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Reviewed by Ian M. (age 7)
I liked Pon the best because he walked on the pole and didn't fall off. He was brave, but Ton was scared.
This book is special because they do tricks together. Ton and Pon do many different things and sometimes it is good to be big and sometimes it is good to be little.
I felt happy when I read this book. Animals and people come in different sizes. I think the pictures are drawn with crayons, too.
I recommend this book for 1st graders because it teaches you a lesson. The lesson is that it is ok to be big and little. It is also funny and it will make you laugh.

subset: commoncrawl


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Housed in the Meyer Hall of Science and Mathematics, the chemistry department contains an extensive inventory of modern, state-of-the-art instrumentation (GC-MS, GC-FID, FT-IR, HPLC, UV/Vis, etc.) with which our students are able to reinforce theoretical studies of chemical phenomena with first-hand observations in the laboratory. The small size of classes and labs allows students to gain hands-on experience with advanced equipment much sooner than is typically possible at larger institutions. Check out our facilities in person on a campus visit.
Click thumbnails to view larger images.


text: After leaving the agency, the tour will cross the city and take the Autostrada del Sole, northbound (major Italian highway). During the trip, some of the most beautiful Italian regions will be crossed: Lazio, Umbria and Toscana. Arrival in Florence at approximately 11.30 a.m.. The tour of the city will include the Cathedral of Santa Maria del Fiore with Giotto's Bell-tower and Babtistry, the Academy with Michelangelo's David (visit), della Signoria Square and Palace. In the afternoon the tour will proceed to Piazza Santa Croce. Free time at your disposal. The drive continues to Piazzale Michelangelo from where a magnificent view of this Renaissance city can be admired, including Ponte Vecchio. Clients will be accompanied back to their respective hotels, or in the immediate vicinity.


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Apple is going to integrate IAC's video site Vimeo and Yahoo's photo sharing site Flickr into the next version of iOS, the software that runs iPhones and iPads, Mark Gurman of 9 to 5 Mac reports.
Gurman says iOS users will be able to upload video straight to Vimeo from their iPhones and iPads, just like they can currently upload straight to YouTube.
The same will be true of Flickr. iOS users will be able to quickly upload their photos to Flickr straight from their devices.
This is going to be really good for Apple, Yahoo, and iOS users.
Yesterday, Yahoo announced a redesign for Flickr, and an increase in storage to 1 terabyte of data. This means that you can pretty much store all of your photos in Flickr.
Photos probably take up the most amount of storage on an iPhone. The ability to back them all up on Flickr for free is going to be great for a user. It means you don't have to pay for extra iCloud storage or extra Dropbox storage.
This should also breath life into Yahoo's Flickr service. A lot of people will start using Flickr if it can act as an online backup for all of your iPhone photos.
Get the latest Yahoo stock price here.


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ITEM: An original piece of artwork.
DETAILS: This artwork is unframed and measure 30cmx30cm. The artwork was created by illustrator Judith Rossell for the book 'Too Tight Benito', written by Janeen Brian, illustrated by Judith Rossell and published by Little Hare (2008).
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Friday, December 20, 2013
Satchmo in East Berlin, March 22, 1965 - COMPLETE!
Case in point: the results of the 2013 NPR Jazz Critics Poll were just released. I was curious about the reissue category since I had two ponies in the race: Satchmo at Symphony Hall 65th Anniversary, which I co-produced and wrote the liner notes for, and The OKeh, Columbia and RCA Victor Recordings, 1925-1933, which I also wrote the liners for. Both came out to almost humorously little fanfare. My man Skip Heller covered Symphony Hall almost immediately over at All About Jazz but it took about eight months before Downbeat and Jazz Times picked up on it. I had spent about a year putting together a complete version of a historic concert by one of the music's undisputed geniuses....and it was met by a shrug for the most part in the jazz press.
Thus, it really wasn't a surprise when I checked the NPR poll's results in the reissue category: Miles in first with 81 votes, followed by a lot of the usual suspects: Woody Shaw, Jack DeJohnette, Clifford Jordan, Miles again, Paul Motian, John Coltrane, Herbie Hancock, etc.
And Pops? Two votes for the Okeh/Columbia/Victor set, putting it in a tie for 53rd place. And dear old Symphony Hall? One lowly third place vote, putting it in a tie for 73rd--and last--place.
So it's those moments when I think, "Why? Why does the jazz world go into hysterics over Miles and Coltrane reissues but completely ignores Pops? Why I am I killing myself day and night on this Mosaic set when a Clifford Jordan set is going to get more respect, coverage and yes, votes, when all is said and done?" Those are low moments.
Fortunately, those are fleeting moments because they are usually consumed by other, larger moments when I am told without a doubt that love for Louis Armstrong is alive and well around the world and not only am I not alone, but there's a bunch of Pops nuts out there who feel just as deeply about this man and his music as I.
Why the dramatic (partially depressing) opening to what should be one of the more exciting blogs I've ever written? Because of what I've experienced the last few weeks since the compete video of the All Stars' March 22, 1965 East Berlin surfaced. Let me quickly take you through the story, if you don't mind. A couple of days after Thanksgiving, I was contacted by the fantastic German drummer Bernard Flegar (and a true All Stars fanatic), telling me that German television showed this concert the previous night...and it was streaming online!
I freaked out. I was very familiar with the concert. The Jazzpoint label released it on two separate CDs (Volume 1 and Volume 2 are here but the order is all scrambled) and many years ago, my friend Ingo Ruppert sent me a one hour edited copy of the footage, which proved extremely helpful in the writing of my book (seeing Louis perform "Black and Blue" gave me the climax of my narrative). The one-hour version finally surfaced on YouTube on January 24, 2013 and in less than a year, has amassed over 70,000 views. Great!
But I knew, I KNEW, the footage of the complete concert existed and thanks to Bernard, I was now watching it at home on my computer, my jaw on the desk. I quickly opened Facebook, posted the link and watched Armstrong fans around the world, joyously digging it along with me. Michael Cogswell and Jennifer Walden-Weprin from the Armstrong House, Daniel Andersen from Israel, the descendants (Tyree Glenn Jr. and Dana Barcelona), Zan Anderle of Slovenia, Sven-Olof Lindman of Sweden, Sharone Williams of California, Dave Laczko of Austin, Phil Person and Dave Whitney of the Boston area, Simone Dabusti of Italy, the swinging Bateman Brothers of the UK, the Louis Armstrong Facebook page (more than 1 million likes), Brent Broussard of New Orleans, Nou Dadoun of Canada, Michael Steinman of Long Island, Robert Klein of North Carolina, the swinging drummer Hal Smith and MANY others joined in, spreading the Pops love from around the world.
I knew I had to write the blog of the century about this concert but I just didn't have any time. Finally, I found my opening, went to the website to get the link....and it was gone. Panicking, I decided to revise an old blog on "Basin Street Blues" but in my opening paragraph, I expressed my lament about not being able to write about the 1965 concert because the link was no longer there. That was it, one little paragraph....and all of sudden, the comments, e-mails and Facebook messages started pouring in. Some people saved the concert; others wrote the German station; others offered to send me copies. It was a Christmas miracle! It was so incredibly touching because it definitively demonstrated that not only am I not alone in my Pops fandom, but there's others out there who want to share this stuff as much as I do. Many, many thanks to Daniel Andersen, Daniel Stein, Sebastian Claudius Semler, Claus Uwe Zanisch, Sven-Olof Lindman, Ron Cannatella, Horatio Vasilescu, Ole Mathiasen, Len Pogost, Stefano Zenni and everyone else who wrote in, inquiring about the concert, offering to help and wanting to help in getting it back up.
The link DID start working again and there was rejoicing (it was up during a dinner party at David Ostwald's house and he showed it to his guests, Quincy Jones and George Avakian. Wrap that around your heard.). But I checked again this morning and it's gone. But not to worry. Thanks to one of the above-named people (he knows who he is), I was able to upload the concert on YouTube! Now, if you notice, I have not named the German network and the YouTube link doesn't mention Louis's actual name. I don't know why I'm so scared since the one-hour version, aired by the same network, has 70,000 views, as I mentioned, and doesn't seem to be going anywhere. But I don't want to tip the wrong people off, who might demand it be taken down. And that will be a dark day. I will use my connections to attempt to pitch this as a DVD to some of the labels I've worked with but until that lucky day, enjoy the complete concert!
Now, with my Christmas epiphany out of the way, let's get to the music. I don't want to go too much into the backstory, as I have almost an entire chapter in my book about this tour and if you speak German, Stephan Schulz wrote an entire book about Armstrong's 1965 visit to Germany. It was a historic tour as it marked the first--and only--time Louis cracked the Iron Curtain. Controversy was also swirling around as earlier in March, the bloody violence of the march on Selma, Alabama, caused Armstrong to lash out in the press, saying, "They would beat Jesus if he was black and marched," a line that made headlines. Armstrong was too smart to talk about it once he got behind the Iron Curtain, but he did start playing "Black and Blue" every night on the tour, a song he hadn't played regularly in years and one that carried quite a strong message.
This, to me, was also one of the finest editions of Armstrong's All Stars. Billy Kyle on piano and Danny Barcelona on drums had been playing together since 1958 and with the addition of familiar face Arvell Shaw on bass in 1963, the group sported a top-notch rhythm section. In the front line, Tyree Glenn had just joined a few weeks earlier but as can be seen, he fit like a glove from the start. I've always liked Tyree but I'm more of a Teagarden-Trummy man. However, watching--and listening--to him in this concert, he impressed me more than ever before. What a musician! (And a great showman to boot.) Clarinetist Eddie Shu is sometimes listed as one of those "also-ran" All Stars but I think he acquits himself marvelously here (the late Joe Muranyi was also a fan). I think it was Joe Darensbourg who mentioned that Shu's father was friendly with Joe Glaser and Glaser got him into the All Stars for a one-year (almost to the day) stint. Shu was something of a bopper but he could also swing, as he often proved during his long partnership with Gene Krupa. However, Shu wasn't much of a showman and it could be a little disturbing at first to see Louis and Tyree smiling so broadly and having a ball and Shu next to them unable to even muster a fake grin. In the end, it's his playing that matters and he plays great.
And then there's Pops. What can be said about Pops? Well, for one thing, this is one of the great last stands of his chops. A month later, he had dental surgery and some new bridgework put in his mouth. He took six weeks off to recover but his chops were never quite the same. He might have been in some pain in East Berlin, but my goodness does he blow like a man possessed. He also looks tired when he's not in the spotlight with good reason: he was tired. Any footage--or even concert recordings--of Louis in the 1950s, man, he's a ball of fire. But in the 1960s, he started having more trouble hiding how tired he was, something a few reviewers spotted in this period, especially since in certain venues--like in East Berlin--his resting spot consisted of three chairs ON STAGE behind the piano! But when he steps up to his spot, stand back....
A few words on the songs is due:
When It's Sleepy Time Down South - I don't think I've ever seen the All Stars get introduced so it was pretty neat seeing them come out and take their positions (each one to different drum pattern from Danny Barcelona) before The Man arrived to lead them into "Sleepy Time" without saying a word (though dig the way he appears from behind that curtain!). As always, "the warmth is there," as Pops liked to say about his longtime theme song.
Indiana - I've used this clip in presentations before because by this point, two of the normal complaints about Louis were, "Oh, no, not 'Indiana' again!" and "These poor fans are only coming to see him do 'Hello, Dolly,' but they have no idea that he was a great trumpeter!" I think this version refutes both of those statements. Yes, Armstrong had been leading off with "Indiana since around 1951 but my goodness is it an exciting opener and his trumpet sounds superhuman. I remember the first time David Ostwald saw this at a Satchmo Summerfest presentation I did in 2008, he remarked that because of the camera angle, Armstrong's trumpet looked like a bazooka on his shoulder, as he launches those high notes to the heavens. Safe to say that if you did come for "Dolly," it would only take a few bars of "Indiana" to KNOW that this man was still a great trumpet player.
Black and Blue - As I mentioned, this is the climax of my book so this performance has special meaning to me. I've been showing it at lectures for six years and it almost always makes the room tear up. The tempo is so slow, his vocal is so full of hurt ("I'm RIGHT inside") and the trumpet lead at the end is so emotion, I don't know what else to say about it. On the hourlong edit of the concert, the end would always cut to the Louis clapping for Billy Kyle's feature, which always took some of the steam out of it. The complete concert finally allows us to appreciate Pops taking a very deep bow. He knew what he accomplished.
Tiger Rag - It's tough to follow something so heavy and "Tiger Rag" might seem like it's coming from another planet but it's still fun. Louis's 1950s versions of the old warhorse were epic but after his heart attack in 1959, he cut it down to about 90 seconds of fury, usually featuring his clarinetist. Here, Shu (who lowers the mike just in time!) shows off some of his boppish, fancy fingering but Pops still brings it home with that freakish high F. He looks VERY happy to be able to still hit it on the nose!
When I Grow Too Old to Dream - Time for the first All Stars feature with Billy Kyle in the spotlight. Kyle usually did "Perdido," which I love, but I'm happy to not have it here as it got a little TOO fast by 1965 (and there's a fine version of it on the Australia DVD from 1963). This is one of my favorite Kyle features because when he dug into these medium-tempo pieces, he could really swing like a mother, pumping out some bluesy, two-handed offerings (I'm no Billy Kyle but his medium-tempo features have always been a big influence on my own piano stylings). Shaw and Barcelona are in the pocket and when Barcelona switches from brushes to sticks, watch out!
However, Kyle is overshadowed on this video by what's going on directly behind him. Armstrong, Glenn and Shu occupy three chairs to take a little break, have a sip of water and some smokes. Goodness knows they deserve it but there's something about seeing Pops decompress like that that's almost unnerving at first. There's no smile, no reacting to the music. He looks down, he wipes his brow. He looks like a boxer in between rounds of a ferocious fight. This is hard work. He's not "coasting" as some critics claimed (and still claim) and for a few minutes, the toll of it all is right there for us all to see. The director obviously felt the same way as most of "When I Grow Too Old to Dream" is focused on Pops relaxing than Kyle. For the rest of the broadcast, the director occasionally flashes over to the band relaxing but on this number, it's almost an obsession. And a valuable one at that, too. Also, much has always been made of Louis looking weary backstage, then walking through the curtain and coming alive. You can see that time and again throughout the concert and it's really something to marvel at.
Hello, Dolly! - Case in point: how does someone who just looked so beat pick himself up and get it together to deliver a performance that is six minutes of nothing but joy? I already wrote about this in my 50th anniversary post on "Dolly" earlier this month as it's long been one of my favorites. Everyone's having a ball, the trumpet playing is as full-toned and spectacular as you can imagine and each successive encore is more and more infectious. Also, remember that no Louis Armstrong records were even available in East Berlin before Pops got there so the reaction of the crowd is fully the reaction to the man on the stage. Most of those in attendance probably didn't know about "Dolly" but once you watch a performance like that, how could you not flip out?
Memories of You - Eddie Shu time and it's a knockout. When I celebrated Louis's history with this tune a few years ago, I got more reactions to Shu's version than Louis's. I'm not saying it's better than what Pops did on it, but it will surprise you if you don't know what to expect from Shu. He's got his own sound, he knows how to play the melody, he gets to show off his technique on the double-time section and at one point, he gets so bluesy, you can hear Arvell Shaw groan in approval. And as a bonus you get Pops shooting the lights out with that gorgeous Eubie Blake melody he immortalized 35 years earlier. Doesn't get much better from a feature standpoint and again, the tremendous ovation Shu receives is completely earned.
Lover Come Back to Me/Can't Help Lovin' Dat Man - Next up, female vocalist Jewel Brown is featured on a few standards. I know some Armstrong devotees who are a little cool on Jewel because she was so young, beautiful and polished, it was a striking contrast to the earthy nature of Velma Middleton. Also, she never did anything with Louis so she always seemed like her own woman. I'm a Velma nut but I never minded Jewel as she could clearly sing and had a lot of fun on stage. Thus, I was pleasantly surprised to see a LOT of Armstrong fans revising their opinions on Jewel in the comments on the video on my Facebook page. Sometimes, you have to see someone in action to really appreciate the total package. The way she reacts to Kyle's too-fast kickoff tempo on "Lover" is funny and if "Can't Help Lovin' Dat Man" is a bit theatrical, no one can deny that she sings the shit out of it.
When the Saints Go Marchin' In - To close the first set, Armstrong calls his big pre-"Dolly" closer, "The Saints." The tempo of this number really slowed in the early 60s but it gradually began rising as the decade played out, hitting a happy bounce here. Jewel's cheerleading was a little obnoxious on the famous 1962 Goodyear version but she's much more tolerable here, getting everyone to clap along. Eddie Shu also loosens up, hitting a home run with his clarinet during Tyree's solo. Pops sounds wonderful at the start but like almost all post-1959 versions, he chooses to end with a singalong vocal, still effective if not quite as exciting as the old three-chorus solo.
Interestingly, at the 43-minute mark, Armstrong calls an intermission. In the early days of the All Stars, Pops would do two sets, usually an hour each. By the mid-50s, he's make the first set top heavy, usually coming in at 80-90 minutes and then doing a short 30-40 minute second set. In the mid-60s, he reversed it, doing 43 minutes here and 75 minutes in the second set. Take a break, then, because it's intermission!
OK, ready for more? Let's commence with the second set:
Struttin' With Some Barbecue - This number had been Armstrong's second set opener for years, an exciting instrumental way to open round two. This was another number Armstrong spent years crafting a "set" solo and once he got it, he didn't change it. But by the 1960s, as he started having difficulty executing some of the more fleet-fingered phrases, he'd begin to improvise. This solo is almost has lots of different touches than the others (save the usual "That's My Home" closing quote) and it's a knockout, another one fans mentioned to me in the various messages I received about this concert this month. And the rideout has Louis reaching for--and hitting--some higher notes than normal. He's ready to blow!
The Faithful Hussar - Of course, being in Germany, it was a natural for Louis to call his favorite German folk song. This is a fun performance, with a great vocal from Pops, some riotous trombone from Tyree (he wasn't as blustery as Trummy but he could whoop it up) and that ridiculous upper register final lead playing from Pops. This one stayed in the book until at least 1967 but he wasn't able to go that high after the dental work, making this the last peak version of "Hussar."
Royal Garden Blues - Man, you KNOW he was feeling good, calling three demanding trumpet numbers in a row. The tempo is turbospeed but doesn't throw Louis off as he just sounds as relaxed as ever, focusing on hitting the high hard ones on the nose rather than any flashy phrases (Eddie Shu barely gets out of the way after his solo with Pops breathing down his neck!).
Blueberry Hill - With those trumpet specialities out of the way, it was time for Pops to treat himself to an all vocal number, "Blueberry Hill." This was another one he had been singing for 16 years, so critics would roll their eyes and look at the their watches. I admit, sometimes if I'm not in the mood, I'll skip "Blueberry" when listening to a concert recording (rare, but it has happened). But please, if you feel that way, take the time and watch this performance. Again, there's something about seeing him in action that makes one appreciate what he brings to a performance like this one. His phrasing, the gestures, the love in his face....again, how could you not give him the ovation he gets?
Without a Song - After nearly twenty minutes in the spotlight, it's time for Louis to finally take a break and hand it over to the All Stars for the two of the longer features of the night. In fact, you might have noticed that in the 40s and 50s, the sidemen like Teagrden, Young and Hall used to take three-to-four minute features; why is everyone in Berlin stretching theirs out to six and seven minutes? Well, to give Pops a rest, of course, but this was a practice that actually started around 1959, when Louis began having the All Stars play two short features each night. By 1965, the thinking must have been why play two short ones when one long one takes the same time? After a humorous extended introduction, Glenn goes into one of his best specialties, featuring that unique plunger sound of his. Glenn was like Pops in that when he had a set that, that remained his thing. The Wolfgang's Vault website has a recording of Glenn's set as a leader at the Newport Jazz Festival in 1960 and his closer was "Without a Song," breaking it up in the same arrangement we hear here, right down to the party-like, rumbling latin-vamp at the end. Yeah, Tyree!
How High the Moon - And speaking of set solos, here's Arvell Shaw with "How High the Moon" which he originally introduced in 1947 and never stopped playing. For years, it remained the same but he after staying away from Louis between 1956 an 1963, he came back to the band with a new, more modern--and more violent--conception. He's bowing, scratching, going out and really dominating the that bass for about eight minutes. One of the most "modern" solos in All Stars history, but there's a also a good amount of "show business," as Shaw calls out, down to the quotes, the high notes and his roundhouse kicks and almost Elvis Presley-type moves at the end! Again, the crowd eats it up. Really, EVERY sideman feature completely breaks it up on this concert, something that wasn't always the case in earlier incarnations. I'll say it again but the youngsters coming to see the old man who did "Hello, Dolly" in this period saw a LOT of great music!
Mack the Knife - From the beginning, "Mack the Knife" almost always followed the bass feature (just in case the bass solo put the audience to sleep, what better to follow than with a big hit?). This is a swinging performance with Louis improvising some new ideas in his second chorus. From there, he takes it out as a vocal, the rhythm section really swinging behind him midway through (Danny Barcelona's snare drum rim hits are right on).
Stompin' at the Savoy - And speaking about Danny, here's his moment in the sun...and what a moment! "Savoy" had been the drum feature of choice for the All Stars since the Cozy Cole days. Cole and his successor Barrett Deems usually took much shorter solos, with Armstrong calling them back for encores if needed. When Barcelona joined the band, he took over and started playing five and six minute versions, always breaking up the crowd. Well, Louis must have approved because here we are in 1965 and Danny almost has ten minutes to himself! I love Danny but again, like "Blueberry Hill," if I'm not in the mood for a ten-minute drum solo, I'll sometimes skip his 1960s features when I'm listening to the band. But watching him in action is a whole different story. It's a marvelous solo technically but there's something so infectious about Barcelona's joy in playing. And for the first time all night, we see the All Stars--led by Pops--put down their cigarettes and really enjoy a sideman's feature. Barcelona plays to them and when he flings those bell-sticks over his shoulder, it's one of the big laughs of the concert (kudos to the director for catching Arvell Shaw's bent-over-in-laughter response). Yeah, Danny! And God bless him, the only guy who doesn't break the entire night! He looks spent when he's done but he keeps swinging to the end (Pops, too, showing no quit with those high notes when he re-enters at the end). People sometimes wonder how Barceona lasted for 13 years in the All Stars; there's your answer.
I Left My Heart in San Francisco/My Man - Jewel Brown's back, opening with another of her big ballads. I've always liked this one, especially the reentrance on the eight bars, which she completely kills. She sang this on The Mike Douglas Show in 1964 and Douglas was so moved, he said that after hearing Jewel sing it, "No one's going to touch that song any more!" "My Man" is Jewel's version of a Velma-type blues but again, she updates it with some hip scatting (no split, either). However, Pops finally sounds like his tank is almost empty as he sounds hesitant and uncomfortable during his two-chorus spot. He does get it together for the final high note.
Mop Mop - Pops also sounds strong for this short version of "Mop Mop" that plays Brown off, also allowing Danny Barcelona one more chance to wow the crowd. In the Catlett and Cole days, "Mop Mop" was an extended feature but by this point, it was super short and usually led right into the final theme of....
When It's Sleepy Time Down South - Phew, we've made it to the end. (Rest those chops, Pops.) Louis sings eight bars and then goes around thanking each All Stars, each of whom gets a deserved large ovation. And then, at the 1 hour, 45 minute mark, "Ol' Satchmo takes a bow." The All Stars modulate and the ovation start...and keeps going....and keeps going....and keeps going....and doesn't end for two full minutes. The only way to properly close would be one more chorus of "Hello, Dolly!" with the audience clapping along. And when it's over, the curtain comes down, but the ovation only gets louder. After receiving flowers, it comes down again. The ovation only gets louder. Pops comes out with his jacket off and tie undone. The curtain closes. The ovation only gets louder. He comes out one more time in nothing but a checkered bath robe. People shriek. The ovation only gets louder. And he's gone.
I don't know about how, but I still want to keep that ovation going here at the end of 2013 and judging by the aforementioned outpouring of love I experienced recently for Pops and this concert in particular, I know I'm not alone in keeping that ovation going, definitely into 2014, which will be another big year for our hero. The jazz critics will continue to focus on "The Complete Miles Davis Farting and Coughing at Columbia (in Mono!)" but I know the world will be with me in celebrating Pops day in and day out and especially with that Mosaic set around the corner. Thanks for watching with me....and thanks, Pops!
13 comments:
- Sharone said...
I love the way you write about performances and recordings, Ricky! I feel like I'm experiencing them right along with you. I'm so glad I (and so many others) get to benefit from your vast storehouses of knowledge and your huge heart. You always make me want to know more, listen more, and say more about Louis! (hang on, I think I'm gonna preach!)
We'll all keep talking and writing about him, and spreading the gospel of Louis, and one by one we'll get 'em all--and the devil take the hindmost! ;)
Thanks again for what you do! This is such a treasure.
- December 20, 2013 at 1:48 PM
- Lord Jim said...
This is a even-tempered site, and perhaps my bitter comments here will be out of place. But it seems to me that the reason why Pops doesn't 'speak' to jazz buffs today is because joyousness and good-natured genius hasn't spoken to jazz buffs in years.
Since 1947, or thereabouts, in fact. That Gillespie and Parker were virtuosos can't be denied. But while Armstrong's style of jazz was by turns buoyant and deeply spiritual, bop and all of its after-versions are introspective, even solipsistic. This is why, of course, they are so easily imitated. Jazz for more than fifty years has amounted to not much more than chromatic noodling, and it's why the public left it behind. Jazz became pretentious, and Miles Davis turning his back on the audience during live performance perfectly captures the basic essence of it.
Is there nothing to bop and post-bop jazz? No, there's quite a bit of value. But instead of hot, straightforward ecstasy like you find in so much of Pops' playing, what you get with bop is a subtle derangement of the sort that comes with living in the modern world. Classic jazz still had a foot, however spectrally, in the 19th century. Bop represented a break with the older world, succumbing to modern tumult.
So whom does Pops speak to anymore? Good-natured people. Children, for example. Pops was the American Bach, an unrestrained genius who maintained his brilliance right up to the end. But he is 'corny' to today's post-post-bop jazz noodlers and jazz-as-Kwanzaa-construct aficionados. People raised on the ironic sneer of Nirvana up through Miley Cyrus would likely feel the same way about Pops. These people can't handle the natural abundance of human feeling. They can't take a voice like Pops' which is a spiritual thunderstorm. This is why jazz is dead today, a dead language. The chromatic noodlers might as well be reciting Latin poetry.
BTW, Sharone is way hot.
- December 20, 2013 at 4:02 PM
- Roberto Severino said...
This is still one of the best jazz blogs I've ever come cross no matter what mainstream consensus thinks of Pops now. I've discovered so many great recordings thanks to this blog and many YouTube channels dedicated to making such material available for the public to listen to. I respect what Satchmo brought to the table as much as I admire the beboppers and Swing musicians.
That's what really matters to me and as long as sites like this exist, the legacy of Pops and the music will never die even in today's culture. There will always be someone interested in discovering all this great, underrated stuff for themselves. In fact, I'm part of the generation that (unfortunately) grew up on all that music that Lord Jim brought up, not that I ever liked it much in the first place but I always knew that there was a lot more to music than just that.
Thank you so much for all the wonderful service you have provided and I hope you will be able to continue the blog into next year. Happy holidays!
- December 23, 2013 at 10:24 AM
- Dan said...
Typo correction, Rick. Pops said, "They would BEAT Jesus (not "be Jesus") if he marched...etc." And of course he was absolutely right.
- December 27, 2013 at 1:17 PM
- mrG said...
In this house of mine with a 14 year old trumpet mad son, not a day goes by when we don't hear some phrase or other of Louis Armstrong come bounding out of the practice room, so the spirit still very much speaks to the modern minds, however, I would like to propose another take on the dearth of media fan-worship: every time they praise Miles, every time they praise Diz or praise Wynton, those three in particular and I suspect many more, but every time they praise those three, those three would be the first to say, "Louis Armstrong did it first." so by praising the student, the implicitly praise the teacher.
There's something else too, a cyclical nature to the mass culture, it seems every two decades we come around again, and on the odd decades we're diametrically opposed, counter-culture becomes vogue, hipness becomes gauche; wait a few years, all your most gaudy ties are back in fashion!
And that makes your blog even more important, as the respite from the media obsessions of the day, you are creating a constant beacon, recording what you have collected, and as someone above commented, I'm also riding along with your carefully curated review and savouring even familiar recordings with a new sense of wonder.
Someone recently asked Yoko Ono, who has now, at age 80, a string of #1 hits in the NYC dance club circuit, they asked how she survived all those years of people hating her and her work.
Yoko replied, "I didn't mind getting some approval. It would have helped my work to go places. But I didn't get it. Should I have jumped in an icy river or something? Instead, I just became a good dancer."
The thing is, like Pops, we have to transcend the times, we have to reach for timelessness. It's the only way to escape madness.
- December 28, 2013 at 11:31 PM
- Swingin' Drummer said...
Hi Ricky, Don't be discouraged about jazz critics snobbery. The truth is Pops was (and is) hugely popular with the general public and that's something a lot of critics have never forgiven him for, because they want jazz to be a clique, not the popular music of the day that it used to be. The new Symphony Hall was definitely a highlight of my year!!! Keep up the outstanding work and wishing a very happy new year to you, your family and all at the LAHM. Cheers, Peter
- January 2, 2014 at 11:37 AM
I listened to the Berlin Black and Blue when I was reviewing your book for Down Beat, and I wasn't disappointed. I had a similar in-person experience when I heard him play West End Blues unexpectedly in a Ravinia concert in 1960 -- perhaps because Lil Hardin was in the audience. He burned through the familiar solo parts with all the passion and fire he brought to B&B in Berlin. I recorded it with an early battery tape machine and later recalled it in an NPR piece I did on 50 years of jazz at Ravinia about seven years ago. (Here's a link: http://www.wbez.org/episode-segments/jazz-ravinia ) Regarding the new LA CDs, I reviewed both the Symphony Hall set and Complete Okeh collection for Down Beat. I gave the Okeh collection a rare 5-star rating (as if anything else was possible) and put it on the top of my best-of-the-year critics choices at the end of the year. The problem with the Symphony Hall album was that Universal Music, despite several requests, refused to provide review copys. That delayed the reviews. They provided instead a digital copy that we grabbed on line. What I heard was a version of the set that may not have been representitive of the actual CD. A couple of the more minor tracks were up cut and each track ended with a hard cut rather than a fade ro continuous applease. These struck me as matters of production sloppiness, though I think I gave it 4 stars and I believe it ranked 10 in Down Beat's list of the years best. On your larger question of Louis's press presence today, I'm not sure it's fair to judge the historic stature of a great figure in terms of contemporary magazine covers or articles. Armstrong has received all the honors and acknowledgement he could possible attract and is now part of history. Journalism requires that old stories not be recycled and that something new be added to justify a revisitation. Terry Teachout's bio brough Louis considerable recent attention. And I think the manner in which Armstrong was used in "Good Morning Vietnam" almost single handedly restored him to a permanent iconic status in American culture. Granted, the Okeh set, which combined the Columbia and Victor material for the first time, was another such an opportunity and was surprisingly undervaluled by the jazz press. But jazz critics are by and large not historians. Their perimeter of vision tends to be fade beyond their own lifetime or the generation just before, which is often romanticized -- the lesson dramatized in Woody Allen's "Midnight in Paris.". At Down Beat we noticed a few years ago that many essential pre-war players were being passed over in the annual Hall of Fame category, which was suppposed to cover the contributions of non-contemporary players. We would expect this perhaps of the readers voting, but not the critics polling. Yet, younger critics did not see fit to recognize such players as Sid Catlett, Chu Berry, Jo Jones, Erroll Garner, Chick Webb, Harry Carney and many others, without whom no such panel can have serious credibility. So in 2008 a blue-ribbon Veterans Committee was formed to repair these oversights. Catlett and Berry remain to be inducted.
- January 29, 2014 at 3:14 PM
John McDonough
I listened to the Berlin Black and Blue when I was reviewing your book for Down Beat, and I wasn't disappointed. I had a similar in-person experience when I heard him play West End Blues unexpectedly in a Ravinia concert in 1960 -- perhaps because Lil Hardin was in the audience. He burned through the familiar solo parts with all the passion and fire he brought to B&B in Berlin. I recorded it with an early battery tape machine and later recalled it in an NPR piece I did on 50 years of jazz at Ravinia about seven years ago. (Here's a link: http://www.wbez.org/episode-segments/jazz-ravinia ) Regarding the new LA CDs, I reviewed both the Symphony Hall set and Complete Okeh collection for Down Beat. I gave the Okeh collection a rare 5-star rating (as if anything else was possible) and put it on the top of my best-of-the-year critics choices at the end of the year. The problem with the Symphony Hall album was that Universal Music, despite several requests, refused to provide review copys. That delayed the reviews. They provided instead a digital copy that we grabbed on line. What I heard was a version of the set that may not have been representitive of the actual CD. A couple of the more minor tracks were up cut and each track ended with a hard cut rather than a fade or continuous applause. These struck me as matters of production sloppiness, though I think I gave it 4 stars and I believe it ranked 10 in Down Beat's list of the years best.
- January 29, 2014 at 3:21 PM
John McDonough (continued)
On your larger question of Louis's press presence today, I'm not sure it's fair to judge the historic stature of a great figure in terms of contemporary magazine covers or articles. Armstrong has received all the honors and acknowledgement he could possible attract and is now part of history. Journalism requires that old stories not be recycled and that something new be added to justify a revisitation. Terry Teachout's bio brought Louis considerable recent attention, and other occasions will occur in the futur . I think the manner in which Armstrong was used in "Good Morning Vietnam" almost single handedly restored him to a permanent iconic status in American culture. Granted, the Okeh set, which combined the Columbia and Victor material for the first time, was another such an opportunity and was surprisingly undervaluled by the jazz press. But jazz critics are by and large not historians. Their perimeter of vision tends to be fade beyond their own lifetime or the generation just before, which is often romanticized -- the lesson dramatized in Woody Allen's "Midnight in Paris.". At Down Beat we noticed a few years ago that many essential pre-war players were being passed over in the annual Hall of Fame category, which was suppposed to cover the contributions of non-contemporary players. We would expect this perhaps of the readers voting, but not the critics polling. Yet, younger critics did not see fit to recognize such players as Sid Catlett, Chu Berry, Jo Jones, Erroll Garner, Chick Webb, Harry Carney and many others, without whom no such panel can have serious credibility. So in 2008 a blue-ribbon Veterans Committee was formed to repair these oversights. Catlett and Berry remain to be inducted.
- January 29, 2014 at 3:24 PM
- helmutbooks said...
Ricky- re your disappointment as to how the Okeh/Columbia /RCA reissue fared at the polls and among the reviewers:You are being quoted yourself by an Amazon reviewer as having said elsewhere on your blog that the same old versions at the wrong speed were offered up again. So why do you wonder?
- January 29, 2014 at 10:58 PM
- Ricky Riccardi said...
Hi all and thanks for the lively discussion. It's always great hearing from you, John McDonough, and thanks for making the point that Armstrong doesn't need features in jazz magazines to remain relevant. I should know that better than most since at the Louis Armstrong House Museum, visitation is up and that includes all sorts of visitors: school groups, senior citizens, foreigners, you name it. Pops remains tops with them. My complain was aimed at the jazz community and again, you make the sad, but valiant point about the lack of knowledge most jazz writers (and musicians) have when it comes to the early giants. It has just always struck me as odd that Miles, Bird and Coltrane have each been dead for a LONG time, but their reissues get major coverage and discussion. Pops? Not so much. Even young musicians who sound like those three get more respect and attention out of the gate than young musicians who are primarily influenced by Armstrong. Again, these are small concerns--Armstrong remains a gigantic worldwide presence (his Facebook page has well over 1 MILLION fans)--and though it would be nice if the jazz press covered him more often, he sure doesn't need it! And I really do believe his influence and impact will continue to grow and affect others in the future.
Regarding "Satchmo at Symphony Hall," John, you docked it a star for "production sloppiness." As co-producer, I'd like to address that. First, I'm sorry you had trouble getting a review copy. Mind you, I don't work for Universal, I was just hired for this project to oversee everything, thus, once it was released, they didn't need me any more. But yes, not sending a review copy to a magazine like "Downbeat" does seem foolish and I apologize for that.
But regarding the actual content, I can attest that the actual 2-CD version is continuous; there are no "hard cuts" or "up cuts," which apparently appear on the digital version. I was in the studio for every step of the remastering and production process and believe me when I tell you that Seth Foster at Sterling Sound did a magical job in getting it all to sound seamless. Here's what he had to work from:
1. Reel-to-reel tapes of the original recordings, as issued by Decca in 1950 (talk about some quick fades!). Universal did not have the complete concert.
2. CDs from the Gosta Hagglof Collection of the Louis Armstrong House Museum that contained transfers from the rather noisy original acetates. Hagglof died in 2009 and donated his collection to the Armstrong House. We don't know how he had access to the acetates but thank goodness he transferred them!
3. 1 16-inch transcription disc that included a few of the unissued performances.
4. The 1994 Decca CD reissue, which in some cases, after A/B comparisons, had better sound than the reel-to-reel tapes.
Seth had to use these FOUR sources, EQ them properly and make sure each track moved seamlessly from source-to-source. ALL of the original announcements only survived on the noisy acetate transfers but we thought they were important enough to included because face it, this was going to be the only shot to release this historic concert in its complete form. That's the only reason it was disappointing to see it get knocked down a star for "production sloppiness" because I know how hard we worked to make it sound smooth and consistent, a difficult task with four very different sounding sources at hand. Also, I know we achieved that, but I guess it didn't translate to the digital version, which is a shame. (But you can't please everyone; someone docked it a star on Amazon because they didn't like the cardboard sleeve packaging and used that as proof that Universal had contempt for its customers!)
Having said all of that, you're still the tops and thanks for giving both releases (and my book!) the attention that was lacking just about everywhere else.
Yours in Pops,
- February 4, 2014 at 1:21 PM
- Ricky Riccardi said...
And Helmutbooks, you ask a very valid question. I knew it had its flaws but at the end of the day, it was the first box to have all of Louis's recordings as a leader during that tremendously important 1925-1933 period. I figured it would get the publicity and THEN there would be a discussion about the set's flaws....but it never got the publicity, haha. Above you, John McDonough, who gave it a five-star review in Downbeat, even mentioned it being "surprisingly undervalued by the jazz press." It wasn't undervalued by the sound issues; my argument is it was undervalued because it was just another Armstrong release.
Does that make sense? I know it sounds confusing to complain about the lack of attention for a product that I myself complained about, but still, I would have rather have seen it reviewed in every newspaper and magazine in the country (and beyond), rather than be ignored, which it mostly was.
- February 4, 2014 at 1:26 PM
- Lemonlymelon said...
Ha, I randomly stumbled upon this today. I never knew I was mentioned :D Thanks
- April 17, 2015 at 7:29 AM


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There never was much of a question about whether or not Kansas City Chiefs wide receiver Dwayne Bowe would sign his $9.5 million franchise tag tender. The only question was when.
That was answered Friday when the Chiefs announced that Bowe had signed on the dotted line.
The timing is very logical. The Chiefs just wrapped up training camp, which any veteran is happy to avoid. Bowe still has more than three weeks to get ready for the season opener. The Chiefs has a new offensive system this year under coordinator Brian Daboll, but it shares many of the characteristics from the Charlie Weis days in Kansas City.
Like most holdouts, this one caused a lot of unnecessary chatter. Bowe always was going to show up. We doubt he'll get the gigantic contract he's looking from the Chiefs, so he's playing for a contract once again in 2012 for one of our favorite sleeper teams.
UPDATE: Bowe later tweeted that he had passed his physical and conditioning test.
Back in the swing of things. Did physicals & passed conditioning test. Excited to b w/my teammates & get back to business...go chiefs!â Dwayne Bowe (@DwayneBowe82) August 17, 2012
Follow Gregg Rosenthal on Twitter @greggrosenthal.


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text:
Sept. 8, 2000
SAN FRANCISCO, Calif. - Sophomore transfer Jamil Walker (Rochester, N.Y.) scored the game-winning goal 14 minutes into the second half to break a scoreless tie and lead the Santa Clara men's soccer team to a 1-0 shutout of previously-undefeated Alabama A&M in the first match of the San Francisco diadora Classic.
The Broncos (1-1) outshot A&M by a 15-5 margin, including a 9-1 edge in the first period. Junior Rusty Johnson (O'Fallon Ill.) recorded the shutout for Santa Clara in his first action this season. Johnson did not play in the season-opener against Sacramento State due to a deep thigh bruise.
Alabama A&M fell to 3-1 on the season. They had outscored their opponents by an 11-1 margin heading into the Santa Clara contest.
"I thought we played pretty well in the first half," said head coach Mitch Murray. "We really had a lot of chances to score and we just didn't take advantage of them. For the first 25-to-30 minutes we really put a lot of pressure on them and we deserved to be up by a couple of goals. It is still early in the season and we just aren't sharp yet."
Following a flurry in front of the goal, Kirk Fonseca (Bakersfield, Calif.) fed Walker an assist for the game winner at the 59:56 mark in the game. Walker has scored both of Santa Clara's two goals this season.
"I am concerned about our lack of depth right now mainly due to injuries," said Murray. "It usually takes about six weeks for a team to really play together as a unit once we get them together. It has been about three weeks right now, so I think in a few more weeks you will see a different team on the field that the one that was out there tonight. We will also get some guys healthy, which definitely will help us with experience and depth."
The Broncos will face Cal Poly in a noon matchup on Sunday in the San Francisco diadora Classic.
Goals by Period Santa Clara 0 1 -- 1 Alabama A&M 0 0 -- 0
Goalkeeper Saves SCU - Johnson 2 A&M - Smith 8
Shots SCU 15 A&M 5
Goal Summary 59:56 - Jamil Walker (Kirk Fonseca) 59:56 SCU 1, A&M 0


text:
Ringing in the new year at a restaurant is almost as popular as eating turkey on Thanksgiving. With less than a month left before the end of the year — and the decade, now is the time book your reservation, especially if you're interested in the evening's most prime dining times.
You can learn about special offers, unique celebrations, and moutwatering menus and make reservations by clicking on the "New Year's Eve 2009" link under "Offers and Events" on your city's start page. If you plan on dining out in another destination in our nation or around the world, visit our international New Year's Eve page.


text:
Copyright Claim Sets Back Cognitive Impairment Testing - Slashdot
Someone remind me why intellectual property is such a boon to society?
This is an indication that there needs to be some kind of "override" on copyright law when general welfare is concerned.
"A recent New England Journal of Medicine editorial talks about the mini-mental state examination � a standardized screening test for cognitive impairment. After years of being widely used, the original authors claim to own copyright on the test and 'a licensed version of the MMSE can now be purchased [...] for $1.23 per test. The MMSE form is gradually disappearing from textbooks, Web sites, and clinical tool kits.' The article goes on to describe the working of copyright law and various alternative licenses, including GNU Free Documentation License, and ends with the following suggestion: 'We suggest that authors of widely used clinical tools provide explicit permissive licensing, ideally with a form of copyleft. Any new tool developed with public funds should be required to use a copyleft or similar license to guarantee the freedom to distribute and improve it, similar to the requirement for open-access publication of research funded by the National Institutes of Health.'"
This is an indication that there needs to be some kind of "override" on copyright law when general welfare is concerned.


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Made from reinforced parachute material, the famous magic knot effect popularized by Slydini can now be yours! Two silks are tied together by a strong knot. The knot is examined by your spectators and then you can instantly make the knot dissolve.
Do you own this product? Write a review.


text:
Croatia Church finds priest guilty of pedophilia
ZAGREB, Croatia (AP) — The Croatian Catholic Church has found one of its priests guilty of sexually abusing minors, the first such ruling in the staunchly Catholic nation.
The head of Croatia's Bishops Conference, Archbishop Zelimir Puljic, told Croatian state TV late Friday that the Rev. Nedeljko Ivanov was ordered to apologize to the victims and must donate part of his pension to charity. He is allowed to celebrate Mass only inside his retirement home, but cannot perform any other priestly duty.
The case emerged two years ago when Ivanov was accused by people who as children had been in the priest's congregation in Bibinje, near Croatia's Adriatic coast.
Ivanov cannot be tried by Croatia's judiciary because the alleged abuse occurred in 1980s and 1990s.
The priest had no comment on the ruling.
Copyright 2014 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Lotus Biscoff Ice Cream
Review Recipe3 stars based on 2832 votes
Cool off with a scoop (or two) of ice cream, deliciously enhanced with Lotus Biscoff Cookies. Courtesy of Michael T. Duarte, Sausalito, CA
1. Mix and Stir first 4 ingredients. 2. Crumble Biscoff into small pieces. 3. Chill first 6 ingredients then add to ice cream maker, according to manufacturer's instructions. 4. Mix in about 10 Biscoff Cookies during initial churning. They will break up into finer pieces and add to the basic flavor. 5. Add the remainder of the Biscoff about 5 minutes prior to completion.


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Job Ref: 14702 | Cheltenham
Care is at the heart of everything that we do. Working within the Care team you will show warmth, compassion and support to our residents and their families; helping to promote independence and dignity and positively enhancing the lives of individuals in our care. Your daily routine will be as varied as the needs of people you are looking after. You will often be helping people to wash and dress, eat and drink, and go about their daily activities, but you will know what makes a difference to them and what helps to put a smile on their face.
Additional Information
|Contract Type:
|Hours per week:
|Salary Type:
|Hourly Rate:
|What level of DBS check?
|Potential Interview Date 1:
|Friday, 26th July 2019
|Full Job Description:
|Download Full Job Description
Vacancy closing date: Friday, 19th July - 2019 22:55
How to Apply
Apply online
Fill out the online application form to apply for this position
If you are unable to complete an online application, please click here to download a copy of the application form.


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From the creators of Warhawk comes a bold new 3rd Person shooter adventure where you can change the battlefield instantly in the heat of combat.
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Engage in epic 32 player online battles and see maps dynamically change depending completely on each player's strategy or team up with friends and protect your claim against waves of AI opponents in online and offline Co-op modes.


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I believe every law enforcement officer should visit Washington, D.C. during the week of May 15, which is National Police Week. This is the week that law enforcement officers honor their brothers and sisters who have made the ultimate sacrifice. This is the week when all of the fallen officers' families honor their loved ones each year in Washington, DC.
Rep. Mick Mulvaney has been taking a lot of credit lately for keeping our taxes low.
For example, Mr. Mulvaney, along with 50 or more of his colleagues, objected to including legislators in a plan to provide retired public employees an annual cost of living adjustment.
Because of their objections the bill was sent back to committee.
Gamecocks' place-kicker Ryan Succop's 48-yard field goal looked on line to finally seal South Carolina's hard-fought win over North Carolina that mid-October day as dusk fell on the Tar Heels' Kenan Stadium last fall.It was good – good for nothing. The kick bounced harmlessly off the right upright to the turf.
These numbers – 8 percent; 1 in 5; 40 percent – by themselves may seem insignificant to you when read alone. How would you feel if these numbers reflected crime in your neighborhood? Unfortunately these statistics relate to the crimes that occur in our schools?
Where were they going? I watched as the cars and trucks hurried north and south on U.S. 521. Drivers would stop and turn into the parking lot of the fast food restaurant. Some parked, walked in and ordered their food. Others made their way through the drive-through line.
The sounds of patrons' conversations resembled the humming around a bee hive. I babysat a cup of coffee while talking to my brother sitting across the table from me. I was wearing workout clothes, had no makeup on and my hair was wet.
There is not a day goes by that I don't miss my son, James "Mickey" Funderburk, who died in a motorcycle accident on June 1.
He was my best friend.
He came to see me everyday and I would cook for him.
He was a happy person and liked to make people laugh.
He has always loved motorcycles. And he died doing what he loved most.
Mickey had a lot of friends and we appreciate all their visits and kindness.
We treasure all the little anecdotes they shared with us.
Today – the third Sunday in June – we honor our dads in the annual observance of Father's Day.
The overriding question for the week around most households is what to get Daddy for his special day.
Guest what? He just wants to have his family around to celebrate the day.
Oh, he will gladly take that new shirt, a pair of shorts – summer is coming, some cologne and yes, that tie.
It wouldn't be Father's Day without the giving of a tie.
That tie is symbolic because dads offer that special bond in our lives.
I praised the Palmetto Thunder Air Show in my "Remember when" column because it was excellent, well staffed and fans were on their best behavior.
My son invited me to attend and assist at the recycling booth. We both paid the $15 admission fee as we entered the gates. I can understand free tickets for law enforcement and emergency operating teams. I seriously doubt if their free admission was responsible for the shortfall.
Where is our county leadership when we need it? It is an outrage when our County Council rolls over and bails out Frank Keels and his See Lancaster's Palmetto Thunder Air Show to the tune of a $75,000 advance. This is in addition to the $15,000 previously budgeted to See Lancaster.
It's great to showcase Lancaster, but not at a $90,000 hit to the taxpayers. This could have bought four new squad cars the sheriff's office desperately needs. It could have been used to provide some relief to our elderly struggling to pay their property taxes.
The county's Panhandle will be the center piece for the annual Founders Kickoff Classic this season.
Indian Land High School will be the host for the high school football jamboree, in its fifth season on Aug. 22.
That may seem like a ways away, but plans are already being made for the Warriors' time to host the prep football kickoff event.
When the Kickoff Classic was in its planning stage a few years back, the idea was to have each county school serve as a host on a rotating basis.
Like most Americans, the rising cost of fuel has caused my family to look at where we can cut back on our expenses.
I drive a Dodge pickup and the last time I filled up, I paid about $90. My husband and I looked over our receipts and banking information and made some decisions on how our family can save money without noticing a significant difference in our daily lives. It's easy to become a "piker" when you know where your money is going. For instance, we spent about $40 a month in body wash.
This letter is in response to the letter to the editor about stores raising gas prices before getting refills. I can certainly understand why people are upset about rising prices. As an accountant and business owner, I wish the public could realize the reality of doing business.
I am shocked to see that Lancaster County Council voted to spend $75,000 of Lancaster's money to subsidize a private venture failure. Is councilman Wayne Kersey the only councilman to be concerned with fiduciary responsibility?
Would the air show have donated $75,000 to Lancaster County if there had been that much more made on the venture than was anticipated? I doubt it.
If you are an entrepreneur, you play at your own risk. You win some and you lose some. I wish the county had subsidized some of my less fortunate ventures. What a sweet deal.
You have to commend organizers for trying something of the magnitude of the Palmetto Thunder Air Show held May 17-18 at the Lancaster County Airport.
The event was a major undertaking. It took months of planning. People gave their time to help make the event become a reality. They gave up their weekends to work at the show. And it did not go unnoticed. Spectators wrote raving reviews and praised the show and the "courteous and professional" volunteers.
An outrage – that is the only way to describe recent reports of the conduct of our Lancaster County Council and See Lancaster. Frank Keel, former executive director of See Lancaster, went to County Council with hat in hand to request $75,000 of taxpayers' money to bail the group out the abysmal failure of the air show.
Fishing rodeo supporters say thanks for support
I would personally like to thank all the sponsors and volunteers at the second annual Sunrise Lake Fishing Rodeo. We had more than 400 children and almost 1,000 attendees. As one of Lancaster County's three game wardens who helped organize the event, I thank you.
Shawn Hanna
We have found that grandparents have little or no rights when it comes to grandchildren. We wonder if there are other grandparents who share this same concern.
Writer thanks retiring sheriff, congratulates new one
I know when Billy Dale and I voted for Johnny Cauthen for sheriff he was the best. Johnny has helped us so much. Billy Dale suffered a severe head injury in his wreck and has cussed Johnny and his deputies several times. But they knew Billy Dale was sick and helped anyway.
Summer is fast approaching and Family Promise is rolling along with full steam. Monthly meetings may seem mundane to some, but for me they are exciting.
Family Promise is on a ride of its life. With humble beginnings in September it has reached a modest middle ground. There is a lot to do and plenty of time to do it right.
A pace has been set for Family Promise's progress and we, on the committees, can only go with the flow and course that God has put us on.
Prayers have been said all along and now we are seeing some graces unfold before our eyes.
On Tuesday voters across the state can exercise one of the most privileges democracy grants us – the opportunity to determine who will represent them in local and state government.
While it is a primary two local races will be pretty much be decided, barring any last-minute surprises. Larry McCullough and Alan D. Patterson are running on the Republican ticket for the County Council District 1 race. There is no Democratic opposition.
Incumbent Wayne Kersey will face Kathy Sistare in the County Council District 7 race. There is no Republican opposition.
Copyright © 2019
The Lancaster News is your source for local news, sports, events, and information in Lancaster County and Lancaster, South Carolina, and the surrounding area..


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EA really know how to make a videogame that has mass appeal. The Need For Speed series has become a huge favourite amongst the teenage audience and the switch to Underground gave the series a much needed boost in popularity. Despite huge sales the Underground games never really felt like they were all they could be, and games like Midnight Club 3: DUB edition out undergrounded Underground. Thankfully Need For Speed: Most Wanted returns to daylight and delivers one of the most entertaining street racing experiences to be found on any platform.
The premise of Need For Speed: Most Wanted is simple. You're a cool guy, with a cool ride, but you get involved with some uncool cool guys (headed by Razor) who give you a hard time and cheat you out of your wheels. As expected, you must start from scratch and work your way through the most respected street racers that are part of the Blacklist - a list that governs who can race who in the city of Rockport. These fifteen racers are the best of the best and you've got to prove yourself before you can even think about taking them on. Mia, a beautiful woman played by Josie 'Maybe it's Maybelline' Moran, decides to befriend you and help you out during your battle to get to the top.
Even before you start racing you'll notice the amazing cutscenes. They really must be seen to be believed. Using a mix of rendered footage and real life actors, they're full of over-the-top characters, cheesy dialogue and genuine - although probably unintentional - laugh out loud moments. Sergeant Cross is particularly amusing, and his female partner does her best to seem like she's in the totally wrong profession. Who knows if EA intended the whole thing to be a joke or not, but if they did, it's inspired.
When you've recovered from the cutscene hilarity, the game itself doesn't disappoint either. Even though you'll be racing in an un-tuned car at the beginning of the game, the sense of speed is still superb, with the better cars offering some truly staggering performance. The city you race in is open to be explored, but you're also set challenges to participate in. These are split between Race Events (such as circuit and sprint races) to Milestone Events (such as evading the cops for a set time or being clocked while travelling at a certain speed). You can roam the city and take challenges that way, but it's far easier to enter the game's menu and select them from a list.
Once you've proved yourself by completing these challenges you can attempt to beat the next racer on the Blacklist. By doing so you'll be able to take two of your opponent's markers. A number of these markers give obvious rewards, such as cash and upgrades, but the others aren't detailed, and could be anything from your opponent's car to more cash. Cars can be bought and tuned up manually too, with plenty of performance and visual upgrades on offer. Visual upgrades look cool, but also lower your heat level, meaning you'll get less hassle from cops. There aren't as many licensed vehicles as I'd have liked, but you do get some from BMW, Porsche, Lotus and others, taking the number to around 30. The 'story' does a good job at moving you through your career (even though the hilarious cutscenes are replaced by voice and text messages pretty early on in the game) but it plays second fiddle to the thrilling gameplay - cop chases in particular.
The cops in this game are downright brutal, often calling for backup, setting up road blocks, ramming you, and generally doing all they can to end the chase. When you're being pursued you must attempt to lose the coppers and then stay out of sight for a set period of time, until the heat on you has cooled off. Eventually you'll need to own multiple, allowing you to rest those cars with heat. The upside to this is that more heat on one car means less on another, so you can hop into another at your safe house and continue on your way. The chases themselves can go on for a long time, escalating to twenty or so cop cars and even choppers. There are certain things you can do to give them the slip though, such as knocking roadside objects into their path, ramming them into other vehicles, faking them out, taking sneaky shortcuts, and more.
As with almost every street racing game available, you can use speed boosts, but Most Wanted also features a bullet time-like feature. You can send the game into slow motion and then gain increased control over your car, allowing you to get out of tight spots or take sharp turns without slowing down. It's an ability that I didn't find myself using all that much and you can certainly get by without touching it, but it's fun to use now and again, if only to slide underneath a lorry's trailer.
Outside of the Career mode you can take part in set challenges where you're given a car and told to achieve a certain goal. These are split between races and milestones, just like the Career mode, and provide you with something extra to do once you've made it to the top of the Blacklist. Online play is also available for Xbox and PC owners, but game modes are limited to racing, with pursuit gameplay modes unavailable. If you're into modding your own cars then your creations can be traded online in specially set up lobbies, but on the whole online play isn't Most Wanted's strongest feature. Strangely, online play isn't included in the PlayStation 2 version, but if you don't own an Xbox or PC you're not missing out on much.
Need For Speed: Most Wanted is also available for the Xbox 360, and while the current-gen versions don't look as good, they look damn good in their own right. The Xbox version is especially good looking, with plenty of detail in the environment, some beautiful lighting, excellent car models and a great sense of speed. The PlayStation 2 version suffers from more frequent slowdown than the Xbox version and looks rougher overall, but it's still a solid looking game. If you own a nice high-spec PC you'll be able to get the game looking remarkably similar to the Xbox 360 version, but the lack of widescreen support is disappointing, especially when both of the current-gen console versions have this option.
The audio work in Most Wanted is one of the best aspects of the game. When you're being pursued the soundtrack will change to a Michael Bay movie-esque dramatic tune that really heightens the sense of danger. The police can also be heard talking to each other over the radio, and after a while you can even work out what they're going to do, whether it be setting up a road block or laying down spikes. It really is implemented well, sounding great and enhancing gameplay. Engine sounds are also fantastic, with the only real blemish coming from the tunes that EA has included as part of its EA Trax, although if rock and hip-hop is your thing they'll probably be right up your street.
Everything isn't perfect though, with a few little niggles getting in the way now and again. The most obvious is the rubber-band AI, which means that almost every race is down to the last few corners, no matter what has gone on before it. During the game you're told that things are about to get tougher and at this point the AI opponents suddenly drive brilliantly. It's quite jarring and puts a temporary hold on your progression. The racing in general isn't as much fun as running from the cops, and this sudden spike in difficulty doesn't help.
Need For Speed: Most Wanted is a great return to form for the series. While the actual head-to-head races are a little disappointing, cop chases provide more entertainment than most racing titles released this year combined. Combine these thrills with some great presentation and some incredible early cutscenes and you have not only the best Need For Speed title in some time, but also one of the best racers period.


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Pet Supply Source - Meds, Food, Treats and More
There's lots to see, learn and do at our animal camps.
Our workshops are a creative outlet for youth to help animals through their artwork.
Kids + animals = FUN!
We have resources and programs for teachers!
Everything you need to know about financial aid, cancellations and refunds.


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Rope Ratchet
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With the ROPE RATCHET you simply attach the two hooks and pull the loose end of the rope to get the secure tightness you need. With ROPE RATCHET Tie-Downs you never have to worry about stretching, snapping back or loosening.


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|Notebook users are demanding better and more powerful visuals than ever before - whether it is an engineer reviewing a 3D CAD model in an Adobe Acrobat 8 pdf document, or a road-warrior on a red-eye flight watching Terminator 3 on HD DVD, or a college student playing Unreal Tournament 3, or just about anyone using the Microsoft® Windows Vista® Aero function.
Available at all price points and designed to meet the power and thermal requirements of notebooks, the new NVIDIA® GeForce® 8M graphics processing units (GPUs) deliver the performance needed for Windows Vista and GPU-enabled applications. Featuring NVIDIA® PureVideo™ HD technology for the ultimate notebook video experience, the GeForce 8M Series is also the first to support Microsoft® DirectX® 10, delivering high performance for not only the latest generation of games, but for applications that demand powerful multimedia capabilities.
|GeForce 8800M GTX and GeForce 8800M GTS
The world's fastest notebook GPUs, power the ultimate DX10 notebook gaming platform. The unified architecture of the GeForce 8 Series GPUs provides unparalleled performance and the most realistic 3D graphics effects available on a PC. And, with NVIDIA PureVideo HD technology, you'll experience unsurpassed Blu-ray and HD-DVD video,** in vivid color, superb picture clarity, and longer battery life. Learn More
Alienware Area-51 m15x
** for products with Blu-ray and HD-DVD systems installed
|GeForce 8600M GS and GeForce 8600M GT
Make sure your performance notebook is equipped with an NVIDIA GeForce 8600M for the performance and features you need to play the hottest new games featuring DirectX 10. Enjoy the ultimate HD movie experience, use the latest productivity applications, and enjoy the ultimate Windows Vista experience. Learn More
Dell Insprion 1720
|GeForce 8400M G, GeForce 8400M GS and GeForce 8400M GT
You can have the performance and features you need while enjoying the ultimate Windows Vista experience in something compact and easy to carry. The NVIDIA GeForce 8400M also enables you to play the hottest new games featuring DirectX 10. Enjoy the ultimate HD movie experience at an affordable price, with easy-to-carry mobility. Learn More
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- SN Online
SN Online
- Science Future
Science Future for February 23, 2013
- 50 Years Ago
Science Past from the issue of February 23, 1963
- People
Rare disease sets mom's research agenda
When a child is diagnosed with a mysterious disease, the lives of everyone in the family change. But when Leslie Gordon's son Sam was diagnosed with a rare premature aging disease, the lives of dozens of families changed. As a pediatrician and medical researcher at Brown University, Gordon set out to learn what caused her son's condition and how to treat it.
- Letters to the Editor
- Reviews & Previews
Space Atlas: Mapping the Universe and Beyond by James Trefil
- Reviews & Previews
I Died for Beauty
Dorothy Wrinch was best known for losing a feud with Linus Pauling over protein structure, but this biography delves far deeper into her life and contributions to math, physics and more.
Oxford Univ., 2012, 300 p., $34.95
- Reviews & Previews
Life's Ratchet: How Molecular Machines Extract Order from Chaos by Peter M. Hoffmann
- Reviews & Previews
Wind Wizard: Alan G. Davenport and the Art of Wind Engineering by Siobhan Roberts
- Reviews & Previews
Mad Science: Einstein's Fridge, Dewar's Flask, Mach's Speed, and 362 Other Inventions and Discoveries that Made Our World by Randy Alfred, ed.


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Microsoft last week told Excel users that one of the 12 patches issued causes the spreadsheet to make mistakes in some calculations.
In a warning posted, Bill Sisk, security response communications manager, said that the fixes outlined in the MS08-014 bulletin "causes Microsoft Excel 2003 calculations to return an incorrect result when a Real Time Data source is used."
According to a more detailed addition to MS08-014, Excel 2003 Service Pack 2 (SP2) and Excel 2003 SP3 return an incorrect result -- usually "0" -- when a Real Time Data source is used in a Visual Basic for Applications function, or macro.
"If you have applications that leverage Real Time Data sources in Visual Basic for Applications functions, we recommend that you perform additional testing before initiating a wide deployment of the update," advised the new version of the bulletin.
Real Time Data was added to Excel in the 2002 version of the spreadsheet, and allows users to have data automatically pushed into a spreadsheet from a variety of sources, Web sites included.
"Our teams are testing a fix and will release it once it meets our quality bar for broad distribution," Sisk promised.
In the meantime, Microsoft suggested that users run any function containing a Visual Basic macro that refers to a Real Time Data source on each cell individually, rather than on an array of cells.
Last week, Microsoft rolled out four security bulletins that patched a dozen vulnerabilities, all in Office, including seven critical bugs in Excel under the umbrella of MS08-014. Microsoft did not specify which of the seven fixes "broke" Excel 2003's calculations of Real Time Data.
One of the patches deployed fixed an Excel flaw that had been exploited for at least two months in targeted attacks.