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'Not Fade': Rock 'N' Roll, Here To Stay
In his new film, Sopranos creator David Chase tells a coming-of-age story about Jersey boys in the 1960s who dream of riding the wave of the British invasion all the way to stardom. Chase teams up with Steven Van Zandt -- of the E Street Band and The Sopranos -- to make the movie's music rock.
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Other segments from the episode on December 19, 2012
December 19, 2012
Guests: David Chase & Steven Van Zandt
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. Before my guest David Chase created the already classic HBO series "The Sopranos," before he got into the TV industry, he was in a band in New Jersey, like so many young people who love music and are maybe hoping for a little fame. Now he's written and directed a new movie called "Not Fade Away" that draws on his experiences in a band that never got very far.
My other guest, the music supervisor for the movie, is a Jersey musician who did go far, guitarist Steven Van Zandt, who's a founding member of Bruce Springsteen's E Street Band. He also worked with Chase on "The Sopranos," on which he played Silvio Dante.
"Not Fade Away" spans the years 1962 to '68. John Magaro plays Douglas, the drummer in a high school garage band who becomes the lead singer and takes his inspiration from The Rolling Stones and Bob Dylan. He grows his hair long, which infuriates his father, played by James Gandolfini. In this scene, he tells one of his bandmates - played by Jack Huston, one of the stars of HBO's "Boardwalk Empire" - that if they want to make it, they have to stop being strictly a cover band and start writing their own songs.
JACK HUSTON: (As Eugene) I keep telling you guys: Andrew Oldham, The Stones, he locked them in a room...
JOHN MAGARO: (As Douglas) I know, and got Jagger and Richards to write their own songs. Doing covers is a thing of the past, except they had two huge hits: "Not Fade Away," Buddy Holly. Two hits? I need this to be my career.
UNIDENTIFIED MAN #1: Shame on you, man. Need is like peasants starving in Southeast Asia. Nobody needs a career.
MAGARO: I think we should all move to the East Village, get an apartment there.
UNIDENTIFIED MAN #2: You want to live there?
UNIDENTIFIED MAN #3: They burned a flag there last Sunday. The Holy Modal Rounders played a live show.
UNIDENTIFIED MAN #4: Corky Cano(ph) went to the East Village the other night, sees a guy beating his dog to death with a baseball bat. Corky goes over to intervene, the dog was a rat.
MAGARO: There's a music scene there, not here.
GROSS: That's a scene from "Not Fade Away." David Chase, Steven Van Zandt, welcome back to FRESH AIR. It's a pleasure to have you both back.
STEVEN VAN ZANDT: Nice to be back.
DAVID CHASE: Thank you, nice to be here.
VAN ZANDT: Thank you, Terry.
GROSS: So the movie starts with the sister of the main character, the sister of the guy in the band. And she says basically, you know, my brother's band formed soon after Mick Jagger and Keith Richards met, and like most bands, you've never heard of them. David Chase, did you intend this to be a shout-out to everyone who, like you, had a band that no one's heard of?
CHASE: Yes, I did. I felt we had never gotten the recognition we deserved.
GROSS: How serious were you about your band? And what did you play, and did you sing?
CHASE: We were very serious about the band. Certainly, we talked seriously about it. And we were serious about listening to music over and over again. We played in the basement for about four years, and we never even played one live gig for anybody. We did an impromptu thing at the Newport Folk Festival. We did an impromptu version of "Play with Fire," and it was the only - for some people on a blanket. And that was the only time that we ever performed.
CHASE: We enjoyed playing, but we were too lazy to really make it professional.
GROSS: And what did you play, and did you sing?
CHASE: I started off playing drums in that outfit and singing. Most of the time, I sang lead.
GROSS: So we have two people here, we've got David Chase, who made this movie "Not Fade Away," who was in a band, but nothing ever happened with it. They didn't even ever play for somebody. But also with us is Steven Van Zandt, who, as everybody knows, went pretty far with music. Steven, when you were first in a band in high school, did you know this was the real thing for you?
VAN ZANDT: Well, it was the only thing for me, which made it kind of easy. I literally had nothing else I was interested in. And kind of, you know, you're starting to get the pressure of what college you want to go to or, you know, what are you career goals, you know, and I didn't have any. You know, and I was like, I don't want to go to college. I hate high school, you know. Why would I go to college, you know?
VAN ZANDT: I wish I had a different attitude. You know, I spent a lot of years learning what I didn't learn in high school afterwards, but - I wish I had paid attention. But, you know, I had a complete tunnel vision about rock and roll, which is why I totally relate to the character in the film. You know, I think it's that similar tunnel vision, which blocks out everything else. And in the '60s, there was a lot to block out.
GROSS: So, David Chase, when you decided to do this movie, what did you want Steven Van Zandt to do?
CHASE: I wanted him to be the musical heart and soul of the entire project. I'm only being half-facetious. I mean, he - it's hard to explain, but we became friendly during "The Sopranos," and it's all we ever talk about, is '60s music. And we go out to dinner with our wives, and that's all we talk about. And in some way, this movie is an extension, is a logical outgrowth of those conversations. We continued those conversations into when I was considering writing the script.
We kept - just kept talking about the music. And it went from that kind of a conversation to a more structured, serious conversation about what should the movie be about and what was going to happen. And then I wrote the script, and we started really - then we started talking about refining what the music would be that was going to be played.
And then when it came time to actually hire the musicians who were going to either act or play, he's the one that taught them everything they know about rock and roll.
GROSS: So, Steven, you had to teach the actors how to look convincing on their instruments, even though they weren't actually playing them, right. We're not hearing them play. I think we're hearing you play, actually.
VAN ZANDT: It was a mixture of the two. In other words, by the time - we literally had them in the studio five, six hours a day, seven days a week for months. OK, I mean - and they learned how to play. So by the time the cameras rolled, they were a band that was totally functioning.
So we didn't have to - and that was important, mind you, a little bit miraculous that they managed to learn how to play in three months, that which took me three years. I don't know how they did it, but they did it. They had a great work ethic. And it was important that they actually were a functioning band before the cameras rolled, I felt, rather than have to worry about, okay, the camera has to, you know, now cover the hand and we'll fake it later. And, you know, you can't have the - a master shot of the guy playing because it's going to be looking like he's faking it. And in addition to that, they were able to sing, which was a really big bonus because I've always had problems with actors pretending they're singing. It just never looks real.
And it's very important for this film that the band was totally authentic, you know, in terms of playing and singing and take that for granted. OK, it's a real band, and now, you know, David can worry about the relationship stuff and all the rest, you know.
GROSS: So the movie starts with a tribute to Mick Jagger and Keith Richards and how they meet on a train and start talking about American rhythm-and-blues and blues that they really love. And of all the Stones records that you could have chosen from their really early work, how did "Tell Me" become a central track?
CHASE: "Tell Me" is maybe my favorite song of all time.
GROSS: Really?
CHASE: Certainly one of my favorite ballads, yeah, ever since I first heard it. It really strikes a chord with me. And I told Steven when we first met that I bought that the first - "England's Newest Hit Makers" record, the first album. And I had a tape recorder, and I did an air patch between the microphone of the tape recorder and the speaker of this turntable.
And I would push play on the tape recorder and drop the needle on the Keith Richards guitar solo from "Tell Me." And then we'd get to the end, I'd push stop, and then I'd drop the needle back, and I'd - and so I had an endless loop of that guitar solo just over and over and over and over again, play and record, play and record, I mean stop and record, stop and record.
And I used to listen to that in my room, that just endless loop of that guitar solo. It just, it knocked me out.
GROSS: Did you try to learn it? I mean, you weren't even a guitarist.
CHASE: I wasn't a guitarist, no. I just liked listening to it.
GROSS: I would have thought you'd be obsessed with the vocals, but interesting. OK...
CHASE: No, I mean the vocals are great, the whole song is great, but that guitar, that guitar - I had never heard a guitar sound like that, and it just seemed so deep and spacey and haunted, and I don't know what. Just - it still sends shivers up my spine.
VAN ZANDT: There's sounds in "Tell Me" that are done musically that I don't know how it was done to this day.
GROSS: Like where? What are you thinking of?
VAN ZANDT: There's just this odd, these odd things that Bill Wyman's doing and Brian Jones are doing that, you know, because they're so mono - which is how God intended, of course - you know, it's hard to, you know, you don't quite have the clarity to know what - who's exactly doing what. And I love that mystery. Mystery is extraordinarily important when it comes to art.
CHASE: There you go.
VAN ZANDT: And without that, you know, all of a sudden, you lose the magic, you know, when things become too clear, too obvious. And no one ever heard anybody sing that low. It was very, very low. It sounded, to our ears, at least our teenage ears, as a very low vocal. It was very - a different kind of attitude in the vocal. And the thing that most attracted me to The Rolling Stones was the fact that Mick Jagger would sing without smiling...
VAN ZANDT: ...which I had never seen anybody do. And, you know, it was a very new sort of idea, to, like, to do something that was not show business. You know, the Rolling Stones just were never quite show business, and it was very, very attractive to us sort of rebellious kind of kids, I guess.
GROSS: So, great record, let's hear it, and this is "Tell Me," Rolling Stones, and it's included in the soundtrack of the new film "Not Fade Away," about a band that starts in high school. It's written and directed by my guest David Chase, and Steven Van Zandt is the music director. Do I have the title right?
VAN ZANDT: Well, technically music supervisor, but...
GROSS: Music supervisor.
VAN ZANDT: Music producer is really what I was doing.
GROSS: OK, there we go. OK. So here's the Stones.
THE ROLLING STONES: (Singing) I want you back again. I want your love again. I know you find it hard to reason with me, but this time it's different, darling you'll see. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me.
(Singing) You said we're through before. You walked out on me before. I tried to tell you, but you didn't want to know. This time you're different and determined to go. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me. You gotta tell me you're coming back to me.
GROSS: So that's The Rolling Stones' "Tell Me." It's one of the great records featured on the soundtrack of the new movie "Not Fade Away," which is set from around '62 to '68, a band in New Jersey that, you know, is serious, but maybe not committed quite enough to actually get there.
GROSS: It's written and directed by my guest David Chase, who created "The Sopranos." And the music supervisor and producer for this is Steven Van Zandt from Springsteen's band and "The Sopranos," and they're both with us. Why don't we just take a short break here, and then we'll talk some more. This is FRESH AIR.
GROSS: My guests are David Chase, the creator of "The Sopranos," and guitarist Steven Van Zandt of Bruce Springsteen's band who played Silvio on "The Sopranos." Chase wrote and directed the new film "Not Fade Away," set in New Jersey in the '60s, about a high school rock band. Van Zandt is the film's music supervisor.
So there's a couple of originals, original songs in your movie. And there's a song called "St. Valentine's Day Massacre" that's actually - it's a good song. And I'm wondering what kind of conversation you both had about how good the song could be. Because if the song was too great, then you'd have to believe that they maybe would have had a hit and would have gone on and had careers.
So it had to be, like, really good, but not necessarily astoundingly good. So can you talk a little bit about what you wanted this original song to be and to show about the characters?
CHASE: Well, I had it in my head that they would write an original song, the band would write an original song. And I was writing the script, and I was having a lot of trouble with it. And I was tired of it and fed up with it. And Steven sent me a demo of "St. Valentine's Day Massacre" that he wrote. And to me, it is an excellent rock and roll song. It just transported me. I really, really, really liked it.
It did two things. Number one, it made me want to go back and say: don't give up on rock and roll. Go back and finish that movie. And the other thing was, strangely enough, the structure of that song loosely echoed the structure of the movie, which it happens on Thanksgiving, Christmas, New Year's and Valentine's Day. Now Valentine's Day is not in the movie, but the other holidays are. There's a lot of holidays in this movie.
And I thought: How strange is that, that he should send me this song, which has all those holidays in it, just like the script does. And I thought this must be a sign from someone. And lyrically, I remember there's a lyric in it about after, I guess, the end of a relationship, and the lyric is: and now even your carrier pigeons have been picked off by the vultures. And I just thought what a great line that is, what a great rock and roll line that is, especially from somebody, you know, someone's first song. It's so naked and crazy. You know, it just really feels like the real deal to me.
GROSS: Were you worried the song was going to be too good to be convincing as a first song?
CHASE: I was.
VAN ZANDT: And you know what, Terry? We had that discussion about everything, constantly. It was one of our challenges, to try to and figure out exactly how good they should be at any given moment. And David mostly - with the exception of that song, perhaps - but mostly, you know, he was on the side of having them be a little bit worse than better.
And I argued against that, because there were a whole lot of really good bands in my neighborhood that never made it, you know - better than us, by the way. You know, there were guitar players that were better than me and Bruce. You know, there were singers that were better. There were bands that were better.
And plus, I thought it was really important that the audience really constantly rooted for them. And we still, you know, made them out of tune occasionally and, you know, did all that, you know, to make sure it wasn't too - to keep it totally authentic.
But I really wasn't that concerned about it being too good, because the truth of the matter is, what makes a band successful, one successful and one not, I think has everything to do with management rather than the actual - you know, I mean, you have to have some talent, obviously. But you look back in history at who made it and who didn't, and I guarantee you there's a manager there that's the critical factor.
GROSS: So tell us who we're hearing on this track, because I want to play the track from the soundtrack of this original song that Steven Van Zandt wrote, but that the band sings in the movie "Not Fade Away."
VAN ZANDT: It's always the actors singing. That's all totally real. When you see John, you know, in the movie singing it, that's him on the soundtrack, and Jack also. But most of the soundtrack is us: me, Max Weinberg on drums, Garry Tallent on bass and Bobby Bandiera on second guitar. And we kept it at that, just the two guitars, bass and the drums...
GROSS: So when you say they're playing in the film, do you mean it looks like they're playing, and you're dubbed in, or is the instrumentation different on the recording than it is on the actual movie?
VAN ZANDT: No, it's the same, but we would mix in sometimes, you know, if the setting was right, you know, we'd try to - there would be a kind - if they were warming up or something, we may and try and throw in a little bit of, you know, of the actual stage sound.
GROSS: Oh, OK. So we're hearing you in the movie, too.
VAN ZANDT: Yeah, oh yeah, yeah. It's us.
CHASE: And it was - you know, it was funny. It was because I was always saying make it sound worse, make it sound worse. Well, you hear who the lineup was of musicians, and I would say it sounds great. What are you talking about? And they would say it's putrid. It's horrible. It's already terrible.
VAN ZANDT: Because I insisted, Terry, on David being in the studio every single day because he's very, very specific, and so am I. So I knew, you know, there would be 100 different ways you can go. And a music producer, you make a decision literally every 10, 15 seconds. Is that in time enough or out of time enough, in this case? Is that in tune enough or out of tune enough, in this case?
And then the added complication of Jack Huston having to be a singer that was not as good as John Magaro's character, you know. We had to work on that. And that's another fine line. You know, how bad do you make him? And he turned out to be - both of these guys, their courage was amazing, because they just walked into my studio, went right up to the microphone and just started singing.
And Jack, it turned out, turned out to be quite a good singer. And he's supposed to be the bad one. So I had to capture his vocals very, very early, on the first take or two, because he started - he just kept getting better and better.
GROSS: Steven Van Zandt and David Chase will be back in the second half of the show. Here's the song that Van Zandt wrote for the band to perform in the new film "Not Fade Away." This is "The St. Valentine's Day Massacre." I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with David Chase and Steven Van Zandt. Chase is the creator of the HBO series "The Sopranos." He wrote and directed the new film "Not Fade Away." Set in the '60s, it's about a rock band that forms in high school in New Jersey, inspired by The Rolling Stones and Bob Dylan. Guitarist Steven Van Zandt is the film's music supervisor. He's best known as a founding member of Bruce Springsteen's E Street Band and for his role as Silvio on "The Sopranos."
I want to play, like, a very amusing part of the music in the film. And this is in a recording studio, because, like, the band's going to get a crack at recording, and there's, like, is it a quartet or a quintet that's doing - a vocal group - that's doing harmonies on a jingle for a local surgical supply store. And this is really great. So I want to know, like, who wrote it, and if it was inspired by any jingles that you remember.
VAN ZANDT: Well, this is one of the most important parts of the movie, as far as I'm concerned. And...
CHASE: We're in agreement there.
VAN ZANDT: ...it's our first co-write - hopefully not last - but it is the first co-write between David and myself, and we're quite proud of it, obviously. We went through, I don't know, 30 or 40 different edits of the movie, and there was actually one or two where it was taken out, and I had to put my foot down on that one. OK, you know, you can...
GROSS: I'm glad you did.
VAN ZANDT: You can take out "St. Valentine's Day Massacre." You can take out whatever, you know, whatever you want to take out. You're not taking that one out. No. No. That one has to stay, you know. I'm joking, but it is a classic moment for me in the film, and it has Bobby Bandiera being the music director in that quartet there, who was actually one of the guitar players, you know, on the soundtrack, and very famous backup, background singers, including Ula Hedwig. You know, it's a wonderful moment.
GROSS: And the harmonies?
VAN ZANDT: Well, there just - I think they're very authentic.
They're just very much of the time.
GROSS: Very much of the time. Mm-hmm.
CHASE: I mean, I just, you know, I just thought a song about a surgical supply store would be about as dismal as you could get. And there had been - there - we used to go back and forth between New Jersey and New York and Boston, because I had friends who were going in Boston all the time. And there was a company somewhere in Boston - a surgical supply store, I guess - called Anderson Little. [POST-BROADCAST CORRECTION: David Chase incorrectly refers to Anderson Little as a surgical supply company. It is a clothing company. We're not sure what the name of the surgical supply company was.]
And the jingle was...
(Singing) Anderson Little, da-da-da-da-da-da. Anderson Little, Anderson Little for you and for me.
And I thought, what are these people talking...
CHASE: ...about, iron lungs and stuff? And I just thought - remembered that, when it was time to do this jingle.
GROSS: Oh, that's great. OK. So it's time you heard the jingle. This is the surgical supply jingle from the soundtrack of "Not Fade Away."
UNIDENTIFIED GROUP: (Singing) Martin and Schermerhorn(ph) Surgical Supplies, when life catches you off guard in the ear, throat or eye. Free home delivery. Free home delivery. Orthopedics custom made. Orthopedics custom made. Martin and Schermerhorn, Martin and Schermerhorn, more than just first aid. Martin and Schermerhorn Surgical, Martin and Schermerhorn Surgical, we're M&S surgical supply.
GROSS: So that's a jingle that was written and performed for the new movie "Not Fade Away." The movie was written and directed by my guest David Chase, the creator of "The Sopranos," and the musical supervisor is also with us. That's Steven Van Zandt from Bruce Springsteen's band and from "The Sopranos." And they co-wrote this fabulous jingle.
David Chase, you probably could've gotten money to make a really big, splashy epic or adventure or action film, and you've chosen to make a really kind of, you know, small film about, you know, guys in high school who form a band. And I'm wondering, like, as somebody who probably could've written their ticket, why you wanted to make this movie.
CHASE: Well, I was trying to write the ticket, and it wasn't happening. I wanted to make - I didn't want to make a big, splashy action movie, like you're saying. But I did want to make a - one of my goals, one of my goals was this movie, and another of my goals was to do a psychological thriller or something like - or some kind of taut crime drama. And that's what Steven said I should do. That's what my friend Terry Winter said I should do. I believe my wife said that's what I should do.
CHASE: And all that pressure made it such that the idea just wasn't coming. But this one was there.
And then something I've realized in the last couple of weeks - one of the impulses for this was - right around that time was when Keith Richards fell out of that palm tree, and, you know, he was very seriously injured. And I thought to myself, wow. And how old are they now? How old am I now? And so this music that was like the - I don't know what you'd call it - the apotheosis of youth, that the people who made it were fading away, that he might not recover from that, and that some of them are gone already, and that I wanted to sort of document what those moments had been like when it was happening. And the reason it's called "Not Fade Away" is because the music will endure long after any of the personalities are gone.
At one time I was going to call the movie "Don't Worry, We'll Be Leaving Soon," because I thought, you know, I thought well, you know, people will get so tired of the '60s, the '60s, all right - you boomers with your crap, you know.
VAN ZANDT: I, on the other hand, feel, you know, the '60s are underappreciated...
VAN ZANDT: ...so, you know, there's at least five great TV series waiting to happen from the '60s, and countless movies still.
GROSS: My guests are David Chase, the creator of "The Sopranos," and guitarist, Steven Van Zandt, of Springsteen's band who played Silvio on "The Sopranos." Chase wrote and directed the new film "Not Fade Away." Van Zandt is the film's music supervisor.
More after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is David Chase, the creator of "The Sopranos," who wrote and directed the new film "Not Fade Away," which begins in 1962 and goes through 1968. It's about a band that forms in high school. And there's great music on the soundtrack, original recordings from The Stones and The Beatles and Van Morrison and The Rascals, and some originals, too. And the music supervisor for the film - who also produced the music for it - is Steven Van Zandt, who was in "The Sopranos," and is also, of course, in Bruce Springsteen's band.
So, Steven, I wanted to ask you, you know, David Chase had mentioned that one of the reasons why he wanted to make this movie about a band is that - a band that's inspired by The Rolling Stones - is that when Keith Richards fell out of that tree, David realized these guys might not be around forever, or even for much longer, and it made him want to commit to making this movie. So as somebody who's spent your life and rock and roll and who's in a band that's getting older and a band that no longer has Clarence Clemons in it - because, you know, he passed not that long ago - I'm just interested in your thoughts about getting older in rock and roll, and having started at a time when the music was still relatively young.
VAN ZANDT: Well, The Stones continue to write that book, you know. They're the ones sort of setting the pace for all future generations, and good luck keeping up with them. You know, we grew up not knowing whether this was going to be a real business or not, and it turned out to be a terrific business for a long time. We've kind of come full circle now. You know, we're kind of back to 1962 again, and the record business is kind of over.
But, you know, it was - the idea of longevity was a wonderful new way of being, you know, it was introduced at the same time as it became an art form, you know. And so the audience was able to grow up with the artists and maintain a relationship with the artists for decades, which would have been unthinkable in the '50s and early '60s. And it was really a wonderful, wonderful addition to our culture, you know. So growing old now in rock and roll is going to be a part of a normal way of looking at it, thanks to The Rolling Stones and Paul McCartney and Ringo, who are still out there and, you know, Pete Townsend and Roger Daltrey, who are still out there, you know. So...
CHASE: I mean, this is not the first generation, obviously, who says - who looks - you look at yourself in the mirror and go, my God. Where did the years go? Where did the time go? The reason there's a bigger microscope on this is because this was about youth.
GROSS: Right.
CHASE: And let's face it, one of the songs, one of the major songs from that time in 1965 was: I hope I die before I get old.
VAN ZANDT: Yeah, "My Generation," by Pete Townshend of The Who. Yeah. It was a wonderful line at the time to say that, because it just captured the perfect rebellion of the generation gap. There was a legitimate generation gap in those days, and I don't think it's happened before the '60s, and I don't think its happening since the '60s. You know, and it may never happen again, the gap being - I mean, that was a Grand Canyon of a gap between the two generations, you know. And we...
GROSS: Did you have that in your family?
VAN ZANDT: Very much so. Very, very much. My father was an ex-Marine Goldwater Republican, so you can imagine.
GROSS: Mm-hmm.
VAN ZANDT: I was one of the two freaks in New Jersey, I mean, you know, literally, you know, who had long hair and got thrown out of my high school, got thrown out of the house because of the way I looked, you know? And it was just one of those things that, you know, hopefully will never happen again, but we were an embarrassment to our parents, and our parents were completely irrelevant to us. They were like people who just, you know, whose time had come and gone, and get out of the way, you know. Make room for the new revolution, here. We're coming, you know, and you're...
GROSS: Did it remain that way for you?
VAN ZANDT: No. No. By the mid-'70s, it was a reconciliation, and their - most of their problems came from a legitimate concern, that we wouldn't be able to make a living playing music. Once, you know, thank God, Bruce hit the cover of Time and Newsweek, it really saved the relationship, because it was like, well, maybe there is something to this after all and maybe there is...
GROSS: Gosh, is that what it takes?
VAN ZANDT: Yeah, exactly. That's what it took.
GROSS: What hope does everybody else have?
VAN ZANDT: Well, by the '80s, parents were buying their kids guitars, saying please be in a rock and roll band, you know.
GROSS: True. Very true. Right.
VAN ZANDT: You know, but in the '60s, it was not a legitimate way to make a living, you know.
GROSS: Yeah. Yeah. So, let's squeeze in one more great song from the soundtrack. And I'm going to choose The Rascals, doing "I Ain't Gonna Eat Out My Heart Anymore" - one, because it's a great record, and two, because Steven, you just did The Rascals reunion.
VAN ZANDT: Yeah.
GROSS: Something you'd been really wanting to do for a while. So...
VAN ZANDT: Very proud of that, yeah.
GROSS: You inducted them into the Hall of Fame?
VAN ZANDT: They were - they're a very, very different kind of band, and a major motivating factor for me getting into the business and wanting to be in the business. And the influence of soul music and black music not more prominent in any group, even the British Invasion. Most white bands just stood there and performed and, you know, that was OK with us - Elvis Presley being an exception to the rule, Mick Jagger being an exception to the rule. The Rascals had that black gospel sort of aggressive performance style of a black band. And, you know, and here they were young white guys, and, boy, was that appealing, you know. Very.
GROSS: So I'd like you to each say a couple of words about why you love this recording and wanted to include it in the movie.
CHASE: This song was like a ripple hit for them. It was before their really big hit, which was "Good Lovin'." And I didn't hear this song until after I'd heard "Good Lovin'" at a party. Some people were dancing to it. And, on some level, it just - just the vocal is so cool. It's just so - it really rips. It just is so soulful. And I don't mean that in some kind of like a profound way. It's just really, really good. I don't know how else to explain it. And I think it just sounds so young and adolescent and yearning and blustery, you know, a...
GROSS: Mm-hmm.
CHASE: It's like this veiled threat and everything, like, it's just is like - it just expresses to me young manhood.
GROSS: Steven?
VAN ZANDT: Well, yeah, I made the basis of my entire induction ceremony in the Rock and Roll Hall of Fame talking about how I was trying to have sex with my girlfriend when it came on the radio, and I realized that the song was sexier than the sex I was having.
VAN ZANDT: And it was. It was just something so unbelievably sexy about it. The - Eddie Brigati, one of the two amazing lead singers of The Rascals - Felix Cavaliere would be the other, who would have the second single, "Good Lovin'," and it would be much bigger. But Eddie was - they were both equally good at the times for us. And Eddie even maybe even more relatable because he had a little bit of the doo-wop thing hanging around.
But then this song, the verses were spoken, which was very, very odd and made it more intimate and more adolescent in some kind of way. And more kind of snot-nosed kind of, you know...
VAN ZANDT: ...wiseguy. You know. He had a wonderful attitude. And then the guitar solo by Gene Cornish, one of the most underrated guitar players in the business, he does a completely unique riff. He's bending one string while holding another, which would influence - every single guitar player would end up using that riff.
CHASE: I mean, that first "yeah," that's it. Just right there. It's all there.
VAN ZANDT: Yeah.
CHASE: I'd never heard yeah. Even, you know, the Beatles, yeah, yeah, yeah, but I've never heard such a declaration of I guess snot-nosed exuberance.
GROSS: Thank you both so much.
CHASE: Before we go...
GROSS: Yes.
CHASE: Before we stop I just want to say as a footnote to this...
GROSS: Yes.
CHASE: ...is the reason I know Steven Van Zandt is because I saw the induction ceremony when they inducted the Rascals into the Rock and Roll Hall of Fame. My wife and I saw it on TV and I said that guy's got to be in "The Sopranos."
GROSS: Oh. Really?
CHASE: Yeah.
GROSS: What did you see in him in terms of acting in "The Sopranos"?
CHASE: Just everything you're seeing. Just he's charismatic. He's funny. He's smart. He's Italian.
CHASE: He's, you know, just I saw...
GROSS: He was doing the whole Jersey thing big-time.
CHASE: Well, he - what he did say was he said something about Jersey soul. And he talked and he dissected the song, or he dissected it, like, professionally and broke it down in words. And it was just so interesting and yet done with such panache and style. And I said - I turned to my wife and I said this guy's got to be in the show somehow. So the Rascals started that too.
VAN ZANDT: Yeah. So I owe the Rascals twice, you know, for their musical inspiration and for getting me a job.
CHASE: And it is a whole Jersey thing, I think, you know? Sort of something in there.
VAN ZANDT: We try harder.
GROSS: Well, I want to thank you both so much. David Chase wrote and directed the new film "Not Fade Away." Steven Van Zandt is the music supervisor and produced the music for the movie. Thank you both so much. A real pleasure.
CHASE: Thank you, Terry.
VAN ZANDT: Thank you, Terry. Good talking to you.
THE RASCALS: (Singing) Yeah. I admit it. You got the biggest brown eyes. And you know how to part your lips to tantalize. Sure. Yeah. You can get any man you want goin' and you do it.And don't say you don't know you do.Well, baby, I ain't gonna eat out my heart anymore. I ain't gonna eat out my heart anymore. So quit it. Ooh. I love you. I love you, I do, little girl. But you ain't gonna cheat on me. I need you, I need you, I really do, girl. Choose. Is it him or me? Is it him or me?
(Singing) Yeah. Just 'cause I ain't been sayin' it, girl, you should be ashamed of what I've been seein'. Bad. Yeah. You better watch your step or, girl, you can et you're going to lose the best thing you ever had. Well, baby, I ain't gonna eat out my heart anymore. I ain't gonna eat out my heart anymore.
GROSS: That track is on the soundtrack of the new film "Not Fade Away." David Chase wrote and directed the film. Steven Van Zandt is the film's music supervisor. Our thanks to Renegade Nation Studio where Chase and Van Zandt spoke to us from.
TERRY GROSS, HOST: There's a new collection of old-timey music from the early 1920s to the mid-'30s called "Work Hard, Play Hard, Pray Hard." Music critic Milo Miles says there's a fascinating story of how this collection came to be.
MILO MILES, BYLINE: The first thing to note about the collection of old-timey music "Work Hard, Play Hard, Pray Hard" is that it resulted from a record-discovery event that happens less and less often, and soon will likely never happen again. The music was recorded between 1923 and 1936.
Most of the sides in the set are taken from 78s collected by the late Don Wahle of Louisville, Kentucky, and rescued from Dumpster destruction in 2010 by compiler Nathan Salsburg. Nineteen of the songs have never been reissued. Piles of moldy vinyl left behind by the deceased were once commonplace - no longer. Finding worthy old vinyl no one has heard since it was new is now almost miraculous.
Fortunately, "Work Hard, Play Hard, Pray Hard" is not guided by rarity of the material. A durable, listenable song sequence seems to be the first priority, and you can't do better than starting with a sturdy, unfamiliar version of "John Henry."
UNIDENTIFIED GROUP: (Singing) John Henry was a baseball boy, sitting on his papa's knee. Picked up a hammer and a little piece of steel, said the hammer'll be the death of me. Lord, lord. The hammer will be the death of me. They took John Henry to the White House. Throwed him in the sand. Three men from the east and a lady from the west said there's not gonna be a steel driving man, lord, lord. Said there's not gonna be a steel driving man.
MILES: Nathan Salsburg has done an exemplary job of organizing these tunes from a vanished world which few folks can remember today. The "Work Hard" disc includes songs about labor and commerce. "Play Hard" gathers a selection on leisure and partying. "Pray Hard" finishes the set with songs about Christian life and the afterlife.
There's other amusing, bygone quirks in the collection. A number of spoken skits are done as introductions, ideal for an audience used to listening to music on radio programs with a vaudeville format. And why so many fiddles making sounds like mules and trains and hounds?
Well, listening to such stuff in your home was the hi-tech special effect of the early 20th century. The one dog, so to speak, on the anthology is Whit Gaydon's "Tennessee Coon Hunt," a mad mosaic of yelping and yapping fiddle, growling and hollering vocals that sure is striking, but not worth experiencing more than two or three times. With other performers, such as Warren Caplinger's Cumberland Mountain Entertainers, the non-music parts are at least as spirited as the playing that follows.
ANDY: Hello, Buzz. How you feeling this evening?
BUZZ: Fine, fine.
ANDY: Say, I'm going to have a dance here tonight now and the folks is coming down out of the holler. I'd like to have you boys clean up this barn. Let's get ready for this thing.
UNIDENTIFIED GROUP: This barn? We can run out...
ANDY: Get that old cow back out of the way and take the calf along with her too, will you? One, you get the hay shoveled out out of the way back there.
BUZZ: All right. All right.
ANDY: George, put that corn and oats over in one corner.
GEORGE: All right. This calf don't wanna go, Andy.
ANDY: Take the calf right along with her. Take the calf out along.
GEORGE: Sure.
ANDY: Now this looks all right. This looks pretty clean around here. George, how your fiddle? In tune?
Oh, that's fine. How's your banjo, Willie?
That's good. That's good. How's your guitar, Albert?
Oh, that's splendid. Now let's play that ol' piece "Old MacDonald Had a Farm." That's great. That's great, boys. That's it, now.
(Singing) Old MacDonald had a farm. He-hi-he-hi-ho. On that farm he had some chicks. He-hi-he-hi-ho. Chick, chick here and a chick, chick there. Here a chick, there a chick, everywhere. Old MacDonald had a farm. He-hi-he-hi-ho.
MILES: There's a lot of variety on "Work Hard, Play Hard, Pray Hard" - even a complaint about the rise of chain stores - but the currents of long-ago lives come through: the drudgery of the work that demanded the release of the party, which then required the penance of prayer.
The spare, rural nature of the religious songs on the third disc is particularly striking, almost better when they sound distant, unknowable, mysterious. John Jeremiah Sullivan puts it best in his liner notes to disc three, writing about the obscure "Beyond the Starry Plane" by the Red Brush Singers: I understand hardly any of the words. From the abyss of the static come "Dear Mother" and "No Matter What I Do" and "We Shall Meet Again" and "Jesus is My God."
I listen to this song and imagine Don Wahle listening to it, leaning forward to hear it better, an infinitesimal point of communion. There's a starry plane of such communion all over this collection, waiting to be heard anew after so many years.
RED BRUSH SINGERS: (Singing) One day I'll meet you, Mother, beyond the starry plane. Where she'll not be a burden and she'll be well again.
GROSS: Milo Miles reviewed "Work Hard, Play Hard, Pray Hard" on the Tomkins Square label. You can download podcasts of our show on our website freshair.npr.org and you can follow us on Twitter @nprfreshair and on tumblr at nprfreshair.tumblr.com.
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.

subset: commoncrawl


text:
We offer genuine Samsung parts sourced from Samsung Authorized Distributors for Galaxy Note 10 Lite Back Glass/Cover Replacement.
Please double-check the model code on the back of the phone. This service is for the model(s): SM-N770F
If the service you need is currently not in stock, please send us a message and we will order the required part for you.
How to book:1. Add the required service(-s) to the cart
2. At the checkout please select:
- Ship - Select this Mail-in option if you would like to send your device to us. (Please note that the shipping fee only covers the cost of returning the device to you.)
- Visit us in store - Select this Walk-In option if you would like to bring your device to us by yourself
3. Continue to payment, enter your details and click Pay Now
4. If you chose to visit us in store, please wait till you receive an email saying that your order is ready, before bringing your device to us.
If you chose an option to Ship please pack your device well and send it to:
Phone Fix Craft
179 Crumlin Road
Dublin 12
Please use registered post or courier to send your device to us and don't forget to include your order number so we would know where it came from.


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This plugin adds credits to the media uploads: Source and source URL. URLs are nofollow (no follow) by default, but you have the option to follow them. With a shortcode and various options to display image credits in the posts.
The three display options of the credits are:
- Shortcode: [image-credit] with optional attributes are
. - Template Tag:
with optional parameters aresep
. - Display the credits automatically before or after the content.
There is a setting page in SETTINGS / IMAGE CREDITS that allows to setup the automatic credit display, including the HTML definitions.
This plugin is a fork of the Better Image Credits plugin by Claude Vedovini, which is a fork of the Image Credits plugin
by Adam Capriola. This plugin is 100% compatible with both of them, so if you are already using the Image Credit plugin or the Better Image Credit plugin, just replace them
with this one and it will work about the same way, including the nofollow of the Source URL of the images.
The main difference with the "Image Credits" plugin is that you can choose that the plugin automatically adds the credits before or at the end of a post.
The main difeerence with the "Better Image Credits" plugin is that the Source URL links are NOFOLLOW by default and you can choose to make it DOFOLLOW if you want. We also removed the OVERLAY display option, which included additional Javascript and we think is not usefull because of the compatibility problems with the different themes.
What can I do with this plugin?
This plugin adds the Source Name, Source URL and the option to follow the Source URL link to the media uploaded in WordPress.
And this image credits can be displayed in three different forms.
How do I configure the plugin?
Please navigate to SETTINGS / IMAGE CREDITS and choose options or fill in the data. Everything is self-explaining, incluiding help texts.
IMAGE CREDITS NOFOLLOW in your Language!
This first release is avaliable in English and Spanish (image-credits-nofollow-es_ES). In the languages folder we have included the necessary files to translate this plugin.
Other available languages:
- Turkish translation by Burak Demir (image-credits-nofollow-tr_TR).
If you would like the plugin in your language and you're good at translating, please drop us a line at Contact us.
Further Reading
You can access the description of the plugin in Spanish at: Image Credits Nofollow en castellano.
For further information please send us an email.
Translating WordPress Plugins
The steps involved in translating a plugin are:
- Run a tool over the code to produce a POT file (Portable Object Template), simply a list of all localizable text. Our plugins allready havae this POT file in the /languages/ folder.
- Use a plain text editor or a special localization tool to generate a translation for each piece of text. This produces a PO file (Portable Object). The only difference between a POT and PO file is that the PO file contains translations.
- Compile the PO file to produce a MO file (Machine Object), which can then be used in the theme or plugin.
In order to translate a plugin you will need a special software tool like poEdit, which is a cross-platform graphical tool that is available for Windows, Linux, and Mac OS X.
The naming of your PO and MO files is very important and must match the desired locale. The naming convention is: language_COUNTRY.po
and plugins have an additional naming convention whereby the plugin name is added to the filename: pluginname-fr_FR.po
That is, the plugin name name must be the language code followed by an underscore, followed by a code for the country (in uppercase). If the encoding of the file is not UTF-8 then the encoding must be specified.
For example:
- en_US � US English
- en_UK � UK English
- es_ES � Spanish from Spain
- fr_FR � French from France
- zh_CN � Simplified Chinese
A list of language codes can be found here, and country codes can be found here. A full list of encoding names can also be found at IANA.
- Upload the
folder to the/wp-content/plugins/
directory (or to the directory where your WordPress plugins are located) - Activate the IMAGE CREDITS NOFOLLOW plugin through the 'Plugins' menu in WordPress.
- Plugin doesn't need any configuration.
Please use with WordPress MultiSite at your own risk, as it has not been tested.
What is IMAGE CREDITS NOFOLLOW good for?
- This plugin adds the Source Name, Source URL and the option to follow the Source URL link to the media uploaded in WordPress.
- The three display options of the credits are: Shortcode, Template Tag or let the plugin display the credits automatically before or after the content.
Does IMAGE CREDITS NOFOLLOW make changes to the database?
The plugin doesn't make any changes to the database, but it adds new META-DATA for the MEDIA you edit. Every time you add a Source Name, Source URL and the option to follow the Source URL, this is added as metadata to the database.
How can I check out if the plugin works for me?
Install and activate. Go to the MEDIA library and edit any image. There should be new fields to introduce: Source Name, Source URL and the option to follow the Source URL link.
How can I remove IMAGE CREDITS NOFOLLOW?
You can simply activate, deactivate or delete it in your plugin management section.
Are there any known incompatibilities?
Please use it with WordPress MultiSite at your own risk, as it has not been tested.
Does it work with image galleries?
Unfortunately it doesn't work with image galleries. Only with media inserted in posts / pages and the thumbnails.
Are you planning to make it work with image galleries?
We normally don't use image galleries, so maybe in the future we develop this function, but it's not one of our priorities. Sorry :-).
Do you make use of IMAGE CREDITS NOFOLLOW yourself?
Of course we do. 😉
Laguntzaileak eta Garatzaileak
"Image Credits nofollow" software librea da. Ondoko pertsonek egin dizkiote ekarpenak plugin honi.
LaguntzaileakImage Credits nofollow 113 eskualde-ezarpenetara itzuli da. Eskerrik asko itzultzaileei beraien ekarpenengatik.
Itzul zaitez Image Credits nofollow zure hizkuntzara.
Garapena interesatzen zaizu?
Araka kodea, begiratu SVN biltegia edo harpidetu garapen erregistrora RSS bidez.
Aldaketen loga
1.4.1 (12dec2022)
- Solved deprecated notices in PHP 8.x: Creation of dynamic property BetterImageCreditsAdmin::$plugin is deprecated (line 6( & Creation of dynamic property ImageCreditsNofollowPlugin::$admin is deprecated (line 85)
1.4 (19sep2022)
- FIX: Remove
function call which is deprecated.
- Update to also show images in galleries. Thanks to Ivan de la Jara.
- Update to show image credits also on pages when option is checked in configuration. Until now the image credits were only shown on posts.
- Update to not show image credits in posts excerpts. Now the image credits are only shown on single pages when selected show before or after text.
- First stable release.
- Beta release.


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Report Says New Mexico Prison Phone Companies Still Gouging Families
Report Says New Mexico Prison Phone Companies Still Gouging Families
by Dave Maass
The phone is ringing; you pick it up. An operator announces it's a collect call – your spouse, sibling, child – from prison. Will you accept the charges?
Good luck finding out what those charges will be.
Family members of prisoners complain of 45-minute waits for customer service operators and billing statements that never arrive. The rates vary wildly depending on the institution – from $2 to $6 per 15-minute slot, plus a dollar for every finished call. Some companies charge $6.95 surcharges for credit card transactions, others require $50 minimum deposits into a prisoner's phone account, some charge another $15 to get unused balances back.
All in all, rates for long-distance calls within New Mexico are "not just or reasonable," New Mexico Public Regulation Commission Utility Analyst John J Reynolds concludes in his Jan. 23, 2009 testimony in a rate case that has been going on since 2007. He also says the companies may be breaking the law.
"You hear reports of folks ending up with four or five, six, $700 a month in phone bills from detention facilities before they realize how big the costs are," PRC Chairman Sandy Jones, who has held three open meetings across the state on the issue, tells SFR. "Keep in mind, they don't have a choice. The inmate has to use the service."
Individual detention institutions have the authority to negotiate phone-service contracts. In New Mexico, three companies – Securus Technologies, Public Communications Services and Conversant Technologies – dominate the $9.85 million-per-year industry, with several others bidding on federal, state, county and municipal contracts.
Despite the competition, Reynolds discovered, New Mexico's in-state long-distance rates are 65 percent higher than those in New York, 140 percent higher than in Missouri and 471 percent higher than in Rhode Island.
These states, like New Mexico, prohibit prisons from making money off prisoner calls by charging commissions.
"These phone rates were so high that families and inmates could not keep in touch with one another," state Rep. Gail Chasey, D-Bernalillo, original sponsor of the 2001 bill banning the practice, says. "You've got somebody from Farmington whose family member is imprisoned in Hobbs. They're not going to be down there every weekend. That's just impossible, so the phone is a lifeline."
Both Jones and Chasey agree that inmate phone service is a public-safety issue: Prisoners who maintain strong relationships with their families are less likely to reoffend, they say.
Although prisoner phone service is more expensive because of the need to monitor calls, the prison-to-prison rates in New Mexico are still significantly incongruent.
Reynolds says "the only conclusion" that can be drawn from this rate disparity is that some companies and prisons are ignoring or circumventing the ban on commissions.
In 2002, the Albuquerque Journal reported that Public Communications Services skirted the law by offering Bernalillo County a $950,000 incentive for "cable and wiring" in order to score a contract with the Metropolitan Detention Center.
In 2007, two companies bid for Santa Fe County's jail phone system. Conversant Technologies sued Santa Fe, alleging that bid-winner Securus Technologies had offered the county $50,000 for an undefined "one-time technology grant." Santa Fe County countered that Conversant had acted equally improperly by offering the county $52,000 for similar services. The county turned down both incentives and settled on Securus.
"The service [Securus] offers to us [is] considerably, considerably better," Santa Fe County Corrections Director Annabelle Romero says. "The cost to an inmate is probably a third of what it was before, so I'm pretty proud about that."
Reynolds suggests in his testimony that the PRC set a flat rate of 10 cents per minute for all in-state calls.
The PRC will have an open hearing in early April on the prison phone-rate case and, until then, phone companies and other interested parties will have an opportunity to respond with their own testimonies.
"It's a competitive bidding process with regard to correctional facilities," Jeff Albright, the attorney representing PCS, which controls more than 30 percent of the market, says. "It's a balance of being able to provide reasonable rates for customers, who are often friends and family of inmates, as well as what the needs of the individual facilities are ... we think PCS does strike a good balance between competing demands."
Prisoner families, however, currently have no representation before the PRC or in negotiations between prisons and phone contractors. One prisoner family member, who asked not to be identified, filed a letter with New Mexico Attorney General Gary King's office, requesting his office's representation.
"What I would like is for there to be an investigation into all the contracts," the family member tells SFR. "Inmates' families are citizens, they're not incarcerated or convicts, but they're footing the bill."
King's office did not respond to the letter or to a Jan. 3, 2009 follow-up.
Spokesman Phil Sisneros says King, whose mother Alice King was an advocate for prisoners' families, is apprised of the situation. However, the Attorney General's Office cannot legally represent individuals.
This article is reprinted with permission of the Santa Fe Reporter (www.sfreporter.com), where it was originally published.
As a digital subscriber to Prison Legal News, you can access full text and downloads for this and other premium content.
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text:
Subscribe to this iCalendar Feed
You can subscribe to this calendar if you have calendar software that accepts the iCalendar format:
Copy the link below.
Paste the link into your calendar software.
If you are using Outlook 2007 copy and paste this link into a new web browser window and Outlook will automatically ask you if you wish to add the iCal feed.
Looking for an application that supports iCalendar feeds? Try Google Calendar.
NOTE: You may receive error messages while importing iCalendar feeds into Outlook 2007. You can safely ignore these errors as they do not effect the functionality of the feed.


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Why buy here pay here El Paso TX car dealerships is the right option?
Usually, when you sign a contract to buy a car with a traditional car dealership, it involves a third party to provide loan for the vehicle. These auto lenders generally have very strict standards for getting the car loan approved. Therefore, the people with bad credit have to deal with car loan rejection. This is where Buy Here Pay Here El Paso TX car dealership comes which provides easy loan for the vehicle. With a buy here, pay here dealership, the dealer takes care of the entire buying process from selling the car to financing the car on its lot.
BHPH El Paso TX dealerships work with a very straightforward process where buying a car and getting financed at the same time is made pretty simple. They specially work with people with poor or no credit. So no worries even if you have poor credit. Most of the time, the customer can drive their new vehicle the same day they visited the shop. This is an amazing experience you will ever have.
How Buy Here Pay Here El Paso TX Works
When the bank says no to your car loan, the buy here pay here El Paso TX car lots comes to guide you in the right direction to help you get the car of your choice. The process of buying used cars from a buy here pay here El Paso TX dealer is pretty simple which starts with your visit to any of the dealers listed here. You tell them your car requirement including a specific car model you're looking for and overall budget. Based on your budget, the dealer shows you a number of cars with desired car models. Once you find the car of your choice, the dealer works with their own exclusive lender for financing the car. The dealer completes the small paper work and hands over the vehicle to you mostly on the same day.
Buy Here Pay Here El Paso TX car lots – In-House Financing with Zero Down Payment
After considering your monthly income and current situation, the dealer may offer you the purchase with no down payment at all. Even if there is any scope of down payment depending upon credit and the price of the vehicle then it starts with a very small amount. Overall, they provide you very customized and flexible financing option that best suits your particular situation.
Usually, the payment cycle runs monthly and the loan term can run between 6 months to 5 years, heavily depend on the price of the car and the upfront payment you make.
To make the buying process easier, most of the buy here pay here dealers don't require expensive full coverage car insurance instead they provide vehicle with full coverage that covers repair and maintenance part. This ensures that the vehicle is fully protected.
Know the Facts - Buy Here Pay Here El Paso TX Car lots Dealership
The one thing is very true about buy here pay here El Paso TX is that it brings you the best conditioned cars with low miles and a good engine and all is made available at flexible financing options. But when you get your vehicle financed through a dealer's in-house financing, the interest rates on loan are higher than the loan from a bank or credit union.
The most of the buy here pay here dealers report the customers' payment record to significant credit bureau which results into a positive effect on your credit score. Thus, by making timely payment, it does help to improve your credit score.
Because these El Paso TX dealers deal with people with poor credit, so there is high risk in financing the vehicle to such people and that is why most of the vehicles are installed with tracking device to help locate the vehicle's current location for repossession, in case the customer fails to make the payment.
Buy Here Pay Here El Paso TX – Fast Approval Low or no credit score
The buy here pay here El Paso TX dealers come with their in-house financing program that doesn't take more than an hour to process the loan. This is a kind of service you will not get from regular dealers. This saves you a lot of time as well as gives you a hassle free car buying experience.
Unlike regular dealers, BHPH dealers are more transparent about their pricing and terms of loan which gives peace of mind to the customers.
BHPH El Paso TX Dealer – Preapproval of Application
However, it is mandatory to visit the dealer shop to find the vehicle of your choice, but if you want to confirm beforehand whether the dealer will accept your loan application or not, then you can send your requirement online. Once the BHPH El Paso TX dealer confirms the approval of your application, you can schedule your visit to make the purchase. This again saves you time that you would have spent at dealership.
Advice on BHPH dealership El Paso TX
Generally, we advice customers to go to the traditional lenders first such as banks, credit unions, or finance company. But if your application gets rejection from all of these traditional options then BHPH dealers are the one who can make things possible for you irrespective of your poor credit score.
Unlike traditional lenders, BHPH dealers understand the fact that genuine people may have bad credit score either due to huge medical bills or unexpected divorce or any other family issues. Therefore, they show the trust on these people and make the purchase possible for them.
Average Credit Score to Buy a Used Car from BHPH dealer El Paso TX
The credit score becomes very crucial when it comes to getting loan approval especially when it is through traditional financer like bank or credit union.
If a customer is looking to buy a used car through traditional financing in El Paso TX, then credit score of that customer must be above 600. Anything below 600 only leads to application rejection.
While buy here pay here El Paso TX accepts the request of these customers also who have credit score below 600. They provide loan on used car through special financing program. Thus, BHPH El Paso TX is a great option for those who have poor bank record and bad credit score.
The credit score does not only determine the approval or rejection of the loan application but it also determines the interest rate. The lower the credit score will be, higher the interest rates you will pay. The BHPH dealers vary in interest rates, so you should compare their interest rates properly before venturing into any agreement.


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Maine Income Tax Brackets (Tax Year 2000)
Tax Bracket | Tax Rate |
$0.00+ | 2% |
$4,149.00+ | 4.5% |
$8,249.00+ | 7% |
$16,499.00+ | 8.5% |
eFile your Maine tax return now
eFiling is easier, faster, and safer than filling out paper tax forms. File your Maine and Federal tax returns online with TurboTax in minutes. FREE for simple returns, with discounts available for Tax-Brackets.org users!
File Now with TurboTaxThis page shows Tax-Brackets.org's archived Maine tax brackets for tax year 2000. This means that these brackets applied to all income earned in 2000, and the tax return that uses these tax rates was due in April 2001.
Both Maine's tax brackets and the associated tax rates have not been changed since at least 2001.
The latest available tax rates are for 2023, and the Maine income tax brackets have been changed since 2000.
2001 Maine Tax Deduction Amounts
Tax-Brackets.org also maintains an archive of important Maine income tax exemption amounts, including the Maine Standard Deduction, the Maine Personal Exemption, and the Maine Dependent Deduction. The values of these deductions for tax year 2000 are as follows:
Standard Deduction (Single) | Standard Deduction (MFJ) | Personal Exemption | Dependant Exemption |
$4,400.00 | $7,350.00 | $2,850.00 | $2,850.00 |
Sources & Citations
Disclaimer: While we do our best to keep our historical Maine income tax rates up to date and complete, we cannot be held liable for errors or omissions. Is info on this page missing or out-of-date? Please let us know so we can fix it!
Tax Data Sources:
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Thursday, April 1, 2010
Pork Tenderloin Baked in a Salt Crust - March Recipes to Rival
Browned Roast Set on a Bed of Salt
Roast Buried in Salt
Tenderloin After Roasting and Removal of Salt Crust
Plated Pork Tenderloin
From the kitchen of One Perfect Bite...It's time for the March challenge at Recipes to Rival. This month's challenge, chosen by Temperama of High on the Hog, was roasting a whole fish in a salt crust. She gave us the option of using another protein for the exercise and that's what I decided to do. Bob and I had our first sampling of salt crusted meat in China. Once home, I learned how to roast a whole salt crusted chicken that was a reasonable facsimile of what we had eaten in Asia. I first thought I'd use that for this month's challenge but there were a couple of drawbacks. It was neither quick nor easy to do and Bob pointed out that it had absolutely no color and was singularly unattractive. He also reminded me of the burns I received from the hot salt. I remembered a recipe that I'd seen and clipped for a pork tenderloin that was roasted in a salt crust, but, of course, couldn't find it. Google to the rescue. I found another recipe in an article written by Ezra Klein for The American Prospect and decided to use it for the challenge. The recipe originally appeared in the L.A. Times. The procedure is quite simple and, if you're the least bit adventurous, I urge you to give it a try. While I think the merits of salt crusted roasting are overrated, that doesn't mean it shouldn't be tried. So, if you have time and an obscene amount of salt, I urge you to expand your cooking repertoire. You won't hate the finished product. There are basically three ways to salt roast. Loose salt is most often used with vegetables and shellfish. Shellfish are buried in already hot salt, while vegetables will have salt poured over them. Another method combines salt with water to produce a mixture that looks like wet sand. The "sand" is packed by handfuls over whatever is being roasted. Salt can also be mixed with egg whites before roasting. Some think the egg whites make the "whatever" roast less salty. Interestingly, none of these methods produce something that is unbearably salty, but you'll have to be the final judge of that. Here's the recipe for salt crusted pork tenderloin. Enjoy!
Pork Tenderloin Baked in a Salt Crust...from the kitchen of One Perfect Bite, courtesy of Ezra Klein and the L.A. Times
2 tablespoons snipped rosemary leaves
6 cups coarse salt
3 tablespoons vegetable oil
1 (1 1/4 -pound) pork tenderloin
1 pound fingerling potatoes, scrubbed but unpeeled
1 tablespoon butter, at room temperature
1 teaspoon minced shallots
1) Heat oven to 400 degrees. Combine rosemary and salt in a large mixing bowl and stir in 1 cup of water. Mix until texture is like gritty snow or sand.
2) In a large skillet, heat oil until it shimmers. Pat pork tenderloin dry with paper towels and sear it in hot oil until it is browned on all sides, about 8 minutes.
3) While pork is browning, spoon a layer of salt about one-fourth-inch thick in bottom of a gratin or baking dish just big enough to hold pork and potatoes in a single layer.
4) When pork is browned, pat it dry with a paper towel to remove any excess oil and place it in center of gratin dish. Arrange potatoes around the outside and cover everything with remaining salt.
5) Roast until pork reaches an internal temperature of 145 degrees, about 20 to 25 minutes. At this point, pork will be quite moist but still a little pink. If you prefer pork to be more cooked, push temperature to 150, about 5 more minutes. Remove baking dish from the oven and let set 5 minutes to finish cooking.
6) With a sturdy metal spoon or chef's knife, chip a crack around base of salt crust and carefully lift off top. Use a dry pastry brush to brush away any salt on surface of potatoes or pork, turning pork over to brush all sides. Transfer pork to a carving board. Slice pork into medallions one-fourth-inch thick and arrange on a serving platter. Place potatoes in a medium bowl and toss with the shallots and butter just until coated, discarding any excess butter. Arrange potatoes around outside of pork and serve immediately. Yield: 3 to 4 servings.
You might also enjoy these recipes:
Tuscan Herb Roasted Chicken - One Perfect Bite
Chipotle Marinated Pork Tenderloin - One Perfect Bite
Roast Pork with Raspberry Balsamic Glaze - One Perfect Bite
36 comments :
- Sonia ~ Nasi Lemak Lover said...
Mary,this look very similar to Chinese roast pork, but we prepared with the skin on and must roast till crispy skin..Your pork also looks good.
- April 1, 2010 at 12:45 AM
- tasteofbeirut said...
I love to prepare pork tenderloin for the ease and speed of cooking; I had been wanting to try a salt crust for a long time but never followed through; I think I should now!
- April 1, 2010 at 1:22 AM
- Martha said...
I've never done this but have seen it done on FN. It's an interesting preparation.
- April 1, 2010 at 1:27 AM
- Sasha said...
This looks delicious. What an interesting way to cook a tenderloin.
- April 1, 2010 at 1:34 AM
- ♥Sugar♥Plum♥Fairy♥ said...
MAry , i love reading ur article, was supposed to make this yesterday but a little leg injury set me back:-(((
But now am glad so so glad for ur article dear...its super....armed with all ur tips maybe i'll do something ,i was thinkn of shrimps:-)))
I am excited to try the salt crust too:-)) - April 1, 2010 at 3:15 AM
- Ana Powell said...
Gosh, the meat really looks moist.
I have some pork tenderloin in the freezer and I loved your recipe.
Many thanks x - April 1, 2010 at 3:22 AM
- Allie and Pattie said...
Mary, I tend to agree- I know it's been a bit of a trend, but I HAVE found salt- roasting not all it's cracked up to be. I haven't tried it with pork tenderloin- might have to give it a go
xoxo Pattie - April 1, 2010 at 5:17 AM
- 3 hungry tummies said...
Looks perfectly cooked. There is a famous Chinese dish that cook a whole chicken covered with rock salt so I can imagine how good this must be!
- April 1, 2010 at 6:00 AM
- Sushma Mallya said...
lovely pics mary!!
- April 1, 2010 at 6:41 AM
- Deana Sidney said...
I have never tried roasting in salt.. but a friend was just over the moon about a fish he did that way and now you... looks like I need to try this technique!
- April 1, 2010 at 8:13 AM
- Debbi Does Dinner Healthy said...
I've never seen this but it certainly looks interesting. We LOVE salt so this may be something I'll do in the future. Thanks for a great idea!
- April 1, 2010 at 9:00 AM
- Arlette said...
This looks incredible,never heard about roasting meat in salt. I Know about roasting the fish in salt and they add egg whites to bind it and make it hard. Your method is new and intersting.
I have to give it a try
(how salty does it taste) - April 1, 2010 at 9:37 AM
- Zoomie said...
You take the most beautiful pictures! Love the even light and rich, saturated colors. I have photo envy.
- April 1, 2010 at 9:54 AM
- My Little Space said...
Other than pork, we also do it with chicken but wrap with parchment paper. We called it 'beggars chicken' but some called it 'The Emperor Chicken'! The difference is the ingredients used to marinade the chicken.
- April 1, 2010 at 10:13 AM
- ♥ Kathy said...
I love fish in a salt crust and have made it before. I've never tried it with pork loin but now I want to!
- April 1, 2010 at 10:44 AM
- La Bella Cooks said...
Interesting! I would never have thought to salt-crust my pork but it is definitely worth a go.
- April 1, 2010 at 11:54 AM
- Arlette said...
Mary I have something for you on my blog.
- April 1, 2010 at 12:28 PM
- Katie @ Cozydelicious said...
Very interesting! I have been wanting to try salt crusted fish for some time, but have before seen a recipe for salt baked pork. It looks yummy (if a bit messy to prepare!) so maybe I'll skip the fish and try this instead. Thanks!
- April 1, 2010 at 1:10 PM
- Joanne said...
You had me at pork and salt. Which are basically too of my most favorite tings. On this earth.
- April 1, 2010 at 1:38 PM
- Bob said...
Well, despite the tepid review I do happen to have a bunch of time and can get an obscene amount of salt so I'm going to have to try this. ;)
It looks great! - April 1, 2010 at 1:42 PM
- Karen said...
I've always wanted to try a salt-crusted fish, but my gardener thinks it would be too salty. I'm glad to know it doesn't really affect the meat.
- April 1, 2010 at 4:16 PM
- Valérie said...
I've been intrigued by salt-crusted preparations for a while, but they intimidate me... Thank you for sharing and making it look accessible - and yummy!
- April 1, 2010 at 5:51 PM
- DailyChef said...
Interesting! I've never done the whole salt-crusting thing before. It looks delicious, Mary.
- April 1, 2010 at 6:02 PM
- Rambling Tart said...
Ohhh, the meat looks wonderfully tender and flavorful. What a fun way to cook! :-)
- April 1, 2010 at 7:47 PM
- Kim said...
Your pork turned out perfectly cooked, with just a hint of pink in the middle. Delicious.
- April 1, 2010 at 10:40 PM
- Deb in Hawaii said...
It looks good--the pork looks so moist and tender.
- April 2, 2010 at 4:50 AM
- MaryMoh said...
What an interesting way of cooking! Must be very flavourful and delicious.
- April 2, 2010 at 6:10 AM
- Namitha said...
Salt crust..that's completely new to me..That's a wonderful platter :-)
- April 2, 2010 at 10:40 AM
- Carla and Michael said...
Mary, I'd never heard of salt crusting anything except fish before now. You've opened up my eyes to a whole new world. This looks mouthwateringly tender. Thanks again.
- April 2, 2010 at 10:44 AM
- Beverly said...
My family loves pork tenderloin. I've always wanted to try this method. Thanks for the recipe.
- April 2, 2010 at 11:41 AM
- D said...
Mary it looks like another wonderful recipe! and we do love a sweet and lean pork tenderloin.
We love going to the coast during storms and especially walking the beach and picking stones. Mary, we wish you and Bob a wonderful weekend and many blessing this Easter season. - April 2, 2010 at 3:12 PM
- Nabia said...
Mary, I think I will try making salmon this way :-)
- April 2, 2010 at 5:36 PM
- Marilyn Miller said...
Thanks for visiting me today. You have some delightful recipes here. I love that you make Limoncello and the pork roast looks wonderful. Where in the NW are you? - April 2, 2010 at 8:10 PM
- Mary Bergfeld said...
Marilyn, I'm in Eugene.
- April 2, 2010 at 9:12 PM
- Andreas said...
Interesting technique. Maybe something to try next Christmas.
- April 3, 2010 at 10:03 AM
- natalia said...
How lovely !
- April 5, 2010 at 5:39 PM


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Blue Skies, Marine.
The Department of Defense announced today the death of a Marine who was supporting Operation Enduring Freedom.
Sgt. Matthew J. Deyoung, 26, of Talent, Ore., died Feb. 18 while supporting combat operations in Helmand province, Afghanistan. He was assigned to the 2nd Reconnaissance Battalion, 2nd Marine Division, II Marine Expeditionary Force, Camp Lejeune, N.C.
For additional background information on this Marine, news media representatives may contact the 2nd Marine Division public affairs office at 910-378-6193 or http://www.marines.mil/unit/2ndmardiv/Pages/Media/default.aspx .


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Starting Sunday, Feb. 10, the IRS will start processing tax returns that contain Form 4562, Depreciation and Amortization. And on Thursday, Feb. 14, the IRS plans to start processing Form 8863, Education Credits.
This step clears the way for almost all taxpayers to start filing their tax returns for 2012. These forms affected the largest groups of taxpayers who weren't able to file following the Jan. 30 opening of the 2013 tax season.
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The IRS also announced today it will start accepting the remaining forms affected by the January legislation the first week of March. A specific date will be announced later. Most of those in this group file more complex tax returns and typically file closer to the deadline or obtain an extension.
February 11, 2013 12:00 am


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In my campaign, Vladimir is in the process of creating a son for himself and I decided we needed rules to cover how this would work. Basically, a dwarf gets one chance per level to imbue his son with life. His player rolls 1D20 and adds the character's current level as a bonus. If the final result is 20 or more, the carving comes to life. This roll requires a minimum 10,000 gp investment in materials, however, with an additional +1 bonus to the carving roll for each additional 10,000 gp invested. Consequently, most low-level dwarves will not be able to make a carving roll, unless they're very lucky and/or diligent when it comes to seeking out loot. The investment bonus carries over from level to level, so a dwarf who invests 10,000 gp at level 5 and then invests 20,000 gp at level 6 gets a +3 bonus the next time he makes a carving roll (in addition to the +6 he gets from being 6th level).
There are some wrinkles to this system, of course. A roll of 1 is not just a failure but a critical one, resulting in something unusual occurring, according to the following table:
1D6 Roll | Result |
1-2 | Gnome |
3-4 | Inert |
5-6 | Knocker |
Gnomes are an offshoot race of dwarves, created when something goes awry in the process of carving a dwarf son. Gnomes and dwarves have a complicated relationship, something I'll discuss in a couple of days in a separate entry. A knocker is a twisted dwarf, one so obsessed with gold and gems that it retreats into mines, dungeons, and other such subterranean locales in order to sate its lust for riches. Knockers are selfish, malevolent creatures with a penchant for trap-making and cruel practical jokes on other beings, most especially dwarves. A result of "inert" means that the carving is "stillborn" and unusable. The dwarf must start work over again on a new son. Inert dwarf sons are never discarded or destroyed. Instead, they are given a place of honor somewhere safe, often within a dwarf hold, which typically has a large "cemetery" filled with sons whose carvings failed to bring them to life.
A newly-carved dwarf is level 1 and has the same ability scores as his father. There is a 10% chance per ability score that it might be higher (or lower) than that of his father, owing to some quirk in the process of his carving. Roll 1D6, with even numbers conferring a +1 bonus to the ability score and odd numbers a -1 penalty. The new dwarf also owes his father an amount equal to the cost spent in carving him. Each month, there is a 75% chance the father will receive 1d12 x 100 gp from his son in partial repayment of this debt. The other 25% of the time, he receives nothing. This money cannot be converted into experience points, while the cost of carving a son can. (Remember that, in my campaign, only gold spent earns XP)
A dwarf PC, by the way, begins play in debt as well, to the tune of 1D10 x 10,000 gp. He is not under any obligation (other than a social one -- dwarves who don't attempt to repay their fathers are ostracized by others of their kind) to make good on this debt, although any money spent in doing so earns XP at the usual rate. Paying off a debt, however, does have one mechanical benefit. Usually, dwarves are limited to level 8 in advancement. For every 25% of their debt they pay off, they may advance an additional level, up to a maximum of 12.


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Our team of specialists and staff believe that informed patients are better equipped to make decisions regarding their health and well being. For your personal use, we have created an extensive patient library covering an array of educational topics. Browse through these diagnoses and treatments to learn more about topics of interest to you. Or, for a more comprehensive search of our entire Web site, enter your term(s) in the search bar provided.
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Kaposi's Sarcoma is a cancerous lesion that can occur on the soles of the feet. The disease is usually associated with HIV infection and/or AIDS. The lesion is irregular in shape and has a purplish, reddish, or bluish-black appearance. Kaposi's Sarcoma lesions tend to spread and form large plaques or become nodular. The nodular lesions have a firm, rubbery appearance.


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7 Signs of Arthritis in Cats
How to Spot Arthritis in Cats
By Lorie Huston, DVM
Arthritis is one of the most common ailments seen in middle-aged to older pets. Even younger cats, under the right circumstances, can suffer from arthritic changes. Arthritis causes changes within the affected joints that are painful for the affected pet. This pain is responsible for many of the signs associated with arthritis in cats. Here are seven of those common signs.
1. Limping
You may see your cat limping or favoring one or more of his legs, depending on which legs and which joints are arthritic. In some cases, the limp may seem worse when your cat first rises and become less noticeable as your cat "warms up" by moving around.
2. Difficulty Moving
Your cat may also become reluctant to do things that were previously easy for her to accomplish. For instance, your cat may stop jumping onto countertops, perches and other high areas because of the pain and discomfort.
3. Spinal Issues
Arthritic changes can occur not only in the legs but also in the various parts of the spine. These changes may result in a sore neck, an abnormal posture with a "hunch" in the back, or lameness of one or both hind legs.
4. Tiredness
Your cat may tire more easily. For cats, this may mean less motivation to play games and signs of pain when she does. Your cat may also spend more time sleeping and/or resting.
5. Irritability
Arthritic cats may become irritable. They may snap and/or bite when approached or handled, particularly if the petting or handling takes place in a manner that increases their pain.
6. Muscle Atrophy
Arthritic cats often develop muscle atrophy or dying off of the muscle tissue due to inactivity and decreased use of the muscles. A cat with atrophied muscles in their legs will have a leg which looks thinner than a normal leg.
7. Licking, Chewing & Biting
Cats affected with arthritis may also begin to lick at, chew or bite at body areas that are painful. This may even reach the point of causing inflamed skin and hair loss over affected areas.
Arthritis Treatment for Cats
Though arthritis cannot be cured, there are various remedies and procedures that can help ease the pain for your cat. Consult your veterinarian for advice if you believe your cat is suffering from arthritis.
Arthritis in cats can be particularly hard to spot. Many arthritic cats simply become less active. Often, this change in behavior corresponds to the cat becoming older and a cat owner may simply assume that the change is normal when, in fact, your cat may actually be decreasing his activity level because he is in pain due to arthritis.


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SAN DIEGO – Some dolphins used by the Navy to track down mines will soon lose their jobs to robots — but they'll be reassigned, not retired.
Starting in 2017, 24 of the Navy's 80 military-trained dolphins will be replaced by a 12-foot unmanned torpedo-shaped vehicle, according to UT San Diego (http://bit.ly/VbJkA0).
The military said the machines can do some of the same mine-hunting duties as the sea creatures. And they can be manufactured quickly, unlike the seven years it takes to train a dolphin.
But the dolphins won't be relieved of duty. They'll be used along with sea lions for port security and retrieving objects from the sea floor, the newspaper reported.
The Navy's $28 million marine-mammal program dates back to the late 1950s and once included killer whales and sharks. Based in San Diego, it currently uses 80 bottle-nosed dolphins and 40 California sea lions.
In recent years, dolphins have been deployed to Iraq and Bahrain to patrol for enemy divers and mark the locations of mines.
Using their innate sonar, the mammals find and mark mines in shallow water, in deep water when tethers are used, and on the bottom where sediment cover and plant growth can hide the devices.
Dolphins are carried aboard Navy ships in large movable pools, about 20 feet in diameter. Dolphins traveled on the amphibious ship Gunston Hall in 2003 for the Iraq war.
Most of the Navy's dolphins and sea lions are housed at Point Loma Naval Base, in pools sectioned off from the bay. Others guard Navy submarine bases in Georgia and Washington state, according to UT San Diego.
The military is responsible for the mammals' care throughout their lives, even after they're retired from active duty. Sometimes Navy dolphins are loaned to animal parks, such as Sea World, later in life.
Information from: U-T San Diego, http://www.utsandiego.com


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How to install dictionary:
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