by those responsible for the videotaped murder. The narrative is organized around Dean’s discovery that he is being tracked and then targeted, followed by his attempts to extricate himself from the multiple “framings” used against him as weapons: The constant visual frames of the surveillance he is now under, and the information technology-enabled frame-up in which his professional, financial, and personal life are destroyed such that he will have no credibility should he go public with the video.

By using the NSA’s access to massive amounts of personal data as the method of targeting Dean alongside its elaborate geo-surveillance operation, the film already effectively elides any distinction between its surveillance system and the myriad economic and social systems through which daily life functions in the contemporary United States. Here, Enemy of the State suggests the dependence of a subject’s position on the “correct” functioning of multiple systems (computer systems, legal systems, financial systems, etc.), which a surveillant narrative structure produces as integrated and thus unstable—a threat to one’s very identity. Ultimately, the film goes to great lengths to demonstrate how an individual’s life, in this case bourgeois domestic life in particular, is inextricably linked to geopolitical concerns; in no uncertain terms, it also makes clear that the tie that binds these realms is a network of surveillance systems.

Similarly to the visual system described above, in which the pinpointing of an individual is tied to a representation of global totality through satellite imaging, Enemy of the State insists that the political debates about national security versus individual rights come down to a question of how much one’s domestic space can and should be put into relationship with national security practices and geopolitical systems. The increasing intrusion of the NSA into Dean’s life also involves the revelation of his marital problems resulting from a prior affair, and the film moves frequently back and forth between his domestic space and his implication in the political conspiracy. The suggestions of marital difficulty are themselves heavily interspersed with clear visual and narrative representations of an upper-middle-class couple very much in love and happy in the domestic space that they share with their young son. As the surveillance is ratcheted up, the fallout from his infidelity is reactivated and his marriage and domestic life are destabilized; the plot thread in which he evades surveillance, clears his name, and manages to expose the government figures targeting him is joined with the plot thread in which he reconnects with his wife and re-establishes domestic propriety and happiness.

In and of itself, this is unremarkable—surveillance films are certainly not the only Hollywood narratives in which the establishment or re-establishment of a heterosexual union is provided as the corollary resolution to a parallel or primary narrative thread. As has been argued in numerous contexts, this is the very lifeblood of classical Hollywood narrative. The particular insistence on this formula in this context is notable more for the significance that “intimate,” domestic space comes to hold in a film that is on every other level concerned with presenting as broad an aesthetic and narrative as possible. Unlike the films of the 1970s and 1980s, which feature usually unmarried and often antisocial protagonists attempting to uncover a vast political system, the otherwise paranoid political vision of Enemy of the State returns to a more classical Hollywood formula. The film’s structure and its reliance on heterosexual monogamy to define both discord and resolution imply that geopolitical stakes are in some ways reducible to the domestic stakes of the bourgeois household.

To drive this point home (as it were), the film closes not with Dean’s successful escape from surveillance but instead with multiple formations of surveillant mediation “managed” within and by domesticity. The final scene presents Dean and his wife sitting on their couch watching television: They have exposed the “bad apples” in the U.S. government with the help of an ex-NSA operative now working as a surveillance expert, Edward Lyle (played by Gene Hackman in what is one of this film’s several references to the earlier canonical surveillance narrative, The Conversation). As they watch the political story from which they have now extricated themselves play out on their television, “resolution” here suggests a return to their proper roles as spectators. As Dean’s wife (also an attorney) shouts her critiques of governmental surveillance at the screen, he playfully turns her comments into a sexual innuendo, and the connection between their position as media consumers, the liberal critique of government overreach, and the stability of their upper-middle-class existence becomes synonymous with narrative resolution.

The scene continues with Dean flipping through the channels until he sees a live video image of himself, sitting and watching TV. Realizing that this surveillance shot is a perversely playful greeting from his mysterious ally, he responds conversationally to the television as Lyle communicates a message through a series of televised images. Rather than respond with outrage that Lyle has invaded his home, Dean merely teases him—“You are one sick man”—and accepts this “friendly” invasion of his privacy as humorous. The film closes with Dean’s television returning to its usual broadcast in the form of Larry King, who in 1998 was an iconic political talk show host, conducting a discussion about surveillance and national security, followed by a cut to the film’s final imagery: satellite photography of the globe—the “Earth-shot” Lisa Parks cites as the emblematic image of idealized globalization. King’s characteristic political narcissism provides the film’s concluding dialogue in voiceover: “You’ve got no right to come into my home.”

The contiguity offered between domestic space and global imaging is announced here with little subtlety: A final political comment provided by a televised media figure on the sanctity of domestic space, accompanied by an image of the globe, sets the terms fairly clearly. Even while the media provides critiques of surveillance culture, it is that same mediating presence that provides the link between the “world system” and individual subjects within it. By establishing both a visual and narrative continuity between the personal and the political, the singular and the total, the house and the globe, all through devices of surveillance and mediation, the film indicates that it is in some ways proper domestic work—and the task of the media consumer—to establish one’s place in the global system. The connection to legal and political debates about security versus privacy is clear, but what the film seems to suggest is that ultimately the privacy at stake is that of the liberal bourgeois subject who, even if his or her domestic life isn’t perfect, ultimately has “nothing to hide” and must, like Dean, merely accept with begrudging good humor the pervasiveness of surveillance as part of the economy of mediation in upper-middle-class America.

A reading of this film through its positioning of the ideal liberal bourgeois subject in a security state is bolstered by the casting of a black actor and celebrity, Will Smith, in the lead role. Beyond its function as a star vehicle for Smith, it is not inconsequential that a film about the unfair targeting of a black man by American surveillance and security operatives takes such pains to emphasize this targeting as an absolute, unequivocal coincidence. Both in the casting of Smith and the implicit reliance on his bankability as an action star, the film narrates the overreach of state surveillance in the 1990s in a framework that completely ignores and even puts under erasure the racial projects of American surveillance (and cinema): the racializing and profiling central to the policing of black populations, the Islamophobic securitization characteristic of the 1990s on through today, and countless others that have rendered the histories of surveillance inseparable from the histories of race in the United States. Instead, Smith is cast in a role that in today’s parlance would be referred to as “postracial” (in terms of both his upward career trajectory and his narrative function within the film), suggesting a significant disavowal at the heart of this critique of surveillance and an investment in the idea that this could happen to anyone (an idea that also has come to define contemporary forms of celebrity, especially as constructed by reality programming).

If we consider the film’s narrative formulation in relation to the stylistic constructions discussed earlier, what emerges is that Enemy of the State’s narrative efforts to establish the individual subject in relation to a global system do not ultimately serve to highlight the political implications and context of an otherwise individualized subject. Rather, they serve to eclipse historically embodied political experience, particularly as defined by racial identity, in favor of a liberal subject defined in relation to an aesthetic of geopolitics, an aesthetic produced through the incorporation of global imaging and information systems into cinematic continuity devices and broader media culture. This aesthetic in turn serves to centralize and privilege the place of the bourgeois media consumer even as that consumer is shown to be endangered by the very technologies that enable his or her position.

Excerpted from Surveillance Cinema by Catherine Zimmer. Reprinted with permission from NYU Press.


          Comment on Hackers Help: Want to sell rare Swivel Rocker POÄNG chair by LarryH   
Saw one on Gumtree UK last year for £50: <a href="https://www.gumtree.com/p/chairs-and-stools/very-comfortable-ikea-poang-swivel-chair/1190947906" title="www.gumtree.com/p/chairs-and-stools/very-comfortable-ikea-poang-swivel-chair/1190947906" rel="nofollow"> Seem to remember seeing another on eBay as well. The swivel Poang was revived around 2009 but without tilt adjustment.
          Technicien gazier - Enterprises Larry - Canada   
B-149.1, B-149.2, B-149.3, manuels d’appareils et tous plans et devis. Sommaire de l'emploi....
From Enterprises Larry - Mon, 27 Mar 2017 05:59:08 GMT - View all Canada jobs
          Plombier - tuyauteur - Enterprises Larry - Canada   
B-149.1, B-149.2, B-149.3, manuels d’appareils et tous plans et devis. Sommaire de l’emploi....
From Enterprises Larry - Mon, 27 Mar 2017 05:59:08 GMT - View all Canada jobs
          Christiansen, Lawrence "Larry"   
Lawrence "Larry" A. Christiansen, 66 St. Cloud Jan. 20, 1951 - June 23, 2017 Larry was born in Austin, MN to Niels and Kathryn (Kimlicka)...
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          Army of One   
Durée : 1h 32min, Film : Américain, Réalisé en 2017, par : Larry Charles Avec : Nicolas Cage, Russell Brand, Wendi McLendon-Covey Synopsis : Un homme super courageuse va tout faire pour traquer Oussama Ben Laden tout seul…
          Texas Supreme Court rules to undermine marriage equality, take away spousal benefits for LGBTQ couples   

Pidgeon v Turner case is a red flag to LGBTQ Americans that fight to protect marriage equality is evolving in age of Trump Administration

NEW YORK – Sarah Kate Ellis, President and CEO of GLAAD – the world’s largest LGBTQ media advocacy organization, released the following statement after the Texas Supreme Court issued a decision for the Pidgeon v. Turner court case this morning which could now begin the process to undercut marriage equality by erasing spousal benefits, including health care benefits, for legally married LGBTQ couples in the state of Texas. The Court ruled that there is not a de facto right to government benefits for married gay and lesbian couples.

"The Texas Supreme Court’s decision this morning is a warning shot to all LGBTQ Americans that the war on marriage equality is ever-evolving, and anti-LGBTQ activists will do anything possible to discriminate against our families. In the age of the Trump Administration, which continues to systematically erase LGBTQ Americans from the fabric of this nation, the LGBTQ community and our allies must remain visible and push back harder than ever against attacks on acceptance.”


BACKGROUND INFORMATION: Pidgeon V. Turner Timeline

  • Nov. 2005 - Texas bans gay marriage by referendum.
  • Nov. 2013 - After United States v. Windsor, then-mayor Annise Parker extends spouse benefits to city employees in same-sex marriages legally obtained in other states.
  • Dec. 2013 - Jack Pidgeon and Larry Hicks file a lawsuit against Parker and City of Houston, arguing providing benefits to same-sex spouses violates Texas Constitution and Texas Family Code.
  • Dec. 2013 - Trial court grants temporary injunction halting benefits.
  • Aug. 2014 – U.S. District Court, S.D. Texas, Houston Division ruled in favor of Pidgeon and Hicks.
  • March 2015 - City appeals decision to Fourteenth Court of Appeals in Texas.
  • June 2015 - While case is on appeal, SCOTUS decides Obergefell v. Hodges.
  • July 2015 - Based on Obergefell, Fourteenth Court of Appeals dissolves injunction and sends matter back to trial court for decision in line with SCOTUS ruling.
  • Sep. 2016 – Anti-LGBTQ activist in Texas launch a letter-writing campaign to pressure Texas Supreme Court Judges, who are elected officials, to reopen the case. Many threatening the judge’s chances of reelection if they do not reconsider.
  • Oct. 2016 – Anti-LGBTQ group, Texas Values, lobbies the Texas Supreme Court to re-open the case.
  • Jan. 2017 – The Supreme Court of Texas agrees to hear the case.
  • Mar. 2017 - Supreme Court of Texas hears arguments in Pidgeon v. Turner; case has support of Gov. Greg Abbott, Attorney General Ken Paxton, and state senators and representatives, who all filed Amicus briefs.

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June 30, 2017
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          Comment on The “Crime of the Century” is Bad Journalism by Larry Sparks   
The crime of the journalistic century is dishonest journalism by liberals.
          Former Senator Larry Craig Heads to Court   
BOISE, Idaho (AP) — Former Republican U.S. Sen. Larry Craig aims to fend off a federal election lawsuit by arguing his infamous June 11, 2007, Minneapolis airport bathroom visit that ended in his sex-sting arrest was part of his official Senate business... Continue reading…
          Comment on Plan a Party with Party City and This $10.00 Off $50.00 Purchase by Larry   
Skype has established its web-centered customer beta on the entire world, soon after establishing it extensively within the U.S. and U.K. previous this four weeks. Skype for Website also now facilitates Chromebook and Linux for immediate online messaging connection (no video and voice however, individuals need a plug-in installing). The increase in the beta brings assistance for a longer list of different languages to help you reinforce that international functionality
          JACK McCAFFERY: In a different baseball era, Larry Bowa has learned to check his swing   

NEW YORK >> The Phillies had 52 losses in their first 78 games, and Larry Bowa never blinked. He never hollered, kicked, threatened, fought, insulted or argued. He never made a face.

"I keep a lot inside," Bowa was saying Saturday at CitiField, before the Phillies played the Mets. "There are things I watch and I go, 'Really?' But I also understand that it is a different generation.


          Army of One   
Histoire du film : Un homme décide de traquer seul Oussama Ben Laden. Informations sur le film : Réalisateur : Larry Charles Acteurs : Nicolas Cage, Fiona Vroom, Russell Brand Catégorie : Comédie Date de sortie : 2017 Informations sur la vidéo : Durée : 1h 32min Qualité : DVDRIP Platformes : MULTILECTURE
          Larry Schuba - The one man show   
American Western Saloon - 01.07.2017. Larry Schuba - The one man show. Wir zeigen dir auf www.wgha.de wohin man abends ausgehen kann.
          Miguel Trillo: «Fotografío ficciones, no personas concretas»   
Miguel Trillo (Jimena de la Frontera, Cádiz, 1953) repasa conmigo su trayectoria y casi se cumple su aserto: El fotógrafo ha ido a muestra por década. «Souvenirs» (galería Moriarty) en los noventa; retrospectiva en el CAAC y Canal de Isabel II en los dosmil; Tabacalera en 2014... Por ello, resulta curioso que ahora haya accedido a repetir las dos primeras, las que celebró en Madrid en los primeros ochenta en la galería Ovidio y la Sala Amadís. En realidad, si así ha sido es porque ambos «remakes» sirven para analizar el contexto en el que se forjó la fotografía española contemporánea. Un ensayo de Juan Albarrán que se une a las muestras que el CA2M dedica a Espacio P y la recuperación del «happening Comfort Zones» (1975), de Allan Kaprow, en la galería Vandrés. Una mirada a una época, la de la Movida, en la que Trillo aparece como banda sonora. Él, que tanto aportó y tanto le debe a la música. Una fotografía sobreexpuesta es una mala foto. ¿Qué es lo que ocurre cuando una doble exposición se expone por segunda vez? Tras dos exposiciones potentes como la del CAAC (2009) y la de Tabacalera (2014), yo no quería hacer más muestras. Pero cuando el comisario de esta me propuso recuperar mis dos primeras expos le contesté que podía ser interesante por venir él del ámbito de la universidad. El título me sedujo porque juega con la idea de esa película de rollo que no pasaba bien en la cámara y daba pie a imágenes superpuestas y lo lleva a que aquí haya dos exposiciones complementarias que se ofrecen como un sándwich, una encima de la otra. En esos años a mí me interesaba la fotografía como «happening», como actitud, como acción, más que como objeto. Reconoce ser artista de pocas exposiciones. ¿No le seducía más mostrar cosas nuevas? Mi satisfacción personal para este proyecto está en su naturaleza de «remake». La fotografía de aquella época ya no existe. La digital ya no distingue si haces una imagen sobre un negativo o diapositiva, algo clave entonces. Cuando di por acabada La Movida, me pasé a la diapositiva infrarroja. Estas no se revelaban aquí en ningún sitio. Las llevabas a la tienda, que las rebotaba a Los Ángeles. Y los resultados te volvían a los dos meses. Ahora, en cualquier concierto, levanto el móvil, le meto el efecto infrarrojo, y en el mismo segundo la mando a Los Ángeles o la comparto. Resumiendo: que esta no es una expo de Miguel Trillo, sino un homenaje a la técnica con Trillo como telón de fondo. Lo que más me interesa de «Doble exposición» es que es el análisis de la fotografía de una época sobre la que no había aún ninguna publicación. Si acaso el catálogo de «Cuatro direcciones» que comisarió María Corral a finales de los setenta. Eso no pasa ni en Francia, ni en Portugal. Aquí seguimos sin fototecas ni museo de fotografía. Mucha gente va a descubrir gracias a esto que hubo galerías de fotografía, que hubo galerías de arte que se atrevieron con la foto. ¿Antes no había foto? Claro que sí, estaba la Escuela de Madrid, el Neorrealismo, Afal, pero todos actuaron como francotiradores. Pero gente como Fontcuberta, como yo, jóvenes entonces como Ouka Lele o García-Alix, se inician en este contexto, con Pérez Mínguez o Jorge Rueda como guías. Es más importante en esta cita el análisis de la foto como cultura y su asimilación como arte, que mi presencia... Entonces, ¿la «desaparición» de los francotiradores y la asimilación de la foto como arte en España tiene que ver con su absorción por el mercado? Yo creo que la foto que realmente ha entrado en el mercado es la de los noventa, la de gran formato y paisaje. Ahora, con el aluvión de móviles, también está en crisis. Mi línea, más documental, no va por ahí. Es cierto que también hubo una fotografía de cultura de club en esos años, W. Tillmans. Pero para que este autor entre en el mercado tiene que dejar de lado su línea dura. Y si ya es difícil vender foto documental, el retrato está aún más estigmatizado. Eso de tener personas en casa que no conoces, como que no. Por otro lado, hoy, cualquier artista usa los soportes sin reparar en ellos. «Aquí seguimos sin fototecas ni museos de fotografía. Esto en Francia o en Portugal no pasa» Apuntan quienes lo conocen que usted es una persona tímida. ¿Cómo se le ocurrió girar el objetivo, pasar del anonimato apuntando al escenario a colocarse delante de un modelo? No hay cosa más aburrida que ver una obra de teatro dos veces. Lo mismo ocurre con un concierto, aunque sea en ciudades distintas. Y todos los fotógrafos que están allí terminan haciendo las mismas fotos. Es entonces cuando te das cuenta de que hay que mirar al público. Yo, en esos años, ya había viajado a Londres. Pero me di cuenta de que había cierto paralelismo, que, aunque no podíamos competir con los grupos, el público tenía más fuerza porque no estaba aburrido de democracia, estaba experimentando cosas muy nuevas. Y fijarme en él fue algo que se hizo de manera natural, sin ningún plan. ¿Tímido? Más bien soy una persona que le gusta estar en la retaguardia. A los modelos del Rockola me los llevaba al lavabo porque era donde había más luz. Si eres tímido, no actúas así. Quizás timidez personal, pero no artística... ¿Son esas tribus de los ochenta tan diferentes de las actuales que fotografía? Lo importante de estos procesos es que no hay que intelectualizarlos. En 1979 fui a Italia y me sorprendió que la gente iba muy maqueada, mientras nosotros estábamos entre las panas y las barbas. Me dijeron que era por John Travolta y «Fiebre del sábado noche». La discoteca aquí, entonces, era como mentar a Satán. Si yo digo que ahora estoy fotografiando a «swaggers» o que me gusta el reguetón me mirarían igual que en aquella época. Pero me impacta una estética. Son, como todas las generaciones, chicos y chicas que tienen que ligar, y esos cuerpos se rodean de vestimentas culturales. ¿Por qué voy yo a estar más a favor del «swagger» que del «hipster»? No hay escalas de valores que valgan. Pero sí que habrá preferencias e identificaciones. ¿A qué tribu perteneció Miguel Trillo? A mí me gustaban los «mod». Eran los «intelectuales». Pero yo, para estas cosas, hago como con los colores: no los elijo, los utilizo. Otra cosa es que me preguntes cuál me interesa ahora. Respondería que los «manga» en Asia, porque no son fans de una música o unos grupos, sino de un cómic, de una imagen, de una ficción. He sido profesor de literatura y eso me fascina, porque todo arte es ficticio al ser creación. Las antípodas de mi foto sería la social, aquella que termina estando apadrinada por una ONG, la que dice que va a salvar... ¿A salvar qué? Cuando comenzó a fotografiar a estos jóvenes, usted era coetáneo de ellos. ¿Hay un deseo de acaparar cierta «eterna juventud» con lo que hace? Yo siempre fui un poquito mayor que ellos. Pero esa sensación de la que hablas también la viví cuando era profesor. Los alumnos siempre tenían la misma edad. Y me han pedido contactar con modelos 30 años después, pero a mí eso no me interesa. Estaría hablando de esas personas como elementos reales, y no lo son para mí. Son una ficción que yo he creado en un momento. Quizás en otra noche, ellos serían distintos. Para mí la fotografía es un monosílabo hondo, y en los retratos que hago, eso se ve. Necesita de silencios, de estatismo. Por eso no me gusta tanto el vídeo. «En procesos como el de las tribus urbanas, lo importante es no intelectualizarlos. ¿Es mejor un "swagger" que un "hipster"? Nunca le ha dado mucha importancia a los aspectos técnicos de la fotografía. ¿Cómo sabe que una toma es buena? Supongo que son parámetros estéticos los que se imponen; la proporción, el encuadre, las miradas... Pero no me considero un artista de composiciones. Uno estupendo de los setenta fue Mapplethorpe. Pero luego está el «Tulsa», de Larry Clark, y consideras que lo tuyo tiene que ser una mezcla de todo eso. No me gusta el perfeccionismo. Eso le quita a la foto la naturalidad de la calle. Mi foto es muy espontánea, con unos elementos que se respetan, sin poder llegar a hablar de reglas. Lo que es cierto es que, por mucho que pasen los años, en una toma que hay cuatro fotos, elijo la misma que entonces. Aquí vuelvo a seleccionar las mismas fotos. Albarrán lo sitúa en la esfera de gente como Chris Steele-Perkins, Derek Ridgers o Janette Bekman. ¿Qué le diferenciaba a usted de ellos? Que aquí estábamos en Altamira. No había infraestructura. Cuando expongo en Ovidio, los críticos de referencia, el Miguel Logroño de «Diario 16» o el Fernando Huici de «El País», no se pasaron. La galería, extrañada, les llamó. «Es que es fotografía», respondían. Fue Tomás Cuesta en ABC el que acabó dándome una página de huecograbado. Es la única referencia bibliográfica de estas dos expos, pese a la importancia historiográfica que le queremos dar ahora. Aquí se han hecho cosas a la par que muchos grandes fuera, pero competir era imposible.
          Second Annual Frank Varischetti All-Star Football Game Will Take Place June 30   
Brockway, Pa. – The second annual Frank Varischetti All-Star game will take place at 7 p.m. Friday, June 30, at Brockway’s Varischetti Field. The game pits the KSAC vs. the AML with Clarion head coach Larry Wiser leading the KSAC squad and Kane head man Todd Silfies coaching the AML team. Last year’s inaugural game […]
          Porsche Carrera Cup: Premieren-Sieg für Yelloly    

Auf dem Norisring in Nürnberg gelang Nick Yelloly (Project 1) sein erster Sieg im deutschen Porsche-Carrera-Cup (LIVE im TV und im LIVESTREAM auf SPORT1). In seinem Porsche 911 GT3 Cup gewann der Brite am Samstag vor Porsche-Junior Dennis Olsen (Konrad und Christian Engelhart (Black Flacon). "Mein erster Sieg in einem GT-Fahrzeug fühlt sich überragend an. Das Duell mit Dennis Olsen war intensiv, aber wir haben es professionell gelöst", sagt Yelloly.

Auf dem 2,3 Kilometer langen Stadtkurs ging Olsen von der Pole-Position ins Rennen. Der 21-Jährige verlor nach dem Start allerdings noch vor der ersten Kurve die Führung an Yelloly. Im weiteren Verlauf des Rennens lösten sich die beiden vom Feld und lieferten sich ein enges Duell um die Spitzenposition. Nach mehreren Überholversuchen setzte Olsen seinen 911 GT3 Cup im achtzehnten Umlauf auf eine Höhe mit dem Fahrzeug von Yelloly, wodurch es am Ende der Start-Ziel-Geraden zu einem leichten Kontakt beider Autos kam.

Doch der 26-jährige Pilot verteidigte die Führung und gab sie bis zum Rennende nach 27 Runden nicht mehr ab. "Nick Yelloly hatte den besseren Start, das war letztendlich entscheidend. Ich habe alles versucht, um an ihm vorbeizukommen, aber Nick machte keinen Fehler. Für mich sind es mit Platz zwei trotzdem wichtige Punkte in der Meisterschaft", sagte Olsen.

Zeitstrafen gegen Ammermüller und Zöchling

Hinter dem Führungsduo rangierten Michael Ammermüller (Huber) sowie Christopher Zöchling (MRS GT) auf den Rängen drei und vier. Nach Rennende wurden beide Porsche-Routiniers wegen Frühstarts jeweils mit einer zehnsekündigen Zeitstrafe belegt. Den dritten Rang sicherte sich daher Engelhart, der von Position sechs gestartet war. "Ich hatte einen guten Rennbeginn. Mein Fahrzeug war optimal abgestimmt, aber auf dieser Strecke ist das Überholen unglaublich schwer", sagte der 30-Jährige.

Hinter Engelhart wurde Ryan Cullen (Huber) Vierter. Als bester Rookie erreichte der Niederländer Larry ten Voorde (Project 1) den fünften Platz vor Gabriele Piana (Black Falcon) aus Italien. Ammermüller belegte nach der Zeitstrafe den siebten Rang. Nachdem sich Porsche-Junior Thomas Preining (Konrad) im Qualifying den dritten Startplatz sichern konnte, beendete der Österreicher als Achter sein erstes Rennen auf dem Norisring.

"Nach dem Start bin ich leider zurückgefallen, das habe ich mir anders vorgestellt. Danach konnte ich mich durch mehrere Überholmanöver wieder etwas nach vorn arbeiten, was mir für das Rennen am Sonntag Mut macht", sagt der Youngster aus Linz. Bester Fahrer der Amateurwertung wurde der Deutsche Wolfgang Triller vom Team Huber gefolgt von Carlos Rivas (Black Falcon) und Wolf Nathan (Huber).

Olsen in der Gesamtwertung weiter klar vorne

Die Gesamtwertung wird nach sieben Läufen von Olsen mit 136 Punkten und vier Siegen angeführt. Der Pilot von Konrad geht damit als Spitzenreiter in die zweite Saisonhälfte. Auf dem zweiten Rang liegt Yelloly mit 110 Zählern. Hinter ihm folgt Zöchling auf Position drei mit 98 Punkten. Bester Fahrer in der Rookie-Wertung ist ten Voorde mit 131 Punkten. Triller konnte in der Amateur-Wertung 81 Punkte sammeln und ist damit Führender in seiner Wertungsklasse. In der Teamwertung rangiert das Project 1 mit 192 Zählern an der Spitze.

Das achte Rennen des Porsche Carrera Cup Deutschland startet am Sonntag um 13:05 Uhr.

© Motorsport-Total.com


          President - Canadian Baptists of Western Canada - Calgary, AB   
LARRY NELSON | SENIOR ASSOCIATE MARK KRAFT | SENIOR ASSOCIATE. OPPORTUNITY INFORMATION PACKAGE....
From Canadian Baptists of Western Canada - Sat, 20 May 2017 09:25:32 GMT - View all Calgary, AB jobs
          Comment on Larry Fitzgerald suffered a lung injury by PorfirioX   
I must say you have high quality posts here. Your posts should go viral. You need initial boost only. How to get massive traffic? Search for: Murgrabia's tools go viral
          Hello again!   
So, what does it take to wake me from my blogging slumber? A broken aircon unit making work "impossible" (according to Labour MPs, how would they know??) certainly helps.  A Royal baby? No.  A move to make porn harder to find? Not as such.  A clear and blatant threat to civil liberties and freedom?  Yes.  Oh yes... yes... yes David... that does it for me David... yessss...

Yes, I'm talking about David Cameron's latest step away from anything remotely resembling liberal free-market small-state politics, the "default-on" policy.  You immediately know that this is nasty, because it has a snappy appealing title.  A sweet sugary unobjectionable layer of spin to cover the illiberal and unpalatable inside.

Now, this is being presented as so, so reasonable because we all know porn is nasty, that children should be kept away from it, that it incites some men to carry out appalling crimes, and that anything that stops child porn being disseminated must be a good thing, right? Sorry, no.  Those are the reasons that I've heard being thrown around today in support of this move, and I'll start by squashing them.  But first, I'll just clarify a few points before anyone decides to take the wrong impression of me.

Nothing that I say here is in any way, shape or form in defence of or condoning violent pornography, non-consensual sex or film/images of it, or child pornography.  

I have a young daughter, and the thought of any of these makes me feel physically ill.  Quite frankly, anyone who tried that with anyone that I know would find themselves being taken for a ride, cuffed to a towrope behind one of my cars. Yes, I'd go to jail for that.  No, I wouldn't care.

So, with that out of the way, let's turn to the justifications for this policy:

Porn is nasty

Yes, it is.  But it is legal (in many variants, at least).  There are many things that I consider to be nasty but which are legal. Should we make everyone who wants to do anything I don't approve of apply to me and opt-in before they are allowed to?

More pertinently, if the bar is not set at what Parliament says is legal, where is it to be set - and who sets it?

Children should be kept away from it

Yes, they should.  In fact, that is the law as it stands.  18-rated material is not to be shown to minors.

So this is not a change to the law, merely a change to the process.  Therefore, it is valid for us to look at the process and see whether this will help - which it won't.  What it will do is make parents feel that the State and the ISPs are doing their job for them, and that they can therefore opt out because the filter is "default on".  Unless the husband/boyfriend/older son has quietly defaulted off, of course.  And provided that the filter is perfect and catches every nasty thing without making any mistakes.

And that brings me to one of the really serious problems - filters are just awful.  We fitted a filter to our kid's PCs, one of the leading ones in fact.  They both hated it.  It blocked a wide variety of perfectly acceptable websites - I recall the moment when we sent our daughter to a clothes website, to choose some holiday outfits.  It blocked that, because of the large amount of lingerie that could be viewed there.  We were forever approving exceptions, which is a hassle when the security is set at a level intended to defeat a determined 17-year-old lad.  Whenever that defeated us, we had to listen to the "I can't do my homework because of the filter" rants. How easy is it going to be to request an exception when David Cameron's appointee holds the codes, instead of the householder?

And yes, sites that their schools sent them to in order to do their homework triggered the block. That is how sensitive porn filters are.

That it incites some men to carry out appalling crimes

Not proven.  Sociologists have tried to prove this on numerous occasions and failed.

In any case, the men concerned will just be able to ring their ISP and ask for the filter to be taken off.  Then they will be able to look at disgusting pictures to their heart's content and - if there is a causal link flowing in that direction - they will be incited to go off and do horrific things.  Just like before.

Personally, my view is that the arrow of causation is in the opposite direction, that men who are willing and able to carry out such crimes will (along with many other men) be attracted to porn. But that is just my view and I have no evidence to support it.

That anything that stops child porn being disseminated must be a good thing

I'd agree with this (wholeheartedly), but disagree that this policy will achieve it.

First, as noted above, it is a filter that can be turned off at will.  So those that want to bypass it, can, err, turn it off.

Second, I have (literally) no idea how these images (etc) are circulated.  But I very much doubt that it is via a searchable database on the open Web.  I suspect that other protocols are used, that the servers are locked down and only accessible to validated users as opposed to the Google spiders.  So even on a "default-on" broadband connection, I reckon the access will be no harder than before.

If you disagree, think through this.  To filter a site out, the authorities will need to know where it is and what it contains.  Child porn (etc) is already very illegal.  So if they know enough to filter it out, they should be shutting it down instead.  Ergo, if we assume that the illegal sites are being shut down in line with the current law, the filter will only block legal sites and will leave the illegal sites untouched.

So that deals with the positive reasons for the policy.  What about the reasons why we shouldn't do this?

First, there is the collateral damage.  I hinted at this above - my daughter being unable to choose an outfit for her holiday because the site also showed lingerie.  I can assure you that any filter will either be a waste of time (letting all sorts through) or will make your online life a nightmare.  If you don't believe me, if you think a filter can be written which works perfectly, then all I can say is go write it!  I'll patent it for you, in return for a slice of the royalties.  We will make a mint, because the perfect online filter is a prime example of a product that is in high demand but which does not exist.  Larry Page and Sergey Brin will look like losers next to us.

It's not difficult to realise why.  How do you plan to filter it?  By hand? Impossible, too much volume, just YouTube gets uploads of something like 48 hours worth of video per minute.  So to check YouTube alone, you would need several thousand people working 8 hour shifts doing nothing but watching YouTube.  Multiply that by every site on the web, and you soon have most of the country sitting down all day checking for porn.  Perversely, that would actually make sure that at least someone watched all of the worst stuff.

So you need automation.  It can look at the content or the words, or a combination of both.  If it looks for both, or for just the content, then people will publish text-only sites with links and instructions for accessing secure servers.  If it looks at the words, then this page and (say) @_millymoo's blog (http://www.beneaththewig.com) will be blocked immediately.  Neither are pornographic.  Both are laden with juicy keywords.

So there is the first argument.  You are going to have to opt-in for porn in order to read this blog. OK, I know the easy answer to that is to question why you would ever want to read this again, but bear with me on this for a while:

  • This blogpost questions government policy.
  • The government policy in question would hinder your ability to read this blogpost and its questioning of the government policy.  

If that doesn't scare you, then you need to do some thinking.

You could start by thinking about who defines the content that is excluded, who has oversight over that, and who has the right to challenge it.  Because once porn is out, why should children be exposed to unpalatable extremist views - such as terrorist sympathisers, for example?  Or racists? Or smoking (we're thinking of the kids, remember)?  Or global warming deniers...?

In fact, how would you propose to argue in support of people being able openly to promote illegal activity via the web?

Promoting illegal activity such as, say, the right to do something that is currently proscribed?  Or, if I may re-word that, calling for the law to be changed.

So there is the second objection; just as there is no clear bright line that a filter can use to detect porn, there is no clear bright line saying where this should stop.  

And, in case you were wondering, there is an easy way to argue in support of people being able openly to promote illegal activity, by any medium.  It's here. Go read it.
          La embarcación de Prada regresa a la Copa de América de Vela   
Si una actividad ha puesto de acuerdo alguna vez a Louis Vuitton y Prada, esta ha sido la Copa América de Vela, el trofeo más antiguo del mundo. Tras varios años fuera de campeonato, se ha anunciado que el «Luna Rossa» de Patrizio Bertelli volverá a buscar victorias. La Copa América de Vela nació como un trofeo de plata que el marqués de Anglesey encargó al joyero británico Robert Garrard en 1848. Lo cedió al Royal Yacht Squadron de Cowes, que la ofreció como premio al vencedor de una regata en la Isla de Wight en 1851, con la mala suerte de que el barco ganador fue la goleta «América» del New York Yacht Club. El trofeo permaneció durante 132 años en Nueva York e hicieron falta 25 desafíos para que la copa de plata cambiara de hogar, hasta que el equipo australiano se la llevó en 1983. La «Copa de las Cien Guineas» tiene el poder de ilusionar a los personajes más potentados del mundo dada la naturaleza de la regata, en la que un barco defiende su victoria y hay varios desafíando para quitarle el puesto: el ganador decide el lugar, las reglas y formato de la siguiente revancha. Desde hace años, otra particularidad de la regata es que el trofeo previo que consigue el barco que desafía al vencedor de la edición anterior es la Copa Louis Vuitton. Es la empresa francesa, por tanto, la que esponsoriza una carísima competición, que incluye el desplazamiento y alojamiento de prensa, personalidades y ejecutivos allende los mares. Ernesto Bertarelli con el Alinghi o Larry Elisson con el BMW Oracle son algunos de los competidores frecuentes. En varias ocasiones, el grupo Prada, competencia directa de Vuitton - organizador de estas eliminatorias- presentó su barco al desafío, llegando a ganar la Copa Louis Vuitton en el año 2000; todo un ejemplo de como Patrizio Bertelli, CEO de Prada y marido de Miuccia, supo sacarle partido a la inversión promocional de Louis Vuitton. Las imágenes de Bertelli recogiendo la copa de manos de Yves Carcelle, el brillante y desaparecido presidente que cambió el curso de Louis Vuitton hace más de 20 años, son el reflejo de toda una inteligente «entente cordiale» entre los ejecutivos de ambas casas, que en su día incluso llegaron a comprar Fendi casi a medias para sus grupos respectivos. El «Círcolo della Vela Sicilia» acaba de anunciar que Patrizio Bertelli se lanza en su nombre con el «Luna Rossa» al próximo desafío, si bien hace dos años había declarado su intención de mantenerse fuera de competición. Patrizio Bertelli - gran aficionado a la vela- botó en 1997 este barco que tantas satisfacciones le ha dado y que, con su preciosa silueta en plata con detalles en rojo ha servido de inspiración a colecciones deportivas de Prada. Pero desde que en 2011 el Grupo milanés saliese a bolsa, las cosas han cambiado y ahora el «Luna Rossa» le pertenece a Bertelli personalmente. Quizás la inversión requerida para competir en las regatas y poner a punto la embarcación o crear una nueva, no compense a nivel económico al bajar los resultados financieros. No en vano, durante los primeros 10 años de vida el «Luna Rossa» costó unos 85 millones de euros sin contar tripulación y otros gastos. Aunque en el pasado el sagaz Bertelli contó con sponsors de la talla de TIM o Telecom para sufragar gastos, puede ser que ahora el nuevo Grupo Prada se mantenga al margen de la próxima Copa America, al menos empresarialmente hablando.
          Jan and candy enjoy each other and larry's bbc   



Jan and candy enjoy each other and larry's bbc

Added by: belle_de_jour

Date: 01 Jul 2017




          Snow White and the Seven Dwarfs   
Director: William Cottrell, David Hand, Wilfred Jackson, Larry Morey, Perce Pearce, Ben Sharpsteen
Cinematographer:

Snow White, pursued by a jealous queen, hides with the Dwarfs, but the queen learns of this and prepares to feed her a poison apple.
          BLAST FROM THE PAST: LARRY ROESELER   
Larry Roeseler may go down in dirt bike history as the most versatile racer ever.
          Husband of Central Texas woman arrested in her 1991 death   
Huntsville police on Thursday arrested Larry LeFlore. An indictment says LeFlore is accusing of strangling Mary Jane LeFlore
          Traveling Vietnam Memorial Wall at Hampton Community Park   
Louis Raggiunti  |  For the Tribune-Review<br/>Larry Killmeyer, who served in Vietnam and grew up in Hampton, looks at the thousands of names engraved on the Traveling Vietnam Memorial Wall at Hampton Community Park June 3 , 2017.
The Traveling Vietnam Memorial Wall has been set up at Hampton Community Park and will be there for the community to view through July 4. ...

          Jan and candy enjoy each other and larry's bbc   



Jan and candy enjoy each other and larry's bbc

Added by: belle_de_jour

Date: 01 Jul 2017




          Ohio State's Five Most Important Seniors in 2017   
Ohio State's five most important seniors in 2017.

Some might think it is inappropriate to pick the five most important seniors on Ohio State's 2017 football roster being that there are 11 on scholarship and basically all of them play integral roles to what the Buckeyes do.

Urban Meyer's club only sported six scholarship seniors a year ago, a statistic indicative of the Buckeyes being the most inexperienced team in the country following an exodus to the NFL Draft. Seven more guys were drafted this spring and a few others elected to return to school even though they probably would have been drafted.

That leaves Meyer with a little more senior leadership than last year. The names:

  • Quarterback J.T. Barrett*
  • Tight end Marcus Baugh*
  • Center Billy Price*
  • Left tackle Jamarco Jones
  • Defensive end Tyquan Lewis*
  • Defensive end Jalyn Holmes
  • Defensive tackle Tracy Sprinkle*
  • Defensive tackle Mike Hill*
  • Linebacker Chris Worley*
  • Safety Erick Smith
  • Safety Damon Webb

*Redshirt senior 

Other members of Ohio State's 2014 recruiting class who are redshirt juniors entering the 2017 season: kicker Sean Nuernberger, wide receivers Johnnie Dixon, Terry McLaurin and Parris Campbell, linebacker Dante Booker, offensive linemen Demetrius Knox and Brady Taylor and defensive linemen Dylan Thompson, Darius Slade and Sam Hubbard. Others left school early for the NFL, transferred out or retired from the sport.

Ohio State lists 17 seniors overall on its official roster but we turn our focus to those on scholarship who are the most vital to the team's success in 2017. This includes the position they play, the depth behind them at said position, their past college football experience and more. The five we chose will play the biggest roles in the Buckeyes returning to Indianapolis and the Big Ten Championship Game.

5. Damon Webb — Safety

Webb's inclusion in this list might incite some ire from fans due to his struggles at times during the 2016 season. Teams picked on him often as the weather grew cold, a more viable option to move the ball through the air than throwing at any of Ohio State's three first-round draft picks in the secondary.

Webb

Webb still had his moments in 2016, though, namely the 36-yard interception return for a touchdown to ignite Ohio State's 62-3 rout of Nebraska. He finished fifth on the team with 57 tackles and started every game at safety. If there was a better option, you know for a fact Greg Schiano would have inserted him into the lineup in place of Webb.

Schiano and Urban Meyer glowed about Webb's progress this spring, needed noise for fans with Malik Hooker, Gareon Conley and Marshon Lattimore all onto the NFL. The Buckeyes consider Denzel Ward a returning starter at cornerback but while he did play a bunch last season it was not in the same amount as Webb. For Schiano and Kerry Coombs to establish some sort of continuity from 2016 to 2017 in the secondary, Webb is an essential part in his final season ahead of younger names like Jordan Fuller, Wayne Davis, Jahsen Wint, Isaiah Pryor and Brendon White.

4. Chris Worley — Linebacker

Worley started all 13 games a year ago at outside linebacker and by all accounts played well. He ended the season with 69 total tackles, 4.5 tackles for loss, broke up four passes, forced a fumble and combined with Malik Hooker on an interception of Michigan State's Tyler O'Connor on a 2-point conversion in the fourth quarter of a 17-16 victory over the Spartans.

Worley's offseason shift to middle linebacker in place of Raekwon McMillan this spring has been well documented. Facing a bigger responsibility on the field, Worley is now the unquestioned voice of not only the front seven but the entire defense. With new names coming into the lineup behind him in the secondary and a deep and experienced group in front of him, Worley is the leader that will make everything tick this fall.

Not to mention he becomes Ohio State's first middle linebacker in the post-Luke Fickell era. With Fickell now the head coach at the University of Cincinnati, Bill Davis will look to Worley and junior Jerome Baker, another returning starter, more than ever as training camp begins. Ohio State boasted one of the best defenses in the country in 2016. If it stays near the top of the sport in 2017, Worley's leadership will be a huge reason why.

3. (tie) Tyquan Lewis — Defensive End; Jamarco Jones — Left Tackle

Ties are lame, so please forgive me for that. But any list discussing importance from an Ohio State football sense must include the 2016 Big Ten Defensive Lineman of the Year and the team's top NFL prospect on the offensive linemen.

Lewis

Depth in front of J.T. Barrett is not something the Buckeyes currently enjoy, as evident by the unit's woeful performance in the Fiesta Bowl against Clemson. Things went from bad to worse when Michael Jordan went down with an ankle injury, and Ohio State could be headed for a worse fate should something happen to Jamarco Jones this year. Jones has the prototypical body type and size for an NFL left tackle, which is what he will be with a solid senior campaign. For Ohio State's pass protection to get back on point this fall, Jones must be at his best.

Tyquan Lewis is wildly underappreciated, having played with Joey Bosa, Michael Bennett, Adolphus Washington and other great defensive linemen in his time at Ohio State. He got some deserved recognition last winter, though, and elected to return for his fifth season after the 31-0 loss to Clemson. Larry Johnson has talent everywhere he looks in Ohio State's defensive line room (and more is coming) but Lewis is at the head of the totem pole. A team captain and leader, he has his place on this list.

2. Billy Price — Center

For as important as Jones is to Ohio State's cause in 2017, Price coming back for his fifth season and moving to center cannot go unnoticed. Not only is he in line to be a four-year starter and is the strongest person on the team, Price ensures stability at a key position on the offense and gives the Buckeyes a pair of fifth-year seniors at center and quarterback.

Along with Barrett, Price is the team's spokesperson among players and someone Meyer turns to if he wants to find out the pulse of his team (after strength coach Mickey Marotti). Price and the offensive line didn't perform well in spots during the 2016 season, an important focus of spring football with new coordinator Kevin Wilson and quartebacks coach Ryan Day.

For the group to return to form for line coach Greg Studrawa, it starts and stops with Price. He often spoke about last year's group being "Pat Elflein's offensive line," an understandable notion for the 2016 Rimington Trophy recipient. The 2017 group now belongs to Price.

1. J.T. Barrett — Quarterback

This one is a no-brainer and if you think anything of the contrary, that is your prerogative.

Regardless how you feel about the way J.T. Barrett played both in 2015 and 2016 — not living up to the ridiculous standards he set for himself in 2014 — his experience as a three-year starter and now the first-ever three-time captain in program history is immeasurable. Barrett might not have the same physical traits as say, Joe Burrow, Dwayne Haskins or Tate Martell but if the again Buckeyes make it to the College Football Playoff, it will be with him at the most important position on the field (unless he gets hurt).

Barrett is like another coach on the field and is an excellent college quarterback with a career record of 26-4 as a starter. By the time he is done in 2017, especially with Wilson and Day breathing fresh air into the offense, Barrett will own every Ohio State passing record. He is the clear-cut No. 1 choice for most important senior on the current roster.


          Comment on Gingerbread Key Lime Ice Cream Sandwich by Larry Owens   
398
          Zach Randolph, Cavaliers show mutual interest   

The Cavaliers reached out to veteran power forward Zach Randolph and he is interested in joining the Eastern Conference champs as a free agent, a league source told cleveland.com.

CLEVELAND -- The Cavaliers reached out to veteran power forward Zach Randolph and he is interested in joining the Eastern Conference champs as a free agent, a league source told cleveland.com.

The Cavs opened the NBA's free agency period Saturday by offering the league's top 3-point shooter last season, Kyle Korver, a contract to return to Cleveland. Details of the contract offer and Korver's response are unknown.

Teams can sign free agents starting July 6.

Cleveland has expressed interest in Randolph and, according to The Athletic, are also interested in veteran point guard Jose Calderon. Korver is 36 and both Randolph and Calderon are 35. To sprinkle in a little youth, the Cavs are also negotiating with Turkish forward Cedi Osman, 22.

Randolph averaged 14.1 points and 8.2 rebounds for Memphis last season -- his 16th in the NBA. He's 6-9 and weighs 260 pounds, and has averaged 16.8 points and 10.2 boards over eight seasons with the Grizzlies.

The Cavs struggled all season to find a fourth big man, as injuries and misfortune claimed Chris "Bird Man" Andersen, Andrew Bogut and Larry Sanders. Andersen and Bogut suffered season-ending injuries (Bogut's, a broken leg, just 58 seconds into his first and only game with Cleveland), while Sanders was waived after a month.

Edy Tavares, 25, the 7-3 center signed on the final day of the regular season, is on a non-guaranteed contract for next year. Cleveland has wanted someone to take some of the load off of starting center Tristan Thompson.

Sacramento, the Clippers and Oklahoma City are said to have interest in Randolph, too. He earned $10.4 million last year, which would be way out of the Cavs' price range.

Calderon is coming off arguably the worst season of his 12-year career. He averaged career lows in points (3.4), assists (2.1) and field-goal percentage (.410) in 41 games between the Lakers and Hawks.

The Cavs settled on Deron Williams as their backup point guard in March after filling the role by committee for most of last season. Williams was awful in the Finals against Golden State, averaging just 1.0 points on .125 shooting.

Kay Felder, a rookie last season, is also on the roster on a non-guaranteed deal for next season.

Cleveland is nearly $30 million over the $99.1 million salary cap, and nearly $10 million over the $119.3 million luxury tax threshold. If Randolph and Calderon were to join the Cavs, it would likely be for the veteran's minimum of about $1.6 million.

The Cavs can also use a $5.2 million salary-cap exception to sign one or more players, and are unrestricted in what they can offer Korver.


          Sunday Notes: Blake Parker is an Angel Who Can Save   
Plus Alex Avila's discipline, Taylor Rogers' visualization, Larry Andersen's electronic-eye opinion, and much more.
          NBA championship trophy to appear at SF's Westfield Mall   
San Francisco Chronicle - The Larry O'Brien NBA Championship Trophy is going to be at the Warriors Team Store in San Francisco's Westfield Mall on Sunday, July...
          Former Crew Chief for Dale Sr., Daytona 500 Winner and current NASCAR on Fox Analyst Larry McReynolds spends some time with Mark Owens talking NASCAR 2017.   

Former Crew Chief for Dale Sr., Daytona 500 Winner and current NASCAR on Fox Analyst Larry McReynolds spends some time with Mark Owens talking NASCAR 2017.

They start with a recap of the first half of the 2017 Season and if the new branding of Monster Energy as the presenting sponsor is working. They move to Dale Jr. who is retiring at the end of the season, but Larry Mac says he is far from done with the sport and assumes he will be back in a car next season. They talk about the big names like Stewart, Gordon and Earnhart finished, who will step up? He previews some of the young guns that will dominate NASCAR in the future. The talk about the grueling schedule in NASCAR, how drivers deal with the heat and the process of hiring a pit crew. Finally, they talk some college football and his favorite team but his money is at another SEC program. 

Click below to hear Larry McReynolds. 


          Internet Cop   

Robert McDowell becomes effusive when talking about the World Wide Web. “The beauty of the Internet is that it has been somewhat lawless,” says the Republican, one of five appointees who run the Federal Communications Commission (FCC). The lack of government mandates, McDowell says, has made the Net “the greatest deregulatory success story of all time,” a “sort of libertarian heaven.”

Is that heaven about to crash down to earth? Julius Genachowski, the man hand-picked by President Barack Obama to chair the FCC, insists not. “I’ve been clear repeatedly that we’re not going to regulate the Internet,” he told The Wall Street Journal in February 2010. But his actions suggest otherwise. Since taking office in June 2009, Genachowski, a tech entrepreneur and former FCC counsel, has led the commission on an unprecedented quest for power over the Web’s network infrastructure, sparking a thunderous, confusing lobbying battle over who gets to control the Net. 

“If the government starts to get involved with regulation of Internet network management,” McDowell warns, “you’ll start to see the politicization of decisions in that realm.” At this point, there’s no if about it: From his first major speech to a hurried and secretive rulemaking procedure in the final weeks of 2010, Genachowski has made it his mission to plant the seeds of government control within the core of the Internet—all under the guise of “preserving Internet freedom.”

They Call It Net Neutrality

Like so many political slogans, Internet freedom sounds great. But what does it mean in practice? For Genachowski and the rest of the Obama administration, “Internet freedom” is a feel-good euphemism for the techie idea known as “net neutrality.”

At its most basic, net neutrality is the belief that all bits and bytes that travel over the Internet should be treated equally: no discrimination, no paid prioritization, just first-come-first-served access for everyone all the time. As an egalitarian approach to the Web, it is more a pre-technical philosophy than a clear guide to managing network infrastructure. The applied theory of net neutrality is that routers—the traffic management devices that send packets of information from one computer or server to the next—should treat each piece of information like every other piece, be it an email message, a video, a game, or 3D porn. This is not a bad idea; indeed, it is largely how the Internet works already. But net neutrality advocates warn that without federal intervention, corporate giants won’t leave it this way for long; they will begin setting up pricey, priority-traffic toll roads across the Web.

The neutrality concept is a direct descendant of “common carrier” regulation of phone companies. When wire-based phone networks ruled the earth, they were treated as public utilities. The feds forced them to share their infrastructure with their competitors at regulated rates, a restriction on their property rights that was enforced under the pleasant-sounding banner of “equal access.”

It didn’t take long for politicians to start fretting about equal access on the Web. In a 1994 speech, Vice President Al Gore pondered this loaded question: “How can government ensure that the [emerging Internet] will permit everyone to be able to compete with everyone else for the opportunity to provide any service to all willing customers? Next, how can we ensure that this new marketplace reaches the entire nation?” Access, opportunity, competition—how would these goals ever be achieved without the government’s involvement?

Answer: easily. Internet access exploded throughout the late 1990s and the following decade—no federal broadband regulation required. By 1999 more than 30 million people could dial in from their homes. The Net’s success in the absence of regulation was so apparent that even Democratic bureaucrats preached the gospel of nonintervention: In 1999 FCC Chairman William Kennard declared in a speech that “if we’ve learned anything about the Internet in government over the last 15 years, it’s that it thrived quite nicely without the intervention of government.” In the same speech, Kennard made the case for what he called a “high-tech Hippocratic Oath” for regulators: First, do no harm.

It worked. During the following decade, online activity exploded. Between 2001 and 2008, online commercial activity—which for all practical purposes did not exist the decade before—became big business, rising from about $8 billion a year to about $42 billion, according to the U.S. Department of Commerce. Simultaneously, broadband Internet access rapidly blazed a path from high-tech luxury service to mass-market must-have. In 2000 just 3 percent of homes had broadband access. By 2010 the figure had climbed to 66 percent, according to a report from the Pew Research Center’s Internet & American Life Project.

But the net’s success only made activists more vehement that it must be “preserved” through regulation. That’s where net neutrality came in. In 2005, under the leadership of Republican Chairman Kevin Martin, the FCC adopted four “policy statements” outlining the principles that should govern Internet use and operation. Users, the commission asserted, are entitled to access their choice of lawful content, to use applications and services as they wish, to connect legal devices to the network provided they do no harm, and to enjoy the effects of competition among providers and networks. But these statements of principle were not regulations, and thus of dubious enforceability.  

At first, the push for net neutrality was targeted at wire-line carriers—cable companies, DSL providers, and others who delivered Internet connections to fixed locations using expensive-to-install conduits. But by 2007, calls for net neutrality expanded to the growing wireless Internet, bringing mobile data networks like those operated by AT&T and Verizon into the crosshairs. Net neutrality gave online Democratic activists—the “netroots”—an issue in which “equality” was on one side and discriminatory corporations on the other. The sin of these corporate villains? Denying network access to those unwilling to pay for it.

“Network giants believe they should be able to charge Web site operators, application providers and device manufacturers for the right to use the network,” the progressive media activists at Free Press warned in their online guide to the issue. “Those who don’t make a deal and pay up will experience discrimination: Their sites won’t load as quickly, and their applications and devices won’t work as well.”

The issue never really caught on with the broader public, but it did become a partisan rallying cry. In 2008 presidential candidate Barack Obama made net neutrality a campaign promise, vowing to achieve it through the FCC. The promise was politically smart. Although regulating Internet traffic was barely raising eyebrows among average voters—most of whom were busy enjoying easy access to the Internet—the idea was much loved by two groups important to Obama: the digitally savvy army of online activists whose fund raising and organizing helped put the president in office, and a collection of high-flying, Democrat-supporting Silicon Valley companies. Netroots powerhouses such as Moveon.org got an issue to motivate and deliver their progressive base, while content-delivery behemoths such as Google (whose CEO, Eric Schmidt, took a week off to campaign for Obama) got a policy wedge against the Net’s infrastructure gatekeepers. Both camps expected a payoff in exchange for their support.

Obama’s Basketball Buddy

After Obama was elected, it fell to Julius Genachowski to make good on the campaign promise. The president didn’t just assure supporters that his administration would pursue net neutrality through the FCC; he named a close personal friend and a net neutrality true believer as the commission’s chairman to get the job done right. (Genachowski’s office declined a request for an interview.)

Genachowski has been friends with Obama for decades. The two were classmates at Harvard Law School, where they worked together on the Harvard Law Review and, according to The New York Times, were “basketball buddies.” Genachowski, who has spent much of his professional career zig-zagging through Silicon Valley, served Obama’s campaign as chairman of the Technology, Media, and Telecommunications Policy Working Group.

The two men have remained tight since Obama took office: Between January 31 and August 31, 2009, official records show that Genachowski visited the White House 47 times, more than any other agency head. (Sixteen of those visits came before Genachowski had even assumed office.) The next most frequent visitor among agency chiefs was Treasury Secretary Timothy Geithner, who dropped by just five times during the same period.

The FCC chairman’s private-sector background includes stints at the sort of content companies that tend to favor neutrality rules. Genachowski helped launch Rock Creek Ventures, which funds and consults for “digital media and commerce companies,” and he has served as a director for a number of large Web portals, including Web.com and Beliefnet. According to his fellow FCC commissioner, Meredith Baker, “The chairman’s starting point is at the edge, application side of the [Internet] ecosystem. I don’t think that’s to the exclusion of the networks and their important role, but he starts in Silicon Valley.”

The outline of Genachowski’s ideas for neutrality regulation was unveiled at his first major address as the nation’s top communication regulator, a September 2009 speech at the center-left Brookings Institution. Genachowski reiterated at nine separate points the Obama administration’s promise to ensure that the Web would remain “free and open.” The phrase even appeared in the title of his talk: “Preserving a Free and Open Internet: A Platform for Innovation, Opportunity, Prosperity.”

The chairman’s speech didn’t answer the obvious question that has long nagged net neutrality skeptics: preserving it from what? But his remarks did address the question of how: The FCC, Genachowski said, must be “a smart cop on the [Internet] beat.” To fulfill that role, the commission would both beef up its authority and grant itself wide discretion in how to use it. “I will propose that the FCC evaluate alleged violations of the non-discrimination principle as they arise, on a case-by-case basis,” the chairman promised. Clear and straightforward rules were out. Regulators’ whims were in.

Genachowski proposed taking his predecessor Kevin Martin’s four principles—access to legal content, unrestricted use of services, device interoperability, and provider competition—and codifying them into law. He also wanted to add two more.

The first, and more controversial, of his additions would prohibit broadband providers from discriminating against “particular Internet content or applications.” In theory, the nondiscrimination provision would mean that the FCC could prohibit service providers from, say, blocking access to certain websites, or prioritizing the traffic to a particular company’s service (for instance, giving priority to videos from corporate partners over those from competing services). But the case-by-case standard would provide the agency with considerable leeway to decide when to step in.

The second new principle would require ISPs to be “transparent about their network management practices.” Basically, if service providers selectively slowed traffic for a particular application—say, the peer-to-peer service BitTorrent, which is frequently used to share movies, TV shows, and other large files—or capped a user’s total bandwidth for a given pay period, they’d have to notify consumers in plain English. Genachowski also hoped to extend the rules to wireless data networks such as those used by iPhones and Blackberries.

Genachowski’s speech was couched in the rhetoric of choice, innovation, and openness. But in framing his proposal as an attempt to preserve the Internet’s existing virtues, he masked the fact that it would represent an unprecedented expansion of federal control over the nation’s information infrastructure. And although no one knew it at the time, his plan presaged a sweeping attempt to subject broadband providers to an entirely different, and far more restrictive, regulatory classification.

A Solution in Search of a Problem

Genachowski’s speech targeted discriminatory practices by ISPs. But it did not cite any specific examples of such behavior, perhaps because neither Genachowski nor any other net neutrality supporter has ever identified more than a handful of instances in which the Internet’s openness has actually been violated. Indeed, it is hard to get a handle on what, exactly, strict neutrality rules are intended to prevent.

In October 2010, the American Civil Liberties Union (ACLU) released a list of 10 alleged net neutrality violations. But as horror shows go, it wasn’t very scary. For starters, the list included two actions taken by ISPs in Canada, which suggests how far advocates have had to stretch to find real-world examples. It also included AT&T’s 2007 decision to excise Pearl Jam singer Eddie Vedder’s attacks on President George W. Bush during a live stream of a concert. But that decision wasn’t made by AT&T in its role as a network provider; it was made at the broadcast level by the team in charge of running the show, in the same way that an MTV video crew might bleep a curse word from a live awards ceremony. Also on the list: an allegation that BellSouth censored MySpace by denying access to some users—despite the fact BellSouth says the event was merely a glitch, an explanation no evidence has yet contradicted.

The ACLU also listed Verizon’s 2007 refusal to send a mass text message from the abortion rights group NARAL Pro-Choice America. Verizon maintained that it had the right to block “controversial” content of any kind—essentially, that it needed to be sensitive to bulk messages that it agreed to send over its network. Julian Sanchez, a research fellow at the libertarian Cato Institute (and former reason staffer), describes it as “a case where the company is partnering with the provider in a way that goes beyond carriage, because they’re also effectively acting as a payment processor. That means they’ll have an interest in vetting partners in a way you wouldn’t expect a mere carrier to vet every content provider on the network.” Regardless, after a loud public outcry, Verizon reversed the decision within one day.

Consumer agitation also played a role in resolving the most notorious net neutrality violation. In 2007, the press began to report that Comcast was secretly slowing some users’ access to BitTorrent. The company said it was merely attempting to prevent network congestion—and thus keep overall access and user speeds up—by slowing applications that were suspected of hogging bandwidth. By spring 2008, Comcast, under intense customer pressure, adjusted its network management practices so that specific applications such as BitTorrent would not be targeted. Consumer agitation had solved the problem, but the Bush FCC later censured the company anyway.

The punishment was largely symbolic, but was intended to send the message that the FCC would take official action to ensure net neutrality. “We are saying that network operators can’t block people from getting access to any content and any applications,” then-chairman Kevin Martin told The New York Times in August 2008. Comcast challenged the decision in court.

This lack of clearly defined violations has never stopped net neutrality advocates from using Comcast and other big broadband providers as convenient corporate villains. On the campaign trail, Barack Obama warned that without net neutrality, “mom and pop sites” could suffer at the hands of greedy network behemoths.

But the net neutrality debate doesn’t really pit the Goliaths against the Davids. It’s a battle between the edge of the Internet and the center, with application and content providers (the edge) fighting for control against infrastructure owners (the center). Large business interests dominate both sides of the debate. Google, for example, has long favored some form of net neutrality, as have Facebook, Amazon, Twitter, and a smattering of other big content providers, who prefer a Web in which the network acts essentially as a “dumb pipe” to carry their content. Mom-and-pop sites aren’t the issue.

Google makes its support sound as simple and earnest as its corporate motto of “don’t be evil.” Much like Genachowski, it defines net neutrality as “the concept that the Internet should remain free and open to all comers.” But the freedom and openness that Google claims to prize bear a distinct resemblance to regulatory protection. An Internet in which ISPs can freely discriminate between services, prioritizing some data in order to offer enhanced services to more customers, is an Internet in which content providers may have to pay more to reach their customers. Under Google and Genachowski’s net neutrality regime, ISPs may own the network, but the FCC will have a say in how those networks are run, with a bias toward restrictions that favor content providers.

Battle Lines

Yet for many of net neutrality’s most vocal supporters, Genachowski’s proposal didn’t go far enough. In November 2009, Columbia law professor Timothy Wu, who popularized the term net neutrality in a 2002 paper, co-signed a letter with other left-leaning academics warning that an early draft of the FCC plan was too vague and might not sufficiently restrict ISP behavior. Building on that letter, the “media reform” group Free Press warned that the ambiguity “would undermine the future of Internet freedom.”

Free Press serves as the nexus for the netroots’ net neutrality efforts. Founded by Josh Silver, who’d previously helped run a state-based campaign for publicly funded elections, and the leftist media theorist Robert McChesney, the group touts a radical, anti-corporate vision of government control over the media. In 2002, the year Free Press was founded, McChesney co-wrote a book, Our Media, Not Theirs: The Democratic Struggle Against Corporate Media, which declared “the need to promote an understanding of the urgency to assert public control over the media.” 

Despite its relative newness and its radical ideas, Free Press has had an outsized influence on the net neutrality debate. It has a former staffer in the FCC chairman’s office: In June 2009, Jen Howard left her job as press director for Free Press to become Genachowski’s press secretary. The group also benefited from its longstanding alliance with MoveOn.org, a netroots giant with massive influence on progressive politics.

Free Press has used its influence to push the FCC toward the strictest regulations possible. By opposing Genachowski’s initial rule proposal as too lax, the coalition made it clear that only the heaviest regulatory burden would do. And Free Press hasn’t been afraid to turn its fire on the chairman. In July the group created a mocked-up “Wanted” poster using a photo of Genachowski’s face and encouraged activists to post it “all over Chicago” during an FCC meeting there. FCC insiders say the group’s influence is strongly felt. According to Commissioner Baker, the chairman “is under tremendous pressure from the netroots base not to compromise on net neutrality.”

While Free Press was busy trying to save the Internet from vaguely defined ISP threats, opposition to Internet interference began to coalesce. In September 2009, the free market telecommunication scholars Adam Thierer and Berin Szoka, then employed by the Progress & Freedom Foundation, wrote in Forbes that “the presumption of online liberty is giving way to a presumption of regulation.” They warned that despite efforts to make the net neutrality proposal seem harmless, it would inevitably lead to a massive increase in federal regulation of the nation’s information infrastructure. “Real Internet Freedom,” they wrote, “is about to start dying a death by a thousand regulatory cuts.”

Broadband providers, naturally, worried too. “In the ’90s,” says Hank Hultquist, a vice president in AT&T’s federal regulatory division, “the FCC decided that it was not going to regulate the Internet in the way that we regulate phone service.” But despite an initial bipartisan consensus against regulating the Net, there was always dissent. As the Web matured, that dissent grew, and when the Obama administration took power, it gave dissenters the keys to the regulatory command post.

Following Genachowski’s Brookings Institution speech, Commissioners Baker and McDowell went public with their skepticism about the regulatory push. Nevertheless, in the months immediately afterward, Genachowski began the lengthy process of writing and reviewing his rule proposal. The plan that emerged closely resembled the structure that Genachowski had proposed in his speech. At the end of October, when the commission voted on the proposal and published it, both Baker and McDowell dissented from the “factual and legal predicates” underlying the report. But they were in the minority.

‘An Unbridled, Roving Commission’

Yet the FCC still did not have clearly enforceable rules governing net neutrality. Martin’s principles were the only clear statements on the books. And even as the bureaucratic process rolled forward, the agency’s authority to oversee broadband traffic—and thus to regulate net neutrality—was being challenged in federal court as a result of the 2008 BitTorrent decision.

Comcast owned up to slowing some users’ connections when they were using BitTorrent. But it maintained that the agency’s philosophical statements about Internet openness, which the FCC had relied on for its censure, were merely guidelines and therefore legally unenforceable. The FCC responded that it could enforce them under the doctrine of “ancillary jurisdiction,” a legal concept under which an agency claims the authority to issue regulations necessary to meet its statutory responsibilities. To uphold its net neutrality policy statements, the FCC argued, it needed to oversee broadband traffic management practices such as Comcast’s treatment of BitTorrent.

Because the policy statements weren’t codified, the FCC had a tough time convincing D.C. Circuit Judge A. Raymond Randolph that it had a statutory responsibility to uphold them. In January 2010, Randolph signaled during oral arguments that he might take Comcast’s side. “You have yet to identify a specific statute” that gives the FCC clear authority to regulate, he told the agency’s lawyers. He seemed exasperated, saying vague statements of principle are no replacement for concrete rules. “You can’t get an unbridled, roving commission to go about doing good,” he said.

In April, Randolph laid down the law: “Policy statements are just that—statements of policy,” he wrote. “They are not delegations of regulatory authority.” The decision wreaked havoc with the net neutrality rulemaking process. Codifying the policy statements into new rules would do little to ensure the FCC’s authority to regulate because those rules would still lack a statutory basis. Congress had never given the agency a clear directive to enforce neutrality. Without statutory authority to regulate broadband data management, what could the FCC do?

A few options quickly became apparent. First, the agency could drop its pursuit of net neutrality. But given the fact that the policy was an explicit campaign promise, and given the political pressure from groups like Free Press, that seemed unlikely. Second, the FCC could wait for Congress to give it explicit statutory authority. But with the health care battle recently ended, and with Democrats headed for what promised to be a sizable loss in the November elections, there was little appetite for a controversial new regulatory initiative—especially one that would make congressional supporters vulnerable to accusations that they wanted to control the Internet. 

The Trouble With Title II

And then there was the most extreme option. Instead of pursuing net neutrality through ancillary jurisdiction, as it had already attempted, the commission could move broadband service into the same regulatory category as telephone lines. Rather than regulating broadband providers under Title I of the Communications Act, as information services, it could regulate them under Title II, as telecommunication services. After Randolph’s decision, Democratic Commissioner Michael Copps immediately signaled that he favored this route.

It sounds like a small change, but in fact it would be enormous. Title II was designed for legacy phone networks and was written before broadband existed. If the FCC could pull off this shift, it would have far greater power than before. The Net’s core would effectively be transformed into a public utility subject to the whims of regulators.

But this approach was sure to provoke a drawn-out legal battle. As an executive branch agency, the FCC does not have the power to define its own governing statutes. That’s Congress’ job. And nowhere in the commission’s governing statutes did Congress bestow upon it the power to reclassify broadband providers as telecommunication services. If the FCC pursued the Title II strategy, several ISPs warned in a joint statement in February 2010, the industry would be wracked by “years of litigation and regulatory chaos.” That wasn’t just a prediction; it was a threat. 

The legal complexities of reclassifying broadband service were only part of the problem. Broadband providers warned repeatedly that strict net neutrality rules would derail capital investment, an argument seconded by telecommunication labor unions. In July the Communications Workers of America released a statement declaring that “the ‘reclassification path’ will lead to years of litigation and regulatory uncertainty that will reduce broadband investment and jobs.” That promised to put the policy in conflict with one of the agency’s other top priorities. 

At the same time the FCC has been pursuing net neutrality, it has been putting together a National Broadband Plan meant to spark broadband investment and deployment in underserved regions, a plan the Obama administration has persisted with despite surveys showing that most Americans don’t want the government involved in promoting broadband. The FCC’s own estimates put the cost of this plan at $350 billion, the bulk of which is presumed to come from investment within the industry. Rules that make such investment less lucrative make the broadband plan tougher to implement.

It was enough to make even the most determined regulator anxious. Which may be why, in May 2010, Genachowski announced that the FCC would take a step toward reclassifying broadband—but only a tentative one. Rather than release rules, the agency would issue a notice of inquiry asking for input about the possibility of switching broadband to Title II—the bureaucratic equivalent of winking at your friend and asking, “Hypothetically, what if we were to do this?” In a further sign of Genachowski’s anxiety, the FCC’s notice did not propose applying the full regulatory power of Title II to broadband providers. Instead, it suggested what Genachowski called the “Third Way,” under which the agency would give up some of its potential Title II authority in the hope of erecting “meaningful boundaries to guard against regulatory overreach.”

But the few boundaries to regulation the FCC proposed were not very meaningful. Larry Downes, a fellow at the Stanford Law School Center for Internet & Society, argues that regulating broadband providers like old-style telephone services could have a host of unintended effects, such as adding new consumer fees, giving local governments greater authority to impose a patchwork of confusing and contradictory regulations, and even giving the federal government greater leeway to wiretap electronic communications. 

The difference, Downes says, is plain to see when you compare the evolution of Title I broadband service to the evolution of Title II phone carriers. “Under Title I, we’ve had the Internet revolution,” he wrote on his eponymous website in March. By contrast, under Title II, “we’ve had the decline and fall of basic wireline phone service…and the continued corruption of local licensing authorities.”

Even advocates of the switch seemed to admit that the move would open up the regulatory floodgates: According to a January 2010 FCC filing by Public Knowledge, one of the most active pro-neutrality groups, “Reclassification would…expand the range of opportunities for more aggressive regulatory steps.”

The idea also faced opposition from Congress, particularly in the House, where a majority of members—including 72 Democrats—expressed disapproval of the plan in letters sent last May. And behind the scenes, sources say, the White House economic team expressed concern that the FCC’s pursuit of strict, investment-killing net neutrality rules was a distraction that would be bad for growth in the telecommunications sector.

Fear of Compromise

Free Press was having none of it. The group mounted a months-long campaign pushing Genachowski to formally declare his intention to proceed with a Title II reclassification. In November Free Press urged its members to sign and email the chairman a prewritten letter urging him to reclassify broadband so that the FCC “can keep the Internet open and free of corporate gatekeepers.” By the end of November, Genachowski looked stuck.

Free Press has declared that only the strictest approach to Internet regulation is acceptable. Yet the voting public appears unmoved by the neutrality agenda. Every single one of the 95 congressional candidates who signed a petition pledging to support neutrality lost in the 2010 elections. Meanwhile, Congress wasn’t being supportive, and industry players on both sides of the issue were increasingly seeking compromise. In August, for example, Google and Verizon proposed a joint policy framework—essentially a loosely defined model regulatory structure—that would impose some restrictions on wire-line providers but would leave wireless data networks, widely believed to be the future of the Net, largely untouched.

A similar proposal made its way into legislative form at the end of September, when Rep. Henry Waxman (D-Calif.), chairman of the House Energy and Commerce Committee, released a short proposal subjecting wire-line providers to basic nondiscrimination rules but strictly forbidding the FCC from pursuing any form of Title II reclassification. The legislation appeared right before Congress was scheduled to end its session, and Republicans, citing the short time frame, declined to support it. But AT&T, which has long opposed any sort of neutrality regulations, was enthusiastic, and conservative activist groups quietly urged their members and contacts to push Republicans to vote for the proposal. Republicans clearly wanted to wait until after the November elections to act, but the interest from both industry and conservative activists suggests that something like the Waxman bill could eventually garner bipartisan support.

As 2010 progressed, Genachowski faced the unpleasant choice of either risking the wrath of MoveOn.org or giving in to Free Press’ demands, despite their mounting unpopularity and the years-long legal battle that would result from trying to satisfy them. Initially, he opted to wait. 

In September, Genachowski decided the FCC would delay any Title II decision until after the elections, implicitly acknowledging the messy politics of the situation. The day after the elections, he announced that neutrality would not be on the agenda for the commission’s November 30 meeting, buying him time to take the temperature of the new Congress and see what might be done during the upcoming lame-duck session.

At the beginning of December, Genachowski finally made his move, announcing that the FCC would vote on a net neutrality proposal within a few weeks. The proposal would be based roughly on the Waxman bill and anchored firmly under Title I, broadband’s current regulatory category. Never mind that a court had already declared the FCC’s previous justifications for Internet regulation insufficient, making a legal challenge inevitable. When the lawsuit arrived, the FCC would come up with a new justification, ancillary to some currently untapped statutory provision. Conveniently, says Larry Downes, “the D.C. Circuit opinion left some wiggle room, suggesting that even though the commission had failed to find a provision in the law that its adjudication was ‘ancillary’ to, there might be some that weren’t advanced.”

Meanwhile, the time for comments on the neutrality proposal was limited to less than three weeks—far shorter than the comment period granted for the initial rule and the Notice of Inquiry. Normally the short comment period would have been the biggest cause of commotion surrounding the proceedings. But in this case, there was very little of substance for anyone to get excited about. In a highly unusual move, Genachowski decided to keep the text of the proposal secret until after it passed. The gist, though, was made plain enough by Genachowski’s remarks at vote: The FCC would finally have a rule prohibiting “unreasonable discrimination” on the major wired networks.  And who would be in charge of determining what sort of network management practices were “unreasonable?” Why, none other than the FCC. 

 The remnants of a once firmly held bipartisan consensus that the Internet operates best when the government leaves it alone were strong enough to block the most radical elements of the Left’s net neutrality wish list, at least temporarily. And the rules will be challenged in court as well as Congress, where congressional Republicans were already threatening to use their new found oversight powers to make Genachowski’s life difficult.

But Genachowski has finally managed to plant regulatory roots within the Net. On December 21, 2010, the agency voted 3-2 to pass a major regulatory order that no one outside the FCC had been allowed to see. Genachowski’s power grab had been accomplished in haste and secrecy as a lame-duck Congress prepared for Christmas, but he had successfully fulfilled the president’s promise and asserted federal control over the sprawling core of the Net. Commissioner McDowell’s “greatest deregulatory success story of all time” has given way to empowered regulators. The Internet, after luxuriating in lawless freedom, finally has its own cop. 

Peter Suderman is an associate editor at reason. This column first appeared at Reason.com.


          Network Neutrality Backlash   

Don’t look for the network neutrality controversy to go away anytime soon.

The Federal Communications Commission’s “Christmas Surprise”—its December 21 vote to adopt new network neutrality—touched off criticism from mainstream pundits despite the distraction of the holiday season. Political cartoons like this, plus a column by George Will, which succinctly linked net neutrality to the Obama adminstration’s overall regulatory bent, belie the notion that the issue was only front-and-center among tech policy geeks.

What’s most frustrating about the new rules is that they all but concede there’s no real problem.

Larry Downes, in the first of a series of posts about the net neutrality order at Technology Liberation Front, points out that the new rules likely would not prevent three of the four so-called violations that neutrality advocates repeatedly cited as egregious abuse (Comcast-BitTorrent, an on-line payment service blocking use of competitive payment services, and AT&T’s restriction of certain iPhone apps). The fourth—the Madison River-Vonage case already had been dealt with under the existing rules.

In his ensuing posts (catalogued here), Downes cites the real problem: the creation of a framework that can be arbitrarily applied by either Genachowski or future chairpersons, and can spark a series of petitions and complaints aimed at rent-seeking or delaying competition.

Under the new network neutrality rules, the FCC is a referee stepping onto the field and declaring he will make the rules up as the game progresses. Teams won’t be told what plays are legal or illegal and won’t know if they’ve committed a foul until the ref tells them have. And a fair play in the first quarter may be ruled a foul in the fourth and vice-versa.

It also doesn’t help that in the run-up to the neutrality decision, a neutrality complaint came not from some tiny website that activists like Free Press claim the rules are designed to protect, but from Level 3 Communications and Netflix, two large companies, who asked the FCC to prevent Comcast from charging them more to cover the cost of the massive bandwidth Netflix’s video-on-demand service was going to consume.

Now comes the first neutrality complaint since the new rules were adopted. Note it concerns neither AT&T, Verizon, Comcast or any of the large service providers accused of monopolizing access. Instead, neutrality proponents Free Press, Media Access Project and the New America Foundation have accused Metro PCS, a second-tier wireless service provider with little brand recognition beyond Dallas, Texas, with a violation because it offered a low-priced "all-you-can use" data plan that blocked access to YouTube and other high-bandwidth sites. Never mind MetroPCS’s competitors offer wireless YouTube access, and never mind that Metro PCS made the package available on the assumption that a subset of customers may not be interested in using their phone for YouTube and would happily pay less if the choice were offered. So there you have it—network neutrality used to force consumers to pay higher prices for services they don’t want, rather than allow a small company to peel off a bit of market share by addressing a subset of the market with particular needs.

So much for the Free Press argument that network neutrality would safeguard competition. Here, regulation would close off an incentive that might lead some consumers to switch from a larger, dominant carrier and thereby strengthen a small one. This is exactly the sort of unintended consequence that opponents of neutrality regulation warned of—and it is showing up mere weeks after the new rules were adopted.

Now that net neutrality's problems are emerging for all to see, there’s been some pushback from antiregulatory circles. Rep. Marcia Blackburn (R-Tenn.), now part of the House majority, already has reintroduced a bill to prohibit the FCC from further regulating the Internet. Blackburn had sponsored this bill during the last Congress, too, where it went absolutely nowhere. This time around, is has gained 59 cosponsors. As Ars Technica reports, “it contain[s] only a few lines, chief of which was this one: ‘In General—The Federal Communications Commission shall not propose, promulgate, or issue any regulations regarding the Internet or IP-enabled services.’ National security issues and wiretapping rules would be exempt from this restriction.”

Meanwhile, according to Downes’s reporting from last week’s CES, Neil Fried, senior counsel to the House Energy and Commerce Committee, told a packed session on net neutrality that the Committee would take up the FCC’s “overreaching” as its first tech agenda item. In the same session, Verizon Executive Vice President Tom Tauke refused to dispel rumors that the company is preparing to challenge them in court.

Good news all round.


          Net Neutralityâ??s Declare-Victory-And-Go-Home-Moment?   

Will the House pass a Net Neutrality Bill before the session ends? Rep. Henry Waxman’s (D-CA) draft bill surfaced yesterday amid reports that Waxman, the Chairman of the House Energy and Commerce Committee, was hoping to get the bill introduced this week with an eye toward passage during the post-election lame duck session.

Top line, the bill would prevent the Federal Communications Commission from reclassifying broadband Internet services as “telecommunications services” in order to invoke a more intrusive regulatory hand. The bill then addresses the network neutrality issue, which sparked the FCC’s reclassification proposal inthe first place.

As Larry Downes notes in separate pieces at CNET and the Technology Liberation Front, the bill attempts to address the objections of all stakeholders. While endorsing the controversial non-discrimination clause, which would require ISPs to treat all data traffic the same way as it crosses their networks, Waxman’s bill concedes a need for “reasonable network management,” words the FCC uses in its network neutrality proceeding. Unlike the FCC proposal, however, Waxman’s bill includes specific language defining what the “reasonable network management” means.

The term “reasonable network management” means a network management practice that is appropriate and tailored to achieving a legitimate network management function, taking into account the particular network architecture or technology of the provider. It includes appropriate and tailored practices to reduce or mitigate the effects of congestion on a broadband Internet access provider’s network; to ensure network security or integrity; to address traffic that is harmful to or unwanted by users, including premise operators, or to the provider’s network, or the Internet; to meet the needs of public safety; and to provide services or capabilities to effectuate a consumer’s choices, including parental controls or security capabilities. In determining whether a network management practice is reasonable, the Commission shall consider technical requirements, standards, or best practices adopted by one or more independent, widely-recognized Internet community governance initiative or standard-setting organization. In determining whether a network management practice for wireless broadband Internet access service is reasonable, the Commission shall also consider the technical, operational, and other differences between wireless and other broadband Internet access platforms, including the need to ensure the efficient use of spectrum.

Just as important, the draft bill, which can be found here, also considers the unique requirements of wireless, and subjects it fewer restrictions.

All in all, the bill comes close to the solution Google and Verizon proposed in August. For this reason, Downes predicts it might have a "rocky road" to passage, particularly because the most vocal network neutrality enthusiasts, such as Fress Press will push back against the network management language excerpted above aw well as any wireless exemptions.

I'm a little more optimistic. While it is only in draft form, the bill also may be the closest we’ve come to resolving the network neutrality policy debate, which while occupying a segment of the tech set, is barely registering with the public. Meanwhile, you have many large high-tech companies inthe Internet ecosystem who once were favorably disposed toward net neutrality, voicing second thoughts about using reclassification to achieve it. With the support Waxman, a member of the Democratic leadership, the bill may provide cover for the net neutrality proponents in Congress and deliver a nominal policy win for the President Obama, who voiced support for net neutrality on the campaign trail. Yet the bill would also put the brakes on an expansionist FCC and its investment chilling plan for "Mother, May I?" oversight of Internet innovation.


           Kirk Triplett takes lead into final round of US Senior Open    
PEABODY, Mass. (AP) Kirk Triplett watched a TV documentary on the Celtics and Lakers before teeing off in the U.S. Senior Open on Saturday, then he and Kenny Perry tried to turn the tournament into a two-man show Larry Bird and Magic Johnson would be proud of.
          Faulk’s cure for Super Bowl insomnia   
While milling around the field for pregame, Marshall Faulk shared a great story. Cardinals WR Larry Fitzgerald was texting Faulk last night, trying to figure out how to get to sleep.
          ‘Watch the slant’: Now that’s good advice   
Willie McGinest was just saying, "Watch the slant, watch the slant," as the Cardinals were driving with 3:30 to go in the first half. What happened? Kurt Warner threw the slant, Eagles CB Asante Samuel wasn't in the right place in coverage and got a "P.I." (that's what Willie calls pass interference). On the next play, Warner found WR Larry Fitzgerald on the other side of the end zone for a touchdown.
          7/1/2017: FEATURES: THE LAST WORD IN ASTROLOGY   

Celebrities born on this day: Alex Morgan, 28; Lindsay Lohan, 31; Ashley Tisdale, 32; Larry David, 70. Happy Birthday! Taking on too much will lead to problems with partners or anyone you’ve made an agreement with. Rethink your steps and backtrack...
          "[Then there's] Hustler ... smut peddler who cares." - Larry Flynt   
"[Then there's] Hustler ... smut peddler who cares." - Larry Flynt
          Golf tournament, bike raffle to benefit SLHS students   

Larry Godfredson and Kim Johnson with the bike

you can win.

Storm Lake Athletics is sponsoring their second annual Four-Person Best Shot golf tournament July 15 to help high schoolers purchase activity tickets.

Last year’s event netted $3,400 for the same cause, explained SLHS volleyball coach and organizer Kim Johnson. Being able to go to school events “makes them feel more connected to the school.”

Athletic Director Ty Seaman and Assistant Principal Jeff Tollefson are also on the planning team.

Two years ago the tickets cost $25 apiece and only 180 were sold. Last year, thanks to the benefit, 480 were sold at $10 each.

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          REVIEW: SWNW's "Laughter on the 23rd Floor"   

Stageworks Northwest presents a comedy about comedy writers written by a comedy writer.


Neil Simon.

What can I say about this (still living) modern American playwright? He's written one of my favorite plays (God's Favorite); several I like very much (like The Odd Couple); some that are quite good, but not my cup of tea; and quite a few I could care less about.

He's prolific. He can be funny. And he can be crude, somewhat foul and even irreverent. A Jewish writer, he's not afraid to let you know it and then show that he's not all that dedicated to the tenets of his faith either.

"Laughter on the 23rd Floor" is a biographical work. How accurate, how realistic, how self-reflective, I don't know. But it is a look back at his days working as a comedy writer for Sid Caesar's "Your Show of Shows" a live comedy variety show which ran on NBC from 1950-1954. Simon was part of the writing team which included Carl Reiner and Mel Brooks.

The play takes place in 1953 in the writer’s room of the "Max Prince Show," a fictional comedy variety show, during the height of McCarthyism.

Comedy writers who work in teams bounce around a lot of ideas, it seems, while also making jabs at one another. You'll see this in television programs like "The Dick Van Dyke Show" (1961-66, developed by Carl Reiner) and "30 Rock" (created by Tina Fey, who developed as a team comedy writer for SNL).

I've seen maybe a season of "30 Rock." I watched "The Dick Van Dyke Show" as a child and have revisited it as an adult. The former had it's funny moments, but also things that moved beyond my taste. The latter I enjoyed very much.

But what did I think of this production?



Frankly, not fondly. My least favorite Simon play to date. It was far too vulgar and distasteful for me. Way far. And that is it's biggest flaw, because it needn't be.

Lots and lots of F-bombs and coarse language, the Lord's name in vain, and general swearing permeated the script. The 50's weren't like that (at with least the F-bomb). Still, the story was good.

Having said that, I will add that a lot of the comedy shticks were really well written. There's a lot of great humor in the script. And having said that, I have to say that the patter pace and comic timing of this presentation simply did not do the comedy justice.

The Look of It


A pretty good shot of the really good set.
The set for this show looks great! The overall concept and execution, marvelous. The set dressing and costuming were generally good, but some non-period "best we could dos" were present in both.

The overall production values were high and the lighting even and well conceived. Everything ran smoothly.
Kudos to Michael and Jennifer Cheney for a great design as well as Leslie Slape for making it all cue up.

The Lack of It


Michael R. Cheney, left, plays a tormented TV star.
The production, directed by Jennifer Cheney, I would classify as "good," but not exceptional (like their production of "9 to 5"). As mentioned the cast lacked zing in the zingers. And I felt the characters should have been pushed a bit more toward the zany. Performances generally lacked oomph. I just wasn't sold.

The cast, in order of appearance, includes: Dean Baker as Lucas, new writer (based on Neil Simon); Corey Farmer as Milt, staff writer (based on Sheldon Keller); Pip A. Kennedy as Val, head staff writer (based on Mel Tolkin); Ryan Lee Gaylor as Brian, staff writer (based on Tony Webster); Patrick Hale as Kenny, staff writer (based on Larry Gelbart); Lora Ressler as Carol, senior staff writer (based on Lucille Kallen); Michael R. Cheney as Max Prince, comic actor (based on Sid Caesar); Ashley Stevens as Helen, secretary; and Matt Olason as Ira, staff writer (based on Mel Brooks).

Pip A. Kennedy, right, is in top form and clearly the leading talent.
Michael Cheney's and Matt Olason's performances did rise above the rest, but the true star of the show was Pip Kennedy in top form. I believe he played his role near perfection.

I think the play has merit. It is interesting. And, if you are a person who can take a goodly dose of foul language without it bothering you, then you should see the play.

WARNING: This show contains a few adult situations and pervasive strong language--including the Lord's name used in vain and several F-bombs. I do not recommend this show for everyone.

The play runs 7:30 p.m. Fridays and Saturdays and 2 p.m. Sundays now through September 28, 2014 at the historical Longview Theater space of Stageworks Northwest. Click here for tickets.

I enjoyed this related trivia page on the SWNW website.

By Gregory E. Zschomler
Photos, by Amanda Wilson Portraiture, provided.
          The Flash   
Director: Dermott Downs, Ralph Hemecker, Jesse Warn, Glen Winter, Millicent Shelton, Rob Hardy, J.J. Makaro, Stefan Pleszczynski, John F. Showalter, Michael A. Allowitz, David Nutter, Steve Shill, Kevin Tancharoen, Hanelle M. Culpepper, Armen V. Kevorkian, Kevin Smith, Rachel Talalay, David McWhirter, Larry Shaw, Douglas Aarniokoski, John Behring, Nick Copus, Thor Freudenthal, Wendey Stanzler, Stephen Surjik, C. Kim Miles, Antonio Negret, Alice Troughton, Tom Cavanagh, Harry Jierjian, Alexandra La Roche, Nina Lopez-Corrado, Gregory Smith
Cinematographer: C. Kim Miles, Stewart Whelan, Jeffrey C. Mygatt, Glen Winter, Jan Kiesser, Bruce Worrall, Craig Wright, Ronald Richard
, , , , , , , , , ,
After being struck by lightning, Barry Allen wakes up from his coma to discover he's been given the power of super speed, becoming the Flash, fighting crime in Central City.
          UK Online Trading   

Day Trading Online in the UK



It is one of the strongest currencies in the world, but the whole economy is not as powerful. It fluctuates up and down, along with trends in privately and publicly-owned companies. England's economy has experienced some very high points, but has also experienced some low points as well.


No matter where you live, you must carefully consider your options before you try to earn a return on your investment; and England is no exception to that rule. But some people in the UK still like to take a risk with their money and one of these risks is day trading online.


Day trading online involves the process of buying and selling shares over the Internet at short notice. Day trading online has been seen by many as a way to get rich quick, but that isn't the half of it. Statistics show that online day traders are having a rough ride, with 70% of online day traders losing money. So if you are looking at getting into the world of online day trading, then you should know the risks that are attached to the service.


But when you are in the world of online day trading then you will get some excellent services given to you. One of these services is a chat room, where you can talk to other buyers and sellers. This is a good way to find out what the next big time company might be, but you have to know if this person is "share ramping," which is the process of talking up the shares artificially. So you have to take the risk of guessing if this person is correct or not and if the information hasn't been authorized


These days, online trading websites are somewhat risky and can be dangerous. But if you are a professional when it comes to buying and selling shares, then you will know all about the risks and you can make yourself a tidy profit. Day trading online should not be used by beginners, but more used by people that are heavily experienced in the stock market world.





Larry Westfall is the owner of www.pennystocks101.com
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          This ISBN Conference Looks Like the Best One Ever   
Farouk Shami, founder and chairman of Farouk Systems

I’m really looking forward to attending the 2012 International Salon/Spa Business Network Conference with its “Be Inspired” theme on April 15-17 at the Terranea Resort in Rancho Palos Verdes, California.

What’s the International Salon/Spa Business Network? It’s comprised of more than 50 top salon and spa companies. Every company owns from two to 12,000 salons and/or spas, and together the member companies generate an astounding annual gross sales of more than $10 billion.

Let me throw some other staggering ISBN statistics at you: Its membership represents more than 25,000 hair salons and spas, and employs more than 250,000 beauty professionals—who conduct more than 500 million client transactions per year! Its leaders are a Who’s Who of chain salon/spa owners and VIPs. A partial list: The ISBN president is Gordon Logan, founder and CEO of the incredibly successful Sports Clips. Paula Malloy Huerta, product development and marketing director for JCPenney Salons, is the past ISBN president. Currently, Jason Volk, CEO of Chatters Canada, and Paul Brown, owner of Paul Brown Hawaii Salons & Spas and product line, are ISBN vice presidents.

And this year ISBN expects its largest conference ever—including record attendance—I’ve been told recently. There are a number of factors likely contributing to all this.

However, you have to think that one huge reason has to be that at the conference ISBN will present its 2012 Legend Award to Farouk Shami, founder and chairman of Farouk Systems—the multinational corporation that manufactures the BioSilk and CHI brands that are sold in more than 100 countries. So many phrases describe industry icon Shami: a hairdresser’s hairdresser (he began his career working part time as a hairdresser, then became a salon owner), an artist, a visionary, an entrepreneur who personifies the American dream (he came to the United States in 1965 with $71), an educator, a celebrity (his appearances on “The Celebrity Apprentice”), a humanitarian (with donations to numerous charities and organizations worldwide), a politician (he ran for governor of Texas in 2009, but didn’t win the primary election) …

I’m truly honored to sit on a panel and discussion (“Trends in Products and Services”) with him at the conference. Other panelists are Robert Yates, senior vice president of marketing at John Paul Mitchell Systems, and Patrick Neville, chief merchant for BeautyFirst and an ISBN board member. Jayne Morehouse, ISBN’s communications director and president of Jayne & company brand communications, will moderate.

The conference will also feature:

  • A keynote by social-media guru Peter Shankman
  • Economist Alan Beaulieu discussing how to “Make Your Move” to maximize the future
  • Panels covering the state of the industry and governmental relations
  • Breakouts on online-reputation management and “A Window Into the Consumer’s Mind”
  • A special “2 to 10 Project” workshop
  • ISBN’s signature speed meetings with sponsors
  • The golf outing at nearby Trump National Golf Course
  • And plenty of time for networking (where are those ULTA Beauty people? Regis Corp.? Charles Penzone? Larry Walt of Design 1 Salons and Day Spas? Etc.)

You still have time to register for the conference and congratulate Shami in person. Visit ISBN's website or call 866.444.4272.

—Marc Birenbaum

[Caption: The International Salon/Spa Business Network will present its Legend Award to Farouk Shami, founder and chairman of Farouk Systems, at its 2012 conference. Image courtesy of ISBN]


          52 Ancestors 52 Weeks: Week 26 Bennett Strait   
The latest post in a series in the challenge of posting about 52 ancestors in 52 weeks by Amy Johnson Crow Bennett Strait, my 2nd great grandfather, was born on July 19, 1826, in Brown County, Ohio as the fourth of eleven … Continue reading
          52 Weeks 52 Ancestors: Week 25 John Parker Hale Walton my 2nd Great Uncle   
A post in a series in the challenge of posting about 52 ancestors in 52 weeks by Amy Johnson Crow. This will be a very short post since I have been on a trip with little access to the internet for a … Continue reading
          52 Ancestors 52 Weeks: Week 24 Frederick August Gerhardt Goesch   
Another post in a series in the challenge of posting about 52 ancestors in 52 weeks by Amy Johnson Crow Frederick August Gerhardt Goesch (usually called Fritz) was my grandfather. I’ve already talked a little about his wife, Winnie Pearl Walton, and … Continue reading
          52 Ancestors 52 Weeks: Week 23 Abraham Walton my 2nd Great Uncle   
Another post in a series in the challenge of posting about 52 ancestors in 52 weeks by Amy Johnson Crow My 2nd great uncle Abraham Walton was born December 31, 1844 in Deputy, Jefferson County, Indiana to Isaiah  and Eliza Jane (Hall) … Continue reading
          52 Ancestors 52 Weeks: Week 22 Anna West My Great Grandmother   
Another post in a series in the challenge of posting about 52 ancestors in 52 weeks by Amy Johnson Crow In an earlier post about my grandmother Nell Robinson Sanburg, I commented that her parents George and Anna Robinson seemed to disappear from … Continue reading
          Yorba Linda 2-year-old and a boy in San Juan Capistrano are pulled from water in separate near drownings   
Two children were hospitalized after nearly drowning in two separate incidents Saturday afternoon, July 1, Orange County fire officials said. A 2-year-old boy fell into a San Juan Capistrano spa while at a family party. Another child noticed and the boy was pulled from the spa and given CPR, Orange County Fire Authority Capt. Larry […]
          WILD, DANGEROUS, IMPERFECT, WOUNDED GRANDEUR: 18 DOUBLE FEATURES ABOUT AMERICA   

The United States is “my country, right or wrong,” of course, and I consider myself a patriotic person, but I’ve never felt that patriotism meant blind fealty to the idea of America’s rightful dominance over global politics or culture, and certainly not to its alleged preferred status on God’s short list of favored nations, or that allegiance to said country was a license to justify or rationalize every instance of misguided, foolish, narrow-minded domestic or foreign policy.

In 2012, when this piece was first posted, it seemed like a good moment to throw the country’s history and contradictions into some sort of quick relief, and the most expedient way of doing that for me was to look at the way the United States (and the philosophies at its core) were reflected in the movies, and not just the ones which approached the country head-on as a subject.  By the time I revisited “Wild, Dangerous, Imperfect Grandeur” and expanded it from eight to 11 double features, it seemed to me that we as a nation were more than ever living in a country poised at the edge of some sort of transition, with all the attendant tension and conflict and intense conviction that can be expected on either side of the chasm that prevents us from a true state of national togetherness.

When the 2015 version of the article was posted, we had just one week earlier celebrated a Supreme Court decision that finally offered legality (and legal protection) to the notion of same-sex couples living together in marriage, a prospect many might have thought impossible only 10 years before. And on the very same day that life suddenly seemed opened up to so many people for whom repression and legal denial had always been a way of life, the nation mourned the deaths of American citizens gunned down in a house of worship, the victims of a lone murderer warped by fear, paranoia and racism, the beneficiary of a culture which, in the face of increasingly bloody reason, maddeningly refuses to adjust its addiction to guns.

In 2015 I wrote this:

“The emerging tolerance and new understanding has its dark underbelly. Those threatened by progress, by a lack of understanding of the fullness of love, by the exercise of intellect and articulate reason, by the looming Other, are already shoring up for battle, now ever further entrenched against the forces they see chipping away at American values. And there can be no darker underbelly than the taught and perpetuated rage still felt against African-Americans and other people of color who, 60 years after the first sparks of the Civil Rights Movement, still must fight against marginalization, against physical threat, even as they make inroads into American popular and political culture that prove that in many ways this country is not the same as it was even just a generation ago.”

And now, only two years later, the United States seems like a different place, not in that the landscape of violence and hostility and fear of the Other has changed so much as it has been cynically amplified and exploited and allowed to fester rather than heal. Meanwhile, the American political arena has shed much of its pretense to service of the people and exposed itself as a true political circus, owned and operated by the scariest collection of evil clowns ever assembled, and dedicated to ensuring the well-being and enrichment of the already well and rich to the exclusion of just about everything else. The ringmaster of said circus is someone who, through an escalating farce involving underestimation of the public’s capacity to be mesmerized and outright fleeced by naked charlatanism, has the power of the Oval Office at his disposal and has proved, on almost a daily basis, his unwillingness or incapacity to understand what to do with it or even how to behave in a manner befitting the ostensible Leader of the Free World. The grimmest joke is, of course, that in a matter of months this ringmaster has denigrated his office to such a degree that he can’t even be considered a leader in his own country, let alone the free world.

Yet even with all the increased tension and misunderstanding and violence, the intolerance of a racist travel ban and fear of immigrants, “the Russia thing,” the co-opting of the Supreme Court through Congressional stalemating, the tragedy of our national health care system and the presence of a president in waters way over his head, relentlessly tweeting lies and outright refusal of reality with the bellicose temperament of a bitter 10-year-old, I still love this country.  I still hold out hope for its future, for its sustained positive influence, even when the moments I despair for all that it has lost in the past couple of years alone tend toward the overwhelming, even the spirit-crushing.

And I love looking at it with a quizzical eye and a sense of challenge. I believe that patriotism entails honesty, a willingness to celebrate not only the energy and enthusiasm of living in a society like ours, but also confronting the enduring implications of its wildness, its inequities, its self-delusions, its diversity, its restlessness, its brutality, its paranoia,  its political and social mythologies, and the dark current of fear and anger that seem to be the most prevalent elements fueling our government’s current relentless pursuit of regression toward a mythical state of purity that we as a nation never possessed in the first place. I believe all that now more than perhaps I ever have.


And movies are now, as they always have been, excellent prisms through which to judge the progress of our nation, its self-image, its myths. So as “go-to” as a movie like Yankee Doodle Dandy might seem on July 4, my cinematic tendencies on this holiday run more toward films that look to examine the quality of a land that is more than ever bursting at the seams, in both the positive and negative, movies that attempt to grapple with America and all the shades of its messy, imperfect grandeur. I want to see movies that shed light on the dark corners which might somehow reflect a heightened clarity about how we got to this point in our history, where increasing understanding of people who have been oppressed in this country for centuries still coexists with alarming, religious-based bigotry, intolerance and fear, and where belief in hard work and dreams of prosperity are continually dampened and smothered by economic hardship and unparalleled greed.

I love movies about America that deal with its blissful possibilities, the transcendent and potentially dangerous fireworks of its culture, the slumbering animal located under the surface of the country’s self-image that occasionally awakens and wreaks political and social havoc. And most of all, I love movies about America that celebrate its orneriness, its blue-collar professionalism, its pugnacious worship at the altar of an ever-shifting notion of togetherness, movies that recognize the cheerful comedy of our self-aggrandizement, that suggest the greatest myth about this country might be that of our collective loss of innocence, landmarked by whatever chosen, significant social event, as if there was ever any innocence to lose.

The first version of this essay was written in 2012, in a mood of celebration, I guess, a way of thinking about our country in a way that tried to be as far-reaching as possible within the format, gathering eight perhaps unlikely double features that could converse with each other and in some way illuminate some aspect of the American experience, maybe spark thought and encourage active contemplation about what it means to be an American. In 2015 I revisited the piece, expanding the list to 11 double features which begin to encompass, for me, the vast wonder and folly of life in America over the past 239 years, the movies that make me grateful for the freedoms of artists who aren’t afraid (occasionally, anyway) to see America for what it is, and also what it isn’t. 

Today, in 2017, on the eve of our nation’s 241st anniversary, the United States feels anything but united. So, I thought it might be worth coming back to this piece and expanding it even further, to reflect on what this country was, what it is now and some of the things that got us here, in the hopes that we might more quickly be able to consider ways of cleaning up the mess we’ve all made in the name of patriotism and love of country. As I see it, “My country, right or wrong” is a statement not of blind fealty, but instead of the acceptance of responsibility and the conviction implied within that acceptance of a commitment to right the wrongs within our cherished, wounded system. I think that’s exactly what these films, in their own very specific ways, are up to by examining the concept of America through the coexisting prisms of satire, tragedy, social commentary, farce, celebration and outrage. All those perspectives are part of everyday life in America v. 2017. 

So It seems only fitting that on her birthday we should look to the films that have over the last 80 or so years most vividly reflected what American life is, in all its scrappy, contradictory, ragged glory, or lack of glory, and hope that there will be a similar spirit still in existence to be celebrated and examined in the films which will come from the next 80 years. Here then are seven more double features, added to the 11 already collected, which I believe reflect some aspects of America in all its wild, dangerous, imperfect, and now wounded grandeur, in the spirit of a happy and vigilant birthday for all of us.


Ace in the Hole (1951; Billy Wilder)
Used Cars (1980; Robert Zemeckis)

Two masterpieces on the dissection of American hucksterism. Wilder’s brutal drama blisters upon first touch, an examination of the extremes (which if anything have become even more extreme) of our culture of rubbernecking and appropriation of tragedy as journalistic entertainment. Zemeckis and cowriter Bob Gale perhaps don’t cut as deep as Wilder does, but their vision of the gleefully pervasive nature of corruption in small-time American business and politics (which is, of course, a reflection of the big time) is just as cynical and difficult to refute. The added bonus comes in the release of all those toxins in the form of the bitterest of belly laughs.


American Graffiti (1973; George Lucas)
Dazed and Confused (1993; Richard Linklater)

Traditionally, movies with the word “American” in their title tend to wield their makers’ statement of intent like a blunt instrument. But George Lucas’s paean to his Modesto youth circa 1962 seems at times almost as blissfully unaware as his characters are, perched on the precipice of college life and the abrupt end of the Kennedy era, which is to the movie’s benefit as well as the audience’s. Twenty years later, Richard Linklater looked back on his own generation (and mine), on the last day of high school for a collection of small-town Texans in 1976, and without aping Lucas’s movie he acknowledges its influence—DAC’s soundtrack is truer to its period than Graffiti’s was to 1962 charts-- and locates the sweet spot of future anxiety that coexisted, as it did for Lucas, while kids partied their last nights as kids away.


Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976; Robert Altman) 
Once Upon a Time in the West (1969; Sergio Leone)

A great American iconoclast examines the legacy of a great blowhard of the American west, locating the nexus of personal celebrity and national self-delusion, while a great Italian iconoclast tempers his romantic vision of that same West with an unblinking nihilism and digs deep into the iconography of a nation’s self-created mythological underpinnings. It’s amusing to remember that Altman’s film, one of the bitterest comedies about America, was his bicentennial gift to the nation. America thanked him by largely ignoring it and heading out to a big summer picnic. And Leone’s movie didn’t do too well over here either. Pass the hot dogs and sparklers!


The Candidate (1972; Michael Ritchie) 
They Live (1988; John Carpenter)

Michael Ritchie’s political satire, from Jeremy Larner’s script, could simply exist as a nostalgic artifact of Watergate-era disillusionment, from the good old days when corrupt politicians could still at least muster the courage of their convictions, were it not for its prescience. Robert Redford is a liberal U.S. senator who, convinced he has no chance to actually win, cynically plays the system and ends up facing a rapt constituency who now actually expect him to do something. Flash-forward to a society posited in Carpenter’s post-Reagan-era They Live, in which the “politicians” have done something, all right. They’re aliens who have surreptitiously invaded the American social and political structure and saturated the cityscapes with subliminal platitudes and sloganeering clearly visible only to those who have been sublimated to the alien consciousness, leaving the evil undercurrent of their effects to corrupt the rest of us. Could this be the result of handing a country over to self-aggrandizing politicians, like Redford’s senator, who were elected despite having no clear plan other than the undermining of what has come before? Only your brainwasher knows for sure.


The General (1925; Buster Keaton) 
The Right Stuff (1983; Philip Kaufman) 

Technological progress in American history, courtesy of Keaton, in which he tours the landscape of the Civil War (and the first hints of the industrial revolution) while on a great locomotive chase that keeps him in dire straits and treacherous contortions for the entire hilarious ride. Likewise, Philip Kaufman’s treatment of Tom Wolfe’s brief history of the space program finds satirical purpose in sending western-infused American can-do integrity up against the well-oiled machine of patriotic promotion in contrasting flight pioneer Chuck Yeager with the Mercury astronauts. The two movies reflect ideas about the purpose of and control over the machines that helped make this country with brashly distributed energy and vision and not just a little insouciant charm. 


The Godfather (I & II) (1972, 1974; Francis Ford Coppola) 
Nixon(1995; Oliver Stone)

American history writ large, through the fictionalized saga of the Corleones’ rise to and fall from power, and the factually based, but also intensely speculative history of one of the country’s most reviled political figures. (Who knew RMN would have, less than 30 years later, such vigorous competition for that standing?) The tangled, bitter roots of the American dream have rarely been traced with the emotional gravitas that Coppola brings to his film, and Stone’s patented political hysteria (and surprising empathy) has never resonated more deeply or as sharply as it does here.


The Last Picture Show (1971; Peter Bogdanovich) 
Matinee (1993; Joe Dante)

Two rich, mournful paeans to the specifically American experience of going to the movies. Bogdanovich’s Oscar-winner utilizes the structure of Larry McMurtry’s mournful novel to illuminate the lives of people in a rural Texas town in 1951, all of which in one way or another flitter about in the fading glow of the local movie theater’s carbon-arc projector lamps. If Bogdanovich’s Royal showcased dreams of escape from a dreary reality, the Strand of Joe Dante’s picture is a venue dedicated to a more celebratory tone. But it houses its own nightmares too—the nuclear sort, which are hooted and howled at by the rowdy kids attending a William Castle-esque atomic age thriller while the escalating tensions of the Cuban Missile Crisis continue to develop beyond the lobby. Both pictures end on bittersweet chords, and modern audiences of a certain age will respond to an extra element of loss for a way of seeing movies communally that seems in more danger than ever in an age of cineplexes, cell phone addiction and home theater streaming, even as the love for the movies themselves expressed by these pictures continues to resonate.


Mandingo (1975; Richard Fleischer) 
Fall from Grace (2007; K. Ryan Jones) 

Fleischer’s lurid adaptation of Kyle Onstott’s lurid novel of degradation in the 19th-century American slave trade remains the great, underappreciated movie on the subject. (I wrote about it here in 2008.) And Jones’ searing documentary about Fred Phelps and the Westboro Baptist Church is all the evidence you’ll ever need that hatred and intolerance are alive and well and just as inexplicable in the 21st century. Seen together, in a semblance of art and reportage, the two comprise a despairing vision of a country that can claim some progress on the (overt) racism front but which remains hard-pressed in some quarters to remember that Phelps’ hysterical bile is precisely the sort of religious justification once used to prop up slavery and segregation, bile which is just as easily co-opted to justify the jingoistic fear and intolerance that are hallmarks of Donald’s Trump’s America.


Meek’s Cutoff (2010; Kelly Reichardt) 
Ravenous (1999; Antonia Bird)

Perhaps the two most tonally dissimilar pictures of any of these double features, the harsh, desperate clarity of Reichardt clashes with Bird’s blood-drenched, near exuberant hysteria, and together they form a weirdly resonant assessment of the undeniable trajectory of manifest destiny. What more bitter metaphor could there be for a nation that, despite an insistent march westward, has already begun to lose its sense of purpose and vision, than a wagon party lost somewhere on the Oregon frontier, unwilling to trust their hired guide and unsure of the motivations of a captured Native American who seems willing to help them find their way? Maybe only that of Ravenous, which manages a rickety but entertaining equation between the doctrine of inevitable and justifiable American expansion with unapologetic cannibalism. Both visions offer little in the way of faith in the American dream to survive either nature or the rapaciousness of its own beginnings, instead suggesting that, given the reality of the cultures crushed in its pursuit, hope in that destiny might itself be a manifest illusion.


Nashville (1975; Robert Altman) 
1941 (1978; Steven Spielberg) 

The damnedest things I ever saw. Altman’s movie is a snapshot mosaic of a country in crisis that recognizes just how often joyous release and crippling despair go hand in hand. (The freeway accident that turns into a tailgate party is one of the movie’s great metaphors.) And Spielberg’s great, graceful mastodon (directed from another Zemeckis/Gale script) glories in how pop culture patriotism is often a disguise for every form of socially acceptable and unacceptable insanity. The two movies, in their form and attack, might seem quite dissimilar, but I think they’re united by a musically informed vision of America as a land where only the slimmest lines of red, white and blue separate exuberance from hysteria, and paranoia from indifference. 


Network (1976; Sidney Lumet) 
Idiocracy(2006; Mike Judge)

When it was released in 1976, Network was already being praised by audiences for a satirical vision of corporate American broadcasting that still seemed to benefit from its willingness to traffic in exaggeration to make its points. Well, to paraphrase Al Jolson and Randy Bachman, they hadn’t heard/seen nothin’ yet. Not only did the reality of reality TV and corporate greed at the network level catch up with Paddy Chayefsky’s scathing vision, it passed it. And 40 years after Howard Beale, Mike Judge had posited his own logically acidic extension, the notion of an idiocracy of American politics and culture so familiar with the scrapings of the barrel bottom that a self-professed dunce could become the smartest man alive and “Ow! My Balls!” might be the clarion cry of an entire nation. But now Judge, like Chayefsky, is in jeopardy of being eclipsed by reality— the nightly news now seems an endless source of mind-boggling nonsense that could have only been parody a mere decade ago. The through line from The Howard Beale Show to The Real Housewives of Atlanta to Ow! My Balls! provides a sturdy argument for both Network and Idiocracy’s status as the most prescient satires since 1984. (I wrote about Idiocracy when it trickled into theaters in 2006.)


Night of the Living Dead (1968; George A. Romero) 
No Country for Old Men (2007; Joel and Ethan Coen)
Today, the Kool Kids on the Block were at Brass Armadillo off Cactus Rd. They had the Larry H. Miller Money Machine out there for listeners to get a chance to win some prizes!. Tons […]
          A Cut Above   

If you’ve seen Adaptation, Scream 4, or Training Day, you’re familiar with hairstylist Larry Waggoner’s handiwork. Since landing his first film gig working on the set of 1987’s RoboCop, Waggoner has steadily built his reputation as a go-to stylist for A-list celebrities like Billy Crystal, Nicolas Cage, and Jack Nicholson, among others. The Dallas native […]

The post A Cut Above appeared first on Fort Worth Weekly.


          Re: Annals of Whitewater: Larry Nichols endorses Hillary   
Ken Starr?

The Ken Starr the The Crook had dropped in after they set up the first Special Prosecutor with a phoney corruption charge? The one that harassed a witness for months on end for refusing to change his story on the Vince Foster caper?

Patrick Knowlton stopped in the park for a rest room break before a long trip home... he parked directly beside Foster's car, got a very good look at it, and had owned Honda's and was familiar with the 3-4 year model versions. He testified beyond any doubt that the car was not Fosters as it was an older model... later proven through Honda paint chips identifying the color that was not available in the model year of Foster's car. So, he was harassed by Starr (that enemy of the Clinton's) AND 12 NAMED FBI Agents and later humiliated in a Grand Jury set up to discredit him. His testimony was given the back page treatment and dismissed as just plain wrong.

Patrick Knowlton sued Starr and all 12 FBI agents by name... the case was of course never allowed to get to trial, so they sent the entire Legal Brief to the 3 Judge Appeals Court Starr was working under. After reviewing the 20+ pages of evidence the court ORDERED Starr to append the entire Brief to his report to document the abuse heaped on a citizen for reporting what he saw that day in the park!

Starr sent copies to all the media WITHOUT the attachment but it is still a formal part of the report. The media have never reported on this amazing miscarriage of justice... and so much for Ken Starr making any effort to investigate Clinton crimes... he was a plant!

The last 21 pages of this PDF of the Starr Report tells the entire story... that the media whores still will not report a word of!!!

http://fbicover-up.com/starr/DeathReport.pdf

Sad part is... doesn't this all seem so familiar to what's going on in Washington today, with The Clinton Slime Machine and all their captured minions going after Trump!
Posted by Michael G
          Alex Jones (FULL SHOW Commercial Free) Friday 6/30/17: Larry Klayman, Russ Verney, Mike Cernovich    
 Date: Friday June 30, 2017Today on The Alex Jones ShowFriday, June 30: CNN Calls Americans 'Stupid as Sh*t' - Cable network CNN has set the stage for a false flag that could be blamed on Trump supporters after labeling incoming attacks "dangerous." We'll discuss the toxic atmosphere created by...

[[ This is a content summary only. Visit http://www.figanews.com or http://FinanceArmageddon.blogspot.com or http://www.newsbooze.com or http://www.figanews.com for full links, other content, and more! ]]
          In favor of temporary tariffs, working out conflict: Larry Kudlow   
CNBC Contributor Larry Kudlow discusses President Trump's push to impose a tariff on foreign steel and whether a tariff war is imminent.
          Commenti su Cucciolo d’uomo di Larry   
Io invece gradirei molto la lista delle atrocità di cui si è macchiato. A parte quella che citi nel titolo, che personalmente classificherei al più come "fastidiosa".
          Reactie op Wat de media NIET vertelden rondom MH17… door MSN   
@ Sub Rosa Het verband met Syrië? De Syrische Golan-hoogvlakte, welke door Israël wordt bezet, schijnt immense hoeveelheden olie en gas te herbergen, veel meer dan wat Saudi-Arabië nog heeft. Genie Oil & Gas (onbekend voor de grote massa) heeft de exclusieve rechten verkregen om dit te gaan winnen. Een aantal namen uit de Strategic Advisory Board: Dick Cheney, Rupert Murdoch, Jacob Rothschild en Larry Summers. Oftewel de VS voert oorlog om de energiebelangen. https://www.armstrongeconomics.com/international-news/middle_east/is-there-really-more-oil-in-the-golan-heights-than-is-saudi-arabia/ https://www.armstrongeconomics.com/world-news/evil-people-in-high-places-or-just-coincidence/ https://genieoilgas.com/about-us/strategic-advisory-board/ Ook wil Qatar een pipeline aanleggen dwars door Syrië (Assad moet dus weg) om Europa van gas te kunnen voorzien en er dus geen Russisch gas meer nodig is. Putin verdedigt dus zijn eigen belangen in Syrië. https://www.armstrongeconomics.com/world-news/press/syria-pipeline-how-the-press-will-not-tell-the-truth-about-syria/ https://www.armstrongeconomics.com/international-news/middle_east/qatar-the-rising-tensions-in-the-middle-east-on-schedule/
          Conseiller technique / vendeur - Enterprises Larry - Canada   
Relevant du directeur des ventes, le ou la titulaire du poste de conseiller(ère) technique s’occupe activement, à l’intérieur du territoire qui lui est désigné
From Enterprises Larry - Mon, 27 Mar 2017 05:59:10 GMT - View all Canada jobs
          Larrys Mabiala transferred from Kayserispor to Portland Timbers   
Larrys Mabiala transferred from Kayserispor to Portland Timbers for Allocation
          Google u raljama života   
T-Zombix je na svom blogu spomenuo nedavni govor Larryja Pagea, jednog od osnivača Googlea, i link na interesantni članak o Googleu kao vladaru svijeta, koji impliciraju da Google razvija umjetnu inteligenciju. Tragom te informacije otvorio sam nekih tridesetak stranica vezanih uz Google AI (artificial inteligence) i zaključio da tu svakako nešto smrdi. Page ima teoriju po kojoj se ljudski genom može komprimirati i svega 600 Mb i smatra da bi znanost također trebala prihvatiti neke marketinške principe. Između ostalog. Iako bi ponekad svog silikonskog ljubimca lupili jer ne radi ono što smo mi htjeli da radi i možda ne vjerujemo da jedna takva nakupina tranzistora može ikad dobiti božansku pamet, malo sam se zamislio nad čitavom pričom. Hoće li Google napraviti prvi upotrebljivi AI Potrudio sam se i što bolje 'polinkati' neke stvari da ipak ne ispadne da sve pričam totalno u bunilu. Google ima jednu od najvećih baza podataka o svemu i svačemu. Ta baza je doduše samo skupina podataka bez duše i pameti. Iako je prvobitno zamišljen kao tražilica, pokazalo se dobrim da ono što Google pronađe uvijek spremi na neko mjesto. Možda tada nisu razmišljali o praktičnoj primjeni tih podataka već su se podaci indeksirali isključivo kako bi se ubrzala učinkovitost samog sustava pretraživanja. Rastom broja podataka prikupljenim po internetskim bespućima, Google je prisiljen stalno unaprijeđivati svoje sustave kako bi se nosili s tom bujicom i time ne samo spremati dobivene rezultate već ih nadalje i analizirati. Naizgled banalna stvar je kad upišete neku krivu riječ u Google (npr. bananna), on će vas ljubazno zapitati 'Did you mean : banana'. Ne tvrdim da je to umjetna inteligencija i svatko tko makar površno zna ponešto o programiranju shvaća da tražilica prije nego potraži rezultate konzultira svoj rječnik u potrazi za tom riječi pa ako ona ne postoji ponudi vam ispravnu alternativu. Čista programerska logika, daleko od misli, ako ovo, onda ono.... Ali recimo da je to začetak. Tek mali dodatak da se na tražilici osjećamo bolje. AdSense i AdWords programi za reklamiranje su također u početku radili prema ključnim riječima ali se zna da je ovaj pogon ipak malo sofisticiraniji od jednostavne provjere rječnika. Google naime već duže vremena razvija svoju semantičku platformu i neprestano na njoj radi. Nije dakle više riječ samo o pojedinačnim riječima već i u smislu koji čine grupe riječi. To omogućava da oglašivači zaista uvale svoje reklame na pravo mjesto. Ako malo pogledamo Google reklame po raznim stranicama vidjet ćemo da time vlada nešto jača mašinerija (iako još uvijek nije savršena). Semantički sustavi imaju zadatak shvatiti (uvjetno rečeno) sadržaj vaše stranice na osnovu rečenica, međusobnih ovisnosti i odnosa među riječima (bolje rečeno - konteksta), jezika kojim pišete i naravno svekolikih indeksa i klastera u Googleovoj bazi podataka da bi shvatili jeste li prava meta za reklamu. Semantički sustav u sprezi sa svekolikom bazom znanja je zapravo i jedno od glavnih oružja koje Googleu osigurava prednost pred drugim potencijalnim pokušajima. Uz neke dodatne razloge, svakako. Ako ste programer i napravili ste neku aplikaciju koju ste nazvali Titanic, Google će nastojati da vam ne servira reklame za film Titanic, za povijesne studije o Titanicu i slično nego će pronaći one koje su relevantne za softver i razvoj aplikacija, programiranje i slično. Iako je možda riječ Titanic na vašoj stranici spomenuta najviše puta i sasvim sigurno jedna od vodećih u Googleovim indeksima koji tu riječ povezuju s vašom stranicom, njihov semantički engine nekako prepoznaje sa čime još je ta riječ povezana i zaključuje (opet uvjetno rečeno) čime se vi zapravo bavite. Iako se radi o programu, nikako o svijesti, ovo je već nešto bliže. Iako napredni sustav traženja još uvijek koristi razne dodatke na riječima kako bi tražilici rekli konkretnije na što mislimo i kako da filtrira rezultate (navodnici, plus, minus, site:, link: itd) pitanje je vremena kad će to u potpunosti biti izbačeno. Vjerojatno onog trenutka kad Googleova semantika bude u stanju prepoznati to iz vašeg konteksta. Ne bude li u stanju, ponudit će vam alternative obogaćene s malo predefinirane gramatike (koju je u engleskom jeziku lakše napraviti nego u hrvatskom). Ovo s alternativama bi mogla biti zasluga širokog opsega podataka i prepoznavanja pojmova koji nastaju grupiranjem riječi u klastere i analizom njihovih odnosa (što Google radi također već godinama). Što još Google radi kako bi poboljšao svoj semantički pogon Skenira knjige. Jedan je njihov službenik izjavio: Ne skeniramo knjige da bih čitali korisnici, skeniramo ih da bi ih čitao AI. Vjerojatno to AI-u neće dati ni pamet ni dušu ali će svakako utažiti glad za riječima i pojmovima. Je li kompletan sadržaj interneta premali pa su navalili na druge izvore ljudskog izražavanja Priča se da u Googleovim laboratorijima rade na zvučnom prepoznavanju uzoraka. Televizija i filmovi su već na internetu. Čim ih se Google dočepa kako treba moći će navodno na osnovu 5 sekundi zvučnog zapisa točno znati o kojem se filmu ili emisiji ili muzici radi. Čisti search kroz bitove. Jednom kad prepozna zvučni uzorak i poveže ga s naslovom moći će vam na osnovu naslova reći i gomilu drugih podataka koji su povezani s tim. Je li u tome najava ultimativne tražilice koja će biti u stanju s nama raditi mali chat kad se zaputimo tražiti nešto za što ne znamo kako se zove. Sve je dakle u semantici i utvrđivanju smisla. I sm sam svojedobno isprogramirao mali programčić koji je pogađao koju ste životinju zamislili na osnovu pitanja ili odgovora. Vi ste odgovarali s da ili ne i on bi pogodio o kojoj se životinji radi. Ako ne bi znao odgovor, tražio bi vas da postavite neko pitanje u svezi te životinje i da kažete kako biste na to pitanje odgovorili. Tako bi učio. Jednostavno ali s vremenom sve glomaznije. Čista logika, nema semantike niti krativnosti. S kojih godinu dana povremene upotrebe mogao je pogoditi tristotinjak životinja. Kako su odgovori na pitanja vezani uz naše vlastito znanje i kako je nekome vrabac smeđe a nekome sive boje ipak s vremenom je program pogodio vrapca bez obzira na vaš izbor. Ali zbog primitivnog da/ne učenja to su u bazi bila zapravo samo dva različita vrapca , nikako pametni zaključak. Ali pogledate li 20Q (AI baziran na neuralnoj mreži) na ovom linku, vidjet ćete da stvar može raditi daleko bolje. Nakon kratkog uvoda ova mašinerija bi trebala pogoditi razne pojmove s manje od 20 pitanja. Koliko ja znam, ovaj AI uči već 19 godina. Iako se sve svodi na pitanja i odgovore, gdje uz da i ne imate još i nepoznato, nevažno, možda, vjerojatno i ponekad. Ako ne pogodi u 20 pitanja ponudit će vam odgovor gdje trebate reći je li odgovor točan, pogrešan ili je blizu. Ako nije točan, 20Q igra se nastavlja s dodatnih 10 pitanja. Na kraju će vam čak i ponuditi analizu odgovora, gdje misli da je pogriješio i gdje misli da ste vi pogriješili te koji su vam odgovori nekonzistentni jer većina populacija (koja je igrala) misli drugačije. Ne pogodi li zamolit će vas da objasnite na špto ste mislili. Tako uči. Ova igra je do sada odigrana skoro 50 milijuna puta. Neat i full zabavno!!! Google ima daleko jače izvore, gotovo svekolikog ljudskog znanja koje je objavljeno na internetu, dostupne su mu enciklopedije, dokumenti, blogovi, vijesti, publikacije a u zadnje vrijeme i knjige. Semantički pogon koji se 24/7 vrti u moćnim mašinama i dalje na osnovu nama neshvatljivih algoritama slaže riječi i pojmove u klastere kako bi im pridodao značenje i pripadnost. Google bi mogao postati jedna velika igra pogađanja koja bi začinjena finom gramatikom čak mogla djelovati i smisleno. Može li Google proći Turingov test Gospodin Turing je još 50-ih postavio zadaću svakoj mašini koja bi se htjela predstaviti kao umjetno inteligentna. Test se sastoji u tome da stroj mora moći voditi konverzaciju s čovjekom na način da ovaj ne shvati razgovara li sa strojem ili s živom osobom (naravno razgovor ne mora biti u zvučnom obliku, dovoljan je samo običan chat). Možete isprobati neke od uradaka, nisu najbolji ali dočaravaju priču. Da bi Google to mogao trebati će mu dobro isprogramirati gramatiku kako bi baratao podacima i davao povratne informacije ili podpitanja na čovjeku smisleniji način nego da samo vraća obične liste rezultata na traženi pojam. Trebati će znati odrediti i vrijednost toga što je rečeno. Zametak toga je i u također vrlo složenom i misterioznom algoritmu Googleovog PageRanka. Neki smatraju da je PageRank zapravo jedan od zametaka budućeg AI-a. O PageRanku se malo zna, a ono što se zna je nama smrtnicima malo razumljivo (barem meni). Ako ne vjerujete pogledajte što je neki matematički freak prostudirao o PageRanku na Wikipediji. Viša matematika. Iako naizgled beznačajna brojka od 1 do 10 ovaj algoritam je više od pukog brojanja klikova. On obuhvaća i PageRankove stranica na kojima je pronašao link na vašu, broj takvih stranica, ali ono što je značajnije obuhvaća i sve ostale metode vezane uz rangiranje ključnih riječi i pojmova pronađenih po internetu, na vašoj stranici i na stranicama na kojima postoje veze. PageRank zapravo određuje i koliko je semantički važan sadržaj vaše stranice na određeni upit te vas shodno tome rangira i u rezultatima pretraživanja. U kakvim su oni točno relacijama teško ćemo znati ali vjerujem da je PageRank samo još jedan dodatni poligon za testiranje svekolike Googleove pametne mašine. Njegova je namjena da komadićima informacija da određenu vrijednost što će za budući AI svakako biti značajni detalj. Mnogo toga znamo, ili barem mislimo da znamo, ali Google iza plota ima daleko više tajni nego se to na prvi pogled čini. Na Googleovom labu već postoji čitav niz aplikacija koje se mogu koristiti, od rokovnika, kalendara, podsjetnika, programa za obradu teksta, tabličnih kalkulatora, elektronske pošte, pretraživanja proizvoda, prevodioca... da ne nabrajam, cijeli mali operativni sustav. Iako se o Googleovom operativnom sustavu svojedobno šuškalo izgleda da od toga ipak neće biti ništa i da je sve ostalo na nivou špekulacije. Pričalo se o zamisli da uz računalo imate samo mali rudimentarni pogon s vezom na Google preko interneta. Sve ostalo bi bilo tamo i radilo bi se online. No Google nije naprosto odustao od toga već izgleda da puca daleko dalje nego što nam se čini, dok mi i dalje možemo samo špekulirati. Svatko tko je ikad malo ozbiljnije ušao u Google svijet uvidio je da se Googleove funkcije i aplikacije integriraju, spajaju i preklapaju i siguran sam da su informacije u njima savršeno povezane. Jedan account, više funkcija i interakcija među podacima koji se tamo nalaze. Možda Google neće nikad pisati romane i poeziju i imati vlastiti um, možda neće nikad biti kreativan ali da bi mogao postati vraški napredni mehanizam koji zna sve. Neki kažu da će to biti za našeg života. Možda bi mogao odgovoriti na bilo koje pitanje postavljeno normalnim ljudskim jezikom. Možda bi mogao analizirati sve tekstove vezane uz neki pojam i pomoći u rješavanju misterija, nedosljednosti, kriminala, istine i laži. Jer Google će biti u stanju znati sve što se pisalo, snimilo, pjevalo a možda čak i govorilo nekom događaju, bilo gdje bilo kad. Jer Google već odavno ne pretražuje internet samo za nas. On ga pretražuje i za sebe. Hoće li nam čitava priča donijeti problema, narušenu privatnost ili nešto drugo Moguće, ali samo ako mu to dozvolimo. Mnogi pišu i pisat će još o dvojbama moralnosti i humanosti umjetne inteligencije. Trebamo biti svjesni da budemo li ikad 'razgovarali' s Googleom, on to nikad neće zaboraviti, i svaka konverzacija bit će novi temelj za nova saznanja o nama o našim navikama i samim time, pod krinkom svesrdne pomoći korisnicima, predmet nekih novih rasprava. A mi bismo mogli postati otvoreni kao knjiga. Google će znati kako se zovemo, što smo tražili prošle godine u isto vrijeme, kakvu muziku volimo slušati, kako organiziramo svoje vrijeme, koje stranice obilazimo, s kim se družimo, tko je kad i gdje pričao ili pisao o nama, pokazat će nam našu kuću na satelitskoj snimci... Da malo karikiram. Jednog dana možda mi osvane poruka na Googlu: Previše surfaš! Posveti se djeci jer ti imaju loše ocjene u školi, a žena ti NE ostaje duže na poslu kao što misliš jer uredno isključuje računalo na kraju radnog vremena, GPS u autu uključuje odmah nakon toga, a garažna vrata otvara u prosjeku četiri sata kasnije. GPS podaci su nedostupni zbog zaštite privatnosti. U frižideru je ponestalo jaja. Da naručim novo pakovanje
          Seeking out unknown animals   
Cryptozoology : the study of hidden or unknown animals, creatures not confirmed or recognized by science. Filmmaker Christopher Maloney has recently completed his documentary, Cryptotrip , about his journey to talk to people who claim to have seen one or more of these unknown creatures. He joins Larry Thomas to talk about his 20 state road trip and how people can view his film.
          Technicien gazier - Enterprises Larry - Canada   
Sommaire de l'emploi Relevant de la directrice des opérations, le ou la technicien(ne) gazier, installe, inspecte, répare et entretien les installations au...
From Enterprises Larry - Mon, 27 Mar 2017 05:59:08 GMT - View all Canada jobs
          Nassar Ordered to Stand Trial in Eaton County   
An Eaton County judge has ordered former MSU sports physician Larry Nassar to stand trial on charges of sexual assault.
          Who's in Charge   
Some clients believe that they are in charge of every aspect of a case. But is that true? Listen as Larry Fox clarifies the roles of clients and their lawyers by highlighting Rule 1.2 of the Rules of Professional Conduct.
          Non-Refundable Retainers   
If you are looking to charge a client a retainer earned on receipt, you should listen as Larry Fox explains how do to so within the confines of Rule 1.5 of the Professional Rules of Conduct.
          Ethical Issues on Appeal   
Generally lawyers do not worry about ethical concerns during the appeals process. Listen as ethics expert Larry Fox highlights several scenarios where potential ethical issues could arise.
          The Ethics of Switching Firms: Tips to Know Before You Go   
Thinking about switching firms? Be aware that your ethical obligations may kick in even before your first interview. Listen as Larry Fox, Yale Law School’s Crawford Lecturer at Law in Ethics, and a partner at Philadelphia’s Drinker, Biddle and Reath, LLP, guides you through the jurisdictional variations in the Rules of Professional Conduct, including Rules 1.4, 1.6, 1.7 and 1.10, that apply in this difficult situation.
          Fee Sharing Among Law Firms: The Ethics of Referral Fees   
Referring a client with a matter you are not competent to handle may entitle you to a shared referral fee, but be aware of your jurisdiction's requirements before counting on that fee! Listen carefully as Larry Fox, Crawford Lecturer in Ethics Law at The Yale Law School, and partner at Philadelphia’s Drinker, Biddle amp; Reath, LLP, discusses Professional Rules of Conduct 1.1 and 1.5 and the jurisdictional variations requiring disclosure to the client and involvement of the referring lawyer before a fee may be accepted.
          Avoiding Imputations: The Ethics and Operations of Involuntary "Screens"   
The use of involuntary "screens" by law firms to avoid the imputation of conflict of interests from a transferring lawyer is currently a matter of debate in state courts. Listen as Larry Fox, Ethics Lecturer at The Yale Law School and Partner at Drinker Biddle amp; Reath, LLP, Philadelphia, surveys the landscape of permissible voluntary and involuntary “screens” under Model Rules of Professional Conduct 1.10, 1.11 and 1.12, and suggests eight important ways to insure that involuntary "screens" are most effective.
          Conducting Informal Discovery under Rule of Professional Responsibility 4.2   
Tempted to conduct informal discovery outside of the usual depositions and interrogatories? Such informal discovery can be inexpensive and fruitful, but listen as Larry Fox, Crawford Lecturer of Law and Ethics at Yale Law School and partner at the Philadelphia firm of Drinker Biddle amp; Reath, reviews the significant restrictions that Rule 4.2 of the Rules of Professional Responsibility places on the conscientious investigating lawyer, including situations involving former employees, corporate entity control groups, and privileged information.
          How to Keep Your Professional Independence When the Party Paying is Not the Client    
Concerned about how to maintain client confidences and protect attorney-client privilege when the party paying the bill is not the client, and may be trying to direct the litigation for the client? Hear Ethics Professor and Drinker Biddle Partner Larry Fox’s advice on how to navigate these difficult waters, using Model Rules of Professional Responsibility 1.8(f) and 5.4 as your guides.
          In an upset, Sylvain Lefebvre returns as coach of the Canadiens' AHL team.   
I have a hard time thinking that Sylvain Lefebvre deserves to return to his job, since eventually a coach’s results, his W-L record, should mean something. It has to enter the equation.

Four years of missing the playoffs, every season we’d see a new fresh crop of rookies, some AHL vets joining as well, and we’d think “This is the year they turn it around.” We weren’t expecting a Calder Cup, but a team taking a healthy step forward, certainly relative to weak, underfunded organizations like the Carolinas and the Phoenixes, but no, it was no playoffs for us every year. Last year we squeaked in, only to be bounced in the first round of the playoffs.

Every season, we could make excuses for Sly’s poor results, injuries, vets who didn’t fulfill their mandate, callups at exactly the wrong time, but aren’t all these bedeviling every other AHL coach? Isn’t it a truism that a AHL coach wants his players to play well, but not too well, since if they’re lights out fantastic they lose them to a callup? Mark Barberio was an AHL All-Star first pairing veteran defenceman for the IceCaps, but not for long, lost twice to callups and eventually to the Avalanche. Daniel Carr scoring goals and generating offence for you Monsieur Lefebvre? Well no longer, now let’s see if he can do the same for the Canadiens.

There are other red flags, like Louis Leblanc’s difficult relationship with Sylvain. One observer saw the Bulldogs play live in Abbottsford against the Heat, and reported the passionless performance of the coach, his poor body language behind the bench.

And, very importantly in my mind, Sylvain is kind of blocking the road for a young eager LHJMQ head coach, who could be getting groomed for the future, for eventually coaching the Canadiens. The AHL coach should be our farm team for not just players, but for our coaching succession too. Instead of a sinecure for Larry Carrière’s son.

So okay, Sly gets another kick at the can. He won’t be in such difficult situations anymore, in the Fort Apache the Bronx hell that Hamilton was, according to Magnus Nygren, or marooned on The Rock, with a grueling schedule and a comparatively more difficult circumstance to hold practices. He’ll be in a brand new facility, with close support from the organization. He’s now an experienced coach in the AHL, with a good grasp of who the players are, who’s coming in next season.

I’ll therefore be expecting results. I want a winning team, fans in the stands, kids gushing at how much they learn and like their Laval coach, a long foray in the playoffs, I want the works. And if I don’t get that, next season, or the next at the outside, we should go to the bullpen and call in a relief pitcher. Let’s see if someone else has his stuff.
          Alabama Newb   
Hey there everyone! My name is Larry and I am from 46 from Alabama. I had gastric surgery on May 8 2017. I have currently lost 55lbs, down from 350. My daughter and I also went to Paris this year and we did a bicycle tour and I really enjoyed it and seen how much better my right knee felt...
          Ultimativer Xbox-Sale startet   

Larry "Major Nelson" Hryb von Microsoft hat heute den "Xbox Ultimate Game Sale 2017" eröffnet. Noch bis zum 10. Juli stehen euch hunderte von Spielen zu teils stark...


          Comment on Corby and Bob have Larry David moment 3-17-04 by Marilou   
Ahaa, its fastidious dialogue about this paragraph here at this web site, I have read all that, so now me also commenting here.
          Larry Mullen Pulls Out Of U2 Gigs After Being Unable To Afford A Ticket   

Move over Watergate; make way Wikileaks; Cat-Bin-Lady you can literally go fuck a melon, the U2 tickets scandal is now officially the largest scandal in the history of humanity. Professional rhythm-manufacturer Larry Mullen, has announced that he will be unable to perform in U2’s Joshua Tree Anniversary concert scheduled to take place in Croke Park this July […]

The post Larry Mullen Pulls Out Of U2 Gigs After Being Unable To Afford A Ticket appeared first on Oxygen.ie.


          QUIZ: What Age is Pharrell In This Picture?   

Pharrell

The post QUIZ: What Age is Pharrell In This Picture? appeared first on Oxygen.ie.


          URBAN, LAWRENCE D.   
URBAN, Lawrence D. Of Dallas, TX, June 20, 2017, at age 72. Larry is survived by the love of his life for 26 years, his partner, companion, and...
          Nickelodeon To Launch Year-Long "Spongebob Goldig" Campaign In Germany, Switzerland And Austria This July   
SpongeBob SquarePants is well known to spread a lot of fun and cheer, is always in a good mood and has a heart of gold, and to honour Nickelodeon's incurably optimistic sea sponge, Nickelodeon Germany (Deutschland), Nickelodeon Switzerland (Schweiz) and Nickelodeon Austria (Österreich) will be launching "Spongebob Goldig", a year-long celebration of the global pop-culture phenomenon, this July!


Nickelodeon GSA's year-long SpongeBob Gold campaign will feature many golden promotions inspired by the Nickelodeon megastar, and well as Sponge-Tastic competitions and a Spongeriffic tour!


Below are Nickelodeon's "Spongebob Goldig" launch highlights. Full information about "Spongebob Goldig" can be found on Nick.de (Germany), Nick.ch (Switzerland) and Nickelodeon.at (Austria):

Goldenes Ticket (Golden Ticket) Competition:

To celebrate the year of SpongeBob, Nickelodeon GSA will be hosting the Goldenes Ticket contest this July, which will offer fans the chance to win truly Sponge-Tastic prizes:

- Golden SpongeBob Statues

- Copies of SpongeBob's hit CD Album „Der Meister grillt“, in which SpongeBob sings current chart topping hits with new German lyrics. From Sia's "Cheap Thrills", which becomes "The Master Grills" ("Der Meister grillt"); to DNCEs "Cake By The Ocean", which becomes "Three New Sauces" ("Drei Neue Soßen").

- SpongeBob PEZ dispensers
- SpongeBob „Angriff auf die Krosse Krabbe“ Mega Bloks playsets
- Copies of the July/August (Juli-Ausgabe) issue of SpongeBob Schwammkopf Magazin
- SpongeBob DVD Boxsets
- SpongeBob breakfast sets
- Spongebob Gold T-Shirts by Spreadshirt
- Tickets to Movie Park Germany, the home of Nickland!
- A SpongeBob Gold writing set (Goldenes SpongeBob Schreibset)

- The chances to watch the first episode of Bunsen ist ein Biest, the first episode of School of Rock season two, and a brand-new The Loud House (Willkommen bei den Louds) season two episode before they premiere on television!

- Family tickets to Erlebnispark Schloss Thurn
- xBox One consoles
- Family holidays at AHORN Hotels & Resorts
- iPads
- Instax mini Sofortbildkamera's (Instax mini instant camera's)
- Toniebox Starterset's
- Triple-Schranz Komplettboard skateboards

Fans can collect their Golden Tickets by:

Watching brand-new episodes of SpongeBob SquarePants weekdays at 16:25 Uhr (DE)/17:20 Uhr (CH & AT) and keeping a look out for special codes on-screen;

OR BY

Visiting one of over 500 idee+spiel or McMEDIA-Fachgeschäften shops (while stocks last);

OR BY

Having a fantastic day out at Erlebnispark (so lange der Vorrat reicht; visitors will receive their Golden Ticket at the park entrance)!

Goldene Momente (Golden Moment) Contest:

Whether its Jellyfishing with Patrick, sandsurfing with Sandy or at home with Gary, SpongeBob experiences golden moments everyday in Bikini Bottom - and now he wants to see yours!

With the Goldene Momente competition, SpongeBob is asking fans to take a photo or record a video documenting all the great stuff they experience, and to them upload it on their local "Spongebob Goldig" website! The best videos have the chance to win Spongeriffic prizes each month, such as a family trip to Paznaun/Tirol, tickets to Movie Park Germany, plus the chance to see their photos and videos on TV in July!

SpongeBob Schwammkopf Tour:

Who lives in a Pineapple under the sea? SPONGEBOB SQUAREPANTS!

However, this August, SpongeBob and his best friend Patrick will be going on vacation at Paznaun, in Tirol (Tyrol), Austria to have some Sponge-Tastic fun and games with their biggest fans! Below is SpongeBob and Patrick's holiday itinerary, in Deutsch:

Erkundet Badesee See und Umgebung von 13. - 18. August 2017

Programm:
Kaum eine Serien-Figur ist bekannter und beliebter als SpongeBob und sein Freund Patrick. Für Kids ist es das Größte, ihre Helden live und hautnah zu erleben. Die beiden Publikums-Magnete kommen live nach See im Paznaun, in Tirol!

Sonntag, 13. August 2017 ab 16.00 Uhr

- Dauer ca. 1 Stunde
- Bühnenshow & Partyspaß - Am Sonntag, dem 13.08.2017 ist es soweit: Die neue „SpongeBob“-Show kommt nach See im Tiroler Paznaun. Dort wird mit den anwesenden Kindern getanzt, gerätselt, gesungen - und das alles mit jeder Menge Spaß! Tolle Partyspiele sorgen für beste Laune und gute Unterhaltung für die ganze Familie. Moderiert wird der „SpongeBob“-Tag von Familyentertainer Robert Steiner - bekannt aus der ORF eins Wochenend-Programmfläche „Hallo okidoki“. (Shows um 11, 13 und 15 Uhr).

- Highlight: Erinnerungsfotos mit SpongeBob Schwammkopf & Patrick! - Die beiden Lieblinge der Kinder kommen höchstpersönlich zum Meet & Greet, schütteln Hände und lassen sich bei der Fotostation gerne mit den Kindern fotografieren. Das Erinnerungsfoto gibt es gleich zum Mitnehmen (11.30, 13.30 und 15.30 Uhr).

- Aussehen wie SpongeBob und seine Freunde? Die Stylingbox macht´s möglich! Ob ein Seestern, Krabbe, Burger oder SpongeBob höchstpersönlich. Nahezu alle Schmink- und Stylingwünsche bis hin zu den Klassikern wie Schmetterling oder Löwe werden hier erfüllt.

- Malfreunde aufgepasst! Wer sich kreativ austoben möchte, der hat bei der „SpongeBob“-Malstation die Möglichkeit dazu. An den professionellen Staffeleien können die jungen Gäste lustige „SpongeBob & Patrick“-Motive ausmalen oder sich selbst etwas Kreatives ausdenken.

- SpongeBob Schwammkopf - die Serie - Wer lebt in einer Ananas tief unten im Meer? „SpongeBob Schwammkopf“! Er liebt seinen Beruf als Koch in einem Fast-Food-Restaurant und hat ein Talent dafür, ohne großen Aufwand für viel Aufregung zu sorgen. Mit seinem Übereifer und seinem ungebremsten Optimismus strapaziert er oftmals die Nerven seiner Umwelt. Aber eines ist sicher: Langeweile wird es in Bikini Bottom nie geben!

Montag, 14. August 2017 ab 20:30 Uhr

- großes Kino am Badesee See

Dienstag, 15. August 2017 ab 11:30 – 16:30 Uhr

- SpongeBob erkundet den Berg

- Fest am Berg rund um SpongeBob werden die Kinder geschminkt und basteln SpongeBob und Patrik

Mittwoch, 16. August 2017 ab 16:00 Uhr

- Luftmatratzenrennen am Badesee See
- wer wird die beste Familie sein und am schnellsten den Badesee mit den Luftmatratzen überqueren
- Larry der Hummer wird für Sicherheit sorgen
- gemütlicher Ausklang am Badesee See bei SpongeBob Geschichten

Donnerstag, 17. August 2017 Treffpunkt 09:30 Uhr Bergbahnen See

- SpongeBob wandert mit uns
- Familienwanderung zur Ascher Hütte
- da SpongeBob und seine Freunde im Wasser leben, schauen wir mal in welcher Form wir ihn bei dieser Wanderung erleben dürfen
- Mittagsmenü: Krabbenburger

Freitag, 18. August 2017 ab 16:00 Uhr

- große SpongeBob Party am Badesee
- es gibt eine kleine Überraschung für unsere Kinder, die diese Woche mit uns und SpongeBob verbracht haben

Full-Length Episodes:

To celebrate the Year of SpongeBob, Nickelodeon are inviting fans to watch full-length episodes of SpongeBob SquarePants online!

Moviestarplanet.de:

Nickelodeon has teamed up with virtual world website MovieStarPlanet to offer fans even more golden SpongeBob moments and more chances to win golden prizes! Visit now at moviestarplanet.de!


Mehr Nick: Nickelodeon Germany To Premiere "Bunsen Is A Beast" On Monday 17th July 2017!

Additional source: Google.co.uk.
Follow NickALive! on Twitter, Tumblr, Google+, via RSS, on Instagram, and/or Facebook for the latest Nickelodeon Germany, Switzerland and Austria and SpongeBob SquarePants Gold News and Highlights!
          Larry Green's Calculus Videos -- Vector Valued Functions   
none
          Kimberly Perry   
Hair by Giovanni Delgado

The Band Perry frontwoman Kimberly Perry once told Larry King “hair is the superpower” of the country music trio thanks to Oribe Hair Care. For the 2015 People’s Choice Awards, hairstylist Giovanni Delgado used Perry’s secret weapon to enhance the lead singer’s signature naturally wavy hair and pin it back at the sides.


Get the Look:
1. Apply Foundation Mist on clean, damp hair.
2. Add a few drops of Gold Lust Nourishing Hair Oil on the ends.
3. Work a golf ball-size dollop of Surfcomber Tousled Texture Mousse into the hair, then mist with Royal Blowout Heat Styling Spray. Twist hair into quarter-inch sections and diffuse.
4. Once the hair is completely dry, use a straightening iron to bend the hair in opposite directions, starting at the root and moving down the length of the hair, to create waves.
5. Finish the look with Après Beach Wave and Shine Spray. “This is one of my favorite products ever,” said Delgado. “I misted the hair with this awesome potion for out-of-this-world texture.”
          Statement by Rev. Samuel Rodriguez, President of the National Hispanic Christian Leadership Conference (NHCLC)/CONEL Regarding His Participation at Donald Trump's Inaugural Swearing-in Ceremony   
Contact: Zane Harrington, A. Larry Ross Communications, 972-267-1111, 817-727-0092 cell, zane@alarryross.com SACRAMENTO, Calif., Dec. 29, 2016 /Christian Newswire/ -- Rev. Samuel Rodriguez, president of the National Hispanic Christian Leadership Conference (NHCLC), the world's largest Hispanic Christian organization, representing millions of Evangelicals worldwide, made the following statement regarding the announcement today by the Presidential Inaugural Committee: "It is Source: A. Larry Ross Communications
          Joseph Abboud    
For the Joseph Abboud Fall 2012 runway show, lead stylist Larry Raspanti from New York City’s Whittemore House Salon used Oribe Hair Care products to give the models hair that mirrored the brand’s new campaign, which shows a lot of clean looks with matte texture. “The look is affluent, young and a little romantic,” Raspanti said. “It’s polished but not shiny. It’s like the guys have graduated from Abercrombie and are now wearing suits.” Raspanti worked with each model’s hair to craft a style that suited him, using Rock Hard Gel to shape the hair and Dry Texturizing Spray to add lift and provide a matte finish.
          Conseiller technique / vendeur - Enterprises Larry - Canada   
Relevant du directeur des ventes, le ou la titulaire du poste de conseiller(ère) technique s’occupe activement, à l’intérieur du territoire qui lui est désigné
From Enterprises Larry - Mon, 27 Mar 2017 05:59:10 GMT - View all Canada jobs
          疑犯追蹤--Person of Interest Season One《影集》   


美劇不是我的強項,所以也別太期待這篇推文可以有什麼內容。

CBS的犯罪劇一向強勢,個人知道的目前上映中的有CSI本店&NY&MIAMI、NCIS本店&LA(這劇有時間以後也會寫本店推文)、《Criminal Minds/犯罪心理》、《Hawaii Five-0/檀島騎警》,之外的,資訊一向落後的我就不是很清楚了。所幸在三位朋友連番上陣洗腦之下,這下才正在美國播映第一季的《POI/疑犯追蹤》不記住它的名字都很難。

其中一位最絕,居然跟我講看劇耳朵會懷孕XDDD(噴茶),好吧,被她打敗了,於是本來打算趁某部兄弟劇夏歇時期再開動,現在提前開始看了。原本打算一週三集的解決它,不過《POI》品質很高,還是決定慢慢來。

按照慣例,應該是每週劇透一集,當季結束時再做結論檢討。注意,以下會有大量劇透。



1x01【Pilot】
播映:Sep. 22, 2011
劇本:Jonathan Nolan
導演:David Semel
主要演員:Jim Caviezel、Michael Emerson、Taraji P. Henson、Kevin Chapman
其他演員:Natalie Zea、Brian d’Arcy James、James Hanlon
音樂:The Truth (Handsome Boy Modeling School featuring Roisin and J-Live)

《POI》的概念很有趣,根基也紮得穩,同樣採取雙主角制,第一集以John Reese為主、Finch為輔,透過舖陳方式,在第一集裡即告訴觀眾,這倆人為何要為陌生人冒險,原因在他們都曾失去過心愛的人。

動作戲部份由Reese負責,他原是中情局培養出來的特務,為了女友,本來已準備辭職,只是念頭一出、911恐怖攻擊將他帶回紐約,也導致女友被殺害身亡時他不在身旁,再加上當局沒有說實話,Reese自此一蹶不振,成了與酒精為伍的街頭遊民。在一次地鐵攻擊事件,不僅Joss警官注意到他,也引來Finch對他的高度興趣。

《POI》主角路線安排得恰到好處,Reese負責前場所有工作,任務觀察、方向確認、動手執行以及善後,Finch則給予目標人物、從旁輔佐和電腦後援。在劇情中,神祕富豪Finch是事件原點,911恐怖攻擊之後,美國政府委派他開發一套能偵測紐約市內恐怖攻擊的電腦程式,藉由無所不在的監控影像偵測,讓當局能先發制人,但電腦程式預測出的不只是恐怖攻擊活動,連有計畫性的預謀犯罪它也能夠鎖定,只是它並非當局所需要的訊息,會在當日結束時便被刪除,Finch因此特地開了後門,接受電腦給予的社會安全號碼。

電腦事實上只能鎖定此人可能成為被害人或者本身就是加害人,它沒辦法給予Finch更多訊息,當他在監控系統裡看見地鐵攻擊事件,便決定聘僱正在慢性自殺的Reese,給他一份工作,一份只要做下去、遲早倆人都會出事喪命的不討好工作,但至少倆人活得心安理得。

第一集鎖定在助理檢察官Diane Hansen,她有兩項潛在危險來源:她的前男友與正在進行的毒犯官司,透過跟監與過濾,Reese與Finch逐漸拼湊出事件原貌,劇末,Reese為他與Finch的秘密行動小組找到了警察內應Fusco。

《POI》這故事設定沒有太多令人意外之處,但很穩很紮實很讚,尤其主角選得很好,倆位主角都是硬底子演員,是是是,我不得不同意,耳朵真的會懷孕!XDDD




1x02【Ghosts】
播映:Sep. 29, 2011
劇本:Greg Plageman、Jonathan Nolan
導演:Richard J. Lewis
演員:Brett Cullen、Valentina de Angelis
音樂:The Truth (Handsome Boy Modeling School featuring Roisin and J-Live)

觀賞102時突然發覺自己看到上一集沒有發現的CBS台以往風格是怎麼回事啊(噴)?欸,欸欸欸,搞不好搜尋編劇名字會發現我曾看過他寫的劇?!囧rz

這集是以Finch為主軸,不過Reese的存在感太過強烈,幸好Michael Emerson是個戲精,102裡頭他與Jim Caviezel還是相互抗衡、勢均力敵。在講述Finch個人過去經歷和101描述Reese的手法相當類似,連配樂也用同一首,仍然透露些微線索,影迷可以推敲其他部份而大概八九不離十。時間點要推回到2002年,當時的Finch有個合夥人Nathan,兩人有其共識,Nathan主外推銷公關、Finch負責內部研發,五年後,Nathan才發現他們幫忙政府開發偵測紐約市內恐怖攻擊的電腦程式可以過濾出即將發生兇殺命案的相關人,得知此事的Nathan質問Finch如何能撤手不管,Finch當時仍然認為自己的目的是挽救everybody而非somebody。

接著,就是這集的劇情了。Finch此回由後門得到的是個亡魂的社會安全號碼,據警方調查,認為是父親投資失利,將妻子兒女帶出外海,於遊艇上槍殺家人,最後飲彈自盡,只是由內應Lionel調閱的檔案報告看來,Reese判斷是行家所為,而殺手放過了未成年孩子Theresa,Theresa自此開始四處躲藏,直到兩年後行蹤才曝光,Reese和Finch接管Theresa保護任務,並試圖找出線索,以讓Theresa能平安回到愛她的親人身邊。

102劇情非常地四平八穩,而且光憑前面便可以將事件猜透,不是很突出的一集,表現比較好的地方在角色互動上,這集兩位角色基本上很像在跳探戈,諜對諜,各有勝敗,Finch贏面較大;雖然Finch勸告Theresa試著去相信別人,只是說來有點諷刺,即便Reese是他自己所挑選的人馬,此時的他仍不願信任Reese,不過,也對啦,這麼快就以命交心,通常也會死的很快就是了。




1x03【Mission Creep】
播映:Oct. 6, 2011
劇本:Patrick Harbinson
導演:Steven DePaul
演員:James Carpinello
音樂:Live With Me

103主線再度調回到Reese身上,原來過去的故事還沒講完,這裡提到六年前他和分手女友Jessica再度於機場碰面,接著兩人簡短交會後便分離了,到此還沒完結,看樣子,屆時女友的兇殺案八成會是個大陰謀吧。另外,因監控系統無所不在,《POI》的時間軸可以隨意輪轉切入,這個有意思。

一開頭和結尾都很有趣,Reese和Finch的諜對諜、貓捉老鼠遊戲尚未結束,總覺得生活按步就班到似乎無趣的Finch,因為Reese不按牌理出牌的舉動與監控和勸戒,受到不少驚嚇與不甘心的影響耶(那個伏地挺身XD)。

103的社會安全號碼來自一位從阿富汗退役不到三年的士兵,Reese原本還覺得Joey生活十分乏味,跟監任務卻讓他踏進銀行搶案現場,著實令他意外,Reese決定臥底進入搶劫團隊,就近觀察Joey為何被電腦選中,透過多次互動和談話,Reese認為Joey並未喪失理性、仍有挽救機會,接著藉由Jess警官的分析和Finch的資料報告交叉舖陳,逐漸釐清事件狀況。

這回對配角印象滿好的,不過那種型的演員通常星運都不太順,一旦順了之後,會像Robert Downey Jr.一樣,片源即能固定下來。

《POI》的音樂都很合我胃口耶,來去找曲名加進音樂櫃裡啊啊啊啊!




1x04【Cura Te Ipsum】
播映:Oct. 13, 2011
劇本:Denise Thé
導演:Charles Beeson
演員:Linda Cardellini、Adam Rothenberg
音樂:Exceeder by DJ Mason

104結尾有意思,它把殺人決定權交給觀眾了,多數人應該都認為Reese要斃了對方吧,我也傾向於相信Reese會開這一槍,如果Reese早已把人性黑暗面都摸透,他會很清楚人的本性不會改變。事實上有研究說明,一旦人們沾染上毒品、賭博、暴力和性侵,要根治非常困難,Reese才會勸想動手的女醫生放下,失去親人痛苦早已無法平復,至少她還有機會繼續把人生走完。

說起來真的很--奇妙?劇本是男性作家進行的耶,一般男性若沒碰過這類事,其實很難理解女性被異性騷擾那種極為不舒服的心情,更別說再進一步的性侵行為,在國外這事又屢見不鮮,難怪朋友事先談到她很意外104對於性侵犯的處理格外嚴厲。

歹勢啦,劇情雷爆得好大,倒是有一點猜不透,Finch並不希望Reese繼續和曾經打算做掉他的腐敗警察Lionel走得太近,但他又協助Reese,透過骯髒小手段把Lionel調入重案組,是啊,和Jess警官變成同一部門了,這下我就不太明白他們在想什麼。XD

另外,這一集Jess和Finch有交手,對,103結尾前,Finch故意讓自已出現在搶案現場,以便就近傳話給Reese、讓他能有所警覺,也因他們的短暫接觸,反而引起Jess警官注意,嘿,這下好玩了。



1x05【Judgement】
播映:Oct. 20, 2011
劇本:David Slack
導演:Colin Bucksey
演員:David Costabile
音樂:May You Have Great Wisdom by You Can't Explain Logic

好愛這集搭上的演奏配樂,事後單聽覺得沒什麼,不過放在劇情裡剛剛好,主要是前面氣氛非常緊繃,總算和平落幕後,法官與Finch皆對Reese釋放善意,結束那份餘韻感超讚的啦!(打滾)

105是個綁架威脅案再疊上另一個跨國犯罪集團事件,機器所吐出的社會安全號碼來自一位剛正不阿的男性法官,Reese和Finch相信他被審判中犯人給盯上了,但狀況卻急轉直下,他的兒子遭到綁架,保姆被殺身亡,綁犯喝令不準報警、等侯下一個指令,措手不及的Reese只能現身與法官接觸,並答應他會將他兒子平安帶回來。

Reese從組員著手,Finch則按照綁犯命令、過濾被要求無罪釋放的女子涉及此犯罪集團有多深,這回內應Lionel倒是幫上大忙,他從保姆兇殺案切入,及時給予Finch線索。

最後的對峙場面,Reese雖然有點神勇過頭,但還是很緊湊又精彩的一集!




1x06【The Fix】
播映:Oct. 27, 2011
劇本:Nic Van Zeebroeck、Michael Sopczynski
導演:Dennis Smith
演員:Paige Turco
音樂:New York by Cat Power

音樂啊,音樂很重要啊,那個WB小破台,你們聽到了沒啊?!(聽到很棒的結尾樂又想打滾了)

配角啊,配角也很重要啊,《POI》找的配角演員都好強哪,果然有預算,品質自然好啊。於是,106的Zoe跟John之間的火花好強,但倒也不純然是性,而是角色張力,此回故事精彩在於演員、角色、劇情,三者相輔相成、互幫彼此不斷加分上去。

Zoe Morgan是專門拿錢幫人辦事的協調者,她有特殊管道與人脈,任何委託交付到Zoe手上,自然會善後的乾乾淨淨。不過也因Zoe作事效率太高,有委託者看準這點,在她拿回疑似情婦要脅報料的錄音檔後,打算殺人滅口,而Reese與Finch早已鎖定她,自然地,兩個在明一個在暗的推敲出所有真相,合力解除危機。

106在將女萬事通納入保護之餘,也一併解決兩年前Finch無力保護某個女子而慘遭殺害的遺憾,Finch在激動下有漏了口風,看樣子,合夥人Nathan死亡與Finch脊椎嚴重受傷應該發生不到兩年間。這集其實不太合理,畢竟後來委託者直接斃了勒索者,Zoe出場理由顯得有些牽強,不過若不要care它,106還是很精彩的一集。




1x07【Witness】
播映:Nov. 3, 2011
劇本:Amanda Segel
導演:Fred Toye
演員:Enrico Colantoni
音樂:Sinnerman by Nina Simone

107的重心很散,不知道是不是刻意如此處理,至少看過的傳統間諜小說確實有採取類似玩法、劇情在最後才突然聚焦,讓讀者看到先前被模糊掉的事物。

所以到現在還思索著,說不上來107好看與否,沒錯,它確實是POI截至目前為止最具有諜報風格的一集,只是在不到一個小時時間裡,要把間諜片欺敵與情義精神給建立起來並不是那麼容易的事,雖然POI的故事舖陳有做到,但角色之間沒有火花,或許,可能啦,Charlie選角失誤是最大主因。

107正式把Elias引出場了,從先前John加入搶劫團隊(S1E03)、劫出Elias母親被殺害的兇器證物那集開始,Elias即成為劇情線之一。這並不讓人意外,幫派事實上一直都是重案組會觸碰的議題,要深刻描寫一個城市的問題及樣貌得從街頭下手,而街頭火藥庫就在幫派之間的角力,這一集處理的便是俄羅斯與義大利黑幫爭奪地盤過程。

101時就曾講過,後門吐出來的社會安全號碼只是個目標人物,Reese和Finch並不能確定他們是善或惡,Reese最後鬥志盡失也是可以理解,但怎麼可以這樣就牽怒Finch啊Q口Q!另外,有好幾次都覺得Finch他好危險,小綿羊乖乖做後援就好,不要跑到前台來啦!至於那麼快Finch便和Lionel接頭還真令人意外。




1x08【Foe】
播映:Nov. 17, 2011
劇本:Sean Hennen
導演:Milan Cheylov
演員:Alan Dale、Laila Robins、Annie Parisse
音樂:I Know You Are But What Am I? by Mogwai

哇,對不起,108才是真正諜報片,而且這集看來雖悶,劇情倒是更深沉好看。

因為是正式諜報集,繼續講述到Reese過去,也介紹到在CIA任職期間帶領新人Reese熟悉所有特務技巧、同時為他起名Reese這名字的前輩Claire。說實在的,這大姊或許即美艷又專制也不近人情,但看起來就是屆時會拉Reese一把而因此死於非命的角色。

劇情描述到原本效力於東德Stasi的情報人員Ulrich,在柏林圍牆倒下前先把妻子送往自由國度,Ulrich緊接著即將逃亡海外,卻被同組小隊隊員給出賣了,連妻子都遭到謀殺並偽裝成車禍意外,也因他殺人過於冷血且殘忍,身份被抹殺之餘更遭到判定須終生監禁,廿多年後在一次移監過程中,逮到逃獄機會的Ulrich展開復仇行動。

108交叉著進行雙線劇情,說明到凡是踩進特務一行,即會逐漸被黑暗吞噬,沒有回頭的可能性,就算你是為國家做大事,扛起榮譽之餘,平凡幸福也只是個遙遠模糊又觸碰不到的概念。這想來都覺得很悲哀。




1x09【Get Carter】
播映:Dec. 8, 2011
劇本:Greg Plageman、Denise Thé
導演:Alex Zakrzewski
音樂:It's Personal by The Radio Dept.

某友幫Jess警官取了個嘴炮王外號實在是……好吧,超貼切。(反正話不是我說的,嘴巴壞的是她不是我XD)

但這說法事實上是個重點,如果當Taraji她的角色Jess演繹出來特質是如此,劇情效果其實打了點折扣。我不知道POI劇組怎麼想,但個人會希望Jess是個行動力更強悍、更有實質作為的警官,她能夠給予Reese與Finch雙人秘密小組適時援助,OK,這點沒問題,但若是對等狀態會更好,而不只是落後他們好幾步,還需要他們終結埋伏於暗處的重重殺機。

當然,人不是萬能的,要不劇情就不會安排Reese講到那句--You're not alone,但我真的希望這句話也可以是由Jess反過來對Reese和Finch說出來,且不僅僅嘴炮印象而已。

好的,這一集是由Jess當家,除了透露她的過去與家庭關係,另外說明現階段的她有三個威脅:一勢力正在擴大並和高階警官合作的Elias、二打老婆的暴力酗酒男、三槍殺前證人的軍火販子,Reese與Finch認為她是不可多得的好警官,短時間內協助她解除三大危機,保住她的小命。

109最好玩的在軍火販子劇情線,特別是大打出手的兩個女人XD。於是,看了Jess,益發想念康納利的鮑許警官啊啊啊,他也是獨行俠警官一個,跟同袍上司沒一個不犯沖,非常具有個人風格與自我使命,追查起犯人超像看上獵物的鬣狗,嗚啊啊啊,反正POI劇組已經來不及改良,也只好接受嘴炮型Jess警官了。XD




1x10【Number Crunch】
播映:Dec. 15, 2011
劇本:Patrick Harbinson
導演:Jeffrey Hunt
音樂:When Things Explode by UNKLE featuring Ian Astbury

靠,這集超精彩!整個狀況在下半集突然爆裂開來了!(滾動ing)

之前曾說Finch還不夠信任Reese,這話要收回來,比照到Jess警官才看到幾張CIA提供Reese任務照片便決定將他供出去,害得Reese險險喪命,我覺得Finch應該是非常信任Reese人品的前提下才會讓他成為自己夥伴,想想看,成天跟一個可以瞬間把人給斷筋挫骨的殺手排排坐,你沒有對此人抱持高度認同是不可能的事。事後想想,其實Finch和小動物沒啥兩樣,他覺得Reese無害,但又不想要Reese侵犯到他的個人空間,只能張牙舞爪地要Reese給他清靜的通道讓他能暢行無阻而已。更何況Finch總是把衝得太過頭、不顧自我安危的Reese給試圖拉回到安全界限範圍內,這樣的老母雞行為只能說一切盡在不言中了。

本集一次跳出四個號碼,別說Reese和Finch感到疑惑,一次只有四個號碼我才覺得奇怪咧,想想看,紐約市至少有八百萬人口,謀殺案比率照理來說應該很高。但事實上查詢官方數據後才知道,每年紐約市謀殺案僅有數百起,這或許僅供參考,不過如此一來,POI似乎也沒有太大誤差值?有誤差的是老覺得紐約應該一天就有上百起謀殺案的我?(抓頭)

好,離題了,總之,當後門一次吐出四個號碼,Reese當然無法兼顧盯住四人,在趕不上拯救第一人之後,Reese只好跟Finch和Lionel分工合作,問題這三人都各別出包,小綿羊Finch根本不用說,Lionel一幅我是壞人樣的把女生給嚇跑,而Reese試著電話整合另倆人訊息時,把目標搞丟才是最糟糕的事。XD

而承襲上一集,Jess警官緊盯Reese的調查行動終於引來CIA的注意,劇末Reese身中數槍,老母雞Finch則恰巧趕到接走同伴。於是,劇情還沒完。




1x11【Super】
播映:Jan. 12, 2012
劇本:David Slack
導演:Stephen Williams
演員:Brett Cullen、Michael Kelly、David Zayas
音樂:

這集讚!上一集情勢確實是很危急,POI劇組倒是毫不拖泥帶水的將故事敍述交代後馬上導入正題,111最棒的在於Reese無法外勤,只好改由Finch代替他在外頭轉,Reese則接手Finch原本的後援工作,因為不擅長、所以頻頻出狀況(笑),這部份POI劇組處理得很流暢。

之所以會特別喜歡111劇本在於前面十集建立起來的同伴情感幾乎在這集裡一口氣爆發出來,除此之外,個性也開始立體化,像是Reese和Finch倆人相較起來,Finch一旦認定是自己人時就特別護短,Reese則是手段雖火爆但個性溫和不記仇,不過倆人處理事情的謹慎態度倒是十分相似;而且現在才突然發現,Finch本名Harold,Reese先前就已經知道了,原本以為只是Reese對Finch的暱稱,但劇情回溯過去時,Nathan也是如此稱呼他的老友兼同事耶。(用力抖眉)

在Reese逐漸復原期間,號碼是不等人的,於是Finch把Reese安排住進公寓大廈,以便就近觀察目標,而此回的目標為公寓管理者,倆人相信他正騷擾房客、並試圖槍殺房客男友。

Jess警官和Finch碰面那幕也格外有趣,Finch大概還是無法介懷Jess警官差點害死Reese,先是摸不著頭緒地說明到他的兄長在他九歲時決定該是讓他學會游泳而把他丟入泳池內的一番話,接著便是把對象與部份個人訊息丟給她,等於是壞心地讓Jess潦落去地忙他夥伴沒辦法忙的活。

111看似揭開迷紗,但其實又埋下了謎團,就CIA探員之間的對話看來,可能探員Mark也不知道全部真相、只想逮捕Reese歸案,至於劇末,那場人心異變的對話與Nathan號碼馬上跳出來,十成十在誤導觀眾,我賭Nathan是正義且快掛點的一方!




1x12【Legacy】
播映:Jan. 19, 2012
劇本:Amanda Segel
導演:Brad Anderson
演員:April L. Hernandez、Michael Stahl-David
音樂:

抓到Finch個性再加上前面埋下知道太多的Nathan可能即將死於非命線索,我猜Finch還在隱瞞Reese應該是試圖保護他;至於Reese,這集的他其實還滿腹黑的,真不知道他是編了什麼理由,居然策動Fusco於劇末開始跟監起Finch,動機嘛,Reese大概就是想搞清楚他在意的人曾發生什麼變故吧?這個不掌握所有狀況不罷休的偏執狂。(暗暗地靠了一聲)

112真是一集互虧大會啊,每個角色都在彼此調侃對方,連配角也是,看得我莫名歡樂!XD

這集的被保護人是個野心勃勃、但也奉行每個人都該有第二次機會的新人律師,還不成氣侯的她所接觸的皆是來自於法院發出的犯罪者委託案件,手上最新一件case委託人是在家中被搜出毒品的假釋出獄者,Andrea試圖搞清楚委託人出了什麼包,卻發現他的假釋官不尋常行徑。Reese一方面和Andrea私下接觸,另一方面透過Carter刑警的協助,漂亮破獲此宗假釋官與家事安置處的不法犯罪行為。

我喜歡這一集的Carter,總算有讓她突出表現的機會。Fusco則是好像想要得到最喜歡的老師注意力的小朋友,一直不斷打Carter小報告給Reese。Finch依然是老母雞一隻,而且出場活躍度越來越高了。Reese把他特務老本領拿出來招呼另三人也很絕,尤其當著老闆面講老闆壞話那一場景都害我都噴了說。配角律師Andrea十分討喜,和Reese的幾場對手戲都相當有意思。

讚,繼續來看113。




1x13【Root Cause】
播映:Feb. 2, 2012
劇本:Erik Mountain
導演:Richard J. Lewis
演員:Paige Turco、Myk Watford
音樂:

Harold要僱用被栽贓失業者?不好吧(苦瓜臉),我光想到這人判斷力差--誰會僱請個打扮像殺手的人來灑紙花啊?--、不懂得放低身段--一個大城市裡八個月都沒有個臨時打工給他做嗎?--、理財觀也不好--以債養債最呆了--,確定真的要用他嗎?(繼續苦瓜臉)

113最棒的在POI安置一個跟Finch相似卻比Finch更高桿的黑客敵手Root,她完全摸清Finch底子,可惜這女人不像Zoe,Zoe把是非對錯的分際線抓得很好,像在這集中,Zoe還是帶有為達目標不擇手段的做事態度,但前提是她很清楚Reese和Finch在做好事,而這位網路黑客可是冷血地不顧他人死活。

本集中,Reese和Finch要保護的是位失業長達八個月的建築員工,他被栽贓指控殺害參議員,為避免他被滅口,Reese攔劫囚車帶走他,除此之外無計可施,Finch倒是想起他們政商關係遊刃有餘的朋友Zoe而特地向她請益,Zoe除了下指導棋、更幫忙出面推一把,而事件最後在主謀者不知是畏罪或遭到滅口下做為收場。

希望Zoe能繼續出場啦!(敲碗)




1x14【Wolf and Cub】
播映:Feb. 9, 2012
劇本:Nic Van Zeebroeck、Michael Sopczynski
導演:Chris Fisher
演員:Jon Michael Hill、Malik Yoba、Michael Stahl David
音樂:

114步調有點悶,但不壞。不壞的地方在我越來越喜歡Fusco,和Finch越來越謎了。

此次保護對象是個未成年小孩,他目睹兄長為保護同事卻落得遭到街頭混混槍擊死亡,即然警察無法有作為,他決定自己解決,Reese即時阻止了他,並且找出這些有恃無恐的混混們背後老大、予以痛擊。

112那集沒有提到,事實上有位更深入帶出Finch過去歷史的嬌客出現在112和114,他是Nathan的兒子Will,在整理父親遺物時發現不太尋常的東西,於是跟Harold叔叔詢問,甚至跑去找私交甚篤的舊識,在Will無意間說起Harold,明顯看得出來她畏懼了,但舊識看來似乎不認得Finch這名字,但她應該知道一些沒有告訴Nathan兒子的內幕。

看到結尾,想到開頭,Finch的神經兮兮或許不只是單純地窮緊張,畢竟有人挖到他的資料,而Finch可能沒有想像中那麼簡單,於是,偏執狂不是一個而已,而是兩個啊,這下好玩了。XD




1x15【Blue Code】
播映:Feb. 16, 2012
劇本:Denise Thé
導演:David Von Ancken
演員:Michael Aronov
音樂:If I Had A Heart by Fever Ray

除了小綿羊外,115角色戲份相當平均,劇末Fusco尤其吃重。

這集有別於以往,風格當然還是很統一,但個人覺得它成績十分突出,呃,該怎麼說呢(抓下巴),就這樣講好了,以往若是動作戲為主導,115則成了劇情片。這不是說前面十四集沒有劇情,而是115它有個更強烈的核心概念存在著,在舖陳並兼顧主線與單集劇情之餘,它甚至點到尋常公民可能會不喜歡的事實--司法機構沒一個清白的。以此次所保護的對象身份--警察臥底帶起,最後呼應Reese前任拍擋的話:「我們不只行走於黑暗之中,我們就是黑暗。」跌落深淵後即無法翻身的吊詭人生哲理貫穿全場,很黑的一集,但黑得紮實,我喜歡,這位Denise的劇本還滿合我胃口。

繼續講述到Reese的過去,這部份較為零碎,不過還能組織得起來;時間軸走到女友Jessica成了他人婦;而CIA的Snow幹員首次在過去登場,這人依然無法判讀是好是壞;Claire大姊勸戒Reese不要出面和Jessica夫婦碰面的那番話真像在哄騙小孩;Reese好聽話,此時的他很像乖乖牌菜鳥員。

而此回Reese和Finch要保護的對象為一名在販毒集團臥底多年的警察(這集有講述到臥底一部份運作內幕,以前都不曾在犯罪小說裡看過,還挺新鮮的),最終目標是揪出老大Los,Reese則順利黑進集團裡,並且趕在警方內應查出臥底身份資料前,要Fusco協助銷毀,以保護臥底警察,Fusco並且被迫走回頭路,成為Reese鎖定處理「壞警察」的內應。




1x16【Risk】
播映:Feb. 23, 2012
劇本:Sean Hennen
導演:Jeff T. Thomas
演員:Matt Lauria
音樂:Down Boy by Yeah Yeah Yeahs

也是精彩的一集,可惜我完全不懂股票操盤原理,問號滿集飛啊(摸摸鼻子),而且依據Carter說法和上一集影射,這下不只是司法單位,連行政機關也很黑,看樣子,POI編劇們似乎不太信任他們的政府,並用影集在打一場看不見的戰爭?

此回跳出來的安全號碼來自於年紀輕、衝勁大、有野心的華爾街操盤經紀人,Reese與Finch不知道他捲入什麼麻煩,只能讓Reese偽裝為富豪代理人、以便就近訪查,就在第二次Reese救了小夥子後,經紀人才卸下心防透露到因家人投資,曾私下關切而看到不尋常數據,殺機或許因此而起,但Reese不明白的是,區區一個內幕交易怎麼會引來職業殺手?直到他與Elias通上電話。

親情那段表現虛了點。另外,這邊有稍微透露到Resse的過去,在逃離CIA掌控後,Reese曾在遊民逗留的廢棄大樓待上數個月,並受到其中遊民照顧,離開前,女遊民問的那句話:「現在有人看顧著你嗎?」Reese的回覆與聽到對話的Finch表情是亮點啊XD!最後,結尾處理方式我喜歡!




1x17【Baby Blue】
播映:Mar. 8, 2012
劇本:Patrick Harbinson
導演:Larry Teng
演員:Enrico Colantoni、Mark Margolis、Michael McGlone
音樂:If I Had A Heart by Fever Ray

啊啊,讓倆人都很灰心的一集啊。

此回有兩個社會安全號碼跳出,一是Elias的父親Moretti,禍端很早種下,Moretti殺了情婦,兒子長大成人後決定討回他的權利與代母復仇,在父親出獄這天,Elias派出殺手去攔劫父親座車,尾隨保護的Reese與Carter壞了Elias好事,並帶走Moretti,由警方接手秘密保護Moretti。

另一方面,Finch偽裝成醫生,前往醫院探視第二位被保護人,壓根沒有心理準備看到的會是一個六個月大的小寶寶Leila,驚覺Leila安全上有所漏洞,不得已,Finch只能當場直接帶走她,並查明是誰殺了生母與試圖綁架孩子。只是陰錯陽差之中,孩子仍然被犯罪集團給帶走,別無它法的Reese於是求助Elias,向他索討先前救他一命的人情,問題代價可不小。

其實Carter說得對,在孩子丟失時,就可以透過警網來協助尋找孩子,而不是找掌握紐約的黑幫老大Elias。但警察也不全然乾淨,倆方都有問題啊。




1x18【Identity Crisis】
播映:Mar. 29, 2012
劇本:Amy Berg
導演:Charles Beeson
演員:Sarah Wynter、Rhys Coiro、Brennan Brown
音樂:Amongster by POLIÇA

個人還滿喜歡118,先不提細節如何,這一集案件安排有跟角色立場與心態做了結合與拉抬,光是那種正面鼓舞與些微希望的閱後感,就相當地Nice。

一開場青少年失控殺了同伴的命案,讓Carter先前和Reese說要退出的態度又掙扎了,就像Fusco無意間跟Carter提到,如果可以事先協助擺平而不致於令人事後遺憾,感覺一定很好;再者,這集殺出一組看不慣CIA行事作風的NYPD特殊小組,主要負責人Donnelley警官所要處理的是CIA留下的爛攤子--轉而從事犯罪的退役特務,而他們首要目標便是近來十分活躍的Reese,Donnelley希望能和Carter合作,偏偏Carter很清楚特殊小組他們全都搞錯了。劇末Carter仍單方面切斷與Reese和Finch聯繫這點,我覺得處理的還不錯,感覺上Carter可以成為其中良性的制衡者。

Fusco啊……,我有提過我越來越喜歡Fusco這角色了嗎?在好警察與壞警察之間遊走的他,其實有很多的可能性,他幾乎是被動式地被推著往前走,於是有種宿命的印象在,但當他真正做出抉擇時,又會讓人覺得,哇賽,Fusco,你有擔當!!尤其118的案子幾乎是由他主導破案。

Finch依然是隻讓人覺得他好危險、Reese最好還是把他留置在後場比較妥當的小綿羊。118的社會安全號碼來自一個生活低調的隱世者,麻煩就在這裡,Finch查出使用該組社會安全號碼有倆個人,且一男一女,兩人只好分頭跟監,Reese負責男性、Finch則是女性,差錯從這裡開始。

Finch嗑了毒品開始發酒瘋的那段表現超討喜,Reese也不賴,一察覺同伴可能有危險,便急扣Fusco前往解危,也沒有趁人之危地套Finch口風,再加上臉皮很厚地想把Carter心給再拉回他與Finch秘密小組,還滿可愛的說。

總之,給118一個好評!




1x19【Flesh and Blood】
播映:15, Apr. 2012
劇本:Amanda Segel
導演:Stephen Semel
演員:Enrico Colantoni、David Valcin
音樂:Ne Me Quitte Pas by Nina Simone、 Burn My Shadow by UNKLE featuring Ian Astbury

結尾真覺得,你種的果收了成,活該啊,Moretti。

119有好幾幕明示提到POI希望建立出黑幫橫行、警察收賄、政府無能、人人自危、詭計陰謀的三○年代芝加哥印象,確實是有啦,只是老實講,POI想要營造敵人太強大而你我沒有明天的氣氛有點不給力,搞得我邊看邊偷笑。事先被某友說她一集分好幾次都看不完給聽得一楞一楞,想說完了完了,會很無聊吧,但其實以Elias主線故事來說,有些地方是悶了點,但比起Elias第一次出場那一集,119還算不錯;另外就是之前覺得選角有些問題,這集看起來反而還好,感覺劇組好像就是要Elias有一幅無辜路人甲臉孔樣,雖然Enrico詮釋起來實在有點呆頭呆腦,也不太像有義大利血統長相(抓臉)。

接續117,Elias斬草除根地欲將紐約黑幫勢力一把抓,而這回跳出五組號碼,全都是作惡多端的角頭老大,Reese的行事作風是冷眼壁上觀,不過Finch認為黑幫火併只會傷及無辜,仍有必要強勢介入;另一方面,Carter察覺Elias有不尋常且大筆資金款項流出,再加上某個黑幫老大被謀殺而判斷Elias即將除掉另外幾個頭頭,因此強行帶走他們,只是Elias早有盤算,綁架了她兒子做為談判籌碼。

這集有點可惜,重心失衡往Carter那邊偏去,明明是Elias故事,應該更focus在他身上,總覺得這個黑道老大應該還有更多自己的秘密故事要講。話又說回來,反正就當成是Reese和Finch雙人秘密小組再度收復Carter芳心的一集吧。XD




1x20【Matsya Nyaya】
播映:26, Apr. 2012
劇本:Ray Utarnachitt
導演:Kevin Bray
演員:Pablo Schreiber、Lenny Venito、Michael Kelly、Annie Parisse
音樂:Lonely Soul、Burn My Shadow by UNKLE

啊啊,這集超讚的!過去時間線開始拉近了,目前已經來到2010年,問題也來了,突然驚覺到某件事,九一一恐怖恐擊不是發生在2001年嗎?怎麼到了2010年,Jessica還活著啊?而且情況發展和一開始設定有很大落差耶(偷笑),不過,沒關係,反正主線故事若講得好,要修正改寫也無妨。

120講述到CIA派遣Reese和Kara到中國拿回悠關美國國土安全的電腦資訊,私底下,Snow幹員給Reese鬩牆任務,但終究看在多年情誼份上,Reese放過Kara卻被反制。而過去和現在事件並不相同,倒是相互呼應著--大家可能都在鬼話連篇、能信任誰根本理不清、最好後背多加提防著。總之,120劇本很難猜測到情勢如何演變。

這集裡面有幾個至理名言,「世間永遠都有黑吃黑的危機」、「開第二槍總是最困難的」「想要當惡霸、就要小心背後還有更歹毒的人類」。在現在時空下,機器給予的社會安全號碼來自運送貴重物品的警衛,Reese和Finch不斷過濾可能發生的狀況,但突發狀況總是令他們措手不及。於是,Reese對於被放倒一事,他真的很在意啊,火冒三丈的要找對方算帳的描述實在很有意思,或許有人覺得Reese應該更機靈,但就算他是特務,身為一個血肉之軀,成天都要猜忌,不瘋掉才怪,只能講說,幸好Reese還有三大可靠後援。另外,個人覺得這集最大亮點在Finch問Reese的那句話:「Did we actually accomplish anything here?」這種一句對話做為結尾的好讚!(拍大腿)

最後,番外結尾其實有點令我迷惑了,看第二次才確定時間線沒有回到過去,於是,美艷的拍擋大姊Kara(先前代號為Claire)根本沒死嘛!她回來找Snow幹員算帳啦!(結果全部猜錯,Kara大姊那槍好狠,完全不顧朋友情義。b_b)




1x21【Many Happy Returns】
播映:3, May, 2012
劇本:Erik Mountain、Jonathan Nolan
導演:Fred Toye
演員:Susan Misner、Jonno Roberts、Dagmara Dominczyk
音樂:Revenge (feat. The Flaming Lips) by Danger Mouse & Sparklehorse

Reese感情主線在121確定走完了,啊啊,真的跟原來設定差好多,Nolan原設定版本羅曼蒂克與陰謀氣氛很濃厚,這一版的就較為家庭倫理劇,但也不壞,尤其僅差一步的感覺令人更加遺憾,畢竟Jessica在非自然死亡前有先向Reese求救,Reese因走不開得優先處理公務,卻落得遭到局處背叛下場,結果是錯失拯救心愛之人的契機,怎麼想怎麼嘔,要是我可能會去炸掉Snow幹員腦袋吧。這個遭遇不好過,另一個想來也不會好受到那裡去。b_b

這集的主題是恐怖情人篇,POI其實有淡化處理,這實在讓人感覺有點意外,之前也沒看他們在暴力環節上輕放過,反而是121在男性對女性肢體衝突時有特別拿捏尺度,美國那邊該不會也是一堆電視審議規定吧(摸下巴)?總之,Finch一開始便把Reese支開了,並且直接調度Fusco,原因在他認為此次社會安全號碼不適合交由Reese處理;另一方面,聯邦調查局幹員Donnelly挖到可能是Reese最早在美國本土犯下的首起殺人案,而請求Carter一同前往處理,調查過程,Carter發覺當事人的妻子死亡內情並不單純,繼續追查下,查出死者妻子與Reese過往曾有一段情……

121除了有跟過去做個暫別外,也有重生意味,Finch不只幫Reese找到新處所,也設定了一個對外新頭銜,還不錯,接著看Finch主線怎麼處理。




1x22【No Good Deed】
播映:10, May, 2012
劇本:David Slack
導演:Stephen Williams
演員:Brett Cullen、Elizabeth Marvel、Jacob Pitts
音樂:I'm Afraid of Americans by David Bowie、Revenge (feat. The Flaming Lips) by Danger Mouse & Sparklehorse

Finch的主線就在第一季即將結束前收得不明不白,雖然大概猜測得出來情況會朝往那個方向發展,但戰線層面加長延深的做法,只能講,好樣的POI你們啊。(抹臉)

122本次所需要保護的對象是個特殊人士,一開始Reese和Finch因為無法追蹤定位此人、感到疑惑之時,是後來Reese從過去經驗法則看出Peck為國土安全局人員,他的特務身份讓情況變得複雜,更棘手的是,這小子在遭到不名人士狙擊後便開始回溯、自行找尋出遭到追殺動機,而源頭來自於一份被竄改的情資報告,報告中提到了Finch所打造的機器,並讚揚它發揮應有的作用,Peck最初從並不清楚怎麼回事,到後來試著反擊,Reese和Finch知道他如果繼續挖掘尋找答案,不僅於事無補,只會讓他死得更早,他們試著阻止讓事態繼續擴大,卻也因此曝露了Finch的存在。

報告為何憑空出現,大概要看下一季怎麼說了,這一集故事還滿容易抓的,只是我對Nathan感覺在122突然變得很奇怪,他的動向表面上看起來已經明朗化,但通常越是這種中立性角色,越容易中途出現變數,最近的直覺又不太靠譜,對Nathan還是持保留態度好了。

至於其他人物,Fusco和Carter最沒問題,他們是跟著事件走的人物,位處於風暴眼中的Reese立場最明確,我不擔心他,倒是Finch,聽說第二季以他為主線的劇情進展會讓影迷很意外,呃,除非像Jessica一樣做大幅度變動,不然這角色動向現階段我也不太擔心。




1x23【Firewall】
播映:17, May, 2012
劇本:Greg Plageman、Jonathan Nolan
導演:Richard J. Lewis
演員:Amy Acker、Paige Turco
音樂:Machine Theme (finale version) by Ramin Djawadi

第一季完食,結束方式還真是出乎意料之外,Reese和Finch整個被擺了一道,下一季就要看Reese如何營救Finch,以及最後一通來電是誰撥通的,而且看情況,或許下一季會為機器操作模式做解密說明,是吧?是吧?現在正在考慮,是否來賭Nathan其實沒死,要不,Finch所打造的機器也未免太神通廣大,居然能夠判別敵友,而在Reese對著監控器要求協助,適時來電。

123編劇編的好(拍大腿),影迷以為一步步被逼進危險境地的是Reese,但誰曉得最後的目標居然會是Finch。其中最有意思的一段戲在Carter於特勤小組指揮中心協助Reese逃亡同時,眼見Fusco也不斷和某人通電話,她早就懷疑Fusco和HR勾結,於是上前堵他,讓事態明朗化,而明明都是Reese這偏執狂的錯,車上幾句雲淡風輕的話就將兩個警探給唬嚨過去了,不過那呼嚨的內容也很妙。

這次因為查不到威脅來源,Finch找來了老朋友幫忙,喔耶~對,我最欣賞的女角Zoe又上場了;至於Alicia,活脫脫是個過場悲劇人物,還是希望第二季能稍微解釋到她為何陷入逃亡處境;123最大當家者則是Caroline,欸,到現在還沒學乖,機器吐出的社會安全號碼不只是被害者,也可能是加害人。

好啦,接著等侯第二季上場!

          Harford panel nominates seven for Circuit Court vacancy   

Seven people have been nominated for a judgeship on the Harford County Circut Court that became vacant with the May 1 retirement of Judge William O. Carr.

The list of seven, submitted by the Harford County Judicial Nominating Commission to Gov. Larry Hogan last week, includes Lawrence Francis Kreis...


          Comment on Senate Passes Bill Requiring Citizens Report Privately Stashed Cash by Larry Rozniata   
MAYBE YOU IDIOTS NED TO CHECK OUT WARREN,MCCAIN, SCHUMER ,OBAMA WHERE DID THEY GET THERE STASH?????
          Payne, Larry   
PAYNE, Larry Lee 56 of Springfield died June 26, 2017. Survivors include his mother Helen (Lefty) Payne; children Katherine Anne (Stoddard)...
          LEITURA OBRIGATÓRIA >> Fuga em massa do Brasil é liderada pela nata dos tucanos   
Bye, bye, Brasil
Elites se dissociam do destino nacional e consideram Temer de bom tamanho para cuidar da única república que lhes interessa: a taxa real de juro
A elite se entediou do Brasil.
Economistas de bancos, gente bem sucedida de berço, executivos prestigiados estão se desfazendo de ativos e participações no país e rumam para temporadas sabáticas no exterior.
O comboio classe A reedita no ‘formato pessoa física’ o percurso que o patrimônio, o chamado dinheiro grosso, sempre fez e continua a fazer.
A explicação para o enfado é a resiliência dos impasses que o golpe tarda a resolver.
Nada contra o golpe, a nonchalance é … com o Brasil.
O país secularmente marcado por crises recorrentes, desta vez não parece reunir tônus para superar seus gargalos.
Pelo menos não do ponto de vista descortinado do mirante dos que nunca sofreram na carne os efeitos dos reveses pátrios, embora sempre tenham se beneficiado dos ciclos de alta.
Persio Arida, o ex-menino prodígio do Plano Real, doutor pelo Massachusetts Institute of Technology (MIT), é um dos que afivelam malas em direção ao embarque internacional.
Carrega na bagagem a tranquilidade financeira de quem presidiu o BNDES no governo do PSDB.
De lá migrou junto com a então esposa, Elena Landau (que dirigiu o plano de privatização tucano no mesmo banco) para o Opportunity, de Daniel Dantas.
Ali, o casal de tucanos exerceria a republicana função de orientar o capital estrangeiro na compra de ações de estatais privatizáveis.
Arida está se desfazendo também da participação graúda no conselho do BTG-Pactual, o banco que presidiu quando o titular, André Esteves, foi preso por corrupção: compra de emendas no balcão de Eduardo Cunha.
Na juventude nos anos 70, o economista tucano, agora aos 65 anos, militou na resistência armada à ditadura como membro da VAR-Palmares, a mesma organização da ex-presidenta Dilma Rousseff, da qual diverge radicalmente hoje.
Definindo-se como um liberal completo, ele deixa para trás as pendências materiais produzidas por esse choque de ideias para um retiro em Oxford, na Inglaterra.
A partir de setembro ministrará workshops na Blavatnik School of Goverment aproveitando o tempo livre para escrever suas memórias.
Outro titã do Plano Real, André Lara Resende, já decolou há mais tempo.
Foi viver, pedalar, cavalgar e refletir sobre os impasses brasileiros longe do objeto em transe.
Primeiro, como fellow scholar da Universidade de Oxford, na Inglaterra, para onde teria levado seus cavalos de corrida a bordo de aviões fretados; mais recentemente, como morador em Tribeca, nos EUA, e professor visitante da Columbia.
Sugestivamente, Lara Resende também recheou o currículo com uma passagem na presidência do BNDES, sob o governo tucano de FHC.
Em 1998 teve que deixar o cargo, ejetado pelo escândalo da privatização da telefonia brasileira.
Como se recorda, gravações envolvendo Fernando Henrique Cardoso e o então ministro das Comunicações, Luiz Carlos Mendonça de Barros, vieram à tona, então.
Numa delas, Lara Resende fala em ‘acionar a bomba atômica’ (FHC) para obrigar um fundo ligado ao setor público a apoiar um consórcio privado interessado nas teles.
Os diálogos demonstraram que o BNDES e o governo como um todo teriam atingido o ‘limite da responsabilidade’ (frase de Mendonça) nas articulações com grupos de interesses no rateio de um negócio milionário.
Apesar das suspeitas de favorecimento e enriquecimento ilícito de tucanos graúdos e seus parentes miúdos, Lara Resende foi absolvido nas investigações.
O economista – que já fora sócio de Luiz Carlos Mendonça de Barros na criação do banco Matrix, em 1993, de sucesso meteórico na era tucana — está no país para lançar seu terceiro livro.
Intelectual respeitado como uma das mentes mais inquietas do conservadorismo, ele inverte a relação convencional que explica a anomalia do juro sideral praticado aqui como consequência e remédio da inflação alta.
A tese do tucano, que num primeiro momento assustou seus pares do mercado, é que ‘no Brasil o juro alto virou o indexador de preços do mercado’.
Mas calma, não é uma guinada esquerdista.
A aparente heterodoxia converge por linhas tortas ao velho ninho seminal da narrativa conservadora.
A origem do juro alto — que indexaria a inflação — é o déficit público.
‘O país é viciado no Estado’, diz o quadro tucano mais admirado por FHC.
‘O país gasta mais do que arrecada’, reiterou em entrevista tranquilizadora para os centuriões competitivos das mesas de operação.
A verdadeira inversão causal que seria dizer ‘o país arrecada menos do que gasta’ nunca esteve nas cogitações de Lara Resende.
Respiram aliviados os endinheirados que, segundo estudos do Senado brasileiro, auferiram em 2016 cerca de R$ 334 bilhões em lucros e dividendos livres de qualquer tributação.
A lógica intocada está na origem de uma crise avaliada por outro bico longo, José Serra – um dos responsáveis por ela — como ‘pior que a de 1964’.
Desta vez, no entanto, não são os perseguidos políticos que buscam os saguões do embarque internacional.
O movimento, na verdade, tornou-se perceptível porque atingiu, ademais de pavões e tucanos ilustres, justamente círculos bem postos da classe média alta, sem falar dos seus filhos, em eterna jeunesse dourée.
Fartos ou indiferentes eles se despedem de uma nação posta de joelhos, para retiros mais acolhedores, ainda que com menor grau acadêmico.
Miami e Lisboa lideram as preferencias aqui, sendo a capital portuguesa listada nas apreciações conservadoras, paradoxalmente, pelo bom momento econômico, social e cultural propiciado por políticas heterodoxas.
Obra da coalizão de esquerda que, sugestivamente, assumiu o poder português depois do fracasso de um governo austericida.
Dados da Receita Federal contabilizam 20.469 Declarações de Saída Definitiva do país só em 2016.
O salto é graúdo se comparado às estatísticas do início da década: 8.510 saídas definitivas em 2011, por exemplo.
Mais que a escala, importa ressaltar aqui a qualidade da resposta conservadora a um desmanche que ajudou a semear com afinco, mas de cuja colheita agora prefere manter-se à distância.
São tempos interessantes.
Na letra miúda do descaso elitista com a sorte da nação define-se, por contraposição, o verdadeiro lastro à pertinência da ideia de Estado, democracia e desenvolvimento em nosso tempo.
Quem de fato sustenta essa sobrevivência porque dela necessita como a corrente sanguínea precisa dos músculos cardíacos para não coagular é o povo brasileiro.
A maciça, esférica maioria de homens, mulheres, idosos, jovens e crianças do país não pode prescindir desses ‘anacronismos’, no dizer neoliberal, sob pena de se tornarem eles próprios anacrônicos na fila cada vez mais estreita e seletiva do ingresso ao estado das artes da civilização.
A indiferença dos de cima complica sobremaneira o acesso dos que dependem da construção uma república de todos nestes 8,5 milhões de kms2 de segregação e riquezas desigualmente auferidas.
Se vivo, o coronel Pedro Nunes Tamarindo, protagonista da Guerra dos Canudos (1896-1897), perfilaria ao lado dos Aridas e Resendes que se escafedem, a bradar o famoso bordão: ‘É tempo de murici, que cada um cuide de si’.
A evocação à debandada corresponde ao empoçamento do futuro para a grande Canudos cuja sorte está atada à superação progressista dos gargalos do desenvolvimento brasileiro.
Da servidão rentista do século XXI ela não se livrará pela lógica de mercado.
Pelo menos é o que se pode depreender da estratégia que gestores de fortunas reservam ao pecúlio sob a sua guarda.
Luis Stuhlberger, dirigente e estrategista do fundo Verde é um caso ilustrativo de exílio financeiro dentro do próprio país.
Ele tem a guarda de algo como R$ 20 bilhões em espécie de ricaços e empresas.
Mas não se dispõe a correr nenhum risco com investimentos de longo prazo, desses que o país necessita desesperadamente para sair do pântano recessivo.
Sua escolha alinha-se a lógica dos que batem asas de costas para a encruzilhada nacional, reduzindo os laços à frequência e intensidade do hotmoney de estadia curta.
‘A única coisa que tem no fundo hoje é uma posição grande –metade do fundo– em NTN-B com ‘duration’ (prazo médio) curta. De Brasil é isso. Tenho CDI com NTN-B. Nem diria que é uma aposta (são papéis de autoproteção)’, explica o estrategista do ‘Verde’, um dos maiores fundos de ‘investimento’ do país.
O exílio do dinheiro grosso na dívida pública é um garrote vil.
Para garantir a remuneração da riqueza privada, que tem na dívida pública a sua contrapartida de miséria, o mercado, a mídia e a escória política fizeram uma sublevação e derrubaram uma Presidenta honesta.
Substituíram-na por um plantel de achacadores profissionais da política.
Agora, nem o Estado investe em infraestrutura, nem os gestores privados querem correr o risco, preferindo exortar as tarraxas do arrocho.
Câmbio favorável à exportação, previsibilidade fiscal, taxa de juro civilizada incluem-se entre os ingredientes da difícil calibragem macroeconômica de qualquer nação em luta pelo desenvolvimento.
Mas a verdade, a dura verdade, é que não bastam; sobretudo, não brotam jamais dos ‘impulsos’ do próprio sistema cantado pelos sacerdotes dos ‘mercados racionais’, como mostra o raciocínio dos gestores da riqueza na hora do aperto.
Enfim, a crise econômica atual não se explica nem se resolve nela mesma.
Atribuir a pasmaceira do país exclusivamente aos ‘erros da Dilma’ – ilusão ruminada inclusive por segmentos à esquerda; ou o cacoete daqueles que transpirando preconceito de classe acusam o ‘voluntarismo lulopopulista’ de responsável pelos gargalos estruturais de um dos sistemas econômicos mais injustos da face da terra, são miragens de quem se recusa a encarar o deserto a transpor e prefere retiros confortáveis enquanto a guerra civil se arma por aqui.
Os riscos decorrentes são enormes.
Num extremo encontram-se as saídas voluntaristas, de verbalização tão simples quanto falsa.
No outro, a ‘rendição dos sensatos’, esses que aparentando responsabilidade descartam irresponsavelmente qualquer alternativa ao armagedon recessivo exigido pelos mercados.
A colonização dos partidos de esquerda por essa lente embaçante de dupla película é uma das tragédias do nosso tempo.
‘O ponto importante’, explica o pensador marxista István Mészàros, ‘é que eles (os mercados capitalistas) vêm praticando orgias financeiras como resultado de uma crise estrutural do sistema produtivo’.
Insista-se: a terra em transe resulta de um traço estrutural do sistema capitalista nos dias que correm.
Ou, na síntese iluminadora de Mészàros: ‘A acumulação de capital não pode mais funcionar adequadamente no âmbito da economia produtiva’.
Seu apetite só se satisfaz na voragem de uma dança financeira descolada da produção.
Essa que capturou o Estado brasileiro para ser a negação da alavanca permeável ao interesse popular na luta por desenvolvimento e justiça social.
Resulta daí o impasse protagonizado por endinheirados que nem investem, nem permitem a tributação da riqueza para que o Estado possa fazê-lo.
Como formular e implantar uma política de desenvolvimento focada na construção de uma democracia social nesse ambiente de beligerância constitutiva?
Como fazê-lo contra um adversário capacitado a exercer, como de fato exerce pelas prerrogativas midiáticas e financeiras de que dispõe, seu poder de veto sobre as urnas, partidos, governos e o discernimento social?
O resultado dos desencontros é a crise.
Sobra capital especulativo no fundo Verde atado a títulos de ‘duration’ curta, de um lado.
De outro, a sociedade carece de infraestrutura, serviços, emprego e renda.
No arremate, a retração da atividade reduz ainda mais a margem de ação fiscal do governo.
Não por acaso, o golpe que veio corrigir a ‘gastança’ debate-se em sérias dificuldades para conter o déficit fiscal dentro da meta de R$ 139 bilhões, dependendo para isso de receitas extras que compensem a arrecadação aguada pela retração econômica.
Sem consertar o motor do desenvolvimento brasileiro o comboio não sairá do atoleiro.
Não se trata de uma falha mecânica, porém, mas de um desastre deliberado.
Decorridos 53 anos do golpe militar de 1964, quando tentou pela última vez modelar um país à sua imagem e semelhança, as elites se conformaram em fincar no endividamento público que tanto criticam seu porto seguro histórico.
Essa escolha custa 7% do PIB ao ano.
Juros e rolagem pagos em detrimento de outras prioridades cuja postergação gera múltiplos desse custo, conduzindo a espiral do apartheid em curso nas vísceras da nação.
A tolerância conservadora com quase uma década de políticas progressistas esgotou o prazo de validade quando ficou claro que a crise de 2008 marcava o crepúsculo da ordem neoliberal no mundo.
O comércio internacional cuja expansão feérica, duas vezes maior que a do PIB global, funcionou como força acomodatícia dos conflitos de classe secou seu poder lubrificante.
A consequente atrofia da receita fiscal deixou três opções ao passo seguinte do desenvolvimento brasileiro: I) endividamento público desestabilizador; II) reformas progressistas com taxação adicional da riqueza, ou III) um arrocho fiscal drástico.
‘O Brasil gasta mais do que arrecada’ tornou-se o bordão da opção que partiu para inviabilizar a ação do governo petista, declarando guerra aberta à Presidenta Dilma Rousseff já na metade final de seu primeiro governo.
O estopim foi a decisão presidencial, em 2012, de contornar a saturação do gasto público impondo ao mercado financeiro uma queda expressiva do juro e do crédito, a partir dos bancos estatais.
A manchete garrafal do jornal O Globo do dia sete de maio de 2012 trazia como resposta uma declaração de guerra ao governo: ‘Bancos reagem a Dilma e não garantem crédito maior’.
Em pronunciamento em horário nobre seis dias antes, no 1º de Maio, a Presidenta criticara o que chamou de ‘lógica perversa’ do sistema financeiro.
Foi além: qualificou de ‘roubo’ as tarifas cobradas para administrar fundos de investimento e pediu queda urgente das taxas de juros.
Ato contínuo, o Banco do Brasil anunciaria o seu terceiro corte indutor nas linhas de empréstimo.
A resposta do sindicato dos banqueiros (a Febraban) desaguava na insolência: não garantiria a oferta de crédito pedida pelo governo para assegurar o crescimento econômico.
E espicaçava: ‘Você pode levar um cavalo até a beira do rio, mas não conseguirá obrigá-lo a beber a água’.
Era a ordem unida à greve branca do capital, contra o projeto de desenvolvimento com cidadania para todos.
Uma parte da adesão ao lockout explica-se pela existência efetiva desequilíbrios macroeconômicos acumulados desde os anos 90.
Um exemplo: o câmbio valorizado.
Ademais de incentivar importações baratas, ele atrofiou a exportação, subtraiu demanda à indústria local, levou a uma integração desintegradora com as cadeias globais de suprimento e tecnologia.
Em vez de investir, fabricantes trocaram máquinas por guias de importação. E se tornaram sócios do endividamento público, aplicando sobras de capital em títulos, não em capacidade produtiva, empregos ou inovação.
As distorções explicam em parte os impasses da industrialização e do desenvolvimento nos dias que correm.
Mas não explicam tudo.
Quem vê no capitalismo apenas um sistema econômico, e não a dominação política intrínseca ao seu funcionamento derrapa no economicismo.
Ele subestima aspectos cruciais da encruzilhada atual.
Destravar um novo ciclo de investimento no país envolve – ademais da retificação de distorções desindustrializantes — uma disputa para mudar o comando do sistema financeiro na economia.
Que se completa com uma nova relação fiscal do Estado com a riqueza da plutocracia.
Essa que aderiu à ciranda rentista e dela não abdicará espontaneamente, necessitando ser tangida por instrumentos fiscais e de controle da conta de capitais — para evitar fuga de recursos e queima de reservas.
O que se instalou com o golpe de agosto de 2016 foi o oposto disso.
Uma democracia garroteada, humilhada e tutelada, de um lado, por juízes e mídia partidarizada; de outro, por uma escória parlamentar a serviço do mercado, que transformou o Congresso em uma assembleia permanente contra o povo.
O arrocho contido na PEC do Teto, que congela em termos reais orçamentos de serviços públicos subfinanciados, como é o caso da saúde, ilustra essa deriva programada do futuro da sociedade.
O banqueiro Roberto Setúbal explicitou a dissociação elitista com as consequências dessa engrenagem ao declarar ao jornal Valor Econômico no último sábado (24/06): ‘O momento é difícil, complexo, bem atrapalhado. Mas a economia está funcionando; as políticas são corretas, mantendo mais ou menos as coisas bem equilibradas. Houvesse políticas confusas, o problema seria maior’.
Às favas o fato de o país rastejar no fundo do precipício com um governo composto de achacadores, abrigar uma bomba social de 14 milhões de desempregados, ter R$55 bilhões em obras públicas paralisadas e um presidente aprovado por apenas 7% da sociedade.
Dá para levar, diz o dono do maior banco do país: ‘Houvesse políticas confusas, o problema seria maior’.
É tempo de murici, grita igualmente o sujeito oculto do golpe de 2016, o ex-presidente tucano, Fernando Henrique Cardoso.
Diante de um Brasil em ponto de desmanche, ele atualiza a teoria da dependência que defendeu como sociólogo nos anos 60 e personificou como presidente da República nos 90.
Agora, dando ao entreguismo uma dimensão salvacionista.
‘“O que puder privatizar, privatiza, porque não tem outro jeito. Essa não é minha formação cultural, mas não tem mais jeito, ou você realmente aumenta a dose de privatização, ou você vai ter de novo um assalto ao Estado pelos setores políticos e corporativos’, disse em declaração oportunista à imprensa dia 22/06.
É esse Brasil mantido em um formol de iniquidade, congelado fiscalmente pelo custo de uma dívida contraída junto a quem deveria ser taxado, decepado de ferramentas estatais indutoras do desenvolvimento que explica o descrédito popular na política e no futuro, emulado pela panaceia de um combate à corrupção cuja finalidade principal – que nem Moro disfarça mais — consiste em excluir o nome de Lula da cédula de 2018.
Titãs do mercado financeiro, competitivos estrategistas de fundos e bancos são assertivos em dizer que o futuro vai demorar muito para visitar de novo os trópicos.
A estagnação secular do mundo ricos, prevista por Larry Summers, ex-conselheiro econômico de Obama, como resultado de mudanças estruturais na economia e na sociedade coaguladas pela desordem neoliberal, chegou antes.
E durará tanto quanto seu cicerone político quiser um conservadorismo que se protege entre a dívida pública – em títulos de ‘duration’ curta — e o aeroporto.
Deixa aos da terra o emprego instável, informal e mal remunerado, característico da recuperação atual na Europa e nos EUA – aqui replicada a ferro e fogo pela reforma trabalhista que pretende implodir a CLT.
O engessamento de um Estados endividado e sem espaço para promover investimentos contracíclicos é outro garrote, cuja cristalização local representa a própria razão de ser do golpe.
A existência de elevada capacidade ociosa na indústria mundial e chinesa desautoriza, ao mesmo tempo, expectativas de expansão pela alavanca das exportações.
Sobra o quê?
O saldo desse capitalismo deixado à própria sorte – livre mercado — é o ‘murchamento’ produtivo, coroado por desigualdade crescente, uma regressão ordinária do trabalho e a tensão social permanente, embebida em nitroglicerina de marcas variadas: ódio de classe, xenofobia, guerra de tráfico, racismo, intolerâncias de gênero e outras ressurgências nazistas.
Mas pode ser diferente.
O Brasil tem trunfos com escala e densidade suficientes para ocuparem o motor de um novo ciclo de expansão industrializante, em sintonia com a revolução 4.0 que combina biotecnologia, informatização e robótica.
A reciclagem de seu sistema agrícola em práticas e manejos agro-sustentáveis é um exemplo; outro, o potencial de inovação e de transição para uma matriz verde contido no desenvolvimento da cadeia do pré-sal.
O requisito capaz de interligar esse potencial a um novo ciclo de desenvolvimento é a soberania na condução de suas possibilidades industrializantes.
Sem isso o futuro se esfarela nas remessas imediatistas das grandes corporações
Como está planejado para acontecer, graças ao projeto de liberação de terras aos estrangeiros, por exemplo; e do desmonte do modelo soberano de partilha do pré-sal.
Retomar os espaços de soberania e planejamento democrático constitui, assim, o requisito de vida ou morte diante desse cerco.
Para retirar essa chance do reino das ideias é vital reconhecer que os ciclos históricos tem um começo e tem um fim.
Vivemos essa intersecção típica em que o novo ainda não emergiu e o velho já não tem o que propor ao futuro.
O golpe é a manifestação mórbida mais explícita dessa encruzilhada.
Sacrificar 90% da sociedade para gerar riqueza em benefício de 1% é o que os donos do dinheiro tem a oferecer ao século XXI brasileiro. Alguns o fazem da forma mais cínica acenando da escada do avião.
Não há nada mais importante nesse momento do que organizar a capacitação do campo progressista para enfrentar a severidade dessa quadra histórica.
Ela requer o desassombro político para enxergar na debandada dos ‘entediados’ mais que um traço pitoreco da crise.



Jan and candy enjoy each other and larry's bbc

Added by: belle_de_jour

Date: 01 Jul 2017




          Miguel Morales se lanza con Larry para hacer reír   
Asegura que Larry posó con el bate mucho antes que el pelotero de los Cachorros de Chicago Javier Báez
          Freddie Freeman plays third base during minor league game (Video)   
Freddie Freeman’s road to recovery from a fracture in his left hand has progressed to playing in minor league games. On Saturday, he did so at an unfamiliar position. Since making his major league debut with the Braves in 2010, the only position Freeman has played defensively has been first base. However, during his absence,...Read More
          Serge Ibaka addresses rumors about his age   
Serge Ibaka responded to critics of his listed age and addressed stereotypes about Africans in a statement he shared via social media. Earlier this week, there were rumblings some around the NBA believe Ibaka is older than his listed age of 27 years old and that it could impact how free agency unfolds for him....Read More
          MLB punishes Dodgers, Padres managers for fight   
MLB has handed out punishments for Friday night’s fight between the Los Angeles Dodgers and San Diego Padres. The league decided to suspend Dodgers manager Dave Roberts for a game, which he will serve on Saturday, and fine him. Padres manager Andy Green, as well as Dodgers pitcher Alex Wood, have both been fined. #Dodgers...Read More
          Report: Suns, possibly Timberwolves out on Paul Millsap   
The Paul Millsap sweepstakes may be nearing a conclusion. Two separate reports Saturday indicated that the Phoenix Suns and Minnesota Timberwolves, both teams that had registered interest in the free agent forward, were cooling their interest as of Saturday afternoon. Sources: Suns out on Millsap pursuit, turning to use cap space to absorb $ dumps...Read More
          Detail emerges in David Price-Dennis Eckersley incident   
An interesting detail has emerged about the confrontation that took place between David Price and Dennis Eckersley. The Boston Globe reported on Friday that Price and Eckersley had an incident on the team plane Thursday, though they did not know what sparked it. MLB Network’s Jon Morosi reports that Price was upset with Eckersley over...Read More
          Billionaire NYC Developer Larry Silverstein's Artful Deal With Spotify & Graffiti Artists   
After 16 years, NYC's other famous developer has the corporate world (and graffiti artists) excited about the World Trade Center again.
          Google Announces New Parent Company Called 'Alphabet'    
Copyright 2015 NPR. To see more, visit http://www.npr.org/.

Transcript

ROBERT SIEGEL, HOST:

Google is restructuring. In a blog post today, CEO Larry Page announced a new firm called Alphabet. Alphabet will become the parent company atop all of Google's many ventures. NPR tech reporter Aarti Shahani joins us now to explain.

          Jane and Roger Stokes   

LIMA — Mr. and Mrs. Roger Stokes are celebrating 50 years of marriage. They are planning a dinner with family and friends and a trip to Florida. Stokes and the former Jane Frazier were married July 1, 1967, at Shawnee United Methodist Church, Lima, by the Rev. Larry Hard. They are the parents of two […]

The post Jane and Roger Stokes appeared first on The Lima News.


          6.30.17 Brewerton Speedway Results   

(Tracey Road Equipment Modifieds 35 Laps) – LARRY WIGHT, Matt Hulsizer, Jimmy Phelps, Billy Decker, Chad Phelps, Max McLaughlin, Ryan Bartlett, Adam Roberts, Pat Ward, Chris Hile, Mike Bowman, Jeremy Smith, Gary Tomkins, Jim Witko, Tim Sears Jr., Tim Kerr, Rob Bellinger, Lee Gill, Mike Mahaney, Roy Bresnahan, Andrew Ferguson, …

Continue reading

The post 6.30.17 Brewerton Speedway Results appeared first on Dirt Racing Report.


          2017-2018 Indiana Pacers   
You know just as well as anybody College and Pro's are 2 different games. Laettner was Larry Bird in College, in the Pro's he was a borderline Good player at best.
          Cook, David Larry   
In memory of David Larry Cook.
          Rumsey II, Larry Milton   
Larry Milton Rumsey II Newport, TN Age, 68 passed away June 27, 2017. Sign our online guest book at CallNFC.com
          The Big "R"   
The Big "R"
author: D. Larry Crumbley
name: Ron
average rating: 1.00
book published: 2001
rating: 1
read at:
date added: 2013/08/04
shelves:
review:


          Broken Heart: Call Saves Veteran's Life   

It’s a good thing Larry Kerr finally decided to answer his phone, which had been ringing all morning. It was the VA, calling to tell him he had a life-threatening heart condition. Read the full story

Woman doctor hugs a patient
          Buskers of San Francisco: Larry    
If you wander around Bay Area cities, you know that street musicians are a dynamic part of the soundscape.
          The threat of UNAC?   
  Retweeted
Listen to the full speech from Larry Hamm at the conference:




That's UNAC.

Do you see anything objectionable?

I really don't.

Nor did C.I.

David Swanson's written a piece attacking these "Marxists!" and we're both like, "Huh?"

Since when did Swanson -- Mr Sickly Cheery -- attack?

He's like a neutered poodle.

But UNAC held their conference over the weekend.

Then before the week's over David Swanson's attacking them.

I didn't get the point of his piece or how it was describing the participants.

I asked C.I. and she was like, "Huh?  What's he smoking?"

I have no problems with UNAC.  If I've missed something, let me know, but I'm a-okay with what I've seen.


Now let's kick it with Rita Ora.



"Iraq snapshot" (THE COMMON ILLS):
Thursday, June 22, 2017.  Chaos and violence continue, the media amplifies ISIS' power with a story choice, and much more.



Day 246 of The Mosul Slog.


Old city map. Before and after (24hrs later).




Day 246 and if you inflate the map so that the tiny area seems much larger, maybe you can fool people into believing major progress is taking place.

Maybe.



Let's move over to what the media has made the biggest story out of Mosul.



  1. The first images of what's left of Al-Nuri Mosque and its minaret in Old City.

  2. BREAKING: Iraqi officer: IS detonates iconic al-Nuri mosque in Mosul where IS leader al-Baghdadi declared the Islamic caliphate.



          Enemy of We The People Larry Summers   




Larry Summers is an idiot and a menace.

C.I., in the snapshot below, takes on the ridiculous Eliza Barclay of VOX.

C.I. is hilarious as she calls out Eliza.

But, here's the thing, it shouldn't just be her, Adam Johnson and me.

Equally true, THE WASHINGTON POST shouldn't be printing Summers' garbage anymore than NPR should be putting him on the air.



"Iraq snapshot" (THE COMMON ILLS):
Tuesday, June 6, 2017.  Chaos and violence continue, The Mosul Slog continues, Eliza Barclay tries to spit-shine Larry I Killed Glass Steagall Summers with her throat (no gag reflex on her), and much more.


Self-hating Eliza Barclay showed up at VOX yesterday to treat the disgusting Larry Summers as someone worth listening to.  Elaine had said everything that needed to be said last week with her "STFU Larry Summers" -- but then Elaine's a strong woman and Eliza Barclay's just an embarrassment who can almost -- almost -- handle the topic of 'reporting' on the best snacks to serve at your Super Bowl get together.

Almost.

Eliza prattles on like the fool she is in passages like this:


As I wrote last week, Trump’s decision on Paris was cruel in the message it sends about how America values the environment, and how little it now cares about the risks climate change poses to the planet. Though the doomsayers like Summers could turn out to be wrong, many, many experts believe it is likely to prove incredibly damaging to America’s strategic position in the world, our military’s operations, and our standing in international negotiations.


Poor little Eliza.

Somewhere in the world, the menfolk are unhappy and like the good little servant she is, she's going to make them happy.  Serve those snacks, on your knees, serve those men, you little child.



I wrote this about the farcical Paris climate accord.






Let's do a video.



Unlike Eliza, Margaret Kimberley is nobody's child (video is Maria McKee performing "Nobody's Child" from her self-titled solo debut album).

Here's what Margaret wrote in 2015 about the 'wonderful' Paris Agreement:


The agreement doesn’t even take effect until 2020. Countries have five years to continue pumping green house gases into the atmosphere as much as they like. In addition, the agreement is not even binding. Any nation can decide to ignore the pledges it made in Paris without repercussion.
The means of increasing carbon production while claiming to reduce it are numerous. India and China use semantics. They claim they will cut “carbon intensity” which means they will use coal more efficiently, not that they will use it less. Other countries play games because they were allowed to use 1990 as the date to measure carbon reduction. That doesn’t mean much for Russia because its economy collapsed in the 1990s. Going back to the high water mark of 1990 means they can actually increase carbon production over and above current levels.
The United States and the European Union also choose dates selectively. The United States says it will cut 2030 emissions by 26% as compared to 2005. But emissions now are lower than 2005, so the promise is a hollow one and the actual cut would be just 15%, assuming the U.S. actually lives up to its promise.

Just as in Copenhagen in 2009, the United States took a lead role in deceiving the world. Once again Barack Obama made a personal appearance and added his usual bizarre diatribe about American superiority. He said nothing about the United States refusing to consider compensating poor countries for damage done by rich countries. The final document states that “any discussion of loss and damages does not involve or provide a basis for any liability or compensation.




That reality escapes little Eliza -- the overgrown and underbrained child doing the bidding of her masters.

Read the whole piece and marvel over how Eliza so delicately laps the crotch of Larry Summers.  Eliza really gets off on debasing herself in public.


No where in her nonsense does she note that Little Dick Larry (a) has no science background, (b) faces charges of racism (for years now), (c) was flat out sexist in his remarks on women and science and (d) had to resign as president of Harvard in disgrace.

Debase yourself, Eliza, disgrace yourself.

Nor does she note Larry's so-called column is really a variation of the remarks he gave last week to NPR's HERE & NOW.


Nor does she ask the tough question that Elaine did: "Question, where does he rank the repeal of Glass-Steagell which removed the protections and created the banking problems -- the ones we had to bail out?"

Yeah, that was Larry's doing.

Poor little Eliza, she can't stand up while also going down on Larry in public.


She should go back to the 'reporting' she can handle, writing things like "Beer and food have loads of flavors in common" -- loads?  She's back to writing about foamy head.  You go, Eliza!


At VOX, Eliza, still not able to breathe through her nose, spits out, "Pulling out of Paris is also such a failure of moral leadership, he writes, that it 'is probably our most consequential error since the Iraq War'."

Is it our most "consequential error since the Iraq War"?

Because if it is, that means the press will ignore it, the same way they refused, in the 2012 debates (and the coverage around it), to ask Barack Obama about the special-ops he'd just sent back into Iraq.


The morning after the 2012 election, Ava and I wrote "Let The Fun Begin" which opened:


Lies about Iraq drove the 2008 election and they drove the 2012 election as well.

The country was transformed to the elephant in the room for 2012 that no one could be honest about.  President Barack Obama  lied that he'd 'ended' the Iraq War, he misled people into believing that all US troops had left Iraq, and he failed to inform Americans that he was negotiating to send even more US troops into Iraq.

While the uninspiring victory speech last night blended The Hollies "He's Not Heavy, He's My Brother" ("The road is long") with Jerry McGuire ("You've made me a better president"), it also made clear that the administration was on fumes even before the second term officially begins in January.

The administration is as empty as the media.  If you doubt that, September 26th, the New York Times' Tim Arango reported:


 
Iraq and the United States are negotiating an agreement that could result in the return of small units of American soldiers to Iraq on training missions. At the request of the Iraqi government, according to General Caslen, a unit of Army Special Operations soldiers was recently deployed to Iraq to advise on counterterrorism and help with intelligence.




September 26th it was in print.


Days later, October 3rd, Barack 'debated' Mitt RomneyAgain October 16thAgain October 22nd.  Not once did the moderators ever raise the issue.


If Barack's sitting before them and he's flat out lying to the American people, it's their job to ask.  They didn't do their job.  Nor did social menace Candy Crowley who was apparently dreaming of an all-you-can-eat buffet when Barack was babbling away before her about how he wouldn't allow more "troops in Iraq that would tie us down."  But that's exactly what he's currently negotiating.

Maybe Candy Crowley missed the New York Times article?  Maybe she spends all her time pleasuring herself to her version of porn: Cooking With Paula Deen Magazine?

That is possible.

But she was only one of the three moderators.  Bob Schieffer and Jim Lehrer also moderated.  Of course, they didn't foolishly self-present as a fact checker in the midst of the debate  nor did they hit the publicity circuit before the debate to talk about how they were going to show how it was done.



Some are still lying.

Some are still lying and are losing loved ones who can't take the lies anymore and hurl themselves to their deaths.

I've been surprisingly kind on that topic.

Don't expect my silence on it to continue for long.

You did more than shame your mother, you appalled her.

And why wouldn't she be appalled?

The truth mattered to her.

She took part in documenting a rock god's bisexual ways -- and did so at a time when homophobia and Anita Bryant (same diff) reigned.

Yet, you, her child, couldn't even use your power to tell the truth about an ongoing war.

P.S. I may be the only one who knows where what you're looking for is -- the thing that had you begging the police to let you in so you could try to find.  That's probably one secret -- the location -- that I'll willingly take to my grave.

Oh, kisses for one and all.

Feel the love, feel the love.

So many liars, so many whores, so committed to keeping the human race engaged in wars.





SHOCKING! Drone footage shows bodies of civilians killed in recent US-strikes on Mosul scattered all over Zanjili neighborhood








Day 230 of The Mosul Slog.


And it's Debra Killalea (NEWS.COM) -- and not VOX's Eliza Barclay -- reporting reality:


HE thought he would be filming heroes in action and recording the work of the good guys. But what unfolded in front of Ali Arkady’s lens was gruesome, dark and not at all what he expected.
The photojournalist was embedded deep in an elite unit of Iraqi soldiers in the fight against Islamic State.
But as the brutal and bloody war intensified, the line between the good guys and the bad guys got blurry.
Mr Arkady said instead of war heroes protecting the innocent from Isalmic State, what he witnessed instead were sickening acts of torture, executions and abuse of suspected militants and civilians by the Iraqi army itself.
In total he compiled 400 photos and hours of videos and audio recordings revealing what amounts to war crimes committed by American-trained Emergency Response Division soldiers, the group fighting against IS.




Reality of The Mosul Slog and of Hayder al-Abadi's 'new' Iraq.


GRAPHIC: Abu Ghraib 2.0? Iraqi army caught torturing captives in



🔞🔞In a series of serious violations by US-backed forces, new vid emerge of Iraqi soldiers torturing a man to death:


Some day The Mosul Slog will be over.
Not today, though.
  1. Isaiah's THE WORLD TODAY JUST NUTS "A Gift From Hillary."


    hillaryanalwaters


    I love that.

    Did you hear this garbage?  NPR's HERE AND NOW seeking out Larry Summers for an opinion?

    He says walking away from the Paris Accord is the biggest US foreign policy mistake since the Iraq War.

    First off, his background is economics, not science.

    Question, where does he rank the repeal of Glass-Steagell which removed the protections and created the banking problems -- the ones we had to bail out?

    I figure he should answer that since he was part of the team that repealed it.

    Let's also not forget that he has racial issues at Harvard (Cornel West) and sexism issues (his comments about women not being able to do science) which forced him out of his post as president.

    Why the hell would you interview that ass about anything?

    Racism and sexism wafts off Summers.

    What does it say about HERE AND NOW and NPR that this is who they seek out?




    "Iraq snapshot" (THE COMMON ILLS):
    Friday, June 2, 2017.  Chaos and violence continue, NATO sets up in Iraq, The Mosul Slog continues and much more.




    Ishaan Tharoor (WASHINGTON POST) notes:

    It's a truism that the world has grown numb to terrorist attacks outside the West. When the Islamic State set off a car bomb on Tuesday outside a popular ice cream shop in Baghdad, killing 13 people and wounding dozens more, no candlelight vigils took place in Western cities. No imperial monuments were lit up in Iraqi colors in European capitals. When militants set off a devastating explosion in Kabul's diplomatic enclave on Wednesday, killing at least 80 people and injuring hundreds more, no CNN anchor uploaded the flag of Afghanistan on social media. No pop stars organized solidarity concerts.

    Part of the contrast, of course, is the extent to which we are used to hearing these stories. In the global news cycle, a bombing in Baghdad or a Taliban strike in Kabul is like a typhoon in the Pacific or a Sean Spicer gaffe. These things happen. If we pay attention at all, we do so fleetingly, grimace at the calamity and move on.



    Tharoor blames lays out a lot of blame for why that is in his column but neglects the media.

    How do you do that?

    How do you ignore the media?

    The media is how the information is transmitted.

    And the media is the problem.

    You need huge numbers to feel moved if all you have is numbers.

    The ice cream parlor bombing found 1 victim worthy of naming -- an Australian girl.

    Hope that she would be the first named proved false because she was the only one named.

    The Iraqi victims were left unnamed, rendered invisible.

    And this happens over and over.

    Deaths matter because life matters.

    If you're not conveying the life lost, you're not doing the job.

    The media is not doing its job.

    Iraq and Afghanistan are US wars but the press can't be bothered with them on most days.

    That's a media issue.


    Governorate tops casualty figures for May 2017 with 312 casualties (86 killed and 226 injured) -






    Those deaths have been largely off the media radar.

    The rare attention the western media gives to Iraq usually focuses on Mosul (and usually works overtime to paint that battle as a success).


    The United Nations' count for May:



    Baghdad, Iraq, 01 June 2017 – A total of 354 Iraqi civilians were killed and another 470 injured in acts of terrorism, violence and armed conflict in Iraq in May 2017*, according to casualty figures recorded by the United Nations Assistance Mission for Iraq (UNAMI).



    The number of civilians killed in May (not including police) was 345, while the number of injured (not including police) was 446.

    Of those figures, there were 160 civilians killed and 52 injured in Ninewa Governorate, 86 killed and 226 injured in Baghdad Governorate, and 13 killed and 41 injured in Basra.

    According to information obtained by UNAMI from the Health Directorate in Anbar, the Governorate suffered a total of 136 civilian casualties (47 killed and 89 injured). Figures are updated until 31 May, inclusive.

    Special Representative of the Secretary-General (SRSG) for Iraq, Mr. Ján Kubiš, decried the terrorists’ continued targeting of civilians, before and in the early days of the Islamic holy month of Ramadan.

    “The terrorist[Islamic State] is in its death throws in Mosul, but it has continued to stretch its wicked arm there and in other areas to relieve the military pressure on it, deliberately aiming to kill and maim the maximum number of civilians. [The Islamic State] has attacked with explosives a busy ice cream shop in Baghdad where families gathered at night after Iftar. The terrorists also hit on a street outside a government pension office in the capital, and struck as far as the city of Basra in the south.”

    The SRSG lamented the loss of civilian lives as a result of the many bombings but he was confident that the carnage committed by [the Islamic State] will not derail the efforts of the Iraqis to rid their country of the terrorists.

    “The people of Iraq are resolute in their drive to liberate their land. As painful as they are, these despicable attacks will serve to only increase this determination,” Mr. Kubiš said.


    *CAVEATS: In general, UNAMI has been hindered in effectively verifying casualties in conflict areas. Figures for casualties from Anbar Governorate are provided by the Health Directorate and are noted in the May casualty report. Casualty figures obtained from the Anbar Health Directorate might not fully reflect the real number of casualties in those areas due to the increased volatility of the situation on the ground and the disruption of services. In some cases, UNAMI could only partially verify certain incidents. UNAMI has also received, without being able to verify, reports of large numbers of casualties along with unknown numbers of persons who have died from secondary effects of violence after having fled their homes due to exposure to the elements, lack of water, food, medicines and health care. Since the start of the military operations to retake Mosul and other areas in Ninewa, UNAMI has received several reports of incidents involving civilian casualties, which at times it has been unable to verify. For these reasons, the figures reported have to be considered as the absolute minimum.

    ****************
    For more information, please contact: Mr. Samir Ghattas, Director of Public Information/Spokesperson
    United Nations Assistance Mission for Iraq, Phone: +964 790 193 1281, Email: ghattass@un.org
    or the UNAMI Public Information Office: unami-information@un.org
    It's interesting how they've not only dropped the count of the Iraqi forces at the orders of the Iraqi government but they've also adopted the language of the Baghdad-based government.
    Even more interesting, they continue their 2014 practice of being unable to give reliable figures for Anbar.  Three years and counting.
    The above undercount still manages to convey that this is an ongoing war and that -- though Mosul may steal the spotlight -- it going on across Iraq.

    The Pentagon is asking for more a billion dollars in a multi-year commitment to the Iraqi Security Forces (ISF), in a sign the U.S. role in Iraq and Syria is likely continue for the majority of President Donald Trump’s first term.
    The budget provision is likely a facet of Secretary of Defense James Mattis and Trump’s overarching strategy to defeat the Islamic State. The new budget request will provide the ISF with hundreds of millions of dollars in weapons to help the ISF contain the fall out from the Islamic State’s defeat in the city of Mosul.


    Fourteen years and counting, it's a never-ending war.


    For any doubting that reality, the North Atlantic Treaty Organization (NATO) announced yesterday:



     NATO marked an important step in its deepening relations with Baghdad on Thursday (1 June 2017), as Mr. Paul Smith of the United Kingdom assumed office as NATO Senior Civilian in Iraq. Mr. Smith will represent the NATO Secretary General and the Alliance at large, as NATO continues to help strengthen the Iraqi security institutions in their fight against terrorism. Mr. Smith succeeds Mr. Richard Froh of Canada, who served in the same capacity over the past months.
    Mr. Smith will liaise with a range of interlocutors, including high-level Iraqi officials, representatives of the Global Coalition to Defeat ISIS, the diplomatic community, and members of international organizations, including the United Nations and the European Union. He will also be at the helm of the NATO Training and Capacity Building presence in Iraq (NTCB-I). This includes a Core Team of eight civilian and military personnel as well as mobile training teams – provided by NATO nations – who travel to Iraq, as required, to provide specific courses agreed with the Iraqi authorities.
    NATO’s support to Iraq is aimed at increasing Iraq’s training capacity in the medium and long term. It includes courses on countering improvised explosive devices, explosive ordnance disposal and de-mining; civil-military planning in support of operations; civil emergency planning; training in military medicine; technical maintenance of Soviet-era military equipment; and reform of the Iraqi security institutions.
    NATO-Iraq relations are underpinned by an Individual Partnership and Cooperation Programme signed in September 2012, which provides a framework for political dialogue and tailored cooperation in mutually agreed areas, and a Defence Capacity Building Package for Iraq, agreed in 2015.
    Prior to taking office as NATO Senior Civilian Representative in Iraq, Mr. Smith served in senior roles at the NATO Communications and Information Agency; Supreme Headquarters Allied Powers Europe; and the UK Ministry of Defence.



    When does it end?


    United National Antiwar Coalition (UNAC) in Richmond VA in 4 weeks. Register now. .






    The UNAC conference is approaching fast
    June 16-18, 2017
    Greater Richmond Convention Center
    403 North 3rd Street, Richmond, VA 23219

                  Have you registered yet?  Register here:  
         http://www.unacconference2017.org/p/registration_7.html









                            UNAC's founding conference in 2010

    This will be the place where the antiwar and social justice movement will come together this spring to discuss, map strategy and organize for the coming period.  Antiwar leaders from across the country and across the world will be in attendance including: Ajamu Baraka, Medea Benjamin, Glen Ford, Bernadette Ellorin, Bruce Gagnon, Lawrence Hamm, Jaribu Hill, Jonathan W. Hutto, Sr, Margaret Kimberley, Ray McGovern, David Swanson, Ann Wright, Kevin Zeese and many more.  For a more complete list of participants, please go to http://www.unacconference2017.org/p/blog-page_4.html.

    See the conference web site:  http://www.unacconference2017.orgJoin and share the Facebook event: https://www.facebook.com/events/1208020632638814/
    To see a report on UNAC's last conference, please go here:
    http://nepajac.org/UNAC_052015.html





    Day 226 of The Mosul Slog.

    ALJAZEERA reports:

    More than 140 civilians have been killed in less than a week while trying to flee western Mosul, according to military sources, as the Iraqi army seeks to close in on fighters from the Islamic State of Iraq and the Levant (ISIL, also known as ISIS) in the armed group's last stronghold in Iraq.
    According to the military on Thursday, most of the fatalities were women and children. 


    The UNHCR's Andrej Mahecic notes:

    UNHCR, the UN Refugee Agency, urgently needs US$ 126 million to meet critical needs of vulnerable children, women and men displaced from, and returning to, Mosul, until the end of the year. A shortage of funds threatens to undermine our humanitarian response at this critical time. Heavy fighting is continuing, and UNHCR is expecting more large movements of people from the west of the city where the fighting is currently concentrated.
    Iraqi authorities say that more than three quarters of a million Iraqis have been forced to flee Mosul since military operations started in October.
    The vast majority of the internally displaced are families with children and babies – groups that are especially vulnerable and would be most affected by aid shortages should international support wither. Nearly half of the urgently requested funds – US$ 60 million - is required to assist more than 100,000 newly displaced Iraqi families with emergency shelter in the camps, legal assistance to replace lost and missing documents, child protection, prevention of sexual and gender based violence, as well as to provide them with blankets, mattresses and other core relief items. UNHCR has so far established 12 camps in support of the overall efforts by the Iraqi authorities to provide shelter to currently 316,000 internally displaced Iraqis in relative proximity to Mosul.
    A further US$ 24 million is needed to assist and support Iraqi families returning to their homes. It is estimated that 125,000 internally displaced people have returned to their homes, many in east Mosul and on the outskirts of the city. Most of the returnees are living in damaged buildings and need shelter assistance as well as cash support. In areas of return, UNHCR and partners will provide material assistance, including emergency shelter and sealing-off kits to help returnees living in unfinished buildings, as well as essential protection services, including psycho-social support, replacement of missing and lost documents and protection monitoring.
    Lastly, US$ 42 million is required for on time procurement of shelter and aid materials for next winter. To cope with eventual drops in temperatures, UNHCR plans to assist 135,000 displaced and returnee families with a range of core winter items including blankets, fuel, jerry cans and heating stoves. This includes the provision of one-time cash assistance of US$ 150 per family to 100,000 IDP and returnee families to help them buy fuel to get through the winter.
    Since 2014, Iraq has suffered massive internal displacement. It is estimated that up to three million Iraqis are still internally displaced and another quarter of a million live as refugees in the neighbouring countries.

    Overall UNHCR protection and assistance programmes in Iraq amount to 578 million in 2017. These are currently 21 per cent funded which is a cause for concern halfway through the year.




    Isaiah's THE WORLD TODAY JUST NUTS "The Rebel Hillary" went up last night.



    The following community sites -- plus Jody Watley, PACIFICA EVENING NEWS and BLACK AGENDA REPORT -- updated:















          Twisted Tea Wicked Fast Podcast Ep55 - NASCAR on Fox Larry McReynolds - 062917   
Episode 55 coming your way! Recap of a big win for Kevin Harvick at Sonoma, Larry McReynolds from NASCAR on Fox joins us (He talks a little Husqvarna Yard Equipment with us too). We get ready for Dale Jr.'s last regular season run at Daytona Motor Speedway...Lungboy will try not to cry. See ya next… The post Twisted Tea Wicked Fast Podcast Ep55 - NASCAR on Fox Larry McReynolds - 062917 appeared first on WROR.
          Mighty Sam - Silent Tears (Amy 990)   
I just got the sad news that the great Mighty Sam McClain has passed on due to complications from a severe stroke he suffered back in April. Sam had a voice as big as the whole world, and a heart to match. Since I wrote this piece on him almost eight years ago his career had taken off, releasing over a dozen albums and touring all over the planet. Although he was nominated 22 times for a Blues Foundation award (including 12 for 'Soul-Blues Male Artist of the Year'), somehow he never won. That, my friends, is a crying shame.

Rest In Peace Mighty Sam!!

Silent Tears

Mighty Sam McClain is the genuine article.

As one of a family of thirteen children growing up in Winnsboro, Louisiana, he learned early on that life wasn't gonna be easy. Singing with his mother at Church on Sundays taught him the power of song, and helped him realize that he had a special talent. By the time he was in seventh grade, Sam (with the help of his gym teacher) had put together a group of his own, and was earning some money playing parties on the weekends. Maybe his stepfather resented that, I don't know, but he made it a point to try and bring this gifted boy down, telling him that he'd 'never amount to nothing'. Within a year young Sam was gone, setting out on his own to prove him wrong.

Heading up the road to Monroe, he got a job as the 'valet' for local bluesman Little Melvin. Travelling all over the South with him, he cut his teeth out there on the 'Chitlin' Circuit' in the late fifties and early sixties. When Melvin's featured vocalist Sonny Green left to pursue his solo career, young Sam stepped up and took his place. As he began to make a name for himself with his full throated vocals, he became known as 'Good Rockin' Sam'. On a swing through Pensacola, Florida in 1963, McClain liked it so much that he decided to stay, holding down a regular gig at the fabled 506 club. Tom's Tavern, another juke joint across town, hired him one night and, apparently unable to remember the 'Good Rockin' part, billed him as 'Mighty' Sam. The name stuck...

In 1956, an aspiring Nashville songwriter named Don Gibson recorded a song he wrote called Sweet Dreams (Of You), which made it to #9 on Billboard's Country and Western chart. It was picked up later that same year by Shreveport honky tonk hero Faron Young, who would take it all the way to #2, second only to an upstart kid named Elvis Presley. In 1960, Gibson, who was by then a superstar in his own right, cracked the top ten once more with his own newly recorded version.

In early 1963, Patsy Cline was finishing up work on an album with producer Owen Bradley. The primary architect of 'music row', his sweeping vision and trademark lush orchestrations had revolutionized the 'Nashville Sound'. Although Cline was afraid she might lose her 'down home' audience, she couldn't help but be impressed with the quality of the sessions. Before the record was released, she would meet her end in that fateful plane crash in March of 1963. The version of Sweet Dreams (Of You) she had recorded with Bradley was released as a single within a few weeks, and rocketed to #5 Country, while barely missing the Pop Top 40. This timeless song indeed 'had legs', and had earned its reputation as a Country 'standard'...

As we discussed a couple of weeks ago, local Pensacola dee-jay Papa Don Schroeder caught Mighty Sam's act at the 506 club in the summer of 1966. Itching to fulfill his destiny as a record producer, he approached Sam about travelling to Fame Studios with him up in Alabama (where he had cut demos with Rick Hall back in his Nashville days) with him to do a session. Schroeder had set it up for a weekend, when Hall could spare the studio time, but Sam was reluctant to lose a lucrative Saturday night at the club. Finally, he relented, and made the trip to Muscle Shoals with Papa Don and his father-in-law.

As Papa Don recalls it, Rick Hall didn't even come in for the session, and it was engineered by Dan Penn. Nobody really had any material ready, and so they worked on a few 'old saws' like Georgia Pines and, yes, Sweet Dreams (Of You). They were feeling pretty good about the results, until, as Sam tells it, somebody walked in with a copy of Billboard, and they couldn't believe their eyes. Not only was a version of Sweet Dreams already climbing the charts, it had been recorded by some kid named Tommy McLain who grew up in Jonesville, not fifty miles from Sam's hometown! Pretty spooky stuff, and McClain was convinced his 'career was over', even before it got started.

Undaunted, Papa Don loaded everybody into his International Harvester and set out for Nashville, where he still had a few connections. Their first stop was old friend Buzz Cason's office, and he loved the tapes. Cason then called Bell Records owner Larry Uttal, who was hanging around Nashville looking for the next big thing. Convinced he had found it, he offered Papa Don and Mighty Sam a contract. Hastily recording Cason composition Good Humor Man as the B side (as a way of thanking him with the 'mechanicals'), it was released as Amy 957 in the summer of 1966 (in spite of lucrative counter-offers from Jerry Wexler, who was not Uttal's biggest fan).

Although not reflected in the Billboard charts, Mighty Sam's version of Sweet Dreams was a big record in spite of (or maybe even because of) Tommy McLain's top twenty hit. Cason's infuence in Nashville (which I'm sure included WLAC), along with Uttal's in New York got it plenty of airplay in those markets. Before long, Sam was playing the Apollo, and things were looking good. His follow-up record, a high energy cover of Buster Brown's 1959 #1 R&B smash Fannie Mae, kept him popular out there on the circuit, although it once again failed to dent the charts.

On a return trip to Pensacola, Sam made what he feels may have been his biggest mistake when he took Papa Don to see The Dothan Sextet at his old haunt, Tom's Tavern. Schroeder, just as he had done with McClain, lured James Purify and Robert Dickey to Muscle Shoals, and the rest is history. After they hit the big time with I'm Your Puppet, Sam says he 'couldn't even get Don on the telephone'. When I told Schroeder (who was kind enough to leave a comment a couple of weeks ago) I was going to write this piece, he emailed me & said, "Mighty Sam was a very important part of my life. Unfortunately, he never did forgive me for not doing the same for him that I was able to do for the Purifys, Toney... etc. but God knows I tried. Sweet Dreams and Fannie Mae were the closest..."

In the Sundazed interview he goes on to say, "I guess he was just a little too black for the white market…not for me though. He was over the line even from Bobby Bland. But he was a great artist…a great artist. And I really tried, man. You see all those sides I cut on him? We just couldn’t make it happen." I do believe that Papa Don was trying, as Sam's Amy sides, when you listen to them today, are uniformly excellent. Today's selection is the flip of his fifth non-charting single for the company, Dan Penn and Spooner Oldham's In The Same Old Way. With the possible exception of Arthur Conley's deeply emotional rendition, Mighty Sam's version remains the definitive one. The cool B side you're listening to was co-written by Papa Don and Oscar Toney Jr, and released in 1967. I'm not sure where it was recorded, although the fact that Toney is the co-writer would seem to place it after Schroeder made the move to American in Memphis... the guitar work here is positively amazing! What do you think... Reggie Young? Eddie Hinton? Moses Dillard...? {ed. note 11/15: OK, I just confirmed it with ol' Papa Don himself - the single was indeed cut at American, and features our guitar hero Reggie Young along with the rest of the 'Memphis Boys'. Thanks, Papa!}

Nothing if not persistent, Papa Don would continue to release 'product' on Mighty Sam right up until the day he walked away from Uttal and Bell/Mala/Amy in 1969. Listening to these records today, as I said, it's hard to imagine why they didn't meet with greater success. You can check them all out on the excellent Sundazed CD Papa True Love - The Amy Sessions. Once Papa Don had left the business (temporarily), Mighty Sam began working with his 'right hand man', Charlie Capri.

Wexler finally got his wish, as Capri got Mighty Sam a deal with Atlantic Records in 1970. After only two singles that didn't make the charts (one of which was included on Atlantic Unearthed: Soul Brothers last year), the big company lost interest, and dropped him (maybe going with Uttal wasn't such a bad idea after all). Capri's next stop was Malaco Records in Jackson, Mississippi, where they recorded the great cheatin' song Mr And Mrs Untrue.

Atlantic was the Malaco distributor at that point, and refused to pick up the single on an artist they had just cut loose. Malaco decided to release it anyway and, in what must have seemed like 'deja vu all over again' to Sam, they watched in disbelief as Candi Staton's version of the same song appeared on Fame around the same time. Candi's record climbed all the way to #20 R&B, while Sam's died on the vine. Unreal. As the market for his kind of music began to disappear in the mid-seventies, the once mighty McClain sank into a dark and desolate period that found him living on the streets, and eating out of garbage cans.

Drifting to New Orleans, he came to the attention of The Neville Brothers, who were instrumental in getting him recorded by the small Orleans label in 1984. An album would follow a few years later, after which Sam was invited to perform in Japan. A live LP (which featured Wayne Bennett on the guitar) was released by Japanese label DeadBall in the mid-eighties.

All of this brought him to the attention of Hammond Scott, and he became the featured vocalist on the 1987 Black Top release Hubert Sumlin's Blues Party. Although this is probably what caused Sam to be categorized from that moment on as a 'Blues' artist, at least he was working again. Relocating to Houston, he tried his hand at real estate, but the music was in his blood.

A move to Boston in the early nineties was followed by the critically acclaimed Audioquest album Give It Up To Love in 1993. Now able to support his own band, Sam found regular work in and around New England, as well as touring the European 'festival circuit' every year. Moving to southern New Hampshire, he put down roots, and has continued to release great records right up to the present day, forming his own record label and production company in 2003.

An unashamed Christian, Mighty Sam's music refuses to be categorized, and contains elements of Gospel, Blues and Soul, in a true reflection of what lives in his heart. As a way of giving something back, his latest project has been to join in the Give Us Your Poor campaign to end homelessness. In addition to appearing on the album (released this past September), he'll be performing at the benefit concert this Friday, November 16th at the grand re-opening of the Strand Theater in Boston.

Just Like Old Times.
          Don Covay & The Goodtimers - It's In The Wind (Atlantic 2494)   

It's In The Wind

I just got the news that Soul Visionary Don Covay has left us. His contributions both as a songwriter and performer (and founding member of The Soul Clan) will live on forever. This hauntingly beautiful record, cut at American Studio in Memphis in 1967, still just lays me out every time I hear it.

"There's a sad, sad day for me up ahead..." May He Rest In Peace.

Below is an appreciation of Covay that first appeared on the site back in 2007.
Temptation Was Too Strong

Don Covay was born in South Carolina, but moved north to Washington D.C. shortly after his Baptist Minister father passed away in the mid-forties. His family kept close to their religious roots, and soon formed a Gospel group called The Cherry Keys that performed locally.

While still in High School, he was invited to join The Rainbows, a hot DC doo-wop group that had recorded for Bobby Robinson. After cutting a few sides on Pilgrim that went nowhere, the group broke-up. Although the exact circumstances are up for grabs, this was right around the time he met Little Richard (in Sweet Soul Music, Peter Guralnick says that Covay was opening a show for Richard, while in The Quasar Of Rock, Richard himself says that he met him while in Washington to record Keep-A-Knockin').

Richard goes on to say that Covay "hung around me and my band, then he started to drive me places. I called him 'pretty boy'... he wrote a song based on that title and I said that he could use my band to record it..." The resulting single, Bip Bop Bip, was picked up by Atlantic in 1957, and is one of the greatest recorded examples of The Upsetters in their absolute prime, while Covay just rips it up, doing his best Little Richard. The artist credit on the record actually reads 'Pretty Boy'. I love it.

The next few years would see him recording for a dizzying number of labels. Blaze Records credited him as Don "Pretty Boy" Covay, while on his subsequent Sue effort, he's simply Don Covay.

To confuse matters further, Firefly listed him as 'Don Covay of the Rainbows', while on Big Records he was back to being known simply as 'Pretty Boy'. In any event, none of these records went anywhere.

He signed with Columbia in 1961, recording another trio of singles that died on the vine, before becoming one of Florence Greenberg's Soldier Boys on Scepter. A one-off single for Epic would follow, without much luck.

Meanwhile, a song he had written with former Rainbow John Berry, Pony Time, was released on Arnold Records, and would reach #60 on the pop charts. When Parkway Records released Chubby Checker's version of Pony Time in early 1961, it would blow by Covay's, going all the way to #1 both R&B and Pop on its way to becoming an even bigger hit than The Twist had been a couple of years earlier.

Cameo (Parkway's parent company) signed Covay to the label the following year, and would try to cash in on yet another dance craze, The Popeye. While Checker's Popeye (The Hitchiker) broke into the top ten, the single they released on Covay barely crawled to #75. It was called The Popeye Waddle and, despite a catchy Contours like number that promised 'you'll do fine if you get in line', it failed to catch on. The flip of that single, One Little Boy Had Money, hinted at the vocal style that was to come. Something called Do The Bug would follow, along with two Parkway singles that went nowhere.

The success of Pony Time, I'm sure, helped convince Don that his songwriting skills were in demand (as he would later explain to author Gerri Hirshey, "copyrights last longer than record labels"), and he moved to New York City. He began hanging around The Brill Building, and soon was writing songs for Roosevelt Music, the most respected name in R&B publishing in those days. It was during this period that he met Jesse Stone, who worked with him on composing 'happy blues' that were radio ready. Stone introduced him to Jerry Wexler, who had been hanging around the Brill Building ever since his Billboard days.

Wexler had just signed Solomon Burke to Atlantic, and was on the lookout for material for him. Covay knew the type of singer that Solomon was, and was able to tailor the follow-up record to his 1962 smash Cry To Me, specifically to him. I'm Hanging Up My Heart For You remains one of Burke's all-time classics, and marks the beginning of a life-long friendship and collaboration that would send songs like You're Good For Me and Tonight's The Night soaring into the top ten over the next few years.

I'm not sure why, but Atlantic was releasing Covay's own singles on a subsidiary label called Rosemart at that point (I've never seen records by any other artist on that imprint. have you?). Mercy, Mercy would crack the R&B top 40 in the fall of 1964, and essentially define Covay's own brand of funky guitar-driven R&B. There has been much speculation over the years about whether or not Jimi Hendrix played on that record (and Covay's next Rosemart release Take This Hurt Off Me), but there doesn't seem to be a definitive answer. One thing appears to be certain, that Covay (who wrote using the guitar instead of piano) is playing on those cuts. I like that.

Atlantic collected those singles, along with other material cut at their New York studios in 1964, and released Covay's first LP, Mercy!. In an interesting aside, Don had been using the name 'The Goodtimers' off and on since the first release of Pony Time in 1961. The name appears on the Rosemart singles, as well as on his Atlantic releases (like today's selection) until 1967. It apparently refers to the vocal group that backs him up on those records (sometimes, however, it sounds like only one other voice), but I can't for the life of me find out any information on who they might be. It seems possible that it was just Covay overdubbing a second harmony vocal (as was all the rage back then) but I don't know... In any event, his next single, Please Do Something, (featuring The Goodtimers, of course) went to #21 R&B in early 1965, becoming his biggest hit yet.

That was the summer that Wexler brought Wilson Pickett down to Stax to record his blockbuster hits In The Midnight Hour and 634-5789, and he figured it made sense to do the same with Don Covay. Just as Pickett had done, Covay collaborated with Steve Cropper to write the biggest-selling record of his career, the incredible See-Saw. It would spend almost four months on the charts, reaching #5 R&B and almost cracking the top 40 Pop (As good as this record was, I'm here to tell ya that the incendiary version that Aretha would take to the top ten in late 1968 is better... just ask Larry Grogan).

All in all, Covay recorded four sides at Stax (one of which was the amazing Sookie Sookie) before things got a little rough. According to Cropper; "Jim Stewart called Jerry Wexler and said 'Get Don Covay out of here. He's driving us nuts!'... I loved Don to death. We got along great, but I don't think Jim and them understood Don. He thinks in different areas... He jumps from this place to that. You never know what he's going to do next." Stewart used that, along with the house band's supposed dislike of Wilson Pickett, to bar Atlantic from sending any more of their artists down there in December of 1965.

As we talked about last week, this was the same period in which Covay wrote (and sang on) I Don't Know What You've Got (But It's Got Me) for his old friend Little Richard. As B side regular Lyle pointed out in the 'comments' on that post, Guralnick called that song "arguably equal to James Carr's The Dark End of the Street as the greatest soul ballad of all time... the Mt. Rushmore of soul." I will second Lyle's "Amen" to that.

After both Sookie Sookie and Iron Out The Rough Spots (the last of the Stax-recorded material) failed to chart in 1966, Atlantic brought Covay back into its New York studios to record today's cool B side. The flip of Somebody's Got To Love You (which didn't chart either), I think it has the same kind of vibe going on as the Little Richard record. With Atlantic's 'A team' (including King Curtis and Bernard Purdie) backing him up, I just love the way Covay name checks the whole Soul Clan on here, almost two years before the release of their lone single. You know, it's been commonly thought that Ben E. King was a last minute replacement for Wilson Pickett after he balked at the idea of being a member, but this way cool record would seem to prove otherwise... Don had him on the list all along!

He would return to the R&B top 50 with Shingaling '67, and In August of that year, Atlantic sent Covay down to American Studios in Memphis to record another unacknowledged soul masterpiece, It's In The Wind, one of my favorite records ever.

Covay was every record company executive's dream, a staff songwriter who could deliver the hits. Leonard Chess had begun using some of his material (think Etta James), but in late 1967, Atlantic would record what remains his best known work, Aretha Franklin's Chain Of Fools. With Joe South's tremelo-laden guitar tuned way down low to start things off, this immaculate Wexler production 'arranged and directed by Tom Dowd & Arif Mardin' cruised to #1 R&B (#2 Pop) in early 1968, and is simply one of those timeless songs that will never die.

I know we've talked about The Soul Clan before (in our Solomon Burke, Joe Tex, and Arthur Conley posts), but it's important to remember that the whole thing was Don Covay's idea. He was the one spinning the elaborate aspirations, daring to imagine a world in which Black Americans could control their own destinies. According to Solomon Burke, they had initially asked Atlantic for a million dollar guarantee up front, and the project was to include a complete album of material. The Clan was reportedly waiting for Otis Redding to fully recover from minor throat surgery when he died in that infamous plane crash in December of 1967. Covay, more than ever now, was committed to making his dream come true. He wrote and recorded the basic tracks of the single out in Hollywood with (an uncredited) Bobby Womack, and the rest of the Clan overdubbed their vocals as their schedule permitted. Arthur Conley, of course, would replace Otis, and Soul Meeting broke into the R&B top 40 in the summer of 1968. Although a great record, the Soul Clan's moment seemed to somehow already have passed. Whether it was due to a conscious decision on the part of the Atlantic brass (as Covay and Solomon Burke believe to this day) or not, that would be the end of that.

As the decade came to a close, Covay would start up another project, The Jefferson Lemon Blues Band. Along with John Hammond and Joe Richardson (whom Covay had worked with in The Soldier Boys), he created a very cool concept album called The House Of Blue Lights. The All Music Guide lauds it as "the sonic and spiritual blueprint for Let It Bleed and Exile on Main Street and parts of Layla & Other Assorted Love Songs". There ya go! Black Woman, a single by the band would chart in early 1970, and would be Covay's last recording for Atlantic.

Stops at Polydor and Janus would follow, before Covay signed with Mercury Records, reportedly working A&R for them as well. Superdude 1, his way cool 1973 album, would produce awesome cheatin' classics I Was Checkin' Out She Was Checkin' In and Somebody's Been Enjoying My Home. It's Better To Have (And Don't Need) clocked in at #21 R&B in 1974, followed by Rumble In The Jungle and one last Mercury album, Hot Blood, the following year.

He joined with Gamble & Huff at Philadelphia International for the disco-flavored No Tell Motel and Travelin' In Heavy Traffic in 1976, but the records didn't do much at the time. I'll tell ya though, the funky B side Once You Had It almost made it as today's selection... it's bad, yo! A single called Badd Boy on the Newman label would hit #75 in 1980, and that would be the end of Don's charting career.

In 1981, he was the man behind the long awaited Soul Clan reunion, which ended up being not much more than a press conference and a poorly planned concert. In any event, Covay still believed. As he told Guralnick; "The Soul Clan was to me the greatest thing that ever happened. I think the kind of love we had was an everlasting situation. If any of us ever need each other, you know we gonna be there."

In 1990, I went to the Lone Star Roadhouse in Manhattan to see a Booker T & the MGs reunion show at which Eddie Floyd was a special guest. I was seated at a table with a big guy in a pink suit and beaded corn-rows ala Stevie Wonder. I knew he had to be 'somebody', but I wasn't sure who. When Steve Cropper introduced him to the audience, I found out I was sitting with Don Covay. Unreal. As Covay got up to make his way backstage after the show, I followed along after him, and they let me pass, figuring I was with my man Don. Ol' Red was in soul heaven that night, hanging out with Cropper, Duck Dunn, Floyd and Covay talking about those glory days down on McLemore Avenue...

In 1992, Don Covay had a serious stroke that severely limited his abilities. He was unable to attend the ceremonies when the Rhythm & Blues Foundation presented him their pioneer award the following year. Through the love and support of his family and friends (the Rolling Stones apparently bought him his own rolling rehab facility), Covay has gotten better. He actually released an album called AdLib in 2000, on which he was joined by Wilson Pickett, Otis Clay, Dan Penn and Ronnie Wood.

Just last year, an album called Back To The Streets - Celebrating The Music Of Don Covay pulled together people like Wood, Mick Taylor, Gary U.S. Bonds and Robert Cray in a joyous tribute to Covay's incredible career. The BMI Repertoire database lists him as the writer or co-writer of some 340 songs. Songs that run the gamut from Doo-Wop to Rock & Roll, R&B, Soul, Blues and Funk. Don Covay's unique genius encompassed it all.

Have Mercy!
          Gone But Not Forgotten   
LEROY CRUME

One of eleven children, LeRoy Crume was the son of a Missouri sharecropper who would relocate with his family to Chicago when LeRoy was ten years old. Living in 'Bronzeville', he attended grammar school with a kid named Sam Cook. Both of their fathers were preachers, and before long both boys were out there singing in family Gospel groups. LeRoy saved up enough money from his paper route to buy a guitar, and was soon playing it with the group, becoming one of the first to introduce the instrument to Gospel Music.


Sam went on to become somewhat of a teen sensation as the lead singer of the popular Highway Q.C.'s, who would develop a friendly rivalry with The Crume Brothers, each trying to 'cut' the other in area appearances. Shortly after founding father R.H. Harris left The Soul Stirrers in 1950, he recruited LeRoy to play guitar for his new group, The Christland Singers. The Soul Stirrers, meanwhile, had chosen Sam to replace the highly regarded Harris, which was considered quite a bold move at the time. As the guitar began to become an essential component of Quartet Gospel (thanks, in large part, to LeRoy), The Stirrers hired a Philadelphian named Bob King away from The Southern Tones to accompany them on the road. When King became too ill to travel, Sam convinced the group to ask LeRoy to join them.


Against his better judgement, Crume left his 'day job' in Chicago and accepted their offer. Two 'young bucks' in what had essentially been an old man's game, the pair soon became inseparable, and their late night exploits raised eyebrows up and down the Gospel Highway.

After Cooke 'crossed over' in 1956, Crume became the group's de-facto leader, and it was his closeness with Sam that influenced their decision to sign with his new SAR label, a decision Crume would later call "the biggest mistake I would ever make... I allowed friendship to overrule my business sense." Be that as it may, LeRoy remained out there on the road backing up a series of Sam's successors, like Johnny Jones, Johnnie Taylor and the extremely 'bad' Jimmy Outler:


Just positively amazing stuff, I don't think you can say enough about LeRoy's driving guitar work, and just how great The Stirrers continued to be after Sam departed. He and Leroy remained very close and, in his mind, I don't think Cooke ever really left. "Sam was a Soul Stirrer until the night somebody murdered him," Leroy said.

"Sam was as close as any blood relative I've ever had... me and Sam had that special connection." Heartbroken, Leroy had lost his best friend, and within a few months he quit the group as well. He maintained that there was a lot more to Sam's death than met the eye, and that he was killed for not playing the game the way certain people wanted him to...

Leroy eventually wound up back in Chicago where, in addition to getting a job driving a bus for the CTA, he would become a member of the Jubilee Showcase house band. He began performing some secular material with a friend of his from The Clefs of Calvary named Calvin April, and somehow they wound up recording at American for Sound Stage 7 in 1968.

I'm Alright Now
SS7 2612
"We recorded that in Memphis. It was just before the assassination of Martin Luther King, in fact, they were checking into The Lorraine Motel as Calvin and I were checking out. We even talked for awhile to some of the people with him, like Jessie Jackson, The Staple Singers, and some of the others. The following night after getting back to Chicago, I turned on the TV, and it had just happened. That's how I first heard about it... by the way, Soul X 2, was NOT my favorite name, it was given to us by the DJ from, WLAC radio in Nashville, Hoss Allen. I later renamed us Branding Iron, and that's the way that story goes!"

In the wake of the tragic killing of Dr. King in their own backyard, Al Bell was faced with re-creating the newly independent Stax Records into something more than the sum of its parts. He immediately signed The Staple Singers and hooked up with Jesse Jackson and SCLC compatriot Larry Shaw in Chicago in an effort to keep the label on the cutting edge. While in Chicago, Pervis Staples took him to see 'Father of The Blues' Willie Dixon who had recorded a demo he wanted Bell to hear.

Willie had written Right Tight and Out of Sight with a soul duo like Sam & Dave in mind. Bell liked the song, but was more interested in signing the guys who were singing it... Leroy and Calvin - now known as Branding Iron.

The record began to make some local noise, which led to an appearance on another Chicago institution, Soul Train. Things were definitely looking up! The flip of that first Volt release, Slave For Love was written by another legendary Blues figure, J.B. Lenoir. Arranged by Gene Barge, the 45 was about as Chicago as you could get. Despite Bell's assurance that "you guys are going to make so much money, you won't be able to count it all!," the record never made the national charts and, after one more Volt release, they were let go. Although Branding Iron would cut another 45 for the tiny Stag label (produced by Leroy's brother Dillard), by then he was back on the road with The Soul Stirrers, where he would remain for the rest of his life.


"I thank God for allowing me to hang around as long as I have, after literally taking away all of those that once walked along with me when this journey started... they're all gone. Now that's the scary part, because I know the next soldier to fall will definitely be me. Sometimes I wonder why was I left as the last Soul Stirrer standing, and then something seems to say, it's not yours to reason why. It's not for any man to understand God's plan."

Leroy Crume was called home on October 20th.

___________________________________
JO JO BENSON
CHIP YOUNG

Soulshake
SSS 2612
After Huey Meaux was hauled off to prison in 1968, his friend Shelby Singleton brought the duo he had been cutting hits on at Grits 'n' Gravy to Music Row to record what has to be the only Soul song ever to feature both an electric sitar and a pedal steel guitar! Peggy and Jo Jo are just belting it out, while top shelf 'Nashville Cats' Jerry Kennedy, Pete Drake, Chip Young, Wayne Moss, Kenny Buttrey, Charlie McCoy, David Briggs and Bob Wilson burn down the house! One of my favorite records, they don't come much better than this.

Chip Young left us on December 20th,
Jo Jo Benson on December 23rd.

___________________________________
JOE COCKER
BOBBY KEYS

Space Captain
A&M 1174
I don't think we knew it at the time, but for a lot of American kids going to high school in the 1970s, Joe Cocker was as close as we got to Soul Music. When Mad Dogs & Englishmen was released in 1970, it featured covers of Ray Charles, Otis Redding and Sam & Dave tunes, alongside the Beatles, Traffic and Stones. With an all-star band put together by Leon Russell, we would soon recognize the name of every artist on there, especially that of the saxophone player, Bobby Keys, who would be cutting Sticky Fingers with The Stones within a month of those initial Fillmore East dates. This great tune we have here never fails to bring me back...

Bobby Keys passed December 2nd,
Joe Cocker on December 22nd.

Please join me in bidding farewell to these others who left us in 2014:

BOBBY WOMACK
TEENIE HODGES
COSIMO MATASSA
JOHN FRY
JOHN HAMPTON
THE MIGHTY HANNIBAL
JOE SAMPLE
WAYNE HENDERSON
JIMMY RUFFIN
JOHNNY WINTER
JACK BRUCE
DICK DALE
PHIL EVERLY
PETE SEEGER
HORACE SILVER
BOB CREWE
GERRY GOFFIN
JIMMY SCOTT
FLOYD TAYLOR
IDRIS MUHAMMAD
JOE EVANS
HENRY LEE JACKSON
CASEY KASEM
JOHNNY RAY ALLEN
JIMI JAMESON
CHARLES JOHNSON
JAMES WHEELER
LEE MITCHELL
EDWARD 'SONNY' BIVINS
WINFRED 'BLUE' LOVETT
TALMADGE 'TOMMY' GOUGH
WARREN 'PORGY' JONES
GIL ASKEY
ANNA GORDY GAYE
ELISE PAULING
CHARLES LOVE
DEON JACKSON
HOPETON LEWIS
JAMES KINDS
JIM RUSSELL
VELMA SMITH
LITTLE JOE COOK
FREDDIE HOUSTON
FRANCES NERO
AUGIE JOHNSON
CUBIE BURKE
FRANK REED
FRANKIE KNUCKLES
JESSICA CLEAVES
MAUREEN GRAY
STEVIE WOODS
HERB JEFFRIES


May Perpetual Light Shine Upon Them.
          Gone To Glory   
It's hard to imagine a more pivotal figure in the history of American music than Joe Bihari. His courageous road trips with Ike Turner in the deep South in the early fifties changed the World. He and his brothers were the first to cut B.B. King and Etta James and, from their base out in Los Angeles, they left their mark on the history of R&B and Rock & Roll for decades.


I Want You

This great B Side we have here (the flip of 1956 top 5 R&B hit, Stranded In The Jungle) demonstrates, I think, the quality of the music they produced. The Cadets (who the Biharis also cut as The Jacks), came up out of the same West Coast Doo-Wop scene as The Robins... the group Lieber & Stoller reinvented as The Coasters - as a matter of fact, the lead singer on here, Will 'Dub' Jones, would go on to join The Coasters himself and become one of the most recognizable voices in early Rock & Roll.

Despite repeated efforts to influence the Rock & Roll Hall of Fame to induct Joe Bihari while he was still alive, it didn't happen. Joe died on November 28th. The list of 'inductees' was released on December 17th... Joe wasn't on it.

Cleotha 'Cleedi' Staples who, as a founding member of The Staple Singers, lent her beautiful voice to the soundtrack of our lives for years, passed on February 28th. "We will keep on," her sister Mavis said, "and I will continue singing to keep our legacy alive."


It's Too Late

Here's Cleotha paired up with Eddie Floyd for an ambitious 1969 double Stax LP, Boy Meets Girl - released as part of Al Bell's quest to restructure the company. Cleedi's stunning vocals on here highlight what a great talent she was.
May God rest her Soul.

Shelbra Bennett, second from right in the photo above, was a founding member of The Soul Children. She would sing the lead on their biggest hit, I'll Be The Other Woman, which soared to #3 R&B in early 1974, and remains every bit as powerful today.


Love Makes It Right

Here's the follow-up single, with Shelbra once again handling the emotional lead vocals. Just great stuff, man. For whatever reason, this one struggled to make it into the top fifty, and she left the group 1n 1975. As Shelbra Deane, she would chart a couple of times in the late seventies, and make some disco singles for Henry Stone after that, but I think it's her towering work with The Soul Children that will live on forever. Shelbra left us on May 31st.

When I heard that Richie Havens died on April 22nd, I couldn't really take it in. I had seen him any number of times over the years (the last one being a mind-blowing performance at Jazz Fest in 2009), and I guess I kind of took him for granted... his music had lived inside of me for so long.


Follow

Mixed Bag is just such an important record. I cherished it and played it over and over in my high school days. In so many ways, it defined who I was, and who I would become. This utterly fantastic tune is ripped from my original mono copy of the LP, and I know every pop and crackle in the vinyl like an old friend... "Don't mind me 'cause I ain't nothing but a dream."

Please join this sentimental old fool in saying goodbye to these other greats who have passed on before us here in 2013:

BOBBY 'BLUE' BLAND
ROOSEVELT JAMISON
GEORGE JACKSON
'COWBOY' JACK CLEMENT
ROLAND JANES
EDDIE BOND
GEORGE JONES
PATTI PAGE
RAY PRICE
LOU REED
JEWEL AKENS
LARRY McKINLEY
GEORGE PERKINS
CECIL WOMACK
AMOS CRUME
MARVIN JUNIOR
LEROY 'SUGARFOOT' BONNER
BOBBY ROGERS
BOBBIE SMITH
RALPH CHILDS
CLARENCE BURKE, JR.
BOBBY MARTIN
MAXINE POWELL
DONALD BYRD
CEDAR WALTON
GEORGE DUKE
YUSEF LATEEF
CHICO HAMILTON
JJ CALE
BEN ATKINS
ARTIE 'BLUES BOY' WHITE
BOBBY PARKER
MAGIC SLIM
REX GARVIN
GLORIA LYNNE
MARY LOVE
MARGIE ALEXANDER
LIZ LANDS
DONNA HIGHTOWER
BERT REID
JULIUS GREEN
PEDRO LEWIS
PHIL RAMONE
LOU WILSON
DON BLACKMAN
RAY WHITLEY
DAMON HARRIS
RICHARD STREET
SAM PACE
WILLIE 'SLIM' AYERS
BEN TUCKER
VINCE MONTANA, JR.
KEITH 'SABU' CRIER
TYRONE BRUNSON
CLAUDE NOBS
AL JOHNSON
CODY BLACK
DEKE RICHARDS
GORDON STOKER
'READY TEDDY' McQUISTON
ROD HICKS
STEVE BLAILOCK


May they Rest in Peace.
          100 Bareback Beef   
Release Year: 2003 Studio: Hot Desert Knights Productions Cast: Jay Benjamin, Will West, Steve Hurley, Chad Adams, Steve Parker, Ben Gunn, Jeff Allen, Larry Wolf, Damien Genres: Barebacking, Bears, Muscles, Interracial, Oral/Anal Sex, Rimming, Gang Bang, Blowjob, Cumshot Getting the superlatively good cut of meat [...]
          Gear Review: Button Slings for ARs and Shotguns (VIDEO)   

If you ever intend to use your tactical rifle or shotgun as it was intended, you will need a good sling. Larry Gann, CEO of Button Sling, designed and made the first patented single point slings. And the keep getting better. button Slings are easy to install, easier to use, and made in the U.S.A.

The post Gear Review: Button Slings for ARs and Shotguns (VIDEO) appeared first on Guns.com.


             
Its that time again!!! Blatino Oasis is back!!!




Last year PinkMafiaRadio was proud to bring you coverage of the first annual Blatino Oasis in Palm Springs, CA. This years event looks like it will be bigger and better!




The fact that Palm Springs is a gay vacation hot spot is no secret to many people in California . However, upon closer observation, when you think about the big gay events produced in Palm Springs such as the Spring Break White Party or the Dinah Shore women’s weekend, particularly if you are a person of color, you quickly notice that these events are attended mostly by the white gay community.


Since 2007, event promoter Joe Hawkins has been working to change the perception that Palm Springs is just a getaway for white people. Joe is the producer of Blatino Oasis, a weekend event “targeting men of African and Latin descent and their friends.” Mr. Hawkins says that he wants to bring Black & Latino gay men to the desert to help diversify the kinds of people who choose Palm Springs as a vacation destination.

“Until our first event last year, most gay men of color never really thought of Palm Springs as a getaway destination, especially not men of African descent. Most African American LGBT people tend to go to travel destinations where there are large populations of black LGBT people such as Atlanta , New York , Miami , or Washington D.C. They now know that Palm Springs is a beautiful, extremely gay friendly vacation destination, just a few hours from Los Angeles. Last year we awarded porn star and GAYVN hall of famer Tiger Tyson and men attended from all over the nation and they loved it!” Hawkins said.

Set to take place May 9-12, Blatino Oasis, Palm Springs , has already become one of “The Place To Be” destinations for men of color. “I am really excited about this year because last year, we only had four months to get the attention of the hundreds of men who attended Blatino Oasis. We expect the number of attendees to triple since we have had almost a year to promote the event this time.” Joe said.

Erotica is the central theme of the event and features the Blatino Erotica Awards Ceremony held at the Helios Resort. Last year’s host of the 1st Annual Blatino Erotica Awards was MTV Real World Reality star Karamo. This year, out gay former professional basketball player, Out 100 honoree, and star of the new upcoming MTV Logo reality series “Rockdogs,” Demarco Majors will host the awards ceremony at Blatino Oasis Palm Springs for 2008.

Author James Earl Hardy (Bboy Blues) will present his new collection of gay erotic stories. Larry Cross will present his new coffee table book of nudes “Vibrant Energy: Black Men Revealed” and will be joined by London based photographer Ajamu X, who is also featured in the book. Also, 2007 Blatino Erotica Honoree "Belasco" will be showcasing his latest erotic artwork at the Desert Moon on Saturday at 2pm.


The event also has an impressive lineup of the hottest west coast dj’s to include San Francisco ’s David Harness (End Up), L.A. ’s Chris Johnson (Catch One Disco), and Hollywood ’s Angel C (Circus Disco). “I am so excited about having this lineup of dj talent. Our party’s will happen at the Helios & Canyon Club and there will also be a free party at Hunter’s Nightclub on Arenas from 9pm -2am on Saturday, May 10.” Hawkins said.

In addition to encouraging men of color to step out of their travel comfort zones, Hawkins said that Blatino Oasis is also an attempt to de-stigmatize homosexuality and bisexuality in the gay men of color community and to provide them with an opportunity to release, relax, and rejuvenate. The event even has a director of relaxation services.

“I don’t believe that we honor sex as the gift that it is in our lives. We have been taught that homosexuality is wrong and this directly affects our mental and biological health. Blatino Oasis is a sexy event that empowers our community to celebrate sex and our sexuality in a way that promotes self and group acceptance, yet doesn’t compromise individual or group health.” Hawkins said.

The Blatino Erotica Awards ceremony will be held at the Helios Resort. The Saturday Helios event will also feature a swimwear and underwear poolside fashion show sponsored by RUFSKIN Denim and hosted by model Royce and actor Kairon John (Noah's Arc & CSI Miami) and star of the upcoming Maurice Jamal TV series Ski-Trip: Friends & Lovers. There will also be parties at the Canyon Club Hotel sponsored by justusboys.com.

Blatino Erotica Award Winners for 2008 include: NYC based porn director Enrique Cruz, Porn stars Marc Williams, Sebastion Rio, Mario Cruz and Castro a.k.a Supreme, NYC sex party organizer Lidell Jackson, adult websites BiLatinMen.com & Nubian101.com, FlavaMen Magazine, and International Erotic Stripper "Redickulous,” and "Best New Cummer” Sean John a.k.a "The Juicy Gigolo."

Thugporn.com will also be giving away Tiger Tyson dildo replicas as a part of their Tiger Tyson, dildo-a-day weekend give-away promotion at Blatino Oasis.

All men are welcome and Interested individuals can find event info on the organizer’s website at www.clubrimshot.com. Weekend and day passes can also be purchased online as well.
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          Danbury's Musicals at Richter Continues 33rd Season with WEST SIDE STORY   

Musicals at Richter (MAR), celebrating its 33rd season as the longest-running outdoor theater in Connecticut, continues its summer season with "West Side Story," the explosive musical retelling of the Romeo and Juliet story set against the backdrop of rival street gangs in 1950s New York City. Staged on the grounds of the Richter Arts Center in Danbury July 7 through 22, performances take place outdoors under the stars Friday through Sunday evenings at 8:30 p.m., with additional specially discounted performances on Thursday, July 13 and 20.

With a book by Arthur Laurents ("Gypsy"), score by Leonard Bernstein and Stephen Sondheim, and original conception and choreography by Jerome Robbins, "West Side Story" transplants Shakespeare's classic romance of Romeo and Juliet to the 1950s and Manhattan's Upper West Side as two young, idealistic lovers find themselves caught between warring street gangs of different ethnic backgrounds: the Jets, born and bred New York boys; and the Sharks, immigrants from Puerto Rico. Their struggle to survive in a world of hate, violence and prejudice is one of the most innovative, heart-wrenching and relevant musical dramas of our time, and widely regarded as one of the best musicals ever written.

The original 1957 Broadway production, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. Featuring Larry Kert as Tony, Carol Lawrence as Maria and Chita Rivera as Anita, the production ran 732 performances before going on tour. Nominated for Tony Awards including Best Musical, it won for choreography and scenic design, losing out to Meredith Willson's "The Music Man" for Best Musical.

The 1961 musical film adaptation, directed by Robert Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film was nominated for eleven Academy Awards and won ten, including George Chakiris for Supporting Actor, Rita Moreno for Supporting Actress, and Best Picture.

The iconic score includes such musical theater classics as "Something's Coming." "Maria," "America," "Somewhere," "Tonight," "I Feel Pretty," "One Hand, One Heart," and "Gee, Officer Krupke."

Directed for MAR by veteran actor, director and educator Michael Limone (Long Island), "West Side Story" features a cast of talented local performers, including many newcomers and MAR veterans. Stephen Moores (Brookfield) and Juliet Dale (Fairfield) portray star-crossed lovers Tony and Maria. Sergio Mandujano (Norwalk) is featured as Bernardo, Maria's brother and the leader of the Sharks, and Lauren Nicole Sherwood (Stamford) is Anita, Bernardo's girlfriend and Maria's mentor and confidante.

Brian Bremer (Wilton) is Riff, the leader of the Jets. Fellow Jets gang members include Brian Salvador (Bethel); Andrew Kocur and Noah Matson (Danbury): Will Armstrong (Greenwich); Brian Hinger (New Milford); Jack Armstrong and Jacob Schultz (Newtown); Nathan Clift (Trumbull); and Emma Burke-Covitz (Carmel, NY).

The Sharks are represented by Simon Garcia, Victor Roldan and Tim Sheehan (Bethel); Andre Grigorio, Matthew Olencki and Brailyn Rodriguez (Danbury); and Elias Levy (Monroe).

The Jets and Sharks girls include Jillian Fredette (Brookfield); Olivia Cotter, Abigail Heiden, Cassidy Holmes (Danbury), Lilly Macfayden (Monroe); Elizabeth Koennecke (New Canaan); Teah Renzi (Newtown); Emma Giorgio (Ridgefield); Bonita Gregson (Wilton); Kristyn Vario (Brewster, NY); and Christina Kompar (Hastings-on-Hudson, NY).

Rounding out the cast are John McMahon (Newtown) as Lieutenant Schrank; Steven Taliaferro (Bethel) as Officer Krupke; Kevin McCarthy (Brewster, NY) as Doc; Robert Bria (Redding) as Gladhand; and Pam DeHuff (Pawling, NY) as Adult Soprano.

Heading up the "West Side Story" creative team is Michael Limone, who teaches acting and directs productions at Rye High School in New York, where ten years ago he created the Parsons Street Players, the high school's after-school theater club. Prior to teaching in Rye, he ran the theater program at Stamford High School for ten years and was the Vice President of the Connecticut Drama Association. In addition to his teaching career, Limone has been acting and directing in community theater throughout Fairfield County and now Long Island, where he lives, for the last 25 years. He majored in English and Acting at the University of Connecticut in Storrs, and also studied at HB Studios in NYC.

Limone is joined by veteran musical director and conductor Zachary Kampler (Hastings-on-Hudson, NY). A professor at Westchester Community College, Kampler is the Music Director of the Sound Beach Community Band and Conductor for Saint Catherine's Players in Greenwich. Kampler has served as Music Director for Staples Players, Bedford Acting Group, Weston High School Company, Binghamton University Theater Department and the Boys & Girls Club Theater Program. He has also conducted The Connecticut Little Symphony, Nickel City Opera, and Crystal Opera, in addition to holding the position of Assistant Conductor with the Stamford Young Artists Philharmonic, Tri-Cities Opera, and Sarasota Opera. A graduate of the Juilliard Pre-College Program, Kampler holds a B.A. in Music from New York University and earned an M.M. in Orchestral Conducting with a concentration in Opera, from SUNY Binghamton.

Handling choreography duties for "West Side Story" is Jimmy Locust (Black Rock), a multitalented master teacher, choreographer and performer who is also the founder of Stamford-based Locust Performing Arts Center. Among his many extensive credits, Locust has shared his talents internationally, working with superstars Michael Jackson, Janet Jackson, Paula Abdul, Quincy Jones and Debbie Allen. He has appeared in music videos and films and has performed at the Academy Awards, Grammy Awards and MTV Video Music Awards. Locust was one of the head choreographers for the Opening and Closing Ceremonies of the 1996 Olympics in Atlanta and was nominated for an American Choreography Award in 2001 for his work on Warner Brothers' television show Nikki. He worked on the Justin Bieber Tour in 2010 and served as choreographer for the CW Television Network's The Next with hosts John Rich, Joe Jonas, Nelly and Gloria Estefan. Locust's latest endeavor is his new South Florida dance studio Locust Dance Academy in the Miami area slated to open in August.

The "West Side Story" creative team also includes set and lighting designer Jake Liam McGuire (Brewster, NY) and costume coordinator (and MAR Artistic Director) Lauren Nicole Sherwood (Stamford). Katie Girardot (New Fairfield) serves as stage manager and Joyce Northrop (Danbury) is producer.

The main stage season also features the perennial family favorite "Seussical" (July 28 - August 12). For complete details on Musicals at Richter's season, daytime Fairy Tale Theater for children and young people's musical theater workshop offerings, visit www.musicalsatrichter.org.

Main stage musical performances are Friday through Sunday evenings at the Richter Arts Center (next to the Richter Park Golf Course, I-84, Exit 2), 100 Aunt Hack Road, in Danbury. Tickets for "West Side Story" are $20 for adults, $15 for seniors and students (with ID), and $10 for children 10 and under. For the additional Thursday performances on July 13 and 20, tickets are $15 for adults, $10 for seniors and students and $5 for children 10 and under. Tickets may be purchased through the Musicals at Richter website (www.musicalsatrichter.org) or at the door. Grounds open at 7:15 p.m. for picnicking, with curtain at 8:30 p.m. Group rates are available with advance reservation; chair rentals and soft drink/snack concessions are available on-site.

About Musicals at Richter: Nestled in the hills of Western Connecticut, the Arts Center stage has served as the scenic backdrop for over 75 musicals produced by Musicals at Richter, as well as a professional springboard for hundreds of up-and-coming performers. Musicals at Richter is a 501 (c) (3) nonprofit organization run by volunteers. For further information, visit the website at www.musicalsatrichter.org, leave a message at 203-748-6873 or e-mail info@musicalsatrichter.org.


          BWW Review: AN EVENING OF ONE ACTS 2017 at Ridgefield Theater Barn   

On Friday, June 30, I had the pleasure of seeing AN EVENING OF ONE-ACTS 2017, at the Ridgefield Theater Barn, in Ridgefield, CT. All eight separate short comedies effectively delivered on the laughs, keeping the audience entertained through great writing, directing, and acting, across various moveable sets. The Ridgefield Theater Barn continues to provide the first-rate entertainment that its regular patrons are delighted to experience at every show.

"The Lounge," written by Christopher Griffin, is an excellent opening short play to start the evening. It is the story of four teachers in a faculty lounge, at different points in their respective teaching careers, discussing the students. Will, the mentor teacher for third year teacher Alyssa, was placed into a situation in which an obnoxious helicopter mother wanted him to attend an after-school extra help session with Alyssa, one of Alyssa's students who had been on vacation the previous week, and that student's mother. Will's experience and realization that teachers can not maintain their sanity if they choose to cater to every inconsiderate parent's unreasonable selfish request is brilliantly juxtaposed with Alyssa's feelings that her career depends on her willingness to be a spineless submissive slave to parent bullying, a horrific feeling that is all too real among non-tenured teachers in today's schools that allow parents to email teachers, to the serious detriment of the tranquility levels of the classrooms in which the children are being educated. Laney, a more experienced teacher, strongly opposes the idea that Will should partake in this extra-help session. Ivan, a teacher even further along in his career, provides comic relief, taking a far more confident, positive, and relaxed attitude towards his job, one that would inevitably benefit his students. Timothy Cleary, Brian DeToma, Danette Riso, and Desirae Kelley, all brilliantly portray their respective roles of Ivan, Will, Laney, and Alyssa, creating a comedic, yet realistic start to an excellent series of short comedies.

"The Computer Lesson," written by Myles Gansfried also features very realistic characters in a believable situation. The superb acting of Larry Greeley brings the character Morey to life, an elderly man who enjoys spending time alone at home. Morey's son Alan calls Morey on the phone, encouraging him to become more connected with the world, ironically, by wanting him to own a computer and go online, something that in reality keeps many people isolated from true human interactions. While Morey initially dismisses the notion of getting a computer, he eventually gives in. Actor Roberto Perez convincingly portrays Sammy, the technical support person who, from India, is on the phone with Morey. Sammy's genuine praise and encouragement of Morey's accomplishments of basic tasks provides highly comedic entertainment, as does Morey's advice to help Sammy with a personal situation.

The funniest short play that steals the show is "The Drive" written by Tracy James and directed by Nick Kaye. This is a story of three women who are traveling, together, in a small car, while vacationing in Ireland. Actresses Pamme Jones, Eileen Fickes, and Nicole Veach have strong stage chemistry with each other and priceless facial expressions, in reaction to the navigational difficulty and entertainingly comedic high risk situations they encounter on the road. Their GPS, named Lucy, initially starts their navigation like a typical GPS would, but soon becomes the type of GPS that most people have likely imagined, the type that gets sassy and condescendingly critical, when not followed. The flabbergasted outrage that the women begin to feel and show towards this inanimate object humorously reflects the genuine disgust that many people feel when personifying a digital device that speaks, but does not always yield the results we expect from it. The ability for the audience to relate to the characters' authentically portrayed frustration and anger helps makes "The Drive" become a modern comedy reminiscent of the truly creative and brilliantly conceived comedies from the 1980s.

The other five short plays humorously address topics such as the skeptical cynicism that those who claim to have experienced supernatural encounters tend to receive, the ultimate real life disappointment that people experience when they misrepresent themselves online while seeking online romance, the parental need to have their children watched by someone who will be good for the children, the inconveniences experienced by those on the back of long buffet lines, and the ultimate scam behind so many online package vacation deals that claim to offer a whole lot for a low cost.

I highly recommend AN EVENING OF ONE-ACTS 2017 that will continue to run at the Ridgefield Theater Barn, in Ridgefield, CT, every Friday and Saturday at 8:00 P.M. through July 15, and on Sunday, July 9, at 5:00 P.M.

http://ridgefieldtheaterbarn.org/pages/special-eve