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NEW YORK (AP) — Geoffrey Mutai sees the scorching fast times put up by his training partners and figures he should be able to match them.
They're doing the same workouts, so he's confident he can put up the same results. When Dennis Kimetto broke the course record at last month's Chicago Marathon, Mutai said, "I was feeling it was me."
Mutai already owns the course record at the New York City Marathon, where he will defend his title Sunday. His goal is to go even faster.
The Kenyan won in New York two years ago in 2 hours, 5 minutes, 6 seconds. That was the last time the NYC Marathon was held, and much has changed since that day Mutai describes as "perfect."
The 2012 race was called off because of the destruction of Superstorm Sandy, but not before the week's events enraged many residents and runners. City and marathon officials initially vowed that the race would go on, and many New Yorkers recoiled at the idea of possibly diverting resources after a natural disaster. The decision to cancel didn't come until a day-and-a-half before the scheduled start time, and by then, many out-of-town entrants had already made their long trips to the city after hearing the earlier assurances.
Then in April, at another major marathon in the Northeast, the scene of cheering fans packed along the race course lost its innocence. Two bombs exploded near the finish line in Boston, killing three people and injuring more than 260.
The increased security Sunday will be most evident near the finish line in Central Park. There will be barricades around the park limiting entry points, bag checks, bomb-sniffing dogs.
More than 47,000 runners are expected at the start of the 43rd running of the NYC Marathon, taking on the 26.2 miles through the five boroughs. A handful will be competing for the $100,000 prize for the men's and women's champions.
Five races within the race to watch:
— Mutai has run the fastest marathon in history, 2:03:02 in Boston in 2011. It didn't count as a world record because the course is too straight and downhill. The official world record was lowered in September to 2:03:23 in Berlin by Wilson Kipsang, who also sometimes trains with Mutai. Two weeks later, Kimetto nearly broke it again when he won Chicago in 2:03:45. New York is a difficult course, unlikely to produce a world record. A windy morning is in the forecast for Sunday, which may also keep Mutai's course record safe.
— Stephen Kiprotich's personal best time is 2:07:20, slow by today's standards. But he keeps proving he knows how to race. The Ugandan was the surprise gold medalist as the 2012 London Olympics, then proved that was no fluke when won a world championship in August. That New York is a championship-style setup, with no pace-setter, bodes well for Kiprotich.
Kiprotich and Ethiopia's Tsegaye Kebede, the reigning London Marathon champ, are also competing for the World Marathon Majors title, a $500,000 bonus.
— A year ago, Meb Keflezighi planned to run the 2012 NYC Marathon and the 2013 races in Boston and New York, and then retire. He jokes he should qualify such pronouncements with "Subject to change."
So much for the first two races on that list. New York was canceled, and he pulled out of Boston because of injury. Now the 38-year-old Keflezighi is flirting with the idea of competing through the 2016 Olympics.
"Can I squeeze a little more out of it?" he said. "Otherwise, I feel content where my career has been."
He took silver at the 2004 Olympics, the first American man in 28 years to win a marathon medal. And at the 2009 NYC Marathon, he became the first American champion in 27 years.
Keflezighi missed some training because of a calf injury, but he finds confidence from strong performances in the past when he didn't seem to be at full strength.
— Kenyans Edna Kiplagat and Priscah Jeptoo train together and expect to work together for the first part of Sunday's race. The two are competing for a second prize: the World Marathon Majors title. If either wins in New York, she will earn the $500,000 bonus. Kiplagat is the two-time defending world champion, and Jeptoo won the London Marathon this year.
Kiplagat, who won in New York in 2010, is a force in championship-style races.
"This is one of the best courses — it's not a flat course," she said. "It needs a lot of strategy and a lot of mental strength. And I'm happy when I'm on it. It's still very fresh in my mind, the whole course."
— Firehiwot Dado and Buzunesh Deba grew up together in Ethiopia. Deba now lives in the Bronx, but they were reunited at the last NYC Marathon, in 2011. They worked together to chase down Mary Keitany, who had pulled away to a big lead. Dado won and Deba finished second in breakthrough performances for both. Now Dado returns as the defending women's champion, and Deba is trying to win in her new hometown.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
CBS 8 invite you to play along with other San Diego football fans each week and pick the winners! See how you do against News 8's Sports Director, Kyle Kraska and win weekly prizes!


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It wouldn't be Mardi Gras without a King Cake or
two ten!
King cakes commemorate the Epiphany, a celebration of the Wise Men's discovery of baby Jesus. A small plastic baby is tucked inside the cake, bringing the finder good luck and the task of supplying the next cake. Believe me when I say there will be a next cake, since they are eaten everyday during the season of Epiphany that begins 12 days after Christmas and lasts until Mardi Gras. A tradition I can fully immerse myself in.
Who knows King Cake better than New Orleans native Chef John Besh? No one I know of. Made from a soft, buttery brioche dough with copious amounts of cinnamon and lemon zest, the cinnamon fiend in me rejoiced.
Covered in a confectioners' sugar icing and decorated with colored sugars to represent justice, faith and power, this is a cake you will revel in eating every day. It is everything anyone could ask for in a coffee cake and more. I don't think I would get sick of it. In my version there's a decadent strawberry jam cream cheese filling and half whole wheat flour in the batter. It is the most perfectly delicious thing to accompany a cup of coffee or tea.
Although I'm far from New Orleans, a mere bite of cake magically transported me there, if only in spirit. My heart was glad.
1. Beat cream cheese until light and fluffy, beat in jam and confectioners sugar. Refrigerate.
2. Instead of dividing the dough into 3 pieces, roll into a rectangle on a large floured surface, about 20×15 inches. On one of the longest edges about 3 inches in spoon the cream cheese in an even straight line. Carefully fold dough over the filling and continue until you have a long log.
3. Carefully move to a large, parchment lined baking sheet and form into an oval, pinching ends together well. Bake according to directions in original recipe.
foodie_views_link_url = 'BLOG_POST_URL';

subset: commoncrawl


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In today's feature we're investigating whether the next generation of consoles are coming too soon. Are you someone who wants a PS4?
They can't come soon enough, everyone always concentrates on how much the graphics will improve. But you ave to look at all the other improvements we will get, A.I, physics, bigger gaming worlds for us to explore. You only have to play project cars for one minute to see how far ahead PC graphics are compared to consoles.
Of course! Maybe for Xbox, but PS3 is doing wonderfully right now.
With the ever growing list of sequels, spin offs, and HD releases of some current generation titles, it appears as if developers are winding down on new ip's. however that may be a broad statement given the fact Sony has been announcing new ip's for the ps3, so I expect a bi more longevity for the ps3, so I doubt Sony is rushing to push the next playstation console out of the door. With Microsoft on the other hand, it does seem they are probably looking to release a new console in 2013 or 2014. And since Nintendo is about to release their next generation console, it looks like next gen is starting once again. But, no after owning both my Ps3 and Xbox360 since launc it seems about the right time for these companies to start transitioning their core fan base to the next generation. Although with an ever growing list of games form this year and next im not exactly going to be rushing to get these new console unless backwards compatibility is built in form day one because there are still plenty of great games coming out for current gen consoles.
No. Sick and tired of this generation. Ready for a console that can handle more players online while looking good at the SAME time. (Keyword there is console not PC, for those smart asses who I know will comment)


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Authorities are reminding Californians without health insurance they have less than a week to sign up for it and avoid a tax penalty.
Originally, the deadline for getting coverage through the state's first open enrollment period was March 31. However, a flood of interest in low-cost insurance through Covered California caused the system's website and phone lines to jam.
To compensate for the technical issues, Covered California is allowing consumers until April 15 to apply for health coverage starting May 1.
However, consumers must explain that they were unable to get through to the state health exchange on March 31 in order to qualify for the extension.


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This selection is anecdotal rather than comprehensive. No conclusions should be drawn by who is or isnt included. The list will be updated as the paper gets reliable information from or about expatriates.
The Bosses
Jay Levin, publisher 1978 to 1983; editor in chief 1978 to 1988. The papers founding editor and publisher created the Weekly out of moxie, journalistic ambition and cultural ferment helping establish what alternative journalism meant in Los Angeles. In his era, that meant dogging Reagan and Bush Sr. from the left, exposing slumlords, reporting on wrongdoings in Central America, and documenting and spurring a hot local music and club scene, among other things. Levin gradually separated from the paper, giving up in succession his roles as publisher, editor and board member and part owner. His plan to inaugurate alternative television programming, a post-Weekly project that may have been ahead of its time, never fully materialized. His other endeavors have included media consulting, running spirituality and psychology programs, and starting Share With the Other L.A., an organization to educate the public about poverty in L.A.
Kit Rachlis, editor in chief 1988 to 1993. Rachlis left his job as executive editor with the Village Voice to head the Weekly. He continued the process of professionalizing the maturing paper, and he brought in well-known cultural and political voices, including Harold Meyerson, Tom Carson, Steve Erickson, Judith Lewis, RJ Smith and Sue Cummings. His era, which ended with him getting fired, was marked by the rise of locally based columnists who became the papers must-read voices. "On the surface, my firing was about publisher Mike Sigman having a different vision of the Weekly than I did," said Rachlis. "In Mikes words, I had made the Weekly too serious and too intellectual. But my firing was actually about something more basic and more mundane: power. Who would shape the direction of the Weekly? Mike or me? Who would have the authority to hire and fire the editorial staff? Mike or me? And like most struggles of power, this one was both principled and petty. I suspect both of us, in retrospect, would like to have handled the situation better. But I also think the firing was inevitable a question of when, not if." Several writers resigned in protest: Carson, Erickson, Michael Ventura, Ruben Martinez (who was leaving anyway), John Powers and Ella Taylor. Powers and Taylor have since returned. Rachlis went on to become a top editor at the Los Angeles Times before accepting his current job as editor in chief of Los Angeles magazine.
Sue Horton, editor in chief 1994 to 2000. Before she came to the Weekly, Horton wrote a book about the murderous Billionaire Boys Club and taught investigative reporting at USC. She brought these writing and news instincts to the paper, where she bumped up breaking-news coverage, local news analysis and pursued investigative pieces. She hired experienced reporters who came to the Weekly to do more things and better things than they could at the dailies. In this regime, a job at the paper was no longer a starter job, but a destination post for writers she groomed or stole away. Some holdovers complained that the paper was becoming too mature, too professional, too linked to the traditional Democratic Party left wing, not edgy or young enough. Sports coverage was phased out; some columnists were supplanted by reporters. The editorial endorsements became more interesting and more necessary, a good read as well as the best prognosis on which politicians were most likely to make the world a more progressive place. With political editor Harold Meyerson, she brashly turned the paper into a daily during the Democratic National Convention in Los Angeles. She left to pursue a fellowship and a slower pace, and later accepted the position of Sunday Opinion editor at the L.A. Times, where she is today.
Michael Sigman, publisher then CEO 1984 to 2002 (with one-year hiatus). Helped organize the business side of the paper, ever a steadying influence. Regards his contribution as "changing the culture of the paper, person by person, from a horribly dysfunctional one into one where employees by and large felt appreciated and inspired to do their best work, while still maintaining the atmosphere of an alternative paper." Sigman was not well-loved when he fired editor Kit Rachlis in 1993. Sigman said he felt the paper had become too intellectualized and humorless, and also said he wished hed better handled the tiff between him and Rachlis. By the time Sigman himself got tossed overboard, some nine years after, a later generation of staffers appreciated how Sigman insulated them from advertising pressures and protected editorial independence. He ran a shop that trusted his intent to create a place where people would want to spend their entire careers. To the papers investors, such sentiments probably sounded like a recipe for editorial moldiness, entrepreneurial complacency and lower profit potential. Sigman now runs what he describes as a "small but mighty" music-publishing company called Major Songs, which features standards by his famous songwriter father, Carl Sigman, and new works by up-and-comers.
Writers and Editors
Donnell Alexander, staff writer, 1994 to 1998. Wrote a compelling 1997 cover story about his deadbeat, drug-dealing dad. He later expanded the story into the book Ghetto Celebrity, which also documents his own journey through journalism, drugs, sex and infidelity. Reviewers have called the book both painfully revealing and slyly concealing. Stylistically its a mix of the traditional prose and rap-speak that used to drive some of his Weekly editors bananas. He felt that his writing voice was getting unfairly trampled and left the paper. Alexander later worked as a staff writer at ESPNs magazine and as a senior producer at MediaChannel.org. "Village Voice Media has pointedly ignored [Ghetto Celebrity] because GC calls bullshit on their product, specifically L.A. Weekly," Alexander wrote in a recent Web posting. "I cant prove collusion, but it does seem odd to me that a young, left-leaning writer of color someone who would ordinarily score top-notch reviews presenting even mediocre product cant get a review in any of the companys 300 or so alternative newspapers. Village Voice . . . has provided an object lesson in why mediocre leftism is dead as fuck. Blame them for Bush being president and [Green Party candidate] Peter Camejo languishing in Octobers California polls."
Ann Louise Bardach. Listed on the masthead in 1984 as the Weeklys crime reporter, Bardach was formerly a contributing writer for Vanity Fair and is widely regarded as the foremost journalist writing about Cuba and U.S. policy toward Cuba. Just out is the paperback version of Cuba Confidential: Love and Vengeance in Miami and Havana. Christopher Hitchens commented: "If our political establishment knew a tenth as much about Cuba, or cared half as much about it, as does Ann Louise Bardach, both the United States and Cuba would be more open societies." She currently writes for Newsweek International and is a commentator for Public Radio's Marketplace.
Arion Berger. A Weekly stalwart from 1987 (beginning as an intern) through 1996, who periodically reinvented her role: proofreader, special issues editor, acting music editor, film critic, music critic, TV critic and restaurant critic. Also wrote about fashion, dance and did book reviews. Later moved to D.C. and took her versatility to the Washington City Paper and to other publications as a freelancer. Also an adjunct English professor at Georgetown University (1997 to 2003). In June 2003, she became arts and entertainment editor at Express, a commuter paper published by the Washington Post. "I was there during the dirty years," she said of the Weekly. "You want to hear cute stories about meeting at the heroin cooler, and how the nice couple who now has three kids met during a three-way at the infamous Guns N Roses Halloween party? I had actually met [future husband] Tom [Carson] about nine months before he started working at the Weekly, and we didnt much like each other. But when I was a proofreader I used to save his pieces for last because they were my treat of the day. I loved his writing so much. We met on Halloween night 1988, and married five weeks later in Vegas, December 3 . . . We celebrated our 15th anniversary last week." Four cats, no kids.
Shonda Buchanan. Buchanan started as an intern in 1992, then freelanced for some nine years for the Weekly and other publications. Her poetry has appeared in several published anthologies. She is seeking a publisher for longer-form works, including novels and memoirs. Is currently a teaching fellow at Loyola Marymount; also a Sundance Institute writing fellow.
Tom Carson, staff writer from 1988 to 1993; started as freelancer in 1985. Wrote TV column, reviewed movies and books, reported on 1992 Republican Convention, wrote cover story on Disneyland. Resigned when editor in chief Kit Rachlis was fired. Carson later became a staff writer at The Village Voice and is now a columnist at Esquire. Recalls that his office at the Weekly was "the smoking room." "I sat next to Kateri Butler. And I outsmoked her. It was like London in November." Published novel Gilligans Wake in January 2003. Paperback version due out in February.
Rick Cole. He met L.A. Weekly founding editor Jay Levin in 1978, before the paper debuted, just as he was going off to the Columbia School of Journalism. After his return, he became a contributing editor (1979 to 1980). Says his favorite stories included a cover piece on Warren Olney as the last honest guy in television. Too honest, perhaps, given Olneys switch to radio. Cole also wrote a cover story on the battle for the soul of his hometown, Pasadena. "That led to me starting the Pasadena Weekly and then going on to be mayor of Pasadena," he said. Of his mayoral years, hes especially proud of his role in the revitalization of Pasadenas Old Town. For the past five years, hes been city manager for Azusa, "an older suburb," he said, "thats becoming a model of revitalization."
Steve Coll. A contributing writer from 1982 to 1984, who says that he got an essential education in journalism basics at the L.A. Weekly. He went on to become a top reporter and managing editor at the Washington Post, where he won the 1990 Pulitzer Prize (with David A. Vise) for explanatory journalism. His books include The Deal of the Century: The Breakup of AT&T (1986) and On the Grand Trunk Road: A Journey Into South Asia (1993). He grew up in suburban Maryland, but graduated from Occidental College in Los Angeles, which put him in the Weeklys readership orbit, and led him to pitch freelance pieces that were more interesting than the fluff he wrote for a Hollywood trade magazine. "I was a general-assignment freelancer," he recalled. "I did a bewildering number of stories . . . Covered a strike by the Writers Guild, Hollywood labor stuff, quasi-investigative property stuff, real-estate-scam stuff." He worked with news editor Phil Tracy. "I would just go into Phils office, which was famously cluttered. I was very young and he conformed to my idea of what a hard-bitten Weekly editor should look like. He had a sloppy and authoritative demeanor and was always talking about scams and scandals. Things that wouldnt smell right. I was just learning. And Phil was part of that education." One thing he learned: "It takes a long time to get to the bottom of the story." Which made for a discouraging lesson in freelance economics: At $200 for a cover story, Coll points out, enthusiasm dwindles.
Sue Cummings, music editor, 1992 to 1996. Activities since include editing a dot-com radio news service, freelancing for The New York Times and The Village Voice, and writing a column for Time Out New York. Also studied fiction writing, poetry, horticulture and Zen. Spends time restoring her 1927 Queens townhouse to "Italianate splendor." Currently working in L.A. as paralegal. Fave new group: Mr. Airplane Man.
Manohla Dargis. The Weeklys film editor and critic from 1994 to 2002, now a film critic for the Los Angeles Times: "Hands-down, building a kick-ass film section was my greatest achievement at the Weekly. I started to become a real writer at the Weekly mostly due to my great editor, Judith Lewis but it was my film section that Im most proud of. I regret that I didnt manage to run more film covers, but, then, that wasnt my call alone."
Joie Davidow. A founding editor of the L.A. Weekly, credited with inaugurating the papers Calendar section and writing a style column. As someone put it: If Jay Levin was the Weeklys dad, she was the Weeklys mom. In fact, Mom and Dad were a couple for a time. In 1985, she founded L.A. Style magazine, a spinoff of the Weekly. In the mid-1990s, she started Sí, a lifestyle publication in English targeting the Latino market. On the Weeklys board of directors as recently as 1995. Wrote Infusions of Healing, A Treasury of Mexican-American Herbal Remedies (1999) and a memoir, Marked for Life (2003), which is now in bookstores. Currently in Rome, which is serving as inspiration for her novel-writing project.
David Davis. At the Weekly from 1986 to 1997 as managing editor, sportswritersports editor and features writer. Memorable stories include a bittersweet late-in-life profile of boxer Jerry Quarry and a probing look at a growth hormone he and others received as a child a hormone linked to cases of the fatal human form of mad cow disease. At the Weekly, after a change in editorial regimes, Davis, a skilled sports analyst and commentator, found himself at a paper that had lost interest in sports coverage. Still lives in L.A. and writes about sports as a contributor for Los Angeles magazine and other publications. Will curate a sports photography show for the L.A. Library in 2004.
Mike Davis. The dark prophet and interpreter of Los Angeles, whether living in L.A., Canada, Hawaii or his current San Diego address. For Davis, the Weekly was not a youthful pit stop but rather a journalistic, shorter-form outlet for his already mature ideas. His first piece appeared in about 1989, and he continued to contribute periodically until 1996. Notable articles include his cover story "Let Malibu Burn" with Greg Goldin. Davis has been criticized for getting a few of his facts wrong in his widely read books City of Quartz and Ecology of Fear, but he makes sense of Los Angeles as no other writer-historian has, recognizing big themes and conducting truly original research and analysis. In an interview, he said his greatest accomplishment was editing the Haymarket series for Verso Books: "commissioning books from Lynell George, Ruben Martinez and Ralph Rugoff" all from the Weekly extended family. "I am currently living in San Diego (with two new babies), teaching at UC Irvine, and have just published the first of a series of science adventures for teenagers and young adults (Land of the Lost Mammoths, from Perceval Press) as well as a co-authored profile of wealth, power and resistance in San Diego (Under the Perfect Sun, from New Press)."
Janet Duckworth. A features editor starting in the latter 1990s, Duckworth commented that her "seminal work at the Weekly was actually my wonderful writers seminal work and the work of the Weeklys wonderful copy editors and proofreaders . . . I had a total blast for six years." Shes now a features editor at the Los Angeles Times.
Steve Erickson. Widely regarded as a definitive Los Angeles voice in fiction, Erickson had the unusual experience of being the subject of a Weekly cover story and then later getting hired by the paper. From 1989 to 1993, he was arts editor and film editor, and also wrote about culture, politics and film. Fondly recalls covers stories on Philip K. Dick, post-communist Berlin and the inauguration of Bill Clinton. His pre- and post-Weekly novels include Rubicon Beach, Amnesiascope and The Sea Came in at Midnight. Our Ecstatic Days will be published by Simon & Schuster in January 2005. Hes also published a book about American politics and culture, American Nomad (1997). Currently works as film critic for Los Angeles magazine and edits Black Clock, a national literary journal (based at CalArts where he teaches writing), which will debut in March.
Janet Fitch. A Weekly typesetter in its early days, shes seen her second novel, White Oleander, become a hot topic and a best-seller, and, in 2002, a movie. "I was a typesetter for the Weekly in 1980 when it was still at Sunset and Western," she said recently. "It was a good job supported my fiction habit. I worked afternoons at first, and moved to the night shift, 9 to 3 in the morning. Typesetting was great, creative; you worked sitting down, and you got to read the articles first, like Mikal Gilmore and the Rockie Horoscope. The type room was the only place in the building that was air-conditioned (because of the equipment), so people came in and hung out. At the time, the neighborhood was hooker heaven, and I thought I was pretty tough in my punk haircut my mother called The Papillon (after Steve McQueen, not the butterfly). But one hot summer night I was waiting for the security gate to open when some hooker thrust her head right into my rolled-down window. Wanna date? she said. It took her a moment to get that I was a girl. She took it surprisingly personally. I realized I wasnt so tough when she started kicking my car. Bizarre stuff was always happening there. I tried to sell the Weekly some stories, but they would never let me write for them. I was production, not editorial. Production didnt cross the line."
Lynell George. Weekly intern in 1987; staff writer from about 1989 to 1993. Noted work included two series: "Sometimes a Light Surprises: The Life of a Black Church" and "Set This Tangle Straight," a look at black independent schools, as well as her profile of Creole Los Angeles. Now a staff writer at Los Angeles Times, shes also contributed to several published anthologies.
Mikal Gilmore. A renowned writer on music and the culture of music who was the Weeklys music editor in the early 1980s, Gilmore is also the youngest brother of Gary Gilmore, the convicted murderer who famously sanctioned his own speedy execution. Gilmore confronted his family skeletons in his book Shot in the Heart (1994), later made into an HBO film in 2001. "For several years before Garys execution, I had tried to put myself at a distance from my family," he said in a past published interview. "I felt they were a bad-luck outfit and that my only hope of escape was to reject them. That worked for a while. But families have a way of catching up with us." His highly regarded Night Beat: A Shadow History of Rock and Roll covers four decades of American life and music, based on his passion for same as a rock-music critic in Rolling Stone and elsewhere.
Marc B. Haefele. A Weekly contributor in the 80s and City Hall staff reporter from 1996 to 2002. Left the paper after a dispute with editors over whether they had the right to assign him a column topic not the point of view, just the topic. He is now the city editor of the L.A. Alternative Press and provides radio commentary on KPCC, where hes introduced as "the dean of City Hall reporters," a sobriquet few would challenge.
Lonnée Hamilton. Part of the Weekly universe as copy editor, assistant manager in proofreading and writer during latter 1980s through 1991. Wrote about Generation X and interviewed Jean-Bertrand Aristide before his rise to power in Haiti. Post-Weekly, got masters in dramatic writing at NYU and worked as a copy editor at The Village Voice. Now an administrator at a South Pasadena elementary school with a special focus on arts education. Married to Tony Palazzo, whom she met while at the Weekly. Two kids; two dogs.
Sandra Hernandez. A staff writer from about 1994 through 1999, she devoted particular attention to issues of immigration and immigrants. Afterward, she covered politics in Venezuela for the Associated Press, and also freelanced for U.S. publications in Columbia and Venezuela. Currently a staff writer with the Sun-Sentinel in South Florida on the race and demographics team.
Pamela Klein. During her long tenure as research editor and intern-program director, Klein, a onetime intern herself, assembled a monster assembly line that trained an army of future journalists. For the most part, interns did fact-checking and freelance writing. These days, fact-checking roles have mostly passed on to paid employees. Klein combined a corporate 9-to-5 efficiency with a militant fanaticism for getting every fact right. She also threw into the mix her culturally libertine sensibilities and a love of bakelite jewelry. In 2001, she decamped with her professor husband and young daughter to the Virgin Islands. Shes finishing a novel and is soon headed off to meditate with a mystic in Chiles Andes Mountains. The mystic thinks she had a past life as a black woman.
Helen Knode. At the Weekly from 1985 to 1991 as film and theater critic, film editor, features writer and columnist. Recently published first novel, The Ticket Out, a crime story about women in Hollywood, and shes hacking away at the sequel. Married to novelist James Ellroy.
Laureen Lazarovici. Spent five and a half years at the Weekly, mostly as a City Hall reporter. At the end of 1994, she became a California Journal staff writer and then went on to an American Political Science Association Congressional Fellowship in Washington, D.C. She covered Capitol Hill for a year and a half for Education Daily and is currently assistant editor at the AFL-CIO publications department.
Robert Lloyd. More evidence that even though you dont need to have a band to work at the Weekly, it doesnt hurt. Lloyds band played at the Weeklys fifth-anniversary party, and, with a different band, he played at the papers recent 25th-anniversary bash too. Started at the Weekly as a typographer just before the papers first anniversary. Later served as music editor, TV writer and all-purpose columnist. Remembered also for The Critical List columns. Now a TV writer for the Los Angeles Times.
Rian Malan. Worked at the Weekly from about 1979 through 1981, serving as contributing editor, music editor and news editor. Cover stories included one on the anti-draft movement in L.A., a piece on Runyon Canyon, and an article titled "The Night They Rounded Up the Hustlers on Santa Monica Boulevard," co-written with Vyto Pluira. Malan is best-known for his book My Traitors Heart: A South African Exile Returns To Face His Country, His Tribe, and His Conscience (1991). The book is regularly cited as one of the finest prose meditations from a native, white South African on his personal and his countrys struggles with apartheid. In 2001, Malan wrote a lengthy, provocative feature for Rolling Stone on the AIDS crisis in Africa. In it, he challenged the death rates claimed by AIDS activists.
Ruben Martinez. Started freelancing in 1986; hired on as staff writer a year later and served as news editor from 1991 to 1993. A first-generation American of parents from Mexico and El Salvador, he describes himself as a poet and activist prior to landing at the Weekly. "I caught the tale end of the first generation of the Weekly," said Martinez. "There were still condoms and syringes in the bathroom. We used to have a lot of beer the night we put the paper to the bed on Wednesday . . . I was a college dropout, so the Weekly was like my university." His pieces ranged wide, but he especially recalls his exposé on L.A.s Catholic Church with Ron Curran and Mike Davis. Post-Weekly, he hosted Life and Times on KCET-TV, then moved to Mexico City to write and research. Also did a stint as a Loeb Fellow at the Harvard Design School. His books include Crossing Over: A Mexican Family on the Migrant Trail (2001). He currently teaches creative writing at the University of Houston. His fourth book, The New Americans, due out in March, is a series of essays about globalization and migration.
James "Big Boy" Medlin. A Texan, Medlin got the name Big Boy because he was small compared to his enormous 6-foot-6 brothers. Of course, he isnt exactly tiny at 6-foot-1 and 200-some pounds. He used the name journalistically because the byline worked with his gonzo-style column Why Not? "I was mostly writing about where I was drinking," said Medlin. "It was a first-person, 70s, out-of-it feel of expanded, heightened reality through whatever you were ingesting at the time." A wounded Vietnam vet who drove a shuttle bus before trying writing, Medlin was in the group of Texas writers (including Michael Ventura and Ginger Varney) brought in by Jay Levin to write for Larry Flynts fledgling Free Press, which then had aspirations of being the West Coast Rolling Stone. "In my first column I went to the Super Bowl in New Orleans. It was probably the only story written about the Super Bowl [in which] the winner was not mentioned. I barely made it to the game." When Flynt got shot, they we were all of a sudden out of work." But then Levin gathered investors to start the Weekly. Medlin left after a few years, then returned for a while in the early 90s. He made various stabs at the movie industry, scoring big as co-screenwriter of Roadie (1980), which he wrote with Ventura. (The Travis Redfish character played by Meat Loaf in the movie was Medlins fictional alter ego from his Why Not? column.) Seventeen years ago, he got in on the start of Movietime, which became E! Entertainment. Hes now editorial director. "Whatever you worked on was immediately on air," he said. "I was the line producer during the O.J. Simpson trial. I had to watch every minute of that trial. I drank a lot of coffee that year. What really got me excited is the true Hollywood stories and mysteries and scandals."
Marie Moneysmith. Wrote the Weeklys first cover story on female standup comics. As a freelance writer, she specializes in alternative health, and also writes advertising copy for movies. Did six years of freelancing for People magazine in Los Angeles.
Gloria Ohland. Started at the Weekly in 1980, going from copy editor to news editor to senior editor, writing the style column as well as features. She also started the Local Heroes column. Left the Weekly in 1996 to work for nonprofit Surface Transportation Policy Project, the nations leading transportation-policy reform organization. In 2000, she became senior editor at Reconnecting America, an urban-policy think tank. She co-edited the book The New Transit Town: Best Practices in Transit-Oriented Development, which is coming out this month. Shes married to Weekly art director John Curry, who himself returned to the Weekly after a long absence. And yes, Curry, like so many others is also noted for his local band, the Fly Boys.
Tony Palazzo. Started as an intern in late 80s; became staff proofreader and writer until about 1991, covering immigrant issues, including a trip to Nicaragua to cover elections there. Went to Columbia School of Journalism. Later reported for The Record in New Jersey, and freelanced for The Village Voice and spent seven years at Dow Jones, among other stops. He is currently the assistant managing editor at the Los Angeles Business Journal. Met his wife at the Weekly. She also worked in proofreading.
Carolyn Reuben. Health columnist, 1981 to 1991. Columns included a two-parter on the birth of her daughter. That same child was just voted Homecoming Queen at Mira Loma High School in Sacramento and is student-body V.P. "I am proud of the fact so many articles were published ahead of the subjects exposure in the other press," she said, "subjects like indoor pollution, the nutritional connection to back pain and to postpartum depression which has actually not been revealed in the conventional press." Reuben, an acupuncturist, is president of Community Addiction Recovery Center and also owns the Allergy Elimination Clinic. Books include Essential Supplements for Women (1987) and Cleansing the Body, Mind and Spirit (1998). Shes currently developing a drug-treatment program that uses animo acids, nutrition education, food, acupuncture, "Emotional Freedom Technique," yoga, qi gong and "prioritizing training." She says, "The best high is seeing people turn their lives around and feel well in the process."
Ralph Rugoff. Wrote a column focusing on art and cultural criticism and freelance articles from about 1986 to 2001. His art- and culture-related books include Circus Americanus (1997), a collection of essays, and At the Threshold of the Visible: Minuscule and Small-Scale Art 19641996, co-authored with Susan Stewart. He directs the CCA Wattis Institute for Contemporary Arts in San Francisco.
RJ Smith. Weekly writer and editor, 1990 to 1996. Takes most pride in the papers ensemble coverage of the 1992 riots after a jury acquitted the officers who beat Rodney King. After leaving the paper, he became a visiting scholar at the Getty Research Institute. He is writing a book on African-American Los Angeles in the 1940s, and is also senior editor and media critic at Los Angeles magazine.
Anne Thompson. Wrote Weekly column, largely on the business of Hollywood, for seven years, ending in 1993. A native New Yorker, shed been mostly on the PR end of the industry until starting her column. "It was a business approach to writing behind the scenes," said Thompson. "I had fun going to Cuba and covering the Havana Film Festival in 1987. I saw Fidel Castro hobnobbing with the Hollywood lefties. I also chronicled the rise of Sundance as a powerful source in independent film." At the paper, "my editor was Ron Stringer. I adored him. I was previously edited by John Powers, Ella Taylor, Tom Carson who were all happy to pass me back to Ron Stringer. He was the only one who could handle me . . . It was a wonderful time because I was able to choose what I wrote about. It was possible to go out and explore things without having to worry about whether they were entertaining or celebrity-oriented or consumer-friendly. It was a question of exploring what was going on and sharing it with my readership." After the Weekly she was a writer and/or editor for Entertainment Weekly and Premiere. Shes been a contributing editor for New York magazine for the last year and a half.
Ginger Varney. Part of a group of talented unknowns that Jay Levin imported from Texas to start the paper. Stayed until late 1980s. Did movie reviews for four years, then went to Honduras on the cheap for nine months, filing stories every other week on the Reagan administrations Central American shenanigans. At one point, she "crossed seven rivers without bridges trying to get to a military installation," while also smoking two packs a day. Later covered the contras in Washington, D.C., and the 1988 presidential election. Post-Weekly, she returned to Central America in an unsuccessful attempt to write the great American novel. Then tried the import-and-export trade "folk-art crap," she says. Also taught English as a Second Language in L.A. and went to Vietnam in the 90s, trying to open a Mexican restaurant in Hanoi: "It was an adventure." Fell into current work as private investigator by accident: "A former colleague started working as a P.I. and got me to do a case. It was a fluke." She now runs Varney Investigations, which takes environmental cases, trademark-infringement matters and does background research. As far as writing goes: "I havent written anything except a check since 1990."
Michael Ventura. A Brooklyn kid who still misses the Brooklyn Bridge, Ventura started writing seriously at 13 but got nothing published till 29. Was working in Texas when Weekly founder Jay Levin brought in him and a handful of Texans to Los Angeles. Ventura stayed aboard for some 15 years, notably as a film reviewer, before starting his trademark Letters at 3 A.M. column, which he described as "about culture, America, the world any old thing." He adds: "I liked L.A. It is formless and unpredictable. No one fits in L.A." Ventura wrote screenplays for Roadie (with James "Big Boy" Medlin, 1980) and Echo Park (1985) and several books, including three novels, The Zoo Where Youre Fed To God, Night Time Losing Time and The Death of Frank Sinatra. "I never had an office nor a desk while at the Weekly," Ventura says. "I did all my work from home." Now writes his Letters column every other week for the Austin Chronicle in Texas, and teaches literature at a private high school in the San Fernando Valley. "I ruminate about things," Ventura says, "and manage to get paid for it."
Former Interns
So how do you get that journalism career started anyway? The following folk became L.A. Weekly interns. And then . . .
Ben Adair. Acting producer, editor for The Savvy Traveler, produced in Los Angeles by Minnesota Public Radio.
Maggie Bandur. Supervising producer-writer for TV series Malcolm in the Middle.
Maki Becker. Reporter, New York Daily News.
Arion Berger. Arts and entertainment editor at Express, published by the Washington Post. Was also L.A. Weekly writer and editor (read more in Writers and Editors section).
David Bloom. Technician at CNN, freelance writer and now serving with Army reserve in Camp Shelby, Mississippi, scheduled to deploy to Iraq.
Greg Brown. Attorney at Gibson, Dunn & Crutcher in L.A.
Jade Chang. Taught English in Japan, did a dot.com for a year, now freelancing.
Sandy Cohen. Features writer, Daily Breeze in Torrance.
Yoji Cole. Los Angeles bureau chief, Diversity magazine.
Sara Clinehens. Became regional youth adviser for the Episcopal Diocese of Los Angeles; currently in transition.
Sara Dunn. Reporter, most recently for Bay Area Argus. Relocated to East, looking for job.
Aaron Fontana. Music editor, Entertainment Today in Los Angeles. Attending law school at night.
Lynell George. Staff writer at Los Angeles Times; was also L.A. Weekly staff writer (read more in Writers and Editors section).
Michael Gutierrez. Doctoral student in cultural history at Boston University.
Kristin Hohenadel. Paris-based writer on film; recent pieces in Los Angeles Times and The New York Times.
Millay Hyatt. Writing USC dissertation in Berlin, titled "No-where and Now-here: The Utopian and the Political From Hegel to Deleuze."
Alex Katz. Reporter, Oakland Tribune.
Queena Kim. Reporter, covering home building and toys in L.A. bureau of The Wall Street Journal.
Pamela Klein. Writing novel; living in Virgin Islands. Was research editor at L.A. Weekly (read more in Writers and Editors section).
Timothy Kudo. Became editor in chief of UCLAs Daily Bruin. Now teaching fifth-grade math in the Bronx.
Christie Lafranchi. Finishing law school at Georgetown.
Mary Melton. Managing editor, Los Angeles magazine.
Eric Mercado. Research editor, Los Angeles magazine.
Amelia Neufeld. USC senior with double major in print journalism and French, features editor, USCs Daily Trojan.
Laurie Ochoa. Editor in chief, L.A. Weekly. (Memo to all: The intern you abuse today could someday be your boss.)
Antonio Olivo. Labor and transportation writer, Bloomberg News in New York.
Tony Palazzo. Assistant managing editor at the Los Angeles Business Journal; was also L.A. Weekly proofreader and writer (read more in Writers and Editors section).
Dave Perera. Graduating from Columbias School of International and Public Affairs. Just landed job with Inside the Pentagon, a weekly dedicated to military procurement and defense policy.
Marcela Rojas. Staff writer, The Journal News in New York.
Jennifer Smith. Town reporter in Long Island for Newsday.
Amy Waldman. New Delhi bureau chief, The New York Times.
Really Gone
Ron Curran, 19602003.
Curran once told a friend that he expected to retire broke and wind up in a trailer park and the thought of it made Curran smile. "And yet, for all that," wrote San Francisco Bay Guardian editor Tim Redmond in a tribute, "he was endlessly optimistic and entrepreneurial." Curran made neither the trailer park nor the poor house because he passed away in November from symptoms related to alcoholism. Friends say he never devoted half a thought to his own health. Instead, he threw his whole being into chasing down thieving bureaucrats and other bad guys in suits. He also made time for skewering hypocritical politicians and the corporate media. And then there was his devotion to developing young journalistic talent. He helped give the Weekly a reputation for meaningful and biting coverage of local news from about 1983 to 1993. Then he took his fast living and steely writing to the Bay Guardian. In recent years, he ran a wire service that developed writers and marketed their stories to alternative publications.
Eddie Little, 19542003.
There was just no saving Eddie Little, though so many tried, starting with a devoted mother who nurtured him and his writing, even as his abusive schoolteacher father cranked Littles arms tighter behind his back for stumbling on his multiplication tables. A hustler-addict, the native Angeleno spent most of his adult life in prison or on probation, but rose above it all with a golden period as a writer, before succumbing to declining health and addiction. At the Weekly, Outlaw L.A. chronicled the citys omnipresent illegal underworld in a column alternately submitted by Little and writer Johnny Angel. Little also penned two rough-hewn, true-crime books based on his life, one of which became a movie. Inside Littles writing and outside it, separating fact and fiction was perpetually difficult. He wasnt really a fifth-grade dropout, as he sometimes claimed. Nor was he always clean when he said he was. He was ever more storyteller than journalist. "I hated it when he labeled himself a thug, or a punk, because I never believed it," said his mother Gay Lumsden. "I would have agreed to con man and junkie and outlaw." Aspiring writers at a local rehab center would add "mentor" to these labels. A charmer and a good sport, Little decided to help out with the fact-checking of his stories by bringing profile subjects into the paper just for verification purposes. One tattoo-embossed thug couldnt have been more polite, and he also seemed very much the hit man that Little had written about.
Jac Zinder, 19611994.
Zinder helped make the Weeklys music coverage matter as a scene-creating writer, DJ and music promoter who drifted eloquently, darkly and whimsically in and out of the papers orbit. As friend Jonathan Gold noted, Zinder "gathered much of the music he played at his club from the $2 bins backed up against the henna and the gripe powder." Zinder, he wrote, drew his clubs following from the "Silver Lake gay performance-art crowd, the backwash of the New Wave and the few grunge kids bold enough to find the barrio bowling alley where the club usually took place." With his knack for making something of nothing, he moved his Fuzzyland club from place to place, largely by word of mouth, till it found a bowling alley in Highland Park. His eclectic mix was somehow relevant, danceable and surprising pushing limits and buttons, juxtaposing Beck with Eastern European and Indian pop making it work almost because he eschewed both popularity and success. He also brought wit and offbeat knowledge to his writing, a rising presence until a drunk driver smashed into his car on Thanksgiving in 1994. The music scene itself declined with his departure. RJ Smith wrote that if you asked Zinder "what the Korean comedian he was urging you to check out was saying, hed snort and answer, I dont fuckin know! But he could give anyone around him, just by talking, a lesson in how to open yourself up to the city. Here was a man for whom the Thai Elvis meant more than the real one, for whom Rudy Ray Moore was a prophet and Harout the deliverer of souls."
Bob La Brasca, 19431992.
La Brasca numbers among the best-liked of those behind the scenes at the Weekly those whom the public never really knows about. In the mid-80s, with the Weekly a frequently splendid but notably uneven product, La Brasca was both story doctor and professorial writing tutor. "He was one of the last great line editors," said early Weekly editor Joie Davidow, "highly respected by the best writers in the business." La Brasca, Wisconsin-born and educated the first in his family to go to college had helped found an alternative weekly in his home state and later served as an editor at High Times. His fans at the Weekly included current editor in chief Laurie Ochoa, who was then an aspiring young writer. Another admirer was Tara Fass: "He had this interesting ability to listen deeply, deeply listen and understand a writers point of view without needing to agree, without needing to make the writer come over to his point of view." Fass herself began at the Weekly as a 22-year-old janitor, then later sold ads. She didnt get to know La Brasca nearly so well until theyd both left the paper. She married him in 1989. As an editor, La Brasca also helped birth L.A. Style and was considering another startup when he was felled by a heart attack.
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Craig Lee, 19541991.
If you wanted to understand the presence and edginess of the early Weekly on the citys music and cultural scene, then you could turn to the career of Craig Lee. A writer, critic, producer and musician, Lee was the papers music editor for two important years, but also wrote about music for a decade, an alternative-scene player as well as a chronicler of its rise and a tribune of its national importance. A Weekly tribute recalled him as a "Hollywood kid whose office wall bore a movie still of his B-movie actress mother aiming a ray gun." Though schooled at Interlochen Academy in Michigan and later at CalArts, his real education was the "world of punk bands and dark motives that once was the L.A. punk scene. The environment was one of an outrageous, pre-viral party of innocent decadence, of sex and drugs and rock & roll on a scale that makes todays Strip rockers look like theyre out on a Sunday-school picnic showing their little tattoos and piercings to everyone in the park." He co-authored Hardcore California: A History of Punk and New Wave, produced early and important AIDS benefits and an outreach concert to Latinos, and initiated the L.A. Weekly Rock Music Awards. Of his own benefit he wrote, "It looks like a show from my dreams. Its too bad this dream had to come from a nightmare, but the nightmare will stop as soon as people stop this disease . . . The next time you see some racy girl screaming her lungs out while playing three chords on an out-of-tune guitar, know that Ill be there in spirit cheering her on."
Add your own story about the Weekly or an alum, then check back later to see if it's posted. Corrections and updates always appreciated. Send the message along with your name, phone number, and email address to firstname.lastname@example.com.


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Cisco Unified MeetingPlace Release 6.1 -- About Flex Fields
From DocWiki
Cisco Unified MeetingPlace Release 6.1 > Web Conferencing > Configuring > Monitoring and Maintaining
Flex fields are customized profile and meeting fields that you can configure in MeetingTime. The information specified in flex fields is used for reports, permitting you to include unique business information, such as your company name or a user department number, in reports.
By using flex fields, you can customize profile or meeting fields with your business information.
You can create seven profile and seven meeting flex fields on your system. As the system administrator, you specify the protection level of each field (editable, read-only, or invisible to users). If you choose to display a flex field to other users, the field will appear in the scheduling and profile management sections of MeetingTime and the Cisco Unified MeetingPlace Web Conferencing administrative interfaces. For flex fields 4-7, you can also choose whether users must choose fields values from a list of possible entries (which you create), and whether a flex field requires a value.
Table: Flex Field Examples shows examples of profile and meeting flex fields you may want to use for your company.
Table: Flex Field Examples
|Profile Flex Fields
|Meeting Flex Fields
Cost Center
Conference Room
Billing Exemption
Building Number
Hire Date
Instructor Name
Department Name
Project Name
When you define a flex field, you specify the field title and import title information. The required information for a flex field can be of several different types-text, number, date, or yes/no.
Remember the following information:
- The first seven flex fields are for profile use, and the last seven flex fields are for meeting use.
- Flex fields 4-7 are available in MeetingTime Release 5.1 and later. Earlier versions do not display these fields in the user, group, and meeting records.
- Flex field values are always visible to system administrators in the Configure Profiles and Groups windows.
To Define Flex Fields
- In the Configure tab, select the Flex Fields view, then click Query .
- Assign attributes to the field (see the following table), then click OK .
- Use Table: Flex Field Attributes when you assign attributes to a flex field. Your settings display as field attributes and values in the Configure tab.
Table: Flex Field Attributes
Whether the flex field is active. When this attribute is Yes , the flex field is displayed and users can enter a value for it through MeetingTime and Cisco Unified MeetingPlace Web Conferencing.
The name that displays for the flex field in MeetingTime and Cisco Unified MeetingPlace Web Conferencing.
The type of information the flex field contains: Text, Number, Yes/No, or Date.
Import Title
The field title used when importing raw profile report information containing flex field data.
Protection Level
The access that end users have to the flex field-invisible, read-only, or editable. Protection levels are useful for flex fields with attributes you do not want users to override (such as billing codes).
Uses data from profile?
Whether the default value for the flex field is taken from the user profile.
Use defined choices (for flex fields 4-7 only)
Whether users must choose from a list of predefined values (which you create) to enter in the flex field, or enter an unrestricted value.
User choice strings (for flex fields 4-7 only)
Use to define a list of predefined values when Use Defined Choices is Yes. (When Use Defined Choices is No, no list displays.)
Required field? (for flex fields 4-7 only)
Whether the flex field requires a value when users schedule or change a meeting (in the Schedule tab). The default is No. When this attribute is Yes and users try to save a record that includes an empty required field, they see an error message.


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Reviewed By Jeff B (Surprise, AZ) Reviewed for a 2001 Mazda Miata/MX-5 —3/30/2016 7:22 AM
I bought the K/N over the AEM due to the difference in price. I would figure that an intake for a car that was 15 years old would not be so pricey, but AEM never goes on sale or has any type of discount. The K/N sounds good, transforms the car and was a good value.


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In the first book to focus on the traumatic effects caused by cliques in our schools, an acclaimed parenting-advice team offers a fresh perspective and an innovative eight-step program to turn around the culture of cruelty that torments all students. There have always been "in crowds," but today's social pressures force children into explosive, destructive,... more...
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Chris-K needed a new logo design and created a contest on 99designs.
A winner was selected from 209 designs submitted by 59 freelance designers.
terz Stiftung - new, fresher design required
The terz Stiftung is a Swiss foundation, like http://www.aarp.org in the usa or http://www.carp.ca in canada or http://www.50plus.com/category/home/. You find our website and logo under http://www.terzstiftung.ch
We want to redesign our logo. But we still need the name terz Stiftung, like written, but with a new design. The swiss-cross (red and white) like in the actual logo has also to be in the redesigned logo.
People 50plus. This swiss-foundation has the same target audience like http://www.aarp.org in the usa or http://www.carp.ca in canada or http://www.50plus.com/category/home/. We figtht for the same things.
Redesign the logo please. I need a fresher and moderner logo. terz means on english third. It means for the people in the third age (50 or 60plus). Stiftung means on englisch foundation.
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MILLEDGEVILLE, Ga. (AP) - The state nursing home in Milledgeville is set to close by the end of next year, sending 127 severely disabled patients to smaller community nursing facilities in the state, officials said.
The closing of the James B. Craig Nursing Center at Central State Hospital will also force many of its 350 employees to search for new jobs, The Telegraph of Macon reported (http://bit.ly/V1HmlA ).
Officials anticipate closing the Craig Center by Dec. 31, 2013, Regional Hospital Administrator Dan Howell said.
Patients will gradually be evaluated and moved to other facilities with varying levels of care depending on patients' needs, Howell said.
Howell said the center is closing for a variety of reasons, which include the belief that patients at the center can be helped at existing sites.
"Number one is the state of Georgia is choosing not to be in the nursing home business any longer," Howell said. "Two is the belief that the individuals who currently reside at the Craig Center can be supported within existing community care providers."
Also, state officials say they aren't sure that continued operation of the Craig Center would meet standards of a settlement with the U.S. Department of Justice.
The Justice Department began investigating Georgia state hospitals in 2007 and found that an "alarming frequency" of preventable deaths, suicides and assaults, federal officials announced Oct. 19, 2010.
"Further investigation found that the state also failed to serve individuals with mental illness and developmental disabilities in the most integrated setting appropriate to their needs," the announcement stated.
As part of a settlement with the federal government, state officials then vowed to provide services in the community to hundreds of people with developmental disabilities and thousands of people with mental illness. Closing the Craig Center is part of that broader effort.
Information from: The Macon Telegraph, http://www.macontelegraph.com


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A Tex Sutton flight is scheduled to deliver several Eastern horses Monday for Turf Festival races at Hollywood Park Friday through Sunday.
The flight will pick up horses in New York and Kentucky, including multiple stakes winner Never Retreat for the $250,000 Matriarch Friday and highly regarded Willcox Inn for the $250,000 Hollywood Derby Sunday. Both are Grade I.
Also scheduled on the flight are Imagining and Casino Host for the Hollywood Derby and More Than Love for the $100,000 Miesque Stakes for 2-year-old fillies Friday.
Never Retreat, winner of the Grade I First Lady Stakes at Keeneland in her last start for trainer Chris Block, will go to Barn 70 North with trainer Eoin Harty.
Willcox Inn, winner of the American Derby and Hawthorne Derby for trainer Mike Stidham, will go to Barn 54 South with trainer Mike Puype. Both horses are based in Kentucky.
New York-based Imagining, trained by Shug McGaughey, and Casino Host, conditioned by Chad Brown, will go to barns 70 South with Jerry Hollendorfer and 70 North with Humberto Ascanio, respectively.
More Than Love, trained in New York by John Terranova, will be in Barn 61 North with Bob Baffert.
Trainer Michael Matz is shipping Assateague west for the Miesque and could arrive either Monday or Tuesday to Barn 53 East with Gary Mandella.
Trainer Graham Motion will also ship Summer Soiree and Unbridled Humor Tuesday to join defending champion Gypsy's Warning, who arrived Thursday, in the Mandella barn for the Matriarch.
Four European shippers who cleared quarantine Friday and went to the isolation barn in 50 South were on the track Sunday. Two will run in the Hollywood Derby: Western Aristocrat for trainer Jeremy Noseda and Slumber for trainer Charles Hills. Hills also will be represented by Island Paradise in the Miesque while Dermot Weld has shipped Blue White Fire for the $100,000 Generous Stakes for 2-year-olds Sunday.
Trainer Chris Block said Sunday that Never Retreat will make her final start in the $250,000 Matriarch Stakes Friday, and he hopes that a victory in the Grade I test for fillies and mares at one mile on turf will strengthen her case for an Eclipse Award.
"I think she deserves consideration," said Block modestly of the six-year-old mare who could become the only horse in North America this year to win six graded stakes with a Matriarch score.
Never Retreat comes off a victory in the Grade I First Lady Stakes at Keeneland October 8, her fifth graded stakes victory of the year in 10 starts.
She earlier accounted for the Canadian and Dance Smartly stakes at Woodbine, both Grade II, as well as the Grade II Jenny Wiley at Keeneland and the Grade III Honey Fox at Gulfstream.
"After the race at Keeneland, we looked at the Breeders' Cup, but neither running against the boys at a mile nor the girls at a mile and three-eighths made sense," said Block. "She was doing fine, and we looked for one more spot before retiring her."
Block trains the mare for Team Block, which also includes his father David, mother Patricia and brother Ryan. Block, who spends most of the year in Chicago, will be starting his first horse in California after 22 years in the sport.
Never Retreat will be flown here Monday from Kentucky with assistant Drew Coontz and be ridden by Julien Leparoux.
Wayne Tanner, assistant to English trainer Jeremy Noseda, is optimistic that Western Aristocrat's second trip to the United States will prove as fruitful as his first.
Watching the 3-year-old colt being walked outside Barn 50 South by groom Davey Graham following morning exercise on the track Sunday, Tanner was hopeful he could add the Hollywood Derby trophy Sunday to the Jamaica Handicap one he brought home from Belmont Park on October 8.
"He stayed at Belmont about a week, and it was decided to get him back in his own environment," said Tanner of a return to Newmarket. "Jeremy and Vinery (owner Thomas Ludt) sat down and talked and decided to come back here." Western Aristocrat cleared quarantine Friday after being flown here Wednesday.
Western Aristocrat led all the way through slow early fractions in the Grade I Jamaica under Corey Nakatani but Tanner said it was due to circumstances and that the colt does not have to be in front.
"The plan wasn't to go to the lead at Belmont, but the speed horse came out, there was no pace, and Corey rode his own race," said Tanner.
Nakatani, the all-time leader in Turf Festival wins with 14 and a two-time Hollywood Derby winner, retains the mount. "Western Aristocrat will breeze on Wednesday," said Tanner. A Kentucky-bred son of Mr. Greeley, Western Aristocrat won three of six starts in England before the trip to New York.
Western Aristocrat is expected to be joined in the lineup by fellow English shipper Slumber (Garrett Gomez), New York shippers Casino Host (Joe Talamo) and Imagining, Kentucky shipper Willcox Inn, Oak Tree Derby winner Ultimate Eagle (Martin Pedroza), Oak Tree Derby runners-up Venomous (Joel Rosario), Cozy Kitten (Alonso Quinonez), and Cloud Man (Mike Smith), Irish Art (Rafael Bejarano) and Surrey Star (Chantal Sutherland).
Trainer Jim Kasparoff is looking forward to the grass debut of Grade I stakes winner Bob Black Jack in the $250,000 Citation Handicap, a Grade II test at 1 1/16 miles on Saturday.
"His sire, Stormy Jack, won the Oceanside on the turf, and his sire's dam, Native Prospector, was a grass horse in Great Britain," said Kasparoff. "His stride is conducive to turf. He has never worked or trained on turf, but he will be fine."
Bob Black Jack, won the Grade I Malibu Stakes at Santa Anita in 2008, one of five victories in 12 starts. The 6-year-old horse went to the sidelines for more than a year, returned to win the 2010 San Carlos Handicap at Santa Anita, then went to the sidelines for another 17 months before finishing second in California Cup Sprint at Santa Anita on October 29.
"The California Cup was a good prep," said Kasparoff after the long layoff because of suspensory injury. "We all know he can go long. It took a good horse to beat him in the Santa Anita Derby, Colonel John.
"I think we're going to be on the lead in the Citation, but he can rate if we need to," said Kasparoff. Bob Black Jack worked five furlongs on Cushion Track in 59.80 Saturday. David Flores has the call.
Other probable starters include Jeranimo (Garrett Gomez), John Johny Jak (Victor Espinoza), Make Music for Me (Chantal Sutherland), War Element (Joel Rosario), Assessment (Daniel Vergara) and Leroy's Dynameaux (Rafael Bejarano).
Oak Tree Mile winner Jeranimo breezed four furlongs on Cushion Track in 51.40 Sunday, while Lure Stakes winner John Johny Jak drilled five furlongs in 1:01.40. On turf, Make Music for Me worked five furlongs in 1:02.20, while Assessment worked six furlongs in 1:15.40.
FINISH LINES—Handsome Mike worked six furlongs on turf in 1:14.80 for the $100,000 Generous Stakes, a Grade III test at one mile for 2-year-olds Sunday. He will be ridden by Rafael Bejarano in a lineup also expected to include Major Magic (Joe Talamo), Stoney Fleece (Joel Rosario), Senor Rain and Blue White Fire (Garrett Gomez), an Irish invader for trainer Dermot Weld here with assistant Geoff Byrne. Senor Rain worked three furlongs on grass in 40.80…Empire Way, an impressive winner in his debut here November 13, drew post four in a field of eight in the $100,000 Hollywood Prevue Stakes for 2-year-olds at seven furlong Thursday. "It was just a breeze for him the other day," said John Cisneros, assistant and exercise rider for trainer Mike Harrington …Canonize, sidelined since a fourth-place finish in the Vernon Underwood Stakes here last year, breezed five furlongs in 1:01.80 for trainer Ron Ellis for a return in the $100,000 Underwood at six furlongs Saturday. "We had to take a chip out of his ankle," explained Ellis of the layoff for the 5-year-old gelding, who could face Grade 1 stakes winners Euroears and M One Rifle, comebacker Comma to the Top and Pacific Ocean—a newcomer to the Mike Mitchell stable—in the Grade III. Ellis also said that Mr Gruff, winner of the Night Mover Stakes here Friday, will probably return in the Daytona Stakes at Santa Anita January 8…Alice Clapham, assistant to trainer H. Graham Motion, reported that Sanagas returned in good order from his victory in the $250,000 Grade I Hollywood Turf Cup Saturday. She said the 5-year-old German-bred gelding would be flown back to Motion's training base at Fair Hill, Md., next Sunday and get a winter break before a spring return…Champion filly Blind Luck returned to the Jerry Hollendorfer stable this week for a brief visit. Assistant Tessa Bisha explained that the filly was just "stopping through" before continuing on to owner Mark Dedomenico's Pegasus Training and Rehabilitation Center in Washington state. There were apparently no direct flights from Kentucky, where the filly was sold outright to former co-owner Dedomenico earlier this month.
Copyright © 2009-2012, Hollywood Park. All rights reserved.


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A punishing running attack complemented a stifling defense Saturday leading the Wabash College (6-1) Little Giants to a 30-0 victory over Wooster (2-5).
"It's almost impossible to get a shutout anymore," Coach Erik Raeburn said. "From start to finish, our defense put forth a tremendous effort."
The defense's biggest challenge was Wooster's athletic quarterback, Richard Barnes. He was the Scots' best option throwing and running the ball, but was held to a modest 160 yards of offense.
"We wrapped up the quarterbacks (instead of touching) every single play in practice last week," linebacker Cody Buresh said. "We knew we had to do a good job against him and the extra work paid off."
The defense sacked Barnes 4 times and had another 3 quarterback hits. He was also battered on his 18 rushing attempts. The bruising hits worked well with a Wabash run game that hasn't been stopped in four weeks.
The Little Giant offense pounded out 295 yards, led by Tyler Holmes' 189 on 25 carries.
"We came off the ball really well again," Raeburn said. "Obviously, we play our best when we run the ball and that was our goal today."
Wooster was unable key on the run despite starting quarterback Chase Belton not playing. Belton suffered a concussion last week at Washington University. Junior Andy Walsh made big throws to keep the defense honest.
"The offensive line was phenomenal all day long," Walsh said. "I was only sacked once and that was because I held onto the ball too long."
Walsh finished the day with 3 touchdowns, 2 coming through the air and another on a hustle play.
Walsh got started with 3:07 left in the first quarter when he found a wide open Darren Bost streaking across the middle.
"The defense bit hard on the play fake," Walsh said. "It was quite obvious the defense was making sure to check the run game first. That's a credit to our line and backs."
Bost's first career touchdown pushed the Wabash lead to 10-0 after an early field goal by Brock Smith. Smith replaced an injured Ian McDougall and was a perfect 3 of 3 on extra-point attempts as well as the made field goal.
"I had a few jitters in the locker room, but when I got onto the field there was nothing," Smith said about his first start.
The play of the game was made by Buresh on the second snap of the third quarter.
After a Buresh sack, Wooster was forced into a second and long. The Scots decided to make the "safe" call by throwing a screen pass. Buresh reacted to the running back sneaking out of the backfield by invading the passing lane and tipping the pass. He came down with the ball and scampered 26 yards for the touchdown. It was the first of his career.
"That was fun," he said in a light, matter-of-fact tone. "I was on a peal blitz. The running back went out so I followed him and was able to make the play."
Scoring continued in the third quarter with a leaping touchdown catch by Jon Laird, 23-0. The final points came on a Walsh run. He attempted to plunge his way in from the one-yard line before bouncing it around the edge.
Running back CP Porter rushed for 79 yards but suffered a serious injury. He broke his leg on a run play in the third quarter.
Denzel Wilkins led all Wabash defenders with 10 tackles in his first game back after missing multiple weeks with leg injuries. He also added 2 sacks. Buresh had 8 tackles to go with his sack and pick six while Nate Scola accounted for 5 tackles and a sack.
The Little Giants will face their toughest test of the final three games Saturday at 1 p.m. when they travel to unbeaten Ohio Wesleyan University


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Echelon Conspiracy (US - BD)
Gabe watches Eagle Eye again, with a much smaller budget, and less thrills...
A young American computer engineer named Max Petersen (Shane West) is given a mysterious mobile device, and prompted by a series of text messages to take a series of risks. These gambles start with stocks, and quickly lead to a trip to a Prague casino. Max's constant win streak draws the attention of casino security head John Reed (Edward Burns), and after a series of altercations, the attention of FBI Agent Dave Grant (Ving Rhames), who is investigating a series of crimes tied to similar mysterious mobile devices.
Again, the general rule of thumb of avoiding movies with recognizable actors but entirely unrecognizable titles pays off. I know there are exceptions, but I can't think of any off the top of my head. The Echelon Conspiracy is a generic recreation of all those great conspiracy laced thrillers of the post Vietnam ear. It's not a terrible movie, but it's terribly generic, and the scope is too small to reproduce the mindless action entertainment of something like Eagle Eye, which it resembles more than just a little (hint hint). The pacing is slow, the ideas belong to better writers, and the technical aspects—the one thing these films usually get right—are incredible dopey. The NSA and FBI are run by idiots that even stupid audience members could outthink (I watched it with three friends and we were always at least three steps in front of the plotting), and the technology itself is surprisingly old fashioned. The 'secretive' ear piece Max uses when he's caught with his phone is gigantic, and glows blue, and just in case we didn't think the casino was run by total morons, Max puts his finger to it every time he's given a message. This pretty much sums up the whole film.
I'm not really sure why actors of this calibre were interested in the film, besides the fact that Ed Burns, Ving Rhames and Martin Sheen have proven they're willing to do anything for a buck. Not only is the story not even worthy of television, embracing clichés, and lacking any suspense or surprises, but the dialogue is bland, and all these guys have played enough arch to get it out of their systems by now. Shane West does his best, but isn't particularly compelling, and everyone else appears to understand they're only in the movie to appear on the marquee. I hope the cast wasn't looking forward to working with director Greg Marcks, because the guy pulls every trick in the post- Bourne book, including shaky cameras, car chases in front of world monuments, and unnecessary speed ramping. The pacing isn't sluggish, but it doesn't move quickly enough to make the journey any less boring.
This is obviously a 1080p transfer, but it's not a great one. Details are relatively sharp, including faces, clothing textures (the Russian dude has Fulci's Zombie on his shirt!), etcetera, but other things are a little fuzzy, such as stray hairs. The sharpness isn't aided by the stylized use of shallow focus, so we have to give the transfer that benefit of the doubt. Colours are pretty impressive. Overall hues run the gamut from warm to cool depending on the surroundings. Most of the skin tones are somewhat victimized by the surrounding hues, which looks a little funny when the scene is tonally warm. The colours don't bleed, and high lights pop appropriately. The transfer's real problem is in the overall noise and grain, which is probably partially a stylistic choice, but is really distracting at some points. The grain is thick, and features some flecks of white, which standout like print damage on an older film. Worse is the compression noise in the warmest colours, which are just as blocky as a decent standard definition transfer.
The Echelon Conspiracy features a satisfactory Dolby TrueHD track, which doesn't blow the doors off, but gives the film a bit of extra production value during the tepid action scenes. The surround channels are relatively quiet, but the stereo channels are lively with off screen noise and whooshy abstracts between scenes. The musical score follows the generic template, and is sure to tell the audience exactly what to think at any given moment (this is a love scene, this is an action scene, this is a suspenseful scene). The use of drums—electronic and real—is the mix's most overwhelming aspect, save one big car chase. The car chase throws a few directional effects into the rears, and features all kinds of LFE action, especially when one of the cars explodes into a ridiculous fireball.
Nothing at all. Whew.
The only real reason to see this particularly generic conspiracy thriller is the really silly climax, which (seemingly) accidentally recalls aspects of John Carpenter's Dark Star without the touches of comedy. Otherwise, I'm thinking Paramount was correct in not giving The Echelon Conspiracy a proper theatrical release, or even much of an advertising blitz for its video release. The Blu-ray release doesn't surprise, but doesn't disappoint either, unless you actually enjoyed the film, in which case the complete lack of extras might bum you out a bit.
* Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
Cinque Member Join Date: June 2007 Location: United States Posts: 710
Wow, I guess Noah Wyle ain't the only one that's been slummin' since ER went off the airwaves, LOL. Poor Shane West......
Ving Rhames looks really constipated in that last pic.....
Ving Rhames looks really constipated in that last pic.....
stevepulaski Member Join Date: June 2009 Location: Niger Posts: 741
I can't believe Ving Rhames was in this. I wanna pick up the BD.
David Blackwell Senior Member Join Date: February 2004 Location: United States Posts: 2,830
Enjoyable for one viewing for a low rent B movie version of Eagle Eye.
Some material may be inappropriate for children under 13
Disc Details
Release Date: 21st July 2009
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.40:1
Anamorphic: No
Colour: Yes
Audio: Dolby TrueHD 5.1 English
Subtitles: English SDH, English, French, Spanish, Portuguese, Chinese, Korean, Thai
Extras: None
Easter Egg: No
Feature Details
Director: Greg Marcks
Cast: Shane West, Edward Burns, Ving Rhames, Martin Sheen, Tamara Feldman, Sandra De Sousa
Genre: Action and Thriller
Length: 105 minutes
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Grammy winner Simon Gogerly chooses Focusrite to record Tom Jones
Simon Gogerly has worked with some huge artists over the last couple of decades. Recently he was recording the one and only Tom Jones with his trusty Focusrite ISA430MkII: "Everyone was really happy with how the vocal sounded…"
Simon G
"I took the classic route – working my way up through the studio," says Simon Gogerly, looking back at the start of a studio career that would ultimately lead to him receiving a Grammy in 2006 for his work on U2's How To Dismantle An Atomic Bomb. After rising though the studio ranks Simon worked at several big studios and alongside such legends as Stephen Hague, Sly and Robbie and Nellee Hooper. He has now worked with some of the world's biggest artists including P.Diddy, Gwen Stefani, Andrea Corr, Texas, Tom Jones and the aforementioned U2.
With years of experience Gogerly has become an expert in choosing the right studio gear and has become a Focusrite fan, owning an ISA430MkII with a Liquid Mix on his shopping list.
"With the ISA," Gogerly explains, "I was looking for a rack channel strip to take with me to sessions, primarily for recording vocals, and I liked the Focusrite sound from using the big console at Metropolis studios. To me it sounds clearer and more transparent than a lot of the competition, has more features and is very simple to use. I'm getting a Liquid Mix because it has easy access to a bunch of compressor plug-ins without using up the computer processing power."
"The ISA is used mostly for recording vocals but also on acoustic guitars, amps, even a concert harp. The variable mic impedance switch means that you can get a good sound out of most mics. When I'm mixing it doubles up as an extra outboard EQ/compressor."
"It's made the biggest difference for me in my own studio at home." Gogerly continues. "Since I got it I can record vocals and instruments anywhere up to studio standard. When I'm mixing at home it becomes my vocal chain – it's a great all-rounder."
And to demonstrate just how great the unit is, Simon recently put it through its biggest test yet.
"I was using the ISA to record Tom Jones. He's got an amazingly powerful voice and I was a little concerned. But apart from having to do some real time level tweaks on the really loud bits with the trim pot it coped admirably well. Everyone was really happy with how the vocal sounded."
Simon Gogerly's top recording tips
"I'm not too much of a purist – I try not to lose sight of the overall picture," he says. "Sometimes the sound that works best comes from using the crappiest piece of equipment in the studio and sometimes it's the opposite. I like the sound of quality equipment but if a cheap plug-in or guitar pedal does something special then I use it. My mixing approach is always to make it exciting, whether you're listening on a great system or on laptop speakers."
About Focusrite:
Focusrite® is the premier choice for audio professionals and enthusiasts with an ear for detail. Focusrite was established back in 1985, with the introduction of the forte console, renowned for upholding a level of sonic integrity beyond compare. Since then, Focusrite RED, ISA and Platinum solutions can be found pride of place in studios across the globe.
Today, with Liquid technology and the Saffire range of Firewire audio interfaces, Focusrite remain at the cutting edge of digital audio workstation and signal processing solutions, with sonic integrity still forming the foundation of every design. These same qualities are to be found in numerous award-winning and industry-shaping products, designed by Focusrite for other leading brands within the audio industry.
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Focusrite ISA 430 Mk II Pre-Amp Channel Strip
The design for the ISA preamp goes right back to Focusrite's roots and the original Forte console made for AIR studios. Used on countless professional productions it remains one of the best microphone preamp designs of all time. That's why they haven't changed it, apart from the inclusion of the impedance control for easier use with the range of different…
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