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Boston-area officers to 'Ride4Cops' this weekend
Over 100 Boston-area police officers will ride motorcycles from the Massachusetts Institute of Technology campus to the State House Saturday to raise awareness about the emotional turmoil that affects the families of fallen police officers.
The morning ride was organized by Ride4Cops, a national organization that supports the surviving families.
"Officers can't worry about getting hurt or killed. If they did that, they couldn't put on their badge and do their jobs. But they make a promise to each other. 'If something happens to me, take care of my family,'" said Ride4Cops founder Harry Herington, a former police officer. "(Ride4Cops) is me keeping that promise."
Between 140 and 160 officers are killed in the line of in the U.S. each year, Herington said, a statistic that motivates Herington to carry on with the work. Although the organization is based in Kansas, Herington has led similar rides across several state capitols.
The procession begins at 9:30 a.m. at the MIT campus, in honor MIT Police officer Sean Collier, a dedication that Herington said made sense.
"(Collier) was killed in the line of duty by people who committed a terrorist act. He fell in the line of duty protecting the students and citizens of Boston," he said.
Collier, 26, was shot dead by accused Boston Marathon bombers Tamerlan and Dzhokhar Tsarnaev on April 18 on the MIT campus.
The ride then continues to the State House, where State Attorney General Martha Coakley and other officials will deliver speeches in honor of all the state's fallen officers.
During the ceremony, The New England chapter of Concerns Of Police Survivors, also known as "C.O.P.S." will receive a check of $50,000 to send children to a camp program that provides grief counseling. C.O.P.S. has provided support for families of police officers killed in the line of duty since 1984.
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Everyday Tidbits...
Fall, where are you? I get teasers of cooler weather, but you haven't arrived yet.
Monday, February 14, 2011
The Adoration of Jenna Fox...Review
Who is Jenna Fox?
Seventeen-year-old Jenna has been told that is her name. She has just awoken from a year-long coma, and she's still recovering from the terrible accident that caused it. Her parents show her home movies of her life, her memories, but she has no recollection. Is she really the same girl she sees on the screen?
Little by little, Jenna begins to remember. But along with the memories come questions—questions no one wants to answer for her. What really happened after the accident?
In this fascinating novel, acclaimed author Mary E. Pearson presents an unforgettable look at one human life and a glimpse into a possible future that may be closer than we think.
I've never been one for dystopian-type novels, but this one sounded interesting. And it was. The premise is fascinating, the ethical questions and story are compelling. The narration is told from Jenna's first-person viewpoint as she awakens from a year-long coma. The story unfolds as she discovers what has happened to her and who she is now.
I can't say that any of these characters are particularly likeable and many of the secondary characters aren't fleshed out well, so I was left wondering about their stories. However, this is one of those books that sort of stays with you. Whether it's a good thing or a bad thing, I don't know.
Thanks to my local library for having a copy I could borrow. You can learn more about Mary Pearson here. You can purchase your own copy here.
Read 2/11
* * *
3/5 Stars
Posted by Holly (2 Kids and Tired) at 6:00 AM
Labels: 3 Stars, Dystopia, Fiction, Future, Library Copy, Read It If You Want To, Review, Science Fiction, Teen, YA
4 comments:
- bermudaonion said...
I read a couple of raving reviews for this one so I've been really curious about it. Your review has tempered my expectations.
- February 14, 2011 at 12:53 PM
- Michelle V said...
Sounds interesting. I may have to check that one out. Thanks for the great review!
Michelle V
- February 15, 2011 at 1:36 PM
- Laura H said...
ohhhh I really like this book and have recommended to a lot of people. Kind of creepy and sad but very thought provoking.
- February 15, 2011 at 9:19 PM
- Anna said...
I really liked the book, even though I didn't really care for the ending. I didn't bother me that there wasn't too much info about the characters, as it seems as though the author was being vague throughout...well, until the big mystery was revealed.
- February 17, 2011 at 11:24 AM
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subset: commoncrawl


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Interview with Corcoran Chief Curator Philip Brookman
Richard Diebenkorn: The Ocean Park Series
June 30–September 23, 2012
Interview with Corcoran chief curator and head of research Philip Brookman
Philip Brookman, the Corcoran's chief curator and head of research, was a 20-year-old student at University, Santa Cruz, in 1973 when he wrote Richard Diebenkorn requesting permission to mount a retrospective of the artist's drawings. Over the course of organizing that exhibition, which appeared at UCSC's Mary Porter Sesnon Art Gallery in 1974, Mr. Brookman gained valuable perspective on Diebenkorn's working methods and insight into the world of art. Here, he discusses the experience.
|Preparing for the 1974 retrospective of Diebenkorn
drawings. Left to right: Donald Weygandt, Richard
Diebenkorn, Philip Brookman
This was the first exhibition you ever organized. How did you decide on Diebenkorn?
At UC Santa Cruz, there was no art history major. I designed my own program. I was looking for a project that would take me out of the classroom and into direct contact with a living artist. I picked Diebenkorn, whose work I had seen at SFMOMA. I just loved the complexity of his art. Two of my teachers, Douglas McClellan and Don Weygandt, knew him and gave me his address.
What was your first meeting like?
Diebenkorn was very generous with his time, maybe because I was just a kid then and he was used to playing the role of professor, although he had stopped teaching by then. He led a very middle-class life,, with a wife and a dog and two grown kids. He drove to work at his studio every day. I was impressed with that ethic. I interviewed him about his work, and he let me photograph him drawing. He drew every day. He drew to clear his mind. We looked through many boxes of old drawings, and he helped me find drawings that had been sold or given away. This is how I learned what a curator does.
It was sink or swim.
Right, and he was the lifeguard.
And the studio was in Ocean Park?
The Ocean Park neighborhood was just south of downtown Santa Monica. It had been the site of the famous Pacific Ocean Park Amusement Pier, which closed in 1967 and was destroyed by fire in 1974. This was a very funky area known as Dogtown to the surfers, not suburban like it is now. Dick was working in beautiful studio on the second floor of an industrial building he shared with the painter Sam Francis. One long wall was entirely made of windows, which gave him the light to work.
Did you also get to watch him paint?
Yes, and this changed the way I thought about painting. I thought that painters always planned out what they were going to do. Not Diebenkorn. For him, painting was something that gets worked on moment by moment. You work on it until you realize where you want to go. He had essentially learned from abstract expressionist painters. He applied layer after layer of paint, sometimes drawing into it with a straightedge and Conté crayons, scraping paint away in places and leaving the evidence of each step visible, which illuminated the surface of the canvas. He revealed his process, much like early Matisse.
What else did you learn from him?
When you reach a dead end as a painter, you can stop and change direction. What I mean is this: Painting in various styles came easily to him. By the time I met him he had already had considerable success as a figurative painter and with Abstract Expressionist-type work. He continued in a style as long as it challenged and interested him and then he moved on.
For an artist like that, what was it like to live in Los Angeles?
At that time Los Angeles was relatively isolated from the art world, which isn't to say there wasn't a lot going on. LA institutions supported experimentation and innovation. He found a community among other Southern California artists like Tony Berlant and William Brice. At first, you might not think these are artists who have a lot in common, but they all are always seeking, but not finding, some sort of balance in their work. That was the feeling in the air at the time. He was struggling to find resolution in his work. He wasn't always finding it but for Diebenkorn it was the struggle, the process of painting every day, that was important.


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In what for many will feel like karma, Robin Thicke's latest album, Paula, has managed to sell a mere 530 copies in the UK in its launch week. And while the George Michael lookalike has fared better in his native U.S., selling 24,000 copies, it's still a far cry from the 177,000 copies of Blurred Lines that were sold.
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Reader Comments (Page 1 of 1)
I wish that they would put a portal in each major city that a player could use (lvl considered, of course) and just let us pay a few coins. No need looking for mages, no having to spend a lot of time flying from 1 city to another. Let the mages continue to port themselves. So much time is wasted in the game traveling, and of course, we have so many NPCs in the game reminding us, "Time is money!"
I still maintain that if you go AFK while traveling, it's taking too long. And, someone might suggest to make going AFK take a little longer - well that's not a solution. I mean, after 500 flights from Darnassus to any city\town south of Thousand Needles is a waste of my time.
The fact that one would suggest going from continent to continent supports my point. Blizz has lowered the lvl for mounts & brought flying to Azeroth, no longer to used just the Outlands or Northrend. That is to me indicates that they are aware of the travel times are much too long. In vanilla WoW, do you remember running everywhere until lvl 40? Did that increase your "sense in existing in a world with geography" or just mean that you wasted time traveling. To me, it just increased my "lvling" time, not my enjoyment of the game. I quit looking at the scenery after 10 or so flights\runs.
As for anything south of 1000 needles is trash, one man's trash is another's treasure.
BTW, Thanks for the feedback on my comments. I can never tell if I'm too grumpy or not. Apparently, on this topic, my grumpiness lvl is toxic.
I'm not against seeing everything for the first time so that I can wonder at the size & scope of the game, but come on - 400 flights over the same terrain is just too much.


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'Rabbit Don't Come Easy' is Helloween's tenth full length studio album. The band have created an album, that sounds timeless. The production is the best yet for the band, but the music itself has its roots in the last 30 or so years of rock and metal. However, Helloween do not sound "old" in the negative meaning of the word.
Helloween are happier again, after 'The Dark Ride'. Some of the most happy-sounding bits are a bit too much candy for my ears (thankfully there is no such abomination as 'The Game Is on' to be heard here). But in general, Helloween have created such a beast of an album, that even the most candy moments are good. I had hard time getting into happier sounding parts of the opener 'Just a Little Sign' and 'The Tune', but the latter actually has one of those monster riffs in it. Yes, that heavier stuff. Wow!!! Almost every song have something special in them, that x-factor which makes a listener go from start to the end without forwarding over any song. Darkest song, 'Back Against the Wall', is for some reason a song I do not like, even though it has a great chorus.
The music is varying from speed metal stuff to heavier metal and over to balladish bits and even reggae (fantastic and massive 'Nothing to Say'), but still this might be Helloween's tightest album to date during its one hour plus duration. The music is mature, but still the songs rock like hell. If you've heard the band's cover album 'Metal Jukebox', the timelessness of the material should not be such a surprise after all. The band's performance is professional in every sense and changes in the line-up haven't caused any problems with chemistry inside Helloween. Drums are played by Mikkey Dee (Motörhead, ex-King Diamond), except on two of the songs. I like Markus Grosskopf's "wandering" bass playing style, meaning that he doesn't stick to a single note or two. Sascha Gerstner is the new guitar player and sounds ace with Michael Weikath.
Andi Deris gets better with every record and I have got into his unique vocals already, even though it took pretty long to happen. He's able to handle high voices and lower parts without any trouble. His voice somewhat reminds me of ex-Iron Maiden man Paul Di'Anno. Raspy voice, but Andi has a much wider register. You have to be able to resist German humour. "Something's growing in my pants, as she looks into my eyes", these lyrics of the opener are just one of the many to be heard on the album. Covers are cool, even though the graphics are a bit "funny". Just wait for the surprise when opening the digipak version...
Helloween have created an enjoyable album. If you're into heavy/power metal, get this, you shouldn't be disappointed with this batch of songs. Great summer music, this one!
(originally written for ArchaicMetallurgy.com in 2003)
I just reviewed Helloween's Gambling with the Devil and talked about how awesome it was, so here's a review that is basically the equivalent to hosing me down with about a million fire hoses. Rabbit Don't Come Easy is basically another Chameleon-esque album, except this time it's not as good, and only really saved by some adamant hooks.
Some of these songs are just flat out bizarre, even for Helloween. There is no coherency at all here; it's like the band members went home and wrote these songs without consulting one another beforehand, and threw them together without any regard for consistency or flow. We have speed metal, hard rock, ballads, middle Eastern shit, reggae, Led Zeppelin worship...good god, is there any end to the madness? Well, yeah, there is, and I do have to give the band points for creativity here. It's just that the songwriting on here isn't near as strong as it has been at other points of the band's recent career. There are a lot of songs on here that just sound more generic than usual, showing a rather shocking laziness on the band's part in terms of riffs and leads. The band still retains their attitude here, but it's kind of lost in the mire of more standard songs than usual - no doubt caused by the schism that was going on in the band at the time, but it's pretty weak nonetheless.
So...good songs on this thing. "Open Your Life" is probably the best, with soaring melody lines, crunchy riffs and a killer anthemic chorus that you will be singing from here to forever. It's really quite a quirky little take on the standard Power Metal take, with the chugging rhythms underneath the melodies. Not exactly groundbreaking, but it's more like creative twist if anything. "Sun 4 The World" is cool, sounding the most like what we expect modern Helloween to sound like, with its nice grooves and interesting Middle Eastern elements. Speedy opener "Just A Little Sign" has a catchy chorus, and it's pretty fun, gets you pretty pumped up for the disappointment that follows. "Hell Was Made In Heaven" has an awesome chorus, probably the best one on the album, but musically it's a pretty generic second-tier Power Metal track. This is more like what we expect from Gamma Ray these days, not Helloween. Oh, and "Liar" kicks ass, too, a nice and thrashy tune that hearkens back to the Walls of Jericho days with a nice modern flair.
"Nothing to Say" is the talking point of this album, an eight minute exercise in everything from reggae to Led Zeppelin aping, and Helloween have actually pulled off quite a strange spectacle here. It's definitely the strangest album closer they've ever done, and probably the most unorthodox epic I've ever heard out of any metal band that wasn't some kind of crazy Avant-Garde hybrid. The chorus is big and catchy and the instrumentation is jarring and jagged, and it's not a great song, but the effort is appreciated nonetheless.
Everything else is a bit uneven. "Never Be a Star" is boring, as are "Don't Stop Bein' Crazy," "Do You Feel Good" and "Back Against the Wall." These songs are obviously trying, it's just that they're not tied together well at all. They sound weak and sort of contrived, fillers even despite sounding rather pleasant while they're on, with stale riffs and uninspiring melodies. "Listen to the Flies" has some good parts, but again, not tied together well enough to really be a top notch song. And the worst thing is that even the good songs on here sound like they were taken from different albums or even different bands; it's a huge mish-mash of styles and quality all around, nothing sounds like it should go together with the next song. Is this really the same band that wrote The Dark Ride?
...No, it isn't actually, because Michael Weikath thought that that album was too dark, and that caused this over-compensation for the band's forage into more mature areas, this strange, strange need of his to write an album that was all sunshine and flowers and rainbows. Yes, where the last album was a great, juicy Reese's Cup in your plastic pumpkin Halloween candy bucket, this one is more like a fat-free Hershey bar or something; however they would even make that. The analogy works, so shut up about it. This music is too humorous, too blatantly comedic...I like funny stuff, but really, not when it hinders the songwriting in a band's music! This isn't funny so much as it is embarrassing at times. And we can also blame Weikath for causing the schism that led to the disaster that was Ride the Sky, too, so that's another couple of points off the rating.
But really, I guess this album isn't terrible. It is kind of fun at times, to turn your brain off to and just sing along. It's probably the worst Helloween album I've heard, but it's still not a god-awful album, or anything of the sort. It's confused, it's frustrating, and at times it's pretty boring, but there are still some shining moments to evidence what band you're listening to. Decent album, some good songs, but it lacks any semblance of direction or power to make it worthy of anything but a casual listen every now and then.
Oh yeah, and the drums are too fucking loud, too.
So shut the fuck up about the title. It seems its always metal heads who got into the scene during the nineties (or even later) who don't get humour in metal. Pink Bubbles Go Ape was also about the music and not the title. So give it a rest. I also do not care about the album cover. I'm here about the music although I must admit a great title and great atwork do have a positive effect. But if it's bad I just ignore it.
I must admit it took me a few years before I learned to appreciate Deris-era Helloween. I had the opportunity (?) to see them perform live somwhere in '98, opening for Iron Maiden and hearing Deris raping Eagle Fly Free among other holy classics. I hated him even more at that moment. By the time "Better Than Raw" came out I had only just learned to appreciate some material from "Time Of The Oath" (and I stress 'some'). Unfortunately the band then released a hideous piece called "The Dark Ride" which a friend of mine bought and I had to hear it a lot of times. God I still hate that album. Helloween shouldn't be dark. Leave that to the painty boys from Scandinavia, please! Helloween is about fast power metal and happy songs. When "Rabbit Don't Come Easy " came out, the album title and cover immediately gave me that old school Helloween feeling, so I checked it out to give them yet another chance. Boy was I positively surprised!
The whole album is simply great. It sounds like Helloween again! It is the album they should have released right after Pink Bubbles instead of that weird Chameleon experiment. Of course I will always prefer Kiske but when Rabbit came out I had gotten used to Deri's presence and voice. Away with the darkness of the previous effort or the inconsistency of Master Of The Rings. Here's a quality album that sounds like Helloween again and with plenty of variation as well.
Opener "Just a Little Sign" perfectly combines the heavier riffing of Better Than Raw with a typical old school catchy Helloween chorus and great work on leads. Talking about catchy chorusses, the album is filled with them. Second song "Open Your Life" goes through all kinds of tempi and Deris gives one of his best performances here.
"The Tune" has a vocal melody on the chorus many may find too cheesy, but considering my love for 'everything-seven-keys' no Helloween chorus in that style can be too cheesy. Just a great melody and I'm sure a song like this will do nicely live. "Never be a star" is a good mid tempo pounder with strong chorus and although not a highlight on the album, heavy and catchy enough to earn a place.
"Liar" goes back to Better Than Raw in term of heaviness but never gets too heavy for the album. Other songs worth mentioning are "Do You Feel Good" and "Hell Was Made in Heaven"which both sound quite happy but are so strong and catchy I can recall these songs anytime I want. Remarkable.
Is there nothing bad here? Well a song like "Don't Stop Being Crazy" is actually a filler but not hideous. Kind of background music really. "Back against the Wall" is somewhat darker than the rest of the best but still an adequate song. Why then only 85 points for the best Deris-album? Because of the last two songs! "Listen to the Flies" has a promising outro but the song sinks into mediocrity and lacks a cathy edge. "Nothing to Say" is simply bad, filled with misplaced cheesy hardrock riffs. So two fillers and two bad songs take the album somewhat down. Fortunately the worst songs are in the end so they don't spoil the rest of the album. Just programm the first ten tracks ;)
The year was 2003 and after losing 2 of its principle members, Helloween released this rather musically average and lyrically ridiculous album. It is pretty much common knowledge that Michael Weikath regretted the direction of "The Dark Ride", but this album is a 100% over-correction and comes off as being utterly silly and nonsensical. One would argue that it is quite difficult to pull a rabbit out of your hat by resurrecting the spirit of a band after its line up has been gutted by internal struggles, but this album only succeeds in yanking the rabbit so hard that its ear come clean off.
"Rabbit don't come easy" is not quite a "Pink Bubbles Go Ape", but I get a strong sense of déjà vu every time I compare the two. Much as was the case with "The Chance" on the latter, "Open Your Life" proves to be the greatest track on here, and happens to be the handiwork of newly recruited axe man Sascha Gershner. We have a similarly ridiculous album cover to the 1991 flop, as well as an equally lackluster production, not too mention a similar ratio of good songs to bad ones.
The overall role of the drums on this album is a bit confused, owing heavily to there being 2 different drummers on here. Mickey Dee is probably one of the best in the business, but much as Uli Kusch did on Gamma Ray's "Sigh No More", its way over done. The beats suffer from too much speed, not enough change-ups, and being a bit too high in the mix. The tracks where Mark Cross plays the kit are much more appropriate and complement the songs, although this is only a significant change in the case of "Listen to the Flies". The guitar work on here is pretty solid, owing mostly to Sascha Gershner's highly methodical style. If there is a silver-lining to this less than stellar album it is that it kept Freedom Call's former shredder from giving up on the metal genre.
The song quality on here is 100% relative to the composer, and sadly the one who truly brings this album down is Michael Weikath. "The Tune" is one of the most generic speed songs I've ever heard, not to mention so damned goofy that it begs to be skipped. "Do you feel Good" is equally as silly, although musically it is a bit more tolerable. "Back against the Wall" is a lame attempt at being heavy, something which seems to contradict Michael's desire to get away from the sound on the previous release. "Nothing to Say" is 8 ½ minutes of redundant rock riffs, hardly worth a full listen.
The rest of the music on here is either solid or excellent. "Just a little sign" is another satirical effort from the Deris archives which succeeds in rocking fast, putting out a nice catchy chorus, yet doesn't insist on being a singing joke. "Liar" is fast as hell and carries some rather spooky sounding sections. "Never be a Star" is almost a sequel to "Perfect Gentleman", but its still fun to sing along with. Likewise, "Don't stop being crazy" is a slightly more rocking version of Master of the Rings ballad "In the Middle of a Heartbeat", but is charming and easy to hum along to. Marcus Grosskopf's lone composition "Hell was made in Heaven" is decent, but doesn't really stand out amongst the large collection of Deris songs.
The musical highlights on here are all branded with Sascha Gershner's standard of musical excellence. "Sun 4 the World" showcases his abilities at capturing the sounds of eastern music and marrying it to the Power Metal style. "Listen to the Flies" showcases his talent for crafting fun fast songs with a ton of energy. But his magnum opus on this release is clearly "Open your life", which is the most triumphant and dramatic sounding song on this entire album and the most lyrically removed from the absurd tone set by Weikath's over-compensating sense of humor. Excellent guitar work on this one, although the performer who really shines on here is the vocalist.
"Rabbit Don't Come Easy" personifies a mixed album, it is recommended to fans of Power Metal, but look for it below the $10 price range. It is plagued by an overreaching sense of comedy, one which sought to keep the band from sounding like newly formed rival metal act Masterplan. If there were a contest between the two, the award for album of 2003 would definitely had gone to Roland and Uli, as Weikath has forgotten about the grand musical storytelling he did effortlessly on such Helloween classics as "Dr. Stein" and "Keeper of the Seven Keys". However, Sascha Gershner adds an interesting new element to the band that can not be ignored, and this role would increase greatly in prominence on the next release.
HELLOWEEN is where it all started. And since day one it's been all about single-handedly inventing metal genres, or perfecting them. They're also yet to succumb to that ultimate metal quicksand - releasing the same album twice. Which might explain why they get on so many nerves. Anything that moves that fast has just gotta hurt.
'RABBIT DON'T COME EASY' is something new yet again. One obvious reason is the departure of Grapow and Kusch. Kusch's songwriting was uneven at best. And Grapow has a Ph.D. in writing fillers; this is the guy behind the reason behind the skip button on your music player of choice. In comes Sascha Gerstner (of FREEDOM CALL ranks) and the rest – as they say – is metal history. So how to review an album without a filler then. Maybe by songwriter.
'Just a little Sign' is the first of vocalist Andi Deris' numbers. This guy's gotta be pound-for-pound the most underrated name in metal. His vocals are too chameleon to be distinctive. And his songwriting is pretty much summed up by this one song. Everything he touches has chart single written all over it. Always catchy and to the point, and either anvil heavy or hard rock edgy without giving a damn what anyone thinks. But back to the band. Here the guitar dueling is so centre stage it might as well be product placement. And if the keyboards work it's because they're every bit as heavy and melodic. All of which is toned down a little on Deris' two other numbers: 'Never be a Star' and 'Don't Stop being Crazy'. And yep, once again, catchy is the name of the game.
'Open Your life' opens the book of metal hooks according to Gerstner this time. And boy does he know how to sink them in. 'Sun For the World' and 'Listen to the Flies' is more of the same from someone who spent one too many years making up the numbers. Given the chance to write – he's going to rewrite. 'Open Your Life' is a head on collision between speed and power metal, and 'Sun for the World' is a fable for grown ups that like their music daring. Strange and haunting is also the best way to describe 'Listen to the Flies'. No atmospherics and no histrionics required. Just a stop-start melody and lyrics that hiss. You'll see what I mean.
Bassist and original member Marcus Grosskopf finally moves on from being the bonus track guy to genuine contributor. 'Liar' is the heaviest track on the album. I'll leave it at that. And 'Hell was Made in Heaven' gives the best song on the album a run for it's money. Which of course brings us to the best song on the album: 'The Tune'. It's the first of the Michael Weikath penned tracks. That means instant classic. And if truth be told, if anyone was ever going to write a song with this title, it might as well be the most supreme tunesmith in metal. The track itself is actually a kind of sequel to 'Open your life' and its message of a metal fist is good, but brains do sort of matter too you know. If that song was a word of advice, then this one's a word of caution. Actually make that a word of warning. The tempo is urgent, the verses are dark and biting – and although the chorus seems to smile at you – it's actually an ironic grin that sticks in your head.
'Do You Feel Good' is another Weikath track, and the word on the street is that this one didn't make the cut on 'THE DARK RIDE' album. Hard to see why. Democracy having a bad day is the only reason I can think of (see the Grapow/Kusch comment above). Anyway, this one continues Weikath's occasional preoccupation with songs about being the guy left behind. The drama is established with a sweltering synth intro that sets the scene for fury set to music. If this was a metal opera this would be the song that leaves you hanging at intermission. 'Nothing to Say' would be the song that receives a standing ovation as the curtain comes down. Except that it's done anything but since its release. The average metal head just couldn't hack what happens when you take a seventies epic song structure, an eighties prog chorus, and a nineties retro arrangement. Serious musicians of course realize there's enough material for three songs. The drill guitars and dizzying drums are perfect for long drives requiring a soundtrack.
So that's 'RABBIT DON'T COME EASY'. The most misunderstood and divisive HELLOWEEN album yet. Who cares. Add it to your collection if you haven't already. Chances are the title alone bugs someone you know. But like I said – who cares.
This album just cannot measure up to the previous one, the direct result of TWO factors:
1. Axeman Roland Grapow and drummer Uli Kusch departing.
Grapow and Kusch's contributions to Helloween as both musicians and songwriters, along with vocalist Andi Deris (pretty much their main songwriter ever since he joined back in 1994), have been invaluable. They were part in the amazing accomplishment of building a worthy legacy of their own that didn't stray too far from the band's original ideals and concepts following such a colossal loss in guitarist Kai Hansen leaving. Surely that loss of a member of such importance would've instantly reduced almost any other band to elephant excrement, never to rise again. Imagine perhaps not something as absurd as Maiden surviving the loss of Steve Harris, but more along the lines of a good Slayer without Jeff Hanneman (well right now they're not good WITH him either, so maybe it wasn't the best of examples after all) and you get the picture.
In any case, this wouldn't be much of a problem if Roland and Uli merely were stellar musicians on their own, as this is HELLOWEEN we're talking about and they can get anyone they want, but the thing is that these two were both integral parts of the sound and chemistry of 1994-on resurrection-era Helloween. Such individuals are always hard for ANY band to replace, because no matter the talent (in playing as well as in writing songs) of whoever comes replacing, there is always a high risk of losing identity, spirit and a certain undeterminable magic of a successful previous line-up. And that is exactly what has happened here, again. This is almost like the second coming of 'Pink Bubbles Go Ape' in that regard, the band's first full-length output not featuring Kai Hansen, widely considered their first "flop".
2. Musical differences within the band (a.k.a. events leading up to #1).
Uli and Roland wanting to stick with the darker themes begun on 'The Dark Ride' (really not that much of a change to these ears aside from production and guitar tone, see my review for it) and Weiki (Michael Weikath) thinking of that album as merely an experiment and wanting to go back to happy happy Helloween as quickly as possible afterwards. So here we see Weiki hell bent on making a "happy" record, unfortunately resulting in several instances of a "happiness first, songwriting second" thought behind some of this. As if 'The Dark Ride' was an abominable shitpile and worst thing to happen to them since 'Chameleon'. Weiki's tunes are clearly the happiest/goofiest, but one can certainly tell he's had quite an influence on the whole band's general direction here.
Oh there's good stuff on here too ("Ignorant and wasted, that's what you are, but you could be so much moooore!!"), y'all be so sure of that, but clearly the consistency here is lacking compared to three years ago - in fact, this is their least consistent effort since 1994's 'Master of the Rings'. As indicated by the title, some of this feels a little overly non-serious and, in a word, dumb. Well, in all fairness, perhaps not quite to a recent-Edguy extent ("Lavatory Love Machine" and "Trinidad" respectively), but the general idea of trading away actual songwriting power for, well, "humor" is definitely there, making for a frustrating and ultimately unsatisfying listen. Especially when it's not ACTUALLY funny - the only exception to this would be the by now infamous "something's growing in my pants..." line in the song "Just a Little Sign", but even so, it does little to save such a mediocre and overall disappointing album opener. Not even that nifty and totally headbangable little speed metal riff just before the first verse really does.
But perhaps worst of all is how generic some of this feels by Helloween standards. Not only is there that soulless and overpolished production lacking Roy Z's magic touch on 'The Dark Ride', but also these songs that seem cheaply thrown together and far too derivative of their own contemporary euro-power scene (that Helloween themselves were large part in creating). "Just a Little Sign", "The Tune", "Sun 4 the World" and "Listen to the Flies" all feature that typical boring double-bass, indistinct riffage and bland, Freedom Call (you know, that band that does a shitty job of copying classic Helloween in the first place)-styled flower metal choruses - just listen the line "make believe the world is mine" in the chorus of the first song where Andi TOTALLY emulates that annoying Chris Bay trademark sweetness, that, quoted from OlympicSharpshooter's (excellent) review for 'Crystal Empire', "makes every note sound extremely easy as if no effort is being put into it." What a fucking waste, I mean!
And who the FUCK let that goddamn attention whore of a Swede behind the drumkit, anyway? For sure, the guy has talent, and does an excellent job playing in Motörhead, but has no business in a speed/power metal band like Helloween. Despite of that, I read in an interview, he was given absolutely full control of HOW to drum on the album, without anyone telling him when to keep his playing restrained so that he doesn't go nuts just because he can. This results in some of the most annoying and least tasteful fills I've ever heard on a major label production - witness "The Tune" for the worst offence, in the prechorus for instance: "Love and *THUNKTHUNKTHUNKTHUNK* desire *THUNKTHUNKTHUNKTHUNK* Dry ice *THUNKTHUNKTHUNKTHUNK* or fire *THUNKTHUNK-THUNKTHUNKTHUNK*. There is little to no sense of good flow and coherence here. As Boris similarly complains, it is highly likely that he was also put in charge of how loud to turn his instrument up in the mix - fuck, this isn't a Helloween album, this is in reality Mikkey Dee's very own drum solo album!! As described above, this is a very "goofy, stupid and fun" sort of album and hiring this guy seems almost like a big joke in itself.
Now you must be thinking "whoawhoawhoa, waitjustaminutehere, SIX hefty paragraphs of negative criticism and still a quite decent rating (by this guy's standards)?" It's a justified thought for sure, but the explanation for this is actually quite simple. The thing is, that when 'Rabbit' DOES manage to deliver the good stuff, which is at least about half the time, it is as good as ANYTHING they've done. I'm talking totally classic Helloween stuff here; if you like the other albums with Andi Deris, there is certainly something for you here and no bad production, drumming or silly humor can ever take that away from it. For example, "Open Your Life" - whoa, I mean, holy fuck!!! God called, he wants his main riff back. Utterly killer tempo shifting here, in the first half of the first verse and the pre-chorus. Those little lighter, mellower parts that somehow manage not to be annoying by slowing you down, but rather make the heavier parts that directly follow them sound absolutely fucking EXPLOSIVE. Rule, this does. Quite possibly better than anything on the otherwise far superior previous album.
There just isn't too much to say about the good stuff on here, that hasn't been covered in any of my previous reviews for their stuff. It's Helloween, and therefore rules by default. You want song details, check out Nightcrawler's review - but okay, since our scores and opinions differ just slightly, I'll point out the songs that are highlights for me: "Open Your Life" (the best), "Never Be a Star" (total recycle of their own "Perfect Gentleman", but I'll let that pass, still a great song), "Liar" (SPEED METAL!!!), "Do You Feel Good" (simple & sweet barrel o' fun & happiness), "Hell Was Made in Heaven" (SPEED AND POWER METAL!!!) and - surprise - album closer "Nothing to Say". Here we see Helloween trying their hand at a "Victim of Changes"/"Still of the Black Dog"-styled rocker and triumphantly succeeding at it. Say whatever the fuck you will, but even that little "reggae" pre-chorus just fucking WORKS and, just like the one in "Open Your Life", makes the chorus sound as if it jumps RIGHT at ya. "Now we can use all we give all of our loving and affection!!!" Where Edguy's "Lavatory Love Machine" fails, this song succeeds - at going completely out of their style just for some good ol' rock 'n' roll fun and still manage to be all of interesting, inventive and enjoyable, whereas "Lavatory" at best sounds like a mere Poison reject (and I'm not talking from their classic period here, with albums such as 'Open Up and Say...Ahh!', I'm mean from more recent and hideous stuff like 'Hollyweird').
As a matter of fact, since the only REAL dogs on here are "Don't Stop Being Crazy" (meh-ish power ballad) and "Back Against the Wall" (silly attempt at channeling that 90's Pantera/Machine Head groove metal stuff), I'm gonna have to admit this one thing here and now: that even with the relatively high score of 77, I drew off a couple of points from this for about half the tracks being so disappointing to hear from a band like Helloween, for reasons explained above. While listenable and to an extent enjoyable, these few songs are just not worthy of adding to Helloween's mighty legacy and the album as whole is simply made worse by the knowledge of the brilliant albums it succeeds. Were it a debut album, it would've scored maybe 80. Too bad a debut album of this quality (or higher) would be a rare occurrence these days - unless of course the band in question is the amazing HIBRIA, expect review in the near future!!
I feared this when I heard about the departure of Grapow and Kusch. Helloween promised a return to their old style after the "darkness" surrounding their previous release. There are good songs on Rabbit… but in my opinion you can't listen to this album too often, it has to pass some time before you put it again on the stereo.
Just a Little Sign is a great opener, but maybe the best track from the whole album. The lyrics can be a little bit stupid, but the music is awesome, powerful and with a strong and memorable chorus. The solo give you an idea of what Helloween can do, it's a shame that they don't show they great abilities through the whole album. Open Your Life is another great song with good ideas, great guitar riffs and amazing drums. It keeps the greatness given by the first track, but all fades away when The Tune starts. Trying to get out of the Dark Ride style in this album flow too much happiness, just as the old Helloween used to, but this feeling this time can't be managed perfectly. The Tune leads you to nowhere, even the solos aren't interesting or unoriginal. Never Be a Star is not too good, it sounds like an emulation of Hey Lord! with some kind of oriental sound on the intro and a repetitive chorus. Liar is another good song from this album, I like it because its chorus reminds me of the Walls of Jericho or the Helloween EP choirs screaming with anger. The intro riff sounds great, contribution of the new guitarist Sascha Gerstner (if only Freedom Call had seen his potential…); the song is among the strongest and heaviest songs of the album, in the same way of Push and Mr. Torture, with a melodic and interesting solo. Returning to the oriental experiments we found Sun 4 the World. I don't know, this song has nothing that I complain about: the backing keyboards are good and the guitars have some nice ideas on the rhythms and on the solo, but is far from being one of my favorites.
As I will always say, Helloween has failed in creating ballads, and Don't Stop Being Crazy is not the exception. At the beginning of the song it doesn't sounds like Helloween, and everything on this track sounds too soft, even though the chorus has some distorted guitars. Do You Feel Good? is the "happy" song of this release, but again, Helloween saturated this album with cheesy songs, and even this track keeps the tradition of the happy, weird and crazy song on every Helloween album with memorable riffs and solos, it remains without being remarkable enough between the other tracks from Rabbit… Hell Was Made In Heaven keeps a little from The Dark Ride (I thought they wanted to get out of that style) in the music and in the lyrics, and is a good song, nothing else, and Back Against the Wall is a little bit boring, maintaining the "evil" touch Helloween was trying to escape from. Listen to the Flies is the last good song on this album, again with ideas from Gerstner, so you won't be disappointed with the guitar performance. Nothing to Say is too experimental, just as Mission Motherland, but it doesn't seems to achieve the same greatness. It has nice ideas but it's difficult to stand the whole song.
Maybe it was a mistake to fire Grapow and Kusch, maybe it's better they take another way with Masterplan, well, the point is that the renewed Helloween has to try new and old things. One advantage they have is the musical abilities of Sascha, who I think is a great musician with a lot of fresh ideas. Resuming, Rabbit Don't Come Easy is a good album, but everyone knows Helloween can make a better effort and they must prove this on their forthcoming releases. I hope so…
This album is so bad. Actually it sucks. The few good songs absolutely rule, but they cannot save the album. And what a dumb name, as mentioned before.
Before we go to the bad, let's look at the good. Opening track Just a Little Sign is nice. It's very melodic and definitly a plus for the band. This is kind of like stuff off The Dark Ride, in terms of dark verses and blistering speed. Vocals are well done and the chorus is even sing-a-long material.
Open Your Life is cool as well. Very good speed metal. Powerful chorus.
Liar is the fastest song here and is more thrashy than it is power metal. Bang your head on this one. This one just smokes ya. There's a little bit of a Malmsteen thing going in the pre chorus.
Hell Was Made in Heaven is catchy as hell. Try to drive 60 on a highway with this song going and just TRY not to sing along. Blazing speed and memorable chorus. Awesome. OH OH OH OH OH!
...and now the bad
The rest of the album sucks hairy monkey balls injected with cocaine! From annoying effects with the guitars, to crappy vocals, to FUCKING REGGAE?? WHAT THE HELL WERE THEY THINKING??? Yo Mon, dont write such crappy songs! Have they run out of good ideas? Were they all used on the Dark Ride? Did they write these while watching the Care Bears marathon??? The songs are too happy and cliched. Ugh, I really have nothing to say when i listen to Nothing To Say. Instead i press the stop button.
I dont have time for the rest of this album! I think I'll go blast The Dark Ride while i take a shit.
Helloween return with yet another CD of churning power-metal guitars, weenie vocals and vapid lyric themes. This record is hardly impressive when placed compared in an age when every other band is pursuing this crap-Germanic "flower metal" sound. Credit where credit is due...the mix is beefy and the guitars wind with a strong reliance on natural talent that few my posess. Even so, this talent leads the band into predictable territory that may be enjoyable in the moment but has done little to progress the fortunes of Helloween and even less to make anything more than a "passable" album.
Some of the material on this is fun, with the opening "Open Your Life" working as a trash Maiden-tribute and "Liar" actually managing to kick a little ass. Otherwise, the rest of this could be interchanged with any other major German power metal act on the market today. (Aside from the brutal riffage of "Liar"...that is.) There are no "bad" songs on this...but the overall feeling is one of commercial disposability that replaces hooks with dazzling fluff-guitars. "Open Your Life" may catch your ear and hold you...but most of these songs drift by and please like a McDonalds happy meal. All style...no substance.
Helloween may have created the genre that is currently smashing it's way through the metal underground (not to mention that is has divided many fans) but this record shows them mailing in the goods without much in the way of inspiration or passion. It's quality craftsmenship that deftly covers a lack of art with a fantastic production job and enough power-metal antics to entertain for the during of the spin.
Sadly...this offers nothing in the long term and marks Helloween as a band that might find themselves swept away with the coming fall of the power metal trend...
This is complete swill. This is the stuff that Edguy clones are made of. This is not something that Helloween should have put out. The worst problem with this album? The drummer!!! I don't care if Lemmy hails him as "the best drummer in the world", he's still mixed in motherfucking far too loud, and the whole album just loses coherence when all I hear is that goddamn flowercore double-bass bullshit.
GIVE ME RIFFS, CUNTFACE!!!! Anyway, the actual songs range from okay to spectacular, and the album would be pretty good if it weren't for basically the worst production of any Helloween yet. This is certainly not Keeper II - Hell, it's worse than the Death Metal demo, because they pretty much gave it the Bob Rock treatment. Nonetheless, there's some great songs here, like Open Your Life, which is catchy as fuck and works brilliantly in the live setting. The first few songs in general are the best, though Never Be a Star sounds EXACTLY like Perfect Gentleman - it was okay then, it is okay now. Do You Feel Good is also a highlight, as is Listen to the Flies. Sun for the World is merely okay, and then there is Back Against the Wall which has these idiotic disco-meets-mallcore elements in it. You'll just have to hear it and be appalled.
Yeah, it's Helloween going all modern on us. I'd give the album at least a 75 or 80 if not for that idiotic production that completely ruins the enjoyability.


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Published on December 9th, 2011 | by Meredith Burdett
Matt's Missing Confidential
Doctor number eleven, AKA Mr Matt Smith, recently talked about his disappointment over the fact that Doctor Who Confidential was decommissioned by the BBC this year.
The documentary show, that has been an integral part of Doctor Who since it returned to its rightful place as the king of television, has been airing after episodes of Doctor Who since 2005. Smith seemed slightly saddened by its loss:
"It's a pity as I think it's a show which can reinvent itself year on year and it's one of the biggest shows on BBC Three."
Doctor who Confidential was indeed a television show that changed whenever Doctor Who changed. Rather than sticking to an established format, it was able to roll with the punches wherever it turned. It's a huge loss to television and will leave a massive hole in the Doctor Who line up as there will be no more fantastic interviews or interesting behind the scene facts to discover once the latest Doctor Who episode has finished transmitting!
Fans have started campaigns to get the show resurrected and best of luck to them; however it looks like the BBC's decision is final as they continue to look for more and more ways to cut their expenditure.
One day, it may come back. Yes, one day…
2 Responses to Matt's Missing Confidential
Judging by all the cuts taking place, it sounds as though the BBC is far worse off financially than it originally let on.
I say "Bullshit". Let's see all of the high up "suits" at the BBC, across the board, one and all, take a sizable salary cut, across the board (except of course, the Doctor Who team, only slightly kidding). Then, I'll believe that times are tough, and those in charge can show their outstanding leadership skills and character by feeling the pain with everyone else. If they have already done this, kudos to them. But we can doubt they have. The least creative people involved, who handle the money and not the dreams are the ones who always have the smoothest path, even in tough times. Viewers, in this case, pay more, and get less, and the brass just keep getting paid big. Their "sacrifices" mean nothing but our losses, and that as I previously stated, is "Bullshit".


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New evidence of indentured Indians' mass graves in Suriname
Pic for representation purpose only
New Delhi: As the Suriname government granted permission in early January to researchers to begin operations to discover the forgotten mass graves of Indian indentured workers killed in police firing in 1902 in the tiny South American nation, where nearly 40 percent of its people are of Indian extraction, new evidence has emerged that could give significant pointers to the location of the graves.
Late last year, Benjamin Mitrasingh, an archaeologist in Suriname, had proposed to use modern technology and aerial surveys to locate the graves of Indian indentured workers killed 110 years ago in Marienburg. The 1902 massacre took place at Marienburg factory and sugarcane plantation when angry agricultural workers protesting against low wages were fired upon by Dutch colonial forces. About 24 workers were killed and their bodies dumped in unmarked mass graves.
As Mitrasingh waited for government permission to commence his investigation, researchers in the Netherlands - Suriname, a country of a little over 500,00 people, gained independence from the Dutch in 1975 - working in the archives located a map that could give indications to the site where the mass graves were located. Sandew Hira and historian Radhinder Bhagwanbali have done considerable research on the subject of Indian immigrants in Suriname.
Bhagwanbhali had been researching on the subject of resistance on the plantations against the indentured labour system. "During his research, Bhagwanbali went into the archives and studied the reports of the Dutch military regarding the uprisings by the workers. He found this map in the military files," Hira said in an email interview with IANS. A copy of the map was sent to Mitrasingh, he added.
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The University of Minnesota women's basketball team will take on North Carolina State on Dec. 3 in Raleigh, N.C., as part of the ACC/Big Ten Challenge. The game time has not been set.
It will be the fifth meeting between the teams. N.C. State leads the series 1-3. The Gophers defeated the Wolfpack 71-67 at the 2010 Nugget Classic in Reno, Nev.
The Gophers, who finished last season 22-13, are 3-4 overall in the ACC/Big Ten Challenge, which includes a 1-1 record on the road and a 2-3 record at Williams Arena. N.C. State was 25-8 overall last season.


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Randy Neugebauer of Lubbock is now officially recognized in Washington.
Neugebauer became the newest member of Texas' Congressional Delegation Thursday in a swearing-in ceremony on the U.S. House floor. He took the oath from House Speaker Dennis Hastert while surrounded by several of Texas' Republican House members.
After that, it was time to go to work. "We had a classified briefing on Iraq this afternoon by Secretary Rumsfeld, and I actually had a few minutes to visit with him. So it's been a very fun day, an eventful day. There was not much time for celebration. We came up and went right to work for the people of the 19th District," said District 19 U.S. Representative, Randy Neugebauer.
Neugebauer will finish the unexpired term of retired Congressman Larry Combest.
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- Jorge Contreras
- Alicante
- Spain
This conversation is closed.
Stopping oil exploration in Ecuador's Yasuni National Park
Ecuador's most Biodiverse area is about to be exploited, how can we stop it? Oil is definitely not the economical solution to eradicate poverty or make a better country.
"Yasuni National Park is arguably the most biologically diverse spot on Earth. The park is at the center of a small zone where amphibian, bird, mammal, and vascular plant diversity all reach their maximum levels, the park breaks world records for local-scale (less than 100 km2) tree, amphibian, and bat species richness, and is one of the richest spots in the world for birds and mammals at local scales as well.
The park holds a world record 150 amphibian species for places with comparable landscapes. It also is in the top for amphibian diversity compared to other sites sampled in the western Amazon."
How can we stop this from being destroyed?
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Sep 7 2013: Lindsay I am glad you highlight this, Ecuador is a beautiful country and its people have been manipulated one way or another, the responsability of exploring oil in Yasuni is so powerful, to know that unique micro eco sistems will be wipe out from our Planet will be enough to walk away from any commercial agreement, Yasuni is above any economical interes,
I wish this documentary was in English ..but I think it gives the general Idea.
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AP Photo/Ed Betz, File
FILE - Writer Peter Matthiessen stands in the yard of his house in Sagaponack, N.Y. in this Oct. 28, 2004 file photo. Matthiessen, award-winning author of more than thirty books, world-renowned naturalist, explorer, Buddhist teacher, and political activist, died Saturday, April 5, 2014 after an illness of some months,according to his publisher Geoff Kloske of Riverhead Books. He was 86. (AP Photo/Ed Betz, File) Ed Betz/Associated Press
Peter Matthiessen, a rich man's son who spurned a life of leisure and embarked on extraordinary physical and spiritual quests while producing such acclaimed books as The Snow Leopard and At Play in the Fields of the Lord, died Saturday. He was 86.
His publisher Geoff Kloske of Riverhead Books said Matthiessen, who had been diagnosed with leukemia, was ill "for some months." He died at a hospital near his home on Long Island.
"Peter was a force of nature, relentlessly curious, persistent, demanding — of himself and others," his literary agent, Neil Olson, said in a statement. "But he was also funny, deeply wise and compassionate."
Few authors could claim such a wide range of achievements. Matthiessen helped found The Paris Review, one of the most influential literary magazines, and won National Book Awards for The Snow Leopard, his spiritual account of the Himalayas, and for the novel Shadow Country.
A leading environmentalist and wilderness writer, he embraced the best and worst that nature could bring him, whether trekking across the Himalayas, parrying sharks in Australia or enduring a hurricane in Antarctica.
He also was a longtime liberal who befriended Cesar Chavez and wrote a defence of Indian activist Leonard Peltier, In the Spirit of Crazy Horse, that led to a highly publicized, and unsuccessful, lawsuit by an FBI agent who claimed Matthiessen had defamed him.
In Paradise, which he had expected to be his last novel, will be published next week. The book was inspired by a visit in the 1990s he made to Auschwitz.
"The gas chambers were all blown up at the end of the war, so they are simply these grim-looking pale ruins out in the distance," he told NPR during a recent interview. "It's a very grim scene. And so it's the enormity of it that just stuns you the first time."
Matthiessen became a Zen Buddhist in the 1960s, and was later a Zen priest who met daily with a fellow group of practitioners in a meditation hut that he converted from an old stable. The granite-faced author, rugged and athletic into his 80s, seemed to live out a modern version of the Buddhist legend, a child of privilege transformed by the discovery of suffering.
Matthiessen was born in New York in 1927, the son of Erard A. Matthiessen, a wealthy architect and conservationist. "The Depression had no serious effect on our well-insulated family," the author would later write.
While at Yale, he wrote the short story Sadie, which appeared in the Atlantic Monthly, and he soon acquired an agent. After graduation he moved to Paris and, along with fellow writer-adventurer George Plimpton, helped found The Paris Review. (Matthiessen would later acknowledge he was a CIA recruit at the time and used his work with the Review as a cover).
The magazine caught on, but Paris only reminded Matthiessen that he was an American writer. In the mid-1950s he returned to the United States, moved to Long Island's Sag Harbor, socialized with Jackson Pollock, Willem de Kooning and other painters, operated a deep-sea fishing charter boat — and wrote.
Matthiessen's early novels were short, tentative efforts: Race Rock, Raditzer and Partisans, which features a wealthy young man who confides "his ignorance of human misery." In need of money, Matthiessen also wrote for such magazines as Holiday and Sports Illustrated.
2nd book prize
In 1961, Matthiessen became a major novelist with At Play in the Fields of the Lord, his tale of missionaries under siege from both natives and mercenaries in the jungles of Brazil. Its detailed account of a man's hallucinations brought him a letter of praise from LSD guru Timothy Leary. The book was later adapted into a film of the same name, starring John Lithgow and Daryl Hannah.
He wrote many other books, including Far Tortuga, a novel told largely in dialect about a doomed crew of sailors on the Caribbean; The Tree Where Man Was Born, a highly regarded chronicle of his travels in East Africa.
In the 1980s and `90s, Matthiessen published a trio of novels — Killing Mr. Watson, Lost Man's River and Bone by Bone — about a community in Florida's Everglades at the turn of the 20th century and a predatory planter. Unhappy, especially with Lost Man's River, he spent years revising and condensing all three books into Shadow Country, published in 2008 and a surprise National Book Award winner.
Although an explorer in the Hemingway tradition, Matthiessen didn't seek to conquer nature, but to preserve it. In 1959, he published his first nonfiction book, Wildlife in America, in which he labels man "the highest predator" and one uniquely prone to self-destruction.
"There's an elegiac quality in watching (American wilderness) go, because it's our own myth, the American frontier, that's deteriorating before our eyes," he once wrote. "I feel a deep sorrow that my kids will never get to see what I've seen, and their kids will see nothing; there's a deep sadness whenever I look at nature now."
Matthiessen was married three times, most recently to Maria Eckhart, whom he wed in 1980. He had four children, two each from his first two marriages, and two stepchildren from his third marriage.
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Vintage Inspired Refrigerators by Portobello Street
Over the last decade we've seen the trend of slick stainless steel appliances take over American kitchens. While that might make for a modern streamlined look, we're finding the warm feel of these vintage inspired refrigerators a refreshing change.
Not only do they look like solid pieces of furniture, they also come in a variety of sizes and configurations — to fit the smallest homes or accommodate the hungriest families.
Spanish company, Portobello Street, wraps modern refrigerators with wood panels, round grill vents and metal hardware to give them the appearance of vintage pieces of furniture. From super tiny to double-wide, built-in ovens, dishwashers and espresso machines, the are many design options to suit any home: 14 colors, 5 stains, 11 distressed finishes, and 6 metal hardware designs. These fridges are quite similar to the beautiful Meneghini refrigerators we've written about before, and while they're less expensive, they're still sold at a relatively steep price, with the units ranging from 2257€ - 8529€ (approximately $2976 - $11247)!
Above the jump, from left to right:
1. Nevera Rockford
2. Nevera Durango
3. Nevera Vintage Jackson
4. Nevera Boston
5. Mueble Bar con Cafetera Classic Line
Find It: Neveras con Encanto Vintage at portobellostreet.es
• The Most Beautiful Refrigerators by Meneghini
• Amazing Out-of-the-Ordinary Refrigerator Designs
• SMEG Fridges for Small Kitchens
• Arctic Air Commercial Refrigerator
(Images: As linked above)
11 Comments
I would love a vintage oven, but I'm so concerned with energy efficiency and working temps so this is a wonderful idea! I would love to design a kitchen around some of these appliances.
Best refrigerator EVER!!! I also wonder about their consideration of energy efficiency. If they have that down, UTTER awesomeness!!!
that is very cool, i've never seen these
My heart just skipped a beat. That Nevera Rockford fridge/oven is the most beautiful kitchen appliance I have ever seen. Oh. My. God. I am in shock.
That's definitely the way to go. I could have a frig in my dining room then!
megat, vintage gas ovens aren't much less efficient than their modern counterparts. Also assuming the hinges on the doors aren't worn out, they hold their temperatures evenly and well.
I like the idea, but I don't really like the execution on most of these somehow. They just look like bland cabinets painted dopey colors for the most part (though the wood-y one and the fridge/coffee maker combo definitely have something).
If you guys like these retro inspired appliances, then you would love this fridge and range set from Northstar. It's a 50's style set in robin's egg blue. This place in Austin will ship. The link to the site with the pictures is below.
I adore this!!!! Where has this been? Damnit I can't afford one. I am so tired of stainless steel fridges. These. Oh *fans self*
I don't think energy in-efficiency is a problem guys. These are MODERN fridges COVERED with wood paneling and material which make them appear to be Spanish/vintage looking fridges. I can't imagine it being any different from modern kitchens where you have a cupboard paneling over a dishwasher or fridge today.
I like although I have seen the bottom in the store, I will visit in a few days.


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There was an apparent Verizon Fios update yesterday in that my box shut off & rebooted while I was watching TV. After the reboot, I realized that all of my recordings which were on the hard drive of my box had disappeared. The recordings saved to my external drive were fine however.
I have completed an "In Home Agent" reboot, an "Auto-fix DVR Issue" check (and subsequent reboot) and done a "Soft Reboot" by shutting the box off, unplugging the cord, waiting 30 seconds and restarting the box.
Nothing has worked.
Is there anything else I can do? Or am I to resign myself to the fact that the recordings from my box hard drive lost forever? I'd also like to know how I explain the lost movies to my 2 year old who keeps asking to watch "Finding Nemo" and "Cars" which were lost.
Any help would be appreciated.
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Amazing anti-aging skin care product!! Any person of any age can use this! I'm sitting here at 21 and already loving the results! And not to mention the results of being apart of this incredible business! For more information contact me at:
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Inteviewing Dilema- "to leave or not to leave"
Thanks to everyone for this wonderful community! So far, I've been more like an active listener for content. I have taken much from this and applied to my personal situation with great results.
BLUF: I want to change jobs. Currently in an interviewing process with my top choice of employer for that is taking longer than I expected. So far no proposal... It seems like they want to hire me in 3 different management areas (business, risk, operations). My experience suits all three areas positions. THE DILEMA: Recently got promoted at my current job- which also means I'm leading a new project that will end in 3 months. I got a good chance at getting an offer from the hiring company that I won't be able to refuse. It will not look good in my resume (I mean: I will really cause a bad impression at my current job) if I don't deliver this project to completion. It is very relevant to the success of my organization. What can I do to delay this process, without ruining my shot at getting the job?
If the above caught your interest, here's a little more background... I'm happy at my current job. I got a quite prosperous career in corporate and investment banking. Recently got promoted and with a promissing carrer plan oversought by my seniors and HR. Seems awesome... not quite. Something is missing and this is that I see myself fulfilling a more integral personal satisfaction if I were in Development Banking. Key difference, I would generate results for developing countries, reducing poverty, etc.; whereas in my current job I'm generating results for the stockholders...
Thanks in advance for your advice/comments.
You cannot control the process
You can't control the process, or even influence it. Attempts to manipulate the process will be apparent and will reflect poorly on you. Don't try it.
And you don't have an offer.
Sometimes we are faced with hard decisions. You aren't there yet. IF you get there, then you'll have more data for making a decision (like you'll actually know what's being offered).
This sounds harsh, perhaps...and yet you really ought to wait until you have an offer before you work through these issues. Let us know how it goes.
John Hack
They want me... I know it
John... I'm sorry. yep, no offer. They keep calling me. It seems that they are not making decisions. I think I can pull this delay deal.
Will keep you posted.
The process was delayed to what seemed like an eternity. I was proposed a position late 2009 which I decliened, as it was not my top choice. I'm happy to announce that I finally got the job I was looking for.
Well done! And thank you for updating us here on the forums with the outcome.
John Hack


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Photo: Kristin Timm
RAP: A unique program
RAP students have tremendous cohesion, despite the diversity of research foci. RAP students spend their first year sharing office space in the same building and quickly become familiar with disciplinary jargon and biases (even though most of us think we are objective). This is an important step to communicating across disciplines.
RAP brings together students and faculty from many different departments, institutes, and programs. Many RAP participants have suggested that the constant opportunity for dialogue among RAP students with different academic and cultural backgrounds contributed as much to their graduate education as any course or research experience.
RAP encourages and fosters students to take a "systems" approach to research that explores the interactions of social, economic, and ecological components through a holistic lens. Hence, RAP students are given the academic freedom to solve complex real world problems using the best tool available, and without the limitations of commonly accepted tools within single disciplines.
Students and faculty of RAP come together through interdisciplinary inquiry to address issues of sustainability.
Courses are team taught by natural and social scientists who together develop transdisciplinary frameworks for understanding the dynamics of social-ecological systems. Students self organize reading groups.


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TigerDirect has a new deal offer available on this Gateway NV55C39u LX.WSG02.044 Core i5 15.6-inch Notebook which brings the cost down to $549.99 – $50 Coupon (CIL30007) + $9.13 Shipping = $509.12!
Experience the power of a PC anywhere in your home or office and even on the go and save some good money at the same time! This Gateway laptop features a 15.6-Inch compact HD display for optimal viewing experience of all your media and content anywhere you go. It's also powered by a speedy Intel Core i5-480M 2.66Ghz Processor for super speedy program loading times and response as well as 4GBs of DDR3 RAM for perfect multitasking functionality that fits your busy schedule. It also comes with a built-in 1.3MP Webcam and Microphone, large 500GB hard drive, Dual-Layer DVD Burner and Office 2010 preloaded.


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SPECULATION about an Israeli strike against Iranian nuclear facilities is rife, but there is little discussion about whether diplomacy can still succeed, precluding the need for military action. ...
I lost patience with teachers' unions when union officials in New York City defended a teacher who had passed out in class, reeking of alcohol, with even the principal unable to rouse her. ...
Manchester clubs record victory in Ajax, Porto
BERLIN MANCHESTER United and Manchester City raised their game in the second half to take a big step towards the round of 16 in the Europa League with victories on Thursday.
Ashley Young and Javier Hernandez were on target for the Premier League champions United in a 2-0 victory at Ajax Amsterdam in the first leg of the round of 32.
The Premiership leaders City prevailed 2-1 at title holders Porto as a 55th-minute own goal from Alvaro Pereira and a late strike from Sergio Aguero reversed the hosts' lead from Silvestre Varela. But the third English club Stoke City lost 1-0 at home against Valencia, and there was more joy for Spain when 2010 champions Atletico Madrid cruised 3-1 past Lazio in Rome.The return legs are next week.
The Champions League exit of the two Manchester sides was a major surprise but each side said they now aim to get the Europa League trophy on May 9 in Bucharest.
However, United didn't look like contenders early on in Amsterdam, and it took another super save of David de Gea against the blast of Siem de Jong to avoid a deficit.
Sir Alex Ferguson's team improved after the break and Young put them ahead in the 59th with a low shot off Nani's cross. Hernandez assured United of victory on the counter in the 85th after nice work from Antonio Valencia and Wayne Rooney.
"There wasn't any tempo to our play in the first half, but in the second half we improved ..
The second goal gives us a good opportunity at Old Trafford to get us through," said Ferguson.
The game in Porto followed a similar pattern as City also needed improvement after falling behind when Varela beat Vincent Kompany to convert Hulk's sharp cross from the left wing. Micah Richards was denied by the woodwork but City were level in the 55th when the ball fell into the net off Pereira, who with Balotelli, back from a four-game suspension, following a long ball from Yaya Toure. Toure, back from the Africa Cup of Nations, then also set up the winner in the 85th as Aguero tapped home.
Stoke failed to add further glory for England when they were beaten by dominant Valencia from Mehmet Topal's 30m high blast into the top left corner.
In Rome, Germany striker Miroslav Klose tapped Lazio in front, but Adrian Lopez and Falcao reversed matters before the break. The former Porto player Falcao got his second for the 3-1 shoreline in the 62nd which should all but see Atletico through into the next round.
Elsewhere, the 1997 UEFA Cup champions Schalke fell behind at Viktoria Plzen from a fine volley by Vladimir Darida midway through the first half, but salvaged a 1-1 draw from Dutch striker Klaas-Jan Huntelaar with 16 minutes left.
"We can play better but all the counts is the next round.
We are in a good position," Schalke sports director Horst Heldt told Sky TV.
Tim Matavz and Ola Toivonen scored in the first 11 minutes asex-champions PSV Eindhoven won 2-1 at Trapzonspor, and Taison was ontarget 19 seconds into the game in visiting Metalist Kharkiv's 4-0triumph at Red Bull Salzburg.
AZ Alkmaar defeated Anderlecht 1-0, Sporting Lisbon got an 88thminute 2-2 equalizer from Andre Sanos at Legia Warsaw, Lokomotiv Moscow claimed a 2-1 comeback victory over Athletic Bilbao, Wisla Krakow drew 1-1 with Standard Liege, Hanover defeated Brugge 2-1,while Udinese and PAOK Salonika played to a goalless draw.
Steaua Bucharest's hopes of making the final in their home townall but ended in a 1-0 home defeat against Twente Enschede.
On Tuesday, Olympiakos Piraeus won 1-0 at Rubin Kazan and Besiktas2-0 at last season's runners-up Braga.
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Miami, FL (Sports Network) - The Miami Heat announced forwards James Jones and Rashard Lewis have exercised their player options for the 2013-14 season.
Jones, who has played 10 NBA seasons, averaged 1.6 points over 38 contests last season.
Lewis started in nine of the 55 games he appeared in this past season and had 5.2 points and 2.2 rebounds. The 15-year NBA veteran also made 38.9 percent of his 3-point shots.
Both forwards played sparingly in the playoffs as the Heat captured their second straight NBA title.
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If only there were more books like Gall's comprehensive appreciation of Japanese baseball cards! This is a must-own for any collector of the weird, the odd, and the beautiful. Read morePublished on May 22, 2011 by BenReviews
Sayonara Home Run! The Art Of Japanese Baseball Card is a lovely book that gives you the history and development of baseball cards and related baseball collectibles. Read morePublished on April 8, 2009 by Michael Valdivielso
This is a wonderful book, a collection of vintage Japanese baseball cards and a bit of the history behind them. Read morePublished on December 31, 2008 by Noel Hynd