text:
Girl Talk Get Naked. Often
Gregg Gillis —a.k.a. Girl Talk—wasn't the first guy to splice a few songs together, but he's taken the mash-up to obsessive and euphoric new heights. Is it art? Ask a grad student. Is it legal? Gillis, for one, doesn't much care. Is it fun? Judging by the thousands of sweaty, writhing bodies packed in at every show and the women leaping onstage to get next to his near-clothesless body, we're going to say yes
look, it's not like it's a bad job, being tour manager for Girl Talk. It's a pretty good gig, most of the time. If you've tour-managed for, say, Broken Social Scene (and David Scheid has), where you've got, like, twenty people in the band and vanloads of guitar pedals and high hats and trombones to keep track of, it's a relief to manage a tour where the entire band is one guy and the sum total of his equipment is one Panasonic Toughbook laptop.
Also, each night you spend most of the concert onstage next to the guy and his laptop, which has its pluses and minuses, the pluses being the eighty or so amped-up young people up there with you the whole time, a lot of them cute girls, all jumping up and down and sweating and taking off various articles of clothing and occasionally singing, en masse and at the top of their lungs, lyrics like Hey! We want some puss-ay! (The minuses are more or less the same thing.)
But there's one part of the job David Scheid just can't get comfortable with, and that's the five minutes each night where it falls to him to instruct the local security crew on the details of working a Girl Talk show.
To understand the scenario, you've got to be able to picture Scheid. He's tall and skinny, in his late thirties, with long, stringy Axl Rose hair. He's wearing jeans and a faded Metallica T-shirt and a black baseball cap that reads ready to die, and it's not inconceivable that he sold his soul for rock 'n' roll at some point fifteen or twenty years ago, maybe at a Dokken concert. And then you've got to understand that we're in Oord, Mississippi, deep in the Deep South, and that they don't get a lot of experimental electronic/dance/whatever-Girl-Talk-is acts coming through town. These security guys are huge, with biceps like rugby balls, arms folded thickly over their white polo shirts, which have a crest that says cobra security under a picture of an angry-looking snake. They're looking up at Scheid, skeptically, as he crouches down on the edge of the stage, and you can tell they're all thinking more or less what Scheid thinks they're thinking, which is: Shouldn't we be beating the crap out of you for resisting arrest or something?
"Okay, here's how we do it," Scheid says, a little haltingly. "I'll come out first, and I'll start the computer. Some intro music will play, and Gregg will come out, maybe slap some hands. He needs a couple of minutes alone up here. And then the cue is that he'll throw a handful of confetti. And when he throws it, you can just sort of step back."
Step back? Since time began, the job of the beefy concert-security guy has been fairly straightforward: Keep the kids off the stage and away from the talent. Now this long-haired dude wants them to step back?
It gets worse. "If some kids are having trouble getting up on the stage," Scheid goes on, "feel free to help them up." (Help them up?) "But not too many. We want to get the stage full, but the goal is not to have a free-for-all. It's usually ten or fifteen minutes of craziness, and then it mellows out."
As for Girl Talk himself, Scheid says, "You really don't have to worry about him too much. It's not like it's an aggro vibe. There will be kids right on top of him, but he's fine."
As Scheid sweated his way through his security tutorial, the performer known as Girl Talk was backstage, up a narrow spiral staircase, in the greenroom, where there was a couch and a flat-screen TV and a fridge full of beer and Red Bull. His name is Gregg Gillis, and at that moment, anyway, he didn't look like a guy who regularly sells out thousand-seat venues in small towns in the South. He's 27, with shaggy brown hair and a scruffy beard and blue eyes; a gentle-looking guy, intense and ironic, cool and nerdy at the same time. He was wearing glasses and a Nirvana tee and a flannel shirt and gray jeans and white Air Jordans, and he was folded deep into the couch, staring intently at the laptop balanced on his knees. You'd think he could maybe be a biomedical engineer—which in fact he was until about a year ago. If someone told you he was a musician, you'd probably guess, looking at him, that he played bass for an emo band from Portland and wrote sensitive ballads with a lot of literary allusions.
But instead, coming out of his laptop was an old Wu-Tang Clan song, Raekwon the Chef chanting And let's start it like this, son, rollin' with this one / And that one, pullin' out gats for fun. And the weird thing was that Raekwon wasn't rapping over a regular hip-hop beat but over the bass part from the Boston song "Foreplay/Long Time" mid with a single repeated inhalation by Ciara, the R&B singer, clipped out of her song "Goodies" and looped into a symphony of rhythmic heavy breathing. And the weirder thing was that the sound emitting from the laptop wasn't a Ciara song or a Boston song or even a Wu-Tang Clan song, but a Girl Talk song. This is what Gregg Gillis does: he samples, blends, loops, recombines, and reconstitutes the popular music of the past fifty years or so into strange and beautiful new creations. Gillis didn't invent the mash-up, but he elevated the form into something jubilant and mind-boggling and original (and arguably highly illegal), something that sounds a little like all the artists he samples and, at the same time, nothing like any of them. His last two albums, Night Ripper from 2006 and last year's Feed the Animals, were critical hits, winning rave reviews on Pitchfork, the influential alternative-music Web site, and admiring notices in mainstream music magazines. Time decreed that Feed the Animals was the fourth-best album of 2008, and Blender said it was number two, behind only Lil Wayne. You can't buy Girl Talk records at Wal-Mart or download Girl Talk songs from iTunes; radio won't play him. And yet he is one of the biggest "alternative" live acts in the country, selling out more than a hundred shows last year in venues that held anywhere from 800 to 4,500, his legend spreading by word of mouth and, of course, on the Internet.
and now, an hour before his show began, Gillis was doing what, for him, amounts to tuning up. He had a shareware music-editing program called AudioMulch open on his computer, and he was drawing up the digital-age equivalent of a set list, lining up the samples and loops and combinations of samples and loops (some drawn from his albums, some newly created for the show) that he would trigger with a click of his Dynex mouse, live, one by one after he took the stage: Slash's guitar riff from "Sweet Child o' Mine" snaking in and out of Eminem's rap from "Crack a Bottle"; "Single Ladies (Put a Ring on It)" married to "It's Goin' Down"; "Tiny Dancer" pirouetting around "Juicy," by Biggie Smalls.
As Gillis clicked and dragged and copied and pasted, David Scheid drifted upstairs and found a spot on the opposite couch, and for a while the two men reminisced about Girl Talk shows past—the All Points West festival in Liberty State Park in New Jersey last year, where they fired 200 beach balls and dozens of rolls of toilet paper into the audience; the Lollapalooza show a few days earlier, when Gillis set sail from the stage on an inflatable life raft and floated over the crowd, propelled hand by outstretched hand all the way back to the sound booth.
"What are we going to do at Coachella, man?" Scheid said.
"I want to do some crazy stuff," Gillis said, still deep in the couch, his legs bouncing idly. "I was thinking we could have a helicopter do a balloon drop."
"Well, we're in a tent," Scheid said.
"We are? Absolutely?" Gillis looked disappointed.
"From what I understand, they said you're definitely in a tent, but you're in the tent that Madonna played in."
"I like that that's how they refer to it. She was there, like, three years ago." Gillis swept the hair out of his eyes. "It's superarbitrary."
They were both quiet for a minute, trying to figure out if maybe there might be some way you could get a helicopter inside a Coachella tent.
"It'd be cool if I had a jetpack," Gillis said.
And then it was showtime. Gillis traded in his glasses for contact lenses, stripped down to his bors, and put on his stage clothes, which are unlike anyone else's stage clothes: a basic white V-neck T-shirt; long, shiny basketball shorts, still sweaty from last night's show in Little Rock; and then a baby blue hoodie and dark red sweatpants, which he buys, thirty or forty at a time, from a store near his home in Pittsburgh that specializes in factory rejects. Then, a final ritual: He pulled out a box of Glad Wrap and started tearing off long sheets and wrapping them over every surface of his laptop until it was fully encased in translucent plastic, held together with strips of Scotch tape, safe from dripping sweat and spilled beer. He was ready.
Downstairs, the club, a high-ceilinged former warehouse not far from the town square, was full, and the audience was feverish, chanting "Girl! Talk! Girl! Talk!" Scheid and Gillis made their way down the spiral staircase, and Scheid ambled out onstage and placed the mummified laptop on the long cafeteria-style table that Girl Talk uses. He plugged it in and pushed a button and Ciara started her breathing, and backstage Gillis started bouncing, his hood pulled low, looking like a featherweight bor before a fight. Somehow, in those moments, the mild-mannered former biomedical engineer disappeared, and when Gillis ran on stage a few seconds later, he had magically transformed himself into David Lee freaking Roth. He grabbed the handheld mike sitting next to his laptop, strode to the lip of the stage, and yelled, "Mississippi, make some fucking noise!" And then in came
Raekwon, and up went the confetti, and the security guys moved aside, as instructed, and the kids streamed onto the stage from both sides, and within sixty seconds there were a hundred of them up there, maybe more, every square inch jammed with sweating, writhing southern flesh.
For the next hour and a half, Girl Talk kept them happy and moving, no breaks, a continuous flow of music, Fatman Scoop into Don Henley into M.I.A. into the Jackson 5, all at 160 to 180 bpm and all at ear-splitting volume. Gillis could barely move, jammed against his table by the pulsing sea of humanity surrounding him, but he went with it, bobbing and weaving to the beat, squinting down at his laptop, clicking and scrolling, his face lit by the screen's green glow, turning occasionally to dance and shout and hop with the fans pressed up against him. By the time the show reached its climax, around 1 a.m., Gillis was standing on top of his table, high above the crowd, his long hair plastered to his sweat-soaked face, his arms in the air, one foot planted on either side of his laptop, which was issuing forth Lil Wayne's rap from "A Milli" over the anthemic coda to Journey's stadium-size power ballad "Faithfully." He was a remix rock star, and he was feeling the love.
when gregg gillis was in second grade, back in the late '80s, he made his first mix. His equipment at the time was lower than lo-fi: a ninety-minute Mall cassette shoved into a cheap boom box. He carried that boom box everywhere he went in the comfortable Pittsburgh suburb where he lived, and when a song caught his interest, he just hit "record" and held it up to whatever—the TV, the car radio, his sister's CD player. The result was a mess, half a Bell Biv Devoe song followed by some Guns N' Roses with his mom talking over the top, but Gregg listened to that tape on his Walkman like it was the voice of God, flipping it every forty-five minutes, over and over and over. "I literally wore it down," Gillis remembers. "I was just drawn to it somehow. It got to the point where my parents were actually like, 'You should stop listening to that for a minute.' "
In third grade, his friend John discovered N.W.A's Straight Outta Compton in his brother's bedroom, and John and Gregg stole the cassette and spirited it down to the basement, where they listened to it furtively, trading the headphones back and forth. It blew Gregg's young mind—it just seemed impossible that a record this vulgar and angry might actually be sold, in regular stores, to any grown-up who wanted it. Then came fourth grade and Public Enemy and Metallica, and then, in fifth grade, Nevermind. Nirvana led to Sonic Youth, which led to Gregg and his friend Matt saving up to buy tickets to Lollapalooza when it came through Pittsburgh in the summer of 1995. By the end of the all-day concert, when Sonic Youth took the stage, they had edged their way up to the front row, where Thurston Moore's guitar feedback cascaded over them in crashing waves.
After the show, while their ears were still ringing, a skinny guy with a long ponytail and glasses walked up and handed them a two-page photocopied manifesto. His name was Manny Theiner, and his handwritten pamphlet was titled _Pittsburgh's Guide to Underground Music, _a classic mid-'90s zine, full of screeds against corporate mainstream commercial sellout music plus a catalog of everything you needed to know about the city's alternative-music scene. For a kid from the suburbs eager to plumb the depths of the underground, it was like being handed the Rosetta stone, and for the next couple of years, Gregg stayed faithful to Manny Theiner's rod wisdom, listening to Japanese noise music on the Carnegie Mellon radio station, going to the shows Manny promoted at the Millvale Industrial Theater. (Gregg and his friends were the only ones whose parents dropped them off at the concerts.) He was always trying to go deeper, always looking for the next big weird thing: speed metal, math rock, drone-pop, death funk, riot grrrl, beep-core, electronic garage, whatever.
Gregg couldn't play an instrument, but that didn't stop him from forming a band with his friend Joe. They called themselves the Static Probe Pioneers. "We had a couple of keyboards and a cheap drum machine, and we were just pressing buttons and making noise," Gillis says. "We had no concept of how to play." At sparsely attended concerts on Gregg's roof or in Joe's backyard they performed dissonant, distorted cover versions of the Doogie Howser, M.D. theme song and Salt-N-Pepa's "Push It" and squirted Silly String at the audience. Gregg did freestyle raps about vitamins. That band was weird, but not weird enough for Gregg and Joe, so they started an experimental side project called the Joysticks Battle the Clip-On Expressway to Your Skull. With the new band, the point was not to make music, per se; it was to scream, destroy things, and annoy the audience as much as possible. They bought toy electronic instruments and took them apart, poking the insides with screwdrivers to make them emit horrifying feedback and odd industrial grunts. They got thrown out of their high school talent show after they showed up for rehearsal in hazmat suits, smashed a bunch of TV sets and computers, and then set off some illegal fireworks, lighting the stage on fire in the process.
"We'd line up ten CD players with scratched CDs and play them all at once and then break them, and that would be the show," Gillis recalls proudly. "Or we'd play the Forrest Gump soundtrack and smash a TV. A show might last twenty minutes, or it might last five seconds." His mother left one concert in tears.
In 2000, Gregg was admitted to Case Western Reserve University, in Cleveland, and one of the school's requirements was that every incoming freshman have a laptop. When Gregg got his—a cheap Toshiba—it was a little like Miles Davis getting his first trumpet: He had found the instrument he was born to play.
Gillis had seen laptop artists before, at the Millvale Industrial Theater, but they were stern Austrian or Japanese guys who sat perfectly still onstage, occasionally pushing a button or two on their keyboards. Their shows had all the energy of a graduate seminar in music theory; it was like paying money to watch someone read his e-mail. "I was interested on a musical level, but as a performance it was boring," he recalls. "So when I started the Girl Talk shows, I was using pop as a tool of rebellion. It was confrontational, like, I'm going to show up at this show where there's a math-rock band, and everyone in the audience is standing there with their arms folded, maybe some chin-strokers, and I'm going to get up there and do some Madonna remis and take off my clothes. People would be thoroughly offended. But I was trying to push people. I wanted to stir that scene up."
where the joysticks set out to alienate the audience, Girl Talk would do everything possible to entertain. Gillis wore elaborate outfits and hired dancers to perform choreographed routines at the beginning of his shows. He barely smashed anything. College had broadened his musical tastes, too. In high school, he had been too cool to go to parties—he felt it would interfere with his reputation as an eccentric artist, so he would stay home instead and listen to severe avant-garde music on the radio. In college, he rediscovered the simple joys of pop music, of going out to parties and clubs and dancing with girls. Girl Talk's music began to change accordingly: He was no longer chopping up a Britney Spears song as a sarcastic commentary on the insipidness of mainstream popular culture; now he was doing it because Britney Spears was so much fun to dance to.
He sent his new compositions out into the ether, first to friends and then to underground record companies. To his surprise, the owner of a mysterious and shadowy outfit named Illegal Art, which seemed to exist only as an e-mail address and a Web page, expressed interest in releasing an actual Girl Talk CD. Gillis worked on his music all through freshman year, sending files off to Illegal Art every few weeks, and by the summer his first album, Secret Diary, was complete.
Throughout college, Girl Talk performed occasionally in tiny clubs in Pittsburgh and Cleveland and then, as word gradually spread, in other cities. Unstoppable, his second album, came out in 2004, just as he graduated from college, and that summer he toured the country with a few friends, a tour that he describes as "amazing in a horrible sort of way": five or ten or twenty people at each show, the bands barely making gas money.
By the end of the summer, combined total sales of his two CDs stood at about 400. He returned to Pittsburgh, moved into his parents' basement, and got a job working in a cubicle at a medical-research company, testing cures for sleep disorders. He started work on his third album, Night Ripper, sitting down at the laptop each night as soon as he got home from the office, remixing and looping all weekend long. The music continued to evolve, his sound growing more complex, samples piling on top of samples, and yet somehow more accessible.
Illegal Art put out Night Ripper in the spring of 2006, and at first it seemed like simply the next logical step in Girl Talk's gradual rise—maybe now he'd get forty people out to shows instead of twenty. But then, three months after the album's release, Pitchfork bestowed on Night Ripper a sky-high 8.4 rating and its coveted "Best New Music" tag. Overnight, sales blew up, booking agents started calling, audiences grew. Gillis got a headlining gig at the Mercury Lounge in New York, which has a capacity of 250 hipsters, a bigger space than he'd ever played, and he sold it out. Suddenly, unexpectedly, Girl Talk was kind of famous.
Gillis didn't give up his day job. In fact, he didn't tell anyone at work what was going on. He started playing shows every weekend—leaving work on Friday, going straight to the airport, performing for hundreds of sweaty kids that night and the next and then flying back to Pittsburgh in time to show up at work on Monday. He didn't mean to keep his other life a secret, exactly, but by that point it just seemed too late to casually mention to his fellow lab coats that he was in fact an underground-music sensation. "It got to the point where it was very surreal," Gillis says. He'd fly to London and back in a weekend to open for Beck, or to New York to play an afterparty at the MTV Video Music Awards, kicking it with Kanye and 50 Cent. "I'm signing autographs, sweating it out, jumping around, partying with these young kids, going nuts, and then I'd get back to the cubicle on Monday, and I'd have to lie and tell them I went out to a movie with my girlfriend or something." By June 2007, Gillis had already used up all his vacation days for the year, and he realized that his double life had to come to an end. He turned in his lab coat and started growing his hair long.
gillis assembled _Feed the Animals _in the spring of 2008 in the tiny, run-down third-floor studio apartment in East Pittsburgh where he had lived since moving out of his parents' basement. It was an unusually anxious time for him. The success of Night Ripper meant that people were actually paying attention now, and Gillis felt compelled to prove that Girl Talk wasn't a novelty act. He worked on the new record for months, testing out different samples, mixing and remixing, listening to songs over and over, searching obsessively for the perfect combinations. He retreated into his computer: He stopped seeing friends, then he quit leaving the apartment altogether; he'd stay up every night till 8 a.m. working on songs, sleep till noon, wake up, open his laptop, and start in again. "I was kind of losing my mind," Gillis says. "I more or less stopped bathing. It was really mental."
These days Gillis bathes regularly, and his creative process has grown a little calmer. He has converted the top floor of his new house, formerly the attic, into a studio, and his setup there is surprisingly simple: an office chair and a desk, his laptop and a couple of speakers, and a desk lamp shaped like a Pittsburgh Steelers helmet. He uses just two programs: Adobe Audition to cut up and manipulate individual samples, and AudioMulch to turn samples into loops and then combine loops into songs.
For Gillis, the first stage in the creation of a Girl Talk song is the easiest one: listening to tons of music, whether it's the local hip-hop station or his parents' old James Taylor records, keeping an ear out for possible samples, anything from the perfect half-second squeal of guitar feedback to a piano intro or percussion breakdown that he can pluck out and turn into a loop. (While working on Feed the Animals, he collected 8,803 samples, which he sorted into sixty-nine different folders on his laptop.) As for vocals, when he finds one he likes—say Ol' Dirty Bastard's rap about inner-city strife on the Pras song "Ghetto Supastar"—he'll go on the Internet and hunt down an a cappella version, an audio file with the vocal tracks only, no music or percussion at all. These days, Gillis says, almost every hip-hop hit has an a cappella track that is released officially or somehow leaks out, and if you know where to look, you can find and download them pretty easily.
For Feed the Animals, Gillis tried pairing ODB's rap with dozens of different instrumentals before settling on what sounded to him like the perfect companion: a sepulchral organ part from a moody Yo La Tengo song called "Autumn Sweater." The organ intro was eight bars long, and Gillis looped it, using AudioMulch, so that those eight bars would go on forever, then dropped the ODB sample on top. At the end of the rap, as the "Autumn Sweater" loop restarted, he slid in the sweet, melodic chorus to "Ghetto Supastar," sung by the R&B singer Mya. And then, when the organ loop ends for the second time, Gillis unleashed a blizzard of samples—a two-second drum fill from Janet Jackson's "Nasty"; a few more words from Mya; the repeated phrase like this, looped in from a Mims song and alternated with Diana Ross singing You're giving love instinctively from "Upside Down," all layered over an Eric B. & Rakim beat, a staccato Swizz Beatz rap, and some whoops from a Swing Out Sister song.
On paper this might sound calculated and show-offy, like a bratty music nerd trying to demonstrate his eclecticism by throwing together the most unlikely combinations he can dream up. And it's true that the first couple of times you listen to a Girl Talk record, you tend to experience it like an extended and ADD-friendly mixtape; it's hard not to be pulled into an album-length game of Name That Tune. (Wait, was that Nu Shooz?) But the more you listen, the more you hear the music the way Gillis intends it: as something brand-new, something that transcends its source material altogether. (Repeated listenings also change the way you experience the songs Gillis samples. I'll never again hear Kelly Clarkson's "Since U Been Gone" on the radio without thinking, "Man, this could sure use a little Nine Inch Nails.")
Of course, the exact nature of the relationship between a Girl Talk song and the songs that it samples isn't just an aesthetic question; it's also a legal one. Over the last couple of decades, American courts have frequently ruled against musicians for sampling another artist's work without permission. In response, sample-based artists like Gillis generally contend that their music is legal because it is "transformative": You could never mistake the Girl Talk song that samples Yo La Tengo for an actual Yo La Tengo song, the argument goes, and Girl Talk's using eight bars of Yo La Tengo couldn't possibly hurt the band's sales.
Recently, Gillis has become a poster boy for the so-called Copyleft movement. Lawrence Lessig, the Harvard law professor who provides much of the campaign's intellectual heft, touts Girl Talk in speeches and discusses Gillis's work at length in his most recent book, Remix. But despite Gillis's celebrity status in the remirs'-rights movement, the legal issues surrounding his music don't actually seem to interest him all that much. When pressed, he will gamely make the fair-use case, but mostly he seems to react to the legal argument against sampling the way most people under 30 do: You gotta be kidding me.
And when Gillis is onstage, where he continues to perform in front of larger and larger crowds, the finer points of copyright law are clearly the last thing on his mind. Last November he played his biggest solo show yet: a sold-out gig at the cavernous Art Deco Congress Theater in Chicago, 4,000 Girl Talk fans packed into every square inch of floor space, strobe lights, toilet-paper cannons, girls onstage grinding in their American Apparel gym shorts. At the end of the show, as the Journey loop played and Birdman rapped Okay, we're popping champagne / Like we won a championship game, thousands of multicolored balloons tumbled down from the ceiling, a wash of color. By this point Gillis had lost his sweatshirt, his pants, his shorts, his T-shirt, his headband, his socks, and his shoes. He was barefoot, in bors, still leaning over the laptop, firing off a few last samples. And then, with nothing left to lose, he ran to the edge of the stage and launched himself into the crowd.
paul tough_ is an editor at The New York Times Magazine and the author of _Whatever It Takes: Geoffrey Canada's Quest to Change Harlem and America.


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SEC and Other Loan Data Delivery Requirements
May 22, 2012
Loan Origination and Appraiser License/Certification Number Field Enforcement
In 2009, Fannie Mae and Freddie Mac (the GSEs) communicated to lenders that beginning July 1, 2010, lenders would be required to deliver four new data elements: the appraiser's state license number, supervisory appraiser's state license number, loan origination company identifier, and loan originator identifier.
The following are the corresponding Uniform Loan Delivery Dataset (ULDD) Sort IDs:
- Sort ID 525 – AppraiserLicenseIdentifier (Appraiser's state license or certification number)
- Sort ID 534 – AppraiserLicenseIdentifier (Supervisory Appraiser's License or Certification Number)
- Sort ID 627 – PartyRoleIdentifier (Loan Origination Company)
- Sort ID 634 – PartyRoleIdentifier (Loan Originator)
On November 26, 2012, each GSE's delivery system will begin delivering a fatal or critical edit when the data is not delivered for Sort ID 525 (appraiser's state license), Sort ID 627 (loan origination company), and Sort ID 634 (loan originator).
Please note, the submission of appraisal data files with the appraiser state license or certification number and supervisory appraiser's state license or certification number to the Uniform Collateral Data Portal® (UCDP®) does not replace the requirement to provide this information at loan delivery. Lenders must review the Frequently Asked Questions, which include instructions for unique scenarios, such as when data is not available.
SEC-required Data Point Reminder
As part of the Dodd-Frank Wall Street Reform and Consumer Protection Act, the Securities and Exchange Commission (SEC) issued SEC Rule 15Ga-1Mi, which requires all securitizers, including the GSEs, to publicly disclose information regarding ABS loan repurchase requests. One of the requirements of this SEC Rule is to disclose the identity of the entity funding the applicable mortgage, as recorded on the note.
As a reminder, in accordance with the SEC rule, the GSEs are requiring lenders to deliver the following new ULDD data points beginning November 26, 2012, for mortgage applications received on or after August 1, 2012:
- Sort ID 641.2 - PartyRoleType="NotePayTo", and
- Sort ID 641.1 - FullName, enter the name of the entity funding the applicable mortgage, as recorded on the note.
The GSEs' loan delivery systems will enforce the delivery of these data points beginning November 26, 2012. Each GSE will provide a timeline for updates to its loan delivery applications to facilitate the collection of these data points.
Recent Milestone
On April 23, the Freddie Mac selling system was updated for the ULDD, a key milestone for this industry effort. Freddie Mac would like to thank you, your teams, and vendors who worked so hard to make this possible.
We'd also like to thank you for your patience. The selling system update was a major implementation, and though successful, it created some short-term issues for some of you. We worked quickly to resolve the problems. We're happy to report that you and your fellow lenders are successfully delivering loans, and customer call volume has returned to normal.
Submitting Post-Settlement Corrections for Selling System Delivered Data
Please note that we have updated our Post-Settlement Correction Forms to align with our new ULDD data requirements; the previous versions will no longer be accepted. To ensure that you always have the most recent version, we recommend that you download the form every time you use it.
Next Up: July 23, 2012
We are now in the ULDD transition period, which ends on July 23, 2012 when the ULDD requirements for Phase I become effective for loan deliveries that have application received dates on or after December 1, 2011.
We strongly encourage you to fully transition to the Phase I ULDD requirements as soon as you are operationally ready. As part of the transition, you should enter the application received date and submit all the required data for the Phase I ULDD implementation. When you fully transition to the ULDD, you will receive expanded purchase edits in some cases. By making the ULDD requirements a part of your business process now, you'll be better prepared for the July 23rd ULDD implementation. (Remember, you can still use the customer test environment to test new functionality and experience the end-to-end process.)
Please make sure that data entered into the selling system for loans with application received dates on or after December 1, 2011 matches the appraisal data entered into the UCDP. Soon, the selling system will automatically compare a limited set of data points in the UCDP against the data provided in the selling system based on the Appraisal Identifier that you entered in the selling system. The Appraisal Identifier is the Document File Identifier or Doc File I.D. that you receive from the UCDP.
Tools and Resources
Selling and Delivery Training and Education Resources: A complete list of educational resources available to support your sell and deliver process.
Thank you again for all your work to support the ULDD.
This communication relates to the Uniform Mortgage Data Program, an effort undertaken jointly by Freddie Mac and Fannie Mae at the direction of their regulator, the Federal Housing Finance Agency.
i 76 Fed. Reg. 4489 (January 26, 2011) (to be codified at 17 CFR §240.15Ga-1)

subset: commoncrawl


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Information for family historians worldwide, including Australia, UK, Ireland, USA, Canada, New Zealand, Europe, South Africa etc. There are also links to my locality-specific genealogy blogs. Explore all the options in the tabs below, in the sidebar and at the bottom of the page, and on my main Web site.
08 January 2012
Paid Online Genealogy Tools (52 weeks of Abundant Genealogy, Week 2)
Week 2 - Paid Online Genealogy Tools. Which paid genealogy tool do you appreciate the most? What special features put it at the top of your list? How can it help others with their genealogy research?
Last week's LostCousins newsletter referred to a 7-page article in which four family historians compared the four main subscription sites. Three of the four historians said that overall they preferred FindMyPast. I agree - partly because FindMyPast's transcriptions and indexes are the most accurate, and partly because my research is mainly in the United Kingdom, Ireland and Australia.
I suspect that many posts this week will be about the 'Big Four', so instead of dwelling on FindMyPast I want to highlight the smaller LostCousins. Its claim to fame is that it is the only web site that is virtually 100% accurate in identifying people who share the same ancestors. You do not waste time corresponding with people who are not related to you! The automated system also keeps your data hidden.
To use LostCousins you need to find your relatives in the census for England & Wales 1841, 1881 or 1911; Scotland 1881; United States 1880 (and USA 1940 has been added since I wrote this post); Canada 1881; or Ireland 1911. Then you enter the source/page details at LostCousins. Read the instructions carefully (see 'Information - Read this first') before gathering and entering data, as requirements for each census are different. If you prepare well, entering the data is a lot quicker. Be sure to include brothers and sisters of your direct ancestors, because it is their descendants who are the cousins you want to contact.
After entering your relatives' census references, click 'Search', and the system checks whether anyone else has already entered identical data. Remember to log in periodically, go to your 'My Ancestors' page and repeat the search.
I recommend subscribing to the free email newsletter, which is packed with useful information.
Although you can join LostCousins and enter data free of charge, I choose to pay a small annual subscription (currently just ten pounds) so that there are no delays in making contact when the system identifies my 'new relatives'.
The more people who enter census data for direct ancestors and their siblings, the greater the chances of finding our 'lost cousins'. Maybe you are my distant relative! I'm waiting to find you - so please... start using LostCousins today!
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(This post first appeared on http://genie-leftovers.blogspot.com.au/2012/01/paid-online-genealogy-tools-52-weeks-of.html.)
5 comments:
Thanks for suggesting LostCousins. There's today's activities sorted!ReplyDelete
Fi, I hope you have some success with LostCousins. For me, the first benefit (even before I found any new cousins) was that it made me look at my files and work out which census references I did not yet have. I'm not sure whether your local genealogical society library lets you have free access to FindMyPast, but the State Library of Queensland does.ReplyDelete
Hi Judy. You are the second person to recommend Lost Cousins recently. I've subscribed to the free email newsletter. July I'm impressed by the number of blogs you maintain. How do you do it? You must be very disciplined :). A trait I need to develop me thinks.ReplyDeleteReplies
Thanks for your encouragement, Alex. I don't have time to post as often as I would like, and it looks even worse because my posts are spread over several blogs! I often think it was a mistake to have so many; but at the time it seemed like a good idea to have different blogs for different geographical areas.Delete
The LostCousins site, www.lostcousins.com, is completely free for all members, new and old, until midnight on Wednesday 6th June. (That would be UK time, so Thursday morning in Australia.) When this free FULL membership period ends, standard membership will continue to be free. With so many extra people visiting the site this week, it's a great opportunity to find your living relatives. After completing your MyAncestors page, you must press the Search button. On your MyAncestors page, be sure to enter your direct ancestor's SIBLINGS. It is their descendants whom you want to contact, because they are likely to have letters and photos sent by your family.ReplyDelete
To see my reply to your comment, tick 'Notify Me'. If you think we are related, or if you want to comment but cannot do so because of restrictions designed to block spam, please email me at the address shown in the sidebar here (or an alternative address shown on www.judywebster.com.au).


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In 2008, Tihana Nemcic was a finalist in Croatia's Miss Sport beauty competition. Four years on, she is breaking new ground as the first female coach of a Croatian men's soccer league side.
The bubbly 24-year-old blonde took over the reins at fifth-tier regional side Viktorija Vojakovac last month, scoring a notable first in the traditionally male-dominated world of Croatian soccer.
Now instead of the glamour of the catwalk, she makes a nearly 120km round-trip from the capital Zagreb twice a week to Vojakovac for training sessions and Sunday league matches.
On the training pitch, Nemcic wears a blue tracksuit and her hair in a ponytail as she runs among the players.
"Set your pace! Don't stop! Pass the ball precisely!" she shouts, taking command.
However, despite oozing self-confidence, she admits that she did have a "certain stage fright" when she took over at the amateur club, who are mid-table in the league.
"I'm aware that I'm a blonde," she explained with a wry smile, mindful of her undoubted good looks, but insistent that femininity and soccer are not mutually exclusive concepts.
"So far my experiences with both players and spectators have been very positive," she said.
The fact that Nemcic has been so readily accepted undoubtedly comes down to her pedigree in soccer and, as she says, is a logical progression.
She plays for women's side Dinamo Maksimir Zagreb and coaches Croatia's women's under-17 squad as well as a soccer school for girls. She used to play for the national women's team, but is currently recovering from a knee injury.
At Viktorija Vojakovac, the University of Zagreb physical education graduate is responsible for the main men's team as well as the veterans and the juniors — about 40 players in all.
"For me it was a challenge, but also a logical development since I've been in football practically my whole life," Nemcic said.
"I don't see why I would be less capable than a man for the post, since I'm skilled and educated for it," she added.
"[Real Madrid manager Jose] Mourinho, [former Barcelona coach Pep] Guardiola, [Manchester United boss Alex] Ferguson all have their own way of working," she said. "The essential thing for a good coach is that he is capable of transmitting knowledge."
At pitch-side, spectators watching a late training session last week were complimentary.
"Tihana is an expert, she is capable and educated. The fact that she is blonde cannot harm, but can only help," Nermin Orucevic said.
The players agreed, although the appointment did catch some off-guard.
"When we heard that we will get a woman coach we were surprised," defender Kristian Klasan said.
"But she earned her authority. We listen to her and we agreed between ourselves that it will be like that," the 33-year-old driver added.
Nemcic — who says she is just as comfortable in a tracksuit as the high heels she wears off the pitch — is also well-respected by the club's junior players.
"It's so cool to have a woman coach. She is not too strict, but she knows what she wants," 12-year-old Valentino Gudic said.
"She is very experienced, has the authority and boys listen to her," the club's director Vitomir Mijic added.
It was boys — or rather, a particular boy — that got Nemcic into soccer in the first place.
"I was training in athletics and when I was 13 I fell in love with the boy who was the best footballer in town," said Nemcic, who was born in nearby Krizevci, about 60km northeast of Zagreb. "I followed him to the pitch, watched his techniques. The next summer the love was gone, but my love for football was born and it lasts until today."


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Right Thesis
Ronald Dworkin
The judiciary plays an important role in all legal system. But the question is: How does a judge decides a case? If a case is brought to the court, the judge cannot refuse to adjudicate it on the basis that there is no precedent or the lawyer cannot cite any authority on the point of law.
In this connection, Dworkin observed that there is a right answer to each case. Dworkin's Right Thesis involves the general claim that within legal practice and a proper understanding of the nature of law, rights are more fundamental than rules. This is the opposite claim to most legal positivists.
Rights are trumps in Dworkin's Theory, which means that if there is any right which comes into conflict with any policy, the right must prevail.
Law as Seamless Web
The law is to be treated as a seamless web in which there always is a right answer. Judicial decisions are characteristically generated by principles and enforces existing political rights, so that litigants are entitled to the judge's best judgment about what their rights are. To Dworkin, different judge may come to different conclusions but he insists that judges may not rely on their own political views but only on their beliefs in the soundness of those convictions.
It has long been received opinion that judges "filled in the gaps" left by rules by using their discretion. HLA Hart has written, "That the rule-making authority must exercise discretion…" Hart saw rules as 'open-textured'.
For Dworkin, judges are always constrained by the law. In every adjudication of the so-called "hard-cases' there are controlling standards which a judge is obligated to follow.
Dworkin objects to judges acting as 'deputy legislators' for 2 reasons:
(i) Separation of Power: It offends the democratic ideal that a community should be governed by elected officials answerable to the electorate. The judge not being elected must not substitute his own will as against the legislature. (In Lord Simmons words, "it's a naked usurpation of legislative functions).
(ii) Retrospectivity & The Rule of Law: Dworkin's 2nd objection to judicial originality is that "if a judge makes a new law and applies it retrospectively in the case before him, then the losing party will be punished, not because he has violated some duty he had, but rather a new duty created after the event."
If judges are to make law, as what Hart said, that would be in contradiction to the theory of separation of power. If judges were to make law in hard cases, they would be applying the law retrospectively; that's against the rule of law. Citizen has a complaint that even though he was not surprised by retrospective legislation, there was no liability at that time he did the act. If the citizen is being made retrospectively liable, it is because there was no law at that time that made him liable that places a special duty upon the legislature to justify retrospective legislation.
Judicial Discretion
For legal positivism, the law is the law posited. So what is the position in a case where a rule has not been posited?
Take a skateboard case. The actual legal position is likely to focus on language: "Is a skateboard a vehicle for the purpose of the by-law which prohibits vehicles to be used in
The rule does not extend to determine the question of skateboards. Thus there is a gap in the law. We can simply say that because there is no mention, they are permitted. Both sides cannot refer to decided case-laws. The prosecution might say it is included in the mischief of the Act.
Dworkin wishes us to consider carefully what lawyers are actually doing as a matter of legal principle in hard cases. If both sets of lawyers are serious, both sides believe that they are correct. Both sides actually believe that there is an answer. Why then go to the court if you do not believe that your side is correct, that the law Is as you claim?
Austinian positivism is clear – when the rules ran out the judge operate as a deputy legislator filling in the gaps. To
If for example, a judge decides that skateboards are included in the definition and are banned from
Dworkin is not satisfied with this model. The reasons are: Discretion is not free-standing but part of a process. Discretion, like the hole in the doughnut, does not exist except as an area left open by a surrounding belt of restriction. Discretion is not outside the law but internal to the law. If judicial decision making was unfettered discretion we would have to say that it is no special role for judges beyond being a political and administrative official. If judges were unfettered law makers they would have to be democratically elected.
If judges simply exercised discretion and make new rules they would be changing the rules of the game. Each time they do so they also commit a fraud on the litigants.
Dworkin has an alternative theory. The first step is to make a distinction between strong and weak discretion. Strong discretion is where the officials are bound by pre-existing standards set by the authority. Weak discretion is when the standard cannot be applied in a mechanical way. There's a need to evaluate what the standard means in a new case. In weak discretion, there is no gap in the law. Strong discretion does not exist for judges. Weak discretion is part of the judicial role. The discretion is controlled and there are no gaps in the law.
Hart says that judges exercise strong discretion in hard cases. But that seems to equate: Rules + Discretion = New Rules.
In order to understand Dworkin's criticism of Hart, we need to understand the distinction drawn by Dworkin regarding Rules and Principles, and Constructive Interpretation as propounded by Dworkin.
Legal Rules vs. Principles
Legal rules and principles for Dworkin exist to express and protect rights in the legal order. For Dworkin, the central approach within law emphasizes rights and the protection of the individual, including the protection of minorities who are left out of the consideration of the utilitarian.
Unlike the legal positivists, Dworkin insists that you can't think of law as just rules. The idea that laws are rules induces distortion in legal reasoning. Instead we must distinguish rules from principles, policies and other non-rule standards.
In the operation of the legal system, policies are not appropriate to legal reasoning and principles are more important than rules as they surround the structure of rules.
All rules produce problem cases or hard cases which cannot be resolved by logical application of rules. Dworkin argues that in hard cases judges make use of standards that do not function as rules but operates as principles. Where two rules conflict, one rule is always wrong or invalid. Rules therefore operate in an all-or-nothing fashion.
Dworkin calls us to consider the actual operation of 4 cases, in particular, Riggs v Palmer.
In Riggs v Palmer, Elmer murdered his grandfather in order to inherit his will. Had the court taken the positivist view, that all laws are valid by the formal test (as per Hart's thesis), the court would most probably decide in favor of Elmer. But the court did not allow Elmer to profit from his own wrong. That decision proceeded not on rules but on a principle of law, Nullus Commodum Capere Potest De Injuria Sua propria, that is, no one can profit from his own wrong.
Rules also do not cover the development of the Common Law through precedent and cannot adequately explain the creation of the "Neighbouring Principle" in Donogue v Stevenson by Lord Atkin. The creative role of Lord Atkin lies in his giving constructive interpretation of the earlier cases and formulating the principle in a new way.
Similarly, Lord Denning's development of Promissory Estoppel doctrine in High Trees case was not pulled out of thin air.
We can see that the rules have a different meaning and different effect when you apply relevant principles. Whereas policies are the collective goals of society pursued by the legislature, democratically elected, principles are internal to law and are developed by the judiciary. So the rule that a person may not benefit from his own wrong is a principle which is found throughout the law.
For Dworkin, judges are always constrained by the law. There is no law beyond the law. In every adjudication of hard cases there are controlling standards which the judge is obligated to follow. Judicial decisions are generated by principles and enforces existing rights so that litigants are entitled to the judge 'best judgment' about what their rights are. Judges may not rely on their own political views but only on their belief in the soundness of their contributions.
Rights vs. Rules
Dworkin distinguishes right from rules. Rights are more fundamental than rules in a legal system. Rules express rights but the rights exist before their expression in the form of rules. This is opposed to HLA Hart's view where rights develop from legal rules. The reason why Dworkin says rights are more important is because rights develop in the legal system through the working out of the political morality.
In summary, Dworkin's right thesis asserts that a right legal answer would be one that asserts and protect rights which are explicit or implicit in the fundamental values of the legal system. To get the right answer, judges must have the ultimate wisdom from the history of decisions and the understanding of the political value of a system. A right answer is one which produces a better fit with existing law and legal practices. Here, Dworkin constructs a model of such a judge called Hercules. Although Hercules is only an ideal model, judges have an obligation to aim for the right answer.
Criticism of Right Thesis
MacCommick assert that the proposition that judge have a weak discretion and that they are to find the right answer from the principles is unsustainable.
Critics such as Greenawalt have argues that the 'denial of discretion is wrong and is inconsistent with our ordinary understanding of judicial responsibilities for opinions. To suggest that judges have discretion is not to imply that they have license to do what they will. The institution of judging offers the judge choice only within the constraints of judgment.'
Greenawalt argues that there are also examples which contradict the right theories. For example, in a case of nuisance, the judge may consider the effect of his discretion on the community before accepting the right of the claimant. Such cases indicate that judges do decide on policies while determining the rights of the individual.
Dworkin replies that this is not a case of policy but a case where the judge compromises competing rights.
Other critics also criticize Dworkin on the ground that the right thesis cannot be demonstrated that there is only one right answer to a question. Supposing two judges are to decide whether Elmer is entitled to inherit his grandfather's property, they may answer this question differently from each other and yet claim that each answer is the right answer. How do we demonstrate that there is only one right answer to a problem/
Dworkin's answer is that it is insufficient to say that there can be no right answer just because they cannot be proved or demonstrated.
Hart criticizes Dworkin's right answer thesis as flawed and vulnerable to criticisms. Hart described Dworkin as a "Noble Dreamer".
Peter Fitzpatrick called Dworkin's strategy to give systematic unity to the legal system and legal practice "Myth Making".
To his critics, Dworkin continues to build his myth and noble dream. While he began his writing in the early 1970s, Dworkin's best known work, Law's Empire was published in 1986. To Dworkin's supporters, he is offering an uplifting image of law. Dworkin challenges us to renew our faith in the law by recasting the lenses through which we view the role of law and legal practice. In Dworkin's word: "We live in and by the law … it makes us what we are …"
Stephen Guest says, "Dworkin's Thesis is not his own making but it has been ascribed to him. It can be said that what Dworkin meant to say was that there is a possibility of finding the best answer. In other words, the judge is given the hope that he must not give up thinking that there is no best answer at all.
Dworkin's Right Thesis wants us not to relent but to make the utmost effort to get the best answer. It is a sort of ideal that Dworkin seems to present to the judge in practical pursuit. As per Stephen Guest, "He (the judge) may not get it right but the duty is upon him to try nevertheless.
Dworkin's work has consistently been concerned with judicial interpretation of law and the role of judges. Dworkin is clear as to the political values he is committed to. His philosophy stresses a 'Right' approach over utilitarian calculations.
It is aptly to describe Dworkin's theory of law lies in the best moral interpretation of existing social practices. His theory of justice is that all political judgments ought to rest ultimately upon the injunction that, people are equal as human beings, irrespective of the circumstances.
However, it seems Dworkin is very much influenced by professor Ron Fuller. His outlook of law come to be colored deeply by ethics and morality as expressed in hi theory and can be seen in his preferences of principles over rules. As a matter of fact, all legal principles pertain to the domain of morality.
My criticism of Dworkin's analysis is that Dworkin sought to merge the descriptive elements with the prescriptive to the extent that he has sacrificed reality to a noble dream.
However, dreams have their place. They are better than nightmares. This dream looks at what the law can achieve. It sees a purpose to law rather than a mere instrument for social control. We awake from the dream refreshed.
This is what law is: for the people we want to be and the community we aim to have (Dworkin Law's Empire)


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AUSTIN (Reuters) - At no other time of year is Austin - the self-styled live music capital of the world - so celebrated than in March, when the throngs pour into the Texas city for the 12-day music, film and interactive festival known as South by Southwest.
One of the most influential music events on the planet, South by Southwest marks its 26th year on March 7-16 and draws some 25,000 industry pros and musicians to see at least 2,000 performances at more than 100 venues. (sxsw.com)
And that's just the official music portion of the festival.
Austin is a city of many superlatives, consistently ranked among the best places to live for everyone from job-seekers to singles and health nuts to hipsters. (Map: goo.gl/maps/WCvVO)
There is much to enjoy for those seeking vast outdoor spaces, world-class eateries and vibrant nightlife.
Austin was recently named by Forbes as the fastest-growing U.S. city, showing that the draw of the quirky capital of Texas far surpasses its signature South by Southwest event.
The renown prompted a Chamber of Commerce campaign to "Keep Austin Weird" - a mantra as ubiquitous as the "Hook 'Em" sign of Austin's beloved University of Texas Longhorns.
Here are tips for getting the most out of a trip to Austin from Reuters, whose 2,600 journalists in all parts of the world offer visitors the best local insights.
The food truck craze has rolled across the United States in recent years but in trend-setting Austin, these bastions of creative edibles are a long-held tradition - making it nearly impossible (thankfully) to find a corner or a bar without one.
Paul Qui, winner of the ninth season of the "Top Chef" TV show, got his start in Austin with his East Side King Asian-fusion truck tucked into the backyards of dive bars on the city's hipster East Side. (eskaustin.com/)
The gluten-free Thai Chicken Karaagé from the truck behind the Liberty Bar at 1618 1/2 East 6th Street costs $8 for a deep-fried chicken thigh with sweet-spicy sauce, fresh basil, cilantro, mint, onion and jalapeño.
Food trucks enjoy such wide support that several have been able to turn into full-service restaurants.
Easily the most unique is Gourdoughs at 1503 South 1st Street, which serves its dinners on doughnuts. The Boss Hog features pulled pork, potato salad and barbecue sauce atop a fried doughnut for $5.50. (www.gourdoughs.com/)
Austin also has myriad brick-and-mortar restaurants to satisfy the cravings of those not into street-side dining.
Sunday brunch is a tradition at the one of Austin's most influential eateries, Fonda San Miguel, where roughly $50 per plate gets you a buffet of classic Mexican cuisine and a modern take on ancient recipes. It's at 2330 West North Loop Boulevard, northwest of downtown. (www.fondasanmiguel.com/)
One of the nation's most beloved liberals, the late Texas columnist Molly Ivins, once described Austin as a blueberry floating in tomato soup, a statement of the city's liberal leanings in a sea of conservative red that dominates Lone Star State politics.
But no matter who's in charge, Austin does love its Capitol building, the largest domed statehouse in the United States and the centrepiece of downtown.
Affectionately known as the Pink Dome for the colour of its granite, the 130-year-old Capitol and its expanses of lush grounds with venerable trees is a relaxing respite. Take the free tour or just enjoy a picnic outside.
If you're in Austin during the first half of an odd-numbered year, head to the Capitol's chamber galleries to watch the lawmakers in action during their biennial session. The 181 fiery Texans create the sort of human drama that Ivins lived for - and that you couldn't invent if you tried.
Even if you don't count the politicians, Austin does a great job of living up to its motto.
Why else would anyone cram inside a sweaty, windowless dive on a Sunday afternoon and bet that a chicken walking on a giant bingo card will defecate on your number?
But that's what thousands of Austinites, for more than a decade, have done at Ginny's Little Longhorn Saloon at 5434 Burnet Road. (thelittlelonghornsaloon.com/)
Also check out the world's largest urban bat colony, in the heart of downtown Austin, where up to 1.5 million Mexican free-tail bats live under the Congress Avenue bridge.
Their numbers are greatest in the summer and fall, when their sunset exit to find food blackens the sky and shows up on the local weather radar. Thousands of people flock to the bridge every night to catch the spectacle. The best part? It's a free show.
With so many venues, Austin's nightlife can be a challenge, even for the most decisive. Luckily, there's the website Do512 - as in what to do in the area code 512 - that is an excellent resource for residents and visitors alike. (do512.com)
For decades, Austin's reputation for world-class nightlife rested on the storied 6th Street - and it's still the musical soul of the city.
Skip the shot bars if you dare and go to Esther's Follies, where a $24 general admission ticket gets you entry to hilarious magic, musical and political satire shows that have been a mainstay on 6th for nearly 40 years. (www.esthersfollies.com/)
With more than 200 live music venues - including City Hall, where the city council meetings open with live music - exciting nightlife can be found in all corners of Austin.
For a true Texas honky-tonk experience, head south to Broken Spoke, a historic dance hall at 3201 South Lamar Boulevard. (www.brokenspokeaustintx.com/)
Once frequented by swing kings Bob Wills and the Texas Playboys, the Spoke is a beloved venue for the hipster rockabilly set to take a spin on its wooden floor alongside old-timers who have been two-stepping here for 50 years.
Back downtown, catch a band at The Belmont, a Brat-pack inspired stunner of a two-storey venue at 305 West 6th Street in the Warehouse District. (www.thebelmontaustin.com)
On the southeast edge of downtown is Rainey Street, a previously residential road now crammed with bars and food trucks. Bangers Sausage House and Beer Garden is a favourite spot with an off-leash dog park and 130 beers on tap.
Cross the I-35 and head to the East Side, which plays host to some of the city's funkiest bars and restaurants.
East Side Show Room at 1100 East 6th Street, with its modern/anachronistic steampunk theme, has playful small-plate dishes and one of the most interesting cocktail menus in town. Try the $13 Laveau made with overproof bourbon, apple brandy, Rossa Vermouth, Allspice Dram and lemon oil.
Poke your head outside the bar and you'll see that the sun shines in Austin for some 300 days a year.
Go swimming, tubing, climbing or snooze under a shady tree at the Barton Creek Greenbelt, southwest of downtown. The nearby Barton Springs Pool is spring-fed and stays between 68 and 71 Fahrenheit (20 and 22 Celsius) year round. (www.austinparks.org/our-parks.html?parkid=206)
Downtown, kayak rentals on Lady Bird Lake start at around $10 an hour or walk for free along the hike and bike trail that rings the lake.
Rent a bike from one of the dozens of shops in the city. The low-tech cruisers start at around $7.50 an hour at Barton Springs Bike Rental (www.bartonspringsbikerental.com/) and the electric bikes at Rocket Electrics (www.rocketelectrics.com/) rent for similar rates.
Don't miss the Thursday Night Social Ride, one of the nation's largest weekly social rides that draws up to 400 cyclists when the weather is good. (www.facebook.com/socialcyclingaustin)
Sunshine or not, you can always enjoy the serenity and beauty of some 650 species of Texas plants and flowers at the Lady Bird Johnson Wildflower Center. (www.wildflower.org/)
Or head to the Austin Zoo and Animal Sanctuary to see the tigers, bears, lemurs and hundreds of other creatures removed from bad conditions and brought to this peaceful, kitsch-free, natural setting for rehabilitation. Tickets are $9 for adults and $6 for kids under 12. (www.austinzoo.org/)
Editing by John O'Callaghan


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Opinion: Paul Ryan remaining House speaker for the rest of his term could hurt the GOP
EDITOR'S NOTE: Boris Epshteyn formerly served as a Senior Advisor to the Trump Campaign and served in the White House as Special Assistant to The President and Assistant Communications Director for Surrogate Operations.
WASHINGTON (Sinclair Broadcast Group) - Speaker Paul Ryan not running for re-election is not a big surprise. There have been whispers about him making a move for a long time now. I thought he would give up the speakership but stay in Congress.
Instead, Paul Ryan is planning to stay as speaker through the midterm elections in November and then leave Congress altogether.
Assuming Republicans hold the House in the midterms, we could be looking at seven months of infighting among GOP members of the House who are all eyeing the speaker's gavel.
The current Republican favorites to replace Paul Ryan are Majority Leader Kevin McCarthy of California and Majority Whip Steve Scalise of Louisiana.
Both McCarthy and Scalise are popular and they're both close to President Trump in a way that Speaker Ryan has never really been.
If Paul Ryan left the speakership soon, McCarthy would be favored to replace him, since McCarthy is the heir apparent and has more of a structure in place than others.
However, a long race for speaker opens it up not just to Congressman Scalise but to others who may want to jump in, like Congressman Mark Meadows from the Conservative Freedom Caucus.
I think that the Republicans should be concerned that is that a long leadership election during an extremely tough midterm season could be debilitating for the party.
Here is the bottom line: Paul Ryan has done a great job as speaker, especially in getting tax reform done. However, at this point, Republicans cannot allow for the competition to replace Paul Ryan to become a distraction. Therefore, I think it may be in the best interest of the Republican Party to elect a new speaker as soon as possible so the party is united heading into November.


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Wade Belak's passing yesterday came as a massive shock to the hockey community. It's another in a trio of incomprehensible tragedies this summer that have left hockey fans and observers trying to find patterns that may not be there in the hopes that they'll be able to prevent future deaths. Other stories will delve deeper into those topics but for now I just want to highlight some of my favourite memories of the former Maple Leaf.
Wade A Minute Premiers
At every stop in his NHL career Wade Belak immediately became the team's most genial player. He had a great sense of humour and stories of just how affable he was have been pouring in since his passing. The premier was pretty tame to begin with but it hinted at the facility he had with the spotlight and showcased why he looked to be building a future as a commentator.
Belak at home
It was sickening to hear that Belak's family found out about his death through the media. Here we get a glimpse at the young family that he leaves behind as Leafs fans got to know the man charged with protecting Mats Sundin and the Maple Leafs.
Grit, Hustle, Heart
We give intangibles short-thrift here because by their nature they are not easy to compare with any kind of certainty. What we can say is that Wade Belak played every shift with the kind of effort and intensity that you wish every player in the blue and white would bring to the arena. The third Leafs goal in that video is a perfect example.
Avenging Tomas Kaberle
I would mark this as the turning point in Leafs fans' relationship with Wade Belak. When he was a utility player under Pat Quinn the sense was that he was not a good defender nor a useful forward. Quinn's assertion that he was the team's best skater was met with a laugh. Then noted scumbag Cam Janssen laid a vicious headshot on Tomas Kaberle. At the next meeting Belak bellowed for Janssen from the bench early in the game and exacted the frontier justice that Leafs fans were baying to see. It seemed that Leafs fans notably took a shine to him afterwards.
Last Career Goal
Fans were chanting my name in the streets," he said, "it felt like I was mayor for a week."
The roof almost came off of the ACC when Belak scored. Unfortunately, it's not in the video but the crowd then burst into a "BE-LAK! BE-LAK!" chant.
Belak Gets Traded To Florida
That year's trade deadline was not quite what Leafs fans expected but it did see a player that most expected to come back sent to Florida. It's sad to see him on his way out since he seemed so genuinely happy to be in Toronto.


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Tuesday's high school schedule
All games start at 7 unless noted
Boys basketball
Branford at Amity
Bassick at Central
Trumbull at McMahon
Barlow at Bunnell
ND-West Haven at Fairfield Prep
Westhill at Fairfield Warde
Harding at Staples
Weston at Kolbe Cathedral
Masuk at Oxford
Newtown at Pomperaug
Norwalk at Greenwich
New Fairfield at ND-Fairfield
Wilcox Tech at O'Brien Tech, 6
Abbott Tech at Platt Tech
Shelton at Lyman Hall
Danbury at St. Joseph
West Haven at Xavier
Girls basketball
Central at Bassick, 5:30
McMahon at Trumbull
Bullard-Havens at Goodwin Tech, 5:30
Bunnell at Barlow
Fairfield Warde at Westhill
Greens Farms Academy at Masters, 4
Staples at Harding, 5:30
Law at Hand
Kolbe Cathedral at Weston
Lauralton Hall at Stratford
Oxford at Masuk
Pompereaug at Newtown
Greenwich at Norwalk, 5:30
ND-Fairfield at New Fairfield
O'Brien Tech at Wilcox Tech, 6
Platt Tech at Abbott Tech, 6
St. Joseph at Danbury
Sacred Heart Academy at West Haven
Darien, Fairfield Ludlowe, Trumbull vs. Fairfield Warde at Trumbull YMCA
Barlow, Weston, Lauralton Hall at Wilton, 4:30
Law vs. Hamden at Inflight Gymnastics, 3:15
Girls hockey
Fairfield vs. Wilton at SoNo Ice House, 5:30
Boys swimming
Amity vs. Xavier at Wesleyan, 7:30
Bunnell/Stratford vs. Weston at Weston MS, 5
Foran vs. Lyman Hall at Sheehan, 4
Barlow at New Fairfield, 4
West Haven vs. Law at Foran, 4
Oxford at Masuk, 4
Branford vs. ND-West Haven at Wilbur Cross, 4
Boys basketball
Holy Cross at Ansonia
Goodwin Tech at Bullard-Havens, 6
Derby at Torrington
Foran at Law
Masters at Greens Farms Academy, 5
Seymour at Wilby
Stratford at Kaynor Tech
Girls basketball
Ansonia at Holy Cross
Torrington at Derby
Wilby at Seymour
New Milford, Fairfield Warde vs. Fairfield Ludlowe at Gymnastic Cheer Academy, 6:30
Staples, New Canaan at Westhill, 4
Boys hockey
Wilton vs. Fairfield at Wonderland of Ice, 7:15
Barlow vs. Brookfield/Bethel/Danbury at Danbury Ice Arena, 6:40
New Fairfield/Immaculate vs. Masuk at The Rinks at Shelton, 8
Norwalk/McMahon vs. Staples/Weston/Shelton at Milford Ice Pavilion, 4:15
Fermi/Enfield/East Granby vs. ND-Fairfield at Milford Ice Pavilion, 6
St. Joseph vs. Trumbull at The Rinks at Shelton, 6:30
Girls hockey
Guilford vs. ND-Fairfield at Milford Ice Pavilion, 8
Hall/Conard vs. West Haven at Bennett Rink, 6:15
Boys indoor track
SCC East Sectional championships at Floyd Little Athletic Center, 4
Girls indoor track
SCC East Sectional championships at Floyd Little Athletic Center, 4
Boys swimming
Fairfield vs. McMahon/Norwalk at Norwalk, 3:15
Fairfield Prep vs. Cheshire at Cheshire Community Pool
New Milford at Newtown, 4
Westhill/Stamford at Staples, 3:45
Trumbull vs. Wilton at Wilton YMCA, 3:40
Shelton at Amity, 6:30
Central at Greenwich, 6
McMahon at Fairfield Ludlowe, 6
Brookfield at Bunnell, 6:30
Fairfield Prep at Cheshire, 6
Fairfield Warde at Darien, 4:30
New Haven at Foran, 6:30
Cheshire Academy, Hopkins at Greens Farms Academy, 3:30
Harding at Wilton, 5
Oxford vs. Immaculate/Barlow at Barlow, 6
Law at Xavier
Masuk at New Fairfield, 6
Newtown at Bethel, 6
Norwalk at New Canaan
Vinal Tech vs. Platt Tech/West Haven at Platt Tech, 6
Seymour at Nonnewaug, 6:30
Trumbull at Staples, 6
Weston at Stratford, 6
Boys basketball
O'Brien Tech at Bullard-Havens, 6
University at Christian Heritage, 5
ND-West Haven at Guilford
Girls basketball
Branford at Amity
Bullard-Havens at Oxford, 6
Greens Farms Academy at Rye Country Day, 5:45
Wolcott Tech at Platt Tech
Foran at Hand
Boys hockey
West Haven vs. Amity at Bennett Rink, 5:30
Don Bosco (NJ) vs. Fairfield Prep at Wonderland of Ice, 6
Newtown vs. Lyman Hall/Haddam-Killingworth at Northford Ice Pavilion, 4
Girls hockey
Amity/North Haven vs. Branford at East Haven, 7:30
Boys indoor track
SCC West Sectional championships at Floyd Little Athletic Center, 4
Girls indoor track
SCC West Sectional championships at Floyd Little Athletic Center, 4
Thomaston at Derby, 6
Boys basketball
Amity at Cheshire
Sacred Heart at Ansonia
McMahon at Westhill
Bunnell at Masuk
Christian Heritage at Masters (CT)
Naugatuck at Derby
Fairfield Ludlowe at Stamford
Fairfield Prep at West Haven
Hand at Foran
Greenwich at Harding
New Milford at Barlow
Law at Hillhouse
Kolbe Cathedral at Stratford
Oxford at Newtown
Wilton at Norwalk
ND-Fairfield at Bethel
Platt Tech at Vinal Tech, 6
Crosby at Seymour
Shelton at East Haven
Staples at Darien
Pomperaug at Weston
Harbor Yard Classic at Webster Bank Arena
Central at Trumbull
St. Joseph at Bassick, 8:30
Girls basketball
Ansonia at Sacred Heart
Bassick at St. Joseph, 5:15
Trumbull at Central, 5:45
Westhill at McMahon, 5:15
Bullard-Havens at O'Brien Tech, 6
Masuk at Bunnell
Derby at Naugatuck
Stamford at Fairfield Ludlowe
Foran at Guilford
Harding at Greenwich, 5:30
Barlow at New Milford
West Haven at Law
Stratford at Kolbe Cathedral
New Fairfield at Lauralton Hall
Newtown at Oxford
Norwalk at Wilton
Bethel at ND-Fairfield
Vinal Tech at Platt Tech
Seymour at Crosby
Shelton at Cheshire
Darien at Staples
Weston at Pomperaug
Newtown at New Milford, 4
Trumbull vs. Greenwich at Greenwich YWCA, 6
Boys hockey
St. Joseph vs. Staples/Weston/Shelton at Milford Ice Pavilion, 8
Girls hockey
New Canaan vs. Fairfield at Wonderland of Ice, 4:40
Lauralton Hall vs. ND-Fairfield at Milford Ice Pavilion, 8
Boys indoor track
FCIAC Eastern Divisional championships at Wilton, 4
Girls indoor track
FCIAC Eastern Divisional championships at Wilton, 4
Boys swimming
Westhill/Stamford vs. McMahon/Norwalk at Norwalk, 3:15
Bunnell/Stratford vs. Law at Foran, 6
Fairfield vs. New Canaan at New Canaan YMCA, 3
Crosby at Seymour, 6
Shelton vs. Lyman Hall at Sheehan, 4
Trumbull vs. Darien at Darien YMCA, 3
Watertown vs. Weston at Weston MS, 4:30
Foran at Waterford, 6
Boys basketball
Hopkins at Greens Farms Academy, 5
Girls basketball
Cheshire Academy at Greens Farms Academy, 3
Barlow, Weston, Lauralton Hall vs. Darien at Darien YMCA, 3
Boys hockey
Amity vs. New Fairfield/Immaculate at Danbury Ice Arena, 4:20
Fairfield vs. Westhill at Terry Conners Ice Rink, 6:30
Masuk vs. Watertown/Pomperaug at Taft-Mays Rink, 7:30
West Haven vs. Milford at Milford Ice Pavilion, 1
Brookfield/Bethel/Danbury vs. Newtown at Danbury Ice Arena, 1:50
Norwalk/McMahon vs. Trumbull at The Rinks at Shelton, 6
New Milford vs. ND-Fairfield at Milford Ice Pavilion, 8:15
ND-West Haven vs. Hamden at Lou Astorino Ice Rink, 2:30
Girls hockey
ND-Fairfield vs. Amity/North Haven at Bennett Rink, 5:15
Darien vs. Trumbull at The Rinks at Shelton, 7:30
Branford vs. West Haven at Bennett Rink, 1
Boys indoor track
FCIAC Central Divisional championships at Staples, 5
FCIAC Western Divisional championships at Staples, 2
Weston at New Balance Games, The Armory, TBA
Girls indoor track
FCIAC Central Divisional championships at Staples, 5
FCIAC Western Divisional championships at Staples, 2
Boys swimming
Greenwich vs. Fairfield Prep at Fairfield University, 4
Amity at Ridgefield Challenge, 9 a.m.
Central at Darien, 9 a.m.
Bunnell, Maloney, Conard, Hall at Platt, 10 a.m.
Law, New Fairfield, Newington at Derby, 10 a.m.
Fairfield Ludlowe, Norwalk, Fairfield Prep, Guilford, Masuk, Platt Tech/West Haven at Staples, 10 a.m.
Fairfield Warde, Bristol Eastern, East Lyme at Ledyard, 10 a.m.
Immaculate/Barlow, Weston at Classical Duals, 9 a.m.
Oxford, Trumbull at Portland Highlander Duals, 10 a.m.
Seymour at Killingly Quad Meet, 10 a.m.
Shelton, West Springfield (Mass.), Central Catholic (Mass.), Mansfield (Mass.), Ludlowe (Mass.) at Southington, 9 a.m.


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If you're not thrilled with your hair, it's time to visit Angelo David Salon in the heart of Midtown Manhattan. We've been giving women exactly what they want for over 20 years. And while we specialize in hair extensions and hair loss solutions, we're also experts at giving you the cut, color and style that's perfectly customized for you.
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About 'Connect' Email Template
'Connect' is clean, super flexible and has a fully responsive design! This template sets the new design standard. its the most easy-to use email-template on the market! It have been tested on All major E-mail clients and Inline CSS used for a full cross browser compatibility. Html's are lightweight, commented and modular which makes the job of duplicate or hide modules very easy.
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Product Updates and History
Created, 27 June 13


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78th Texas Legislature, Regular Session, House Bill 3622, Chapter 1299
Description: Bill introduced by the Texas House of Representatives relating to the creation, administration, powers, duties, operation, and financing of the Kingsborough Municipal Utility District No. 1, 2, 3, 4, and 5 of Kaufman County.
Date: June 2003
Creator: Texas. Legislature. House of Representatives.
Partner: UNT Libraries Government Documents Department


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A very wet July and August has seen the return of the dreaded tomato blight. With a warm and dry start to the summer, the tomatoes were looking healthy and strong, then along came July and overnight the temperatures plummeted and the rain started. The rainy, damp days continued throughout non … [Read more...]
You are here: Home / Archives for Denial
The Blight is Back
September 4, 2010 by admin Leave a Comment
Filed Under: Featured, News & Features, Newsletter Tagged With: Cherry Tomatoes, Compost Heaps, Crops, Dark Patches, Denial, Fate, Fruits, Garden Soil, Gardeners, Global Warming, Green Tomato Chutney, Greenhouse, Greenhouse Crops, Growing Tomatoes, Growing Under Glass, Lancashire, Leaves, Mottling, Northern Hemisphere, Plum Tomatoes, Polytunnel, Rain, Scrub, Simple Truth, Soil, Spores, Stems, Temperatures, Tomato Blight, Tomato Family, Tomato Plant, Tomato Plants, Tomato Varieties, Welsh, Wet July


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"Predictive analytics encompasses a variety of statistical techniques from modeling, machine learning, data mining and game theory that analyze current and historical facts to make predictions about future events "acc to wikipedia has been completely fine tuned by IBM's Analytics solutions. Its best exemplified how they converted a game of Wimbeldon into a insightful and importantly useful analytical engagement that the organizers could use.& Marketing has never before become 'this' useful. Growing geo expansion means organizations having a strong analytics and business intelligence engine to 'listen' and 'act' speedily to their clients - for large banks, its their account holders.
The intimacy with ever growing consumer base is in need. Personalization in both business-to-consumer (B2C) and business-to-business (B2B) markets is on the rise. Analytics to deliver relevant experience is sacrosanct. More so with CIO's are clamping IT spend with a tall order to justify ROI for marketing spend. You can see more on how Ogilvy & Mather, as one of the largest and most organizationally complex ad agencies in the world. are through APUS is using IBM SPSS predictive analytics for Student Retention !
Article:: Integrating SPSS predictive analytics into Business Intelligent applications, Part 2: Integrating the scoring service into an ILOG JRule
Check out the video that serves this volley on analytic to gamepoint
Data Analytics and Future of Sport < guardian >
Get connecting at Business Analytics Forum 2012 @ IOD 2012 - Las vegas !


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Maryaltom necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 61 diseños de 12 diseñadores freelance.
Sound Starts
Sound Starts is a music therapy and music lesson studio. We help children who have disabilities (for example, autism, speech impairment, etc.) by using music to address communication, cognitive, and social skills. Sound starts also provides adapted and regular music lessons for guitar, voice, and piano.
I will be targeting parents of students age 0-15. The parents will be looking to provide their special needs child with therapy/adapted lessons or to provide their child with voice, guitar, or piano lessons. A family friendly feel. The word sound refers to not just the music but also the quality of service.
I would like to have an aspect of music incorporated in the logo, maybe a picture, abstract, or some representation of a treble clef, music note, or guitar. Something playful, not too serious.
The attached image is something I came up with and liked. It is not completely necessary to use something like this but any ideas that incorporate or make the idea better would be great.
I just added some more images after doing an internet search for some logos I like. I hope this gives a better feel for what I am looking for. The name of each file tells why I like it.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.