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TUBBY - Dynasty of Dub
The descendants of King Tubby still prime the digital dub pump
Ten past 10 p.m. on a Wednesday. A secret undisclosed location in north Miami-Dade. Special guest DJ Mixette is ready to spin a late-night set for those tuning in to the illegal signal of a pirate radio station.
Mark T, a fast-talking, Haitian-born impresario, is tonight's host. His agenda: a ribald evening of contemporary, clandestine entertainment. Earlier, as she prepared her trick bag before departing her house in Lake Worth, Mixette cautioned, "It's underground, so it's gonna be dirty!"
|Because she works 60 hours a week managing a nursing home, Mixette hasn't had much time to plan for tonight's radio show. Before her arrival, she's nervous.
"I don't know what their format is, but I'm very adaptive. I'm gonna go there and hear what the other DJs do. I'll listen to the callers and find out what music they like."
For this foray into the unknown, proper, prim, and professional Mixette plans on a conservative approach. "I don't wanna play slow jams when everyone else is playing crunk," she explains. "My question to myself is, 'Why should these people listen to me? How can I be different but still be the same? What can I bring to the table?'"
As soon as she takes over, the mood changes from ghetto/gangsta to an unmistakable dancehall flavor. Between tracks, she interjects "Spin down, selectah!" or "Rewind, selectah!" making it obvious there's some Jamaican sound-system history in the hizzy.
|Mixette's mixes are as wicked as they come. She'll blend opera with Doug E. Fresh. "I've even taken Frank Sinatra," she boasts, "put it behind a reggae version, and made it work."
But throughout the evening, no one hears Mixette's real name: Michelle Ruddock. Even if they did, it's unlikely they'd realize she carries the corpuscles of reggae royalty. Ruddock, the 34-year-old niece of the late legendary dub progenitor King Tubby, doesn't trade on her celebrity lineage.
"A lot of artists today don't know about my past," Mixette says. "They don't know where I'm from, where my knowledge came from. All they know is, 'Hi, I'm Mixette. What can I do for you?'"
There's a familiar reticence about family connections in Mixette's headlong delivery. You can shake the chandeliers off the ceiling or scorch the speaker wires, but don't expect the Ruddock family secrets to make an appearance in Mixette's mix.
King Tubby has been dead for 15 years, the victim of a still-unsolved murder in Jamaica, yet he remains among the most respected figures in contemporary reggae, credited with the innovations that gave modern-day trance, techno, and hip-hop its sonic playfulness and deep-bass grooves. Still, he was always a behind-the-scenes string-puller, not given to music-press profiles. You'd never find King Tubby in front of a microphone on stage.
Then there's Tubby's baby brother, Leslie, a shadowy figure who has settled into embittered solitude in suburban Palm Beach County, resisting any and all attempts to unveil his own unmistakable imprint on reggae music. An incurable electro-tech wonk, Young Tubby -- as he is known by reggae cognoscenti -- can appear paranoid to the point of near-delusion. Leslie Ruddock -- an electronics genius, by most accounts, who built from scratch the machinery that helped create Jamaican music's most crucial subgenre -- goes to absurd lengths to keep his accomplishments under wraps. To this end, he's been remarkably successful.
Nor are Leslie Ruddock's children -- Michelle and brother Keith, another remarkable mixologist with a host of recording accomplishments -- particularly interested in removing the cloak of obscurity from the legend of their famous forebears. Perhaps the most remarkable facet of this creative music family is its ability to leave the past alone, each carving out his or her own idiosyncratic futures.
But sometimes the truth leaks out, like a bottomless bassline shuddering from a subwoofer or an ethereal slice of a vocal fragment slipping in and out of the mix -- be it from a mid-'70s reggae remix or a modern-day club anthem -- and you can feel Tubby's magic touch.
Along with a handful of others, the name King Tubby exemplifies reggae roots. Born Osbourne Ruddock in January 1941, Tubby's nickname came not from a weight problem (he was actually quite trim) but for his knowledge of all things electronic, tube amplifiers in particular. While a Google search will turn up hundreds of documents detailing the story of Kingston's Daddy of Dub, not one mentions Tubby's baby brother.
Leslie Ruddock, born in September 1947, doesn't even amount to a penciled-in footnote in reggae history. And he prefers it that way. Seeking interviews, local scribes like Peggy Quattro from Hallandale Beach's tiny Reggae Report got nowhere, and the world's foremost reggae archivist and biographer, Steve Barrow of England's roots revival label Blood & Fire, was also rebuffed.
Yet Leslie Ruddock was arguably as important and inventive as his older brother. While Osbourne never left Jamaica in his lifetime, Leslie Ruddock moved to the U.S. in the mid-1960s, never to return.
Although dub is known as a Jamaican innovation, many of its technological advances were made here in the States, simply because of the level of available equipment. Dub -- the product of budget constraints, sheer serendipity, and a sense of adventure -- has its origin in primitive electronics.
Both Ruddock brothers shared a passion for music and uncanny abilities as tinkerers with gadgetry. Anything that could be taken apart -- speakers, amplifiers, telephones, ham radios, televisions -- was studied and put back together. As kids, they would even come to enjoy the small electric shocks they'd get from the transistor radios they messed with.
In the late 1950s, Osbourne Ruddock's career as a repairman had blossomed into a master of audio mechanics, hours spent rewinding transformers and building his own tube amplifiers that were bigger, louder, and cleaner than anything ever heard on the island. With a simple home-brewed two-channel mixer, he built his own sound system, "King Tubby's Hometown Hi-Fi," a mobile DJ booth that pumped reggae that could be heard for miles. He also began working in a Kingston studio owned by Duke Reid, a former policeman turned record producer. Ruddock's job was cutting discs -- mixing and transferring tapes onto the raw vinyl platters.
One day, Tubby accidentally left off most of the vocals from a tune he was mixing. But he loved the sound of his minimalist mistake. When he became a well-known engineer/producer on his own, he built a simple studio, thinking (mostly out of necessity) in reductive terms.
Never proficient on instruments himself, Tubby was a post-production composer. After the musicians and singers laid down the basic tracks, Tubby would turn sound sculptor. The original whole, like a block of marble, would then be chopped, drilled, pulled, and tugged like taffy to fit Tubby's new specifications.
A vocal line might pop in for two or three measures, never to appear again. The underpinning bass grid often, without warning, dropped out entirely. A guitar would chop out a few strums, then evaporate. The vacuum left behind gave the music its magical appeal. This fourth dimension was fortified by a mind-warping sense of echo and reverb, at which Tubby excelled.
|Incredibly, the prehistoric technology meant that Tubby often performed these miracles on two-track machines -- instruments on one channel, vocals on the other. This economy of means led Tubby to push and pull both tracks in and out of the mix -- creating a titillating rhythmic striptease. By the time a four-track mixer came around, each element -- bass, keyboards, guitar, voice -- could make an appearance, briefly state its intent, and slip away behind a sonic curtain. The dropouts bred anticipation, and the blank spaces provided a perfect tableau for MCs (toasters, they were called) to rap over the top.
Other studios in Kingston were also experimenting with innovative techniques, but none had the technical prowess of Tubby's on Dromilly Avenue. A young engineer named Errol Thompson was also stripping tracks down to just drum and bass, but his more basic board meant he had to punch tracks in and out with buttons, making for a clunky sound.
Tubby had one big advantage -- his electronic expertise allowed him to update and modify his equipment. He used phase shifters and smooth-gliding faders, which made for seamless transitions between dub-being and dub-nothingness.
During reggae's golden age of the early 1970s, Tubby's studio became a launch pad for an assortment of greats. Among his most famous collaborators: producers like crazy dub surrealist Lee "Scratch" Perry and seminal studio whiz Bunny Lee; singers like sweet soul crooner Horace Andy, Watty Burnett of the harmony group the Congos, and the incomparable Johnny Clarke; original toasters like U-Roy; and melodica master Augustus Pablo. With Pablo, the work was especially fruitful, culminating in 1976's King Tubby's Meets Rockers Uptown, early dub's definitive statement.
Seventies dancehall superstar Jah Walton called Tubby's "the greatest four-track studio I have ever put foot in."
Last year, London's prestigious Guardian/Observer called King Tubby's 1971 discovery of dub one of "50 moments that shaped musical history [and] changed our lives," crediting him for "creating the template for modern dance music." Two years ago, Source magazine named King Tubby "the don of hip-hop." A new British compilation CD called The Rough Guide to Dub devotes half of its 20 tracks to King Tubby's mixes.
By the time Osbourne Ruddock developed his first sound systems, his younger brother was searching for a way he could make his own impact.
However, like his kingly brother -- rarely quoted, described by friends, family, protégés, and associates as a nice but extremely private man -- Leslie Ruddock has spent his 58 years avoiding any sort of publicity. Mixette laughs when told New Times plans to contact her dad to arrange a photo shoot. "Good luck!" she says. "We can't even get family portraits." His son doubts his father will ever speak to the press. "He doesn't do interviews," Keith Ruddock insists.
Regardless, after a series of unreturned calls and ignored messages, on one bright afternoon in early January, the man often called "Young Tubby" answers the phone at his home in suburban Boynton Beach. He doesn't sound at all pleased. In fact, he begins with an animated, don't-you-know-who-I am? rant.
"My brother was the King!" he shouts into the receiver. "The world famous -- internationally famous -- UNIVERSALLY FAMOUS!!! -- King Tubby!"
Nervous laughter on this end. Is he kidding?
"So if you want an interview, come up with a big, fat check," he thunders. "And I'm not talking about $1,000 or so. I'm talking big money. 'Cause Tubby's is a big name!"
After remaining in the deep background during one of reggae's most important sagas, isn't Leslie Ruddock interested -- even slightly -- in having his story told? Setting the record straight?
"No," he says after a millisecond's pause. "I don't want to bother with that unless I see some money. The record's straight the way it is."
That's a shame, because the story of Jamaican music is minus one big, fat chapter with his omission. Maybe so, he agrees with a sigh. "The history is so big, so broad. But I don't care. I never say anything to anybody. So if you need an interview, come on with a big fat check and I'll give you a story. But not with too much detail."
In fact, repeats Ruddock, after being screwed over, learning about copyrights, royalties, and publishing rights the hard way, there's only one way he's going to tell his story.
"I'm waiting for somebody to come in with a big fat check," he reiterates. "Then I'll say, 'OK, roll. '"
But behind his sonorous voice -- which sounds as if it belongs to a smooth soul singer instead of a semiretired radio repairman -- a kindness starts spiraling out from behind the gruffness, and against his will, the tales squeak through.
Today, Ruddock explains, his passion is for his family -- his 92-year-old mother, his children, and three grandkids (all under the age of 10). He still works with audio equipment (area Sam Ashes and Guitar Centers regularly call upon his talents) but revisiting his past -- especially with cold-calling strangers -- ain't in the cards.
"It's time for me to enjoy the rest of my life with the people around me," he begins. "Why should I want to go back in time?"
In the 1960s, as King Tubby became one of the most famous musical Jamaicans, Leslie Ruddock tired of following in his footsteps. Convinced he could become an engineer and technician in his own right, he moved to Brooklyn, where he took his electronic knowledge to a new level. By the early '70s, with the technology of New York City at his disposal, his achievements outstripped his brother's back on the island, say many who witnessed his innovations.
|"To me, a lot of people give Tubby too much credit," says Denver "Jamusa" Silvera, a popular DJ on Davie's Caribbean radio station WAVS-AM (1170). He met Leslie Ruddock in Brooklyn in 1970. "He told me Tubby taught him a lot of things, but then again, he created a lot of things here."
"That's just the way it goes," Ruddock says. "I advanced a lot of people's careers; they just never mention me. But I'm an electronic genius -- I can take a cigarette box and turn that shit into a radio. That's who I really am."
Silvera once watched the young Ruddock take a business card and use it as a speaker. "From then on, I said, 'Whoa, I gotta know how you do this stuff!'"
One of Young Tubby's innovations was a "dub machine," a device that could actually cut vinyl records. Big record companies pressed albums in factories for mass consumption, but Leslie Ruddock's machine was likely the first one used on such a small scale in America.
"It was so amazing for everybody to see a man build something that can make a record," Ruddock marvels. "A lot of guys never knew how a record was made until I showed them.
"That's what 'dub' really is," he continues. "It's acetate -- that's what that black thing really is. What you'd do is you'd dub the sound from whatever you're taking it from onto the acetate."
In Jamaica, Leslie and Osbourne also cut their own records, creating what became known as dub plates -- usually single 45s -- containing instrumental versions of whatever tunes they'd be working on. These dub plates would be transported like artillery shells to be blasted on their booming sound systems, laying waste to listeners.
Leslie explains, 'We would use the same rhythm track, put different lyrics on each one, and make four, five, six different versions so we could compete with other sound systems. Basically, that's what my brother and I brought into existence."
The second discovery Leslie Ruddock made in Brooklyn went to the core of dub's sonic spirit. "Nobody was putting echo in reggae music," he claims. "I started that when I was just a young guy."
By combining three tape recorders together, he invented an echo/feedback system that created a mind-boggling 168 echoes a minute. Another associate, Hyman "Jah Life" Wright -- now a New York label boss -- recalls how Ruddock's unorthodox methodology gave the music its disorienting giddiness.
"He had a Fisher reverb unit that used a spring, a metal spring," Wright remembers. "He'd lift the spring and it'd splash, and he'd combine that with the echo unit and get these different frequencies."
The effect is better heard than described, but Wright tries his best: "'Cha-ya-ya-ya-ya-ya-ya-ya.' We did a version of a song called 'Queen of the Minstrel' with that echo thing, and it went 'Peeeeow-ow-ow-ow-ow-ow-ow-ow. '"
Silvera recalls, "It was really freaky. That spring was the most amazing thing. Just now, today, people are starting to get the effects that he got way back then."
Ruddock recorded these sounds and sent them down to King Tubby. "I got a telephone call from my brother in Jamaica," Ruddock laughs, "and he asked me, 'How the hell did you do that?'"
|When the sound turned up on King Tubby's mixes, it instantly revolutionized music on the island. "As soon as I 'eard those records," Wright says, "I knew it was our stuff."
"Nobody ever heard anything like that before," Leslie Ruddock says. "Everybody want that." Joyously, he describes how one such experiment gave rise to a frequent nickname: "We made a record that went, 'Iggy Iggy, Agga Agga, and when the guy says play the music, just Stagga!' And when that part came, I just hold it like that so it goes, 'STAGGA Stagga stagga stagga stagga stagga stagga... '" From that moment, a group of in-the-know industry insiders started calling Leslie Ruddock "Stagga."
Young Tubby's remarkable inventions made friends like Silvera ask him, "'You know how rich you could have been if you had patented that?' But he didn't want to get involved with that part of the business. He wanted to stay behind the scenes." Silvera even advised him to design an emblem to label the power amps and pre-amplifiers he'd assembled.
"You know, so they'd say Built by Young Tubby. But he wouldn't do things like that. A lot of what Tubby knew was learned from Stagga. Stagga was exposed to a lot of things you couldn't get in Jamaica, and he shared that with Tubby," Silvera says.
Ruddock can't escape the Tubby trademark anyway. There's a wide gap between Source magazine and the London Observer, but Tubby's name is enough to fill it.
"What is known as hip-hop today," Leslie Ruddock intones, "is originally what we used to do in the late '60s and the early '70s. But they just know my brother's name. If you go back and trace the history, on the lips of every guy in the reggae business, they always say, 'KING TUBBY!'"
Keith Ruddock still remembers running around King Tubby's studio as a young child. In fact, he lived with Osbourne Ruddock in Kingston until he joined his father in the States in 1985. While in Jamaica, he learned about primitive equipment that could work miracles. Today, with digital 48-track mixing consoles and ProTools at his disposal, he still remembers the magic created at King Tubby's.
"His studio was just the way it was supposed to be," he marvels in a heavier-than-expected accent. "Other studios tried, but they couldn't capture the way Tubby used to dub."
Most of what Keith Ruddock understands, he learned at his father's side. "Personally, he taught me about how sound works, from an electronic perspective. Trust me, when he builds it, it works the right way."
In 1991, Keith moved to West Palm Beach, where the lack of opportunity stifled him. "I'd be down there more," he says, "but nothing's going on." So for the past two years, he's lived in Washington, D.C., playing club gigs across the country under the Digital K rubric.
"We do the sound-system thing," he explains. "I'll DJ, and we have a toaster on the mic. I'm playing dub plates and tracks from a laptop, but we keep that old-school, '70s dancehall vibe."
With Wright producing, Keith Ruddock is ready to release his second album of modern-day dub. Back to I Mon Roots, on Wright's Jah Life label, is a spooky labyrinth of crevasse-deep grooves and futuristic sound effects. Drum machines skitter, chitter, and bounce, while synthesizers chirp like mechanized cicadas. Electronic basses boom and pop like gas bubbles, shaking walls, while everything shudders with reverberations suggesting underwater sonar. Ghostly vocal traces come and go like wraiths sticking their skulls through a crack in the door, whispering, then vanishing.
In short, it's King Tubby's legacy retooled for the modern age. "I take my hat off to people who build upon what he built," Keith says. "Digital is pure signal, but the analog roots -- you have to be true to it."
Ever since she followed her brother from New Jersey to South Florida in 1996, Michelle Ruddock has been honing her DJ technique for house parties and occasional club events, specializing in, as her dad jokingly calls it, "hip-hop shit."
Like her brother, Mixette had, by the time she'd set up shop in Palm Beach County, already learned electronics from her father. "I believe in foundation. I believe in structure," Mixette says. "I see where my ancestors came from. I've seen where they put all these 20-cent radios together at one watt apiece and make a 200-watt amp out of garbage. I've seen it with my own eyes."
Like Keith, Mixette stays grounded in the analog realm but is gradually inching toward digital. "I can mix and scratch with my laptop," she crows. With 15,000 MP3s on there, she no longer has to travel with ten crates of records.
"I still keep the basics," she adds. "Two cases of vinyl, a bag of CDs, and my laptop. I don't forget any of my elements -- they're all there with me."
Yet this regal reggae bloodline also bears the taint of seclusion. Keith Ruddock e-mailed New Times out of the blue, introducing himself as King Tubby's nephew. First contact with Michelle Ruddock was extremely positive. Yet when invited to sit for photographs to accompany this article, Leslie Ruddock reacted with a combination of annoyance and hostility that evidently trickled down to his progeny.
Within weeks of the radio broadcast, Michelle stopped answering her phone; when finally reached, her initial openness had shifted to icy quarantine. Keith made several promises to return to West Palm Beach -- first for Thanksgiving, then Christmas, and finally sometime in late January. He insisted he'd put everything aside for a meeting and photo shoot. "Press always comes first," he added.
Then, as February rolled around, bad news did too: "I can't make it down," he said. "Family problems."
In contrast to Keith's accent-laden patois, his father's sharp, clipped English bears almost no trace of his heritage. "I don't do that 'Yeah, mon' thing," Leslie Ruddock snaps. "It don't work no more. Remember, I didn't just get here -- I grew up in this damned country. I've been in this country since Johnson was the president. Jamaica is just the land of my birth -- what's the big deal? I left it a long time ago."
Yet America hasn't always been friendly: While in Brooklyn, his friends recall, Tubby's apartment was burglarized. So in 1982, he moved to South Florida, but his first studio space here (in Miami) was robbed as well. So he relocated to Fort Lauderdale and opened a recording studio at 2811 W. Broward Blvd. Young Tubby's Music Center was the biggest studio between Kingston and New York for reggae artists, and Ruddock fondly recalls the halcyon days of sessions with vocal talents Sugar Minott, Johnny Osbourne, and Barrington Levy as well as the late, great Dennis Brown and Augustus Pablo.
Inside the Broward Boulevard studio -- next door to a strip club -- Ruddock's disciplinarian side surfaces. In telling the tale, he punctures one of the biggest misconceptions about dub: that everyone involved must have been incredibly stoned to come up with such mind-bending sounds.
"That's the part of the music business that I resented constantly," he says angrily, "and still do. I would come into the studio feeling good, and the minute the musicians come in and start smoking their goddamned ganja shit, stinkin' up the place, I'd have to open up the window.
"I don't smoke," he says. "Or drink. I never did. Why should I be suffering because that guy smokes his ganja? So I had a tough time, especially when using other people's studios. I used to carry this little gas mask with me."
He admits it probably looked a little silly to see someone behind the console wearing a gas mask with filter cartridges, but he didn't care.
"If someone said, 'Tubby, why you put that thing on?' I'd say, 'Man, I can't breathe in here with all that smoke!'"
Silvera recalls, "He had this phobia about smoke, so [musicians] would go do it outside in the car before they came in. He told me that cigarette smoke will form a charcoal film on the equipment, the diodes, and really mess it up."
During his stint in Fort Lauderdale, Ruddock had three rules musicians and engineers had to follow: No smoking in the studio. No food in the studio. And no firearms.
He also remembers recording artists who couldn't -- or wouldn't -- pay for the studio time they'd booked. "I did a lot of grinnin' and bearin', man," he says. "I had guys who pushed a gun into my navel and said, 'What money you talkin' about?' I've been down those roads. I could have lost my life so many times."
Ruddock knows that enduring these indignities is part of the work, and even at 58, he's still bitter.
"Listen to me," he says solemnly. "Luck don't run my way. It's hard work!" His voice rises. "I'm talking about 45 years of constant soldering! Getting electrical shocks! Listening to all kinds of shit from guys who don't even know how to play their goddamned instruments!"
Softly, he adds: "It's not about fame. It's not even about money. It's about -- somebody gotta do the goddamned work."
A few days a week, he repairs equipment in the back room at Boca Music. "He really knows his stuff," owner Brian Baldwin says. "He catches things that we don't normally catch. He's probably the best electronics repair guy around."
"That's all he does," says Ace Kari, salesman at Schumacher Music in Stuart, where Ruddock also works part-time. "He fixes anything that has wires and tubes and transistors, whether it be a TV or a microphone and everything in between." Kari has gotten to know Young Tubby a bit and understands his reluctance to indulge curious writers.
"That part of his life is over and done with. He wants to be left alone. It's a shame, but he's done."
|Adds Silvera: "I've asked him to come to the station and tell people how he did all this, and he'll say, 'Nah, nah -- you do it.' The media in Jamaica, they don't write about the backbone of the music. They write about the leaves that fall off the limbs. There are branches, but he's one of the roots."
Both Wright and Silvera believe few royalties from Tubby's old recordings have made their way to his descendants. Jamaican, American, and even Japanese labels took advantage of copyright and publishing loopholes and swiped much of his back catalog.
"You see a lot of Tubby's things out there making millions," Wright says, "but his family's not getting any of the money."
Because he's been in the background, quietly observing for so many years, Ruddock has a pretty good idea what to avoid.
"I'm not gonna teach anybody anything anymore," he insists. "And I'm not doing anything with outsiders either. I'm satisfied with what I got out of it. I don't have any needs or wants. I'm very comfortable. I don't need a goddamned thing. I'm not rich, but at the same time, I'm not on the poverty side.
"I just sit back, but what I'm not doing -- and I want you to listen very carefully now -- what I personally am not doing is I am not bringing any outsiders into what remains," he emphasizes. "I did that for 45 goddamned years. It never do a thing for me, and it killed my brother."
During the 1980s, King Tubby's studio in the dangerous Waterhouse district of Kingston hosted a revolving door of talent, and new apprentices learned recording techniques at his side. He launched his own record labels, boosted the careers of upstart stars like Wayne Wonder, and readied himself for entry into the new digital era.
It was not to be. Shortly after 1 a.m. on February 6, 1989, Tubby locked the studio, started his car, and made the ten-minute drive to his home in Duhaney Park. As soon as he pulled into the driveway at 85 Sherlock Crescent, a gunman sneaked up. Tubby was robbed (his licensed pistol was stolen too), and his wife awoke to the sound of a single shot.
Old-school ska vocalist Glenn Darby told an interviewer: "The person who killed him was one of the stupidest person in the world because they would never find a man like King Tubby in Jamaica again."
Concurs Wright: "I never heard Tubbs ever fight in his life. They killed him for no reason." No one was ever arrested in the murder.
While family points to his intense desire for privacy, his associates say Leslie Ruddock's reluctance to emerge from hiding is motivated by fear.
"He's my bredren and everything," Wright says, "but he's kind of a coward too. I said, 'Stagga, man, you need to stop that. You've been in the background too long.' Trust me -- he's scared. He don't want nobody to come and kill him!"
Young Tubby insists he's afraid of nothing but losing his precious solitude. "I'm with everybody in the music business, even though we're not out there rubbing shoulder to shoulder. So what's the big deal? Why do I have to be showing people that I'm still existing?"
While he teases with tales of unheard, never-released Bob Marley and Dennis Brown tracks, photographs stacked four feet high of every reggae star imaginable, and enough crazy electronic gizmos to fill a Heathkit catalog, Ruddock has no intention of sharing.
"This is only for my kids and myself," the patriarch insists. "Because I've noticed what an outsider does -- they destroy what they can't control. It's time to close the goddamned book. I did my time. I tell my kids, 'It's time for you to continue this thing, continue it in your time. '"
Young Tubby is adamant he will never reemerge. "Some people come back after ten years, and you know the first thing they do? Go back where they left off. You can't do that. You're gonna scratch that surface that you smoothed out on the way to the top. Leave it alone! A lot of people don't have the strength, they don't have the courage or the know-how or the understanding how to continue without going back.
"I don't have to go back; I just continue. My daughter, my son, and I -- we're moving forward in digital." His voice rises again, this time with pride. "They grew up into it, beside me, constantly. It was handed down to them. They're from the foundation -- it's not something they just heard about. It's right there."


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Gov. M. Jodi Rell of Connecticut, who rose to the state's highest office five years ago after her predecessor resigned amid a corruption scandal, said on Monday that she would not seek re-election.
In a surprising announcement, Mrs. Rell, 63, did not immediately give a specific reason for her decision, saying only, "At some point, you know inside that it is time to begin a new chapter in life."
Her announcement came during a news conference at which she first thanked people who had helped in a food drive over the weekend.
"Second, I would like to share with you the news that — after much soul-searching and discussion with my family — I have decided not to seek re-election next year," Mrs. Rell said. Her family was standing nearby during the announcement, The Hartford Courant reported.
The news left the Republicans without a candidate possessing big statewide name recognition and the Democrats with an opportunity to push for the governorship in 2010.
Lt. Gov. Michael Fedele, a Republican, has said that he might run for governor if Mrs. Rell decided not to seek re-election. Other Republicans, including the House minority leader, Lawrence Cafero of Norwalk, and the Senate minority leader, John McKinney of Fairfield, also have expressed interest.Continue reading the main story
Among the Democrats, Ned Lamont, a businessman who unsuccessfully ran for the United States Senate three years ago, has expressed an interest in being governor.
"I salute the governor for her service to Connecticut, her civility, and her integrity," Mr. Lamont said in a statement Monday evening. "Now is the time for a fresh start."
Mrs. Rell, a former lieutenant governor, has been governor since 2004, when Gov. John G. Rowland resigned. He served 10 months in prison after pleading guilty to corruption charges. Mrs. Rell was elected in her own right in 2006.
Mrs. Rell's job approval numbers have dipped in recent Quinnipiac University polls, mostly because of the state's budget problems. A Sept. 16 poll showed that 59 percent approved of how she had handled her job, while 34 percent disapproved — the lowest approval rating during her tenure.Continue reading the main story


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The top three movies at the box office this weekend were all debuts, with two tying...


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25 slices torn sandwich bread
1 pint shucked oysters, drained (reserve liquid)
2 large onions, diced (about 1 lb)
1 bunch celery, diced (about 1 lb)
1 bunch parsley, minced
1/2 cup chicken or turkey stock
2 1/2 tablespoons butter
2 eggs, beaten
1 teaspoon white pepper
1 teaspoon celery seed
1 teaspoon sea salt
zest of one lemon
In a large pan, saute celery and onions in butter and olive oil over very low heat until the onions are translucent. Do not brown. Allow to cool slightly. Add to bread cubes in bowl and add spices, zest and parsley. Combine with egg, oysters and broth. Add oyster liquor to further moisten if necessary. Form medium-sized balls. Refrigerate until ready to use.
Place balls in the bottom of the roasting pan under the rack and around the turkey on the rack for the last 1/2 hour of roasting.
Yield: 8-10 servings


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New Delhi, Nov8: Bollywood superstar Kajol, who has been one of the favourite actresses of Yash Raj Films with films like Dilwale Dulhaniya Le Jayenge and Fanaa, says the tussle between her husband Ajay Devgn's production house and YRF affected her relationship with the latter.
"Yes, it affected my relationship. But that was a situation which had come out of ordinary. It was not a normal situation... It doesn't occur normally. It doesn't happen everyday... Hopefully, it will not happen in future again," said Kajol on the sidelines of Agenda Aaj Tak's session 'Supertar-Supermom-to Superstar'.
The controversy began when ADF filed a complaint in the Competition Commission Of India (CCI) alleging that YRF used its dominant position in the market to get maximum screens for Jab Tak Hai Jaan, which resulted in Devgn's Son of Sardaar not finding enough screens.
The 38-year-old actress married Devgn at the peak of her career and currently raises two children with him but that has not affected her demand in Bollywood.
Kajol, who starred in hits like Kabhi Khushi Kabhi Gham and My Name Is Khan post her marriage, said she is happy to see the industry going through a positive change.
"Time has changed in the industry. It's a good time for women because people are willing to experiment now. Even our audience are bound to think and want something different. It's a fantastic time for women in the industry as directors are taking a risk with them," she said.
But she still feels that industry is being dominated by male actors.
"I agree that it's a perfect time for an actress to be in the industry but I still feel it's male dominated. You can't take away the male domination on the basis of female-oriented films doing good business in the box-office," she added.
When politician Lalu Prasad Yadav asked her about the vulgar content in today's films, Kajol said, "I agree with you. Being a mother, I also face difficulty to watch some films with my kids. But I feel that cinema reflect our society and its changes."


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Laser weapon systems, Lockheed Martin, Bethesda, Maryland, USA
20th September 2017, 23:32
Fast Lightweight Autonomy (FLA) program
28th June 2017, 17:47
25th October 2018, 16:36
24th January 2019, 20:13
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Barrow CofE Primary School Barrow, Shropshire
Barrow CofE Primary School
Primary School
Telephone: 01952 727421
Fax: 01952 728256
Website: visit school website
Telephone: 01952 727421
Fax: 01952 728256
Website: visit school website
* marker is placed on the street of the school
Education News
- Government faces High Court action over children's rights
- Warning over cost of caring for young asylum seekers
- Anti-semitism row in Essex University student society vote
- Lecturer's widow hits out at Cardiff University workload
- LGBT-row teacher up for $1m global prize
- Brexit 'could risk children's safety', warn commissioners
- LGBT-row teacher on teaching kids about equality
- The self-taught pianist drawing crowds
- Nephew, 5, inspires hairdresser's Spargoland 'sensory' salon
- Climate march students: 'We need change and we need it now'
- Perinatal OCD: 'I was worried I'd do something to my kids'
- Will universities go bust if fees are cut?
- Erasmus: What will happen to scheme after Brexit?
- When class sizes fall so does teachers' pay
- The mother who lost her daughter over an EpiPen
Sport News
- Chelsea beat Malmo: Europa League win eases pressure on Maurizio Sarri - for now
- Man City fan in critical condition following assault after Schalke game
- Mesut Ozil: Arsenal midfielder will be rotated, says Unai Emery
- Delray Beach Open: Juan Martin del Potro reaches quarter-finals in Florida
- Celtic: Jeremy Toljan red 'took game away' in Valencia - Brendan Rodgers
- Jurgen Klopp: Liverpool manager fined Ł45,000 by FA for comments about referee
- Man Utd v Liverpool: David de Gea & Alisson - how two keepers became Premier League stars
- EuroBasket pre-qualifying: Great Britain easily beat Cyprus in Manchester
- Wales v England: Eddie Jones tells his Six Nations visitors to relish Cardiff hostility
- Harry Kane 'an animal' - Pochettino on returning Spurs striker
- Georges St-Pierre: Two-division UFC champion retires aged 37
- Roy Hodgson on becoming oldest Premier League manager
- Schalke 2-3 Man City: We are not ready to fight for the Champions League - Pep Guardiola
- Liverpool 0-0 Bayern Munich: Jurgen Klopp admits draw was 'not the game we dreamed of'
- Leroy Sane: How the Schalke schoolboy became a Premier League star at Manchester City


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Here's a nifty outdoor exhibit for you. Last weekend the National Civil War Naval Museum in Columbus, Georgia unveiled a full-scale replica of the USS Water Witch, a blockader captured by a Confederate raiding party near Savannah in 1864. The story of its capture is one heck of a tale—check out the account on the NCWNM's website. It's like something out of a nineteenth-century version of Tom Clancy.
I didn't know much about the museum until I ran across the Water Witch news story, but now that I've scoped out the exhibits online, I think I'm going to have to take a trip to Columbus.


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text: Submitted by Paul.Burnett on Tue, 2014-04-01 22:21 Weber Basin Anglers - 681 Utah - 9UT Conservation Vote Up Down +443 + 29-2014_03_14_0012645.JPG Sometimes we are left with a mess. I was recently talking to Charles, one of the landowners involved in our Fish Creek Reconnection project in Utah's Weber River Basin. He was telling me about how his family was left with a serious problem. "People kept telling me that we needed to do something about this, but we didn't have the resources to fix it. Besides, we wouldn't know where to start anyway!" What was the problem? A culvert. 05-IMG_8671.JPG The Fish Creek culvert before complete failure in 2010. Not just a culvert, but over 100 feet of failing culvert with over 35 feet of road fill on top of it. In addition to that, the creek downstream of the culvert had downcut approximately 6 feet, completely blocking fish passage to upstream spawning and rearing habitat. Even if the landowners were able to move all that material and pull out the culvert, it still would have released a headcut to move up Fish Creek. Everytime I drove over the culvert I just shook my head. How could something like this have been constructed. The problems were easy to point out, but a solution was much more challenging to find. So what is the story behind this culvert? Back in the 1960's and 1970's there was an oil rush in Utah's Summit County. This 2008 article in the Park Record highlights the field working conditions back then. Much of the development occurred on private land and there was little regard for the property owners' operations or values that they held in the land, let alone things like fish habitat and passage. It was a race to get the wells and jacks installed as quickly as possible and facilitate the heavy machinery into those areas. The South Fork of Chalk Creek and its tributary, Fish Creek, didn't escape this fate. 2014_03_24_XTI_03128.jpg An old valve as part of the infrastructure developed during the oil boom. At some point during this time period, the companies needed to access well locations in the middle of the Fish Creek subwatershed. The primary challenge at the time was getting the heavy equipment up the steep road grades, so they threw in a culvert and (literally) tons of fill over the top of it to cross the entire Fish Creek floodplain on a flat, but elevated pitch. Of course the oil boom has long since passed. The original energy companies are long gone and the landowners were left with this massive challenge. 2011_10_04_3089.jpg A Weber River Bonneville cutthroat trout. Why is Chalk Creek so important? This major tributary to the Weber River holds one of the last remaining Bonneville cutthroat trout strongholds, almost entirely free of nonnative fish, and Fish Creek is an important piece of that puzzle. Strongholds like Chalk Creek and its tributaries are special places that we can't ignore because they serve as critical spawning and rearing habitat for native cutthroat. Protecting the health of tributaries like Chalk Creek has cascading effects downstream into the Weber River, providing enhanced fishing opportunities for anglers in this popular fishery. After becoming aware of this culvert, TU staff reached out to the landowners in 2011. Unfortunately, by that time, the culvert was well on its way to complete failure. The floodwaters during that massive 2011 spring runoff event undermined the culvert and sadly much of the road fill fell into Fish Creek. Nevertheless, even after the failure, the challenges were just as daunting. The road provided ranch access to several landowners and one single section of culvert remained in place to hold the 6 foot headcut in place. This was a problem that no single organization or person could resolve, it would require collaboration. 10-FishCreekPanorama.JPG A panoramic view of the culvert failure in 2011 In cooperation with the landowners and a broad partnership that included private organizations such as Orvis and agency partners such as the US Fish and Wildlife Service and Utah Division of Wildlife Resources, we developed the Fish Creek restoration project with 3 primary goals in mind: Restore fish passage to allow cutthroat and other species access to 7 miles of upstream habitat Stabilize the headcut and hillslopes to reduce fine sediment entering Fish Creek Restore passage for vehicles by constructing a full spanning bridge But the clock was ticking. By the time we removed the culvert during March of 2014, very little soil was holding it in place. Further failure would have allowed the headcut to continue moving upstream further into the Fish Creek watershed, contributing more sediment to Chalk Creek and degrading the already tenuous habitat in the Chalk Creek watershed. After extensive design iterations we decided on a restoration approach that included 4 constructed riffles that would step the stream down 6 feet over approximately 500 feet of stream. This natural channel design restored the connection between Fish Creek and its receiving water, the South Fork of Chalk Creek. When the culvert was removed last week, it represented a huge victory for the landowners, our watershed and fish living in Chalk Creek. With the removal of this culvert, 7 miles of Fish Creek were reconnected to the South Fork of Chalk Creek, building resiliency into our watershed and the native fish populations, and developing a collaborative win-win solution with agricultural producers. 47-2014_03_24_XTI_03067.JPG Removing the remaining culvert section, representing a huge victory for our watershed. 60-2014_03_26_0013809.JPG Reconstructing the channel at the location of the old culvert. 58-2014_03_26_0013795.JPG A reconstructed riffle below the old culvert. 75-2014_03_28_0014196.JPG Final creek alignment at the old culvert location. 1-IMGP0077 Panorama.jpg A panoramic view of Fish Creek after the culvert failure in 2011. 79-2014_03_28_0014229 Panorama-2.JPG A panoramic view of Fish Creek immediately after construction. We express our appreciation to the Gillmor family for their collaboration. Thanks to the Utah Division of Wildlife Resources, Western Native Trout Initiative, US Fish and Wildlife Service, the Utah Association of Conservation Districts, the Utah Division of Water Quality, the Weber Basin Water Conservancy District, the National Fish and Wildlife Foundation and Orvis through their 1,000 Miles Campaign for funding. Special thanks to McMillen LLC in Boise, ID for designing this project and Flare Construction in Coalville, UT for building this project.


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- Written by webmin
As American thoroughbreds go, most people immediately think of Mercer, Stutz or Simplex. Not too many people think of the Midland, from Moline, Illinois, which lived for just five years under the leadership of Charles Pope and the Deere family. The 50-plus-year-old restoration on this 1911 Midland Raceabout seems to have held up well, and it looks ready to challenge any Mercer, Stutz or Simplex on a race track or at a concours. From the seller's description:
Restored by Wilkinson & Sharp in 1958, this exciting raceabout entered a 50 year long sleep from which it emerged in 2010. Tens of thous spent to go through the entire car including the pressure assisted pump oiling system. Gearbox and the Midland designed and Timken built full-floating rear. Engine by Midland is a 40 hp T-head with caged valves over 2″ diameter. Engine clutch & trans are bellhousing unitized and rear has a tapered torque tube drive with a spere contained universal, identical to what Royce produced in 1913. Goodyear 27″ rims have new universal straightside tires. This is certainly one of the best looking cars we have ever owned and looks identical to a 38 hp Simplex speed car or like a J-Mercer on steroids. With a pedal activated cutout adjacent to the accelerator and very quick steering, the car tours with a rearl snarl, with tall gearing, the car goes faster than a brave man would drive it.
See more cars for sale on Hemmings.com.
Posted in Blog
Tagged Charles Pope, Hemmings Classic Car, Hemmings Find of the Day, John Deere, Midland, Midland Raceabout, racing, thoroughbreds


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MySQL Cluster : Delivering Breakthrough Performance
Argomenti: MySQL Cluster, Prestazioni e scalabilità
Learn how to deliver the highest levels of performance and scalability from MySQL Cluster. MySQL Cluster has achieved many impressive benchmark performance records – demonstrating linear scaling of both read and write operations. This session is focused on best practices to translate benchmarks to real world performance. We will discuss:
- Tuning and optimization to exploit the auto-sharded, distributed design of MySQL Cluster
- Using Adaptive Query Localization to scale cross-shard JOINs
- Data access patterns, schema and query optimizations
- Recommended tuning parameters


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Home-Buying Frenzy Sets a Record as California Loses Its Grip on Hottest Markets
As the home-buying season enters its most frenetic period, the pace of sales set new records in May, according to an analysis of realtor.com® data for the month. That's not all: Listing prices also continued to set records. However, in the end of a historic run, the majority of the hottest markets in the country are no longer in California.


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Keak Da Sneak & San Quinn - Hot N' Cool
Video for the song "Hot 'N Cool" from Keak Da Sneak and San Quinn's album Welcome To Scokland.
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2012-07-19 / Columnists
Pets Pets Pets
"The one best place to bury a good pet is in the heart of the master." Ben Hur Lampman
Babylon Town Shelter may well be the only municipal facility to have a room designed to ease the emotional pain owners feel when the decision to euthanize a beloved pet is inevitable and imminent. Babylon's "Buddy Cares" room takes compassion to a new level.
It began as an email. Kristin Siarcowicz, animal control officer, asked shelter director, Chris Elton, if owners could be with their pets after euthanasia is performed. Since then, this idea has become reality, evolving into a comforting setting where owners can say goodbye to their dear furry friends. Thanks to Kristin's creative vision, the new space is a drastic contrast to the cold, institutional room it once was, and is a symbol of positive shelter policies concerning pet end-oflife procedures that have gradually morphed over the last five years. During Chris's tenure as shelter director, Babylon Shelter has made strides to regard pets during their last moments, as well as their distraught guardians, with kindness and dignity.
Some, but not all, LI municipalities offer affordable pet euthanasia services with group cremation to their residents but the procedure usually means dropping the cherished pet off. Loving owners have a very hard time doing so. Certain shelters like Babylon accommodate arrangements for individual cremations or burials. Recently, Babylon stopped designated euthanasia days, and instead schedule appointments so distressed pets would not be left waiting. Chris dismantled the holding pens which he says "is the most cathartic task I have ever done at the shelter." Still something was lacking.
In a perfect world, all pet owners would be able to afford to go to a veterinarian to stay with their dog or cat during its final moments. Especially in these hard times, many caring owners cannot afford hospital fees that can run several hundred dollars. The self-righteous will insist that these people should have never obtained a pet if they cannot afford this last act of mercy; yet no one can truly understand someone else's circumstances. The owners may have already depleted their savings trying to save the pet's life; the family's finances may have changed drastically in the 15 years that have transpired since acquiring the pup or kitten. The family may be barely getting by. With scores of senior and seriously ill dogs and cats abandoned now, it appears many animals are victims of the economy too.
Kristin is also the shelter's NYS certified euthanasia technician. She and other staff members speak to people who are struggling with the idea of euthanasia, especially the thought of handing the pet to a stranger and leaving. Nowadays the shelter counsels callers to ascertain if it is the time, or whether veterinary intervention might still improve quality of life. More callers were asking if they could be there for closure. In May, Kristin sent Chris an email titled "Wondering" whether owners could be with their pet before the procedure, or afterwards or both. She noted doing so would "open up the process, welcome what is fact and make it more comfortable." When he agreed, the room modifications, which began as Kristin thinking she'd merely paint the floor, became a total metamorphosis. The extreme makeover was done after hours on Kristin's own time, with several marathon sessions lasting well after midnight.
To put it bluntly, the old room, as is the case in many municipals, was a stark chamber with a hydraulic table, floor drain and freezer. No one would want a person already upset to venture in there. Each change had to be soothing and healing without being too cheery or cute. Kristin started with painting the walls and doors in warm orange tones to embrace a sunrise/sunset theme. She found matching burnt orange drapes in a thrift store so her mother Karen modified them to cover the freezer, and as a window curtain and table skirt.
On one door Kristin painted a mural of a mountain scene with a dog and cat silhouette as a focal point. Her German Shepherd Lara would accompany her during late sessions to model and for protection. Later she decorated the outside door with a sunflower field. Kristin and Karen laid down a vinyl tile floor which covered the drain. A stained wainscoting panel and chair rail surround the room, lamps glow in the corners, while comforting poems and quotes, like the Lampman one above, are propped up on shelves. Kristin's brother Edward is a professional photographer. His framed sunsets grace the walls.
The building supplies are courtesy of "Buddy Cares," Babylon Shelter's 501c3 wellness fund, founded by Lauren Van Kirk, director of Town Senior Center at Spangle Drive. Lauren established "Buddy Cares" to honor Buddy, a neglected Lhasa she adopted from the shelter in 2007. The fund helps pay for grooming, medical procedures and equipment like the new washing machine.
The office intercom no longer announces that a dog or cat is coming in the side door for Code E ("euthanasia") which was a slight improvement over the archaic Code D (for "destroy") of decades past. Now they are there for "Buddy Cares," the new name of the room.
Lauren stopped by the shelter to glimpse the room in progress and saw a young couple with a little boy doting over an older Golden Retriever in their car. "Last year, we put our Golden down after a year of chemo. We knew it was time but it was still such an emotional thing," recalled Lauren. Only later did she realize that the family was there to put their Golden to sleep. She rushed out to buy a case of water to keep in the room because she feels "municipal facilities exist to help the community. We can't do enough for people during such sad times." She plans to donate comfortable chairs. Lauren added, "Kristin has put her heart and soul into this room."
Most definitely. Kristin knows tearful eyes will wander. When pet guardians choose to say a last good-bye, they may notice a door decal inscription as they exit. It reads: "You and I honor their devotion with this gift of peace."
For Adoption at Babylon Town Shelter (631-643-9270) Lamar St. W. Babylon: "Angus" #12-245 was found in similar condition as Buddy. Folks came out of a doctor's office and this matted Cairn Terrier mix dragging a chain was hovering under their car. "Mischka" #12-407 is a handsome and friendly Siberian Husky found as a stray, and later surrendered by his owner.
Dogs: "Pinky" older Shih Tzu; "Shortly" Pit/Shepherd; Tanner Park Beagles; "Bruce" compact Pit.
Cats: "Mr. Man;" "Tabitha;" "Midnight;" "Cody."


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My standard operating procedure for cemetery caches remains what it has been for several years. When a cache is submitted that is inside a cemetery in Iowa, I temporarily disable the cache and send this note to the cache owner:
"This cache appears to be in a cemetery. Because of complaints about geocachers
playing 'games' in cemeteries across the country, I need to make sure you
received permission from the cemetery owners or caretaker before this is listed.
Also, the cache needs to be placed away from graves so it doesn't upset mourners
who may accidentally find it or see geocachers in the cemetary. Please reply by
posting in a reviewer note the name and contact information of the person who
granted permission for this cache and then re-enable the cache so it reappears
in my review queue. If you don't plan to seek permission, please archive
the listing and remove the cache. Thanks for your understanding."
Therefore, if you are planning to place a cache in a cemetery in Iowa, you'll need to seek permission. Once you receive permission, please be sure to include that information somewhere on the cache page, either in a reviewer note or in the short or long description.
Occasionally, a cache owner will submit a new geocache and state that it is just outside of the cemetery. It happened just this morning. In those cases, I have not been asking the cache owner to seek permission. However, if the cache is hidden on the gate, fence or wall that surrounds a cemetery, I have been asking them to seek permission, because gates, fences and walls are part of the cemetery and owned/maintained by the cemetery owner/groundskeeper.


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The Boulder College of Massage Therapy will host its final classes next week after school leaders agreed to follow state recommendations and close the institution because of lingering financial problems, officials say.
The closure comes on the heels of a directive from the Colorado Division of Private Occupational Schools to do so as a result of "multiple factors related to the financial health of the school the past several years," according to an email distributed to students this week.
"The school was unable to overcome a constellation of issues related to its previous years of financial losses and the decrease in value of the real estate asset, the BCMT campus," the email reads.
The final day of classes at the school, 6255 Longbow Drive in Gunbarrel, will be June 14. The school will celebrate its final graduation June 16.
Dirk McCuistion, a Boulder College of Massage Therapy graduate and founder of MassageSpecialists.com, was named the school's president in January 2012.
Facing increased competition and decreasing enrollment in 2009, school leaders chose to shorten its traditional 1,000-hour program to 760 hours, a move that instantly cut annual tuition revenue 24 percent, McCuistion said. That resulted in financial hemorrhaging for the nonprofit school.
Colorado BondShares had loaned the school $4.65 million to purchase its Gunbarrel building and other expenses in 2006, McCuistion said. When he took over as president, the school still owed $4.35 million on that loan for a building that, following the collapse of the real estate market, is now valued at $2.8 million.
McCuistion and other administrators reinstated the 1,000-hour program and raised enrollment, but attempts to renegotiate the terms of its bond fell short.
He said the school negotiated three deals with potential buyers earlier this year to keep the school where it is that were shot down by Colorado BondShares. Two additional deals to sell the school's intellectual property -- while leaving the building, furniture and equipment -- fell through.
Naropa University, a potential buyer in two of the deals, decided last week not to purchase the intellectual property, and the Division of Private Occupational Schools on Monday informed Boulder College of Massage Therapy officials that the school should close.
"(The state) felt there was too much risk and financial exposure and, despite the fact I disagree with them, they decided it would be the best thing for the students to immediately enroll in a teach-out program at another school," he said, adding he does not blame Colorado BondShares. "Lenders deserve to be paid for loans that they make. It was a contract, and based on circumstances -- some within the school's control, an some beyond it, such as the decline in the real estate market -- this unfortunate situation happened."
All continuing Boulder College of Massage Therapy students now have the option to transfer or take part in a teach-out of the remaining portion of their program at the Colorado School of Healing Arts in Lakewood. Officials from the Boulder College of Massage Therapy, the state and the Lakewood school held a meeting with students Friday to explain the closure and their options.
Boulder College of Massage Therapy student J.D. Avallone, who will soon complete the third quarter of an 800-hour program at the school, said the news about the school's abrupt closure was "hurtful."
"The most shocking part is how quickly it was happening," he said. "Our teachers and my classmates who have families and children -- the impact it will have on the course of their lives is probably the most distressing."
Avallone said he first heard about the Boulder College of Massage Therapy while working at a healing arts center in Massachusetts. His employer at the time told him it was a top school, and he said he hopes it is not the end of the line for a program he enjoys and instructors he respects greatly.
"My heart is invested in BCMT, and I would like to continue studying with our teachers and our staff if that is at all possible," Avallone said.
McCuistion suggested that may be possible.
"The current administration, staff and faculty are exploring the possibility of starting another school," he said. "I think the BCMT has been a really important force in Boulder County, and I don't think it's going to end here."
Contact Camera Staff Writer Joe Rubino at 303-473-1328 or email@example.com.


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Why Do Investors Take Risks?
MarketWatch's Chuck Jaffe was recently asked a question so simple it startled him. He joins MoneyBeat to discuss. Photo: Getty Images.
This transcript has been automatically generated and may not be 100% accurate.
... ay ay mm mm ... we are MarketWatch calmness was recently at the question so simple ... good good long for a little bit on the beach but going for it to respect that ... Chuck Jaffe joins us to talk about this one is inching come to ... you really Khona you ... boil it down to the bare essentials right why do we invest ... yes because ... basically I just got back from a trip talking to journalists in Ukraine and yet ... and ... done with a very good question kept coming up ... why the U K the chance ... and you can actually answer that question without sin re letting go back over ... and take a look and really trying to figure out what might a new chance it ... it's a fascinating exercise and it was spurred by the fact that ... in that country you can get a top fifteen percent on bank deposits ... we can get that here I don't think we would take the chance are a lot of people would know ... why why would you ... sell off till ... two thousand that crashed ... two thousandseven two thousandeight two thousandnine ... big crash market back up right now ... while I invested ... well you're investing because at eight in ... Toronto City returns and there's no such thing as risk free I don't care what anybody says ... I don't believe there's anything ... called a risk free return ... which usually associate with Treasury bonds ... and I don't have stock market risk but you do at purchasing power rates ... the Treasury yielding one percent ... you're not really keeping up with anything in building so we take the chance fundamentally because it's the only reason we think we're gonna reach our financial goal ... and if that's the case ... great ... but you still have to be somewhat educated about it you stop to think about ... how much of your assets you want to expose ... there is something I like to call bell messing up my ... right ... did you get to where you were set for life ... they'd rather than trying to grow things ... you really just don't wanna mess it up so he would ... sell out while ally and eating my retirement years ... and I've got enough to move on also that over a year ... I just try not to mess that often ... than anything I got the onthe ... into what every ally whether find scratch tickets are investing in the Stock ... or Candian deposited in the Ukrainian banking get the eight to fifteen percent ... yet sadly no it note I found ... fascinating was that the welled up with ... a jumper operate on whether or not the word uprising dollars for their local currency ... by the way he deposited in their local currency debt to God and you get about fifteen percent ... I know why not use the same reasons why they Ukrainians get necessarily hold stocks in the sky ... the Navy in color but ... um well I had my picture taken outside the Bank of Ukraine ... he didn't offer me the chance to open an account ... that it really is that I mean what good looked ... into perspective ... the situation facing Investors Healy Fallbrook that before ... you are basically forced into the stock market or other risky had an investment ... that you want any hope of return that makes people very very nervous ... it is and it also points out the idea that ... you know right now Ben burn Anqi and the Fed ... that your ... daring you to invest right I mean they're basically said what you are not going to get anything else ... anyplace else so you've gotta come into the market and if you don't come into the market ... you're taking ... you may be protecting yourself from market risk and principal Rex ... what ... you are ... fallen fall victim to purchasing power risk and ... oh by the way is a pretty good chance that are times that of the horrible because about the time he finally say ... hey I will take that chance on the market ... your one death jumping in ... after everything has gone way up in August the routes ... and no easy answers no easy answers for us here in the U S mom and pop ... investors ... Chuck Jaffe they try to best


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In the world of classic trucks there isn't a truck more iconic than the 1956 Ford F-100, the "Deuce" of trucks. After 55 years of holding the throne it's not likely its reign will ever end, but in the arena of the most popular classic truck, a new king has been crowned. It's a trend we've been watching grow for years by tracking which cover truck consistently does best on the newsstand and gets the most website hits; we are talking about the range of '67-'72 Chevrolet and GMC light-duty trucks, including pickups and other variants such as the Blazer and Suburban.
The '67-'72'sstyling is the brainchild of GM head designer Harry Bentley Bradley. It's actually a miracle Harry's ultra clean design made it into production untouched before some corporate GM design committee got their collective hands on it. As it turned out, in 1969, against designer's wishes, the '69 got a facelift. Harry wasn't involved though, by then he had moved on to Cadillac's design studio. The powers that be (which means twenty guys sitting around a table and guessing at stuff) felt the original design was too delicate, and the truck should have a more aggressive look. Along with the heavy-duty nose, the '69-up trucks were available with upper and lower moldings that gave a busier look. In retrospect the slight change in styling wasn't a bad thing. Today the '67-'68s are a much sought-after rarity, and the heavily trimmed '69-ups available with a wide array of two-tone paint schemes are equally desirable.
Another example where Harry Bradley went against the wind, and time eventually bore out his convictions, was his insistence on a small rear window. This is contrary to other classic truck brands including prior years of Chevrolet and GMC where the presence of a big-window is a semi-rare and valuable option. Harry liked how the small-window produced, "a coupe quality." For years, a general consensus based in urban legend was the '67's small-window was banned by the government due to the formation of the Department of Transportation in 1968. Supposedly it didn't meet rearward visibility requirements dictated by the DOT's new laws. Currently there's a wave of opinion building that there were some '68 C10s built with a small-window cab. I've never seen one, but that doesn't mean they don't exist.
I got to thinking about another example from post-DOT days. Not the 1967 Austin Healy 3000 that was killed off entirely by DOT rules, but the 1968 Austin Mini Cooper "S" Mk.II. It's another situation where there's an ongoing argument among purists regarding production history. There were non-DOT compliant68 Mk.II Coopers, sold in the United States which are easily distinguished from '67 Mk I Coopers, but they were built in 1967. The trick was to title them before the '68 cutoff.
So, now where does that leave us? Does it mean small-window C10s were built only in early '67 to beat a deadline? It's real easy to clone a fake, and without a pristine example or factory documentation, the existence of a '68 small-window remains an unsolved mystery. My guess is the small-window trucks didn't sell as well as trucks equipped with a full-view rear window so dealers stopped ordering them. One has to remember that Ford trucks were offered with a larger rear window as standard equipment years ahead of GM. Both GM and Ford introduced completely redesigned models in 1967, but General Motors had already lost that bet. Proof that GM intended to continue the practice of charging more for a big rear window is listed in the first edition Price & Facts book, dated October 1966, under Optional Equipment.
"(Window), Full-View Rear: (Cabs) Code A10, List Price $40.00 Factory D&H $3.05 Mfr's Sgt'd Retail Delvr'd $43.05. "
It's interesting to note as I discovered on the build sheet of my '68 GMC manufactured in September 1967, there was a box left to indicate a Panoramic rear window–confirmation that '68 small-windows existed or just a raft of leftover blank forms?
In terms of which bed style is considered the most desirable that's another situation where tastes have changed in recent times. Across the C10 range the trend for shortbed stepsides has diminished in comparison to the demand for '60-'87 Fleetside shortbeds. With demand, so goes the price. A longbed Fleetside that originally sold for more new than an equivalent Fleetside shortbed, is now worth less in the custom and collector market. Focusing on '67-'72 models there's an even more significant difference in value when wheelbase measurements are entered into the equation. Between two '67-'72 trucks of equal condition as the quality increases a short Fleetside can demand up to $10,000 more on the extreme end of the scale.
A good example illustrating the difference between pristine long and shortbed prices is the Meadowlark Yellow and Ivory white '68 C10 longbed gracing these pages. The truck belongs to Reggie Jackson, and special thanks go to Reggie for allowing us to take an in-depth look that included a test drive. There was a little Internet speculation the 25,000-plus miles indicated on the odometer wasn't correct and perhaps it was actually 125,000 miles. I have to admit, after seeing the heavy buildup of dirt and grease accumulated around the spindles and backing plates, I was starting to have my doubts. We asked how much he would let the truck go for, and the answer was low 20s. This is in contrast to the $25-$30,000 we've heard of pristine Fleetside shortbeds selling for. In comparison to a Styleside, Ford's equivalent of a Fleetside, Fords were offered with steel bed floors only. Chevrolet and GMC buyers had the choice of either a steel, or wood bed floor. The E81wood bed was a no-cost option that was available in short or longbed form. On the subject of no-cost options, Z81 designated a Custom Camper nameplate which we imagine all one had to do was buy a 1Z8130 Custom Camper package, and it was theirs for free. Solid colors were also listed as a no-cost option with the selection changing slightly each year. Ice Coral Pink, considered the most rare of solid colors, was available on '71-'72 Canadian GMCs only. Legend has it the colour was formulated to commemorate Margaret Trudeau's hooded frock worn moments after her 1971 wedding to Canadian Prime Minister Pierre Trudeau.
Sorry about that folks, all this talk about "bone stock" trucks is starting to warp my mind. Let's move onto the real fun. As Custom Classic Trucks' title implies it's all about customizing classic trucks. Since the hottest trend on the scene today is restomods we thought it might be kind of neat to combine the two hot topics and set off a proverbial mushroom cloud of sorts. One doesn't have to look any further than Reggie's '68 C10 to cite a good example of some of the changes a guy might want to do to his '67-'72 to make it his. To get a better exhaust note, and pick up a little extra horsepower, the stock single exhaust system was tossed in favor of dual exhaust. I don't know which muffler shop Reggie had do the work, but they really did a clean job. Next on Reggie's list of upgrades was power steering. Reggie chose to go with genuine GM parts, but this is one of those improvements where there are a lot of aftermarket options to choose from. At one point in time, Reggie had the '68 shod in bigger meats and Rally wheels. As it is seen here, the '68 has its original Argent silver wheels with optional 4P03AA Chromed Hubcaps.
This concludes part one of Restomods Rule. In closing, I'd like to give special thanks to Reggie Jackson for allowing me drive to his '68 C10 and share it with Custom Classic Trucks' valued readers. Next, I'd like to thank Jim Aust along with the rest of my good friends at www.67-72chevytrucks.com. I would have been in deep doodoo, if you guys hadn't jumped in and helped me research this article. CCT


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A flat tray is carried out on stage and it bursts into Flames! The Flames go out and a large bundle of Spring Flowers appears on the tray.
For a grand finish, a large Bird Cage with a faux dove is produced from the tray!
Do you own this product? Write a review.


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Release Date: 2012 |
Album Rating: 2.5 | Sound Offthought this deserved a write-up. shame that david passed away just as they were starting to border on good again. oh well. :[
Digging: Vanum - Ageless Fire
Album Rating: 2.5 | Sound Offi couldn't get past them, honestly. they ruined the entire thing for me, perhaps if i found the rest interesting enough i would have saw something in it, but i just found it mundane. :[
if a mod sees this...
but what's listenable compared to the excellent Type O Negative work which is really can't hold a candle to?
Album Rating: 2.5 | Sound Offthat's cool :]
Album Rating: 4.0Adora Vivos is one of the best tracks I've heard this year. That aside, good review. Some parts of the album drags a lot and seems repetitive (and that's what I believe is the main flaw of the album), but if you like repetitive music, you won't mind them.
Sucks that the edit function is down, though XD. The sentence is plain weird.
I thought this was their best album ever, though. And it has nothing to do with Gold's death. I would admit that his death gives this album a very "prophetic atmosphere", since he sings about death throughout the album, and especially because of the last 3 songs: "Kiss My Ashes (Goodbye)", "Finality" and "Alternate Ending" which literally talks about his own death.
Oh, and the tracklist put up there is the tracklist of the promo, not the actual release. The actual release had "Keeper Of The Ledger" as the 3rd track. Career Suicide shouldn't have been on the record.
Album Rating: 4.5Damn it, I was moments away from posting a review of this myself. You were much more eloquent than I am, though!
This is the first album of theirs I've picked up, and my first entry into Doom, but I find it absolutely fantastic. Perhaps occasionally a little repetitive (especially in the first 3 tracks), and perhaps sometimes a little overly dreary (I'm not a fan of Modern Life Architecture), but that mentioned track aside this is, in my opinion, the best release I've heard yet this year. Adora Vivos and Traveling Alone are superb.
Disagree that Career Suicide shouldn't have been there. A little silly, perhaps, but I enjoyed it.
Album Rating: 2.5 | Sound Offthis isn't really a gateway into doom at all. it's more or less depressive rock with a metal-ish edge. i'd look elsewhere at like early candlemass stuff for doom that is relatively easy to grasp that sets the stage for the bands that came before it. :]
I remember it being pretty good.
Album Rating: 4.5@Dark - I'll check it out, thanks!
Album Rating: 4.0If you want to explore doom, try Esoteric. They're on the extreme doom metal side, though. You could also try early Anathema, early Katatonia, My Dying Bride, early Candlemass, and so on. If you want something modern-sounding or melodic, go for Ghost Brigade or Swallow the Sun.
Well written, man. It flows just as it should: Setting up a single thought and expanding upon it from various angles. Good stuff. I mean, you've convinced me to not listen to these guys, but it was with a well written piece, no less.
Album Rating: 3.5Quite underatted this, the solos are excellent.
I was the driver who killed David Gold.
Album Rating: 3.5^wanker
Album Rating: 4.5Near flawless. Only problem is Career Suicide (Is Not Real Suicide) which just does not fit. Finality is one of the few songs out there that can actually bring a proper emotional response out of me.
Album Rating: 4.5This album is so eerie, just in the way that it seemed like David was predicting his own demise.
Album Rating: 2.5 | Sound Offyou'd be saying that if he recorded just about anything, really
ugh this album. "kish" my ashes goodbye
Album Rating: 4.5Glad it's been nominated for a Juno, hope it wins.
Album Rating: 4.5Glad this album won the Juno award yesterday. Well deserved. Was always gonna be this or Epicloud and I'm sure Devy has no complaints about losing this year. He's got next year and probably the year after that with his output.
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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The party was for my niece who was turning 3. I should add that Gracie is a miracle baby born at 1.8oz, carried for 3.5 weeks after the water broke. Birthdays for her are a huge celebration of life! I was excited to help my sister throw it together. I made some of the printables a few weeks ahead of time and took them to Indiana. All we had to buy was food for the party and a table cloths, cups and plates. An easy but cute party to pull off!? Great for a budget. The pictures are not the greatest :( the lighting was not great.
Here's some of the goodies set out. My sister also ordered pizza for the guest too eat.
The tower of cupcakes.
Here are my sisters three kids in their seasame street shirts.
For the treat bags my sister colored some chocolate chips on the bags. We had different chocolate chip theamed items inside as well as coloring items.
One of my favorite things! We wrapped the silverware in blue ribbon and used icing to glue cookie crisp to them :)
We stuck googly eyes on everything making them cookie monster.
Almond joy pieces!
Here is the cake I made. One of the simplest but cutest cakes I've made! I covered the cake in fondant and then stuck hershy kisses in it.
Another shot of the dessert table. See the crepe paper??? My sister took time to draw brown circles on them making it chocolate chip!
We added eyes to the punch also! The blue paper shred was everywhere it reminded me of cookie monsters fur.
We picked up these cookie jars at either Target or Walmart. They added a great touch to the party! Also the plastic tongs came from the dollar tree. I have had them forever they always come in handy at parties!
We had to have milk! I made the lable to go with the seasame street theme. And then we sat out a jar of unwrapped hershy kisses as "chocolate kisses". That was one of those DUH ideas that came out great!
A local bakery has made these sesame street cookies for years. My mom remebered them and sure enough they had them still! We added some cookie crisp and wrapped them up in favors. These were a great find.
Here's the banner I made..not a very good pic though :/
Here's gracie stealing some milk and cookies before the party!


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The future of warfare is no longer about bullets and bombs, or dominating land, sea and air. Instead, tomorrow's victors will dominate the ether.
The voice of the foreign military commander is sinister and gloating.
"On the anniversary of our nation's most glorious sea victory, let us remember our heroes that helped bring the United States to its knees," he says, his face obscured by shadows. "We ground to dust the vaunted American navy like the impotent clay figurines that they had become."
The speech continues, providing hints of how the devastating attack of 2025 began—carried out initially not with bombs and bullets, but invisible electromagnetic energy and cyberattacks that dropped drones from the sky, left US cities in total blackness, and disabled entire aircraft carriers at sea.
This video may sound like the opening of an apocalyptic movie, but the brief clip was created as part of a US Navy game called MMOWGLI, an acronym for the unwieldy sounding Massive Multiplayer Online Wargame Leveraging the Internet. The crowdsourcing game, which was run by three elements of the US Navy – the Navy Warfare Development Command, the Office of Naval Research and the Naval Postgraduate School—invited players to help develop ideas for how the navy could prepare for this brave new world of electromagnetic warfare, where enemies use invisible, and often untraceable weapons, that can theoretically disable everything from satellites and computers to radar and aircraft.
Electromagnetic warfare covers any and all weapons that attack using electromagnetic radiation, which can jam or even permanently fry electronics. But the Navy now may be looking at such weapons as part of a broader approach to warfare. In a recent article, Admiral Jonathan Greenert, the chief of US Naval Operations, argued that cyber weapons needed to be merged with electromagnetic attacks, or what he calls the "electromagnetic cyber realm."
"The EM-cyber environment is now so fundamental to military operations and so critical to our national interests that we must start treating it as a warfighting domain on par with—or perhaps even more important than—land, sea, air, and space," he wrote. "Future wars will not be won simply by effectively using the EM spectrum and cyberspace; they will be won within the EM-cyber domain."
Electronic warhead
Much has been written about cyber-weapons, such as the Stuxnet virus that infiltrated Iran's nuclear facilities, or any number of attacks on government and military departments and contractors, but the electromagnetic realm rarely features.
These weapons trace their origins back to the cold-war idea of exploding an atom bomb high in the atmosphere above an enemy, which results in an electromagnetic pulse, or EMP, that fries the electricity grid and communication network.
While such nuclear-generated EMP weapons are still largely theoretical, the US has pursued electromagnetic weapons that use conventional sources, such as high-power microwave generators. Such weapons could, at least in theory, stop vehicles in their tracks and even take down enemy weapons.
Much of the work on such weapons is secret, but there are unclassified weapons as well. For example, the US military has funded a Radio-Frequency Vehicle Stopper - a satellite dish sized weapon that can be mounted on top of a jeep that can be used to disable enemy vehicles at a distance.
Many of these existing weapons are for relatively close-in use. "[Electromagnetic weapons] always had the problem of getting close enough to be really effective," says Dave Fulghum, a former senior editor of Aviation Week & Space Technology magazine.
But defense companies have also been working on new weapons that can strike at greater distances. In October of last year, Boeing released footage of its development weapon, the Counter-electronics High-powered Microwave Advanced Missile Project (Champ), a cruise missile with an electromagnetic warhead. Though Boeing has declined to discuss the project in any detail, a video produced by the firm shows the missile disabling a bank of desktop computers. US firm Raytheon has worked on missiles equipped with electromagnetic warheads, according to Fulghum.
This growing interest in electromagnetic weapons explains the military's interest in preparing defenses. "An aircraft carrier [is] a huge emitter, and anytime you have an antenna putting stuff out, those then become targets," says Fulghum. "Any emitter that can send stuff out, can have stuff put into it."
It also helps explain the US Navy's – perhaps unconventional - approach of using a crowdsourcing game to finding potential solutions to electromagnetic warfare.
'Zombies in hyperspace'
The idea of MMOWGLI was to attract a wide group of people to come up with ways to help the military prepare for electromagnetic and cyber warfare. Unlike previous crowd-sourcing games sponsored by the navy and open to the public, such as one focusing on counter-piracy, the electromagnetic warfare game was limited only to those with a military or government email account. The explanation, says Don Brutzman, a professor as the Naval Postgraduate School in Monterey, California, was because of the sensitive nature of the subject.
While the game itself was unclassified, Brutzman, who helped run the game, says keeping it "limited access" introduced a layer of security. "It's quite easy for players to go classified in a hurry," he says. "As soon as you talk about this radar, or that antenna—the numbers and vulnerabilities—that's classified."
While designed as a "game," MMOWGLI may fall far short of many people's idea of entertainment.
"It's not a shoot 'em up, let's go blast zombies in hyperspace," cautions Brutzman. "It's people typing ideas and interacting with each other."
In reality, players submitted an idea, such as a way to bolster US defenses, winning points based on the number of discussion and response that their submission generates.
So what exactly can crowdsourcing do for improving electromagnetic-cyber warfare? It's not completely clear: though the naval researchers involved in the project did post some examples of award winning concepts, at least some, such as a method for secure communication, cannot be discussed in an open forum.
While limiting it to government officials and members of the military may make the game sound less like an experiment in true crowdsourcing, Rebecca Law, a research associate at the MovesInstitute at the Naval Postgraduate School and a game administrator, points out that it still had over 200 active players. And the anonymity granted to players online allowed them to propose ideas without regard to their status or rank. "I believe it makes the information accessible when it's done in a game-like fashion," she said.
But more importantly, using a game with points and winners encourages a creative mindset. "They want to have great ideas," she says. "They want to win."
Whether they will , time will tell.
If you would like to comment on this article or anything else you have seen on Future, head over to our Facebook page or message us on Twitter.


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Debate:Was the North right to prevent Southern secession in the US Civil War?
Negative Opinions
No, the South had the right to choose for themselves whether they should be American states or not. Yes, slavery was horrible but things were already changing and that was not the Union's choice to make. The goings on in Columbia, Nashville, Baton Rouge, and Austin were not the business of anyone in Washington, no matter if it's 1861 or 2007/ --Working for Him 20:48, 7 February 2007 (EST)
Excellent debate topic, and I see reasons to agree but on a different basis. Abraham Lincoln himself felt that the South could leave and the United States would inevitably reunite a few decades later (without slavery). Why push it and kill so many people just to avoid a few decades of separation? There are limits to what force can accomplish.--Aschlafly 21:01, 7 February 2007 (EST)
This is a tough issue; any other time i'd say no without a second thought, but it seems hard to justify turning the other way and allowing slavery to continue in the south. --BenjaminS 01:16, 18 February 2007 (EST)
I don't believe Lincoln or others had a right to prevent secession. The only reason some States finally decided to sign the agreement to form a Union was because of their right to secede. From what I understand, the initial problem was the treatment of Southern states by Northern businessmen who used laws and government to cheat the South of fair trade and apply unfair taxation. If those issues were resolved, I doubt the South would have pursued secession. This debate is thoroughly addressed in Thomas DiLorenzo's book, "The Real Lincoln". The author also contends that slavery would most likely have been resolved in time by other means. --Maxygolf 11:58, 23 March 2007 (EDT)
Positive Opinions
Yes, because if the divine hand of God wanted the South to secede, he would not have let the North win. -- RobinHoodjr
Yes, the North was justified in preventing the South from seceding from the Union. What is the point of having a government if any state can choose to leave whenever they feel like it? Contrary to popular belief, the Civil War was not about slavery. Slavery may have been the main issue the South seceded for, but the North went to war solely to preserve the Union. That reason is as good as any to go to war. Sure, slavery as an agricultural and economic base was outdated and on the way out, but slavery as a social structure was as strong as ever, as evidenced by the formation of white-supremecist groups such as the Ku Klux Klan. True, the Confederate States may have eventually rejoined the United States after slavery had run its course, but the Federal government can not afford to set the precedent of letting whoever wants to leave cease to be part of the Union.
It is informative to see what Abraham Lincoln did as the Southern States seceded. He declared that the Federal Government would keep federal Armories, Forts and property. The Southerners then attacked those Federal Forts (Like Fort. Sumner.) The states were too intertwined with the Federal Government to allow secession. (unsigned entry)
Looking at this from the standpoint of geopolitics, I think Harry Turtledove has it right when he posits in his American Empire series that had the USA and CSA continued into the mid-twentieth century as independent countries, they would have taken opposite positions on all unavoidable international issues -- possibly including the fight against Nazism. This is too bad, because I would really like to be able to say that people in, for example, South Carolina are not required to be in the same country with people from California whose beliefs are totally opposite. It seems to be a case of pragmatism overruling principle. On the other hand, reunification does mean I got to move to Texas from Pennsylvania in 1983 and meet all the nice conservatives who have subsequently shaped me. Incidentally, why is there no article here on Christian Exodus? -- Amyz, 10:04, June 1, 2007 (EDT)
Many people think of this the wrong way. The United States did not recognize the Confederacy as a separate nation (and for that matter neither did many other nations, including Britain), thus the government treated the Southern Army as a rebel army, not a foreign one. So, legally the U.S. government had a right to put down this rebellion, as it had in the Whiskey Rebellion and Shay's Rebellion (although that is technically pre-Constitutional). Saying that putting a rebellion down is a governmental right is sticky as that implies that dictators can put down popular rebellions legally (which I am against). Also this goes against one of the major shapers of our Constitution (Locke, Hobbes, or Rosseau, can't remember which), who said that if the government does not serve the people as they desire, they have the right to rebel. This also brings up moral relativism, as slavery seemed alright to most Southerners and wrong to most Northerners, and who can say which side was right with any definitivness. In the end though, it all turned out alright, so it must have been fine. To put it generally, history is the greatest judge. --Snotbowst 14:25, 17 May 2008 (EDT)
Other Opinions
Well its my personal belief that there was a bigger thing going on. IF the US of A had not stayed together as one Union we would have lost both World War I AND World War II had we not been one nation. So I think the Lord motivated the North to try and save the Union. I however would have fought on the side of the South even though most of my people fought for the North from Iowa, Indiana and Illinois. --Wally 12:38, 26 June 2007 (EDT)


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OPGI Price: $21.95
Part Type: (P) High Performance, designed to improve performance
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ARP now has the ultimate in transmission pan bolts; rustproof stainless steel with a 12-point head. They're vibration-resistant and have superior strength and the kit includes flat washers.


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My Hawaii -- Molten lava flows!
Lava flows meeting the Pacific Ocean. I had flown to Hawaii on getting word that there had been several surface 'break-outs' of lava flows which otherwise are not visible as they flow to the ocean through underground lava tubes (lava tunnels). Equipped with a gas mask, a face shield, tripod, camera gear, Powerbars and as much Gatorade I could carry - I hiked for about 6 miles to reach this spot from where I could photograph active flows from within 5-10 feet! I took sunset shots, then camped out close to the lava flows and photographed them through the night. I was treated to a full moon rising over this eerie but awe-inspiring theater where the darkness of night was interrupted only by the hissing of poisonous gases from the lava flows and explosions of steam as the lava met the cold ocean. All of these shots were on Fuji Velvia film taken with a Nikon F-100 body - which I fully expected to have simply melted due to the immense radiant heat being so close to the lava flows; amazingly the camera and film survived, to help me get home some incredible shots! My souvenir from the trip? Hiking boots with most of the tread on the soles burned out! Oh - and I also met another photographer (named - Stumpy! Really!) ... but his is another story, you see - Stumpy, had been photographing similar ocean enteries of lava when he got a bit too close to an explosion that sent shards of razor-sharp basalt flying through the air! Three fingers later ... well!Read More
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