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What was Popeye's daughter's name?
How are Bluto and Brutus related?
The next time you see a superhero movie, read a superhero comic, attend a superhero convention, or ride in a Jeep, you can thank Popeye. Culturally, Popeye was the precursor to the superheroes who would ultimately come to dominate US comic books and movies.
Popeye the Sailor Man turned 89 years old in 2018 as his character was first introduced on January 17, 1929. He had a minor role in a newspaper comic strip by being hired by two men named Castor Oyl and Ham Gravy. He crewed their ship for an adventurous voyage to Dice Island, the site of a casino ran by the notorious crooked gambler, Fadwell.
Today Popeye continues to be a beloved American institution and ranks among the most prominent with Elvis Presley, Mickey Mouse, Superman and the Statue of Liberty. Here are 66 things you may not know about Popeye.
"Well Blow Me Down!" –Popeye
- What was the name of Popeye's ship? (answer at end of article)
- What was the name of Popeye's father? (answer at end of article)
- What was Popeye's seagull name? (answer at end of article)
- What was Popeye's adopted daughter's name? (answer at end of article)
- What was Olive Oyl's neice's name? Diesel Oyl.
- What was Brutus' son's name? Tank.
- Popeye was created by Elzie Crisler Segar.
- He appeared originally as a character in the Thimble Theater, a daily King Features comic strip on January 17, 1929.
- Thimble Theater was already in its 10th year by the time Popeye was introduced. It was Segar's third published strip when it first appeared in the New York Journal on December 19, 1919. It was owned by William Randolph Hearst.
- Originally, Popeye got his strength from rubbing the head of the Whiffle Hen, changing to spinach by 1932.
- A 2010 study revealed that children increased their vegetable consumption after watching Popeye cartoons.[
- In November 1932, King Features signed an agreement with Fleischer Studios to have Popeye and the other Thimble Theatre characters begin appearing in a series of animated cartoons. The first cartoon in the series was released in 1933.
- William Costello was the original voice of Popeye. Others included Jack Mercer and Mae Questel.
- Because of Popeye's popularity with readers, he eventually became the strip's title character and it was renamed after him.
- Popeye was adapted to radio in several series broadcast over three different networks by two sponsors from 1935 to 1938. Of the three series, only 20 of the 204 episodes are known to be preserved.
- His eventual girlfriend was Olive Oyl. She was the daughter of Cole and Nana Oyl. Her brother was Castor Oyl. When she was first introduced her beau was Hamgravy. Later he became known as Ham Gravy.
- Sometimes Segar would sign his comic strips with a cigar, because his last name was pronounced SEE-gar.
- Segar died in 1938, but Popeye continued on with more artists and writers. Bud Sagendorf and Hy Eisman were the most key writers-artists in the early years. Sagendorf wrote and drew the daily strip until 1986, and continued to write and draw the Sunday strip until his death in 1994. From 1986 to 1992, the daily strip was written and drawn by Bobby London. Hy Eisman has been drawing the Sunday editions since 1992.
- When Segar died, he was earning $100,000 a year, or the equivalent of $1,711,972 in 2018.
- By 1933, Max Fleischer adapted the Thimble Theatre characters into a series of Popeye the Sailor theatrical cartoon shorts for Paramount Pictures.
- In late 1943, the Popeye series was moved to Technicolor production, beginning with "Her Honor the Mare."
- The cartoons continued production through Fleischer, and later Paramount's Famous Studios through 1957.
- The black-and-white 125 Popeye short films were shipped to South Korea in 1985, where artists colorized them. They were syndicated in 1987.
- "Popeye was a great favorite of mine," Charles Schultz of Peanuts fame once said. …I think Popeye was a perfect comic strip, consistent in drawing and humor."
- Popeye is prominently placed in the "50 Greatest Cartoon Characters of All Time" rankings.
- His son (either by adoption and sometimes characterized as Olive Oyl's child) is Sweet Pea.
- His lookalike nephews are Peepeye, Pupeye, Pipeye, and Poopeye.
- While Superman was faster than a speeding bullet, stronger than and locomotive and could leap tall buildings in a single bound, Popeye's talents reached even greater heights through the years. Among his capabilities, with the help of Spinach, Popeye could outsmart any intellectual, out investigate Dick Tracy, and diplomatically (and sometimes not so diplomatically) win arguments in any debate.
- James Bond had nothing on Popeye, who could use his pipe as a tooting whistle, periscope, rocket engine, cutting torch, propeller, musical instrument, and eating utensil for spinach.
- Popeye's adversaries (and sometimes competition while courting Olive Oyl) included Bluto, Brutus, Sea Hag the Pirate Witch, Alice the Goon, Ham Gravy, Fadewell, Jack Snork, Bill Squid, George W. Geezil, King Blozo, O.G. Wotasnozzle, Thung, the Misermites, Bullo Oxheart, and Toar the Cave Man.
- When Popeye first began working for Olive's brother, Castor Oil, it was discovered that Castor had incredibly good luck by stroking the hairs on the head of Bernice, a Whiffle Hen. Castor hired Popeye to captain his boat and crew to the evil Fadewell's casino on Dice Island so he could win all of the money with this good luck advantage. On the voyage back, one of Fadewell's stooges, Jack Snork shot Popeye over and over but he was able to recover by simply rubbing the head of the Whiffle Hen. Reader reaction to Popeye made him an ongoing character in the comic strip.
"I Am What I Am!" — Popeye
- At first Olive was not at all captivated by Popeye. But he became so popular—with the strip expanding to many more newspapers—that she left Ham Gravy to become Popeye's gal. Soon Ham faded out of the comic strip.
- Castor Oyl was always coming up with get-rich-quick ideas and recruited Popeye in his calamities. Finally, he settled down as a detective and later on bought a ranch out West.
- Popeye's theme song, titled "I'm Popeye The Sailor Man," composed by Sammy Lerner in 1933.
- Sweet Pea was introduced in 1933. Popeye received him in the mail He soon adopted the baby for his own.
- Wimpy, was also introduced about that time and is known for his "I will gladly pay you Tuesday for a hamburger today."
- His full name was J. Wellington Wimpy.
- In War War II, the British manufactured over 11,460 twin-engined, long-ranger bombers called the Vickers Wellington. They were nicknamed the Wimpys.
- Also introduced on March 13, 1936, was the character Jeep, or Eugene the Jeep. Jeep was from Africa and came with magical powers. Two years later the term "jeep wagons" was in use. Later it was condensed "jeep" with important World War II usage and then trademarked by Willys-Overland as "Jeep"
- "I Yam What I Yam," "I Take All I Can Stand and Can't Stands No More," and "Well Blow Me Down" are some of his most famous sayings.
- During the dance craze era of the late 1950's and early 1960's, "The Popeye" joined "The Twist," "The Jerk," "The Mash Potato," "The Pony," and others in the national spotlight. It originated in New Orleans, in 1962 and was even more popular than Chubby Checker's "The Twist" in that city.
- The Popeye dance was achieved by waddling and moving one's arms, placing one arm behind and one arm in front and alternating them, going through the motion of raising a pipe up to the mouth, and alternate sliding or pushing one foot back in the manner of ice skating.
- In 1960, King Features Syndicate commissioned a new series of cartoons entitled Popeye the Sailor for television syndication. They produced 220 cartoon shorts in two years. It was at this time Bluto's name was changed to "Brutus," as King Features were concerned Paramount might own the rights to the name "Bluto".
- Bluto and Brutus were actually not the same person, as many believe. But were actually twin brothers, as evidenced in comics strips and comic books in 1988, 2008 and 2009.
- On September 9, 1978, The All New Popeye Hour debuted on the CBS Saturday morning lineup. It was an hour-long animated series produced by Hanna-Barbera Productions. Bluto came back.
- On Popeye's 70th anniversary, Ocean Comics celebrated with a comic book entitled "The Wedding of Popeye and Olive Oil."
- In 1981 Nintendo created a widescreen Game & Watch called Popeye. Their arcade game Donkey Kong was originally conceived as a Popeye video game but because of licensing disagreements with King Features, this idea was tabled. Many Popeye games have been released by various computer game developers since then.
- By 1987, CBS had another Hanna-Barberia TV saws called "Popeye and Son," featuring Popeye's and Olive Oyl's son, Popeye Jr. Junior hated the taste of spinach, but would eat it for strength.
- Robin Williams' first movie role was Popeye in a 1980 live-action musical feature film. It also starred Shelly Duvall as Olive Oyl and Paul L. Smith as Bluto. It was directed by Robert Altman and co-produced by Paramount and Walt Disney Productions.
- The American box office earnings were double the movie's budget and was deemed very successful even before it was released worldwide and on video.
- The movie was mostly in Malta, in the village of Mellieha, on the northwest coast. The set is now a tourist attraction called "Popeye Village."
- In honor of Popeye's 75th anniversary, the Empire State Building was illuminated green the weekend of January 16–18, 2004 as a tribute to his love of spinach. This special lighting marked the only time the Empire State Building ever celebrated the anniversary/birthday of a comic strip character.
- In 2001, the Cartoon Network began airing the Fleischer and Famous Studios Popeye shorts. The series aired 135 Popeye shorts over forty-five episodes, until March 2004. The Popeye Show then continued to air on Cartoon Network's spin-off network Boomerang.
- In 2004, Lions Gate Entertainment produced a computer-animated television special, "Popeye's Voyage: The Quest for Pappy," in time with the 75th anniversary of Popeye.
- Popeye appeared in The Simpsons episode "Jaws Wired Shut," Family Guy's "You May Now Kiss the…Uh…Guy Who Receives," Robot Chicken episodes "The Sack", "Squaw Bury Shortcake" and "Yancy the Yo-Yo Boy" and South Park's "Imaginationland."
- In March 2010, it was reported Sony Pictures Animation were developing a 3D computer-animated Popeye movie, but postponements have caused it not to be released yet. (See SNEAK PEEK above)
- Popeye's Chicken, the fast food chain retained rights to use the character's image and name. But the chain was originally named after the main role in the 1971 Academy Award movie, "The French Connection."
- Allen Canning Company produces its own line of spinach, called "Popeye Spinach", in various canned varieties. The cartoon Popeye serves as the mascot on the can.
- Popeye, and some of his friends, have appeared in numerous commercials and in ads for such products as Minute Maid Orange Juice, Quaker Oats, Crown gasoline, World Candies, and McLean energy drinks. In 1940, Popeye became the mascot of Rio de Janiero's Brazilan soccer team, Flamengo. They have about 50 million fans around the world.
- In 1995, the Popeye comic strip was one of 20 included in the Comic Strip Classics series of commemorative U.S. postage stamps.
From 1996 to 1999, the Darien Lake theme park in Western New York operated a "Popeye's Seaport" in the park. It was rebranded as "Looney Tunes Seaport" after Darien Lake came under the Six Flags banner.
- In the film Alien Resurrection (1997), John Vriess (Dominique Pinion) whistles the Popeye theme song.
- In Universal Studios Orlando Resort's island theme park, Universal's Islands of Adventure, there is a river rafting water ride, "Popeye and Bluto's Bilge-Rat Barges," themed after Popeye the Sailor saving Olive Oyl from Bluto.
- Local folklore in Chester, Illinois, Segar's hometown, claims that Popeye is based on Frank "Rocky" Fiegel, a man who was handy with his fists. Fiegel was born on January 27, 1868. He lived as a bachelor his entire life. According to local Popeye historian Michael Brooks, Segar regularly sent money to Fiegel. Each year after Labor Day, the city holds a Popeye Picnic and Parade.
- The spinach-growing community of Crystal City, Texas, erected a statue of the character in recognition of Popeye's positive effects on the spinach industry.
- There are also Popeye statues in Chester, Springdale, Arkansas, Alama Arkansas and Las Vegas, Nevada.
- Elsie
- Poopdeck Pappy
- Liverstone
- Mary Ann. She only appeared in a few strips.


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subset: commoncrawl


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Security Specialist
Resource Protection
Overwaitea Food Group
Why did you become a Certified Forensic Interviewer (CFI)?
I became a CFI for several reasons. First and Foremost, I wanted to Broaden my interviewing skills as interviewing and interrogation is a very important and very large part of my role as an internal investigator.
I am always eager and excited to learn different techniques across this field that will help me continue to grow and develop. In addition, it gives me access to incredible tools and resources to continue expanding my knowledge.
Having the CFI designation to me represents a strong dedication to your field and it speaks to your level of professionalism. It matters not only individually but for my organization and for the industry with which I work.
It also represents a commitment to ethical standards, mastering a technique, and a commitment to continuing education.
Having this designation has also been a catalyst for expanding my network and my visibility within the organization and the industry.
The CFI designation is elite and tailored to a very specific field within security as opposed to other designations that are available within the industry that are more generalized.
It is important to study for the one that will provide the most benefit to you, your career, your company, and your industry. For me, hands down, it was the CFI!
What was the most difficult challenge you came across while preparing for the CFI exam?
The most difficult challenge was, is, and always will be time. You must invest in the time to study and prepare. You must be able to balance this time with your career and personal life. This course, and the exam, were designed to test your understanding of concepts and your ability to apply those concepts to a situation. A second challenge for me, as a Canadian, was learning and understanding aspects of United States criminal Law vs. Canadian criminal Law. Admittedly, after the course, I caught myself referencing Miranda and the 5th amendment by accident instead of the Canadian Charter of Rights.
Do you use social media? If so which ones?
As far as social Media goes, I use social media for investigative purposes only. You will not find me tweeting, instagramming or liking things on Facebook. LinkedIn, however, is professional and should be kept separate from social media.
What are you passionate about?
I am most passionate about my career. I have always had a passion for learning, developing, and bettering myself.
Who do you most admire? Who is your favorite person? Why?
The person I admire most is my late Grandfather. My grandfather instilled the highest ethical and moral standards in his family. He truly led by example. His integrity was second to none and I learned how important it is to be well respected and trusted, not just in business but in life. And, when people trust you they will do business with you!
If you could trade places for a day with anyone, who would it be?
Nobody because I may not want to trade back the next day!!
If you were stranded on a desert island what 3 things would you bring?
Toothbrush, blanket, and potatoes.
What's your favorite movie?
The Breakfast Club – a classic from a great decade!


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Making Their Mark
Cruz Wins Greenfield Award
MDC Hall of Fame alumnus and award-winning playwright Nilo Cruz recently received the 2014 Greenfield Prize, which honors artists in various disciplines whose past achievements and future prospects position them to create new works that are destined to have a significant impact on culture.
"I am very grateful for the Greenfield award," Cruz said. "It is not only a recognition of what I have written in the past, but more an award that comes full of inspiration for the stories I want to unravel in the future and the characters who are waiting to be represented."
Heading to the Hermitage
As part of the prize, Cruz, who won a Pulitzer for his 2003 work Anna in the Tropics, has been commissioned to complete a new project in the next two years. He will be awarded time and space to do so at the noted Hermitage Artist Retreat in Florida.
"Our very distinguished jury had a very hard decision to make," said Hermitage Executive Director Bruce E. Rodgers. "In the end, they selected Nilo Cruz for the poetic nature of his work and where he stands in his career at this time."
Momentous First
As the first Latino and only the third playwright to receive the Greenfield Prize, the award is especially meaningful to Cruz.
"With the Greenfield Prize comes the continual recognition and trust of Latino playwrights who in the past decades have been acquiring a place in North American theaters," he said. "Sometimes Latinos might only be perceived as exiles and immigrants in search of freedom and financial stability, but we also come to this land with suitcases full of paintings, novels and plays, the substance and observation of the imagination."
Cruz received the Prize at a special dinner, where Oscar-winning actress Olympia Dukakis served as keynote speaker. He was recently in Miami to direct a three-day run of his new play, Sotto Voce, which premiered in New York earlier in the spring.


text: A ball gown may not be what you had in mind this party season, but it will be the only thing on your mind once you take a look at Free People's new limited edition gown collection. The six-piece line stays true to the brand's signature boho chic aesthetic, although you will find an added element of romance in this collection. Some pieces have been embellished with sequins, while others feature layers of lace, embroidery, ruffles, or leather trim. As a bonus, each piece is entirely eco-friendly, making these pieces an investment worth making. The collection is available exclusively at Free People's New York and Los Angeles stores through November 13, as well as online at FreePeople.com. Prices start at $500. Click inside for more images.


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Jet Aviation at St. Louis certified as Brazilian AMONovember 3, 2016
ST. LOUIS / November 3, 2016 – Jet Aviation at St. Louis has earned certification from the Brazilian National Civil Aviation Agency (ANAC) as an Approved Maintenance Organization (AMO) for aircraft registered in Brazil.
"This means we can immediately begin performing maintenance, modifications, and repairs on aircraft registered in Brazil, which has been one of the fastest growing aviation markets in the world," said Stan Wierciszewski, senior manager, Quality, at Jet Aviation at St. Louis. "We're pleased to offer customers from Brazil our facility as one of the more convenient and experienced locations in the world for them to get all of their aviation services."
The AMO certification by Brazil this month followed an on-site audit earlier this year by ANAC officials.
Wierciszewski noted that Brazil joins a number of other countries in certifying Jet Aviation at St. Louis as an AMO, including Europe (EASA), Canada, Mexico, Aruba, Australia, Bermuda, Cayman Islands, Isle of Man, and Switzerland.


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I made this taggy using the new kit and Temp # 178 by Millie awesome temp thanks so much!! I hope you like it snags coming soon!!
Liz made this gorgeous taggy using Pinky Purple I love it Liz so sexy!! Great work!!
Samantha made me this awesome tag using Pinky Purple I love it Samantha thanks so much!! so pretty!!
Angelina made this cute taggy using Pinky Purple awesome job on the kit thanks so much!!
Here are more taggies from Cutie Pink Valentine
Paris Star made me this gorgeous taggy using Cutie Pink so gorgeous I love it!!
Kitty made this awesome taggy with it thanks so much!!
Danielle used the kit for this cute creation love it!!
Wes made me this lil cutie with my kit I love it Wes thanks for making it for me!!


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You know someone told me something about maybe President Obama not being as hardcore with BP over this oil spill as he could be because apparently oil companies (and BP in particular) have generated heavily in his past campaigns.
Know what?
I don't care.
I mean I care about the oil spill and I want some action on that.
But whether or not our prez has some kind of connection to oil I don't care about.
Oh I'm sure some GOP person will want to latch onto it and use it for some threatened impeachment hearing or something. After all, lots of them already seem to think that our current president using the same legislative tactics as their boy did for 8 years is somehow an impeachable offense. Oh and our current president has to make some magic special birth certificate that doesn't exist in the real world because the one he has from Hawaii apparentnly ain't good enough.
You see…I don't care if President Obama has connections to big oil because every president has owed something to multiple businesses or industries. It's the horrible thing about our system really and it fails to move me to ire about the individual presidents.
Is this some kind of blindness b/c I like Barack? yeah and no. Thing is I hated that Bush and Cheney started a way in Iraq in part to line the pockets of Halliburton which Cheney was a deep part of in terms of business connections. We didn't impeach either of them. In fact most people didn't even spend much time worrying about it.
Oh I'm sure plenty of folks will worry about this even though this time it was an accident instead of a an unnecessary act of war for preening and profit.
Now if President Obama lets BP off the hook and says "You don't have to fix any of this mess" or "We'll waive your financial responsibilities" or something like that, then we're talking something for outrage.
But saying he's too soft on BP right now? At least he's riding them. I don't recall Bush & Cheney riding Halliburton to do some work for free or something in the war that helped sink our economy.


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Of course, there were exceptions (2011 = Kanye, Fleet Foxes, Janelle Monáe, Explosions in the Sky, Edward Sharpe and the Magnetic Zeroes :D:D:D:D), but, generally, there haven't been a cluster of acts close to getting me to drop the inordinate fee to attend.
This year was shaping up to be more of the same (Queens of the Stone Age, The National, Neutral Milk Hotel, Todd Terje...), until the mid-March announcement.
That Outkast.
ATLiens and Aquemini Outkast. As I'm sure most people know, Outkast, who hasn't released a new album in 8 years, is touring world-wide(ish) to commemorate the 20th anniversary of their landmark debut, Southernplayalisticadillacmuzik. Additionally, they're the third, most influential artistic entity on my life (The list: 5) Counting Crows; 4) Aldous Huxley; 3) Outkast; 2) Joseph Heller; 1) Oscar Wilde).
|Sorry, Al... "Point Counter Point" was genius, but it isn't cooler than a Polar Bear's toenails
So, it was a must that I had to see them live (as I'd failed to do so during their hey-day for a myriad of reasons). When the news of their initial tour was announced and it was confirmed that they'd only be playing festivals, I briefly dreamed that I'd get a chance to see them in Norway, but quickly laughed off the notion.
Why the hell would they come here?
Conversely, I started trying to combine a home trip with a close enough festival. No dice. I was set to return to the mid-atlantic in late July for my wedding (Oh yeah... Thanks!) and the only shows within an irrational, day drive were in June (Governor's Ball on my birthday, no less and Firefly).
I was bummed and figured it wasn't meant to be.
Alas, I was wrong. Norway was right. Or Outkast's management team saw an opportunity for silly lucrative paydays in Europe. Whatever. More dates were added and one happened to be Øyafestivalen.
They were booked for Thursday.
I received a day pass for Thursday as a birthday gift from the best sister-in-law on planet earth and I was set.
And then the day got even better.
One day, while looking over Øyafestivalen's craptastic, English site, I discovered that a new artist had been booked for their day.
Conor Oberst.
Now, let me explain because I realize that name is a little bit more esoteric than Two Dope boyz in a Cadillac from the ATL. Oberst is a lot of things, but one of them was the lead singer of a little outfit called Bright Eyes, the purveyors of indie rock/folk/emo/electronica. Oberst/Bright Eyes have released a lot of albums, but, for me personally, their seven year run from 1998 (with the release of Letting Off the Happiness) to 2005 (concluding with the era-defining, I'm Wide Awake, It's Morning).
Like Outkast, he was another artistic entity that meant a lot to me (slightly ahead of Robert Cormier and behind Chris Rock).
So yeah. I was pretty stoked.
It was pretty epic.
Conor Oberst mostly played music off his brand new album, because, that's what solo artist do when they embark on new, artistic avenues. Which, I didn't mind because his new album was more in the vein of indie folk that I like and not in the vein of some of his other, creative endeavours. It was full of all the great songwriting that caused a major magazine to invoke the "Next Bob Dylan" moniker and, seemingly, backward, he sounds better in-person than he does on record.
As for the rest of the performance, well... it was coldly professional.
See, a lifetime of concert-going has caused me to create a three-tier rating system of performances...
Tier I: "I'm counting down the minutes of the minimum set length requirement"... These are artists that are either not enthused to be on-stage or are having an off-day and not able to "fight through it". I often say their performance comes off listless or like they're on City 43 of a 65-city tour. This category was most exemplified by Fleet Foxes in 2011 at Øyafest and The Killers
Tier II: "I've done this before. In fact, I've done this so much, I don't know how to do anything else"... While the artist puts on a great show, everything feels stale/overly rehearsed. Down to the "speaking bits in-between" songs. I remember when we went to see Fun. and, while Nate Reuss, definitely went Jeff Bebe, but he could've been in Hamburg or Houston. "When the plane was landing here in Oslo. I thought. 'Man, if I could live anywhere else, I'd choose here... in Oslo, man!'". Which, while it's a nice sentiment, could be said about anywhere. There's nothing that personalises why he'd choose Oslo. But, it's enough. People go to concerts/shows for a performance, not always for that personal connection, especially with pop music.
This is where Conor Oberst fell.
He never took off his sunglasses. He had the same routine for each song, wander over to another musician and play facing them. Sing into the microphone while swaying slowly. Finish the song. Bow. Take a long drink from one of his cups. A short drink from the other. A short sentence about the song. Even his jumping and jamming riffs seemed pre-orchestrated.
Note. This isn't a complaint. Lord Knows that when I go to a show, I'm just hoping for a Tier II. I think in order to become that big kind of band you need to string together your Tier II performances.
There's a reason why Mumford & Sons is bigger than Fleet Foxes.
It's just that, based on the nature of Conor Oberst's music, I figured he'd be more natural. In fact, his only unscripted part of the show seemed to come toward the end when he blasted the organizers for not allowing his touring band their own set.
What's a Tier III?
Well, that's what came next...
To kill the time before Outkast (Conor Oberst came on at 3:40, 'Kast wasn't due until 9:10), me and the wife went to see St. Lucia.
I've recently noted that the early-80s, soft rock/R&B/post-disco sound seems to be coming back with a vengeance and nowhere was it more evident than with Jean-Phillip Grobler, the South African-born Brooklynite who had only one speed.
Well, alright then.
Afterwards, it was food (awful... let's move on) and time for Janelle Monáe.
I'll say this about the lady from Atlanta with the odd hairdo, she is the definitely of a Tier III.
Back in 2011, before she became a superstar here, she forced an indifferent crowd waiting around for the Edward Sharpe set to become her fans. Some of it was expert choreography (dancing and getting the crowd to get low and then jump up) and part of it was just her sheer cult of personality. She pushed notes and teased others. Suggestive looks were thrown into the crowd and random people were pulled on stage.
It was pretty intense.
This time around, with her Electric Lady album having furthered her mythology, the crowd was all packed for her. I'd say around 5-6,000.
We were near the front and all around us, people were singing and dancing along. It was almost like a religious experience. She was even more magnetic than the prior time and threw caution and adherence to Norwegian rules aside and crowd surfed to end her night.
I enjoyed the set, but my mind was firmly focused on what was to come.
No pictures from here on out will be clear as I: suck at taking pictures, was using an iPhone, being consistently jostled from people packing forward, and maybe had tears clouding my vision.
I forced my way to the front and was promptly abandoned by the wife. It was probably for the best because she wasn't comfortable boxing out to get/hold on to spacing in a crowd. I was ready.
Which was good because they were late. 20 minutes to be exact.
But, after the delay, the exploded on to the stage powering through the first, five songs on their set list slowly gaining steam with each one... "B.O.B", "ATLiens", "Gasoline Dreams", "Skew it on the Bar-B", and "Rosa Parks".
Andre3000 made his intentions/feelings plainly known. He prowled the stage with sunglasses and a white wig delivering his lyrics while balancing on one foot in like a Warrior III pose and dressed in all black with a t-shirt that said "Loners get Lonely Too" and an oversized sales tag sticking off him that simply read "Sold Out". Well, alright then.
Conversely, Big Boi was... well, here's the picture:
Yeah. He was dressed for the occasion complete with an Atlanta Falcon hat. Though, as usual, his effervescent presence and delivery made up for his famously more recluse partner. It was clear which of the two was still actively performing and releasing music.
As for their sound, one of my concerns going in to this based on previous reviews, was shockingly true to recordings that had been laid down more than a decade prior to the show. It sounded and felt like I had always imagined it would.
I think the majority of the crowd felt the same.
I didn't really look back into the crowd much for several reasons. One, this was a once-in-a-lifetime moment and I wanted to take in as much of it as possible. Two, in newspapers, on message boards and having talked to all the people around me made a clearly indelible mark on me that their catalog outside of "Hey Ya!", "Roses", and "Ms. Jackson" would be new to a lot of the attendees. Three, I didn't want #2 to ruin #1, which would've happened if people around me weren't as equally in to what was happening on stage as myself.
But it was ok.
I rapped along, virtually word-for-word, for everyone. Before the show, I was pretty sure I was the biggest, Outkast fan in Norway. Now, afterwards and after reading this embarrassing review in one of the major newspapers here (To save you non-Norwegians from too much Google Translate, the writer compares the bass to "hardcore sex"...), I'm positive of it.
The people around me kept looking and asking how I knew all the words (well, this is Norway... I was also the only black person not on stage within the few hundred or so around me). My volume must've started coming out because both Big Boi and Andre3000 stopped in front of my multiple times motioning me to be louder (or possibly shut up) and holding the mic out to me. Even Sleepy Brown (who looks EXACTLY the same), he came out to do an abbreviated version of "Spottieottiedopalicious" along with a few other hooks, showed me love, tapping his chest and pointing at me.
Their DJ was on point and mad props must go to the "hardcore sex metaphor enducing" sound team for Øyafestivalen for a truly great sound job. Their background singers were mainly for decoration as I really only heard them during the outro to the final song ("International Players Anthem").
Though, it was a night to remember and I'm sure Outkast gained some new fans and/or got others to look deeper into their catalog.
I walked out to the sound of drunk, Norwegian singing "I know you would like to think your shit does not stink, but it smells like Puuuuuu-puuuuuuuuu"
Well, you can't blame them for trying.
Like me on Facebook: facebook.com/OSLOST
Follow me on Twitter: @BoomerOSLO
Buy my non-Norway based book: http://www.amazon.co.uk/This-New-Normal-ebook/dp/B008M0GPW2


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Filed under: Misc. | Tags: books, Las Vegas, Michael's Books, Michael's Used Books, used bookstores
Time for a shameless plug! This is the store I work at and in all honesty I would rather spend my time here than anywhere else in all of sleazy Las Vegas. It's called Michael's Books and Movies and it's on the northeast corner of Tropicana and Pecos. I recently started a Myspace page and a Facebook page for the store to try to get the word out so if you get the chance add us as a Myspace friend and/or a Facebook fan and support independent bookstores. Special 10% off coupon sent to all new friends and fans while supplies last! Here's a little run-down of the store stolen from the Myspace profile:
Michael's Books is located on the northeast corner of Tropicana and Pecos in the Big Lots shopping center, right next door to the Bank of America. Chosen as one of the top five bookstores in Las Vegas by Citylife, Michael's Books has been proudly serving the literary needs of Las Vegans for over a decade. Please drop in sometime and browse our inventory, or just stop by to chat with one of our friendly employees. We have all kinds of books including popular fiction, romance novels, mysteries, true crime, classic literature, biographies, and non-fiction history/philosophy/religion/wicca/self-help/parenting/art books. In addition to books we also have a wide variety of movies on both DVD and VHS. Classic movies, drama, action, horror, westerns, something for everyone! And we can't forget our fabulous selection of CDs and LPs. Classic rock, classic jazz, new age, classical, country, oldies, soundtracks, and more!
We look forward to seeing you in our store!
Michael's Used Books
3430 E. Tropicana Ave. Suite 9
in the Big Lots shopping center
Las Vegas, NV 89121
Open Monday through Saturday from 10am-6pm
Now time for some links:
Michael's Books on Myspace: http://www.myspace.com/michaelsusedbooks
Michael's Books on Facebook: http://www.facebook.com/pages/Las-Vegas-NV/Michaels-Used-Books/45726446022
Vegasbooks (Michael's Books' Amazon.com account): http://www.amazon.com/shops/vegasbooks
Michael's Books' location via Mapquest: http://www.mapquest.com/mq/5-tQDYw8QHAeuAXvY4iKaC
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Atlanta Motor Speedway stands as one of the last historic reminders of NASCAR's roots. It's surface has not been repaved since 1996 and provides one of the most difficult challenges to even the most seasoned driver. This early appearance in the schedule provides a launching point for teams, a chance to see how they will likely compare to all other teams week-to-week. It's shape has birthed a slew of mile and a half tracks which seek to capture the excitement of this oval. This is where the young team looks to mark its presence in this year's competition.
As the shadows grew long late on Thursday, the BJ McLeod Motorsports team pulled into Atlanta Motor Speedway. With just two short hours to work on tech day, the team would unload cars and get them prepared for the weekend's first technical inspections. After a five hour ride, the team was anxious to stretch out and get their new cars ready to run.
Friday morning would see three practices unfold. With a concentration on qualifying, all three teams would turn just a few laps. Practice number one saw Jeff Green lead the way at 23rd quick. Practice number two would see rookie driver, Clint King, lead the Skull Racing contingent 28th quick. After the second practice, Jeff Green was happy with his car and they would cover it for the final session. The Final "Happy Hour" practice would see Clint King finish the day 32nd quick and David Starr 38th quick.
Satuday morning would see arrival of the VIP sponsor guests, Triple R Containers and Warehouse Design Incorporated. They would be treated to a cold morning of horsepower and happiness. The flagship 78 Chevrolet sponsored by Warehouse Design, Momo Motorsport, and Roux Helmets driven this weekend by Clint King would time in to start 34th. The 8 car sponsored by Triple R Containers, OMP racing, and Ice-Frost driven by Jeff Green would qualify 32nd. Finally, the 99 driven by David Starr would finish qualifying in 38th position with the Striping Technologies L.P. Chevrolet after the 13 car retired due to contact with the wall which broke the rear end and caused a spin.
Just a few short hours later the team would have all three cars set up in race trim, adjusted air pressures and tape on the grill, ready to race. After invocation and anthem the drivers took to their cars. Crew Chiefs spoke final words of advice and encouragement, then the window nets went up.
The green flag flew, quickly followed by the yellow! Ty Dillon's number 3 spun and collected the 11 of Blake Koch. All 3 of the BJMM cars had moved up on the initial start. Jeff Green had jumped up to 26th with the 78 jumping to 31st and David Starr up to 34th in just one lap. Too early to make any adjustments every team chose to stay out and wait.
The first run would see Clint's 78 turning well but the 8 sliding the front tires and then snapping the rear end around once the front tires got grip. Jeff fought through the first run and held position around 28th. King would hold around 30th position. First pit stops worked to loosen up the Triple R Containers Chevrolet of Jeff Green and provide better overall grip for the 78 and 99. The next stops would improve handling and performance for all three teams which continued to hold position.
With just twenty laps remaining in the event the 78 suffered a mechanical failure which relegated Clint to a 35th place finish. David Starr would hold on for a 32nd place finish, and Jeff Green would pilot his Camaro to a 26th place finish.
Team principal, B.J. McLeod watched his team from the pit area.
"All 3 cars were fast during practices and we were happy with qualifying results. Everything looked promising and was going good. Our teams made some solid adjustments and had good pit stops. Regrettably only 20 laps from the end, Clint King's #78 had a mechanical failure. We want to thank all of our sponsors for their partnership with BJ McLeod Motorsports. We enjoyed having you part of our team at Atlanta Motor Speedway. While we are satisfied with the final results, we look to continuously improve and perform better each and every week. See you at Las Vegas Motor Speedway."
B.J. McLeod Motorsports leaves Atlanta Motor Speedway with Jeff Green 28th in driver points, David Starr 32nd in driver points, and Clint King 35th in driver points.


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nba比分直播最快:First oil – 1901-1908
The smell was unmistakable. It was a smell you could see. The vapours rose clearly in the sunlight, and stank of rotten eggs. But to the explorer George Reynolds it was the best thing he had smelled in seven years. He instructed the men to keep drilling
William Knox D'Arcy, the founder of BP, with his wife in their Edwardian English home. D'Arcy entered the industry in 1901 by obtaining a concession in Persia
George Reynolds (left), who led D'Arcy's exploration team in Persia, lunching near Masjid i-Suleiman with two of his assistants
The First Exploitation Company Ltd. Cash book with entries dated between 1901 and 1903 seen amongst other early documents
Mr Bradshaw, a British expatriate field manager, on a cart pulled by mules in Persia, during the 1900s
An early Power of Attorney document by William Knox D'Arcy, in favour of John Richard Preece and GB Reynolds. 1905
The discovery well at Masjid i-Suleiman in south-western Persia, where oil was struck in May 1908 - the first commercial discovery in the Middle East
Delivery drivers stand next to their vehicle. Horse-drawn tank wagons, used for the distribution of oil products, replaced barrel-laden carts from the 1880s
Delivery fuel to a filling station during the late-19th century. Horse-drawn tank wagons, used by company liveries for the distribution of oil products from the 1880s
William D'Arcy – close to despair
nba比分188 www.y2w8y.com.cn Back in England, William D'Arcy was close to despair. He had gambled his considerable fortune on oil, and now he was on the verge of losing it all (both country houses, the mansion on Grosvenor Square). It seemed that the geologists and experts who had wagged their heads encouragingly at him since 1901 had all been wrong about the oil beneath the sands of Persia.
Having never set foot in Persia himself, Mr D'Arcy didn't even have adventure travel stories to show for his investment. What he had was letters and telegrams from his explorer, urging patience, practically begging to extend the search until every possibility had been exhausted.
But patience, like Mr D'Arcy's finances, had run out. Even the Burmah Oil Company, whose investment had saved the expedition in 1904 (on the false hope of an imminent discovery, it had turned out) were tiring of finding nothing.
Drill to 1,600 feet and give up
Now Mr Reynolds would be on the receiving end of an insistent telegraph: drill to 1,600 feet and give up.
Giving up was not part of George Reynolds's character, even if he might admit that this particular search had often seemed doomed. It had taken 10 days just to get to Shardin, eight months to start drilling and six years of toiling to find nothing of any consequence.
Torrential rains had washed away four months of work on a link road to Masjid-i-Suleiman, where two weeks ago a drill bit had fallen off in one of two last-chance wells and taken more than a week to fish out. But vindication was in the air. By the early morning of 26 May 1908, the whole camp reeked of sulphur. At four o'clock the drill reached 1,180 feet and a fountain of oil spewed out into the dawn sky.
Telegrams from Persia
From remote Persia, telegrams were slow. Mr D'Arcy got the good news five days later. "If this is true, all our troubles are over," he beamed, adding, "I am telling no one about it until I have the news confirmed."
Within a year, the Anglo-Persian Oil Company, which would one day become BP, was in business. The press talked up the vastness of the new company's potential to the point that on the day Anglo-Persian stock opened for trading in London and Glasgow people stood five deep in front of the cashiers at a Scottish bank, desperate to get in on the action.
And William D'Arcy, who had nearly lost everything, was richer than he had ever been in his life.
Key dates
On 28 May, William Knox D'Arcy is granted a 60-year concession to search for oil and gas across most of Persia.
Drilling begins in November in the Chiah Surkh mountains, 350 miles west of Tehran, under the direction of engineer George Reynolds.
D'Arcy forms the First Exploitation Company on 31 May, with a capital of £60,000, following promising signs.
With D'Arcy's finances stretched and no oil, all operations at Chiah Surkh are suspended on 23 June. But by November, a new deal – the Concessions Syndicate, backed by Burmah Oil – is in place.
A new search for oil takes Reynolds to Shardin, 100 miles north-east of Basra.
Drilling at Shardin looks pointless so Reynolds heads to Masjid-i-Suleiman.
Burmah Oil provides another £40,000 and the drilling of two wells begins. Finally, on 26 May, a 25 metre-high fountain of oil bursts into the sky.


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The ORIGINAL gathering place for a merry band of Three Percenters. (As denounced by Bill Clinton on CNN!)
Whatever else it turns out to be, Jade Helm is a HUGE violation of Posse Comitatus, and according to this video, is planned to be an ANNUAL event.video athttp://heardoverthewire.blogspot.com/2015/05/jade-helm-news.html
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Welcome back to...
Back at last! Please can any former staff see the 'News' section!
This company topic is officially approved by Screenguy
By: Airoski
Desciption: We've got an underwater theme going here at Airoski Productions!
This a game sees you controlling a Bionicle Submarine
through various levels set in the 2001/2002 saga. With a great challenge
presented, this is sure to keep you hooked. Special attention was paid to
the graphics. Give Airoski Production's newest game a try!
Status: First Release, version 1.2
Download: V1.2
By: Decepticon Heatwave
Desciption: An underwater platformer where you control Hydraxon
to catch prison runners who are trying to escape the pit...
The game also has a small shooting minigame!
Status: Latest version improves graphics and physics.
But a game can never be finished: 'life remains the insane pursuit of perfection'.
Download: New Version
By: Decepticon Heatwave
Desciption: A series of three fun minigames about the most action packed parts of the Battle For Power Sub-series. The different missions are: Mission one: Arival, Mission 2: Attack and Mission 3: Escape!
Status: Complete
Download: Here
By: Decepticon Heatwave
Description: A fun mini game set in Karda Nui where you blast
incoming enemys with your turret. Survive-as-long-as-you-can action can be assured.
Status: complete
Download: Here
By: Toa Nicami and Di Ye Stupid Matoran
Description: A fun minigame where you pilot the
Ignika through space. Airoski Production's first gamenot made by the topic starter.
Status: Complete
Download: here
This area is empty right now. Check back for updates!
Founder and topic editor:
Game makers:
Decepticon Heatwave
Musical Director/composer: Nusua
Background creator: Toa Goroth
Beta Tester: crazylegoman
You can use any of these banners. Just make sure it links to here!
URL: http://www.majhost.com/gallery/Airoski/Air...ions_banner.png
By Airoski.
23/1/11: We are back from the downtime! Please can old staff members, or any new guys who want to make some stuff, pm me so we can start some new projects!
Edited by Airoski, Jul 28 2014 - 04:36 AM.


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OQHA News
AQHA Hall of Fame Unveiling
Displays for the American Quarter Horse Hall of Fame Class of 2017 were unveiled July 25 in a special ceremony at the American Quarter Horse Hall of Fame & Museum in Amarillo.
Four men and one woman were inducted in March during the 2017 AQHA Convention: AQHA Past President Peter J. Cofrancesco III of Sparta, New Jersey; AQHA Executive Committee member, the late Dick Monahan from Walla Walla, Washington; Bobby D. Cox of Fort Worth, Texas; the late Marvin Barnes of Ada, Oklahoma; and trainer and horsewoman Sandra Vaughn of Hernando, Florida. Five horses were also inducted: 1987 racing stallion Strawfly Special, 1985 western pleasure stallion Zips Chocolate Chip, 1994 show gelding Majestic Scotch, 1961 barrel racing mare Casey's Ladylove and 1983 racing mare Dashing Phoebe.
"Induction into the American Quarter Horse Hall of Fame is the highest honor possible in our Association," said Craig Huffhines, AQHA executive vice president. "I commend the American Quarter Horse Hall of Fame Selection Committee for its hard work in making these choices and am honored to have been a part of the induction of the Class of 2017 in March at convention and now the unveiling of their display cases at our Hall of Fame."
The display cases for the Class of 2017 were unveiled and the inductees, their families and connections were invited to take the first look at the displays on July 25 at the Hall of Fame. The special displays will remain up for a year at the Hall of Fame in Amarillo. Then, the artifacts will be moved to permanent display cases.
For more information on the Hall of Fame and biographies on the 2017 inductees, visit www.aqha.com/museum.


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POSITION VACANT: A volunteer is required to fill the vacant position of County Coordinator. As Coordinator you would be responsible for maintaining the County GenWeb website. Reporting directly to the State Coordinator, a County Coordinator liaises with the Local GenWeb Coordinators, providing guidance and assistance if required. Existing Local GenWeb Coordinators are welcome to apply for the position. Please contact the Australian Coordinator for further information
Welcome to the Clarence Valley GenWeb Project (CVGenWeb); a genealogical hub for those researching ancestral ties in the Clarence Valley. The Clarence Valley is a local government area formed in February 2004 by the amalgamation of Grafton City, Maclean Shire, and parts of Copmanhurst, Pristine Waters and the Richmond Valley. The area includes the coastal plain and lower valleys of the Clarence and Nymbodia Rivers. The largest town and council seat is Grafton. Other towns in the region include Maclean, Yamba, Illuka, Junction Hill, Ulmarra and Coutts Crossing.
The Clarence River originates on the watershed that marks the Queensland border. After flowing south and northeast for 394km it then empties into the Pacific Ocean at Yamba. On its journey it passes through the towns of Grafton, Ulmarra, Cowper/Brushgrove, Maclean and Harwood. Its chief tributaries are the Mann River, Nymboida River, and Orara River. The river features many large river islands such as Woodford, Chatsworth, and Harwood Islands; and supports a large prawn trawling and fishing industry.
For look-ups, queries and general discussion go to the Message Board.
Would you like to link to this website? Click Here for details.


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Wednesday, February 27, 2013
America's First Rock and Roll Riot
America's First Rock 'n' Roll Riot Happened 40 Years Ago
Larry Engelmann
April 30, 1996
n the spring of 1956 Vice President Richard Nixon made a friendly visit to South Vietnam. After only five minutes on the ground in Saigon Nixon had learned to say, "Hello, how are you?" in Vietnamese. The new president of South Vietnam, Ngo Dinh Diem told Nixon he would not cooperate in holding a countrywide election that summer aimed at uniting North and South Vietnam. Nixon, too, thought the election was a bad idea. Better, he felt, for South Vietnam to go it alone with America's help rather than unite with communist-controlled North Vietnam.
That summer Graham Greene's novel "The Quiet American," about an idealistic young American in Saigon was published by the Viking Press in New York. "I never knew a man who had better motives for all the trouble he caused," Greene wrote of the ill-fated American protagonist in his story.
At about the same time as Nixon's visit to Saigon, former mobster Mickey Cohen was converted to Christianity by evangelist Billy Graham. Following his conversion, Cohen demonstrated his born-again conviction and addressed a gathering of the down-on-their-luck derelicts at the Los Angeles Rescue Mission. After listening to Cohen's tear-jerking and Bible-thumping testimonial, five men in the audience stood up and made decisions for Christ.
That same spring actress Grace Kelly married Prince Rainier III of Monaco and movie star and national icon Marilyn Monroe married playwright Arthur Miller.
It was that kind of time in America. The world was a friendly place. An American actress could become a real princess and a mobster might become a preacher. A globetrotting vice president might win new friends simply by learning a few words in a foreign language and literary critics could dismiss as a leftist diatribe a British novelist's dark portrayal of America's actions in Southeast Asia.
In the spring of 1956 America was one nation under Ike. Seven months after taking office, President Eisenhower succeeded in pulling America out of a war in Korea. Communism had been stopped in Asia, the public was assured, at the 38th parallel. In Vietnam would be stopped, President Nixon later reported, at the 17th parallel in Vietnam by the "Miracle Man of Asia," President Diem.
In 1956 Joseph Stalin had been dead for three years and the national hysteria over Communist agents undermining the American way of life was abating. Senator Joseph McCarthy had fallen from grace, was censured by his senatorial colleagues and was busily drinking himself to death. The shadow of fellow travelers and academic pinkos cooperating with Moscow was fading away. "Ozzie and Harriet," a very popular weekly television program about an incredibly happy and harmonious family that never discussed politics or race or sex or rock and roll(despite the fact that in 1957 Ricky Nelson, the youngest son, became a popular rock and roll performer) reflected best America's cherished fantasy of a domestic tranquility that was pervasive and united parents with each other and with their perky and precocious children.
There were some troubling developments on the home front in 1956, but the national press downplayed them. A boycott of the public bus system by blacks in Montgomery, Alabama, divided that city sharply. News of the bombing of the home of the boycott leader, Dr. Martin Luther King, Jr., however, received less attention in newspapers around the country than did the Congressional decision to raise the cost of a first class postage stamp up one cent to four cents.
Americans who monitored national trends, however, gradually expressed fears that a far bigger threat to domestic tranquility than political ideology or racial division was an insidious new strain of music. Rock and Roll exploded onto the national stage in 1956 and millions of Americans quickly recognized the brash new sound as a clear-and-present danger. They demanded that it be smothered before it spread and did mortal hurt to the American spirit. The most popular of the purveyors of the new music was Elvis Presley, a shameless hip-gyrating crooner who was selling $75,000 worth of 45 rpm records every day with titles like "Hound Dog" and "Don't Be Cruel." The sounds he sold seemed, critics warned, to intoxicate teenagers in some subtle way and, to make them move in ways that respectable kids had never moved in public before. For lack of a more precise term, rock and roll seemed to send them spinning out of control!
In June the police chief of Santa Cruz, California, broke up a rock-and-roll concert in his city's civic auditorium on the grounds that teenagers at the concert were dancing in "an obscene and highly suggestive manner." The chief issued a blanket edict banning Rock and Roll from Santa Cruz "forever!"
One month later the actions by the chief seemed prophetically wise. In the more tolerant atmosphere of nearby San Jose the city council had seen fit to take no action against Rock and Roll. The sound, consequently, remained legal in the Garden City. But on the night of July 7th, an ugly full-scale riot at a rock-and-roll concert in San Jose provided incontrovertible evidence of the frightening potential for public harm unleashed by the uncontrolled cacophonous harmonies of the new music.
Before that fateful night even the cops could rock and roll in San Jose without fear of setting a bad example for the city's teenagers. Press releases for the 38th Annual Police Widows and Orphans Ball, scheduled for the evening of July 7th, promised that all of those attending would be "rocking and rolling" to the strains of Leona Mortenson and her "all-girl orchestra."
The owner of the Palomar Gardens Ballroom at the corner of Carlysle and Notre Dame streets in San Jose had a different kind of rock and roll in mind for the concert he planned for the same evening. Charles Silvia had successfully booked several nationally-popular rock-and-roll groups into his club during the previous months. In fact, ever since listening to the upbeat sound of Bill Haley and His Comets a year earlier, Silvia had tried to book bands with Haley's sound and popularity.
After opening the Palomar Gardens in 1948, Silvia had regularly booked most of the popular big bands to play there. But by 1956 the big-band sound no longer had its former popular appeal. The paying public wanted to hear rock and roll, Silvia found. And so when two Oakland promoters approached Silvia and offered to bring Fats Domino and his band to the Palomar Gardens, Silvia quickly made a deal with them. Fats Domino was one of the biggest musical attractions in the country that summer. A year earlier the New Orleans singer and composer first hit the top of the pop music charts with his single, "Ain't That a Shame." He followed that hit with "Blueberry Hill" in early 1956. And in the summer of 1956 his newest release, "I'm in Love Again," had climbed to number seven on the nation's pop music charts.
Silvia anticipated the largest crowd ever at the Palomar Gardens for the concert. Although he foresaw no major problems, he did arrange for six police officers to be present during the concert to help with crowd control.
Silvia underestimated the incredible enthusiasm of the public for Fats Domino. Several hours before tickets went on sale for the concert, a huge crowd gathered outside the Palomar Gardens. When the box-office shade was raised at 8:30 p.m., a boisterous impatient mass of people filled the sidewalk in front of the ballroom and a line stretched down the street for six blocks!
Silvia had an ironclad rule in providing live entertainment at his ballroom. When the doors opened and the crowd surged in, he required the performers to be on the stage and ready to play. Customers who paid a premium price($1.50) for a concert ticket, needed absolute assurances that there would be no rip offs, Silvia insisted. Concerts at the Palomar Gardens had to be more than token performances. There were no lesser-known opening acts. Silvia was fond of bragging that his customers always got their money's worth and always went home happy.
But on the night of July 7, 1956, the featured band was late -- very late! When Silvia finally started selling tickets and there was no sign of Fats Domino, he began to worry. This had never happened to him before. He kept asking the promoters, who had arrived late in the afternoon, where the band was. And they kept telling him that it was on its way and that nothing was wrong. Maybe they ran into traffic or maybe they had a flat tire or maybe they overslept. They'd be there.
Silvia's concern deepened with each passing minute. He began to feel regret for booking this band. He regretted his greed! He regretted his dream of putting on the best concert in the city's history! He regretted working with these promoters.
At 9:00 p.m. Silvia threw open the doors to the Palomar Gardens and the crowd pushed its way in. On each side of the main door a policeman attempted to prevent the thousands of fans from charging past them from trampling each other or from getting squeezed too tightly against the walls.
In only a few minutes all of the tables around the dance floor were occupied. And the people just kept on coming inside. Business at the bar boomed. Silvia was somewhat pacified to see that the crowd was in a good mood. Nobody was protesting the absence of the band. The ballroom was filled to capacity -- 3500 tickets had been sold in less than an hour! The dance floor filled with couples waiting for the band to arrive. The noise of people talking and laughing grew louder and louder and beer bottles began to accumulate on the tables and around the edge of the dance floor.
Then a fight broke out in a corner of the ballroom. The crowd near the action hooted and cheered. The police moved and separated the madly swinging combatants. They were thrown out.
The fight wasn't that unusual. Saturday night dances at the Palomar Gardens customarily included one or two such altercations and the police were quite accustomed to breaking them up and restoring order.
But within minutes of breaking up the first fight on this night, police were called to break up another and then another. Silvia saw that this crowd was more animated, more spirited, than the crowds he'd seen in the past. As the police moved around the ballroom separating those who were fighting or who were about to fight, Silvia watched them and silently prayed.
The band finally arrived at 10:30 p.m.. A long wild cheer went up when the back door of the ballroom swing open and the first members of the Fats Domino entourage climbed onto the stage and started to set up their instruments. Silvia gave a long sigh of relief and counted the seconds until the music started. Deliverance, he thought. Deliverance! He didn't even ask for an explanation for their belated arrival. He just wanted them to start playing and to save him.
Ten minutes later Fats Domino strolled onto the stage and sat down at the piano. As he hit the opening notes of "Yes, It's Me and I'm in Love Again," the crowd started clapping and singing and moving with his music.
The band played for 45 minutes. Then Fats Domino announced that he was taking a brief break. People moved away from the stage and back to tables or to the bar or to the edge of the dance floor.
But even before the stage was emptied, somebody near the back of the ballroom threw a beer bottle at the musicians. The bottle crashed to the dance floor and shattered shards of glass skipped across the stage. For a moment there was an unusual silence in the Palomar Gardens. Then another bottle crashed onto the dance floor. Then another and another.
Then a young man standing near the stage stepped forward and pitched a full bottle the length of the ballroom. It crashed into a mirror behind the bar. There was a single loud scream and then a strident maniacal laugh. To many of those seated at the tables around the dance floor it seemed at first that a fight involving perhaps half a dozen rowdies was heating up.
But the bottle throwing quickly increased and a score of people from several different parts of the ballroom began heaving bottles back and forth at each other. The air above the dance floor came alive with the crash and chatter of shattering glass. The overhead lights were hit and popped and shards of broken glass rained down on the tables and on the floor. Fist fights suddenly seemed to break out everywhere at once, as though some signal had been given for a fight to start. Many of those closest to the dance floor ducked under their tables or held chairs over their heads to shield them from the rain of bottles and glass. Others drifted toward the exits.
The brawl increased in fury like a chain reaction. The frantic efforts of the police officers to smother it were not working. Within 60 seconds of that first bottle crashing against the stage, complete chaos and panic swept through the Palomar Gardens.
Silvia couldn't believe what he was seeing. Several thousand people were almost gleefully dismantling and destroying his beloved ballroom. He watched and wondered what the hell was happening! Everywhere around him, kids seemed simply to have gone nuts. They were punching each other, clawing and screaming and kicking and biting mindlessly. "Everybody was at each other," he later testified. "Boys fought boys and girls fought girls. My God, Girls were slugging it out and scratching each other." Silvia had the distinct feeling that he was being drawn into his own worst nightmare. And he was helpless to stop it.
The air above the ballroom floor came alive with the continuous staccato of breaking bottles. People struck in the head by filled bottles collapsed under the feet of the crowd around them. Tables and chairs were chucked through the air and onto the dance floor or onto the heads of people. Several hundred women ran for the rest room for protection. When the bathroom filled up, they broke out the windows and began jumping out onto the sidewalk.
Those nearest the exits were suddenly pushed backward with a terrific force. The crowd flattened them against the doors, pushed and then pushed harder until the doors were ripped from their hinges. Both front and back doors were carried into the street. "People came flying out the doors like they were shot from guns," a man standing outside reported. "It was like a tremendous explosion had suddenly blown them out the building."
Someone threw a string of firecrackers into the middle of the dance floor and for several seconds a series of flashes and explosions convinced many of those inside the ballroom that a machine gun had opened up only a few feet away. The screaming and shouting, cursing and praying and pleading roared at an angry deafening pitch. Bloodied bodies lay scattered across the dance floor.
Policeman J.H. Boswell was parked in his squad car a few blocks from the Palomar Gardens when he received an emergency radio call for help. He raced to the ballroom and saw hundreds of people tumbling out the doors and windows of the structure. Many of them were swept along helplessly or were flung out into the street by the hysterical mass behind them. Clothing was ripped off and was hanging from the door hinges. Streaks and smears of blood colored the sidewalk outside the box office. Boswell's first question to himself was, "What the hell is happening here?" He'd never before in his career on the force seen anything quite like this.
Boswell stayed close to the wall and forced his way through the crowd to enter the Palomar Gardens. He would never forget what he found inside. It was just like a movie set, he said. Like a movie set for a massive barroom brawl in the wild west. Only this was a lot bigger and a lot bloodier and there were no cowboys.
He watched as more than a thousand people bellowed and beat on each other and chased each other around -- some laughing and some cursing -- in the semi-darkness. The shrieking and crying and the continuous crashing of bottles, Boswell thought, were some of the strangest and at the same time most frightening things he'd ever heard. People had simply gone crazy. They were fighting each other and in some cases they seemed just to be fighting the air or the tables or chairs, swinging or kicking wildly at anything. As he tried to move through the human tornado toward another policeman caught in the maelstrom, a young man ran up to him and brought a beer bottle down full force on the back of his head. Boswell saw stars, stumbled to the floor and remained on his hands and knees for a moment, stunned by the blow. As he tried to stand up he saw the assailant still standing over him, his arm raised and another bottle in his hand. Boswell tried to keep from getting floored again. He grabbed the young man around the waist and pushed him backwards. He pulled out his nightstick as he let go of his assailant. The young man backed away reflexively and raised his arm again. Boswell regained his balance and swung his nightstick full force striking his assailant in the mouth. He remembered seeing a spray of teeth and blood and he saw the young man collapse backwards and disappear under the feet of the crowd.
Still dizzy from the blow, Boswell again tried to make his way across the dance floor where several other police officers were engaged in a fight with the crowd. He tried to help them by pulling fighters away and taking bottles from their hands. He kept shouting that everyone should leave the ballroom immediately. After he'd freed his fellow officers from their attackers, he saw several people lying unconscious on the floor he went from body to body trying to revive them, helping them to their feet, directing them toward the door.
In another part of the ballroom another policeman was attacked by a young man wielding a broken beer bottle. The officer drew his pistol and pushed it into the young man's stomach. "Ill do it!" he shouted as loudly as he could. "Damn you, I'll do it!" The young man hesitated, then dropped the bottle, turned and ran as fast as he could toward the door. The officer holstered his weapon and waded back into the crowd hardly believing what had just happened. He too, like Boswell and Silvia couldn't quite figure out why this was happening.
Celebrants at the Police Widows and Orphans Benefit Association Ball were rocking and rolling to the strains of Leona Mortenson and her All Girl Orchestra when an emergency call for help came from the Palomar Gardens. Police Chief Ray Blackmore picked thirty officers to accompany him to the trouble spot. The men raced from the ball and piled into six waiting patrol cars. Then, with lights flashing and sirens screaming, the chief and his men rushed into battle at the Palomar Gardens.
When Blackmore and his thirty men arrived at the ballroom, they were greeted with derisive hoots and flying beer bottles. Blackmore later recalled that the bottles "crashed around us like confetti." The police used loudspeakers to order the crowd to disperse. Blackmore told his men to arrest only the worst troublemakers and to let everyone else go. "We could have arrested 75 or 100," he said later. "It was just one of those things, you grab the first one you see."
Several people were yanked from the crowd by the police and heaved into a paddy wagon. But before the vehicle could depart with its protesting cargo, somebody kicked open the door and the prisoners jumped out and scurried away. This happened several more times while the police broke up the crowd. Eventually, though, the beer bottle supply ran low and the fighting died out and the crowd lost its spirit and faded away. Eleven people were arrested for drunkenness and disturbing the peace and were successfully transported to jail.
After the brawl was over, Silvia surveyed the wreckage of his beloved Palomar Gardens. Except for the bar and the stage, nothing remained intact. The tables, chairs, lights, mirrors, and doors were all shattered, broken or missing. Broken glass blanketed the floor. Occasionally a timid figure appeared at the doorless entrance asking for a missing purse or for lost car keys.
The concert lasted 45 minutes. The riot lasted 90 minutes. Silvia closed the Palomar Gardens for two weeks while city officials investigated the cause of the riot.
The next morning colorful accounts of the San Jose riot appeared in every major newspaper in the country. Critics insisted that it was all caused by godless rock and roll and the sheriff of Santa Cruz gloated and announced, "I told you so!" A San Francisco Chronicle story termed the affair a "Rock 'n' Roll Riot" and during the next few weeks newspapers around the country adopted that alliterative phrase linking the music with the breakdown of public order.
Police intervention in the rock and roll dance in Santa Cruz followed by the San Jose riot led many people to conclude that there was something inherently dangerous in the sound of rock and roll. White Citizens' Councils in the South were charging that rock and roll was a vehicle through which the NAACP infiltrated and then demoralized white youth. A psychiatrist in Hartford, Connecticut, described rock and roll as a "communicable disease." Ministers from all over the country warned God fearing patriots to resist the new music and to pray for the conversion of Elvis Presley and other purveyors of the demonic disharmonies.
Even the staunchest defenders of rock and roll were hard pressed to explain the disorder that kept surfacing at rock and roll concerts. Following a riot at one of his concerts in Fayetteville, North Carolina, in November, Fats Domino himself attributed the brawl to "the beat and the booze," at least partly agreeing with the opponents of rock and roll.
But San Jose's Police Chief Blackmore disagreed. "It was the fifth to the bottle rather than the eight to the bar" that caused all the trouble, he said. It was the booze and not the beat. Yet Blackmore could not explain why decades of big band and jazz music in San Jose -- accompanied by the sale of alcoholic beverages -- had never produced anything like this. Charles Silvia blamed it all on the late arrival of the band, not on their brand of music. "Had Fats Domino showed up on time there never would have been a riot," he insisted. But his argument convinced no one. Tardy bands did not cause riots -- not, at least, in 1956.
On July 9, 1956, city officials in Jersey City, New Jersey, refused to allow a rock and roll concert in that city's municipal stadium. Mayor Bernard Berry of Jersey City cited the San Jose catastrophe as his primary reason for opposing, successfully, a rock and roll concert in his city.
One week after the Palomar Gardens riot the San Jose City Council considered a resolution to ban rock and roll forever from all city-owned structures. Mayor Robert Doerr, took a calculated risk, however, and successfully interceded on the side of rock and roll, asking the council members to postpone prohibition and to accept, in the meantime, a ban on the sale of bottled beverages at all future concerts in the city. A new city ordinance required all drinks at concerts in San Jose had to be dispensed in paper cups. When Charles Silvia brought Fats Domino back to the Palomar Gardens in 1957 beer was sold in paper cups and nobody went crazy.
As the crusade against rock and roll continued the San Jose riot was cited again and again as the clearest example of what to expect when teenagers gathered to hear the "primitive," hard-driving popular new sound. Over the next forty years the outspoken defenders and the outspoken critics of rock and roll have continued their struggle with each other. The disorder and the violence that surfaced first in San Jose resurfaced again and again over the years as a sort of uninvited guest wherever young people gathered to listen, celebrate, dance and bathe in the rhythms of rock and roll. The music seemed to unlock something seldom seen in American youth, something both troubling and destructive and degrading as well as something soothing and ecstatic and uplifting. Both sides in the debate seemed to agree on one point --there was a rough magic in the music that unleashed the energy of youth without giving it direction. They disagreed as to whether the magic was black or white. But there definitely was something in the music that amplified the anxieties and the impatience of young men and women and made them bang against the borders and the confines of the world to which they were confined, a world that always seemed too small for their dreams and desires. There was something dark in some of the things the music made them say and do. There was something light in the things it made them dream and embrace. There was something addictive in that music, everyone who heard it could feel it. Everyone who felt it knew they would never feel quite the same again. Once touched by it, one tended to measure the wonder and the regret of one's life -- the passing of days and years and of youth itself -- by its words and sounds. It became, in all of its forms, an endless anthem for generations of young Americans. It's most popular performers became internationally celebrated icons.
Forty years have passed since the Palomar Gardens Ballroom riot. Today, those young men and women who danced and sang and rioted after listening to the rock and roll songs of Fats Domino at the Palomar Gardens in San Jose, are senior citizens in their late 50s and 60s. They are the grandparents and even the great-grand parents of the youngsters who buy CDs and attend rock concerts today.
And the beat goes on.
Rachel Divine
I was 17 in the summer of 1956 and a student at San Jose High School. A group of us -- three girls --went to the Palomar Gardens on the night of July 7th to see Fats Domino. It was really crowded inside. But at first it was fun. The music was great. Then this fight broke out between two guys. Very quickly other people were fighting in other parts of the ballroom. It turned into a free for all, with bottles flying everywhere and tables and chairs flying through the air. It was pretty frightening. We went into the bathroom and got stuck there. There were so many girls in the bathroom, we were packed in like sardines. And people were screaming. Finally a policeman came to the door and escorted us out. When we got outside, my dad was waiting for us. He was really angry. I guess he'd heard what was happening on the radio and he came to get us. There were a lot of people still fighting outside. My parents were really angry at me for going there, as if I knew what was going to happen. It was a bad experience though. I never went back inside the Palomar Gardens. When the Platters came there the next year, we wanted to see them but we didn't go. After the riot, I just never wanted to go back there. I remember Fats Domino saying a few days later that he would never come back to San Jose again.
Janet Bossetto(Fremont)
I lived in Oakland at the time. I was 16 and a student at Castlemont High School. We went to a lot of the early rock-and- roll shows. We came down to the Palomar Gardens to see Fats Domino on the night of July 7, 1956. The problem that night was the show began late and it was really crowded inside. A lot of people got in a bad mood. When Fats Domino started playing it was impossible to dance because the place was so crowded. Actually, we were pressed against the wall in the back of the ballroom. Then after the first set a fight started. Then beer bottles started flying. There was panic. People tried to get out of the way and out the doors. Then I saw a table fly up in the air and come down on some people. My date said, "Let's get out of here!" We tried to get out the door without falling down and being trampled and without being crushed. It was really scary. We finally got pushed out the front door with the crowd. It was a very bad experience. We never came back to San Jose again for a concert.
Rudy Venegas(Saratoga)
I was a freshman at San Jose State in 1956. I think I was one of the original rock and rollers in the 1950s. I loved the music, still do. I went with friends to the Palomar Gardens on July 7, 1956, to see Fats Domino. I remember he was late, and that was a problem. And the place was really crowded. I remember trying to dance, but you couldn't dance because there were too many people inside. When the fight broke out there was panic. Girls were screaming. We turned a table on its side and sat behind to protect ourselves from the bottles that were being thrown. I think the music had a lot to do with it. That kind of music really turned people on. You had a couple of beers and you listened to the music and you got pumped up. It was a new thing, a phenomenal thing. Something new was happening. And it got out of control.
Doreen Hamilton(San Jose)
On the night of July 7, 1956, I went with my husband and my 18-year-old cousin to see Fats Domino at the Palomar Gardens. It was really crowded, but we managed to get a table next to the dance floor -- a ringside seat! After the band stopped playing we were sitting there talking and then all of a sudden somebody threw a bottle and it went right over our table. It was a total surprise. We'd never seen anything like this before inside the Palomar Gardens. Then all of a sudden another bottle flew by and then another. We realized there was a problem and my husband said, 'Let's get out of here!' We tried to get out the back door to the left of the stage, but it got too violent and my husband saw that we weren't going to make it without getting hurt. So my husband pulled us under a table. We sat under the table while the riot went on around us. After it calmed down a little we ran out the back door -- or where the back door had been. Someone had torn it off. We ran straight to our car and drove home. We never went back to the Palomar Gardens again. Years later, when I told my boys about that night, they would say, 'Wow, mom was in a riot!'
Tommy Herrera(Mountain View)
I was 14 at the time and lived in Mountain View. We used to cruise around on weekends. And we'd cruise by the Palomar Gardens. We were too young to get inside, so we always tried to sneak in, through the back door, and hear the acts they had. That night we were cruising around and tried to get in, but we couldn't. I remember it was really crowded and there was a crowd outside that couldn't get in. We parked across the street from the ballroom and were trying to figure out how to sneak in when all of a sudden we heard this commotion. And then the doors flew open and these guys came flying out. They were all righting, like a dozen guys, rolling around and shouting and fighting. Then there was this second wave of people flying out the doors. A big circle of people formed outside and guys were fighting in the middle of the circle. Bottles started to fly and we backed off to get out of the line of fire. I remember seeing a guy get hit in the head with a flying bottle and I saw him go down. I had never seen anything like this before. Never. When we heard the sirens coming -- they were coming from all directions -- we ran to our car and got out of there. We headed back to Mountain View. I read about the riot the next morning in the newspaper. I heard later that they banned Fats Domino from California.
Bob Custer(San Jose)
I was a disc jockey at KLOK radio in San Jose in 1956. I was on the air on the night of July 7 when Fats Domino played the Palomar Gardens. We had a Saturday night High School Hit Parade show. The news of the riot came to us from the Associated Press -- they had a local guy who covered the story. He was there when it happened and we picked it up from the wires. And we had a local guy, Hugh Heller, who also phoned in a report. San Jose was a quiet little town then. The riot sort of tarnished the town's reputation. The story put San Jose on the front pages of newspapers but in a bad way. I remember that the reaction of the local people was that they just didn't want to have rock and roll concerts after the riot -- they were too much trouble. A short time after the riot, I tried to bring some popular jazz groups to San Jose State to play at Morris Daley Auditorium. I wanted to bring in Dave Brubeck. But the administration at SJS would have nothing to do with it. They didn't seem to realize that Dave Brubeck didn't attract the same kind of crowd that went to see Fats Domino. They just didn't understand. They were afraid of another riot.
Margaret Myer(San Jose)
On July 1, 1956, my family moved to san Jose from the Chicago area. While my parents were looking for a new home, we stayed at the Hotel De Anza. That's where we were on the night of July 7. We had dinner at Original Joe's that night. When we returned to the hotel, the nearby streets were very congested. As we entered the lobby, I remember seeing a young man dripping blood. From our hotel room window, we looked down on the Palomar Gardens. We wanted to see what was going on so briefly we went down to Notre Dame street. However, we soon decided to return to our room where we continued to watch the scene around the Palomar Gardens from the window. That was our welcome to San Jose -- a riot."
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2016 Home
Important Dates
Conference Program
Conference Prep
Getting around the StL
The Washington University campus is about 20 minutes by car from Lambert St. Louis Lambert–St. Louis International Airport. Lambert Airport is a focus city for Southwest Airlines, which has a dedicated terminal. All other airlines are based in Terminal 1, which has an iconic copper roof. Rental cars are available, most of which require a shuttle to a nearby location. When mapping your drive to or from the airport to your hotel/dorm, be sure to select the appropriate terminal.
The airport is accessible by the metro area's MetroLink system; both airport terminals have light rail stations, which correspond to the Red Line MetroLink. One way tickets cost $2.50. While the WashU Danforth Campus has two MetroLink stations, neither of those stations connect directly to the Red Line. Rather, riders would need to walk from the Delmar Loop Station to campus (about 25 minute walk), or transfer to the Blue Line. A map of the MetroLink is available here. The Blue Line Skinker Station is at the northeast corner of WashU's Danforth Campus, while the Blue Line University City-Big Bend Station is at the northwest corner of campus. The University City-Big Bend Station is a 6 minute walk from the Charles F. Knight Center.
The area around Washington University's Danforth Campus (including the Loop and DeMun) is easily walkable. Conference attendees should be sure to check out the surrounding area has to offer. That being said, St. Louis is not considered a great walking city. The Central West End, which is a popular neighborhood, would be a 3 mile, hour-long walk. While the MetroLink and MetroBus system can make getting between neighborhoods easier, you may want to consider other forms of transportation.
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Image from RoseHill Designs
Ok, I'm back on track, back to normal blog viewing, I just have to be more organized! embrace the word of the year! So I am following my own yellow brick road, to a more inspired and exciting life! yeah the life of a housewife stay at home mum isn't one of wonder, but I'm going to make sure that every day is a great discovery day, live in the moment...wake up knowing something wondrous is going to happen!
who is with me?


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No-Noodle Lasagna: Zucchini in a Starring Role
In the summertime, you don't need noodles to make a great lasagna. With overgrown zucchini in the garden, the "noodles" are cut to order. When trying out this recipe, I'd worried that zucchini would be too wet to use in this capacity. But I was wrong. It worked out just fine.
If you're inclined to trick people into eating their vegetables, you could trim your "noodles" to hide their green skin. But this dish is so tasty, you probably won't have to.
No Noodle Lasagna
1 large or 2 small zucchini
1 pound "loose" sausage (or cut from casings) *or* 3/4 pound ground beef, plus half an onion and 2 cloves garlic
1 large jar of your favorite tomato sauce
1 15 or 16 oz tub of ricotta cheese
2 eggs
1/2 cup grated parmesan cheese
2 cups shredded mozzarella cheese
1/2 cup panko bread crumbs (optional)
Preheat oven to 375. Oil a 9 x 13 baking dish, and cut the zucchini to a length which corresponds to the width of your baking dish. Slice zucchini thinly, and set out on paper towels to air dry.
Brown sausage (or beef, onion and garlic combination) in a skillet. When brown, add half the tomato sauce and stir to combine.
Place a layer of zucchini noodles in the bottom of the pan. Layer with 1/2 cup of the mozzarella and a tablespoon or two of bread crumbs. Cover with another layer of zucchini.
Combine the ricotta cheese with the two eggs and 1/4 cup of the parmesan cheese. Stir to thoroughly combine. Gently spread the ricotta mixture all over the zucchini layer.
Add another layer of zucchini "noodles." Over these, spread the meat mixture evenly. Cover with more zucchini and then add mozzarella and bread crumbs. Finish with one or two more layers of zucchini, mozzarella and bread crumbs, ending with zucchini. Spread remaining sauce on top, adding last bits of mozzarella and the parmesan on top. Bake for 45 minutes (uncovered) until bubbling everywhere and browning on top.
Cool for ten minutes, then slice into squares and serve hot.
Thank you http://www.sortacrunchy.net/ for making this post part of Your Green Resource!


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Tomorrow, Carlin goes back to Richard's. Carlin is very fond of Richard. Every day they get to do bird work out in the middle of west central Washington state.
This being a day off for me, we decided to get in one last training session before the boy leaves. So during this morning's break in the weather, Russ and I took the dogs out to a local dog park to first chase around and "air out", and then get some work done.
It's not always straight-forward working in a dog park, even a huge one like the one we typically go to. Mostly because there are other dogs running around, some of which are curious about what we're doing with bumpers and whistles. And then, of course, are the people who have just as much right to bring their dogs to the park as we do, but who seem oblivious to the idea that we might be continually moving farther away from them on purpose.
In any case, we finally did find a corridor on the other side of a graveled area, where we set up some sight blinds.
I set Carlin up next to me in heel position on his place board. Russ walked out about 50 yards and dropped a bumper into some 6-inch grass so that Carlin could see him drop it. Once Russ had returned, I told Carlin "Dead Bird", and placed my hand next to his head and my left foot next to his place board, both pointing at the bumper.
With my "Back!", Carlin took off. In most cases, he went straight out to the bird, but in one case, before reaching the bird, he left his line and started quartering back and forth instead. Not what we want with a blind retrieve. So, I called him back, Russ went out and re-dropped the bumper, and I sent Carlin out again.
This time he ran straight out, grabbed up the bumper, and returned with it to me. Yay! Remembering Richard's advice to play, I started dancing around and celebrating with Carlin, finally throwing a fun bumper for him.
A great place to stop for the morning. As we left the park, the rains started falling again, seconding our motion to leave.
Update 3/15/2016: Carlin's going back to Richard's has been temporarily postponed.


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Cultivating Professional Development Through Philanthropy: Making Strides Against Breast Cancer
River North | Website
This event occurred in the past.
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Network with young professionals and American Cancer Society members and learn how you can help battle and raise awareness of cancer. Passed appetizers are included. A cash bar is available.


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Each year, the Campbell Rotary Club goes through the process of finding a new president before the year beginning on July 1.
John Shannon, the newly-appointed president, quipped that there were steps in the Rotary's bylaws to selecting a president, but the position is usually filled by a volunteer who is "willing and able."
"I'm happy to do this," Shannon said seriously. "It's a great group of people."
After graduating from San Jose State University, Shannon started working in the education field, including 33 years with the San Jose Unified School District.
He was a teacher at Lincoln High School for 15 years, and was also the school district's social science coordinator for a year. The seven years he spent as an assistant principal were split between Pioneer and Gunderson high schools, and his last five years with the district were spent as a human resources manager.
He also spent five years as the California regional director for the Visiting International Faculty Program, which brought teachers from around the world to the United States for a three-year experience.
For the last 20 years, Shannon and his wife, Pam, have served Sharks fans at the SAP Center.
As president of the Rotary Club, Shannon said he presides over meetings and helps direct, coordinate and plan volunteer efforts.
"I give some kind of guidance," he said.
Shannon added that it's not a one-man band; he also has the help of the board of directors and other members.
He said his goal this year is to increase the club's visibility, continue the chapter's local presence and "reach out to people in the Campbell community who want to make a difference."
There are several events scheduled for the upcoming years, including blood drives and a golf tournament on Sept. 19.
The outgoing president is Janine Payton.
"I appreciated someone wanting to step up," Payton said of having a new president.
She said Shannon serving a second term following so shortly after his first is uncommon, as there was usually a larger gap of time between terms for former repeat presidents.
The Campbell Rotary Club's emphasis is on local service.
The club has expanded from its original business men-only requirement to include anyone who wants to do community service.
Rotary sometimes collaborates with the city on projects, such as when members renovated the garden outside of the Ainsley House a few years ago and events such as wine walks, Oktoberfest and Boogie on the Bayou, Shannon said.
The club also commonly works with Rosemary Elementary School on W. Hamilton Avenue and EMQ FamiliesFirst, an agency that addresses behavioral health challenges in children and youth.
The club also has an international aspect, Shannon said.
In the past, Rotary has donated funds to rural Cambodia that enabled a one-day dental clinic and provided university scholarships for two girls.
They're currently working on getting a fire truck to Colombia and the long-term project of eradicating polio through Rotary International's partnership with End Polio Now.
Other newly-appointed officers and directors include Mason McKown as president-elect, Kathy Williamson as treasurer and Leonard Cino as secretary.
For more information on the Campbell Rotary Club and upcoming events, visit campbellrotary.org.