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Red, white and blue � all that�s missing is you! There are plenty of patriotic parties happening in the Walton County/Destin area. Here�s your guide to the fun.
Smoke on the Coast
The third annual Smoke on the Coast BBQ and Fireworks Festival, a BBQ cook-off and fireworks extravaganza, will take place from 7-9 p.m. July 2 at Destin Commons. Sample and vote for the People's Choice Award to be announced at 8:30 p.m. Captain Davy will entertain with balloon sculpting and a magic show. Abrakadoodle will have arts and crafts tables, as well as face painting, and Encore Productions will host street dancing. Fireworks finale begins at 9 p.m. Proceeds benefit Children in Crisis and Fisher House of the Emerald Coast.
Celebration in the Park
Children ages 14 and under, decorate your bike, wagon, stroller, etc., and show your patriotic spirit as Celebration in the Park kicks off with Destin's fifth annual Independence Day Celebration and Bike Parade from 6:30-9 p.m. July 3 at Morgan Sports Center. Check in for the Parade at 5:45 p.m. at the concession stands in the middle of the complex. After the parade, there will be volleyball, kickball, moonwalks, ultimate Frisbee and more. A concert on the lawn (bring blankets and/or lawn chairs) by local Chuck Lawson and the night will end with a fireworks show. Admission is free. No pets allowed.
Bike Parade and Carnival
Fourth of July is family friendly at WaterColor�s Marina Park July 3 with movies, concerts, bike parades, fireworks and even a kid�s carnival. Kick off the holiday with a bike decorating contest from 10-10:30 a.m. and parade beginning at 10:30 a.m. in Cerulean Park. Carnival is from 10:30 a.m. to 2 p.m. in Marina Park. Abrakadoodle Summer Art Classes will be held from 1-2 p.m. at Little Red.
Watermelon Festival
First Baptist Church, 201 Beach Drive, will serve up ice cold slices of juicy watermelons to all at midweek fellowship at 5:30 p.m. Wednesday night, July 3 as part of its First Wednesday night community fellowships. Refresh service, a full gospel service with music and more, will follow in the sanctuary.
Benefit Concert
The free second annual Easy on 30A Benefit Concert takes place from 6-10 p.m. July 3 at WaterColor's Marina Park, 34 Goldenrod Circle. Performers include Tim Jackson, Ike Bartley & Band, Matt Miller, Jimmy Ward and the Forrest Williams Band. A raffle with more than 70 prizes donated by local businesses will benefit Lighthouse Family Retreat and Alaqua Animal Refuge. Picnic blankets, chairs and coolers are welcome. Beverages and food will be available for purchase.
Concerts in the Village
The Mattie Kelly Arts Foundation�s 18th Annual Concerts in the Village presents David Seering, An American Patriotic Tribute, at 7 p.m. July 3 at the Mattie Kelly Cultural Arts Village Dugas Pavilion in Destin. Admission is $8/adult and children under 12 and MKAF members are free. Call 650-2226.
HarborWalk July 4th Extravaganza
After the weekly Red, White and Blue Celebration honoring local community heroes from 6-8 p.m., Clinch 46 performs at 8 p.m. July 4, followed by fireworks at 9 p.m. and the Andy Velo Band at 9:15 p.m. On Friday, July 5, the evening begins with Departure, the Journey Tribute Band at 7 p.m., followed by an American Pub Crawl with Destin Nights at 9 p.m., benefitting Wounded Warriors.
On Saturday, July 6, the Third Annual Hot Dog Eating Contest begins at 6 p.m., followed by Departure at 7 p.m. The Extravaganza ends Sunday, July 7 with a children's Interactive show, Pirate Pete & the Case of the Missing Fisherman, at 6 p.m.
American Legion
American Legion Post 296 will serve hot dogs and hamburgers with the fixings from 2-5 p.m. July 4 with live music at 311 Main Street in Destin. Call 837-3818.
City of Destin's Fireworks
Come out to watch the fireworks on July 4th over East Pass at 9 p.m. Tune into Z96 (96.5 WZNS FM) to listen to the soundtrack that will be played during the fireworks show. For a great view, try the new Destin Harbor boardwalk.
Red, White & Baytowne
Celebrate Independence Day from 6-10 p.m. in the Baytowne Wharf Events Plaza. Events are free. Evening Includes live music and children's activities. The Amazing Hat Band performs from 7-9 p.m. and a patriotic fireworks show lights up over the lagoon at 9:15 p.m.
SeasideParade and Fireworks
Start the day with the annual Seaside 4th of July Parade at 8 a.m. from SeagrovePlaza and head west on 30A to Seaside. Residents and visitors share in the glory as participants march 1.5 miles, decked in patriotic costumes and on festive holiday floats, all vying for the crowd�s favor. Upon arrival in Seaside, a panel of judges will select a winning parade entry. The crowd always loves patriotic pooches dressed in their finest holiday costumes. Guests on bikes, scooters, golf carts and floats are invited to participate. Register for parade at 231-6107. That evening, Seaside welcomes the Pensacola Symphony Orchestra at 7 p.m. July 4 to the Amphitheater stage for a pops concert under the stars. At 9 p.m., end the holiday with a fireworks spectacular over the Gulf.
The Summer Concert Series features the Atlanta Allstars followed by a fireworks display from 7-10 p.m. at the Amphitheatre at Alys Beach.
Topsail Hill Celebration
An all day celebration of the 4th of July begins at noon in the amphitheatre. Band line up includes Bridget Kelly, Lucky Mud, and Pierce Pettis. Admission into the park is free and a $5 donation is suggested, with proceeds to go to the Friends of Topsail Hill Preserve State park. Hotdogs, hamburgers, chips, and soft drinks will be available for purchase, or bring your own food or beverage. Fireworks are not allowed in the park and flashlights should have a red filter on the lens when used on the beach to prevent disturbance to nesting sea turtles.
Celebration Picnic/Fireworks
A Fourth of July Celebration Picnic will be held from 7-10 p.m. July 4 at WaterColor's Marina Park. Tickets are $85/adults and $45/children and include food, beverage, bar, private concert, and children's activities. Reservations required at 534-5041. The free Fourth of July fireworks begin at 9 p.m. at WaterColor Beach.
Fourth in Rosemary Beach
Enjoy a day-long celebration beginning with a Bike Decorating Breakfast and Bike Parade at 7:30 a.m. in North Barrett Square. Bring your bike, or rent one from Bamboo Bicycle, and create a star-spangled masterpiece with red, white and blue decorations, enjoy doughnuts and juice and get ready to ride along at 8:45 a.m. in the annual bike parade through town. Prizes awarded for Most Original Use of Decorations, Most Patriotic Theme, Best 6 and Under Decorated Bike, Best Family Entry and Best Overall Decorated Bike.
The Family Field Day will be held from 9-11 a.m. on the Western Green. Sack races, three-legged races, hula-hoop contests and a water balloon toss plus music, airbrush tattoos, go fish, balloons and moonwalks highlight the free event.
Bring a blanket and enjoy a free evening of music with Beach Mice under the stars with Concert On the Green from 6:30-8:30 p.m. on Western Green. Fireworks end the day at 8:45 p.m.


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Hi -
So it may seem obvious that an asthma inhaler is not a good idea for your dog to chew on, but most people do not realize how much of a bad idea it is. My girl got ahold of one the other day and we ended up having an all night emergency vet visit, I figured after that I should put a general warning out where I can. It IS life threatening. Some inhalers don't have as high of an amount of drugs in them, but a lot do, which is highly toxic to your pooch. It increases their heart rate severely. Lucky, I got mine to the vet fast enough that she was OK. However, they can die from it. Five days before another dog had come into my vet with the same problems, but he's not doing as well. Like I said, it may seem obvious, but for the most part people do not realize the full potential of what could happen. Keep your babies safe!!!
Asthma Inhalers!!!
Talk about diets, exercise, and disease.
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text: OPTICS • Jacob Gottfredson • FINd, RANGE, SHOOT Bushnell's Upside Down Christmas Tree. t is curious how few people thought about using mil dot reticles I for hunting 20 years ago, although it has amazing utility for such a chore. The first reticle with holdover bars to really hit the industry running seems to be the TDS reticle designed by Col. Tom Smith and used in Swarovski scopes for several years. Introduced only about 12 years ago, the reticle took the shape of a Christmas tree. The distance between bars was used for holdover. Each lower bar was a little longer horizontally than the one above it to account for a 10 mile per hour wind. Variation after variation followed until almost every manufacture had holdover dots or bars of some sort and with some logical purpose in mind. But then Bushnell did something very curious: They turned the Christmas tree upside down. Why? has not been provided. The dials are 1/4" clicks and can be set to zero once you have sighted in. The scope is a 1-piece design, and is labeled "made in Japan." The warranty is excellent. I could not fault anything I saw or tested. The 50mm objective transmits light very well. An excellent hunting scope. Bushnell Elite Riflescope Bushnell was kind enough to send along one of their 3-9x50mm 3200 Elite riflescopes for this article. I tested it at the range for resolution, contrast, and aberrations. It was outstanding. I had just finished an article on their 8x42 Legend Ultra HD binos with ED lenses, and was as impressed with the glass in this riflescope as I was with the binos. The riflescope is waterproof and fog Thescope'slinesarecleanandsimple. Mysample,newintheboxandcellophane wrapped,hadexcellentglass.Thereticlewas verycrispandsizedtoallowittobeseenin twilightconditions,yetstillsmallenoughfor precisionwork. SUVARI proof and mENA has their Rainguard DOA Reticle Coating. The lenses are HD coated, and the reticle Bushnell'sDOA600reticle So much for the is their 600-yard DOA, or provides holdover bars boilerplate. Let's talk Dead On Accurate. Twisting aswella"RackBracket about the upside down the power ring showed me System"tosizemuledeer Christmas tree holdover the reticle is in the second andwhitetails.Whilethis bars. While most bar focal plane. That means might appear to restrict designs are rather simple, only on its highest setting, its use to certain calibers they provide the shooter i.e. 9X, do the holdover and just hunting deer, the with a tremendous bars hit the distances given reticlecanbeusedwithany advantage unknown to by Bushnell with selected cartridge,foranyanimal,and hunters 20 or so years cartridges. That is not quite forrangingaswellifyou'do ago. It is true Premier true. Much more about that someworkaheadoftime. Reticles and a few in a moment. other folks have been This particular model installing holdover dots has the European-style quick focus for particular cartridges and ballistic eyepiece. Since it is only a 9X scope on trajectory for several years prior to this, its highest setting, parallax adjustment but the rush to more elaborate holdover bars is a relatively new phenomenon. To satisfy marketing, many reticle designers and manufacturers find it expedient to tell people the holdover bars will hit at particular ranges with several popular cartridges—true to a certain extent, and certainly simpler to say so. The truth, however, is a bit more complicated, and the fact is most people don't want the complication. In the case of Bushnell's 600 DOA in this scope, the main reticle is sighted in at 100 yards, allowing a 200-yard hit for the first holdover bar below the main reticle, 300 yards for the second, then 400, 600, and finally 650 where the vertical stadia wire gets thicker. The smart hunter understands margin of error, realizing if he's shooting an elk at 300 yards, the second holdover bar will produce a hit in the vital zone. No problem. However, at 500 and 600 WWW.GUNSMAGAZINE.COM • APRIL 2010 12


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Date: 10/08/2013
Writer: Jane Moorman, 505-249-0527, email@example.com
A segment of an upcoming episode of the PBS series "Ask This Old House" will feature the building of a raised bed chile garden in Albuquerque.
New Mexico State University's Stephanie Walker, Cooperative Extension Service vegetable specialist, and Joran Viers, Bernalillo County Extension county program director, join show landscape contractor Roger Cook in helping Albuquerque residents Nick and Chelsea Mackos plant a chile garden.
The segment will air on "This Old House Hour" Saturday, Oct. 12, at 12:30 p.m. on Las Cruces' PBS station KRWG Channel 22, and Sunday, Oct. 13, at 4 p.m. on Albuquerque's PBS station KNME Channel 5 during the second half of the show. The segment will be available online at http://thisoldhouse.com/watchasktoh the Sunday after the broadcast premiere.
Walker was contacted to share her expertise about chile after the show's producer heard her on a National Public Radio program. She asked Viers to help design the 4- by 8-foot raised bed and install the drip irrigation.
"The Mackos' yard is kind of rough which was preventing them from planting a garden, so they asked 'Ask This Old House' for help," said Walker. "They recently moved to Albuquerque from the East Coast and have learned to love New Mexican chile; they wanted to raise their own."
Walker provided a selection of chile varieties and during the show discusses the attributes of the different types, including "heat" levels and how they are best used.
During the 12th season of "Ask This Old House," the show's expert contractors are traveling the country to tackle all sorts of home improvement projects. The new season, which began Oct. 3, will feature 26 brand-new episodes. Episodes will include projects in Indianapolis, Ind., Seattle, Wash., Biloxi, Miss., Mobile, Ala., and New Orleans, La.
Cook, Kevin O'Conner, Richard Trethewey and Tom Silva say they will go anywhere and do anything in the new season.
© 2013 New Mexico State University Board of Regents
NMSU - All About Discovery!


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Republican Jim Tedisco and Democrat Scott Murphy debated yesterday in a televised event I was happy to miss, because I don't live in the 20th Congressional District.
The 20th Congressional Disctrict is a horribly gerrymandered monster that stretches from the Mid-Hudson Valley to the Adirondacks and includes Northern Dutchess and all of Columbia and Greene counties.
Don't believe me? See for yourself.
Not to be outdone, Maurice Hinchey's district is just as mind-boggling.
Tedisco met with the Freeman's editorial board on March 18. Murphy came on March 13.
The candidates also spoke to our colleagues at The Saratogian on separate occasions.
The videos are very insightful, if obviously slanted toward the Saratoga part of the district (Friendly note to The Saratogian: Get some frames for your newspapers)
The election, which is Tuesday, is being followed with great interest nationally, as it is considered by pundits who don't live or work in the district as a referendum on the president.
If you live in the district, you might want to watch these.
Why am I bringing this to your attention?
To shamelessly show you an exchange caught by C-SPAN between Senate Budget Chairman Kent Conrad (D-N.D.) and committee member Sen. Chuck Grassley (R-Iowa).
CONRAD: "You know, I used to like you. Oh, you are good."
GRASSLEY: "Your wife said the same thing."
Don't believe me? See for yourself:


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6:30 pm
Martha Stewart's Cooking School "Frying" The best fried foods are golden brown on the outside and deliciously tender within - never greasy or soggy. Yet frying is a technique that can elude even the most ambitious home cook. In this episode, Martha offers lessons in how to deep-fry and pan-fry to perfection in your own kitchen. D
7:00 pm
Ask This Old House "Hanging a Flat Panel TV/Controlling Insects Without Pesticides" Master electrician Scott Caron helps a homeowner hang a flat panel television on the wall and conceal all the wiring. Back in the workshop, Scott shows host Kevin O'Connor examples of different types of electrical outlets. Then, Kevin, along with landscape contractor Roger Cook, plumbing and heating expert Richard Trethewey and general contractor Tom Silva, asks, "What Is It?" Afterward, Roger heads to Miami to help a homeowner control the insect pests in her yard without the use of pesticides. D
7:30 pm
Rick Steves' Europe "Helsinki and Tallinn: Baltic Sisters" Rick explores the capitals of Finland and Estonia to sample each country's history, art and distinct love of life. In Helsinki, he finds a neoclassical old town, modern flair for design and steamy saunas. Tallinn offers medieval charms and new-found prosperity.G
8:00 pm
Equitrekking "Turkey's Coast, Cappadocia & Istanbul" Equitrekking host Darley Newman experiences life on Turkey's beautiful Mediterranean Coast - otherwise known as the Turquoise Rivera - by hiking the chilly waters of Saklikent Gorge and horseback riding through the abandoned Greek city of Kayakoy. Next, it's off to bustling Istanbul, where East meets West, to explore the Blue Mosque, Spice Market, Grand Bazaar, Topkapi Palace and the mighty Bosphorus. Finally, Darley returns to Cappadocia, to step back in time with the locals of these ancient villages. D
8:30 pm
Lidia's Italy In America "St. Louis: Macaroni & Cheese: An American Favorite, Inspired by Italy" NULL
9:00 pm
Cook's Country from America's Test Kitchen "Breakfast Breads" NULL
9:30 pm
Mexico -- One Plate at a Time with Rick Bayless "Sustainable Aquaculture in the Rich Waters of Ensenada" Two of Ensenada's best seafood chefs, Benito Molina and Alain Genchi, join Rick for a lesson in mollusk farming. Juan Carlos Lapuente of Acuacultura Integral de Baja California takes the trio to the rich coastal waters to see oyster and mussel farming. Along the way, we learn that the quality of these waters is what makes the seafood from this area so outstanding. D
10:00 pm
Caprial and John's Kitchen: Cooking for Family and Friends "U-Pick Tomatoes" Learn how to pick the best tomatoes, and preparing them for a bountiful summer meal. Tomato Herb Salad; Fresh Tomato Parmesan Sauce with Grilled Shrimp. D
10:30 pm
Rick Steves' Europe "Helsinki and Tallinn: Baltic Sisters" Rick explores the capitals of Finland and Estonia to sample each country's history, art and distinct love of life. In Helsinki, he finds a neoclassical old town, modern flair for design and steamy saunas. Tallinn offers medieval charms and new-found prosperity.G
11:00 pm
Destinos: An Introduction to Spanish "La Misma Sonrisa" This episode features a look at the folk ballet of Mexico. Roberto rapidly recovers in the hospital and meets with Raquel and Arturo.G
11:30 pm
Destinos: An Introduction to Spanish "Entre La Espada Y La Pared" This episode introduces some phrases one might use as a tourist. Fernando is transferred to a hospital in Guadalajara where he will see a specialist.G


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3 Sonatas
Baroque Period
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3 Sonatas by Domenico Scarlatti (1685-1757). Arranged by Patricio Galindo. For guitar. Standard notation. Published by Theodore Presser Company (PR.564019270).
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Grown Ups 2 [Official Trailer]
Release Date: July 12, 2013
Genre: Comedy
Director: Dennis Dugan
Writer: Fred Wolf, Adam Sandler, Tim Herlihy
Starring: Adam Sandler, Kevin James, Chris Rock
Studio: Columbia Pictures (Sony)
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Girls Lazy Pineapple Scoop Swimsuit
Girls Lazy Pineapple Scoop Swimsuit
Style Notes
Make her mermaid goals a reality with our totally cute and comfortable girl's swimwear. Two pieces become one great look with our easy wear bikini sets while bright and simple all in one swimming costumes are ideal for swim class or long days on the beach.
Details & CareFabric: 82% polyamide, 18% elastane. Lining: 100% polyester. Flat measurement total length: 53.5cm/21" BNW:21cm/8.5" Chest:42cm/16.5" Measured on a UK age 7-8/Height range 122cm-128cm.Machine wash. Model Wears UK age 7-8.KEEP AWAY FROM FIRE
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We hope you are satisfied with all of your purchases but if you ever need to return an item, you can do so within 28 days from the date your parcel was dispatched.
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class Insecta
Henotesia andrivola Mabille 1877.
Initial species uploading to the site: Peter Khramov.
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Henotesia alaokola Oberthür 1916
Henotesia antsianakana Oberthür 1916
Henotesia cingulina Mabille 1880
Henotesia decira Plötz 1880
Henotesia difficilis Mabille 1880
Henotesia erebennis Oberthür 1916
Henotesia fitensis Oberthür
Henotesia haroldi Druce 1905
Henotesia luctuosa Oberthür
Henotesia macrophthalma Oberthür
Henotesia masoura Hewitson 1875
Henotesia menamena Mabille 1877
Henotesia narova Mabille 1877
Henotesia perspicua Trimen 1873
Henotesia victorina Westwood 1882
Henotesia wardi Mabille 1877


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The prompt for week 5 is Your Childhood Home
When did you leave home?
Where was it?
Where did you move to?
Was it rented or owned? – with parents/Grandparents
Was it inherited
What was it like – describe it – each room.
Were there a favourite room?
Is there anything you particularly remember from the house?
The road & area
My first home was just a room in a house in Kensington Road, Kensington opposite my maternal grandmother's home. I think while my dad was at work my mother and I spent most of our time across the road. In post war times housing was in short supply in Sydney so finding self contained accommodation was a challenge.I have absolutely no memories of this place.
As it happened my father's two younger sisters had moved from the country to Sydney and were renting a one-bedroom flat in what was then a fashionable area, Kings Cross. They must have taken pity on their brother and his family as they gave up their flat for us and moved back into the family home with their parents.I believe we moved here when I was about one and we stayed till I was around nine. I remember our Wedgwood blue kitchen, the dark Jacobean furniture, playing in the park with my little friends, being scared witless by local identity Bea Miles and being spoilt rotten by elderly, childless next door neighbours. I don't have any pictures of the flat but I was able to find a current photo of the building on a real estate site and it looks pretty much how it did when I was a child.
|Kentwood Court, Kings Cross
|Our little house at Malabar before the garden grew
|Geniaus aged 16 in the garden of our home unit block
|With Dad and Mum in our living room on my wedding day


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Wednesday, May 18, 2011
75 Years of Louis Armstrong's Unbelievable May 18, 1936 Decca Session
Recorded May 18, 1936
Recorded in New York City
Louis Armstrong, trumpet, vocal; Leonard Davis, Gus Aiken, Louis Bacon, trumpets; Jimmy Archey, Snub Mosley, trombone; Henry Jones, Charlie Holmes, alto saxophones; Bingie Madison, Greely Walton, tenor saxophone; Luis Russell, piano; Lee Blair, guitar; Pops Foster, bass; Paul Barbarin, drums
Currently available on CD: The entire session is on Mosaic's essential box, "The Complete Decca Recordings of Louis Armstrong, 1935-1946."
Available on Itunes? Yes, all are around, you just have to look for them.
Back in February, I spent a few weeks on a single session in Louis's life, when he recorded six songs in one day with his Hot Five on February 26, 1926, including landmarks like "Heebie Jeebies," "Cornet Chop Suey" and "Muskrat Ramble." But back then, I said that it wasn't the only time Louis attempted such a feat. 75 years ago today, Louis recorded six songs in one day for Decca in a session that is positively superhuman. There used to be an old LP with the contents of this session on it; the simple title of the LP was "May 18, 1936," and to Louis fans, that was all they needed to know. Each one of these tracks is a gem. The fact that they were all recorded in one session? Mind-blowing.
This was Louis's eighth Decca session and found him still fronting a big band led by Luis Russell. A year earlier, he was at rock bottom, coming back to America without a band or a recording contract, hiring Joe Glaser and hoping for a comeback. By May 1936, he was recording for Decca and about to have a featured role in "Pennies from Heaven" and publish his autobiography, "Swing That Music." His records must have been doing well and Decca obviously wanted to capitalize on his rising popularity, hence this mammoth session.
Decca was all about recording plug tunes, which led Louis to record a dog every now and then, but the May 18 session got off to a terrific start with two new songs by Hoagy Carmichael, "Lyin' to Myself" and "Ev'ntide." I know I've written this before but if anyone lives in Spain and wants to start a bootleg CD company with no regards to copyrighted material, a "Satch Plays Hoagy" disc is a natural. Everybody knows the biggies--"Lazy River," "Star Dust," "Georgia on My Mind," "Rockin' Chair," etc.--but "Lyin' to Myself" and "Ev'ntide" are near to my heart because they are pretty much the sole property of Louis. And he performs them both beautifully. Let's start with "Lyin' to Myself":
Well, we're off an running! In fact, Louis sure is, right from the first note, diving right in with the attractive melody at an easy loping tempo that has become an endangered species these days. Louis sticks to the lower register for much of the first half, grumbling a bit like his homeboy (and future bandmate) Red Allen. He turns up the heat during the bridge and ends with a searing gliss, but then passes it over to Luis Russell's orchestra as he prepares himself for the vocal.
And what a vocal it is! Man, this is as good as it gets and it really demonstrates Louis's ability as an actor. Can't you see him featuring this in a film or at the very least, on stage? I love his opening lines and the sense of despair they convey. He sings beautifully without a trace of gravel, but throws in a few asides that almost remind me of Fats Waller. The bridge is high but the tenor Louis of 1936 handles it charmingly for the first half before barking out the second part. Just a delightful vocal from start to scat-infused finish.
Unfortunately, we're already at the 2:30 mark so you know there's not going to be much blowing, but Louis makes the most of it, swinging out with some declamatory melody before one of his patented Decca-era endings. This is one of the longest ones I know of, clocking in at almost 40 seconds before that beautiful final high concert Eb. Bravo, Pops.
"Lyin' to Myself" is a great opener, but the next one is even better (not that this is a competition...everything recorded on this day was a winner). "Ev'ntide" is a Louis masterpiece and I like to think that so few people have ever attempted it since because how can you top perfection? Don't know what I'm talking about? Don't go anywhere for the next 2:53....
See? After an atmospheric intro by pianist Luis Russell (one of his most memorable to me, maybe because I've listened to it thousands of time), Pops opens with the vocal. The same qualities that made "Lyin' to Myself" such a winner are apparent here. He's utterly charming and completely sells the song, clearly in love with the song's many three-note repetitions. The bridge is very dramatic...you can tell that this song was made for him and can only wait to hear what he does with it on the trumpet.
Fortunately, that's right around the corner. Unlike "Lyin' to Myself," the vocal is out of the way fairly quickly in "Ev'ntide" leaving a full 90 seconds to listen to Satch and his little Selmer trumpet (bless its heart). He takes a full chorus and again, credit to Carmichael for creating such a wonderful song with built-in drama. All Louis has to do is play the melody, with occasional variations in and around it, and it's a masterpiece. Naturally, the bridge is a killer, Louis topping it off with several repeated A's before a high C and swooning descending gliss. Carmichael's composition is also noteworthy for an entirely different melody after the bridge (no going back to the "A" section this time) and Louis milks it for all its worth before another out-of-tempo cadenza ending on a high C. Two for two!
At this point, it was time for the main event, in my opinion, "Swing That Music." I fell all over myself in writing about this tune a while back so if you don't mind, I'm going to plagiarize myself on this original recording. Because seriously, this one is not for the feint of heart. If you take blood pressure medication, take it before proceeding. If you have a bad back, now is a good time to strap yourself in tight to your chair. If you have bad breath, chew some gum for heaven's sake. Okay, all ready, kids? Let's proceed with (drum roll please) "Swing That Music."
Really, is there a more exciting tune in the Louis Armstrong discography than "Swing That Music"? I've never been able to listen to a single version of it without it resulting in my heart pounding through my chest or a bucket of sweat dousing my face. I once listened to it on a treadmill at the gym and somehow managed to run a three-minute mile. It's that exciting...and then some.
The song co-written by the mysterious Horace Gerlach (and according to a copy of the original handwritten lead sheet at the Louis Armstrong House Museum, the original title was the less-than-catchy "My Heart Gets a Chill," more of an ode to arrhythmia than swing music). Not much concrete information is known about Gerlach but he did co-write with Armstrong three songs that resulted in fantastic records of the Decca period, "If We Never Meet Again," "Heart Full Of Rhythm" and "What Is This Thing Called Swing" (note the phrasing: these are not exactly fantastic songs, but what Armstrong did with them is truly marvelous, though "If We Meet Again" is quite lovely). Gerlach also wrote the Mills Brothers's hit, "Daddy's Little Girl" as well as "Love In the Air" with Jimmy Van Heusen.
This info on Gerlach comes from Dan Morgenstern's forward to Da Capo's 1993 reprinting of Swing That Music. Morgenstern also writes, "In a letter to [clarinetist Joe] Muranyi, [Gerlach] insisted that he was the sole author of this book's title tune. That may be so; it would not be the first instance of a famous band leader getting his name on a copyright, though it seems unlike the Armstrong we knew. ON the other hand, a man capable of writing (about Armstrong's trumpet playing) that 'by skipping up or down in natural sequence, from one note to the next in position, he produces concordant melody' is not to be trusted! Don't get me wrong, Gerlach undoubtedly meant well, and in 1936 he was only 25, clearly caught up in the budding Swing craze of which this book was a product."
So with that out of the way, let's concentrate of the first recording of "Swing That Music." Remember, this is the third of SIX songs to be recorded that day! How he didn't destroy his lip for good that day is a miracle...hell, how he didn't destroy it on "Swing That Music," the date's third tune is a miracle in itself! Without further ado, here's "Swing That Music":
Now, Gerlach claimed he also wrote arrangements for the band and it's possible that he did this one. What's interesting is that the melody statement by the horns and reeds barely swings; instead it's kind of stiff and corny but please, please, please, dig that rhythm section, especially the bass work of the great Pops Foster. Anyone who thinks jazz bass playing in the 1920s and 30s was just two-beat or straight quarters should give Pops a listen. He's a one-man band throughout and he really drives the music. After one chorus of melody, Pops sings the lyrics, which are also rather dumb, but he sure sounds heartfelt. And listen to that pure tenor voice, without a trace of gravel. I once wrote many moons ago that I didn't hear the real roughness start in Armstrong's voice until 1937 and recently, I learned in Jos Willems's All of Me that Armstrong went in for throat surgery in early 1937 so it is indeed possible that that's when the gravel became a permanent part of the Armstrong vocal sound.
After the vocal chorus, it's time for the reeds to step to the forefront with a tricky arranged passage that they execute quite well (this is somewhat reminiscent of that other, earlier trumpet showpiece, "Chinatown, My Chinatown" where Armstrong's trumpet enters after a similar saxophone chorus).
Well, if you've made it through the first 1:12, you're probably enjoying the tune, but you don't know what all the hubub is about. Have no fear, dear reader, because the record still has 1:41 left and Louis Armstrong hasn't even put his trumpet to his lips. Once he does, well, good night, nurse. This is one of the great Armstrong recorded solos of all time. It's melodic but it also displays his free form sense of rhythm as it often floats above the frantic beat. Armstrong's endurance is something to marvel at and the high note exhibitionism at the end is literally and figuratively jaw-dropping. Let's go chorus-by-chorus, shall we?
Chorus 1: Armstrong enters after a modulation into Eb, playing the melody fairly straight. Yes, the rhythm section does seem to speed up a bit but I think that might have been planned, as will be seen when I get to discussing other versions. The little tumbling phrase at 1:23 is neatly executed but what's better is the space he leaves after it before rushing in and rephrasing the second half of the melody.
Chorus 2: Here come the "variations," as Armstrong might put it. It opens with two simple notes, Eb to G, still not stretching into the upper register, but definitely telling a story. He soon works out a five-note descending motif which he plays three times in a row, glissing up to the first note on the second and third times. Even those little glisses can be missed if you're not paying attention but they're extremely difficult to play and Armstrong tosses them around like confetti. Armstrong hits his highest note of the solo to this point at the 1:44 mark, a high concert C, the sixth of key of Eb and a favorite note of Pops (and Lester Young). Armstrong's playing is very melodic but that lightning quick run at the 1:49 mark is almost proto-bebop. The second half of the chorus is filled with more delicious two-note motives, focusing on the Bb and Gb, the second note being the minor third of Eb, giving a little bluesy quality to playing. At the 1:57 mark, Armstrong reminds the listener of the tune he's playing by inserting a snatch of melody, but after a pause for dramatic effect, he nails a high concert Bb, heralding the arrival of a new and even more exciting third chorus.
Chorus 3: Like the second chorus, this one also begins with two notes, but they're quite a bit higher: Bb and C, that sixth again. The band is positively cooking behind him but Armstrong remains calm; just listen to his rhythmic mastery as he repeats those Bb's, descending chromatically to a G. As the chord changes to Cm, Armstrong shoots up, playing a three-note phrase consisting of C, D (the ninth of Cm) and a lower G at the 2:08 mark. Then comes the biggest gliss of the record, rising like a tidal wave to another high concert C. The second half of the chorus features more stuff to marvel at, more short, seemingly simple motives that stick with the listener long after the record finishes. He's so in control it's scary, tossing off one phrase after another, each one landing on a different but perfectly placed and chosen high note. The band hits the dominant fifth chord hard, creating a tremendous sense of urgency and excitement as Armstrong responds with a crystal clear high C. Is he really going to do it? Does he have enough in the tank for one more chorus? Do you believe in miracles?
Chorus 4: Yes! Here's where you call the kids over to the computer because Armstrong's fourth and final chorus is something that the whole world should appreciate. Stories abound from Armstrong's crazy days in the late 1920s and early 1930s where he would hit hundreds of high C's each night as a means of impressing the audience. But after doing almost catastrophic harm to his lips, Armstrong cooled off during his European exile and when he returned, he claimed to put that stuff in the past and concentrate on pleasing his audiences, which didn't necessarily want to hear 100 or 200 high C's. However, on his first recording of "Swing That Music," Armstrong closed that chapter of his career with a triumphant bang. Over 40 "bangs," if you will. In fact, every time I listen I come up with a different number but tonight, counting the high C he plays to enter the final chorus, I count 41 high concert C's, before resolving up to a D and a final high Eb (in trumpet terms, these would be high D's, resolving to a final high F!). Now some might frown at such carrying on and one can even argue that the 41 high C's don't exactly swing. But who cares? Every human has a little gawker inside of him or her and this is, plain and simple, something to be amazed by. I still think it's Armstrong's most exciting solo on record.
Thank you Ricky Riccardi of 2008; now let's turn to the Ricky RIccardi of 2007 for the next tune recorded that day. "Thankful" was up next and I think at that moment, the thing Pops was most thankful for was that chunks of his lip hadn't come flying off during "Swing That Music." But "Thankful" is a lovely record and you can listen along by clicking here:
Behind Pops Foster's huge bass sound, the band staggers through a two-beat introduction, before Pops comes in with a beautiful vintage 1936 vocal. He sings with a lot of feeling and doesn't feel the need to add much. After the bridge, he sings a nice deep-throated "baby" that almost sounds like half-scat with a neat little "Mm-mm" coming a few bars later. The vocal ends, the band modulates and looking at my C.D. player, there's a solid 91 seconds of trumpet ready to brew. He starts with some pure melody, adjusting the phrasing to achieve a more relaxed swing at times. He bridges the two A sections with a perfect adjoining phrase before he starts opening up his solo for more improvising. He begins the next eight bars by playing the exact four-note phrase he sang as "Thankful, baby," another example of the link between his singing and playing. He continues on in those eight bars with snatches of melody, followed by his own obbligato, always a winning combination.
The bridge is the main event of the song. The band goes into stop-time and Pops proves ready for the challenge with some nimble double-timing at the start. But why settle for just double-timing when you have a sense of rhythm unlike anyone else in jazz? All of a sudden the notes and phrases start almost stuttering along (I'd hate to transcribe this stuff), though he slightly cracks a couple of notes, probably leftover remnants of the strain of "Swing That Music." However, he fights it off with a stirring gliss up to a high Bb. He then plays something that reminds me of Red Allen as he works out a tension-filled motif on a high Ab. In a series of two-note phrases, he plays an F# leading to the Ab, an F leading to the Ab, then an E natural leading to an F# before resolving on an Eb and moving on from there. It's exciting stuff and a little "out" for a Louis Armstrong record of 1936.
But even after that daring bridge, Pops proves he has more in the gas tank by going up for the last eight bars for a series of high Bb's. He eventually comes back down to earth to stick to a little more melody as the band plays is in a stately fashion behind him. Cue up the patented Decca coda ending and what you have is a neat little record.
Any normal human being would have called it day right then and there but instead, Louis still had TWO more songs to go. First up is "Red Nose," another forgotten tune, though not quite the gem as Carmichael's offerings from earlier in the session. Still, you have to give credit to Pops for treating everything like it could be a masterpiece; and when he's done with 'em, they are. Here's "Red Nose":
A lovely record. Louis shows off his range during the see-sawing vocal, which has a very passionate bridge. Once again, there's about 90 seconds left for a trumpet solo but after the pyrotechnics of "Swing That Music" and that wild stop-time bridge and high-note ending on "Thankful"--and knowing that "Mahogany Hall Stomp" was next--Louis contributes his most relaxed solo of the date on this track. It's not a world-changer but it sure is excellent, tasteful music making. Louis clearly feels the tempo, swinging along with quarter notes whenever he can. He gets excited for the bridge and hits a high note towards the end, though he cracks it slightly, fatigue setting in a bit. He redeems himself with a higher note hit on the nose a few seconds later; had it in his pocket the whole time, as he might say. But just when it's over comes my favorite part, a relaxed little coda where Pops puts a mute in his horn and simply swings his was to a dreamy little ending. No opera here, just a charming performance.
Okay, with one song to go, it was time to leave everything in the studio with "Mahogany Hall Stomp," Louis's third studio recording of the tune in seven years. I blogged about a bunch of "Mahogany Halls" over a series of blogs back in 2009. In the first part, I discussed "Mahogany Hall Stomp's" relationship to the other big band music of the period. The 1929 version was a glimpse into the future, Armstrong dragging Luis Russell's band behind them, imploring Pops Foster to walk the hell out of his bass and improvising figures that no doubt inspired future Swing Era arrangers. By 1932, the band was finally swinging on an even keel with Pops but there was a rough and ready feeling to the proceedings, almost a little reminiscent of some of Bennie Moten's uptempo numbers (recorded in the same studio).
But while Pops was in Europe, the Swing Era "officially" began (take a bow, Mr. Goodman, though we all know it REALLY began when Pops joined Fletcher Henderson in 1924...but who's keeping score?). Thus, the 1936 version just sounds like an above-average big band instrumental of the day. Pops makes it quite special but the rest of the music world finally caught up. Took 'em long enough...
Once again, Armstrong's backed by Luis Russell's group, which he began fronting full-time in 1935. Russell, Charlie Holmes, Pops Foster and Paul Barbarin were all veterans of the original recordings and were back for the remake (Albert Nicholas and J.C. Higginbotham rejoined the following year). Enough from me, give a listen to the 1936 Decca recording:
The arrangement is fairly similar to the Victor one, though a wee bit slower. Pops takes his lead, as usual, though he hits some nice, dark lower notes. The band also gets a short interlude before Pops takes one chorus of blues. Jimmy Archey boots one out before a somewhat out-of-date tenor solo probably by Bingie Madison (Budd Johnson sounded more hip in 1933). Then it's time for Pops's solo:
Interestingly, after coming up with some brand new ideas in 1933, Armstrong falls back on his 1929 solo, playing it almost note-for-note in exactly the same fashion. I'm guessing that sometime in between 1929 and 1936, the solo became officially known as a bona fide classic. Perhaps that caused Pops to dig out the old record and re-learn it. Regardless, he nails it once again, spurred on by some hard-charging riffing from the band. And once again, please give the track another listen and try to block everything out except for Pops Foster. Foster was a swinging rock in 1929 but he was much more creative in 1936, coming up with all sorts of funky variations instead of just playing time, much as he did on that day's "Swing That Music." A lot of people think 1930s bass players could be a little stiff (I'm looking at you John Kirby) but Foster is as hip as they come. Dig him.
Charlie Holmes follows Pops with a strong alto solo (again, listen to Foster) before Pops comes back, dramatically wringing one note for all its worth. He's in superb command of his horn, not quite as acrobatic as he was in 1933 but still telling a helluva story. In all , it's a very swinging record, one that had an influence on our pal George Avakian. George had some of the Deccas but took a liking to "Mahogany Hall Stomp" because of its swinging, instrumental quality. When his friend Lester Koenig started playing George some Armstrong OKehs, George responded to qualities he already knew from the Decca "Mahogany Hall Stomp" and not the Decca pop tunes. The rest is history...
And that, my friends, is that. Who knows if Pops had to go out and play a show that day; I think he would have been happy to go home, light up and relax, able to look back on a day's output that many musicians would kill to equal in a lifetime. 75 years is a longtime but it's safe to say that the music Louis created on that momentous May 18, 1936 session will be around forever.
9 comments:
- Lars-Erick Forsgren said...
ahhhhhhhhhhhh, so fine music. I have it all on a old LP.
But sorry to sáy, the last tune here was not "full time".
Some accident? Guess you can repair it?!
- May 18, 2011 at 6:08 AM
Thanks for the music and the perceptive comments. It may be my Mac, but the last clip -- "Mahogany Hall Stomp" -- is just 40 seconds long and messed up a bit.
- May 18, 2011 at 8:16 AM
- Ricky Riccardi said...
Hi all. The last clip is just an excerpt of Louis's solo from that version of "Mahogany Hall Stomp." It's meant to be only 40 seconds long, just in case you only want to hear the solo. The complete performance is the link right above it. Thanks for checking out the blog and hope you keep coming back!
- May 18, 2011 at 8:23 AM
- bluesblog said...
Brilliantly perceptive as always Ricky. You are a veritable mine of information!
- May 18, 2011 at 9:37 AM
- Uwe Zänisch said...
Wonderful post! After listen to this music in the exact sequence I realise how great this Decca session was. Is there any suggestion of who plays the trumpet obligato behind Louis's vocals in "Red Nose"? Leonard Davis, Gus Aiken or Louis Bacon? Pity that the orchestra in the background is nearly faded out at this point.
- May 18, 2011 at 6:11 PM
- Bo S said...
Thank you! A wonderful idea of yours to collect all performances from one day in the life of Louis Armstrong gives me the impression to be there, almost. An intimite approach to a legend with such heartwarming features. You can't get enough of him, can you? 1936, another good year. Your info gives added value, esp. your comments on Pops Foster, certainly a great bass player in his days!
- May 19, 2011 at 7:17 AM
- Håkan Forsberg said...
Yes Ricky, a wonderful session! - Almost as great as the session of January 26, 1933 when nothing could stop our Pops! I hope you will cover that session as well - and before 2013!!!!
But there are so many wonderful Satchmo sessions - including those of mid July 1954 (the Handy sessions of course) that will never be forgotten!
The best - and much power to you!
Håkan Forsberg
- May 20, 2011 at 4:18 PM
- gaston said...
I have started a new blog ( the older one had be silent for two years !!) under the name "a caddy for daddy". I talk about you, my man , in my last post so, by courtesy, I give you below the link to the blog.Infortunately it's only for the french audience.
have a good day.
- May 22, 2011 at 3:05 PM
There's an interesting document in the Hoagy Carmichael Collection at
It's a lead sheet for Ev'ntide with suggestions to Louis' arranger in Hoagy's own writing about how to handle the turnaround at the end of each chorus in order to get back to the first chord of the new chorus.
The piece is tonally quite ambivalent for its first 8 bars. In the usual horn key of Eb concert, the first 8 could be in either F or Bb and it's only in bar 8 that Eb starts to emerge as the home key. I haven't checked to see if Louis' record uses Hoagy's suggestion, but there are lots of different and interesting ways of making the modulation. Hoagy's compositions often had quirky and unpredictable twists of melody and harmony, which made his songs so popular with jazz musicians.
Incidentally, another piece from that session, "Thankful" is a favourite of Gunther Schuller. He transcribed Louis solo in his book "The Swing Era."
Ken Mathieson
- May 23, 2011 at 11:50 AM


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Posted 7 years ago
(1 item)
This truly unique and beautiful guitar was originally commissioned by the Gibson Custom Shop in early 2002, not only as a way to introduce a completely different type of Les Paul (The "Les Paul Acoustic") but also to highlight the quality of workmanship The Custom Shop was capable of producing. This very guitar was the centerpiece at the Gibson booth of the 2002 NAMM show.
This was the "Showcase" Guitar for that gathering. 2002 was the 50th Anniversary of the "Les Paul" and working from conversations and many consultations between Les, and Mike McGuire (Senior Luthier and also head of the Custom Shop), the common complaint about the weight of the "standard Les Paul" was to be addressed. This guitar was the result.
The one piece mahogany body was hollowed out and chambered for acoustic tone (there are no sound holes in the guitar) and the carved, figured maple cap was fitted with an L.R. Baggs piezo pickup under the bridge. The Volume and Tone control thumbwheels are nestled in a polished, nickel plated receptacle on the top (low E) bout of the guitar. The 1/4" output jack is located on the bottom of the lower rear bout. A 9V battery powers the piezo pickup and lives in a pop-up box inside the back cavity.
The 2001 Gibson Custom Shop Catalog features "The Acoustic" on the cover. Inside, photos show that the guitar "is available in two finishes. Translucent Black and Tangerine burst". Also available was a wide ranging list of options: Your choice of a Rosewood or Ebony fretboard. "Ivorina" Binding (body, neck, and headstock) could also be purchased separately at extra cost. Then at even more cost was the option to purchase the guitar with an "Ultima" neck. These necks were one piece, and hand carved (not machine formed) by one master luthier who oversaw production of the guitar from start to finish. And, finally for the very few, a "Tree of Life" inlay, consisting of hundreds of pieces of mother of pearl and abalone.
The plain jane "Acoustic" with "dot" markers, listed for $5900. Binding the entire guitar added another $900.00, the "Ultima " neck was a $1200.00 option, and the ebony fretboard would raise your total cost by still another $650.00, and finally, the "Tree of Life "inlay (all done by hand, no less) and averaging almost 50 hours of labor, would set you back almost $2 grand!
At that NAMM show, both Rick Nielsen ("Cheap Trick" lead guitarist, world renowned guitar collector) AND Aerosmith's Joe Perry were on hand, to be first in line to purchase one of these guitars.
This one is also the ONLY "Natural" finish Acoustic ever made. My guess is that Gibson really wanted to show off that AAAAA grade Maple Flame beauty.
This guitar was purchased right from the Gibson booth on the last day of the NAMM show, and has been hidden in Hawaii for the last 10 years. It's too beautiful to be hidden any longer.
I own a 30 year old Ovation "Glenn Campbell Edition" with a cedar top, and this Gibson has sustain even longer than the Ovation's, and that's saying alot.
Here's a link to the only review I was able to find concerning these amazing guitars, and it's from 2003....
So... a true acoustic or plug in electric....it's your choice.
Sounds like a choir of angels, and is the greatest conversation starter you'll ever imagine. So???? have YOU ever seen one like this?


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Submitted by: stefan, Added to website on: February 15, 2011
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My Mother's Killer
As we celebrate fifty years of GQ, we look back at the most compelling journalism the magazine has published. In 1994, James Ellroy, America's greatest living crime novelist, gave us this searing account of how—and why—he finally dared reopen the case of his mother's unsolved murder
I thought the pictures would wound me.
I thought they would grant my old nightmare form.
I thought I could touch the literal horror and somehow commute my life sentence.
I was mistaken. The woman refused to grant me a reprieve. Her grounds were simple: My death gave you a voice, and I need you to recognize me past your exploitation of it.
Her headstone reads "GENEVA HILLIKER ELLROY, 1915-1958." A cross denotes her Calvinist youth in a Wisconsin hick town. The file is marked "JEAN (HILLIKER) ELLROY, 187PC (UNSOLVED), DOD 6/22/58."
I begged out of the funeral. I was 10 years old and sensed that I could manipulate adults to my advantage. I told no one that my tears were at best cosmetic and at worst an expression of hysterical relief. I told no one that I hated my mother at the time of her murder.
She died at 43. I'm 46 now. I flew out to Los Angeles to view the file because I resemble her more every day.
The L.A. County Sheriff handled the case. I set up file logistics with Sergeant Bill Stoner and Sergeant Bill McComas of the Unsolved Unit. Their divisional mandate is to periodically review open files with an eye toward solving the crimes outright or assessing the original investigating officers' failure to do so.
Both men were gracious. Both stressed that unsolved homicides tend to remain unsolved—thirty-six-year-old riddles deepen with the passage of time and blurring of consciousness. I told them I had no expectations of discovering a solution. I only wanted to touch the accumulated details and see where they took me.
Stoner said the photographs were grisly. I told him I could handle it.
The flight out was a blur. I ignored the meal service and the book I had brought to kill time with. Reminiscence consumed five hours—a whirl of memory and extrapolatable data.
My mother said she saw the Feds gun down John Dillinger. She was 19 and a nursing-school student fresh off the farm. My father said he had an affair with Rita Hayworth.
They loved to tell stories. They rarely let the truth impinge on a good anecdote. Their one child grew up to write horrible crime tales.
They met in '39 and divorced in '54. Their "irreconcilable differences" amounted to a love of the flesh. She majored in booze and minored in men. He guzzled Alka-Seltzer for his ulcer and chased women with an equal lack of discernment.
I found my mother in bed with strange men. My father hid his liaisons from me. I loved him more from the gate.
She had red hair. She drank Early Times bourbon and got mawkish or hellaciously pissed-off. She sent me to church and stayed home to nurse Saturday-night hangovers.
The divorce settlement stipulated split custody: weekdays with my mother, three weekends a month with my father. He rented a cheap pad close to my weekday home. Sometimes he'd stand across the street and hold down surveillance.
At night, I'd douse the living room lights and look out the window. That red glowing cigarette tip? Proof that he loved me.
In 1956, my mother moved us from West Hollywood to Santa Monica. I enrolled in a cut-rate private school called Children's Paradise. The place was a dump site for disturbed kids of divorce. My confinement stretched from 7:30 A.M. to 5 P.M. A giant dirt playground and a swimming pool faced Wilshire Boulevard. Every kid was guaranteed passing grades and a poolside tan. A flurry of single moms hit the gate at 5:10. I developed a yen for women in their late thirties.
My mother worked as a nurse at the Packard Bell electronics plant. She had a boyfriend named Hank, a fat lowlife missing one thumb. Once a week she'd take me to a drive-in double feature. She'd sip from a flask and let me gorge myself on hot dogs.
I coveted the weekends with my father. No church, sleepover studs or liquored-up mood swings. The man embraced the lazy life, half by design, half by the default of the weak.
Early in 1958, my mother began assembling a big lie. This is not a revisionist memory—I recall detecting mendacity in the moment. She said we needed a change of scenery. She said I needed to live in a house, not an apartment. She said she knew about a place in El Monte, a San Gabriel Valley town twelve miles east of L.A. proper.
We drove out there. El Monte was a downscale suburb populated by white shitkickers and pachucos with duck's-ass haircuts.
Most streets were unpaved. Most people parked on their lawns. Our prospective house: a redwood job surrounded by half-dead banana trees.
I said I didn't like El Monte. My mother told me to give it time. We hauled our belongings out early in February.
I traded up academically: Children's Paradise to Anne Le Gore Elementary School. The move baffled and infuriated my father. Why would a (tenuously) middle-class white woman with a good job thirty-odd miles away relocate to a town like El Monte? The rush-hour commute: at least ninety minutes each way. "I want my son to live in a house": pure nonsense. My father thought my mother was running. From a man or to a man. He said he was going to hire detectives to find out.
I settled into El Monte. My mother upgraded the custody agreement: I could see my father all four weekends a month. He picked me up every Friday night. It took a cab ride and three bus ride transfers to get us to his pad, just south of Hollywood.
I tried to enjoy El Monte. I smoked a reefer with a Mexican kid and ate myself sick on ice cream. My stint at Children's Paradise left me deficient in arithmetic. My teacher called my mother up to comment. They hit it off and went out on several dates.
I turned 10. My mother told me I could choose who I wanted to live with. I told her I wanted to live with. I told her I wanted to live with my father.
She slapped me. I called her a drunk and a whore. She slapped me again and raged against my father's hold on me.
I became a sounding board.
My father called my mother a lush and a tramp. My mother called my father a weakling and a parasite. She threatened to slap injunctions on him and push him out of my life.
School adjourned for summer vacation on Friday, June 20. My father whisked me off for a visit.
That weekend is etched in hyper-focus. I remember seeing The Vikings at the Fox-Wilshire Theatre. I remember a spaghetti dinner at Yaconelli's Restaurant. I remember a TV fight card. I remember the bus ride back to El Monte as long and hot.
My father put me in a cab at the depot and waited for a bus back to L.A. The cab dropped me at my house.
I saw three black-and-white police cars. I saw my neighbor Mrs. Kryzcki on the sidewalk. I saw four plainclothes cops—and instinctively recognized them as such.
Mrs. Kryzcki said, "That's the boy." A cop took me aside. "Son, your mother's been killed."
I didn't cry. A press photographer hustled me to Mr. Kryzcki's toolshed and posed me with an awl in my hand.
My wife found a copy of that photography last year. It's been published several times, in conjunction with my work. The second picture the man took has previously never seen print.
I'm at the workbench, sawing at a piece of wood. I'm grimacing ear to ear, showing off for the cops and reporters.
They most likely chalked my clowning up to shock. They couldn't know that that shock was instantly compromised.
The police reconstructed the crime.
My mother went out drinking Saturday night. She was seen at the Desert Inn bar in El Monte with a dark-haired white man and a blonde woman. My mother and the man left the bar around 10 P.M.
A group of Little Leaguers discovered the body. My mother had been strangled at an unknown location and dumped into some bushes next to the athletic field at Arroyo High School, a mile and a half from the Desert Inn.
She clawed her assailant's face bloody. The killer had pulled off one of her stockings and tied it loosely around her neck portmortem.
I went to live with my father. I forced some tears out that Sunday—and none since.
My flight landed early. L.A. looked surreal, and inimical to the myth town of my books.
I checked in at the hotel and called Sergeant Stoner. We made plans to meet the following day. He gave me directions to the Homicide Bureau; earthquake tremors had ravaged the old facility and necessitated a move.
Sergeant McComas wouldn't be there. He was recuperating from open-heart surgery, a classic police-work by-product.
I told Stoner I'd pop for lunch. He warned me that the file might kill my appetite.
I ate a big room-service dinner. Dusk hit—I looked out my window and imagined it was 1950-something.
I set my novel Clandestine in 1951. It's a chronologically altered, heavily fictionalized account of my mother's murder. The story details a young cop's obsession: linking the death of a woman he had a one-night stand with to the killing of a redheaded nurse in El Monte. The supporting cast includes a 9-year-old boy very much like I was at that age.
I gave the killer my father's superficial attributes and juxtaposed them against a psychopathic bent. I have never understood my motive for doing this.
I called the dead nurse Marcella De Vries. She hailed from my mother's hometown: Tunnel City, Wisconsin.
I did not research that book. Fear kept me from haunting archives and historical sites. I wanted to contain what I knew and felt about my mother. I wanted to acknowledge my blood debt and prove my imperviousness to her power by portraying her with coldhearted lucidity.
Several years later, I wrote _The Black Dahlia. _ The title character was a murder victim as celebrated as Jean Ellroy was ignored. She died the year before my birth, and I understood the symbiotic cohesion the moment I first heard of her.
The Black Dahlia was a young woman named Elizabeth Short. She came west with fatuous hopes of becoming a movie star. She was undisciplined, immature and promiscuous. She drank to excess and told whopping lies.
Someone picked her up and tortured her for two days. Her death was as hellishly protracted as my mother's was gasping and quick. The killer cut her in half and deposited her in a vacant lot twenty miles west of Arroyo High School.
The killing is still unsolved. The Black Dahlia case remains a media cause célèbre.
I read about it in 1959. It hit me with unmitigated force. The horror rendered my mother's death both more outré and more prosaic. I seized on Elizabeth Short and hoarded the details of her life. Every bit of minutiae was mortar with which to build walls to block out Geneva Hilliker Ellroy.
This stratagem ruled my unconsciousness. The suppression exacted a price: years of nightmares and fear of the dark. Writing the book was only mildly cathartic; transmogrifying Jean to Betty left one woman still unrecognized.
And exploited by a master self-promoter with a tight grip on pop-psych show-and-tell.
I wanted her to fight back. I wanted her to rule my nightmares in plain view.
The Homicide Bureau was temporarily housed in an East L.A. office complex. The squadroom was spanking clean and cop-antithetical.
Sergeant Stoner met me. He was tall and thin, with big eyes and a walrus mustache. His suit was a notch more upscale than his colleagues'.
We had a cup of coffee. Stoner discussed his most celebrated assignment, the _ Cotton Club_ murder case.
The man impressed me. His perceptions were astute and devoid of commonly held police ideology. He listened, carefully and phrased his responses and drew information out of me with smiles and throwaway gestures. He made me want to tell him things.
I caught his intelligence full-on. He knew I caught it.
Talk flowed nicely. One cup of coffee became three. The file rested on Stoner's desk—a small accordion folder secured by rubber hands.
I knew I was stalling. I knew I was postponing my first look at the pictures.
Stoner read my mind. He said he'd pull the worst of the shots if I wanted him to.
I said no.
The file was a mishmash: envelopes, Teletype slips, hand-written notes and two copies of the Detective Division Blue Book, an accumulation of reports and verbatim interviews. My first impression: This was the chaos of Jean Ellroy's life.
I put the photograph envelope aside. Penal-code numbers and birth dates jumped off the Teletypes.
The DOBs ran from 1912 to 1919. The codes designated arrests for aggravated assault and rape.
My mother left the bar with a "fortyish" man. The Teletypes deciphered: requests for information on men with sex-crime priors.
I read some odd notes. Minutiae grabbed me.
The Desert Inn bar: 11721 East Valley Boulevard. My mother's '57 Buick: license KFE 778. Our old house: 756 Maple Avenue.
I read the names on the front of the Blue Book. The investigating officers: sergeants John Lawton and Ward Hallinen.
The squadroom lapsed into slow motion. I heard Stoner telling people that Bill McComas had aced his surgery. I spotted two full-size sheets of stationary with memo slips attached.
Early in 1970, two women wrote Homicide and informed "To Whom It May Concern" that they believed their respective ex-husbands murdered Geneva Hilliker Ellroy. Woman Number One stated that her ex worked at Packard Bell had had affairs with my mother and two other women there. The man "behaved in a suspicious fashion" in the weeks following the killing and hit her when she pressed him about his whereabouts on the night of June 21. Woman Number Two said that her ex-husband harbored a "longstanding grudge" against Jean Ellroy. My mother refused to process a workers' compensation claim that the man had proffered, and his resentment sent him "off the deep end."
Woman's Number Two included a postscript: Her ex-husband torched a furniture warehouse in 1968 to avenge a dinette-set repossession.
Both letters read vindictively sincere. Both were respectful of police authority. Memorandums indicated that the leads were checked out.
One detective interviewed both ex-husbands. He concluded that the allegations were groundless and that the women did not know each other and thus could not have colluded.
A relatively obscure homicide. Two disturbingly similarly accusations— unrelated accusations—eleven and a half years after the crime.
I examined the Blue Book. The reports and interview transcripts lacked a continuous narrative line. I scanned a few pages and realized that my basic knowledge of the case was sufficient to make odd bits of data cohere.
The crime-scene report was logged in mid-book. The first El Monte cop to respond reported that "the victim was lying on her back at the side of the road. There was dry blood on her lips and nose. The lower part of the victim's body was covered with a woman's coat. The victim was wearing a multi-colored (blue and black) dress. A brassiere appeared to be around the victim's neck."
Further examination reveals: The brassiere is really a stocking.
A necklace strand rests under the body.
Forty-seven individual pearls are scattered nearby.
The coroner arrives. He views the body and points out bruises on the neck. He thinks the woman was strangled with a window-sash cord or clothesline. Drag marks on the woman's hips indicate that she was killed elsewhere and brought to this location.
The investigation commenced. My memory filled in Blue Book continuity gaps.
No identification was found on the body. The El Monte Police Department called in the Los Angeles County Sheriff's Detective Bureau.
Radio bulletins went out. The dead woman's description was flashed Valley-wide.
Our neighbor Mrs. Kryzcki responded. She was brought to the county morgue and identified the body. She said Jean Ellroy was a fine lady, who did not drink or date men. My mother's car was discovered parked behind the Desert Inn. Bar employees were detained at El Monte police headquarters.
They identified my mother from a snapshot that Mrs. Kryzcki provided. Yes, the woman came in last night. She arrived alone about eight o'clock and later joined a man and a woman. Said man and woman were not regular patrons. None of the staff had ever seen them before.
The man was a swarthy Caucasian or a Mexican. He was about 40 years old, thin, between five feet nine and six feet tall. The woman was white, blonde and in her late twenties. She wore hair tied back in a ponytail.
No one heard them exchange names. A waitress recalled that a regular named Michael Whitaker had several drinks with the dead woman and two unknowns.
A waitress supplied more names: every known patron in the bar Saturday night. Sergeants Hallinen and Lawton checked the El Monte PD arrest docket and learned that Michael Whitaker was picked up plain drunk at 4 A.M.
The man, 24, was spotted on foot near Stan's Drive-In. He sobered up in the El Monte drunk tank and was released at 9 A.M.
The known patrons were brought in and questioned. Several remembered seeing my mother with the Swarthy Man and the Blonde. None of them had ever seen my mother before. None of them had ever seen the Swarthy Man or the Blonde.
Michael Whitaker was brought in. Hallinen and Lawton questioned him. A police stenographer recorded the interrogation.
Whitaker's memory was booze-addled. He couldn't recall the name of the woman he was currently shacked up with. He said he danced with my mother and hit her up for a Sunday-night date. She declined, because her son was coming back from a weekend with his father.
Whitaker said the Swarthy Man told him his name. He couldn't remember it.
He said my 43-year-old mother looked "about 22." He said he got "pretty high" and fell off his chair once.
He said he saw the Swarthy Man and my mother leave together at about 10 P.M.
The Swarthy Man told Whitaker his name. This supported my long-held instinct that the murder was not premeditated.
A waitress confirmed Whitaker's account. Yes, Michael fell off his chair. Yes, the redhead left with the Swarthy Man.
Hallinen and Lawton retained a sketch artist. Desert Inn patrons and employees described the Swarthy Man. The artist drew up a likeness.
The drawing was circulated to newspapers and every police agency in Los Angeles County. The Desert Inn crew examined thousands of mug shots and failed to identify the Swarthy Man.
Officers canvassed the area around Arroyo High School. No one had noticed suspicious activity late Saturday or Sunday morning. Hallinen and Lawton interrogated a score of local cranks, perverts and career misogynists.
No leads accumulated. No hard suspects emerged.
On Wednesday, June 25, a witness came forth—a Stan's Drive-In carhop named Lavon Chambers. Hallinen and Lawton interviewed her. Her testimony—recorded verbatim—was precise, articulate and perceptive. Everything she said was new to me. Her statement radically altered my take on the crime.
She served the Swarthy Man and my mother— on two different occasions—late Saturday night and early Sunday morning. She described the Swarthy Man's car: a '55 or '56 dark-green Olds. She said the sketch was accurate and ID'd the man as white, not Latin.
They arrived at 10:20, shortly after their Desert Inn departure. They "talked vivaciously" and "seemed to have been drinking." The man had coffee. My mother had a grilled cheese sandwich. They ate in the car and left a half hour later.
Miss Chambers worked late that night. My mother and the Swarthy Man returned at 2 A.M.
He ordered coffee. He seemed "quiet and sullen." My mother was "quite high and chatting gaily." The man "acted bored with her."
Miss Chambers said my mother looked "slightly disheveled." The top of he dress was unbuttoned and one breast was spilling out.
Sergeant Hallinen: "Do you think they might have had a petting party?"
Miss Chambers: "Maybe."
They left at 2:45. Jean Ellroy's body was discovered eight hours later.
I turned to the autopsy report. The coroner noted signs of recent intercourse. My mother's lungs were severely congested, presumably from years of heavy smoking.
She died of ligature asphyxiation. She sustained several blows to the head. Her fingernails were caked with blood, skin and beard fragments.
She fought back.
I opened the photo envelope. The first stack of pictures: detained and exonerated suspects.
Cruel-looking man. Rough trade. White trash with a vengeance. Hard eyes, tattoos, psychopathic rectitude.
I recognized Harvey Glatman, a sex killer ecuted in 1959. A note said he passed a polygraph test.
The second stack: miscellaneous photos and wide-angles of the crime scene.
My father, circa 1946. A notation on the back: "Vict's ex-husband." A faded snapshot: my mother in her teens. The man beside her? Probably my German-immigrant grandfather.
Arroyo High School, 6/22/58. Santa Anita Road and King's Road— a football field with jerry-built goalposts. Those right-hand-corner X marks: the curbside bushes where they found her. The topography lacked perspective. Every detail hit my eyes as too small, and unequal to the central myth of my life.
I looked at the pictures of my dead mother. I saw the stocking around her neck and the insect bites on her breasts.
Lividity had thickened her features. She did not look like anyone I had ever known.
I knew it wasn't over. I knew my hours with the file constituted an ambiguous new start.
I left the squadroom and drove to El Monte. The years then to now had been cruel.
I clenched up. It felt like something had to hit me at any second. I kept expecting a migraine or a bad case of the shakes.
New prefab houses had aged and split at the joints. Smog obscured the San Gabriel peaks.
The Desert Inn was gone. A taco hut replaced it. The El Monte PD building had been razed and rebuilt.
Anne Le Gore School remained intact. Gang graffiti on the walls provided an update.
Stan's Drive-In was gone. My old house had been face-lifted past recognition.
Arroyo High School needed a paint job. The playing field needed a trim. Weeds grew thick all the around the X-marked spot.
The town had compressed. Its old secrets had subsided into the memories of strangers.
Stoner told me Sergeant Lawton was dead. Sergeant Ward Hallinen: 82 years old and living outside San Diego.
I called him and explained who I was. He apologized for his failing memory and said he couldn't recall the case. I thanked him for his efforts thirty-six years ago. I remembered a cop who gave me a candy bar, and wondered if it was him.
It wasn't over. The resolution felt incomplete.
I canceled a dinner date and willed myself to sleep. I woke up at 3 A.M. — unclenched and sick with it.
Conscious thoughts wouldn't process. I went down to the hotel gym and slammed weights until it hurt.
Steam and a shower helped. I went back to my room and let it hammer me.
New facts contradicted old assumptions. I had always thought my mother was killed because she wouldn't have sex with a man. It was a child's coda to horror: A woman dies fending off violation.
My mother made love with her killer. A witness viewed postcoital moments.
They left the drive-in. He wanted to ditch this desperate woman he fucked and get on with his life. The combustion occurred because she wanted more.
More liquor. More distance from the Dutch Reformed Church. More self-abasing honky-tonk thrills.
More love 16,000 times removed in desiccation.
I inherited those urges from my mother. Gender bias favored me: Men can indiscriminately fuck women with far greater sanction than women can indiscriminately fuck men. I drank, used drugs and whored with the bravado of the winked-at and condoned. Luck and a coward's circumspection kept me short of the abyss.
Her pain was greater than mine. It defines the gulf between us. Her death taught me to look inward and hold myself separate. That gift of knowledge saved my life.
It wasn't over. My investigation will continue.
I took a new gift away from El Monte. I feel proud that I carry her features.
Geneva Hilliker Ellroy: 1915-1958.
My debt grows. You final terror is the flame I touch my hand to.
I will not diminish your power by saying I love you.


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Cardan - What They Call Me
Cardan continues his A Day In The Life series with a music video for "What They Call Me".
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|This article is written from a
Real World perspective.
Poptropica is an online website where players can go to islands and explore new worlds. For a limited time, Poptropica had a building that served as an advertisement for TRON: Uprising. The building's design was a recognizer with two banners. Upon entering the building, players were able to select a program character and asked for help by a character who looked identical to Beck. Ads for TRON: Uprising played on a screen in the building's background. There were two different games to play inside the building: a light cycle battle and a disc arena battle. Players who beat the light cycle battle received a white light suit; the prizes for beating the disc arena battle were an identity disc and a light cycle. Also available was a light suit identical to Beck's.


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NASHVILLE, Tenn. – Charles Morrow, head coach for men's soccer, has announced the addition of John Michael Hayden to the coaching staff. Hayden joins Lipscomb after spending a year on the bench at the University of Louisville.
Hayden replaces Kevin Burk who became the Executive Director of the Tennessee Soccer Club.
"I would first like to thank Kevin for his service to Lipscomb and the men's soccer program," Morrow said. "He has been an integral part of building a competitive program here at Lipscomb. I am happy for Kevin and his family for the opportunity at the Tennessee Soccer Club.
"As sad as we are for Kevin to be leaving, we are equally as excited to welcome John Michael Hayden to the Lipscomb men's soccer program. We had a tremendous pool of candidates and John Michael certainly stood out from the group."
Hayden, who holds a United States Soccer Federation National "A" license, helped coach the Cardinals to a 14-6-1 mark and an appearance in the Elite 8 of the NCAA National Tournament.
"John Michael has been a great asset to our program at Louisville and we are grateful for him investing in our program," Louisville head coach Ken Lolla said. "He will be a tremendous addition to Lipscomb."
Hayden is a graduate of Indiana University where he played midfield for legendary head coach Jerry Yeagley along with Todd Yeagley, winning two national championships.
"John Michael would be the one guy I would go after to hire as my assistant coach if I were still coaching," Jerry Yeagley, former Indiana head coach and six-time national champion, said. "He is one of the finest up and coming young coaches in the United States.
"Beyond a great player and great coach, Lipscomb has hired a great person. John Michael has great character and is a coach Lipscomb will be proud to have represent its men's soccer program."
On top of the two national titles, Hayden garnered individual honors earning Big Ten All-Conference selections in 2004 and 2006. He was also named to the NCAA College Cup All-Tournament team during the 2004 NCAA championship run.
"His playing career speaks for itself, but what really separated him from the group was his continued commitment to developing himself as a person and a coach along with his commitment to developing student-athletes athletically and from a character standpoint," Morrow said.
Hayden thrust his high level of play into the 13th overall pick in the Major League Soccer First Round Super Draft where he was selected by the Houston Dynamo in 2007. In his rookie season, the Dynamo claimed the MLS Cup Championship.
After his playing days, Hayden became the director of coaching for the USYSA Mockingbird Valley SC and the Chicago Fire Juniors for the state of Kentucky before joining the Cardinals.
"Lipscomb has a fantastic person and coach with John Michael Hayden," Todd Yeagley, current head coach at Indiana and 2012 National Champion, said. "He was a pleasure to work with during his time at Indiana and has quickly become one of the top young coaches in the country. His playing experience, along with his club and college coaching experience, will be a big asset to Lipscomb in the year ahead."
Hayden is eager to join the Bisons and cited the direction of the program as his reason for wanting to join the family.
"I am very excited to join Lipscomb and begin work with coach Morrow," Hayden said. "He has done a tremendous job over the years of building a program that competes year in and year out on the national stage.
"In discussing the programs future direction, he and I both share in the vision of bringing championships here to Lipscomb with the ultimate goal of competing for a national championship."
Coach Morrow hopes that Hayden's experience will provide a unique prospective.
"John Michael has been a part of championship teams at both the NCAA and MLS levels," Morrow said. "He has competed at the highest level, knows first-hand how championships teams operate and understands that championship teams share more in common than just talent.
"John Michael also brings a wealth of recruiting contacts to the Lipscomb program. Many of the same players and coaches that John Michael played with and for are coaches around the country that we immediately have a connection with. Lipscomb is an unbelievable and distinctive environment and John Michael has the ability to share who we are and what we are with a very talented pool of players."
Hayden also hopes to rely on past experience moving forward.
"It is also my belief that my past experiences as both a player and a coach will help me in this new role with Lipscomb," Hayden said. "It is my vision to hold our players to the highest standards in order to achieve our goals while at the same time recruiting and developing first class character."
NASHVILLE, Tenn. – Charles Morrow, head coach for men's soccer, has announced the addition of John Michael Hayden to the coaching staff. Hayden joins Lipscomb after spending a year on the bench at the University of Louisville.


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In 1918 the captain of the first British carrier, HMS Argus , asked his senior aviator how many airplanes his ship could embark. Like any other aviator of his time, this one thought of the ship's flight deck as a landing strip, like one ashore. Each airplane had to be cleared from the landing strip (struck below) before the next one landed. The ship's capacity was thus set by her hangar size and by the time it took for an airplane to taxi to the elevator and for it to descend, for crewmen to push the plane off the elevator, and for the elevator to rise back to the flight deck.
When the first U.S. carrier, the Langley (CV-1), was commissioned in 1922, U.S. naval aviators drew much the same conclusion. However, by that time the Naval War College at Newport, Rhode Island, was developing aircraft carrier tactics using imaginary future carriers on its gaming floor. The games showed that numbers were vital.
Captain Joseph M. Reeves, head of the school's Tactics Department, took that lesson with him when he assumed command of the Battle Force's aircraft in September 1925. At the time that mainly meant the few planes assigned to the Langley . In early November, Reeves gathered the carrier's aviators and crew together and informed them he planned to greatly increase the carrier's complement of aircraft. In addition, to keep as many Langley planes as possible in the air with the fleet, he proposed to shorten the interval between landings and takeoffs.
Landings had to be handled more efficiently. Arresting gear could bring a plane to rest in a fraction of the length of the carrier deck. The problem was that an aircraft waiting to land had to mark time until the just-landed plane had gone below and the Langley 's rather slow elevator returned to the flight deck. Otherwise, if the landing plane missed the arresting gear, it could crash into aircraft on the deck.
The solution Reeves came up with was to push landed planes forward to a parking area at the bow, where they were protected from incoming aircraft by a barrier. When a plane was landing, the barrier would be raised; after a safe landing, the barrier would be lowered so the plane could be pushed over it. Once all the aircraft were on board, they were pushed aft, refueled, and rearmed. Thus was born a key aircraft-carrier innovation—the deck park—and the efficiency of flight operations greatly increased.
The U.S. Navy seems to have been alone among contemporary navies in understanding those ideas. They help explain how the three-carrier U.S. naval force at Midway operated about as many airplanes as did the four Japanese carriers they faced.
Reeves' innovation was not nearly as safe as the previous procedure, as is obvious from the many films showing accidents on board U.S. carriers before and during World War II. Because aviators on board Royal Navy carriers belonged to a different service, the Royal Air Force, during most of the interwar years, it would have been very difficult for a ship's captain to order pilots to take such risks. Reeves could do so because he commanded naval pilots, and because he knew how important numbers were.
Then there was luck. In 1921 the U.S. Navy was building, among other capital ships, six huge battlecruisers. Many Americans, however, saw little point in completing a vast and expensive new fleet after having fought the "war to end all wars." There was congressional interest in stopping the ongoing program, and at least one proposal called for completing two of the battlecruisers as carriers. That probably would not have happened—except that in November 1921 President Harding's administration called a naval disarmament conference.
The resulting Washington Naval Treaty allowed each signatory to convert a few existing capital ships to carriers. The U.S. government chose two of the battlecruisers, which became the carriers Lexington (CV-2) and Saratoga (CV-3). They were far larger than the contemporary state of carrier aviation might have justified, and within a short time (well before they had been completed) the pair were widely derided within the Navy as white elephants. Analysis by the Naval War College suggested it would have been more efficient to divide up the available carrier tonnage into smaller flattops, and the USS Ranger (CV-4) was designed in line with that idea.
As it turned out, however, the Washington Naval Treaty was a stroke of luck for the U.S. Navy. The two huge ex-battlecruisers carried many more aircraft than any other carrier in the world at that time. As the Naval War College had concluded in Reeves' time, sheer numbers of aircraft translated into enormous combat power. Because operating multiple carriers was not yet possible, the numbers had to be concentrated on board individual ships.
The big flattops' first major test was Fleet Problem IX, a simulated carrier-plane strike on the Panama Canal's locks in January 1929. The successful results proved that carrier air power could be effective against both land and sea targets.
That lesson bubbled beneath the surface of U.S. naval aviation throughout World War II. In effect, the 18 April 1942 Doolittle raid, in which Army Air Forces bombers took off from a carrier to attack Japanese cities including Tokyo, reinforced it. By 1945 the Navy was pointing out that because carrier aircraft could take off much closer to enemy targets and were so numerous, they could drop about 60 percent as much bomb tonnage on Japan as could Army Air Forces B-29s. Thus American carriers retained the viable, important land-attack mission even after the Imperial Japanese Navy had been destroyed.
The postwar U.S. Navy became vitally interested in striking land targets, making the point that unlike land-based bombers, its aircraft could strike from nearly any direction. That alone would severely dilute any Soviet air defense. On this basis the Navy began to develop a new kind of carrier, shaped by the likely requirements of long-range bombers.
The U.S. Air Force, formed in 1947, naturally took a dim view of sharing its primary strategic mission with the Navy, and as the Department of Defense budget was badly squeezed in 1949, the Air Force and the Army successfully argued that the new supercarrier United States should be canceled. Even so, Secretary of Defense Louis A. Johnson allowed the Navy to continue to develop heavy attack aircraft suited to existing carriers.
Once the Korean War broke out, it became obvious that carrier planes attacking land targets were invaluable; the carriers were much closer to Korea than were land bases in Japan. The Navy heavy-carrier program was revived, the first such ship being the USS Forrestal (CV-59). Present-day U.S. carriers are her lineal descendants, and land attack is still a vital naval role.
It all goes back to that mixture of perception and luck in the 1920s—the perception, mainly on Reeves' part, that a carrier could be quite different from a landing strip ashore, and the luck of converting two very large ships into carriers, whose huge aircraft capacity could be attributed to Reeves' innovations.


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Adam Levine Gets Battered + Bruised in Maroon 5′s 'One More Night' Video
It's here, you guys! Maroon 5's video 'One More Night' was just released and now we get to bask in some shirtless Adam Levine ambiance. Also, we were totally right about what we thought was going on in the vid based on the behind the scenes look — 10 points for Gryffindor!
'One More Night' features actress as Minka Kelly as Levine's girlfriend, but things aren't what they seem for the couple and their baby daughter. "I play a heartbreaker, I guess," she said in the behind-the-scenes clip. "I do very bad things … but necessary." We'd do very bad things too, but in a totally different context.
While his boxing career is taking off, his relationship is suffering and that was the last straw. He's fighting the fight of his life — literally — and when he steps in the ring to cheers, she packs her bags. He wins and comes home, and the house is empty. We couldn't even fathom leaving him; and him playing a father just makes us want him even more. There's just something so hot about a bruised Adam Levine (both physically and emotionally).
Watch the Maroon 5 'One More Night' Video


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Keaton article.....
Friday August 08, 2003
By Brian Allee-Walsh
Staff writer
When Saints running back Curtis Keaton has a football in his hands, good things usually happen. It's when he doesn't that concerns Coach Jim Haslett.
Keaton, acquired from the Cincinnati Bengals just before the 2002 season opener for a fourth-round pick, is trying to win the No. 2 job behind star running back Deuce McAllister.
But nearly two weeks into training camp, no clear backup has emerged from the pack of contenders that includes Keaton, James Fenderson, Walt Williams and Tavian Banks, who has been sidelined since July 28th with an injured hamstring.
"Right now, it's still up in the air," Haslett said Thursday. "Somebody needs to step up here in the next couple of weeks. That position is important to us. Since we've been here, we've had a running back hurt all three years. We need to keep Deuce healthy, but in this league you need to have a pretty good, reliable backup."
Haslett and Saints director of player personnel Rick Mueller said Keaton could be that player once he masters the playbook and learns the many nuances that come with his position.
"It's the little things," Haslett said. "He's got to improve his pass blocking because I don't want to get a quarterback hurt. He needs to know his alignments and assignments and all that stuff. He's got to do all those things right."
"To be honest with you, our offense is not easy and Curtis is taking some time to learn it," Mueller said. "He's made strides and he works at it, it's just taking him some time. He's certainly a good runner. You can see it out here in practice. He does some special things with the ball in his hands. He's just got to round out his game."
Keaton, 26, said he feels more comfortable in the Saints' offensive system after going through an entire offseason program, but said he's still learning.
"The most difficult part is retaining everything they are throwing at you," said Keaton, 5 feet 10, 228 pounds. "It's a lot. Our playbook is bigger than the Yellow Pages.
"There are certain plays that I think I have down pat, and there's a quirk in it that kind of throws a loop into everything. I go over things, over and over and over again. Even when I think I have it, I try to write it out again and I quiz myself. I make note cards. I study film. I have found that working alone has increased my learning curve and my ability to retain."
Keaton said he is his own worst critic and was disappointed with his performance last season. He played sparingly in six games, rushing 12 times for 19 yards. Those 12 carries represent one more than he had the entire 2000 and 2001 seasons in Cincinnati.
"I really think that I have just scratched the surface," Keaton said. "I trust my God-given talent, so it behooves me to show these coaches and the people who make the decisions here that when they call Curtis' number, he'll make a play.
"I look at it this way: If Curtis is happy then the organization is going to be elated. I just have to go out there and let my talent take over. If you're thinking out there, it's too late. The reaction time is imperative. That's why I'm trying to make sure I store it right in my head the first time so when I need to recall it, I'll have it."
Haslett said he plans to keep three running backs on his 53-man roster, plus special teams standout Fred McAfee, who also plays running back. At this stage, after McAllister, the leading candidates to make the team appear to be Keaton and Fenderson, who started once last season and played well on special teams.
"James is probably the most consistent of the backs but he's not the biggest guy in the world at 5-9, 200," Haslett said. "But he's a heck of a special teams player, he blocks extremely well, he runs all the right routes and he's a good receiver. His durability is the question. Can he hold up through 16 games?"
Mueller said he is hopeful that a running back already in camp will emerge as McAllister's backup. If not, Mueller said the team is prepared to go outside the organization to bolster the position.
"We'll always be looking but I got to be honest with you, I think we're going to be hard-pressed to find a player better than what we got," Mueller said. "It's almost like trying to find a quarterback, good running backs are hard to find.
"Normally guys who get cut in training camp are not better than what you have. But we've planned for this position. We've planned for Curtis to be our backup. He's certainly talented enough to be a solid backup in this league. He just has to make a conscious effort to get better."
Keaton article.....
Two things I like to hear in this:
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Kids Trying Ice Cream for the First Time Will Brighten Your Day
Isn't ice cream the best? We snag a scoop of Chunky Monkey or Mint Chocolate Cookie Dough and BAM! Our worries of the world are gone. It's sugar magic at its finest. Even better is when kids get a hold of the tasty treat-- they're in pure adorable bliss!
Fortunately, someone came up with the genius idea to film kids experiencing the creamy dessert deliciousness for the very first time. Most first-timers are babies who have chocolate smeared all over their faces (arguably the best way to eat ice cream) while they devour the stuff. There are also a few cute tots who have priceless reactions of surprise, excitement and pure delight after tasting the little spoonfuls from heaven. Then they proceed to shove the bowls up to their mouths and lick every last bit. Aww! Except, we're totally guilty of still doing that.
Now if you'll excuse us, we have a pending date with Ben and Jerry.