text:
Having completed the "Slade In Flame" promotional duties across Europe, the group, once again, set their sights on America.
June/July 1975 Newsletter
The biggest news story this month is the headline 'Slade Moving To America'. This is not completely true, Slade have no intentions of leaving Britain permanently. They are shortly undertaking a global Tour which will keep them outside England for an extended period. There are two reasons necessitating such a Tour, first the need to conquer America, for although they have been successful on tour there they have not experienced such record sales as enjoyed in Britain, and to consolidate their success throughout the rest of the world. Secondly, the crippling taxes they have to pay are forcing them to spend a large portion of each year outside England. Let the boys explain for themselves - see further on....A RECORDED MESSAGE FROM SLADE"Hello everybody, this is Noddy, Thanks for all the support you've given us, but what you may have read in the papers, it ain't all true that we are quitting Britain and going to live in America. We are just going over to do a tour for a few months or so, because we have not worked there for a long time. But we will be back for T. V. and to promote all the records.""Hello, this is Jimmy here. I'd like to thank you all for coming to see us over the years. We've done 6 tours of Britain and enjoyed everyone, it's always best to tour in Britain. We're going to America because we feel it's time to get some success there, we will not be touring for another year or so, but we will be coming back to England in our spare time, so we will not be disappearing altogether.""This is Don speaking. There is not much I can add to what the others have said. But I would just like to say thanks to all the fans who have followed us over the last four years, and supported us all along the way - thanks. See you soon.""Dave here, hope you are alright. Hope you enjoyed the movie and remember for all those girls who were crying at the end, it's only a film and it ain't true about Nod and Jim, they are good friends really. May have our T. V. series soon, hope you all like the new single 'Thanks For The Memory' and keep smiling, Ta Ta."
New Slade Album Prelude to Tour
As a prelude to a forthcoming American tour, a new album by Slade, England's top hard-rocking ensemble, is being released nationwide by Warner Brothers Records.
Entitled "Slade In Flame", the album is a slightly modified version of the soundtrack recording of the hit movie "Flame" that rocketed to number one on all the British album charts earlier this year.
Two newly recorded songs, "Thanks For The Memory" and "Bangin' Man" are the new editions for the American market. The two immense British hit singles from the original soundtrack, "Far Far Away" and "How Does It Feel?" are also included, as are six other numbers from "Flame".August/September Newsletter
'Slade In Flame' album was released in the States last month and heads the album releases of Warner Bros., the record commpany in the U.S.A. At time of writing it is 150 (with a bullet) with sales increasing week by week. No single has yet been taken from the album but it seems most of the radio stations are playing 'How Does It Feel'.SLADE GO WEST
Dave was trying to keep his hair in some sort of order as the wind whipped off the Hudson River. Noddy, juggled with his ice cream and signed an autograph. Jim and Don turned their faces into the sun as the Statue of Liberty loomed above them.There could never have been such a peaceful scene in England, or in a dozen countries around the world. But here in the United States, despite their previous tours, they can still walk down the street and attract only an occasional glance of recognition. 'We have made it everywhere else except here' said Dave, 'That's why this is a make or break trip'.Americans have remained politely unimpressed, despite those previous tours. 'We were on the verge of making it several times' said Dave during a sightseeing sail aboard a Statue of Liberty ferry, 'But the tours were too short - it seemed that each time we had to return home just as we were winning. So we intend to work here for the rest of the year, with only one break of a fortnight when we'll go back to England. We're very determined, our attitude isn't can we make it? but we will make it!.
Starts Afresh In The U.S.
By Bruce Meyer
United Press International
About once a year the British pop music press declares a new "super-group" and ponderously pronounces the band to be the greatest thing since the Beatles. The youngest English fans react predictably to these announcements, flocking to see the new idols and buying their records in huge quantities.
By their fifth hit single or so, these bands belive the tale and begin making preparations to conquer the enormously lucrative American market, just like the Beatles, the Stones and the other big English groups of the '60s.
Initial response to Slade in the U.S. was, despite one hit ("Gudbuy T'Jane"), overwhelming disinterest. They captured a couple of relatively localized audiences, but there was none of the general success they had hoped for. Six months ago, it seemed that Slade was finished in the U.S.
But this is one band that is nothing if not determined.
"We've come back to the States and we're here until we can crack the market," says mutton-chopped Noddy Holder, gravel-voiced singer and chief spokesman for Slade.
"We've never been here long enough, that's the trouble. Always before, we've had commitments in Europe and England. We could come to the U.S. for four weeks and then we'd have to go back."
"But now we've left our books open to stay here as long as we want. And we're just going to work and work and play here until everybody can see us. We're trying to get as many dates as we can, whether we're topping the bill or supporting."
Holder concludes that it's just like starting over - and he says that's the point at which English pop groups have made their mistakes.
Slade still gave it 150% during the 1975 gigs but there was a different vibe to the gigs though. Slade seemed a little more laid back.
Central Park, July 21st, 1975
I remember seeing this ad like it was yesterday, and thinking to myself "Holy Shitballz, Slade outside in Central park!" So I called 'The Brooklyn Slade Crew' who shared my excitement, and we all went out and bought the $2.50 tickets:and sat in the good seats.
So it's around noon on the day of the show, and the Crew assembled at Harry and Paul's house, and set off for Central Park. Our first stop was Big Nick's Pizzeria in Flatbush, Brooklyn, where we bought Italian submarine sandwiches to eat while we were on line waiting to get into the show. Our second stop was the subway station for the train to Manhattan. Arriving in Manhattan our next stop was (you guessed it) The Liquor Store! Where we bought one bottle of Southern Comfort and 36 cans of Budweiser, walked over to Central Park and got on line. It was about 2PM, and there were maybe 30 people ahead of us, so we knew we'd have good seats. There were a few incidents of people who tried to cut into the line, only to incur the wrath of The Hayes Brothers. Apart from that we drank, ate and smoked (Harry had a half ounce of Panama Red), on a beautiful July day in New York.
"At the Central Park gig, we (The Brooklyn Slade Crew) were on line waiting to get in, it was about four in the afternoon, and Slade did a sound check (we couldn't see them, because the promoter Ron Delsener had fencing put up so if you didn't have a ticket you couldn't see the show) All of a sudden we heard the buzzing of a very loud sound system, and the unmistakable voice of Nod warming up his voice in a very bluesy manner , it went something like: "Ohhhh BaaaaBeeeee…Whoa Yeah" "Oh BaaaaaaaBeeee" followed by a few drum beats, Jim playing a few notes and fine tuning his bass….Noddy continued "Whoa BaaaaaaaBeeee"….. Oh Yeah" then we heard some guitars tuning. Noddy still giving it the "Ohhhh BaaaaBeeeee…Whoa Yeah" and then we heard "One-two-three-four" and the opening to "The Bangin' Man", which was abruptly stopped and a guitar being tuned, and Noddy in a spoken voice saying "It's the f***ing humidity"…. "One-two-three-four" and we heard a kick ass rendition of "The Bangin' Man" needless to say everyone on line clapped and made a lot of noise. Noddy thanked us, and then said something along the line of "Turn up me monitor, I can't hear Jim" followed by "One-two-three-four" the intro was played again and "When you wake up in the…….a little more monitor please…..that's better, ta" and they finished the song."
Harry Canyon
So now its 5:30 PM the gates open and we snag third row center seats! The opening act was Brownsville Station; they had a hit song called "Smoking in the Boys Room", and were a good match to be on the bill with Slade, and they played a nice set.
About a half-hour later "Ladies and Gentleman, please give a New York Welcome to SLADE!" The Boyz walked out, plugged in and played:
- Them Kinda Monkeys Can't Swing
The Bangin' Man
Gudbuy T'Jane
Thanks for the Memory (Wham Bam Thank You Mam)
How Does It Feel?
Just a Little Bit
O.K. Yesterday Was Yesterday
Raining in My Champagne
Let the Good Times Roll/ Feel So Good
Mama Weer All Crazee Now (Encore)
While Slade were playing 'Just A Little Bit', a fight broke out between security and some fans. Noddy stopped the song, and announced "We don't want security getting heavy with our fans" Jim was pointing at one of the security people, and said "I saw what you did!" and Noddy said once again "We don't want security getting heavy with our fans." and received a standing ovation.
All in all, another classic Slade show!
Long Beach Arena, Long Beach, CA 1st August 1975
Long Beach saw Slade warming up for Alvin Lee's Ten Years After, and I wonder if he played Hear Me Calling that night. Gary Wright warmed up for Slade, I'll try to find something on him later.
Winterland, San Francisco, August 4th, 1975
The tour moved on to San Francisco and Bill Graham's legendary Winterland Arena. Slade had played there at least once before but tonight was to be challenging, to say the least.
It wasn't the easiest of crowds to get going, the band were clearly not on top form nor enjoying the experience of being heckled and spat at.
The band were second on the bill to tour headliners Ten Years After, and not Robin Trower as has been erroneously recorded elsewhere. The gig was filmed by Graham's organisation to be used at various venues that he owned throughout the States. I understand selections from the film archive would be shown in between acts.
US Slade fan, Hubert Tung, was at the gig with his trusty camera and managed to grab some choice shots of the band. His account of the gig is nicely balanced too:
"I took these B&W photos at Winterland, San Francisco 1975. They opened for Alvin Lee (10 Years After) which was not a good match. Slade blew Alvin Lee off the stage, but I'm biased, naturally.
I liked Slade's melodic rock with an edge and their colorful performances. They had some catchy hooks. I took these photos on 8-4-1975 at Winterland Arena in San Francisco with a 35mm Pentax camera. It was festival "seating" so I was right up against the stage. Frankie Miller opened, followed by Slade, and then Ten Years After with Alvin Lee.
I was into Slade because one of my best friends in highschool had them as his favorite band. I waited in line for a long time so that I could get right up against the stage. Unfortunately, the crowd was there to see Alvin Lee, and I heard people booing Slade. Even saw an apple or two thrown at them.
Meanwhile, back in Blighty, the 8th August saw BBC Radio 1 broadcast the 2nd part of their 'insight' series featuring a live performance at the New Victoria Theatre in London.
Concert South, St. Luis 14th August 1975
"Slade were booked in to open a swanky new nightclub in St Luis on the 14th, 15th and 16th of August 1975 during their 75' US tour. Slade played the three nights supported by Mahogany Rush ...the night club closed following the three nights never to re open....strange but true........"
Dave Graham: Slade In England, 18/09/2014
NJ State Fairgrounds, Hamilton 24th August 1975
"This time, Hamilton Township is ready to rock.
Since 6pm yesterday, township police and firemen have been patrolling the New Jersey State Fairground on Route 33 in anticipation of the seven group rock concert scheduled to start there at noon today.
"With a maximum of 20,000 tickets being sold, we don't anticipate the problems we had with the Allman Brothers show." said police captain Thomas Lechner, referring to the October 1973 Fairgrounds concert that drew an unexpected 60,000 young music fans to the township, snarling traffic for miles around.
More than 30 Hamilton policemen will be on duty around the concert area today helping with security and traffic control.
Fences builtAccording to the rock show's promoters, the Levittown-based Hollow Moon Concerts, other safety and security measures at the show will include specially-built fencing to limit the wanderings of the racetrack crowd, on-duty doctors and nurses and perhaps even patrolling guard dogs to discourage gate-crashing.
Billed as a "Hollow Moon Afternoon." The rain-or-shine concert features both 'hard rock' and quieter 'country rock' acts. Headling the show is the Boston band, Aerosmith and, at the bottom of the bill, the Trenton group Hoochie Cooch will open the show. The other bands to perform will be Poco, Slade, Bob Weir's Kingfish and Mahogany Rush.
If the concert is successful, Hollow Moon plans one more rock show at the Fairgrounds this summer and "between three and five" concerts there next year.
Entrance gates to the Fairgrounds' racetrack open this morning at 9 and the concert, by agreement with the township council, must end before midnight."Alan Edwards: Special Writer, Trenton Advertiser, 24th August 1975
The promoters seemed to have underestimated the appeal of Aerosmith, whose album Toys In The Attichad been released in April and was steadily climbing the charts. The first single from the album, "Sweet Emotion" was climbing the charts, and "Walk This Way" would follow later in 1975. By the next year Aerosmith would become one of American's biggest rock bands. Hollow Moon Productions correctly anticipated that Aerosmith could headline the event but they must have been caught by surprise at the turnout.
"...as Lofgren croons his tunes, the Hollow Moon Afternoon goons moved too soon and with baseball bats hastened to drive the concert crashers back.
Beer cans and bottles flew freely. But the fencebusters were too much as they burst through as if a prison break were in effect.
The concert became a free one when Hollow Moon finally decided to let everyone in for nothing - something the producers should have realized was bound to happen. It always does.
Crowd estimates put the figure over 14,000 whoi attended but no one knows how many actually paid. The more fortunate members of the audience sat and listened or wandered around in bleary-eyed stupors. But at least eight persons were hospitalized for drug overdoses."Bucks County Courier: 25th August 1975
The concert rapidly gotten out of hand and despite the best efforts of baseball bat wielding security staff, eventually everyone was let in for free. The problems at this concert were still being mentioned in the Courier Times the next Summer, and seem to have put a damper on big outdoor events at the State Fairgrounds.
According to the Bucks County Courier Times reviewer, Slade's music was "typical of...all the poorer aspects of rock music," which was the standard American media response to the band. I'd like to find somebody who attended this gig for an unbiased opinion.
Slade: Not As Crazee As Wee Thought
WHATEVER HAPPENED to Slade, you Lawn Guyland boogie freaks may have asked yourselves lately. The answer is: Nothing – more gold records, more #1 songs on the British charts. Basically, the Wolverhampton quartet is still the old rip-roaring tear-the-house-down get crazee primo boogie band in England.
Repeat: in England!
The Black Country rockers feel they haven't created the same furor this side of the Atlantic, so they're back for another crack at it. Their new assault includes an album, Slade In Flame, and a film, Flame (already boffo in the U.K. but unreleased Stateside as yet). Slade zipped into the Big Apple for a few days at the start of their tour, met with this writer, and talked about their movie and current tour plans.
Dave Hill, lead guitarist and pioneer of the strangest hairdo since Rod's original artichoke, is excited about Flame.
"It's a film about the hype in the business, and about a group called Flame," he explains. "It shows how they're enjoying themselves until they meet this person who wants to make 'em big stars. They're hyped up by a big management company who wants them packaged and sold. And when he makes 'em big stars, they fall apart. They become unhappy, and they're thrown into things, they don't want to do; which happens to a lot of groups – we've seen it happen."
Flame hasn't been released in America yet because, Dave feels,
"English fans... could accept it more; they do know what we're like as real people. But we could probably release the film in another country where they didn't know us too well, and they'd think,'Oh, that's what they're really like.'...We might have to hold off the film in the States for a while, until people get to know us a little better."
Don Powell, drummer, supposedly Slade's strong, silent member, was very vocal about the film's realism.
"We didn't want to make a chocolate-box cover; we didn't want to do the sort of everybody-jump-around-in-the-fields thing..." (shades of A Hard Day's Night!) ..."We wanted to portray the scene – the music industry, what it really is like for a group starting out and getting manipulated by management companies."
All of which is guaranteed to make Slade very popular with management companies.
Flame was cast in an unusual way.
"When the scriptwriter was doing interviews and getting to know each of us," Don explains,"what he did was, he got the characters and then just blew them up. It's a strange thing when you're making a film – everything had to be blown up just a little, to get a point across."
I couldn't resist. "So what did he do with you, Don?"
"Well – I was the idiot."
There is loud laughter from all present as Don blushes and attempts to modify his statement. Dave rescues him.
"What we're trying to say is, we weren't miscast. We were cast according to what we could handle. So I could be over the top" (Translation: Flash) "because I could be over the top if I wanted to in real life... I'm not over the top in real life; I do buy things sensibly..."
I am gazing, bedazzled, at Dave's monstrous black patent leather rhinestone-studded platforms. "Yeah," I agree, "those are very sensible."
The talk turns to touring; the first leg is an 8-week affair including a Midnight Special and a Schaeffer Festival concert. Lead singer and guitarist Noddy Holder (sans mirrored top hat) and the shy member of the group, bass player Jimmy Lea arrive, confused about where they've just been for dinner, but a bit better informed about the tour. According to Noddy, somewhere in the middle of it they return to England for a break and then back to America, where they'll work solidly till the year's end.
When asked for a description of his film character, an evil grin spreads slowly across Noddy's imp face, immediately validating Chris Charlesworth's observation that Noddy has a tendency "to leer at girls from the stage like a Dickensian character might leer at a little boy chimney sweep." Noddy's blue twinklers are hidden behind violet shades, and there's just a trace of that gritty voice audible through his thick accent. He says, in several syllables,
"What kind of person is Stoker?" I ask. Noddy emits a series of sinister chuckles.
"Ahhh... heh-heh... What kind of person?"
Dave answers for him.
"A Yob," (Translation: Rowdy.)
Noddy, unperturbed, continues,
"Drunken, mainly." (Pronounced "droonkin.")
"A drunken yob!" Dave yells.
"A part which needs no actin' ability!" Don adds.
Noddy acquiesces amiably.
"I spent most of the film drunk."
Naturally this leads to questions about Slade's image as rough pub boys and the wild audiences they draw. In America they attract teenagers; in England, people anywhere from 12 to 30 are Slade fans, many of them working class. Dave is enthusiastic about rowdy audiences, but he maintains, Slade never tried to be working-class heroes.
"It's just the tag people have put on us," Noddy says. "We don't work to have any image or anything. It just happens."
Dave agrees.
"We just do what we wanna do, and it comes off that way. If we are just natural and be ourselves, then the image forms itself. But our background is working class."
It is precisely that background which has caused comparisons between Slade and the early Beatles. Slade, however, have no intention of trying to be the second Beatles. Dave and Noddy affirm.
"We want to be the first Slade,"
Slade aren't worried about burning out, either. Dave feels they'll last as long as they want to. As Noddy cavalierly put it, "You just carry on until you drop." Jimmy, on a less drastic note, adds quietly that they won't be doing the same thing, anyway they've already broadened their outlook with the film and new album.
Slade In Flame has ruffled critical feathers among staunch Sladeites. It's more melodic, less raw power, and people are having a tough time believing its Slade. There's even one rumour circulating that Slade didn't really play on the album, that it was done by studio musicians (you heard the same re The Fab Four, circa 1963, right?).
"We got a lot of criticism in England," Noddy remarks. "They said this wasn't 'good-time' enough for us. It's just like actors being typecast to an image... and we never wanted that."
"They all said it was good," Dave is quick to add, "but they all said it wasn't us. The trouble is, as always, when you're doing what they expect you to do, they're saying you shouldn't change. But we only changed when we wanted to, anyway; we didn't take any notice of that."
I ask if they think people will remember them in 30 years.Don laughs.
"Me Mum would!"
Noddy is optimistic.
"I think so. The people who've been to see your act at a concert and you got 'em off on a certain night - they'll always remember that. I can remember every band I've ever been to see that got me off."
Did you ever have an audience that didn't get off? I ask. Noddy grins.
"Yeah, It was in the early days. Since we've been successful? Not really. We always worked our balls off to let everybody get off... some nights it can be difficult."
You don't often see a whole crowd on its feet any more, except maybe for Rod's boys and the Stones, but audience involvement is Slade's forte. Dave thinks it's just as vital for the crowd to be revved up as it is for the band. He recalls one English gig where the crowd merely sat and looked at them.
"We got a bit bored with it after about five numbers," he grins," and Nod said, 'OK, let's cut all this crap out – let's have a good time!' And it just went berserk! They smashed the place, just like that!" (Snap!)
Despite displays of Slade-fever, Noddy feels the band hasn't had real success in America.
"Our goal now is to crack it in America," he readily acknowledges. "We want the #1 record, that's what we want."
Slade aren't counting on Flame to break them here, though. Dave says:
"The movie is an added extra for us at the moment,".
Noddy notes that Slade "only" did two tours in the last year.
"All the rest of the year's been spent doing the film and recording, so we've been looking forward to getting back on the road and touring constantly again, 'cause that's what we like doing."
He hopes this tour will finally shake America awake; Slade haven't been here in two years, nor have they had any big hits on America's airwaves.
"Most big groups who spend that much on shows have reached the extremes as far as props are concerned," Dave observes. "With us, if the music doesn't get us there, it's really not worth the trouble... We like to get on that stage, and we like to look good, to play good, and get everybody involved. The main thing is the audience can see us onstage, not visual fantasies going up... That's all very nice, but it's so overdone now. We thought of that, but it's just not the way to go. It's just not the things you need."
"You don't work so hard if you know you've got effects to carry the show," Noddy affirms. "You don't play so hard; you tend to lie back a little and let the effects take over and do the show for you, and you become electronic robots... You might just as well put four robots up there with all the effects on."
It's obvious Slade hasn't forgotten why they formed the band in the first place.
"If you take the band back to its early days when we played workingmen's clubs," Dave says, "we were there with just our equipment. We were dancing on top of our amps and just playing away to a lot of people drinking beer and having a great time. What we are now," he adds truthfully,"is just that, blown up."
Noddy agrees.
"We're one of the groups that managed to take our club act across to the concert halls and get the same sort of rapport between us and the audience as we used to in small clubs... We tried to put the same thing over in the 5,000-seaters as in the clubs that had 200 people."
He attributes Slade's charisma to this lack of pretension.
"Between the four of us and them out there, there's no wall. We don't like to appear stars onstage; we like to appear the same as they are out there, on the same sort of level, not above them."
As Dave puts it,
"The audiences are part of the act. If they weren't, the music wouldn't come out the same way. That's why it's so energetic and loud."
Slade's volume has been discussed and decried for years. They do blast out an incredible decibel level, Dave admits: "We have trouble with the critics all the time."
Noddy reiterates Slade's philosophy:
"We don't take any notice of the critics, 'cause it's the people that matter. I don't really think the people take any notice of the critics, either. I don't think Grand Funk have ever had a good review in their life," he cites the current rock truism, "but the people like 'em, and that's what it's all about."
There's no question Slade are the epitome of a real, honest-to-goodness rough-at-the-edges rock 'n' roll band in the tradition of the very early Beatles, Pretty Things, Stones, and innumerable other pub-spawned, leather-jacketed musical Wild Ones. Unlike their predecessors, though, Slade haven't succumbed to psychedelia, reggae or disco dancing. They may be the youngest of the heavy rockers, but Slade has racked up a lot of mileage already, and they have no intention of screeching to a halt. They "went down a storm," as Noddy would say, in New York this time, but it remains to be seen if the rest of Barry White-washed America will get off its arse and "Feel the noize."
© Kris DiLorenzo, 1975
Capitol Centre, Washington, DC 28th August 1975
Research into Slade's appearance with Aerosmith at the Capitol Centre in Washington DC resulted in some interesting replies. Washington has many libraries and it would seem that one of my enquiries took a left turn at a red light?
"Who's Arrowsmith? I doubt that I was anywhere near DC in August, 1975, that was five years before I was elected to the Senate?"
Senator Slade Gorton: 18th December 2011
Nice to know that there's a healthy sense of humour in the Senate. Fortunately, Mike Flugennock was in DC in August 1975 and he remembers only too well, the impact Slade made at the Capitol Centre.
"I remember the critics bitching about Slade being "too British", which mystified me as Jethro Tull were getting really big in the States back then, and I couldn't begin to count how many Ian Anderson songs required the listener to be British to really 'get it'."
"I'm an old Deadhead -- have been since mid '78 -- but I recently rediscovered Slade after having lost touch early in college (yeah, a Deadhead who digs Slade -- go figure).
I first got into them in high school, turned on by a buddy of mine who'd been introduced to them by a British exchange student in our junior year. They were never real big in the States, so being an American Slade fan was a tough job (but somebody had to do it) but highly rewarding, as it had to be some of the most off-the-hook craziest, full-throttle, industrial-strength party rock'n'roll I'd ever heard.
I caught them in the summer of '75, just after graduating high school, at the old Capitol Centre -- or, as our gang called it, the "Pringle Dome" -- in the 'burbs of DC.
Aforementioned pal of mine gave me the heads-up and scored us some seats. They were opening act on that summer's Aerosmith tour. Aerosmith were the headliners, of course, having just released "Toys In The Attic", but my pals and I could've given a shit less; we were totally there for Slade.
So, anyway, Slade hit the stage and immediately start ripping the roof off the place. It was amazing to see this band hardly anyone had heard of, derided by US rock critics as "too British", almost instantaneously whipping the crowd into a frenzy from the first note of the first tune of the set. The Grateful Dead were the only other band I know of able to get a crowd up and dancing from the get-go like this.
After about an hour, Slade wrap it up, but by now the crowd is totally batshit, and call them back for two encores.
So, finally, they're done. After the prerequisite break, Aerosmith come on. The crowd starts booing and yelling for Slade to come back on. They finally quiet down, though, and Aerosmith starts their set. Compared to their reaction to Slade, the crowd is comatose -- and, mind you, Aerosmith were the headliners, the band with the big hit album just out.
Come September, and we all head our separate ways to college. My pal heads off to college in New York where, as luck would have it, Aerosmith is playing again, at their campus field house, with Slade opening once again, of course. My pal reports back that an identical scene happened -- Slade peeled the paint off the walls, the crowd went apeshit, yelled for multiple encores, and booed Aerosmith when they came on. I also heard later that Steven Tyler had a big hissy fit and kicked Slade off the tour for making Aerosmith look bad."
"The Steven Tyler story comes from an old high-school friend who I lost touch with some years ago. He turned me on to Slade when we were about seventeen, and we saw them here in Washington, DC in the late summer of '75, right after "Flame" came out in the States, and just as we were getting ready to head off to college. Slade were the opening act on the Aerosmith tour that summer ("Toys in the Attic" was just out, and "Sweet Emotion" was all over American radio), and they did a set that night that really burned the place down; you could almost feel the palpable sense of let down when Aerosmith finally went on.
Some weeks later, Jeff (aforementioned school chum) caught them again on the same tour up in New York, where he was just starting college; that was the show he told me about when we were both home from college over Christmas -- where Slade played a whomping set like the one in DC, only turned up to 11, the one where they were called out for at least two encores (as I recall), and Steven Tyler got all pissy about being shown up by this Brit outfit who were supposedly "dying a death" in the USA.
This may have been also reported in a couple of the major rock'n'roll mags at the time, like "Creem" and "Circus", which went out of print a while back, I think... though their archives might still be online someplace. Jeff was a musician himself, and played a lot of Slade and Aerosmith and Deep Purple and a lot of straight-ahead hard rock, and read Creem and Circus magazines regularly."
Mike Flugennock: December 2011
October/November 1975 Newsletter
A DJ on WNEW (a sophisticated New York rock and roll Radio Station) played a Slade record and said "That's amazing!" and played it again ... The boys had a little problem at their hotel - it seems every time they ordered some beer, it came up promptly and ice cold, unfortunately they like their beer a little warmer.
Slade had their biggest audience yet in the States of 19,000 in Washington.
The boys will be spending 3 weeks at the beginning of October in a New York recording studio to compile their next LP.
Because of public demand Canada will be releasing 'Slade in Flame' originally released in November 1974 and being the same as the British release, but now to be similar to the American issue. This has the addition of 'Thanks for the Memory' and 'The Bangin' Man' and the loss of 'Heaven Knows' and 'Summer Song'.
A glimmer of hope that Slade may be able to spend more time in Britain, now that MPs are beginning to talk about a reduction of the exorbitant tax imposed on successful rock stars.
Providence, R.I. USA, 28th October 1975
The live photos used here are from the Dan Lampinski bootleg cover art and are not from the 1975 gig. The stage shot is from '73 and the others are from the '74 US tour.
Providence Civic Center can be found at 21 Atwells Ave, Providence, Rhode Island, in the good ol' US of A. The Civic Center opened in November of 1972 and serves as the home court for the Providence College Friars men's basketball team.
Providence Civic Center can be found at 21 Atwells Ave, Providence, Rhode Island, in the good ol' US of A. The Civic Center opened in November of 1972 and serves as the home court for the Providence College Friars men's basketball team.
When the Civic Center was built, it was among the most modern in all of Division 1 college basketball. And even though it has aged quite a bit, the school has made sure that its features stay up to date. The seating capacity is 14,500, bigger than the majority of the venues in the Big East Conference.
I'm not sure how many were at the Civic Center in Providence this night but it certainly sounds more affable than the Winterland crowd. Noddy announces that last nights gig was a great night and seems to suggest that they played two nights in Providence. His voice seems to be very raw and shout-ey, painful in places, certainly not as 'in control' of his voice as he usually is. This could be the tour of which he speaks in his book where he saw a vocal coach due to throat problems.
The songs seem to have longer introductions than usual, Take Me Bak 'Ome for instance, while its great to hear it played slowly as Nod intended, it also seems to be extended and padded out. The Bangin' Man seems to has been dropped from the set and the bands new single, Thanks For The Memory, is introduced as a song about nasty diseases?
How Does It Feel is a little restrained but well executed and Jimmy's pianola sounds pretty damn good on both tracks. Just A Little Bit is superb until we reach Dave's solo spot which is hopelessly embarrassing. God knows what he thought he was doing because there's no direction to it at all.
In comparison Jimmy Lea's bass solo in Let The Good Times Roll is crystal clear and superbly executed. It's good to hear an enthusiastic audience and a healthy Slade performance, let down only by a below par guitar solo and Noddy's silliness in Get Down & Get With It. In all, not a bad recording that shows the group did go down well in the USA.
In 2001 Dunkin' Donuts purchased the naming rights, at which point, this venue became known as the Dunkin' Donuts Center. I'll refrain from further comment at this point.
- Them Kinda Monkeys Can't Swing
- Take Me Back 'Ome
- Gudbuy T'Jane
- Thanks For The Memory
- How Does It Feel
- Just A Little Bit
- Let The Good Times Roll/Feel So Fine
- Get Down & Get With It
The gig was recorded by Dan Lampinski and made available in June 2009 as Volume 16.
"DAVE IS WEARING his pink frilly knickers tonite ... and if you're really good ... "
Noddy Holder circa 1973 British Tour.
Biggest draw in Britain, our very own working-class heroes made good. Filled every hall they played, had 15 hit singles, five hit albums. Always seemed to be in British charts, albums, singles, often both.
Their latest album "Slade in Flame" was released last November made it to six in the charts.
The LP before that ("Old New Borrowed And Blue") got to number one.
Their last single "Thanks For The Memory" got to number seven.
In July they went to America. Even Sir Geoffrey Howe could almost be forgiven for mentioning Slade in his tax exiles speech. The Evening News made the same boob just last week - both presuming the band had been away for so long that they must have joined the British elite who for tax reasons live abroad.
Last year they filmed "Flame". It has grossed over one million dollars in Britain alone.
Not bad at all, very good in fact. It is now showing in America.
It opened in St. Louis where it broke all box office records. On their last British tour, it was reported that not all of the gigs were completely sold out.
Mel Bush who promoted the tour stated, "As far as I am concerned it was a sell out tour although there were the odd dates that weren't exactly sold out".
Bush insists, "Slade are still a big band, a massive band, Fourteen number ones and twos cannot be dismissed. I get loads of phone calls asking me when Slade are going to tour again. There is a big interest". It is difficult to gauge how big Slade are in the States. The first time they went over they followed swiftly on the heels of Marc Bolan. Bolan bombed. It seemed that America was not quite ready to accommodate another "British best".
Slade went again.
And again.
Reports seeped back. Conflicting reports to say the least. I saw them headline in New York at the 5,000 seater Felt Forum, where they packed the place out. The audience went pineapples. Kate Phillips witnessed them at San Francisco's Winterland where they supported Ten Years After and "went down well".
However, the real criterion is how many bucks people shell out for the product. In America the "Flame" album got to 80 in the charts. The Bay City Rollers (admittedly with much hype) have reached higher. Premier Talent, Slade's N.Y. booking agent lists among Slade's future venues Rochester Dome (capacity 5,600) where they are billed as "special guests" (not support) to Aerosmith, and War Memorial, Syacuse, where again they are Aerosmith's "special guests". They are topping however, the 2,400 seater at Calderone Theatre, Hempstead, Long Island.
Slade are now in Britain promoting their new single "In For A Penny".
About time.
In December the band plan to have a rest.
"They have", says their press agent, Leslie Perrin "been touring like mad, and other tours are being lined up for them".
In Britain, I hope. "
by Julie Webb of
New Musical Express
Calderone Concert Hall, Hempstead, Long Island, November 1975
The opening act was a band called Bananas but that as they say is another story. The Calderone gig was interesting in that when they came back out for their encore the first song they played was an old instrumental called "Sleep Walking" Dave was playing slide guitar at an ear piercing volume (even by Slade standards), after that they rocked out. I met the group after that show and got stoned with Nod.
After the gig, my friends and I bought a couple of six packs of beer for the train ride back to Manhattan. We were walking past the concert hall one the way back to the train station, when we decided to take a walk around the back of the place to see what was going on. When we got there, a truck was being loaded with Slade's gear, and there was a black limo by the stage door, so we thought we'd wait and maybe get to say hello to Slade. A few minutes later the stage door opened, and out came the Boyz! We shook hands with them, told them the gig was great and all, and instead of getting into the limo, they started talking with us. Nod and I talked about guitar gear (I play myself), Flame and some other stuff. One of my friends gave Dave a can of beer, and his sister was talking to Jim.
"That was for me, one pretty damn cool evening. They were genuinely a nice bunch of guys. When they were coming out of the stage door they seemed to be in a hurry, but once we all started talking and drinking, they were in no hurry.
They knew by looking at us, we were working class kids, I think they thought to themselves "they're like us". We all grew up in a very tough Brooklyn neighborhood and at the time we looked it: long hair, black leather jackets, black tee shirts, black jeans and black boots."
Harry Canyon
My point here is that: they could have shaken our hands and left in the limo, but they didn't, instead they made time for us, drank beer and smoked with us for almost 45 minutes.It was a very enjoyable and memorable night.
If you notice; some of the shows are called a "Dance Concert", this is because the room was a huge convention center, with no seats, so folding chairs had to be set up. So if John Scher (the promoter) thought there was any chance of "chairs flying", he called it a dance concert, and he could also cram everyone in like sardines! See how the mellower acts like Joan Baez, Todd Rundgren and Harry Chapin had seats, but Slade and Black Sabbath were Dance Concerts?
While Slade slogged it out on tour with ZZ Top, Polydor released In For A Penny to an apathetic British public. The UK were starting to forget the band.
Thanks to Harry Canyon & The Brooklyn Slade Crew, Mike Flugennock & Hubert "Yes, you can use my photos" Tung for the memories.
07/07/1975 Depart for US/Canadian Tour
16/07/1975 International Amphitheatre, Chicago
(supporting Black Sabbath)
17/07/1975 International Amphitheatre, Chicago
(supporting Black Sabbath)
21/07/1975 Wollman Skating Rink, Central Park, New York
(Schaeffer Beer Festival)
26/07/1975 Convention Centre, Asbury Park, NY
01/08/1975 Long Beach Arena, Long Beach, CA
(Ten Years After, Slade & Gary Wright)
03/08/1975 Concerts South Club, St Louis (Mahogany Rush support)
04/08/1975 Concerts South Club, St Louis (Mahogany Rush support)
05/08/1975 Concerts South Club, St Louis (Mahogany Rush support)
09/08/1975 Convention Hall, Asbury Park, N.J.
(ebay) Slade warms up
14/08/1975 Concert South Club, St Louis
15/08/1975 Concert South Club, St Louis
16/08/1975 Concert South Club, St Louis
09/08/1975 Convention Hall, Asbury Park, N.J24/08/1975 New Jersey State Fairgrounds, Hamilton, NJ
(Aerosmith, Poco, Kingfish, Mahogany Rush & Hoochie Cooch)
00/09/1975 Auditorium North Hall, Memphis, TN
(unknown date)
27/10/1975 Providence Civic Center, Rhode Island
(Aerosmith & Mott)
28/10/1975 Providence Civic Center, Rhode Island
(Aerosmith & Mott)
15/11/1975 Capitol Theatre, Passaic, N.J. (NY Times)
(ZZ Top, sold out - Amusement Business)
22/11/1975 Felt Forum Theatre, New York, USA
(ZZ Top)
25/12/1975 Kiel Centre - St Louis, USA


text:
The right to redeem the following described property, to wit: Map & Parcel 00100-054L, all that tract or parcel of land lying and being in Land Lot 301, of the 2nd Land District of Appling County, Georgia, containing 2.51 acres, more or less, and more particularly described as follows: commence at the intersection of the South lot line of Lot 30 and the west right of way of Buck Head Road, thence north 00 degrees 30 minutes 45 seconds east a distance of 716.04 feet, thence north 01 minutes 28 seconds west a distance of 255.17 feet, thence north 90 degrees 00 minutes west a distance of 641.90 feet to the point of beginning, thence south 00 degrees 00 minutes east a distance of 298.71, thence north 89 degrees 29 minutes 15 seconds west a distance of 315.21 feet, thence north 19 degrees 34 minutes 30 seconds east a distance of 420.41 feet back to the point of beginning; all as shown on that certain plat by Merlin J. Tomberlin GA. Reg. Land Surveyor No. 2477, said plat being recorded in Plat Book 14, Page 295, Appling County Records and incorporated hereby by reference as if duly set out herein for descriptive and all other legal purposes. Also conveyed is a nonexclusive perpetual easement, over, through and across the lands of or formerly of T&T Motors, for the purpose of Ingress and Egress to the property above described, and said easement being a strip of land 20 feet wide and being shown and described as that 20 foot access easement on that certain plat, as stated above.
The tax deed to which this notice relates is dated the 1st day of December, 2009 and is recorded in the office of the Clerk of the Superior Court of Appling County, Georgia in Deed Book 463 at Page 645.
The property may be redeemed at any time before the 15th day of June, 2011, by payment of the redemption price as fixed and provided by law to the undersigned at the following address: 4 S. Lee Street, Baxley, GA 31513.
5-18, 5-25, 6-1 & 6-8ch
gpn20 NOTICE JOHN MOORE
No Trackbacks
Display comments as (Linear | Threaded)

subset: commoncrawl


text:
Univ of North Dakota Intellectual Property Commercialization & Economic Development
The Office of Intellectual Property Commercialization & Economic Development (IPCED) is responsible for protection and commercialization of University research innovations including aerospace sciences, computer sciences, medicine and health sciences, engineering and physical sciences.
Our office will draft, file and prosecute patent applications for inventions. We will work with inventors to define and market technology portfolios of inventions, to promote new business ventures and to build business alliances that will accelerate the transition of inventions to the marketplace.
IPCED is also responsible for drafting and negotiating all of the University's legal intellectual property agreements, such as confidentiality, material transfer and licensing agreements.


text:
We all know that food leaves a lasting impression and there's nothing more powerful than the sense of 'taste' and smell. Our handmade Artisanal desserts and Miss Nicky's Gourmet Toffees are for those with a discerning palate and demand only the best and the freshest 'made to order' desserts.
Miss Nicky's Gourmet Toffee is also available in the new 'Splenda' variety, Charoset' Toffee, Cinnamon-Chocolate Cherry Raisin Toffee and many others... Come see why famed makeup artist Bobbi Brown, Poet Laureate Dr. Maya Angelou, the late Mrs. Nat King Cole, Magic Johnson, Rep. Julian Bond, Rick James, Tiffany & Co.-Short Hills, NJ, Hermes-in Paris, and others are now loyal fans of this unique specialty toffee! Our toffee is a part of a healthy 'lifestyle'-(no preservatives/no corn syrup). And, we are proud to post our product labels on our site to back up our low calorie claims.
If you are looking for good old fashioned 'handmade' English Style Toffee and non-processed handmade desserts-which have disappeared from store shelves, then you have come to the perfect site. We don't believe in the use of trans fats, no hydrogenated oils, never use high fructose corn syrup or additives/preservatives and fillers which all negatively impact our health. Make no mistake, once you eat Miss Nicky's Gourmet Toffee and desserts, you will be hooked! The use of whole nuts in our toffee is virtually unseen in most candy and toffee today. It's the way dessert 'used to taste'….
Our specialty of healthier dessert includes restrictive diets. Our Flax, Vegan, Gluten-Free & Splenda varieties are equally as delicious! So please, take a minute and enjoy our healthy lifestyle along with some of my favorite lifestyle recipes, newsletters, public appearances and information.
Simply put:
We also provide the following:
CLICK HERE TO GO DIRECTLY TO MISS NICKY'S STORE. Paypal and credit cards are accepted. Credit card payments accepted only with Paypal
If you want to shop online and pick up locally - click here
All Toffee is Gluten-FREE


text:
Sale Boutique
Keep up with the latest discounts, deals, and savings on your favorite boutique items. We continuously add affordable boutique clothing to our sale selection, so be sure to check back regularly. Don't miss out on a seasonal favorite or popular restock because you didn't visit often enough! Shop our sale selection first to find unique, trendy items every day!
Fashionable Wardrobe Staples
Our sale selection at Magnolia Boutique is filled with fashionable pieces that will become wardrobe staples. Sales change seasonally, so you'll always find trendy dresses, tops, and bottoms, as well as accessories and shoes, available year round.
Items marked as final sale mean they will not be eligible for exchanges or returns. Please be sure to read the product's details on each page before purchasing for information regarding sizing.
Start browsing today to find new, affordable pieces to enhance your wardrobe!
Shop Boutique Clothing
Make Magnolia Boutique your one-stop shop for all your bohemian apparel needs. View our sale merchandise to shop boutique clothing items at the lowest possible prices. Whether you're looking for BB Dakota, Magnolia Boutique, or Suburban Riot brand clothing, we include them all in our sale collection!
Check out the latest sales from Magnolia Boutique when you browse the latest in bohemian fashion at a discounted price. If you're looking for a great sale, our boutique collection online offers on-trend fashion, variety, and affordable style.
Explore today and shop till you drop!


text:
Joe Mazzello's emotionally haunting performance as Marine Eugene Sledge on "The Pacific" clearly had an impact on Sledge's real-life family.
Sledge's wife Jeanne was so touched by Mazzello's characterization in the just-concluded HBO series that she sent a special gift to the actor -- her late husband's pipe.
"She was so moved she actually sent Eugene's actual pipe he had his whole life," Mazzello tells PopcornBiz. This is the same pipe that is represented throughout the series by the soldier seeking calm amidst the horrors of war.
"It really took me back," Mazzello says, "I'm going to cherish that forever."
While Sledge died in 2001, Mazzello spent time with the Sledge family, and the couple's two sons -- John and Henry.
Much of the HBO series is based on Sledge's memoir of battle "With the Old Breed: At Peleliu and Okinawa," which Mazzello read. But spending time with the family gave him further insight to the man he portrayed.
The soldier's oldest son, John, never saw the series however. It was too difficult for him and he had to leave a special screening in Mobile, Alabama, as the opening credits rolled. "He couldn't even watch it," says Mazzello. " It's something he saw his father live with and be tortured by his entire life."
"He told me he hopes to watch it someday."
Soldier's Family Has Touching Thank You for "Pacific" star Joe Mazzello
Joe Mazzello's emotionally haunting performance as Marine Eugene Sledge on "The Pacific" clearly had an impact on Sledge's real-life family.


text:
Manny Ramirez will be sent to the Chicago White Sox on a waiver deal Monday, according to a baseball source who spoke on the condition of anonymity.The Dodgers aren't expected to get any players in return, but are likely to unburden themselves of the $4 million or so that Ramirez is due to earn over the remainder of the regular season.
Couldn't this have happened on Friday? We could have used Manny in the last 2 games.
UPDATE #1: Jayson Stark (ESPN) tweets that there is still a chance a deal gets worked out (Dodgers get a prospect from the Sox in exchange for picking up some salary). The LA Times, MLB.com, and Ken Rosenthal say it will be a straight waiver claim (cash only, no prospects to the Dodgers).
UPDATE #2: Jeff Fletcher (MLB Fanhouse) speculates that Kenny Williams determined the Dodgers lacked the leverage to demand any even a marginal prospect in return for Manny, and didn't offer them anything.
UPDATE #3: NBC 5 Chicago says Manny's remaining salary is $3.825 million.


text:
The Abuyog Hotel formally opened its doors to the public in simple inaugural and blessing ceremonies held Eastern Sunday, April 24, 2011.
Abuyog Mayor Octavio "Bebot" Traya and former Represesentative and now Baybay Mayor Carmen Cari led the ribbon cutting ceremony formally opening the new three-storey, P29M project of the Abuyog Local Government Unit (LGU).
Located at the heart of Abuyog near the Public Market and the Municipal Building, the new hotel now provides comfortable accommodation options to guests and travelers traversing the central-eastern region part of Leyte province.
The three-storey landmark showcases a well-refurbished lobby, a restaurant, function rooms, and a rooftop cafe and lounge with a panoramic view of the entire municipality and environs.
For the internet savvy, there's free high-speed wi-fi web access.
The hotel project was started in 2006 during the time of former Mayor Ofelia Traya initially funded by a P15 million allocation. Another P14 million was released this year for its completion.
The hotel is currently staffed by some 20 local personnel and would be complemented by students taking up Hotel and Restaurant Management (HRM) at the Abuyog Community College (ACC).
An added direction further boosting the tourism industry in the area is the LGU's plan to develop soon a mountain resort in Barangay Balinsasayaw.
The hotel's promo room tariff ranges from P1,788++ to P2,700++.
For further info, please contact Leyte Gulf Travel & Tours at (053)321-7966 and (053)523-7966. Email: email@example.com


text:
added to your cart.
added to wishlist.
added to compare products.
Welcome! Need an account? Get Started here!
Every color line is gentle on hair. Get 100% grey coverage with 10 Volume Developer. Color Effective is our world-wide standard; Lively is ammonia-free and PPD-free; Eslabondexx™ Color has protective ingredients built into every tint, and is PPD-free, SLS-free and SLES-free. Touch is a tone-on-tone system that is ammonia-free.
The ReStyle Yellow labelled products have light hold and maximum sheen. Hold increases as you go to ReStyle Red, ReStyle Blue and ReStyle Green. These are especially fine retail products, too.
Newly introduced are the Eslabondexx™ Styling line, intended for clients with demanding expectations who want our Nio-Protect technology in every one of these 12, fully re-formulated products.
You can't go wrong with these ultra-fine bleaches on hand. Choose from Decoflash Blue powder; Decoflash White Cream; Freestyle Deco gum-based lightener for free-hand techniques without the need for foils; Mildeco Violet lightener that is also ammonia-free; and Eslabondexx™ Bleach powder for safe lightening up to 7 levels per service (and up to 3 services in one day) with damage protection built in.
Lift up to 9 tones in one service if done on healthy hair with Nouvelle Deco 9 lightener.
5 Item(s)
View as:
Login to Add to Cart


text:
Bilirubin is a yellowish pigment found in bile, a fluid made by the liver.
This article discusses the laboratory test that is done to measure bilirubin in the blood.
A small amount of older red blood cells are replaced by new blood cells every day. Bilirubin is left after these older blood cells are removed. The liver helps break down bilirubin so that it can be removed from the body in the stool.
Bilirubin may also be measured with a urine test.
Total bilirubin - blood; Unconjugated bilirubin - blood; Indirect bilirubin - blood; Conjugated bilirubin - blood; Direct bilirubin - blood
A blood sample is needed. This may be taken from a vein. The test is called a venipuncture.
You should not eat or drink for at least 4 hours before the test. Your health care provider may instruct you to stop taking drugs that affect the test.
Many drugs may change the bilirubin levels in your blood. Make sure your doctor knows which medications you are taking.
Large amounts of bilirubin in the blood can lead to jaundice. Jaundice is a yellow color in the skin, mucus membranes, or eyes.
Jaundice is the most common reason to check bilirubin levels.
A bilirubin test will also be done if your doctor thinks you may have liver or gallbladder problems.
It is normal to have some bilirubin in your blood. Normal levels are:
Note: mg/dL = milligrams per deciliter
Normal value ranges may vary slightly among different laboratories. Talk to your doctor about the meaning of your specific test results.
The examples above show the common results for these tests. Some laboratories use different measurements or may test different samples.
In newborns, bilirubin levels are higher for the first few days of life. Your child's doctor must consider the following when deciding whether your baby's bilirubin levels are too high:
Jaundice can also occur when more red blood cells than normal are broken down. This can be caused by:
The following liver problems may also cause jaundice or high bilirubin levels:
The following problems with gallbladder or bile ducts may cause higher bilirubin levels:
Berk PD, Korenblat KM. Approach to the patient with jaundice or abnormal liver test results. In: Goldman L, Ausiello D, eds. Cecil Medicine. 24th ed. Philadelphia, Pa: Saunders Elsevier; 2011:chap 149.
Pratt DS. Liver chemistry and function tests. In: Feldman M, Friedman LS, Brandt LJ, eds. Sleisenger and Fordtran's Gastrointestinal and Liver Disease. 9th ed. Philadelphia, Pa: Saunders Elsevier;2010:chap 73.
This page was last updated on: 1/29/2019 3:21:13 PM


text:
Sound Control v1.91f BETA the freeware replacement Windows Sound Mixer and Volume Control applet supporting hot keys, on screen display, Winamp and more has now been released. Changes in this version include:
- Refer to v2.00
Download: This version is no longer available. Look in Current Downloads for the most recent release.
Notes: This is a members only BETA release.
Tags: BETA, Closed Source, Freeware, Software, Windows


text:
Information For...
Watch Veterans and their family members share real stories of strength and recovery, find useful information and local mental health resources, and explore ways to show your support.
Life Events & Experiences
Veterans can experience a range of life events, opportunities, and challenges after they leave the military.
Signs & Symptoms
Symptoms — whether mild, moderate, or severe — can make daily life more difficult. But, there are ways to address symptoms and live well.
Mental health conditions can be challenging, but treatment options and other resources are effective and can lead to recovery.
No matter what you may be experiencing, there is support for getting your life on a better track. Many, many Veterans have found the strength to reach out and make the connection.
Choose from the options below to find the stories most relevant to you. Sort videos on as many or as few options as you prefer.
Kind of Story
Showing 24 of 830 matching stories
Mental Health Month


text:
Where every player is a star.
Log in
About ASHA
ASHA Board
Executive Board
ASHA Regional Directors
ASHA Volunteer Staff
Starting a Program
ASHA Bylaws
ASHA Assist Grant Program
ASHA Event Sanctioning Agreement
ASHA Insurance Program
ASHA Website Video Highlights
Background Screening Checks
Background Screening Criteria
Link to Online Background Screening Application
Link to PA Team Background Screening Check Only
Return to the Rink Guidelines
Website Tips
Website Tips #1 - Login to ASHA Website, Request New Password
Website Tips #2 - Multiple Registratiions with One Email Address
ASHA Logo
NHL Hockey is for Everyone
2019 ASHA New England Summer Hockey Camp
2019 ASHA Northeast Summer Camp
2020 Can Am Information
Member Programs
ASHA Organization
Mid America
Ann Arbor Rockets
Black Swamp Ice Frogs
Blues Special Hockey
Cincinnati Cyclones Special Hockey
Cleveland Rockin' Wildcats
Columbus Blue Jackets
Detriot Motor City Stars
Grand Rapids WMSHA Patriots
Indy Twisters
Michigan Flyers
SHAW Southeast Wisconsin Pirates
Wisconsin Timber Wolves
Baltimore Saints
Beaver County Ice Sharks
Brick Stars
Bucks County Admirals
CCSC Cougars
Flyers Youth Special Hockey
Happy Valley Beavers
Hershey Heroes
Lehigh Valley Polar Bears
Mercer Bulldogs
Montgomery Cheetahs
New Jersey Avalanche
New Jersey Dare Devils
NOVA Cool Cats
Pittsburgh Emperors
Pittsburgh Royals
Philadelphia Freeze
Steel City Icebergs GPSHA
Washington Ice Dogs
Woodbridge Warriors
York Polar Bears
New England
Boston Bear Cubs
Connecticut Chasers
Cocheco Blades
East Coast Jumbos
Providence Jr. Bears
Southern Connecticut Storm
New England Bombers
BAHA Bobcats
St. Albans Leafs
The Great Blizz
New York
Albany Cougars
Buffalo Sabres Thunder
Central Park North Stars
Chautauqua County Lakers
Elmira Enforcers
Ice House Hawks
Long Island Blues
New York Raptors
Northern Bravehearts
Rochester Ice Cats
Atlanta Sparks
Charlotte Ice Dragons
Panthers Special Hockey
Preds All Stars
Space Coast Fuse
Space Coast Supercanes
Triangle CAT 5 Canes
ACCEL Coyotes
Alaska Avalanche
Bakersfield Oilers
California Condors
Colorado Golden Eagles
Colorado Ice Wizards
Dallas Ducks
Denver Mustangs
Gonzaga Exceptional Bulldogs
Mission Special Edition
One Step Coyotes
One Step Sharks
Pasadena Maple Leafs
Pikes Peak Thunder
Salt Lake Special Stars
San Diego Chill
San Diego Gulls Special Hockey
Sharks Special Hockey
Spectrum Knights
Utah Grizzlies - South
Valencia SNAP Flyers
Coaching Program
Coaching Education Program
ASHA Player Rating System and Development Plan
ASHA Rules and Guidelines of Play
Coaching Special Hockey Presentation
Drills for Special Hockey
Medical Protocol
Medical Advisory Team
Background Screening Checks
The Game Plan: 2020 Spring Newsletter
Special Hockey Suggested Return to the Rink Guidelines
Find an ASHA Team: Click on Member Programs to see all ASHA Teams on U.S. Map
The Game Plan: Fall 2019 Newsletter
2019-2020 ASHA Season Registration
2019/2020 Jr. Coach of the Year and Founders Scholarship Nominations
Team Gallery
So. CT Storm - 4
So. CT Storm - 5
So. CT Storm host the East Coast Jumbos - 3
So. CT Storm on the Ice - 1
So. CT Storm host the East Coast Jumbos - 2


text:
Gothica: Flick goes from soap to nuts
Fearless prediction: Halle Berry will not win her second Oscar for her performance in Gothika. Not that she doesn't give a good performance, but:
1) It's a horror movie. Martin Landau won an Academy Award for playing Bela Lugosi, but Lugosi himself was never nominated; and
2) She looks too good. Oh, they didn't meet her presumably increased price to show her breasts, even in the group shower scene where other women display their naughty bits; but in her role as a prison psychiatrist, Berry shows more leg than Barbra Streisand in The Prince of Tides and has scenes in a bathing suit, a tight skirt, and a wet t-shirt.
When you've got Halle Berry in your movie, you don't dress her like Angela Lansbury, but this seems to border on exploitation.
Gothika is a silly but effective thriller. French director Mathieu Kassovitz, making his first English-language film, shows great command of the required technique. He gets maximum mileage from dark and stormy nights, flickering lights, figures appearing out of nowhere, and the old bird-in-the-barn trick.
Dr. Miranda Grey (Berry) works under her husband Doug (Charles S. Dutton) at the Woodward Penitentiary for Women in Connecticut. Among her patients is Chloe (Penelope Cruz), who babbles about having been raped by the devil. Miranda tries to win her trust, but Chloe says, "You can't trust someone who thinks you're crazy," in a way that lets you know it's significant.
An unwritten rule for watching movies like Gothika is that you can't mistrust someone you think is crazy, so don't count Chloe out.
Miranda is heading home when a teenage girl in the road makes her stop. As she approaches the girl and offers her coat, the girl goes up in flames. The next thing Miranda knows, it's three days later and she's under observation at Woodward. Her colleague, Pete Graham (Robert Downey Jr.) tells her, "Doug is dead. You killed him."
Now Pete was acting strangely in the early scenes, seemingly flirting with Miranda even though she's his boss's wife; and Doug was too trusting of him, asking him to look after Miranda while he was away. The girl in the road turns out to be the daughter of yet another colleague, Phil Parsons (Bernard Hill). The trouble is, she committed suicide four years ago.
So you've got Alfred Hitchcock's favorite plot, "the wrong man"– except in this case the wrong man is a woman– with supernatural overtones. Does Miranda see dead people? Is someone trying to frame her? Or did she really kill her husband?
You may not know all the answers when Gothika ends, but you'll have had fun exploring the questions.
Or if your idea of fun is tearing apart a script, you can do that too while the plot goes from soap to nuts. My favorite dumb moment comes when Miranda's trying to escape from prison, and a guard we haven't seen before lends her his car. If you know of any jobs for a former prison guard, he's probably still looking.
But if you're skilled enough to scratch your head and jump out of your seat at the same time, Gothika is the movie for you.


text:
DFO in Melbourne city is now harder to find, and bargains even harder.A DFO (Direct Factory Outlet) conveniently located right in the middle of Melbourne CBD above a major rail and bus terminal was just too good to be true. Late last year DFO in Melbourne CBD moved away from the very central Spencer St address, to a previously unheard of location (unheard of to me) called "South Wharf".
|Where is DFO South Wharf
Open 7 Days 10am-6pm and until 9pm Fridays
View DFO South Wharf in a larger map
|Catch either the 70, 71 or 35 free city circle tram to the Docklands Park stop. Then walk 10 mins south across the Yarra and follow signs.
|Car Park
|$4 per hour up to $28 daily. 50% parking discount if you buy from DFO and validate ticket. Frankly there are cheaper options in town if parking on a weekend.
DFO's are generally a little more difficult to find compared to major shopping malls. They are the shy cousin of the retailer clan. At family gatherings, the shy cousin can be spotted at a measured distance away from the raucous centre of all the action, serving some useful self-appointed purpose, such as official photographer or plunger coffee operator. Likewise, DFO's around Australia are often found away from the main shopping and town centres, dressed down architecturally, and a little tricky to find.
DFO South Wharf is no exception. It's not as convenient to a railway station compared to its previous location, and driving will cost you in petrol, tolls and parking. So there is sunk cost before we even begin raking in the savings from factory outlet bargains. Being able bodied, and having an understanding of the city circle tram network, I chose to walk from the nearest free tram stop north of the Yarra River across Webb Bridge. From there it's 10 minute walk across the river and following the signs to DFO. See the map at the end of this post.
Upon arrival I'm ready to shop. And having completed the epic journey to find the place, I expect some kind of worthwhile pay-off. I'm ready to buy something. Anything. Even if it's an irregular end of season man-purse, sporting a glitzy fashion logo and made by sewing together left over eye-patches from last years Pirate show-bag. DFO's obscure location seems to be actually working in its favour judging from my must-buy-something frame of mind.
Perhaps it was naive of me to expect that the shelves would be lined with "reduced stock made up of discontinued lines, previous season's stock, current end-of-season lines and special purchases" as described in DFO literature. Boy those silly clothing labels sure are making a lot of mistakes oversupplying their retail stores at start of season with such regular predictability that an expanding DFO industry can thrive season after season on surplus goods which could not be sold at retail prices mid season. Oh but there are those "special purchases". I wonder what they are? Could it be that some lines are produced expressly for the purpose of stocking factory outlet shelves?
At this DFO, the shops look just like regular shops. Some of them reassuringly have the word "Outlet" somewhere in their signage above the door, but not all. The stock looks remarkably like that which I would find in any normal shop and the prices didn't seem cheap to me. And I do wonder what would be considered "last season" in camping gear, jewelery or home kitchen shops. Not wanting to expose my fallible credentials as a male here, but does jewelery have seasons?
Still we press on hunting for bargains believing that somehow smiling approval will shine upon us from Livinia Nixon, the face of DFO, who does not seem to have aged one day since first appearing on our screens eating Maltesers 15 years ago. Perhaps I too can halt the aging process by shopping at DFO.
Truth: Ignore discounts. A bargain means paying the lowest price compared to the price of similar alternatives available in other shops at that time.
At DFO I found a mix of both regular and discontinued lines. Signage at DFO shops boasted massive discounts when compared to a full retail price. I trust that the full comparison prices were once the actual asking price in shops for these items. But was the full price a fair price or wildly over optimistic to begin with? I choose to ignore amazing discount prices and consider only the current price compared with the prices for similar products available at other shops I can easily buy from that day. Disregard history. Prices for fashion items generally head downwards and stay down. If it's cheaper than the other shops right now, then that's a bargain.
"Disregard history. Prices for fashion items generally head downwards and stay down. If it's cheaper than the other shops right now, then that's a bargain."
But I wanted to be sure I would walk out with a genuine factory outlet bargain. Something I couldn't get from a regular retail shop to make the extra effort of DFO worthwhile. I picked 3 shops to be the subjects of a little closer scrutiny – Wallace Bishop Jewellers, Colorado and Levis. At each I asked the sales assistant what factory outlet bargains were to be had.
All 3 outlet shops had some stock which was also available at regular shops. Colorado and Levis also showed me discontinued lines which are what I came to DFO to find. If not for asking, it was not possible for me to easily determine which stock was that which would be found at a regular shop, and that which was factory outlet discontinued or outgoing seasons stock. But they are upfront about it when asked.
Wallace Bishop at DFO explained that their range of watches were the same as the retail Wallace Bishop, but at lower prices just because it was a factory outlet. I'm sure the retailers would not be happy to be undercut by the factory outlet channel. To be fair, my inquiries at this jewellery shop were limited to my sphere of knowledge in such a shop, which is watches. There may well have been a discontinued diamond ring or last seasons gold-plated clock under glass dome somewhere in the shop, but I didn't see any glaring "discontinued" signage or labeling in this shop.
Colorado showed me a range of end-of-season men's slip-on shoes no longer available in regular shops. Of course the price tags were a patchwork of markdowns on top of markdowns, but discounted comparison prices are to be firmly ignored.
The Levis at DFO seemed to be the most genuine factory outlet of the 3 shops in this experiment. It sold clearly labeled samples and seconds at cheap prices.
After my weekend visit to DFO, I followed up with a little tour to the retail counterparts in central Melbourne. At Wallace Bishop retail shop, I found their range of Seiko watches to have the same 40% discount as the outlet. At the retail Colorado, I did not find the slip on shoes I was shown in the outlet, so direct comparison is not possible. I felt that the prices were in the same ball park for similar lines seen in the outlet, plus the retail store offered 50% off a second pair of shoes.
In the end I thought the bargains were few and far between at DFO in South Wharf. Sure, eternal youth might be possible if you eat enough Maltesers at a young age, but at this DFO I found bargains to be unlikely. I remain unconvinced that DFO shopping centres are all that much different from regular shops. Bargains can be found if you know the going price of an item, just as they can at any shop.
What's your experience with factory outlets? Please comment.
View DFO South Wharf in a larger map
Related Melbourne Posts
Where to Eat in Melbourne from under $30 per day
Melbourne's Food Court Underbelly


text:
It's been some 2,500 years since old Sophocles injected the horrific story of Oedipus the King into the cultural gumbo of human civilization. But whether the empathetic but hubristic king is the ruler of ancient Thebes or — as in Luis Alfaro's tight, fierce, gripping new adaptation, "Oedipus el Rey" — the gangland of South Central Los Angeles, there's one word that still slays 'em in their seats like no other. It depends on the translation, but the great moment of Oedipal recognition always climaxes with something like this:
Monday night at the Victory Gardens, it was not followed by "I've killed a man," although I must say Freddie Mercury's lyric popped into my head. That moment between Jocasta and Oedipus is not just about patricide — that already happened, back when Oedipus stupidly killed a guy who turned out to be his pop, even though he'd been warned of the possibility. No, that climactic declaration of maternal recognition follows a beautiful love scene betwixt mother and son — a long and sultry love scene that, in director Chay Yew's unstinting and deftly cast production, takes place on a little turntable between a naked Adam Poss and Charin Alvarez. It is as connected and sexually intimate a tableau as one is ever likely to see on a Chicago stage. The force of their sexual and emotional need for each other only emphasizes the impending horror we all know is coming before the final curtain.
Like Sophocles, Alfaro is a deft manipulator of dramatic irony, that technique that gives the audience more knowledge than the characters. Still, it was the one-word
cri de coeur that came from Poss, playing a man who now no longer can stand to see anything, that caused many in the opening-night audience to become part of a little responsive symphony of verbal discomfort. One woman near me let out quite a howl, which is one indication of a tragedy doing its job. For their part, Poss (the fine young actor who holds down the force of will of this production) and Alvarez (who surely is doing the best work of her long Chicago career), grab each other in just the right combination of unmitigated need and sudden, total self-disgust.
Alfaro's 95-minute play, which has been seen in other cities but was revised for this production, takes what dramatic theorists would call an early point of attack on the Oedipus myth. We first meet Oedipus in prison, where his fellow inmates are passing time by telling each other stories, thus forging both an outer frame (replete with a Greek chorus of convicts) and, to some extent, a flashback structure. In prison, our boy lands under the guidance of Tiresias (Eddie Torres), a surrogate father who warns him about going to South Central, suggesting, once released, that he head to the safety of the desert instead and work as a busboy in a Las Vegas buffet. But once released, the hot-headed Oedipus doesn't care for filling fat bellies, heading to LA and bashing the gangland boss Laius (Madrid St. Angelo) over the head after a minor dispute on the street.
So that's Daddy dead. Alfaro has already shown us Laius getting rid of his (and the doped-up Jocasta's) baby, right after birth, having decided that he cares not for filial competition. He gets the deadly kind, anyway.
Latino gangland, with its kingpins, parallel city-states and love of myths, turns out to be a very potent setting for a new version of what Aristotle termed the perfect tragedy. Alfaro doesn't entirely have an answer for the plague that Sophocles used to pin the Oedipus paradox to the wall — in the original, Oedipus has to find out who he is to save his people; in this version, all flows more from his arrogance and the manipulations of the nasty Creon (Arturo Soria). That's not as complex. But in every other way, you feel what you usually feel with this play.
And with the Alfaro version, there are value-added components to boot: Alfaro clearly is lamenting the human cost of gang warfare, the way prison simply condemns young offenders to that world for life and, in one powerful and surprising scene showcasing Torres, he unleashes his feelings on what really makes a father in our oft-fatherless world.
"You think a father is made of blood?" Torres' deeply emotional Tiresias says to young Oedipus, who sees only blood ties, except when he does not see them at all. "A father is made of breath — from blowing into your lungs the ideas of life, and gasping in fear at what you'll do with them."
One does a fair amount of gasping in fear at this show, which is a fine thing at a tragedy, especially when leavened, as is the case here, with pity for lost souls buffeted by the preening, violence of a world they did not invent, but in which they must survive. Yew grasps the iconic nature of the story, and also the need to ensure it is specific and intimate, moving his actors quickly and unpretentiously through all corners of this theatrical landscape, and freezing his viewers to their seats with the pain and inevitability of recognition.
Twitter @ChrisJonesTrib
When: Through July 29
Where: Victory Gardens Theater, 2433 N. Lincoln Ave.
Running time: 1 hour, 35 minutes
Tickets: $20-$50 at 773-871-3000 or


text:
Same it stays,
Changes the seasons.
You shall see,
what you seek.
Perception it is,
All that takes!
Linking with Wordless Wednesday at Abracabadra.
Also linking with #SnapYourWeek at Eloquent Articulation.
I am a Write Trie Pro-Blogger.
08 Thursday Jan 2015
Posted Wordless Wednesdayin
Same it stays,
Changes the seasons.
You shall see,
what you seek.
Perception it is,
All that takes!
Linking with Wordless Wednesday at Abracabadra.
Also linking with #SnapYourWeek at Eloquent Articulation.
I am a Write Trie Pro-Blogger.
Well said! It's a matter of perception.. Wish you a very happy new year Vinitha. 🙂
Loved your thoughts, Vineetha.
The pix is appropriate for the above 🙂
Happy New year and thanks for linking up!
Reflections... Past, Present, and Future
Caffeinated wisdom, with a snide of sarcasm.
Always Searching
The Wellness Blogazine
Weaving Stories, Curating Memories
I don't care! :P
A daily selection of the best content published on WordPress, collected for you by humans who love to read.
Celebrating Being Me!
One should count each day a separate life - Seneca
Parenting. Short Stories. Humour. And some more.
I live in words
The Adventures Of a Thirty-Something Life
Read, Write, Talk
weekly wordles
A blog inspired by the eternal words of the Mother and Sri Aurobindo. A search for the inner beauty of thought, emotion, action, soul.
Through My Window Sill
in my corner of the web.
Musings of my Soul...
Official/Personal Blog
Looking at life from a safe distance
Writing about writing
Navigating the Uncharted Waters of Life
writer • editor • dog lover
~ Poetry and Rhyme by Sumyanna -
"Never forget that once upon a time, in an unguarded moment, you recognized yourself as a friend." - E. Gilbert
One Step at a Time
Blog on motherhood, parenting, baby & child care, recipes, activities for kids, art & craft ideas, baby products review, lifestyle, makeup & beauty tips
A Granny's Guide to Bringing up Baby
Become the happiest, best version of yourself
Observations | Stories | Opinions
We're in this Together
Making literary art accessible 99 words at a time!
My thoughts and expressions
Read Write Live
Poetry and fiction by a physicist from the dark side
Discovering myself, my family and friends in a foreign land, second time around
Searching for Wholeness and Finding Grace
Where fingers tap dance...
And when I close my eyes, I feel like a page, with a crossed out name – Ryan Adams


text:
bittorrent client written in Python/PyGTK (console ui)
DescriptionDeluge is a full-featured, multi-platform, multi-interface BitTorrent client using libtorrent-rasterbar in it's backend and featuring multiple user-interfaces: GTK+, web and console. It has been designed using the client-server model with a daemon process that handles all the bittorrent activity. The Deluge daemon is able to run on headless machines with the user-interfaces being able to connect remotely from any platform. This package contains the console user-interface.
Upload more screenshots Please help extend the collection of screenshots. Just make a screenshot and upload it here. You don't need to register or anything.
Please help extend the collection of screenshots. Just make a screenshot and upload it here. You don't need to register or anything.
7871 other people were interested in this package here. The newest known version of this software is 2.0.3-3 (Information last updated about 9 hours ago.)
Upload new screenshots
Thanks for uploading more screenshots. Please note:
- Your screenshot should contain a typical scene when working with it.
- Take only a screenshot of the respective application and not of your whole desktop (unless the screenshot is meant for a window manager).
- Your screenshots must be in PNG format.
- You can upload multiple images at once.
- Your screenshot need to be approved by the moderators first. You will already see your screenshot but it will not be visible to others instantly. If moderators reject your upload you will get notified next time you visit this site (requires cookies).
- Images larger than 800x600 pixels will automatically be reduced. So don't try to capture too much detail in a screenshot. It may become unreadable. Shrink the applications window if possible.
- Screenshots are made public and can freely be used by anyone.
- Useful programs for making screenshots are shutter, ksnapshot (KDE), gimp, xwd or scrot. See the Debian wiki for more information on how to make screenshots under Debian.
- Please set your language to english so that everybody understands it. If you don't use english by default please start your application from a shell using after setting "export LANG=C".


text:
Bernstien : So Pretty: Voice And Piano - English (bernstein) (single Sheet)
Product Specs
- Product Number: BHI51447
- Publisher: Boosey & Hawkes
- Barcode: 9790051514472
Product Specs
Instruments - Delivery is FREE within the UK for all instruments. This price you see is the price you pay.
(Instruments over £100 are always sent by our Express service, regardless of the service selected in the checkout.)
Sheet music, accessories & gifts - We offer 3 services:
You can call or email us to arrange a stock transfer to your preferred branch.
|In Stock
|Out of Stock
|Out of Stock
We are one of the top suppliers of woodwind, brass and orchestral strings across Sussex and are main agents for most of the instruments we sell. We only list instruments we normally carry in stock.
Our instruments are fully checked and set up through our workshop to ensure perfect playing.
Yesterday: Piano Vocal Guitar
Satin Doll
Thunderbirds Theme From
Wind Beneath My Wings
Palladio Theme: Piano Solo (Karl Jenkins)
Women In White - Piano Vocal Guitar: (Single)
Heal The World
Wonderwall - Piano Vocal Guitar - (oasis) (single Sheet)
Stairway To Heaven


text:
|There are 54 sections of this class.
|Web Registration Dates
All registrants: 03/01/2019 @ 12:00A - 03/01/2019 @ 12:00A
|This activity has a prerequisite of Pass Type(s): Cent Hills AAC, Derfelt Sr Ct, Doolittle Sr Ct, ELVCSC, Lieburn Sr, Las Vegas Sr, CHAAC Month, Derfelt Sr Ct1M, Dool Sr Ctr 1M, ELVCSC 1M, Lieburn Sr 1Mo, Las Vegas Sr 1M.
|This is a Co-ed activity.
|Open to These Ages:
|50 years and Up
|Open to These Grades:
|Notes for this activity:
|Community Garden 1/2 bed
Community Garden 1/2 bed


text:
Bots are complicated. They're made to process repetitive actions autonomously and can be fairly easy to build, but they aren't always working on the side of good. Here's what you need to know.
Each year, EContent magazine compiles a list of the 100 companies that matter most in the digital content industry.
Voting is now closed. We'll announce the results of the first-ever EContent 100 list chosen by the people!
Lin Pophal
Jan 22, 2010
In September, The Washington Post's senior editor Milton Coleman published guidelines to the paper's staff members about their activities on the internet-while on and off the job. His email to staff said, in part: "Social networks ... can be valuable tools in gathering and disseminating news and information. They also create some potential hazards we need to recognize. When using social networking tools for reporting or for our personal lives, we must remember that Washington Post journalists are always Washington Post journalists."
It was the "or for our personal lives" part that created a firestorm for The Washington Post. But its concern about what its staff members-particularly reporters-are saying online is understandable. Some of the journalism-centric concerns expressed in the memo (posted at www.paidcontent.org) include the following:
• When using social networks such as Facebook, LinkedIn, MySpace, or Twitter for reporting, we must protect our professional integrity. • Washington Post journalists should identify themselves as such. We must be accurate in our reporting and transparent about our intentions when participating. • When using these networks, nothing we do must call into question the impartiality of our news judgment. • Be sure that your pattern of use does not suggest, for example, that you are interested only in people with one particular view of a topic or issue.• Post journalists must refrain from writing, tweeting or posting anything-including photographs or video-that could be perceived as reflecting political, racial, sexist, religious or other bias or favoritism that could be used to tarnish our journalistic credibility.• Post journalists should not be involved in any social networks related to advocacy or a special interest regarding topics they cover, unless specifically permitted by a supervising editor for reporting and so long as other standards of transparency are maintained while doing any such reporting.• Personal pages online are no place for the discussion of internal newsroom issues such as sourcing, reporting of stories, decisions to publish or not to publish, personnel matters and untoward personal or professional matters involving our colleagues. The same is true for opinions or information regarding any business activities of The Washington Post Company.
While these guidelines have triggered a great deal of backlash and commentary in the blogosphere, this memo is indicative of the serious impact social media is having on the journalistic profession. It's not so much that fundamental standards have changed; rather it's more that the scope or reach of what we say and do is much more transparent and pervasive than ever before. A reporter sharing political perspectives with a source at a night club in the 1970s would likely suffer fewer repercussions than a reporter in the 21st century sharing those same perspectives on Twitter with the potential of thousands of others "listening" in.
On the flip side, of course, social media tools afford journalists an opportunity to identify and connect with sources and to learn about potential stories as they're occurring in ways that were never before possible. Now famous, Janis Krums, a man from Sarasota, Fla., was the first to post a photo of U.S. Airways flight 1549 crashing into the Hudson River using TwitPic to post images to his Twitter feed from his iPhone ... and he was interviewed on MSNBC as a witness about a half-hour later.
However, journalists don't necessarily like to be beaten to the punch by their new "citizen" brethren. So they're jumping into the fray as well. For example, WCCO, a Minneapolis/St. Paul TV station broke the news about Brett Favre signing with the Vikings via Twitter. The tweet, sent via @wccobreaking, said: "A high-level source with the Minnesota Vikings tells WCCO's Mark Rosen that QB Brett Favre is expected to sign with the team Tuesday."
Journalists and Social MediaPamela Johnston is director of new media at Lahey Clinic in Burlington, Mass. Prior to that, she was VP of member experience at Gather, a social network created in a similar vein as the wildly popular Facebook. "During the 2.5 years I was there, social media exploded," says Johnston. The experience allowed her to immerse herself in the world of social media as she watched the firm's competitors rise to prominence. In the course of her career, Johnston also spent 16 years in broadcast media as a producer and a news director-so she has had a good view of both sides of the emergence of social media's impact on journalism.
Journalists and reporters, says Johnston, are using social media tools "voraciously." "They're out there, and they're looking for sources and experts. It's funny because they're really the first ones at the dance, and the people they're looking for really haven't arrived yet."
That's particularly true in the healthcare industry, she notes, where privacy concerns and HIPAA regulations make administrators particularly nervous about embracing social media. However, there are those professionals making forays into leveraging social media for this type of coverage. Chris Seper runs MedCity News, a media industry news service in Cleveland. He says that "social media allows you to make stronger connections with sources in a broader geographic area."
He also points out that "Twitter is a critical tool for our ongoing conversation with our core audience-the stakeholders of healthcare. We've taken the stories we've tweeted and carried on debates with people from Minnesota, Penn-sylvania, and Maryland-and later used that momentum to incorporate the thoughts of our readers into forums and future stories."
However, as with any form of media or expression, social media presents both positive and negative opportunities.


text:
I freely admit to being one of those people who stands on the street corner with my iPhone, checking emails, looking for the closest Chinese restaurant, and calling my mom… all at the same time. But as a crafter and general lover of all things homey and handmade, I've longed to somehow make this sleek plastic piece of technology fit into my aesthetic worldview a little better.
So, when the Leese Design Cross Stitch iPhone Case arrived at Purl Soho I could feel my crafty fingers just itching to give it a try. I couldn't decide if I wanted a modern, punchy and fun design, like the iPhone's , or if I'd prefer an ironic twist, juxtaposing four year-old technology with centuries-old craft. So, I made two!
The Bird in a Tree version of the iPhone case, features a pattern from Caroline Vincent's Sampler Workbook: Motifs & Patterns, an expansive collection of cross-stitch themes from the 17th through 19th centuries. The historical Autumn Tree Pattern is a classic design with a fresh and modern edge. I worked this pattern in Sajou's Retors du Nord, a lovely collection of 4-ply embroidery floss. Sajou uses vintage reproduction thread cards to wind their floss, so it felt totally natural to use their beautiful Retors du Nord for this traditional pattern.
For the striped design, I turned to the classic 6-ply DMC embroidery floss. With hundreds of colors in the DMC spectrum, including fluorescents, narrowing them down to twelve was both a pleasure and a challenge. I loved experimenting with different size stripes, mixing and matching the order of the colors to create both subtle shifts and sharp contrasts. Freeform cross-stitch is rare, so it was fun to design a project where I could really indulge my creative whims!
Bird in a Tree
- Leese Design's iPhone 4 Cross Stitch Case
- Caroline Vincent's Sampler Workbook: Motifs and Patterns, page 17.
- All threads used in this version are Sajou Retors du Nord 4-ply embroidery floss
- Leaves: 2039, 2405, 2529
- Branches: 2227
- Bird: 2010
- Bird's eye and legs: 2234
- Leese Design's iPhone 4 Cross Stitch Case
- 1 pack of DMC Light Effects Floss (I used 3 of the 6 plies.)
- DMC embroidery floss: colors 307, 606, 648, 907, 956, 3761, 3843, blanc, and ecru. (Again, I used only 3 of the 6 plies)
- Sajou Retors du Nord 4-ply embroidery floss color 2234
Pattern for Striped Version
- 1 row DMC 307
- 1 row LE E1010
- 2 rows DMC 606
- 1 row Sajou 2234
- 1 row DMC 606
- 1 row DMC 648
- 2 rows DMC 907
- 1 row LE E980
- 1 row DMC 307
- 1 row Sajou 2234
- 3 rows DMC 3843
- 1 row DMC blanc
- 1 row LE E1020
- 1 row DMC 956
- 1 row LE E1010
- 3 rows DMC 956
- 1 row DMC ecru
- 1 row LE E980
- 1 row DMC Blanc
- 1 row DMC 3843
- 2 rows DMC 606
- 1 row LE E1020
- 1 row DMC 907
- 2 rows DMC 307
- 1 row DMC 956
- 1 row DMC 3761
stitching the iPhone cases was such a fanciful project that I couldn't help but smile and tell everyone at the shop all about it. Now for the difficult task of deciding which case to use first!


text:
The valet runs toward the car. The bell captain in a white uniform emerges from his kiosk and heads toward the car, too. Within seconds of stopping, the car door is pulled open gently, and a hearty "Welcome to the Grand Bay" greets the visitor as he steps out. "Are you checking in?" the bell captain asks. "Let me get your bags, and welcome to the Grand Bay." The bell captain escorts the guest into the lobby, seats him at a reception desk and says, "someone will be with you shortly." Within a heartbeat or two, a lovely receptionist approaches the desk and says, "welcome to the Grand Bay."
If at that point you haven't figured it out, check again: this hotel is genuinely glad that you're staying for the night. Part of the worldwide Ciga Hotel chain, the Grand Bay is simply the best hotel in Miami. Somehow its 180 rooms create a small, European feel...that's by design. Moreover, the Coconut Grove location is far from the frenetic pace of Miami's hot, new South Beach area, the aging elegance of the beach's gold coast area and remote in every sense from the bayside hotels in downtown Miami, which cater to the cruise-ship crowds. Within walking distance, the Grove's quaint, narrow streets beckon visitors with cafes and boutiques.
Currently undergoing a discreet, room-by-room redecoration, the Grand Bay is shedding some of its old-world look for a more updated, sophisticated tropical appearance. In a large bay suite--living room with wet bar, separate bedroom and two bathrooms--a light pine-green-and-tan motif gives a soft, relaxing mood. A basket of fresh fruit and chilled Perrier Jouet Champagne await guests in their rooms. There is a fax machine in every room, televisions at every turn--in the suite, there are phones and televisions in both bathrooms and both rooms. And each room sports a balcony overlooking the palms and low trees evident all along Florida's coast. As advertised, the hotel will deliver room service all day and night and respond to just about every request; in one brochure, a story is told about a guest who admired a waiter's jacket. The waiter said, "here, take it."
The hotel's main restaurant, the Grand Cafe, has always been considered among Miami's finest. However, in the past two years, it has suffered the defection of one chef and the presence of an uninspired replacement. That's all changed. Pascal Oudin, a Frenchman who is a veteran of the Miami scene, moved into the kitchens in January and quickly restored the food to its former glory.
Although limited to a few items on a daily-specials menu, during a recent visit, Oudin's offerings included crabcakes made with fresh blue and stone crabs; it was a succulent, extremely flavorful rendering of this dish. Lobster tails with porcinis in a wild-mushroom reduction was a combination of flavor bursts from the sea and forest. Main courses of seared tuna and a fresh salmon fillet were perfectly prepared and showed an inordinate attention to absolute freshness, a quality that is possible in Miami if you know the right fishing boat captains.
The wine list is pricey. But it includes some gems, especially given current vintages that are available in the market. Top white wines include a 1989 Corton Charlemagne, Bonneau du Martray, $148; a Puligny-Montrachet, 1990 from Louis Latour, $80 and a 1990 Grgich Hills Napa Chardonnay, 1990, $67.
Red wine selection is comprehensive, too. California Cabernets going back to 1974 are listed including Beaulieu Georges de la Tour, 1974, $275; a Joseph Heitz, Martha's Vineyard, 1979, $175 and an Inglenook Cask Reserve, 1974, $240. The restaurant also has some 1961 and 1970 first-growth Bordeaux including Château Lafite-Rothschild, 1961, $895; a Château Latour, 1970, $355; a Château Mouton-Rothschild, 1961, $895 and a 1970 Château Margaux, $340.
Of course, this hotel is cigar friendly. Grand Cafe patrons are asked to smoke their after-dinner cigars in the Ciga bar area, a rich, wood-paneled room with plush couches and quiet corners, where smoking them is encouraged. Terry Zarikian, director of product development, hasn't put in a hotel humidor yet; that's in the works this year. The impending arrival of a humidor points to one thing: the hotel's success with a series of cigar dinners, which are limited to 50 people. Tickets are not easy to come by.
In a town where cigar smoke is often in the air, thanks to the city's strong Cuban community, it's an additional pleasure to find a modern, luxurious hotel where cigars are also welcome. They are here. Just sit back in the Ciga bar and check out the welcoming smiles on the staff's faces, and you'll know that you have a home for a few days or even just a few hours.
-- Gordon Mott
Grand Bay Hotel
2669 South Bayshore Drive
Phone: (305) 858-9600
Rooms (seasonal rates): $275-$325; Suites: $340-$1,100


text:
Watch Online Magandang Buhay October 31 2019 Replay Episode hd.Magandang Buhay October 31 2019 Latest High quality video. We Bring ads free Pinoy Channel and Tambayan streaming for viewers.
Magandang Buhay October 31 2019 Replay Episode
Full Part
Pinoy Tambayan is one of the web sites that provide you the Pinoy dramas and TV shows where ever you want to watch it. Lambingan is another front row web site that is really working hard to spread the Pinoy Teleserye content all over the world within no time. So don't worry at all!! Here they are taking all the right advantage of the facility of internet. Filipinos really love these TV shows as they shows the real culture, tradition, people, customs and values of Filipino and that is why these TV dramas and shows are so much popular among locals.


text:
Rav P.S. Berg
About the Author
A kabbalist descended from a lineage of great masters, Rav P. S. Berg was ordained at Torah VaDaat in New York City and later studied under kabbalist Yehuda Brandwein in Israel. As dean and codirector of The Kabbalah Centre, the Rav lectures and teaches internationally, meets with spiritual and world leaders to foster global peace, and has touched the lives of millions through his many books, including Immortality, Wheels of a Soul, To the Power of One, Secret Codes of the Universe, and Education of a Kabbalist. Under his guidance, The Kabbalah Centre has published the first complete English translation and commentary on the Zohar.