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This interview took place in New York City on December 8th, shortly after John and Yoko finished their albums in England. They came to New York to attend to the details of the release of the album, to make some films, and for a private visit. Those who aided in the transcribing and editing were Jonathon Cott, Charles Perry, Sheryl Ball and Ellen Wolper. The conclusion will be published in the next issue of Rolling Stone, on sale approximately January 20th.
I don't know about anything else, really, and the few true songs I ever wrote were like "Help" and "Strawberry Fields." I can't think of them all offhand. They were the ones I always considered my best songs. They were the ones I really wrote from experience and not projecting myself into a situation and writing a nice story about it. I always found that phony, but I'd find occasion to do it because I'd be so hung up, I couldn't even think about myself.
Anybody knows that. Any musician will tell you, just play a note on a piano, it's got harmonics in it. It got to that. What the hell, I didn't need anything else.
I don't believe in it. The dream is over. I'm not just talking about the Beatles, I'm talking about the generation thing. It's over, and we gotta–I have to personally–get down to so-called reality.
I know we developed our own style but we still in a way parodied American music... this is interesting: in the early days in England, all the groups were like Elvis and a backing group, and the Beatles deliberately didn't move like Elvis. That was our policy because we found it stupid and bullshit. Then Mick Jagger came out and resurrected "bullshit movement," wiggling your arse. So then people began to say the Beatles were passé because they don't move. But we did it as a conscious move.
When we were younger, we used to move, we used to jump around and do all the things they're doing now, like going on stage with toilet seats and shitting and pissing. That's what we were doing in Hamburg and smashing things up. It wasn't a thing that Pete Townshend worked out, it is something that you do when you play six or seven hours. There is nothing else to do: you smash the place up, and you insult everybody. But we were groomed and we dropped all of that and whatever it was that we started off talking about, which was what singing...what was it? What was the beginning of that?
I think Dylan does it well, you know. In case he's not sure of himself, he makes it double entendre. So therefore he is secure in his Hipness. Paul was saying, "Don't call it 'Yer Blues,' just say it straight." But I was self-conscious and I went for "Yer Blues." I think all that has passed now, because all the musicians... we've all gotten over it. That's self-consciousness.
[John and Yoko went through four months of intensive therapy with Dr. Arthur Janov, author of 'The Primal Scream' (Putnam's), in Los Angeles, June through September of this year. In October they returned to England, where they made their new albums. "Having a primal," or "primaling," is an extremely intense type of re-living/acting-out experience, around which many of Janov's theories are based.]
I'm digressing from mine, but if somebody with a rock-oriented mind could possibly hear her stuff, you'll see what she's doing. It's fantastic, you know. It's as important as anything we ever did, and it is as important as anything the Stones or Townshend ever did. Listen to it, and you'll hear what she is putting down. On "Cold Turkey" I'm getting towards it. I'm influenced by her music 1000 percent more than I ever was by anybody or anything. She makes music like you've never heard on earth.
And when the musicians play with her, they're inspired out of their skulls. I don't know how much they played her record later. We've got a cut of her from the Lyceum in London, 15 or 20 musicians playing with her, from Bonnie and Delaney and the fucking lot. We played the tracks of it the other night. It's the most fantastic music I've ever heard. They've probably gone away and forgotten all about it. It's fantastic. It's like 20 years ahead of its time. Anyway, back to mine.
And, it was that we wanted to come. I need a reason for going somewhere –otherwise I'm too nervous, so I calm myself. So that was a good way of coming to San Francisco to see you. Then I have an objective: "I'm going to do an act and this is what we are coming to do." And we settle down and we just talk.
I still think that Janov's therapy is great, you know, but I don't want to make it into a big Maharishi thing. You were right to tell me to forget the advert, and that is why I don't even want to talk about it too much, if people know what I've been through there, and if they want to find out, they can find out, otherwise it turns into that again.
Sometimes I used to listen to something, Buddy Holly or something, and one day the record will sound twice as fast as the next day. Did you ever experience that on a single? I used to have that: one day "Hound Dog" would sound very slow and one day it would sound very fast. It was just my feeling towards it. The way I heard it. It can do that. That's where you have to make your artistic judgment to say well, this is the take and this isn't. That's the way you have to make the decision: when it sounds reasonable.
"Isolation" and "Hold On John" are rough remixes. I just mixed them on 7 1/2 [ips, a conventional home tape recorder speed] to take home to play and see what else I was going to do with them. Then I didn't even put them onto 15 [ips–the speed at which professional taping is done], so the quality is a bit off on them.
I was very, very shy, and there are many reasons why I didn't like very much go for musicians. I didn't like to have to see 20 guys sitting there and try to tell them what to do. Because they're all so lousy anyway. So, apart from the early days–when I didn't have much to do with it–I did it myself.
You know Brian put us in suits and all that, and we made it very, very big. But we sold out, you know. The music was dead before we even went on the theater tour of Britain. We were feeling shit already, because we had to reduce an hour or two hours' playing, which we were glad about in one way, to 20 minutes, and we would go on and repeat the same 20 minutes every night.
The Beatles music died then, as musicians. That's why we never improved as musicians; we killed ourselves then to make it. And that was the end of it. George and I are more inclined to say that; we always missed the club dates because that's when we were playing music, and then later on we became technically, efficient recording artists–which was another thing – because we were competent people and whatever media you put us in we can produce something worthwhile.
I think there's a guy called Richie Valens, no, Richie Havens, does he play very strange guitar? He's a black guy that was on a concert and sang "Strawberry Fields" or something. He plays like one chord all the time. He plays a pretty funky guitar. But he doesn't seem to be able to play in the real terms at all. I'm like that.
Yoko has made me feel cocky about my guitar. You see, one part of me says yes, of course I can play because I can make a rock move, you know. But the other part of me says well, I wish I could just do like B.B. King. If you would put me with B.B. King, I would feel real silly. I'm an artist, and if you give me a tuba, I'll bring you something out of it.
I'm a cinema verite guitarist, I'm a musician and you have to break down your barriers to hear what I'm playing. There's a nice little bit I played, they had it on the back of "Abbey Road." Paul gave us each a piece, there is a little break where Paul plays, George plays and I played. And there is one bit, one of those where it stops, one of those "carry that weights" where it suddenly goes boom, boom, on the drums and then we all take it in turns to play. I'm the third one on it.
I have a definite style of playing. I've always had. But I was over-shadowed. They call George the invisible singer. I'm the invisible guitarist.
It's hard when you ask me, it's like asking me what do I think of... ask me about other people, because it looks so awful when I say I don't like this and I don't like that. It's just that I don't like many of the Beatles records either.
My own taste is different from that which I've played sometimes, which is called "cop out" to make money or whatever. Or because I didn't know any better.
After Brian died, that's what happened, that's what began to happen to us. The camera work was set-up to show Paul and not anybody else. And that's how I felt about it. On top of that, the people that cut it, did it as if Paul is God and we are just lyin' around there. And that's what I felt. And I knew there were some shots of Yoko and me that had been just chopped out of the film for no other reason than the people were oriented for Englebert Humperdinck. I felt sick.
I knew that we were in trouble then. I didn't really have any misconceptions about our ability to do anything other than play music and I was scared. I thought, "We've fuckin' had it."
Paul made an attempt to carry on as if Brian hadn't died by saying, "Now, now, boys, we're going to make a record." Being the kind of person I am, I thought well, we're going to make a record all right, so I'll go along, so we went and made a record. And that's when we made "Magical Mystery Tour." That was the real...
Paul had a tendency to come along and say well he's written these ten songs, let's record now. And I said, "well, give us a few days, and I'll knock a few off," or something like that. "Magical Mystery Tour" was something he had worked out with Mal and he showed me what his idea was and this is how it went, it went around like this, the story and how he had it all... the production and everything.
Paul said, "Well, here's the segment, you write a little piece for that," and I thought bloody hell, so I ran off and I wrote the dream sequence for the fat woman and all the thing with the spaghetti. Then George and I were sort of grumbling about the fuckin' movie and we thought we better do it and we had the feeling that we owed it to the public to do these things.
So we went to see Maharishi, the whole gang of us, the next day, charged down to his hut, his bungalow, his very rich-looking bungalow in the mountains, and as usual, when the dirty work came, I was the spokesman–whenever the dirty work came, I actually had to be leader, wherever the scene was, when it came to the nitty gritty, I had to do the speaking–and I said "We're leaving."
"Why?" he asked, and all that shit and I said, "Well, if you're so cosmic, you'll know why." He was always intimating, and there were all these right-hand men always intimating, that he did miracles. And I said, "You know why," and he said, "I don't know why, you must tell me," and I just kept saying "You ought to know" and he gave me a look like, "I'll kill you, you bastard," and he gave me such a look. I knew then. I had called his bluff and I was a bit rough to him.
Well, Yoko and I together, we came up with the idea to give it all away, and stop fuckin' about with a psychedelic clothes shop, so we gave it all away. It was a good happening.
I knew on the flight over to Toronto or before we went to Toronto: I told Allen I was leaving, I told Eric Clapton and Klaus that I was leaving then, but that I would probably like to use them as a group. I hadn't decided how to do it–to have a permanent new group or what – then later on, I thought fuck, I'm not going to get stuck with another set of people, whoever they are.
I announced it to myself and the people around me on the way to Toronto a few days before. And on the plane–Klein came with me–I told Allen, "It's over." When I got back, there were a few meetings, and Allen said well, cool it, cool it, there was a lot to do, businesswise you know, and it would not have been suitable at the time.
Then we were discussing something in the office with Paul, and Paul said something or other about the Beatles doing something, and I kept saying "No, no, no" to everything he said. So it came to a point where I had to say something, of course, and Paul said, "What do you mean?" I said, "I mean the group is over, I'm leaving."
Allen was there, and he will remember exactly and Yoko will, but this is exactly how I see it. Allen was saying don't tell. He didn't want me to tell Paul even. So I said, "It's out," I couldn't stop it, it came out. Paul and Allen both said that they were glad that I wasn't going to announce it, that I wasn't going to make an event out of it. I don't know whether Paul said "Don't tell anybody," but he was darned pleased that I wasn't going to. He said, "Oh, that means nothing really happened if you're not going to say anything."
So that's what happened. So, like anybody when you say divorce, their face goes all sorts of colors. It's like he knew really that this was the final thing; and six months later he comes out with whatever. I was a fool not to do it, not to do what Paul did, which was use it to sell a record.
I think he claims that he didn't mean that to happen but that's bullshit. He called me in the afternoon of that day and said, "I'm doing what you and Yoko were doing last year." I said good, you know, because that time last year they were all looking at Yoko and me as if we were strange trying to make our life together instead of being fab, fat myths. So he rang me up that day and said I'm doing what you and Yoko are doing, I'm putting out an album, and I'm leaving the group too, he said. I said good. I was feeling a little strange, because he was saying it this time, although it was a year later, and I said "good," because he was the one that wanted the Beatles most, and then the midnight papers came out.
I did a job on this banker that we were using, and on a few other people, and on the Beatles.
If there is such a thing as genius–which is what... what the fuck is it?–I am one, and if there isn't, I don't care. I used to think it when I was a kid, writing me poetry and doing me paintings. I didn't become something when the Beatles made it, or when you heard about me, I've been like this all me life. Genius is pain too.
You see, I presumed that I would just be able to carry on, and bring Yoko into our life, but it seemed that I had to either be married to them or Yoko, and I chose Yoko, and I was right.
I was always hoping that they would come around. I couldn't believe it, and they all sat there with their wives, like a fucking jury and judged us and the only thing I did was write that piece (Rolling Stone, April 16th, 1970) about "some of our beast friends" in my usual way–because I was never honest enough, I always had to write in that gobbly-gook– and that's what they did to us.
Ringo was all right, so was Maureen, but the other two really gave it to us. I'll never forgive them, I don't care what fuckin' shit about Hare Krishna and God and Paul with his "Well, I've changed me mind." I can't forgive 'em for that, really. Although I can't help still loving them either.
Yoko played me tapes I understood. I know it was very strange, and avant garde music is a very tough thing to assimilate and all that, but I've heard the Beatles play avant garde music–when nobody was looking–for years.
But the Beatles were artists, and all artists have fucking' big egos, whether they like to admit it or not, and when a new artist came into the group, they were never allowed. Sometimes George and I would have liked to have brought somebody in like Billy Preston, that was exceptional, we might have had him in the group.
We were fed up with the same old shit, but it wasn't wanted. I would have expanded the Beatles and broken them and gotten their pants off and stopped them from being God, but it didn't work, and Yoko was naive, she came in and she would expect to perform with them, with any group, like you would with any group, she was jamming, but there would be a sort of coldness about it. That's when I decided: I could no longer artistically get anything out of the Beatles and here was someone that could turn me on to a million things.
It was insane going around London. When we went to the club we thought it was on fire and then we thought it was a premiere, and it was just an ordinary light outside. We thought, "Shit, what's going on here?" We were cackling in the streets, and people were shouting "Let's break a window," you know, it was just insane. We were just out of our heads. When we finally got on the lift [an elevator in England] we all thought there was a fire, but there was just a little red light. We were all screaming like that, and we were all hot and hysterical, and when we all arrived on the floor, because this was a discotheque that was up a building, the lift stopped and the door opened and we were all [John demonstrates by screaming].
I had read somebody describing the effects of opium in the old days and I thought "Fuck! It's happening," and then we went to the Ad Lib and all of that, and then some singer came up to me and said, "Can I sit next to you?" And I said, "Only if you don't talk," because I just couldn't think.
This seemed to go on all night. I can't remember the details. George somehow or another managed to drive us home in his mini. We were going about ten miles an hour, but it seemed like a thousand and Patty was saying let's jump out and play football. I was getting all these sort of hysterical jokes coming out like speed, because I was always on that, too.
God, it was just terrifying, but it was fantastic. I did some drawings at the time, I've got them somewhere, of four faces saying "We all agree with you!" I gave them to Ringo, the originals. I did a lot of drawing that night. And then George's house seemed to be just like a big submarine, I was driving it, they all went to bed, I was carrying on in it, it seemed to float above his wall which was 18 foot and I was driving it.
Peter Fonda came, and that was another thing. He kept saying [in a whisper] "I know what it's like to be dead," and we said "What?" and he kept saying it. We were saying "For Christ's sake, shut up, we don't care, we don't want to know," and he kept going on about it. That's how I wrote "She Said, She Said"–"I know what's it's like to be dead." It was a sad song, an acidy song I suppose. "When I was a little boy"... you see, a lot of early childhood was coming out, anyway.
I didn't believe I could do anything and let people make me, and let them all just do what they wanted. I just was nothing. I was shit. Then Derek tripped me out at his house after he got back from L.A. He sort of said "You're all right," and pointed out which songs I had written. "You wrote this," and "You said this" and "You are intelligent, don't be frightened."
The next week I went to Derek's with Yoko and we tripped again, and she filled me completely to realize that I was me and that's it's all right. That was it; I started fighting again, being a loudmouth again and saying, "I can do this, "fuck it, this is what I want, you know, I want it and don't put me down." I did this, so that's where I am now.
Brian came up with Allan Owen, from Liverpool, who had written a play for TV called "No Trams to Lime St." Lime Street is a famous street in Liverpool where the whores used to be in the old days, and Owen was famous for writing Liverpool dialogue. We auditioned people to write for us and they came up with this guy. He was a bit phony, like a professional Liverpool man–you know like a professional American. He stayed with us two days, and wrote the whole thing based on our characters then: me, witty; Ringo, dumb and cute; George this; and Paul that.
We were a bit infuriated by the glibness and shiftiness of the dialogue and we were always trying to get it more realistic, but they wouldn't have it. It ended up O.K., but the next one was just bullshit, because it really had nothing to do with the Beatles. They just put us here and there. Dick Lester was good, he had ideas ahead of their times, like using Batman comic strip lettering and balloons.
The Beatles tours were like the Fellini film "Satyricon." We had that image. Man, our tours were like something else, if you could get on our tours, you were in. They were "Satyricon," all right.
I hate the way Allen is attacked and Brian is made out to be an angel just because he's dead. He wasn't, you know, he was just a guy.
I resent the implication that the Stones are like revolutionaries and that the Beatles weren't. If the Stones were or are, the Beatles really were too. But they are not in the same class, music-wise or power-wise, never were. I never said anything, I always admired them, because I like their funky music and I like their style. I like rock and roll and the direction they took after they got over trying to imitate us, you know, but he's even going to do Apple now. He's going to do the same thing.
He's obviously so upset by how big the Beatles are compared with him; he never got over it. Now he's in his old age, and he is beginning to knock us, you know, and he keeps knocking. I resent it, because even his second fuckin' record we wrote it for him. Mick said "Peace made money." We didn't make any money from Peace. You know.
They've been trying to knock us down since we began, specially the British press, always saying, "What are you going to do when the bubble bursts?" That was the in-crowd joke with us. We'd go when we decided, not when some fickle public decided, because we were not a manufactured group. We knew what we were doing.
Of course, we've made many mistakes, but we knew instinctively that it would end when we decided, and not when NBC or ATV decides to take off our series, or anything like that. There were very few things that happened to the Beatles that weren't really well-thought out by us–whether to do it or not, and what the reaction would be and would it last forever. We had an instinct for something like that.
I'm not their fucking parents, that's what it is. They come to the door with a fucking peace symbol and expect to just sort of march around the house or something, like an old Beatle fan. They're under a delusion of awareness by having long hair, and that's what I'm sick of. They frighten me, a lot of uptight maniacs going around, wearing fuckin' peace symbols.
He was mumbling, pretending to hypnotize us; we're lying there, and he's making up all of these Walt Disney stories about past lives, which we didn't believe. But he was such a nice guy in a way. I was more into it then than Yoko; she's not quite as silly as I am. But I was thinking, "You never know, do you"–I had this thing: believe everything until it is disproved–it came from giving up ciggies and he was going on about how he had been on a space ship, so I said, come on, tell us more, I was suspicious, but I wouldn't stop the stories coming out. But they were obviously all insane people, and then these other two came with him.... Actually, we went there to talk to Kyoko, and it was really a case of "brothers" and all that.
I went to see the Beatles' session in the beginning, and I thought, Oh well. So I said to John, "Why do you always use that beat all the time? The same beat, why don't you do something a bit more complicated?
The Blues are beautiful because it's simpler and because it's real. It's not perverted or thought about: It's not a concept, it is a chair; not a design for a chair but the first chair. The chair is for sitting on, not for looking at or being appreciated. You sit on that music.
The first gimmick was the harmonica. There had been "Hey, Baby" with a harmonica and there was a terrible thing called "I Remember You" in England. All of a sudden we started using it on "Love Me Do." The first set of tricks was double tracking on the second album. I would love to remix some of the early stuff, because it is better than it sounds.
But now I'm sick of reading things that say Paul is the musician and George is the philosopher. I wonder where I fit in, what was my contribution? I get hurt, you know, sick of it. I'd sooner be Zappa and say, "Listen, you fuckers, this is what I did, and I don't care whether you like my attitude saying it." That's what I am, you know, I'm a fucking artist, and I'm not a fucking P.R. Agent or the product of some other person's imagination. Whether you're the public or whatever, I'm standing by my work whereas before I would not stand by it.
That's what I'm saying: I was the Walrus, whatever that means. We saw the movie "Alice in Wonderland" in L.A. and the Walrus is a big capitalist that ate all the fuckin' oysters. If you must know, that's what he was even though I didn't remember this when I wrote it.
You see Phil is great at that; he doesn't fuss about with fuckin' stereo or all the bullshit. Does it sound all right? Then let's have it, no matter whether something's prominent or not prominent. If it sounds good to you as a layman or a human, take it, don't bother whether this is like that or the quality of this, just take it.
You see, I'm shy and aggressive so I have great hopes for what I do with my work and I also have great despair that it's all pointless and it's shit. You know, how can you beat Beethoven or Shakespeare or whatever? In me secret heart I wanted to write something that would take over "We Shall Overcome." I don't know why. The one they always sang, and I thought, "Why doesn't somebody write something for the people now, that's what my job and our job is."
I have the same kind of hope for "Working Class Hero." It's a different concept, but I feel it's a revolutionary song.
I think it's for the people like me who are working class–whatever, upper or lower–who are supposed to be processed into the middle classes, through the machinery, that's all. It's my experience, and I hope it's just a warning to people. I'm saying it's a revolutionary song; not the song itself but that it's a song for the revolution.
[Here we took a break, during which John and Allen Klein went out to discuss the possibility of a single. We began talking again, alone with Yoko, about that.]
Capitol is now trying to say that this is John Lennon, one of the Beatles and therefore, it's a different deal. When they were on the McCartney bandwagon, which they were on, and they thought that I was just an idiot pissing about with a Japanese broad, they didn't want to put out the music we were making like "Toronto" because they didn't like the idea. They were content to let me be a "Plastic Ono Band" and give me a special release I have to get, because the Beatles are tied up as Beatles.
I'm going to think about "Love." The original feeling was that there weren't enough things on the album to put out a single, only ten songs, only nine if you don't count "Mummy" and that means there's nothing to buy then. To me, it sounds like there are 40 songs on there. There's that side of the market and I'm not going to disregard it.
I mean to sell as many albums as I can, because I'm an artist who wants everybody to love me, and everybody to buy my stuff. I'll go for that.
People aren't that hip; students aren't that aware; they're just like anybody else. "Oh, misery! Don't tell me that's what it's about, its really awful. Be a good boy, now, John, you had a hard time, but me, me and my mother..." So there's all that to go through. "Love" I wrote in a spirit of love for Yoko, and it has all that. It's a beautiful melody, and I'm not even known for writing melody. You've got to think of that. If it goes, it'll do me good.
I don't like the recording that much; we did it too fast trying to be commercial. I like "I Want To Hold Your Hand." We wrote that together, it's a beautiful melody. I might do "I Want To Hold Your Hand" and "Help" again, because I like them and I can sing them. "Strawberry Fields" because it's real, real for then, and I think it's like talking, "You know, I sometimes think no..." It's like he talks to himself, sort of singing, which I thought was nice.
I like "Across the Universe," too. It's one of the best lyrics I've written. In fact, it could be the best. It's good poetry, or whatever you call it, without chewin' it. See, the ones I like are the ones that stand as words, without melody. They don't have to have any melody, like a poem, you can read them.
We put down a few tracks, and nobody was in it at all. It just was a dreadful, dreadful feeling in Twickenham Studio, being filmed all the time, I just wanted them to go away. We'd be there at eight in the morning. You couldn't make music at eight in the morning in a strange place, with people filming you, and colored lights flashing.
We were going to let it out in really shitty condition. I didn't care. I thought it was good to let it out and show people what had happened to us, we can't get it together; we don't play together any more; you know, leave us alone. The bootleg version is what it was like, and everyone was probably thinking they're not going to fucking work on it. There were 29 hours of tape, so much that it was like a movie. Twenty takes of everything, because we were rehearsing and taking everything. Nobody could face looking at it.
When Spector came around, we said, "Well, if you want to work with us, go and do your audition." He worked like a pig on it. He always wanted to work with the Beatles, and he was given the shittiest load of badly recorded shit, with a lousy feeling toward it, ever. And he made something out of it. He did a great job.
When I heard it, I didn't puke; I was so relieved after six months of this black cloud hanging over me that this was going to go out.
I had thought it would be good to let the shitty version out because it would break the Beatles, break the myth. It would be just us, with no trousers on and no glossy paint over the cover, and no hype: This is what we are like with our trousers off, would you please end the game now?
But that didn't happen. We ended up doing "Abbey Road" quickly, and putting out something slick to preserve the myth. I am weak as well as strong, you know, and I wasn't going to fight for "Let It Be" because I really couldn't stand it.
I think he's capable of great work and I think he will do it. I wish he wouldn't, you know, I wish nobody would, Dylan or anybody. In me heart of hearts, I wish I was the only one in the world or whatever it is. But I can't see Paul doing it twice.
The bigger we got, the more unreality we had to face; the more we were expected to do until, when you didn't sort of shake hands with a Mayor's wife, she would start abusing you and screaming and saying "How dare they?"
There is one of Derek's stories in which we were asleep after the show in the hotel somewhere in America, and the Mayor's wife comes and says, "Get them up, I want to meet them." Derek said, "I'm not going to wake them." She started to scream, "You get them up or I'll tell the press." There was always that–they were always threatening that they would tell the press about us, if we didn't see their bloody daughter with her braces on her teeth. It was always the police chief's daughter or the Lord Mayor's daughter, all the most obnoxious kids–because they had the most obnoxious parents– that we were forced to see all the time. We had these people thrust on us.
The most humiliating experiences were like sitting with the Mayor of the Bahamas, when we were making "Help" and being insulted by these fuckin' junked up middle-class bitches and bastards who would be commenting on our work and commenting on our manners. I was always drunk, insulting them. I couldn't take it. It would hurt me. I would go insane, swearing at them. I would do something. I couldn't take it.
All that business was awful, it was a fuckin' humiliation. One has to completely humiliate oneself to be what the Beatles were, and that's what I resent. I didn't know, I didn't foresee. It happened bit by bit, gradually until this complete craziness is surrounding you, and you're doing exactly what you don't want to do with people you can't stand–the people you hated when you were ten. And that's what I'm saying in this album–I remember what it's all about now you fuckers–fuck you! That's what I'm saying, you don't get me twice.
–To be continued.


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Fans React to Taylor Swift's New Single, 'We Are Never Ever Getting Back Together'
Fan reaction to Taylor Swift's new single has not been tempered in the 17 hours since she played 'We Are Never Ever Getting Back Together' for viewers during a live web chat. While some are complaining that it's not country enough, the core audience that has made Swift the most popular pop-country artist on the planet are united in a chorus of 'OMGs' and exclamation points.
'We Are Never Ever Getting Back Together' is the lead single from 'Red,' an album of 16 songs which Swift told fans will be out on Oct. 22. If you need more reason to squeal, get this: She's planning a tour as we speak. OMG, OMG, OMG!!!
I'll legit clean my room if you let me listen to @taylorswift13 new song!! #nolie
— Michelle (@MichDeschanel) August 14, 2012
I can't stop listening to Taylor Swift's new song, I love it so much — cat guuuurl☮ (@zoeamanda_) August 14, 2012
If Taylor Swift wins country music awards this year it will be the biggest insult to country music! I'm sorry but how is this country
— SheltonLambert (@SheltonLambert) August 14, 2012
Taylor Swift is so underrated, hopefully this album will finally get her some more recognition — IAN SINKINS (@imi4n) August 14, 2012
I need to start dating someone now so we can break up in October & I'll have someone to cry about while I listen to the new Taylor Swift CD.
— Mimi Hamid (@meems_hamid) August 14, 2012
Dear Taylor Swift, This world would be a so much better place if only people were half as kind as you are. — AMAZING RED (@iGuySwiftie) August 14, 2012
Taylor Swift's new single is like kidz bop meets Avril Lavigne. I like it, obviously.
— Awkward Girl (@AwkGrlPrblms) August 14, 2012
October 22nd Red by Taylor Swift is coming out. Don't freak out guys. (just kidding you can freak out) — Megan Mitchell (@meganmitchell13) August 14, 2012
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Oh my god Taylor Swift's duet with Ed Sheeran is going to be on her next album, that screams perfection. — Amy (@technicallyamy) August 13, 2012

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photo 1 of 64
UFC Fight Night Auckland Open Training Session Gallery
giugno 26, 2014
64 Photos
Open training session during the UFC Ultimate Media Day at The Cloud at Queen's Wharf on June 26, 2014 in Auckland, New Zealand.
Getty Images reserves the right to pursue unauthorized users of this image or clip. If you violate our intellectual property you may be liable for: actual damages, loss of income, and profits you derive from the use of this image or clip, and, where appropriate, the costs of collection and/or statutory damages up to $150,000 (USD).


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Division of Atmospheric and Geospace Sciences
Atmospheric and Geospace Sciences Postdoctoral Research Fellowships (AGS-PRF)
|Amanda (Manda) S. Adams
|(703) 292-8520
PROGRAM GUIDELINESSolicitation 14-509
Important Information for Proposers
A revised version of the NSF Proposal & Award Policies & Procedures Guide (PAPPG) (NSF 19-1), is effective for proposals submitted, or due, on or after February 25, 2019. Please be advised that, depending on the specified due date, the guidelines contained in NSF 19-1 may apply to proposals submitted in response to this funding opportunity.
Waiting for New Publication
The Division of Atmospheric and Geospace Sciences (AGS) awards Postdoctoral Research Fellowships (PRF) to highly qualified investigators within 3 years of obtaining their PhD to carry out an independent research program. The research plan of each Fellowship must address scientific questions within the scope of AGS disciplines. The program supports researchers for a period of up to 2 years with Fellowships that can be taken to the institution or national facility of their choice. The program is intended to recognize beginning investigators of significant potential, and provide them with experience in research that will broaden perspectives, facilitate interdisciplinary interactions and help establish them in leadership positions within the Atmospheric and Geospace Sciences community. Because the Fellowships are offered only to postdoctoral scientists early in their careers, doctoral advisors are encouraged to discuss the availability of AGS Postdoctoral Research Fellowships with their graduate students early in their doctoral programs. Fellowships are awards to individuals, not institutions, and are administered by the Fellows.
This program provides educational opportunities for Postdoctoral Fellows. Individuals interested in applying for funding should see the program guidelines above.
- Atmospheric Chemistry
- Climate and Large-Scale Dynamics
- Paleoclimate
- Physical and Dynamic Meteorology
- Coupling, Energetics, and Dynamics of Atmospheric Regions
- Geospace Environment Modeling
- Solar, Heliospheric, and INterplanetary Environment
What Has Been Funded (Recent Awards Made Through This Program, with Abstracts)
Map of Recent Awards Made Through This Program


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Dance Pizazz believes in a goal-oriented teaching methodology that enables the development of unique dancing skills.
St. Louis, MO (PRWEB) March 20, 2015
Once again, Dance Pizazz is hosting its Showcase & Trophy Ball Saturday, May 9th, from 6:00 to 8:00 pm, to celebrate its students and their accomplishments. Dancers of all levels (beginner, intermediate, and advanced) will have a unique opportunity to perform a routine in front of friends and family, all at the most welcoming and relaxed dance studio in the St. Louis area. A range of stellar numbers as part of the night's showcases will include: solo and couple performances. This biannual event is open to everyone and includes food and drinks (go to http://www.dance-pizazz.com for event details and ticket prices).
Through training for this event, the students get to experience the joy of learning and showcasing a routine based on the dance and music of their choice. Dance Pizazz believes in a goal-oriented teaching methodology that enables the development of unique dancing skills, all comfortably set at the student's preferred learning pace. There is also the added bonus of further strengthening and increasing the dancer's stamina and boosting his, her, or their (we love couples!) confidence through showcasing. The Dance Pizazz family awards and recognizes this effort, as it is an excellent addition to their already fun and healthy ballroom dance lessons.
Dance Pizazz extends its invitation for this event to dancers and non-dancers alike. Come celebrate with Dance Pizazz. Perhaps you too will be motivated by all of the great dancing!


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October 3, 2006
Wabash alumnus Allen Schulz '87 will premier his new opera "Gargoyle Garden" on Sunday, October 29, 2006 Queens, New York. His composition, with libretto by award-winning playwright Jeff LaGreca, will be performed in workshop style and later move to Manhattan for a full-scale production at Symphony Space next season.
The Astoria Symphony and the singers of the Opera Company of Astoria will be performing the first production, under the baton of Astoria Symphony's Music Director, Silas Huff. The concert begins at 6:00 p.m. at the St. Joseph's Catholic Church at 43-19 30th Avenue in Astoria.
Schulz, the executive director of the Astoria Symphony, says, "This opera was commissioned as part of a children's arts and culture project, so the opera is aimed at children (although is suitable for adults, too)."
Also on the concert that evening, dubbed "A World of Fantasy," will be Camille Saint-Saens' "Carnival of the Animals." The concert is part of the symphony's popular education series. The Halloween-themed evening includes a costume contest, a scary scream contest, giveaways, games and more.
Schulz, a philosophy major at Wabash and member of Lambda Chi Alpha, has worked to develop the Astoria Symphony, a newly established professional symphony in Queens now in its fourth year. His work involves composing music, writing grants, and "I also get to move the piano and haul music stands from our offices to our performance venues!"
Schulz also runs a composers' consortium called Random Access Music, which presents three or more concerts each year of its members' music. Random Access Music allows Schulz to premier three or four new compositions each year.
When not composing or developing the Astoria Symphony, Schulz also serve as a consulting editor for G. Schirmer Music Publishing in their new works and premieres department.
Click here to learn more about the Astoria Symphony


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As expected (!), indie classical label OgreOgress has given us another taste of the unexpected, or better, a cup of Lethe in the form of a 67-minute piece for solo viola by German-Spanish composer Maria de Alvear. Born in 1960, and educated from a young age in keyboard and composition, she eventually came to her mother's homeland, Germany, where she studied with avant-garde composer Mauricio Kagel. Like John Cage before her, Maria de Alvear has taken steps to make her compositions more subjective. For her, this has taken the form of automatic writing, a technique beloved by the Surrealists, but one used by de Alvear to remove rather than to celebrate ego. Her scores are frequently sprawling, both in terms of their length and their physical layout. (Shades of Morton Feldman.) She takes interest in the spaces in which music is performed – one wonders how this interest is reconciled with the present recording – and also in indigenous music. Her music sometimes puts ritualistic demands on the performer; it is concerned with nature, and also with feminine sexuality. (A work named Vagina was written in 1997.)
Fuerzas is almost too much to bear, and I mean that as a compliment. For more than an hour, a solo viola sings like a shaman peering over the edge of the world. Strictly homophonic, the material unrolls endlessly, evenly, as if it were a natural phenomenon. Connected phrases last for the length of a breath. The composer doesn't even use a wide range of notes; most of Fuerzas lies within the viola's richest register; occasional excursions upwards sound like bursts of rhetoric, and then soon settle down again. Fuerzas sounds like a conversation for one person. One would be tempted to call the music "elegiac" if the term weren't weighted with such emotional baggage.
Christina Fong plays Fuerzas with intense concentration; was this done in a single take? The reverberant acoustic suggests that the recording was made in a church – and why not, because Fuerzas seems like a forceful act of spirituality to me. This disc isn't for everyone, but I found it very listenable, and the sixty-seven-minute span flew by.
This CD is the first in a projected series featuring previously unrecorded works by emerging composers. All OgreOgress discs can be obtained at cdbaby.com/all/ogreogress.
Copyright © 2003, Raymond Tuttle


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Len Hester is a project manager for Grinder Haizlip Construction Co., a general contractor that specializes in industrial and commercial projects and has worked on high-profile projects such as the Wright Medical Technology Inc. headquarters in Arlington, New Ballet Ensemble, the Grizzlies Sportsplex and the renovation of Memphis Theological Seminary.
Hester grew up in the construction business, though on the residential side, working summers with his father's company, Tupelo-based Danny Hester Home Improvements.
He left Tupelo for Mississippi State University, where he earned a Bachelor of Business Administration in management of construction and land development, returning home to work for his father the year following graduation.
"I decided that I wanted to try something different, came up to Memphis, and Grinder Haizlip gave me the opportunity to work for them," Hester said. "I started learning the ins and outs of the commercial side of things; instead of a hammer in hand, I've got a pencil in hand now."
That was eight years ago and, though he said it was a challenge becoming acclimated to managing commercial construction projects, he's risen to the task and looks at himself as "a business inside of a business."
"I'm responsible for my own projects; I'm responsible for the well-being and success of my project and, in turn, I'm responsible for the profitability that the company wants me to have," Hester said.
Those projects lean to the commercial side and have included renovation of the Cordova AAA Auto Care Center, Dobbs Nissan, Dobbs Honda and other car dealerships. He's presently at work on a Porsche/Volkswagen and an Audi dealership for Gossett Motor Cars on Covington Pike.
Chris McDermott is vice president of Grinder Haizlip and has 13 years with the company under his belt. He's thrilled with the manager Hester has become.
"We caught him right out of school, and I've taught him everything that I know," McDermott said. "I always tell Len if you unzipped him, I'd come out in terms of the way he writes, the way he estimates, the way he manages. It's been fun molding Len from what he knew from college to what he knows now."
As project manager, Hester's workday doesn't consist solely of visiting construction sites to check on progress and budgeting; he also has to think about the next job and sell himself and the company to prospective clients. McDermott said that most companies break out such tasks, but at Grinder Haizlip, one must bring a "multi-set of tools."
Selling at any time is a challenge and was specifically where the pinch was felt during the economic downturn as more companies vied for fewer jobs.
"Absolutely, selling yourself is the most challenging," Hester said.
With "the economic issues like we've been faced with over the last few years, you've got to come smarter and more creative," Hester said. "In an economic downturn there's not much work out there, which means everybody's looking at the same stuff, so you're working twice as hard to keep the same amount of work."
He credits company leaders and their foresight to diversify with enduring the crisis.
With an eye toward the future, he's recently completed the exam to become a Leadership in Energy & Environmental Design (LEED) Green Associate, gaining the credentials needed to be certified to manage construction of green buildings. Though he hasn't worked on any yet, he's "more aware of the effect construction has on the world."
He worked with the family business in Tupelo, and he feels he's found a family here in Grinder Haizlip. It's also rewarding to be able to meet the needs of repeat customers and "the satisfaction that comes with the completion of a construction project, to take a step back upon completion and know that I was a part of making it happen."
Hester and wife Christina are parents to 2-year-old Meredith, and he enjoys time away from work as an avid outdoorsman, fly fishing, duck and deer hunting. He's also president of the American Kennel Club-affiliated Mid-South Hunting Retriever Club, an organization 50 members strong working to promote and train the retriever breed.
Hester was weaned on construction and is building his own career now on a foundation rooted in Grinder Haizlip's simple yet focused mantra: "Do quality work on time and within the client's budget."
Copyright 1995 -
by The Daily News Publishing Co. Inc. - All Rights Reserved


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llipgh2 wrote:You celebrate getting out of the hospital by od'ing on codeine. Genius. Not.
Nikki Sixx was once taken to the hospital for a heroin OD. After getting a fixed up, he went home and cooked up the biggest shot he had ever done, found a vein, hit the plunger, and almost immediately passed out. He came to about four hours later...... with the needle still in his arm.


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Guiness World Record attempt at most people running in high heels
1000me.ru has more than 200 daily visitors. Want a crazy idea for a meetup? If all of 1000me.ru visitors gathered in one place, you could try and break the world record for most people running in high heels, which is currently 200 people.
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BUY NOCTAMID OVER THE COUNTER, A look at the two substate baseball games Tuesday night involving area teams. Note, NOCTAMID pics, NOCTAMID used for, neither Van Buren nor Mediapolis has participated in the state tournament.
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DNA and chromatin can also be stained with dyes that bind externally to the double helix. The most popular fluorochromes in this category are 4',6-diamidino-2-phenylindole (DAPI) and the bisbenzimide Hoechst dyes that are designated by the numbers 33258, 33342, and 34580. These probes are quite water-soluble and bind externally to AT-rich base pair clusters in the minor groove of double-stranded DNA with a dramatic increase in fluorescence intensity. Both dye classes can be stimulated by the 351-nanometer spectral line of high-power argon-ion lasers or the 354-nanometer line from a helium-cadmium laser, as well as by mercury and xenon arc-discharge lamps. Similar to the acridines and phenanthridines, these fluorescent probes are popular choices as a nuclear counterstain for use in multicolor fluorescent labeling protocols. The vivid blue fluorescence emission produces dramatic contrast when coupled to green, yellow, and red probes in adjacent cellular structures.
The now traditional and popular combination of MitoTracker Red CMXRos, Alexa Fluor 488 conjugated to phalloidin, and Hoechst 33342 was used to triple-label an adherent culture of Vero African Green Monkey Kidney cells illustrated above. Note the unusual filamentous actin network, and the large number of mitochondria surrounding the nuclei in these cells. Images were recorded in grayscale with a QImaging Retiga Fast-EXi camera system coupled to an Olympus BX-51 microscope equipped with bandpass emission fluorescence filter optical blocks provided by Omega Optical. During the processing stage, individual image channels were pseudocolored with RGB values corresponding to each of the fluorophore emission spectral profiles.
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This website is maintained by our


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Three American Airlines and two Southwest flights were diverted to LA/Ontario International Airport due to the shooting at Los Angeles International Airport Friday morning, spokesman Harold Johnson said.
A man with a rifle opened fire inside Terminal 3 of LAX, wounding several people.
Following the incident, LAX announced on its twitter account, that "other than arriving flights, flight operations have been temporarily held."
Gina Marie Lindsey, executive director of Los Angeles World Airports, said travelers should check with their airlines for any delays.
"I think it's fair to say that almost every flight out of LAX today will be significantly delayed," she said.
More security was visible at ONT after LAX shooting.
"While ONT does not give out security details, passengers can expect to see a visible presence of officers and K9 units on patrol," Johnson said.
Johnson urged ONT passengers to keep all belongings with them and not accept items from people they don't know. Passengers should immediately report any unattended items to security personnel, he said.
"While ONT does not give out security details, passengers can expect to see a visible presence of officers and K9 units on patrol," he said.
New Mexico residents flying into LAX for the Breeders Cup found themselves diverted to ONT.
"They diverted our plane 15 minutes before landing at LAX," said Jake Quoncha of Albuquerque.
Passenger Vanessa Gonzalez said someone came on the intercom, informing them someone at LAX had been shot.
Some of the travelers at ONT did not seem fazed by the incident.
"Just another day in LA, I guess," said Karen Quoncha.
Jake Quoncha's biggest concern was reuniting with his luggage: "Now they're trying to reroute that," he said, as the group went to rent a car
Actress Bella Thorne who was also on the flight from Albuquerque thought she was at LAX when her flight from Albuquerque landed in ONT
Thorne said she had to rent a car so she could drive to LAX and pick up her car there.
Arlene Peña of Oakland heard they were being diverted to ONT "when we were about to land."
"Luckily, my in-laws live really close and they're being dolls and picking me up. Going to spend some quality time with them" in SB, Peña said.


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[cliff, Clocks, Clothing, coast, County Donegal, duvet, featured, Featured-RB, iPad cover, iPhone cover, Ireland, Irish, Mountain, mugs, panorama, pillow, postcard, tote bag, scarf, sea cliffs, seascape, skirt, Slieve League, Sold as a Print, tote bag, WWP, >500 >1,000 >2,000 >3,000 >4,000 >5,000 >6,000, >7,000 >8,000 >9,000 >10,000 >11,000 >12,000 >13,000 >14,000 >15,000 >16,000 >17,000 >18,000 >19,000 >20,000 >21,000 >22,000 >23,000 >24,000 >25,000 >26,000 >27,000 >28,000 >29,000 >30,000 >31,000 >32,000 >33,000 views, Epson Pano Awards, Twenty One features, 30+, 50+ Favourites, winner]
This looks really great as a Canvas or Metal Mounted print, but this photograph of Bunglas cliffs is also available as: a greetings card or post card, an iPad cover, an iPhone cover, a throw pillow, a tote bag, and even a duvet cover!
This image was cropped from a full 360° panorama. To really appreciate the view try the virtual reality version. (It is best viewed Full Screen via the link of the same name just below the small version.) The virtual reality version was published as part of the World Wide Panorama (WWP) project in their "Best of 2010" event.
The Bunglas cliffs, in South West Donegal, Ireland are the seaward side of Slieve League mountain (in Irish: "Sliabh Liag"). The eroded face of the mountain top falls 601m (1972 feet) into the Atlantic Ocean. They are the highest cliffs in Ireland and are said by the locals to be the highest sea cliffs in Europe. (This is disputed, depending on your definitions of "cliff" and "Europe"!)
In terms of Irish tourist attractions, the Cliffs of Moher may be more famous, however the cliffs at Bunglas are considerably taller and are now established on the tourist trail for any visitor who comes this far North.
Slieve League is popular with hill walkers and ramblers. Many of them will walk up the "Pilgrim's Path" from the landward side, being rewarded when they crest the hill with a fabulous sea view.
For those less committed to exercise and deferred gratification, there is a car park at Bunglas and they can drive the first 1,000 feet of the climb and, having parked the car, can then enjoy the sea view as they walk up the the second 1,000 feet.
This photograph presents a more than 200° view, cropped from a full HDR panoramic image, stitched from multiple original shots. (Details below.)
To get some idea of the scale you can pick out the path from the car park at the lower-mid-left of the image. The path winds around behind the photographer (we are at an elevation of about 1500 feet) and at the mid-right a walker can be seen breaking the horizon on his way to the summit.
This is part of my new postcard range. You can follow on to another gorgeous Very Ireland Post card .
|This Image received a Bronze Award in the Nature section of the Epson International Photographic Pano Awards 2011
|One of three of mine to receive a Pano Award


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It's becoming routine now for Florida's vegetable-growing areas to be visited by an unusually early Arctic air mass, and this past December was no different, with below-freezing temperatures being felt for several mornings in early and mid-December.
The Florida fresh vegetable industry had previously suffered severe freeze losses during an extended cold snap in early January of 2010 and a shorter hard freeze during January 2009.
Precise impacts are unknown at this time, but fresh vegetable markets will likely be unsettled for the next few months, with additional imports from places such as Mexico partially filling any market gaps that appear, according to the USDA's most recent Vegetable and Melons Outlook.
Prior to the recent freezing temperatures in Florida, the outlook for fresh vegetables this winter indicated improved yields and supplies. At the same time, demand was expected to remain sluggish as consumers remain conservative, especially with regard to away from home meals. Assuming freeze damage is less severe than last January, the winter price outlook generally favors prices that are historically strong, but average just below the freeze-affected highs of a year earlier.
Although a portion of the crops may have been saved by crop protection schemes such as flying helicopters and applying row covers, it is likely that thousands of acres of tender warm-season vegetables such as snap beans, sweet corn, tomatoes, squash, and peppers suffered severe damage (burned leaves, bloom drop, etc), with a substantial percentage of mature plants destroyed.
Prior to the first hard freeze on the evening of Dec. 13, many growers took the opportunity to pick and store crops that were at a harvestable stage. With weather expected to improve, growers must now deal with harvest delays (due to lack of growth and loss of blooms during the cold stretch), vine and foliage damage (leading to reduced yields for surviving plants and increased disease susceptibility), and fruit scarring (leading to lower grade fruit and reduced value).
It takes some time after a freeze before growers can adequately assess the damage to crops and decide when and whether to replant, with the threat of further cold weather possible through February.
Above average prices
Prices are expected to be well above average for at least the next month or two, with additional imports from places such as Mexico partially filling the market gaps that appear.
Until the December freeze, improved volume this past fall and a more orderly flow to the market had pulled fall shipping-point prices for fresh vegetables 10 to 15 percent below the record highs of a year earlier.
In October, prices averaged 10 percent lower while those through mid-November were down 15 percent.
With freeze damage in Florida and uneven growth in desert leafy crops, December's fresh-market vegetable prices were expected to jump back to near the highs of a year earlier. Despite high December prices, this could still mark the first decline in fourth quarter fresh-market vegetable prices in the last five years and would be the first quarterly (any season) drop since the summer of 2009.
The fall season has been beset by a wide variety of weather-related supply issues over the last five years that have resulted in higher shipping-point prices. Even though average market prices may have been slightly lower this fall, they are still about 25 percent higher than five years ago.
For this fall, prices are expected to average below the extreme highs reached a year earlier for crops such as lettuce, tomatoes, broccoli, celery, snap beans and cauliflower. Partly offsetting will be higher prices for bulb onions, cucumbers, cantaloupes and sweet corn.
Because of wide variations in temperatures, California and Arizona broccoli and cauliflower yields were below normal from mid-November into early December with prices tripling from the relatively low levels of the first half of November.
During the transition from the central California growing areas to the winter desert areas of southern California and Arizona, lettuce quality and volume was variable and prices increased. Iceberg lettuce prices increased from about $8 per carton of 24-film wrapped heads in mid-October to $24 in mid-November, before easing to about $12 in early December with increasing volume and slack post-Thanksgiving demand.
For most fresh fall-season vegetables from Florida, pre-freeze shipping-point prices for this last year had returned to more normal levels, which were much lower than the weather-induced highs of a year earlier. For example, during November, shipping-point prices in central Florida for fresh field-grown mature green tomatoes were relatively steady at $8 to $10 per 25-pound box. This was an average-to below average price for this time of year and contrasts with a year earlier, when low yields pushed prices over $25 a box.
Depending on the damage from the December freeze, the tomato market will likely see a quick turnaround from these pre-freeze lows. Mexican imports may now remain strong this winter, since last year's high prices may have spurred additional tomato area in Mexico. With continued high unemployment, demand is likely to remain sluggish, particularly within the foodservice sector.


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The Bertram and Judith Kohl Building: Fact Sheet
The grand opening of the Bertram and
Judith Kohl Building on the Oberlin College campus generated tremendous
media coverage. A two-day celebration held April 30 and May 1 featured
special guests Bill and Camille Cosby, and Stevie Wonder, plus musical
performances by alumni, faculty, and students. To date, more than 240
stories have been posted online related to this new $24 million building.
Coverage included the following in
print and broadcast media organizations:
April 30, 2010
Oberlin College Celebrates the Grand Opening of its New Jazz Music Building
WEWS-TV 5 (ABC affiliate)
Legendary Stevie Wonder kicks off weekend celebration
WKYC-TV3 (NBC affiliate)
Big Event: Stevie Wonder, Bill Cosby visit Oberlin College
Fox8 News Cleveland
Story also appeared in the following newspapers:
April 29, 2010
Jazz at Oberlin Graduates from a Decrepit Gymnasium to a $24 Million Building
April 28, 2010
Oberlin Jazz Center: The Bertram and Judith Kohl Building
May 1, 2010
Isn't Stevie 'Wonder'ful
The Morning Journal
Associated Press (AP)
May 1, 2010
Wonder, Cosby receive honorary degrees at Oberlin
Huffington Post
The AP story also appeared in these and other online publications:
The Plain Dealer
June 6, 2010
Oberlin College Scores Big Time With its New Bertram and Judith Kohl Building for Jazz, Designed by Westlake Reed Leskosky
May 31, 2010
Oberlin Conservatory of Music's Wendell Logan Builds a Foundation for Jazz
May 2, 2010
New music building continues Oberlin College's devotion to jazz education
May 1, 2010
Stevie Wonder performs in rare small concert at Oberlin College
April 30, 2010
Oberlin College honors Bill Cosby, Stevie Wonder as it celebrates new jazz music building
At Oberlin College dedication, Bill Cosby adapts his familiar material
April 25, 2010
Jazz students get stunning new home in Kohl Building at Oberlin Conservatory of Music
Local News
The Morning Journal
May 3, 2010
OUR VIEW EDITORIAL: Music world to benefit greatly from Oberlin's unique gift to jazz
May 2, 2010
'Wonder'ful night
May 1, 2010
Comedian keeps 'em laughing
April 30, 2010
Wonder, Cosby set for jazz building opening
The Chronicle-Telegram
May 2, 2010
Building dedication day culminates in jazz concert
May 1, 2010
Oberlin College gives Cosbys, Stevie Wonder honorary doctorates
April 14, 2010
Stevie Wonder and Bill Cosby to Appear at Jazz Themed Celebration at Oberlin JazzTimes
Editor's Note - Effective April 22, 2010: Since these articles originally appeared, the Litoff Building has been renamed. Oberlin's new home for jazz studies, music history, and music theory is now the Bertram and Judith Kohl Building.
Oberlin Conservatory of Music
Office of Communications
39 West College Street
Oberlin, OH 44074-1576
Phone: (440) 775-5464
Fax: (440) 775-5457
E-Mail: email@example.com
Oberlin College & Conservatory | 101 North Professor Street, Oberlin, Ohio 44074 | © 2010 | Contact | Directories | Search


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Week Three of the 2012 season (and, necessarily, the referee lockout) ended with a horrendous call at the conclusion of the Monday night game between the Packers and the Seahawks, giving Seattle a win it didn't earn and Green Bay a loss it didn't deserve. (Hey, 12th man, you can complain all you want but you know in your hearts that it's true.)
So what was the final impact of the "Fail Mary" on the final 2012 standings and playoff tree? We're glad you asked. (Even if you didn't.)
For the Seahawks, it was meaningless, thanks to the fact that they found a way to beat the Rams in Week 17. Seattle finished 11-5, a game ahead of the Vikings for the No. 5 seed in the NFC. Turning that Week Three win into a loss would have dropped the 'Hawks to 10-6. But they still would have secured the No. 5 seed from the Vikings, since the Seahawks beat the Vikings during the regular season.
For the Packers, the loss cost Green Bay a first-round bye, forcing them to play Minnesota again on Saturday and, if the Packers win, to travel to San Francisco in the divisional round.
Thus, in the end, the Packers were the only team negatively affected by the game. And the impact ultimately could be significant . Now, the Packers must win an extra game to get to the Super Bowl and also hit the road when instead they should have had to simply win one home game to qualify for the NFC finals.
In turn, Seattle's division rivals picked up an ill-gotten benefit from the Seahawks' good fortune. The 49ers don't have to play this weekend, and they'll welcome Green Bay, Seattle, or Washington to Candlestick Park in less than two weeks.
It probably won't be enough to prompt Jim Harbaugh to send a Happy New Year card to Pete Carroll, but it's a nice little piece of irony that will add to their rivalry, especially if they cross paths again in the postseason.


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Protecting Fort Hood starts with you. If you see or hear anything suspicious, call 288-COPS (2677). Think....Protect...OPSEC!
Fort Hood's Marvin Leath Visitors Centeris adjacent to the Main Gate, just off of U.S. Hwy. 190 on T.J Mills Blvd.
Fort Hood and the City of Killeen honors the memory of James Marvin Leath and the lasting impact his public service had on Soldiers, Fort Hood and our Nation.
Fort Hood No Longer requires vehicle registration for DoD ID card holders.
Effective 1 September 2015 the following procedures will be in effect for access to Fort Hood:
DOD Civilians, active military, military dependents, retired, retiree dependents and contractors with DOD ID cards may enter the installation
by displaying their DOD issued ID card to the guard personal at the Access Control Points entering the installation. If you do not have your government
ID card in your possession you must go to the Marvin Leath Visitor Welcome center to get an installation access pass/badge.
Spouses of DOD Civilians who do not have an authorized DOD ID are authorized to obtain installation pass.
Entry Requirements for person without a Valid DOD ID Card requesting unescorted access:
Upon satisfying the above criteria and vetting requirements an Installation access pass/badge will be issued to the person.
NOTE: All unescorted visitors and all vehicle passengers (riding in these vehicles) will proceed to the Visitors Welcome Center (VWC) and receive a security screening.
All vehicle occupant names will be included on an Installation Visitors Pass. Security personnel will verify all occupants ID with names on visitor passes at Installation
Access Control Points (IACP) prior to providing installation access.
All DOD ID Card holders (after presenting their DOD ID to security personnel) will be allowed to escort non DOD ID card holders (e.g. visiting family members and other
visiting non DOD affiliated personnel). A driver's license (or other non DOD ID card) cannot be used as proof of DOD affiliation for personnel conducting escorts. Minors in
possession of a DOD ID card will be authorized to escort adults not is possession of a DOD ID card (e.g. care providers) Escorts must remain with guests for the entire duration
of the visit.
Bldg. 69012HOURS OF OPERATION24 hours a day7 days a week
Bldg 69005HOURS OF OPERATION0800-1600, M-F, Closed Federal Holiday and TNG Holiday
For more information, call the Marvin Leath Visitor's Center at: 254-287-9909
On post vehicle registration: Fort Hood no longer requires vehicle registration or the display of a DOD vehicle registration decal for installation access.
DOD ID card holders must present a valid Government ID for installation access (Active Duty/Reserve, Dependents, Retiree/Retiree Dependents, DOD Civilian CAC and Contractor
CAC cards).
Non-CAC (Non-DOD ID) Contractors requiring unescorted installation access.
Requirements for Businesses or Company Vehicles (Taxies/Food Delivery etc.)
Bring all the below listed information to the Visitors Center and you can pick up the passes in 72 hours.
Submit a cover letter on company/business letterhead identifying the business, identify the owner/management submitting the cover letter to include contact information and
the reason access is requested. The letter should include a statement of understanding that if an employee of the business or company leaves employment of that business the
owner/management will make every effort to retrieve the employees access pass/badge, return it to the Visitor center and will notify the visitor center that the employee no
longer works for the organization.
Non-DOD affiliated Visitors/Guests requesting Unescorted Access:
Entry Requirements for person without a Valid DOD or US Government issued CAC ID Card requesting unescorted access:
Note: Upon satisfying the above criteria and vetting requirements an Installation access pass/badge will be issued to the person. Every Non-DOD person 18 years of age or
older entering the installation must have an installation access pass/badge. A valid reason for gaining access to the installation must be provided and will be used to
determine the length of time access pass or badge is issued.
Weapons/Firearms Registration:
Weapons/Firearms registration, Fort Hood Regulation 190-11 Weapons, All firearms entering Fort Hood must be registered with the DES. All military personnel, government
employees, and all civilians, including Family Members, who store, possess, or use a weapon on Fort Hood. Firearms may be registered at the Visitor Welcome Center, Bldg 69012 or at
the DES Police Desk Bldg 23020. Do not bring the firearm to either location to register. Weapons are prohibited in these facilities except for Law Enforcement personnel performing
their duties. To view FH Regulation 190-11Weapons you can go to the following link:
To register your firearm(s) go to the following link and download pdf.doc FH form 190-19. Follow the directions and complete the form and bring the form to either location to
complete the registration process.
The following is from the Commanding Generals Policy Letter concerning firearms:
All personnel bringing a Privately Owned Firearm (POF) on Fort Hood must enter through an Access Control Point (ACP), declare that they are bringing a POF on post and state the reason they are doing so to ACP personnel.
Personnel must also declare possession of firearms to officials upon being directed to an ACP inspection area, being stopped by law enforcement officials, or for any other checkpoint or inspection operation.
J.M. Leath (May 6, 1931 – Dec. 8, 2000) was a U.S. Representative from Texas. Born in Henderson, Texas, Leath attended the Rusk County public schools. He graduated from
Henderson High School in 1949 and attended Kilgore Junior College, earning his bachelor of arts degree from the University of Texas, Austin in 1954.
Leath served in the Army from 1954 to 1956. He then coached football and track at Henderson High School from 1957 to 1959. He worked as a business salesman in 1959 and
transitioned to the banking business in 1962. Leath subsequently became an officer and director at five Texas banks and two manufacturing companies.
From 1972 to 1974, Leath served as special assistant to U.S. Representative W.R. Poage.
Leath was elected as a Democrat to the 96th from the Texas 11th Congressional District and to the five succeeding Congresses (1979-1991). He was not a candidate for re-nomination
in 1990. While in Congress he served on the House Budget and Armed Services Committees.
Leath died on Dec. 8, 2000 in Arlington, Va.
Texas Driver's License
A Non-Resident active duty soldier and their family members stationed in Texas who hold a valid state driver's license from another state are not required to obtain a Texas Driver's license.
A Resident active duty soldier and their family members stationed in Texas must obtain a Texas Driver's License.
Soldiers and family members can obtain their driver's licenses and get their vehicles registered at the Bell County Annex at 301 and 302 Priest Dr. in Killeen.
Three forms of identification are needed for a Texas driver's license or Texas identification card. Active duty military will only need their military identification card.
In Copperas Cove, the facility is in the Coryell County Annex at 201 S. Second St. The Texas DPS also offers driver's license renewal and Texas Driver's License services inside the
building 69012, MLVC.
State Registration
The owner must bring current proof of the out of state registration, if applicable; the lien holder's name and address; proof of insurance; and the "green slip," or valid Texas inspection slip.
Regardless of status of home of record, the state requires vehicles to have Texas minimum liability insurance. Please contact the Bell County Vehicle Registration Office at 254-618-4180 for guidelines regarding insurance, tax rates and fees.
Texas charges a 6.25% motor vehicle sales tax on the purchase price of the vehicle titled in Texas and owned by Texas residents.
Regardless of status or home of record, the state requires vehicles to have Texas minimum liability insurance of $25,000 bodily injury per person, $50,000 per accident for bodily injury and $25,000 for property damage.
Drivers have 30 days after moving to Texas to change their vehicle insurance coverage.
Seat belts are required at all times while driving on post; infant car seats are required; minimum amount of liability insurance is required; parking of motor vehicles
is authorized only in those areas/spaces designated for parking. Speed limit on Fort Hood is 30 mph unless otherwise posted.


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Easy Ways to Go Green
One of the best things about going green is that everyone has opportunities in their own lives to take steps in a green direction. By doing your banking in a more eco-friendly fashion, you can start down the path - but there is so much more you can do. We'd like to offer some ideas! We hope you will enjoy making your life more green-friendly just as we have at Houghton State Bank.
Tips for Living Green:
- Bank Online - Online Banking, BillPay and Paperless Statements. If every U.S. household stopped receiving paper bills and statements, 687,000 tons of paper would be saved every year, enough to circle the Earth 239 times. Free up space and save time and money as well!
- Use Your Check Card. Reduce paper by using your Houghton State Bank Visa® Check Card to make purchases and pay your bills instead of writing checks.
- Change a Light Bulb. Replace your light bulbs with energy efficient bulbs. If every American home replaced just one light bulb with an Energy Star-qualified bulb, it would save enough energy to light more than 3 million homes for a year, save more than $600 million in annual energy costs, and prevent greenhouse gases equivalent to the emissions of more than 800,000 cars.
- Bag It In a Reusable Shopping Bag. Each year, an estimated 500 billion to 1 trillion plastic bags are used worldwide. When you go shopping, bring your own reusable bags, which most grocers offer for about $1.50.
- Adjust Fridge and Freezer Temps. Refrigerators eat up the most electricity in the household. Maximize efficiency by keeping its temperature at 37° F. and the freezer at 0° F.
- Unplug Things That Glow. A screen saver is not an energy saver. According to the U.S. Department of Energy, 75% of all electricity consumed in the home is standby power used to keep electronics running when those TVs, DVRs, computers, monitors and stereos are "off".
- Fix That Drip. A dripping faucet can waste up to 74 gallons of water a day. A running toilet could waste up to 200 gallons of water a day. Repairing the toilet alone could save you about $30 and 73,000 gallons of water a year.
- Do Full Loads. Whenever you wash just a few clothes or dishes at a time rather than waiting for a full load to accumulate, you're wasting water, power, and money. If you were to wash two fewer loads of clothes and one fewer load of dishes a week you could save up to 4,500 gallons of water a year.
- Save on printing. Almost 40% of America's waste is paper and could be recycled, meaning fewer trees cut down. Recycle! Reuse old notebooks if they're not completely filled, print on both sides of the paper, and create a recycling bag just for paper. Not to mention, most print cartridges come in recyclable material and the cartridges themselves are able to be recycled; normally free of charge.
- Teach Your Kids To Be Green. Going green with your children is a great way to spend time together, have fun as a family, and develop habits in your children that will benefit the environment for years to come. Check out www.kidsbegreen.org to help your children go (and grow) green!


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Atlanta Hawks (19-30) @ Golden State Warriors (24-27)
Start time 6:00 PM PST @ The Oracle
Probable starters for the Golden State Warriors
PG - Monta Ellis
SG - Mickael Pietrus
SF - Stephen Jackson
PF - Al Harrington
C - Andris Biedrins
Probable starters for the Atlanta Hawks
PG - Royal Ivey
SG - Joe Johnson
SF - Josh Smith
PF - Marvin Williams
C - Lorenzen Wright
Team leaders this season
PPG - B. Davis (20.7) | J. Johnson (25.3)
RPG - A. Biedrins (9.5) | J. Smith (8.1)
APG - B. Davis (8.7) | S. Claxton (4.8)
SPG - B. Davis (2.0) | S. Claxton (2.1)
BPG - A. Biedrins (1.9) | J. Smith (2.6)
Game Thread: Atlanta Hawks @ Warriors 2007-02-11
Talk about the upcoming Warriors game here
Moderators: Mr. Crackerz, JREED, Guybrush, 32
- Posts: 1128
- Joined: Thu Mar 03, 2005 11:06 am
All Star
payback is going to be a bitch for the hawks tonight
yup, time for some pwnge...Ws by 17
after the horrid road trip and all, if the ws win tonight they are 1/2 game out of 8th...they should go into the break 27-28 at least, and with a healthy BD, Jrich and Pietrus they have a real shot, maybe even 7th...
- Posts: 964
- Joined: Sat Dec 31, 2005 6:14 pm
Starting Lineup
W's by 2, In the past if Baron and JRich were out, id skip watching the game. Who wants to see Dungy for 40 minutes?!?! BUt now with Money Big B and the former Pacers its fun. Even Barnes and Azu been ballin.
Fun team to watch.
Fun team to watch.


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Martin Truex Jr. was overcome with emotion after his 218-race winless streak finally ended at Sonoma Raceway on Sunday.
Although it's not the longest stretch a driver has endured between wins it is in-fact the longest anyone has ever gone between a first win (June 4, 2007) and a second.
In the six years since he last won a race, Truex has raced for two different teams and had three new crew chiefs - including his latest pit boss, Chad Johnston, who took over the No. 56 team in 2011.
Perennial contender Clint Bowyer and veteran Mark Martin became Truex's teammates, and he admitted that Bowyer's influence at MWR has raised the bar.
"He's been such a great teammate since he's come to Michael Waltrip Racing," Truex told Foxsports.
"Him and Mark and Brian (Vickers) when he runs, even though it's very part time, great teammates, (crew chief) Rodney Childers and all the 55 guys and (crew chief) Brian Pattie, all the 15 guys and our guys, they work together so great.
"Last year, we had a lot of new things come into Michael Waltrip Racing, but one thing, the biggest thing that helped us get to the Chase for the first time and win races and be competitive and almost have Clint challenge for the championship was teamwork.
"I'm very thankful for Clint, Mark, Brian and everybody that's been a part of our team for all the help that they've given me and vice versa. It's been so much fun to work with those guys."
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