text:
Stephen Spender: The Authorized Biography
By John SutherlandViking/Penguin
One of the early poems with which Stephen Spender made his name opens like this: "My parents kept me from children who were rough."
In 1957, in The Sense of Movement, Thom Gunn proclaimed: "I praise the overdogs from Alexander / To those who would not play with Stephen Spender."
Not long afterward two distinguished Englishmen of letters decided that "Stephen" had earned his very own limerick, and wrote,
Then up spake the bold Stephen Spender
"You may think my conscience is tender.
You might think my heart
Was my sensitive part—
But you should see my poor old pudenda."
In a long life Spender never quite succeeded in overcoming the widespread impression (which he may have privately shared) that there was something vaguely preposterous about him. His official biographer, John Sutherland, perhaps unwittingly and certainly unwillingly, provides armfuls of ammunition for this view. He does not cite either of the cracks I have just mentioned, but he does give the passage below, taken from Spender's memoir World Within World. In 1930 T.S. Eliot had decided to publish four of the young man's poems in the Criterion, and furthermore invited him to lunch.
At our first luncheon he asked me what I wanted to do. I said: "Be a poet." "I can understand you wanting to write poems, but I don't quite know what you mean by 'being a poet,'" he objected.
I think this is quite funny on its own, but additionally so because it inverts what ought to be the proper Jamesian scenario—the stuffy English don admonishing the brash young American student. Be that as it may, Stephen Spender was to pass a great deal more of his life "being a poet" than he ever did writing poetry.
The thought lay about him in his infancy (which was marked by an awful father, a frightful elder brother, and a hideous torment of a boarding school education—so far, "on track" for English writing). At the age of nine he went to the Lake District on a family holiday and was exposed to "the simple ballad poems of Wordsworth," which, as he further phrased it, "dropped into my mind like cool pebbles, so shining and so pure, and they brought with them the atmosphere of rain and sunsets, and a sense of the sacred cloaked vocation of the poet." He was already, in other words, what Byron witheringly called "a Laker." An early school poem sustains the same note of moist wonderment about the weather, yearning for the spring in Devonshire but opening, "The rain drops from the mist endless and slow / The trees are bare and black … "
This culminates in the line "O God! … would I were there." Sutherland misses a trick, I think, in failing to point out the obvious debt to Rupert Brooke and his Grantchester, inspiration of drooping and sensitive versifiers at that time and since. (Ten years later Geoffrey Grigson was dryly to say, in reviewing Spender's book The Destructive Element, "Stephen Spender is the Rupert Brooke of the Depression.")
Indeed, it was above all the sense of an epoch, and of a decade, that allowed Spender to get away with "being a poet." Crucial to this image were his friendships from Oxford days with W. H. Auden, Louis MacNeice, Christopher Isherwood, and Cecil Day-Lewis. This cabal provoked Roy Campbell's joke about the "MacSpaunday" school: a joke that was a source of embarrassment (and rage, given Campbell's open sympathy for fascism) while simultaneously furnishing a near guarantee of immortality.
Among this book's assembly of sometimes very striking unpublished photographs is a shot of Spender, Auden, and Isherwood on the beach at Fire Island in 1947. Spender stands commandingly erect in the center, with his arms around the shoulders of his two much shorter comrades. There would be no doubt in the mind of the untutored as to which of them was the senior (the photo is presumably from Spender's private trove). And yet, as Sutherland shows very skillfully, it was Auden who was the literary boss from the beginning, and Isherwood (sometimes with Auden, and sometimes without) who was the sexually tougher and more resourceful one. Auden demonstrated his mastery from the very first, demanding to know of Spender how often he wrote poetry.
Without reflecting, I replied that I wrote about four poems a day. He was astonished and exclaimed: "What energy!" I asked him how often he wrote a poem. He replied: "I write about one in three weeks." After this I started writing only one poem in three weeks.
So silly. Up until then, of course, Spender had been so impressed at attending the same Oxford college as Shelley that he had felt compelled to adopt yet another poetic pose: that of the agonized and alienated young dreamer.
Anyone who has seen Cabaret can read several of the succeeding chapters at speed. The three men pursued boys of various sorts and conditions (usually proletarian) all over Berlin and over much of Germany and Austria as well. (Auden ended up with a painful rectal fissure, which led him to write his wince-makingly titled Letter to a Wound.) They seem to have done most of it on borrowed money or on tiny publishing advances. Orwell's vicious remark, about the "nancy poets" who spent on sodomy what they had gained by sponging, was barely a match for the amazing narcissism revealed in these pages. However (and as Orwell was later to ruefully admit), there was a core of principle involved. Spender could feel fascism coming on, and was appalled by the premonitory symptoms of it. He may have made a complete fool of himself by going briefly to Spain. (The leader of the British Communist Party, the cynical Harry Pollitt, probably did say that he thought Spender's only usefulness would be to die the death of a Byronic martyr: another potential poetic "character" for him to have adopted, had he been less prudent than he was.) Spender may have written a fatuous book titled Forward From Liberalism, which among other things defended Stalin's show trials. But beneath all this playacting and conceit and gullibility was a pith of seriousness.
We can reconstruct this, not from Goodbye to Berlin but from the words of Isaiah. Dr. Berlin, whatever his many drawbacks, was an excellent judge of character. What he saw in Spender was an open-faced, vulnerable, rather captivating readiness to take chances. Most bullied English public school boys with oppressive fathers would soon have learned how to wear a protective carapace of some sort; Spender remained a naif in the best sense of that term, even as he remained something of an adolescent in matters of the pudendum. (The reason I don't name the authors of the above limerick, written by contemporaries of his, is that even now they regard it as accurate but unkind.)
The hinge moment, if I read Sutherland correctly, came with the outbreak of the Second World War. Spender had become an admirer of America, but it would not have occurred to him to take ship and leave England at that moment, as Auden and Isherwood both famously did. In the course of an earlier quarrel Spender had exclaimed to Isherwood, "If we're going to part, at least let's part like men." Isherwood had won that round, replying bitchily, "But Stephen, we aren't men." In some fashion or manner brittleness of that sort was to become de trop after Dunkirk. Spender "stayed on," tried to enlist and was rejected on health grounds (which ranged from tapeworm to varicose veins), joined the London Fire Brigade (not a soft option at that time), and also became a husband and father. Sutherland rightly doesn't speculate about this, but there appears to me to have been a latent connection between the advent of war and the triumph of Spender's heterosexual side. His disastrous earlier, "open" marriage, to the bohemian hell-minx Inez Pearn, had been a failure partly because of his reluctance to break things off with his lover Tony Hyndman, here depicted as sponger and sodomite on a majestic scale. By falling for Natasha Litvin, a gifted musician and a considerable beauty, Spender found himself not only able to hold on to a serious woman for the first time but also—and perhaps not without its own significance that year—to confirm and affirm the slightly suppressed Jewish element in his family background. (His mother, Violet Schuster, was from a long line of converted and assimilated English Jews originating in Frankfurt.)
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text:
Illustrations by Mike Force
1. Use Twitter and other forms of social media, but use them wisely.
You want to promote yourself, that's perfectly acceptable, but be careful not to overdo it. It helps if you're good at jokes to break up all the self-endorsement. (Look to @Tanlines and @ HarlemWhateverr to see how it's done.) And, hey, if a publication says something nice about you, retweet that shit! You didn't even write it!
2. Play shows at whatever venue, on whatever bill, whatever day of the week, at whatever time you're invited to play. "It's hard being an opening band," Win Butler told us once in the back alley of a venue in Kentucky while debating whether he should splurge on a hotel room that night. There's a reason it seems like every band has a story about playing for a room with three people in it: it happens a lot. Later those experiences may become badges of honor. In the meantime, you're not really in a position to turn your nose up at certain venues or bands offering you a spot on a bill.
There are incentives for playing too: the bartender's brother could work at Sub Pop, someone could be prompted to give your Bandcamp page a listen after seeing your name in a show listing (including writers at a certain biweekly arts-and-culture guide, ahem, who notice you've repeatedly opened for bands they like).
Take of-the-moment buzz-makers DIVE, for instance. By playing so many gigs over the last few months, they've made it nearly impossible for local music writers to ignore them. Playing shows might be your best shot at getting noticed. At worst, they're band practices.
3. With that said, as more and more "bands" consist of one person in their bedroom on their laptop, it's important to really think about and conceptualize a live setup before heading to the stage. Think about how your songs are going to sound outside the confines of your apartment and ways to make it a dynamic, fleshed-out performance.
4. If you're debating whether to wear goofy costumes, the safe bet is not to wear goofy costumes. Unless you're really going to own it (and are prepared to always be associated with it, see: Kevin Barnes' bedazzled horse), stray away from theatric outfits, props and all that.
5. Aim to be like The Pains of Being Pure at Heart in interviews: smart, self-deprecating, excited. You can also just be yourself (you actually should just be yourself). At the very least, don't act like talking to press is the biggest drag of your life.
6. If you're selling two songs on the internet, or even if you're just giving them away, please, for the love of all that is sacred, stop calling it a digital 7". It's just a coupla MP3s, which is fine.
7. Actually, it's not. Save some money, pool it all together (this is when it helps to have an actual band—your laptop probably sucks at saving money) and then press a real 7". It will feel good, you'll have something to show your kids, and your parents will think you're slightly less of a joke .
8. Regarding CDs: No digipaks till you have a label, or we'll roll our eyes and make assumptions about the size of your trust fund. As for traditional inserts: four-panel, full color on the front, just one on the back. It's all you need. But spring for the clear tray. The black one is gauche.
9. Don't underestimate the power of a good sticker. Print 'em up and make sure one appears in the bathroom of the bars that are most in keeping with your style. It's quaint and old-timey and awesome.
10. If you put out a record exclusively on cassette, that's cool, but realize that not everyone owns a tape player. Include a code for digital download.
"We really like it when you drink onstage."
11. You can go ahead and lose the MySpace page. Bandcamp and SoundCloud are user-friendly, which is key for users trying to actually listen to your music.
12. Don't have a bad band name. That's all we can say about that.
13. Support local bands that you admire. Go to their shows. Email them and ask if you could open for them sometime.
14. Stage banter is a tricky thing. If you're not good at it, that's ok. Maybe you just shouldn't do it.
15. Honestly? We really like it when you drink onstage. Especially if it's wine, poured into a glass from a bottle you keep on top of your amp.
16. But remember, if you're gonna drink, you have to have at least two so that the first doesn't look like it was a prop.
17. Only girlfriends and/or boyfriends on the guest list. Everyone else pays. It's for your own good, and the good of the venue. (This doesn't apply to us. We'd rather not pay.)
18. Silverface, not blackface. The difference in price cannot be justified, and the difference in sound quality is negligible, especially when compared to more recent offerings.
19. Similarly, get the reissue, not the original. In almost any situation.
20. Get a live drummer. Do it. A massive hang-glider of personality is needed to coast over the vast hole you've dug for yourself by performing against canned iPod beats. (And you are maybe not that charming?) Only the quietest and most devastating of whispery chanteuses can afford to forego "intimacy" over impact. And she could probably use a drummer.
"Despite what you've heard, record labels still matter."
21. If you're a drummer, you can sit down now.
22. "Thanks, we have two songs left" is a boring thing to say, and it seems like acknowledgment of the fact that everyone is waiting for your set to be over. Stop this now, please.
23. "Does everything sound ok out there" is a perfectly reasonable thing to say at a loft space. But if you're at a place with a legit soundman, well, think of someone grabbing a microphone and asking a room full of people if you're doing ok at your job.
24. If you have sound problems during a show, roll with the punches. For the most part, audiences are surprisingly understanding, and if it's not something that can be easily repaired, find solace in the fact that the untrained ear probably isn't even able to tell that your monitor blew out.
25. Despite what you've heard, record labels still matter. Being in a band is hard work and it's expensive and the business side of it is potentially really complicated. But even more importantly, it's always good if a reputable label is willing to vouch for you. This is common sense that has come under unwarranted fire of late.
26. And if you don't have a label, consider hiring a reputable publicity company to work your record. There are many to choose from, at just as many different price points. Ask around—you might find one that's willing to work with you despite your free agent status.
27. But if you can't hire a publicist to do the legwork for you, remember: critics' tastes and areas of expertise vary. For example, Pitchfork editor Brandon Stosuy is super into metal; our own Mike Conklin is really into old-sounding people. Pay attention to who's covering what in the publications you're hoping to be reviewed by. Seek out the writers whose palates seem most aligned with your music and focus on reaching out to them.
28. If the whole point of a mass email sent to the world is that an old song of yours has been remixed by someone marginally famous, do not even send that. Don't let your publicist bill you for sending that. It is totally meaningless.
29. This should probably go without saying, but if you are sending music to bloggers, writers, and critics of all stripes, don't send anything as an attachment and make sure outside download links will result in an MP3 that is properly tagged and labeled.
30. When sending press materials via snail mail, there is no need for a folder. Or for glossy hard copies of photos. We will not scan them onto our computers. Trust us on this.
31. In regard to those press photos, no brick walls and no fields of grass. Sorry, those are taken.
32. You know those recycled CD mailers that are padded with that weird mix of shredded paper and dust that invariably makes a huge mess when we open them? Yeah, they're the worst.
33. And those super-strength plasticky ones you need scissors to open? Yeah, those we just don't ever open.
34. The thing where your publicist gives Pitchfork an exclusive on your stupid new video, then emails everyone else about it an hour later as if we haven't already seen it? That sucks, make them stop.
35. Refrain from responding to negative comments about your band on BrooklynVegan. Lots of bands don't have anyone saying anything about them at all. Be grateful.
36.If some member of the press asks you to do an interview via email, do not give one-word answers or try to sound dismissive and cool like you're in the Replacements or something. Either engage for real and offer clear, thought-out responses, or choose to be sort of a dick—we're honestly ok with either, but if you're gonna be a dick, at least put in the effort and do it well.
37. But maybe don't be a dick. Keep in mind, we also book a pretty big local festival. Just saying. (Kidding! No we're not! Ha!)
38. If you say "for fans of The Hold Steady" or somehow mention another well known band in the subject of your email, we will know immediately that you are way crappier than that band.
39. You don't need a manager until you have too much to manage.
40. That said, keep tabs on the people you pay to help you. We know a band who hired a reputable PR agency to help with the press campaign for their debut EP. Money was exchanged, a list of contacts was compiled. After following up with a few writers they personally knew on the list, the band came to find no one had received their record. Eventually, the publicist admitted to the mistake: they were never mailed out.
"It's ok to license your music."
41. There are more opinions out there than just Pitchfork's. If they give your album a 5.2 or don't review it at all, that doesn't mean there aren't other people, even critics, out there who will love it. Don't let one website determine your self-worth as a band.
42. It's ok to license your music. There will forever be other bands/critics/anonymous blog commenters/possibly Patrick Stickles shunning you for "selling out," but it's a tired argument in this day and age, and, truth is, you deserve to make enough money to pay your rent.
43.(Unless you're terrible, then just stop doing this and get a real job, hippie.)
44. There will probably be a trip-hop revival sooner or later, right? This could be cool or awful. Don't blow it.
45. Saxophones don't have to be smooth, you know. They can be cold and alienating, like the first Roxy Music record. They can simultaneously be head-nodding and brutal like James Chance's no wave disco. You bought that thing, now fuck with it.
46. Get tougher, in general. There are still a lot of songs getting written explicitly about benign sunny days. Let's cool it with those.
47. Did y'all take a vow not to write funny songs or something? Most of the stuff that isn't crazy serious and earnest lately has seemed super vague, bordering on blank. Wits out. Tongues snugly in cheek. Ever listened to an Elvis Costello record? How about the Television Personalities? The Kinks?
48. Playing instruments on a stage isn't all there is to a performance. It's got to rise to the level of a show. There are different ways to put one on, but just playing instruments, even quite well, isn't enough.
49. As lame as it sounds, consider taking a lesson on your instrument. There are some really great, cool teachers here in the city, and it never hurts anyone to learn a few new tricks—least of all the people forced to listen to you lifelessly playing the same few chords or that one plodding, shitty drum-fill you resort to all the time.
50. If you're some local singer-songwriter we've never heard of, sorry, but we don't want to be your Facebook friend, even if you tell us you really liked that one piece we wrote about the Decemberists or whatever.
51. Buy a decent stereo for home use. If you know where to look (Craigslist, various home audio forums), you can get a receiver, a turntable, a CD player and some good speakers for little more than $500, and it'll make a world of difference in how you think music should sound. Your laptop is doing you no favors.
52. Brooklyn has one of the most thriving DIY scenes in the world. Utilize it. DIY promoters, bookers, labels and, most importantly, audiences will likely be more open to taking risks on unknown bands and more forgiving when you flub your guitar solo at your second show ever.
53. You live in NYC for a reason, right? Embrace it. Go to shows, shop at brick-and-mortar record stores, talk to people. If you don't, you might as well be a band in South Dakota. It's cheaper, and they have the internet there.
54. If you have the means, try to get down to Austin for SXSW at least once. Between traveling expenses and the unspoken agreement with showcase presenters that you'll play pro bono, you'll likely lose money in the end, but considering the opportunities that could arise from it—all that elbow rubbing!—it might be worth it. You just never know.
55. If you ask nicely for us to re-tweet something about a show you're playing, we just might. We also might not, but we probably won't make fun of you for asking.
56. Try not to leave too much stuff in your van overnight. You're gonna be so pissed if all your shit gets stolen.
57. You should make t-shirts, yes, but also maybe sweatshirts! We suggest crewneck for a nice change of pace. (Unless you're in a hardcore band, in which case you'd get beat up for such a thing.)
58. Should you choose to cover a song, please do so without irony.
59. Pay attention to the other bands around you, but not too much. Great scenes are made up of originals, not carbon-copies of one another.
60. Try not to have your "manager"/best bro stand over the shoulder of the sound guy and offer "advice."
61. Try not to have five minutes of epic intro music before walking out onto the stage if you're the first band on a five-band bill playing your second show ever. Gotta earn that stuff.
62. If you're anyone but the headliner, don't have your last song be an extended white-noise jam during which you destroy the house backline and/or stage, then walk off with your guitars still feeding back. Again, gotta earn that stuff.
63. Know how your instrument works and how to plug it in. If you need a DI, know what it is, how to ask for one, and what it does. If you know what a DI is, don't show up to a DIY venue and ask for 20 DIs and complain about the subs.
64. Try not to put 30 people on the guestlist for an 100- capacity room.
65. Don't treat Webster Hall like Shea Stadium. Don't treat Shea Stadium like Webster Hall.
66. Stage banter should be at most 10 percent of your show. An even lesser percentage should be tuning.
67. Try not to ask for a drink from onstage when there are six people in the room.
"Don't send mass emails to bookers."
Kanine Records
68. Make sure you are ready before you start playing out. The best thing to do is have your album completed, great photos, bio, artwork, image, an amazing and tight live show—basically the works. So when you come out of the gate, you come out slamming. Most labels/press/music tastemakers go see bands when they first come out. And if their live show sucks at the beginning, we dismiss them before they get a chance to develop. But to be honest, that is their fault. That is what practice spaces are for.
Ashley Ayers
Publicist, Tell All Your Friends PR
69. If you mass email publicists, agents, managers, labels, etc., always bcc.
Peter Agoston
Agent, Panache Booking
70. Any artist should treat their craft like a new plant. Learn to nurture it by not overdoing or underdoing anything. Trust your intuition and be careful in relying on a manager. Learn to be your own manager first. If you have the opportunity to work with a booking agent, choose someone you can trust—someone that provides both guidance and insight and who is ready to listen to what the artist may need. Determine your collective goals and see them through, with patience, as it could be a slow process. Train yourself to be disciplined.
"Have realistic expectations and be humble."
Jify Shah
Talent Buyer, Cameo Gallery
71.Understand your scene and the key players involved. Get to know bands in the neighborhood and be critical. Try to connect with ones that are doing well and share similar musical influences or fanbases.
72. Have realistic expectations and be humble.
73. Don't force people to "like" your Facebook page in order to listen to your music.
74. Don't send mass emails to bookers.
Anonymous Talent Buyer
at Brooklyn venue
75. DELETE YOUR MYSPACE PAGE. Create and maintain (on a daily basis) a Bandcamp or SoundCloud + Facebook page instead.
76. Play your friend's party, DIY spots and small bars before trying to get a show at a club that holds more than 200 people.
77. Do not contact a venue asking to ONLY play on weekends.
78. When contacting venues, have a lineup of other local bands in mind for a show you want to put together or else have your eye on a show that is already booked on the venue's calendar. This helps speed things up tremendously.
79. Be aware of the type of music each venue books. Do not contact a rock club if you're in a jazz band… c'mon now.
80. Promote your show! If the only draw you have is who's on your guestlist, you're not going to be asked back to play another show. As an opening act, you should be drawing at the very least 10 percent of the capacity of the room, i.e. 300 cap = 30+ person draw GUARANTEED.
"Be polite to your coworkers."
Hunter Giles
Founder of Infinite Best Recordings, manager of Twin Sister and Ava Luna
81. BE POLITE TO YOUR COWORKERS. That is, while you're in band-mode, be courteous and respectful to everyone you encounter, from industry macher to dorky fanboy. Sounds simple, right? Prove it! Bands are forced to interact with so many different kinds of people, often in loud, dark rooms, many times under the influence of various substances (or a post-show ego-high). It can be easy to lose your head, talk shit, mouth off. Sound guys, bookers, bouncers, promoters, lawyers, managers, publicists, label folks, fans, photographers and (especially) other bands... they all look the same in the crowd, they all are your current or potential coworkers, and if you just got off the stage (or are currently on it), they are all secretly watching you to see how you interact, whether you're a nice person or a total dickwad. I can't tell you how fast word gets around when a band or artist is less than kind, and I'm continually amazed at how many people remember you if you make a little extra effort to be nice.
Nicolas Vernhes
Producer/engineer, Rare Book Room
82.Try to work with an engineer or producer who clearly understands your sonic vision. If you can, take them out for a beer beforehand (who doesn't like free booze?) and talk about what you want to do. If said vision is still verbally murky prior to crossing the studio doors (hopefully not due to the beer), make sure the engineer gives you a strong sense that they will at least pay very close attention to your particular needs and requests for a certain aesthetic/type of sounds. It's your music, not theirs.
Michelle Cable
Founder and Agent, Panache Booking
How to draft a booking email that will actually be read:
83. In the subject line, make sure you state the name of your band and the date you are inquiring about. If you are on a recognizable label, you could also mention that in the subject line.
84. Keep the email as concise and to the point as possible. Whoever you are emailing is most likely at their office reading your e-mail and has no time to read a novel.
85. Make sure your band name and the date you are looking for is visible within the first half of the message. [Editor's note: see number 79.]
86. Include two to five noteworthy web links that pertain to your band. These could be your artist site, Bandcamp, Facebook, media press links, record review links, etc.
87. Do not attach files or mp3s! This is extremely annoying and clutters one's inbox.
88. If your band is on a label, touring around a release, or has a publicist working a campaign, include that info. Keep it to a couple of sentences.
89. If your band has shared the stage/toured with other recognizable artists or played noteworthy festivals, you can mention these here. Again, keep it to a couple of sentences.
90. Make sure that in one quick glance or perusal of your email, the key information stands out and is easily spotted.
91. If you have a short, decent press quote or two, you can insert these at the end. The publication or entity you are quoting has more influence then the strength of the quote. Keep that in mind; quotes from entities like Pitchfork, SPIN, NPR, NY Times, Village Voice, L Magazine [Editor's note: aw, shucks] will probably pique some interest and possibly a response.
92. And one more thing! A last reminder to keep it concise while still being as informative as possible. Probably no longer than this tutorial.
Taylor Brode
Label Manager, Sacred Bones
93. Do not blindly email, mail or call labels if you want them to listen to your demo. Instead have a long hard listen to that label's releases and decide if your band really makes sense for them aesthetically. And before you send any demos anywhere, you should ask yourself one thing: "Does my band want to be a band full-time or is this just a hobby for fun?" If your answer is the latter, you should look into self-releasing your record. You can't expect a label to work full-time on your band if you don't. If your answer is the former, you should try to find an organic in with the label before you blindly solicit. It's like applying for a job. The label is more likely to respond if you are friends with people on their roster and their bands like your band. I'd say 99 percent of the bands we sign come from friends or roster artists referring people to us.
Sarah Moody
General Manager, Hardly Art
94. I think the key in gaining interest—whether you're working with a physical or digital demo—is to not beat anyone over the head about it. If the music is good, it should speak for itself. If the live show is good, that's even better. We look for bands who are making music that we're excited about and think should be heard by a larger audience. I don't know if it's possible to whittle the specifics down further than that, other than we generally try to avoid working with total assholes. (Pro tip: never send an MP3 attachment unless prompted.)
Mike Sniper
Founder, Captured Tracks
95. Don't have a manager or lawyer send an email, that goes in the trash.
96. Don't send a demo with a UPC, that gets thrown away.
97. If you're sending us a demo, don't already have records out.
98. It always helps to put some thought and care into the email or CD-R to make it personal and show the artist's affinity with the label.
Mat Hall
General Manager, Luaka Bop
99. We listen to everything that comes in. I was happy to see that was the case when I came to the label. We know immediately if it's not right for Luaka Bop, so it may only get 15 seconds before someone yells to turn it off, but we listen. Sending out a demo is not going to hurt you if your music is any good and you send it to the right people in the right way—as a link to the music hosted somewhere else instead of crashing my email with unsolicted MP3s. That makes me want to stab you in the face. But even then, if something great arrives unsolicited in the mailbox it's a rare treat.
Mike Schulman
Label owner, Slumberland
100. Show that you really know and understand the aesthetic of the label you are approaching. It's so cheap (like, free) to send out demos digitally that I'm sure it's tempting to carpet bomb every label out there, but nothing turns me off more than getting something totally inappropriate for the label with a boilerplate note stating how much you love Slumberland and how perfect you are for the label. All of the indie labels I know and respect very carefully select the bands they work with, and as a band you should just as carefully select some labels you really want to work with and approach them in the most personal, genuine way possible.
Pieter Schoolwerth
Founder, Wierd Records
101. I get so many links, videos and promos, both to my address and discs and vinyl delivered in person at the weekly party, it's pretty impossible to keep up. But I always make an effort to listen to absolutely everything I get. I'm not a huge fan of download links, nor do I usually react very well to mass emails, but physical promos in the mail with hand-written letters and artwork are always the best and most inspiring, and say a lot about how much conviction a band has in getting their music out there into the world.
"I always had the idea that this was a really great thing to do: it's fun, it's important and we'll do it as long as we can."
Mar 29, 2012
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2008-04-16 / Front Page
Amityville School News
•Melanie Rudnick, a student in the Amityville School District has been selected to attend the University Presidential Inaugural Conference in Washington, D.C. next year, celebrating the inauguration of the President and Vice President of the United States.
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New York artist and designer Wil Fry has debuted his latest product offering. Titled "Expensive Chair," Fry has partnered with Jamie Clawson of Valentine Goods to put this "Expensive" print all over an original 1974 Herman Miller Eames molded fiberglass armchair. GQ recently caught up with Fry to talk a little bit about the project: "I had spoken with Jamie about working on a project several months ago, where we could utilize each other's skillsets and produce something a little different to the kind of stuff we usually produce on our own. Eames is fitting mainly due to it's importance in design history and the fact that it is still heavily sought after piece of furniture."
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Grilled Ham and Cheese Sandwiches
The oldest diner sandwich in the book becomes a great summer meal when you make it live up to its name—cook it on the grill. Prep and cook time: about 15 minutes.
Yield: Makes 4 sandwiches (serving size: 1 sandwich)
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Nutritional Information
Amount per serving
- Calories: 506
- Calories from fat: 0.0%
- Protein: 28g
- Fat: 28g
- Saturated fat: 12g
- Carbohydrate: 36g
- Fiber: 5.3g
- Sodium: 1137mg
- Cholesterol: 67mg
- 8 slices whole-wheat or walnut-wheat bread (about 10 oz. total)
- Dijon mustard
- About 8 ounces Swiss cheese, thinly sliced
- Good-quality deli ham (about 4 oz. total), sliced
- Baby spinach leaves (about 1 oz. total), rinsed
- About 2 tablespoons olive oil
- 1. For each sandwich, spread slices of bread with Dijon mustard; top a slice of bread with a thin layer of cheese, ham, spinach leaves, and more cheese. Top with a second slice of bread. Brush both sides of the sandwich lightly with olive oil, then push two or three toothpicks all the way through the sandwich to secure.
- 2. Lay sandwiches over medium heat on a gas grill (you can hold your hand at grill level only 4 to 5 seconds); close lid. Cook, turning to prevent bread from scorching (remove toothpicks when turning, if they catch on the grill), until sandwiches are well browned on both sides, with some darker grill marks in spots, and cheese is melted, 8 to 10 minutes total. Serve hot, while cheese is still melted.
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Grilled Ham and Cheese Sandwiches Recipe at a Glance
- COURSE: Sandwiches
- CONVENIENCE: Kid-Friendly, Quick/Easy
- CUISINE: American
- MAIN INGREDIENT: Cheese
- COOKING METHOD: Grill
- OCCASION: Summer
- PUBLICATION: Sunset
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Bulls Draft Pick Nikola Mirotic Named MVP Of Spanish League
May 22, 2013 9:58 AM
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(CBS) Chicago Bulls draft pick Nikola Mirotic has been named the MVP of Spain's professional basketball league, the ACB League.
Mirotic, 22, is now the youngest MVP in ACB history.
The 6-foot-10 power forward earned MVP honors after averaging 12.6 points and 5.5 rebounds this season as Real Madrid earned a 30-4 record to win the league by four games. Mirotic shot 50.5 percent overall and 43.5 percent from three-point land, while shooting 80.7 percent from the free-throw line.
Drafted by the Bulls with the 23rd pick in the 2011 NBA Draft, Mirotic will likely leave Spain for the NBA in 2014, due to his contract with Real Madrid and the rookie wage scale.


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What 15 preschoolers taught me about believing in magic
Like many little girls her age, my daughter who just turned 4, is princess-crazy. So it was with unfettered glee that she greeted the Snow White who showed up on our doorstep on Saturday to entertain 15 preschoolers for her birthday party.
Being a parent is a mysterious and wondrous state for me as it happened late in life, so it was initially the parent in me that sat down to enjoy the spectacle of the kids being entertained.
However, it didn't take long before the entrepreneur coach in me started peering over this parent's shoulder, observing the following and then formulating the questions:
Kids believe.
All it took was a dress, a wig, a cute voice and some make-up to transform a hard-working young woman into a credible character. There were no looks of scepticism or disdain on the upturned faces of the seated kids - just pure wonderment.
When last did you REALLY believe in something, enough that it demanded you suspend the judgment and limiting beliefs of your "inner critic"?
Kids have an unlimited sense of what is possible.
As Snow White did her magic tricks and recounted her story, complete with description of her castle and how she got to the house by carriage, the kids peppered her with questions about the Seven Dwarfs and her prince.
What would life be like if you knew there were no limits to what you could accomplish, barring unassailable facts and inescapable realities? And even then, what would be possible?
Kids are not afraid to dance in public with a princess.
How refreshing it was to see the ease with which most of the 4-year olds were able to jump up and dance with Snow White when given the opportunity.
How willing are you to toss aside your inhibitions and just let it rip with your business idea?
Kids have clear priorities.
While most of the children were absorbed by the activities that Snow White offered, a few had other things on their minds. Like eating - two of the kids sat side-by-side in pint-sized chairs next to the low food-filled table and continued eating unperturbedly, despite the commotion next door. Or hanging out with mom - another opted for a game of Chutes and Ladders.
What are your highest priorities, when faced with big distractions?
Kids don't hide their feelings. Restraint was NOT the order of the day - the house reverberated with excitement, silliness, and joy, and even the parents were caught grinning and laughing! And the tears of disappointment and frustration flowed unabashedly when some of the kids didn't get to to stir the magic pot with a wand!
What would life be like if you could sit with the entire range of your feelings, without having to reject those that made you uncomfortable or restrain those that filled you with pleasure?
Kids don't hold back once they are convinced.
One child sat at the back of the crowd and refrained from participating for two thirds of the show. Her face registered little other than a certain watchfulness. Her puzzled mom remarked to me how surprised she was at her daughter's lack of reaction. Suddenly the little girl came over to her mom and asked her to introduce her to Snow White - which she did. The transformation was spectacular! The little girl chatted non-stop to Snow White, did everything she could to get her attention, and spent the last 20 minutes following her around like a shadow.
What energy will you bring to your efforts once you are fired up with conviction?
Most of us were preschoolers so long ago, it is almost impossible to remember that state of acceptance and wonder. And yet, I'm sure we wouldn't have to scratch too deeply below the surface to find our yearning - our longing to believe in the magic of what we could achieve, if we could simply give ourselves the permission to view the world through the eyes of a 4-year old again!
Of course, I realize that this post bears a small and poor resemblance to Robert Fulghum's All I Need to Know I Learned in Kindergarten, but I couldn't resist writing it!! After all, I want to dance in public, and not hold back, even when my inner critic tells me that you, my readers, might think I'm crazy.


text: / Moore County school bus accident | abc11.com GO Personalize your weather by entering a location. Sorry, but the location you entered was not found. Please try again. Sections Traffic Video RaleighDurhamFayettevilleSurrounding Area Home Accuweather Traffic Video Photos Mobile Apps Local News RaleighDurhamFayettevilleSurrounding Area Map My News Shows Live Well Network Follow Us Pickup truck crashes into Moore County school bus November 8, 2012 3:49:46 PM PST


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Hawaiki's hazy Pacific cable plan gets hazier
UPDATE Sept 7: Many in the telecommunications industry welcomed a new Pacific cable plan that went public yesterday.
"We are very keen to see the project get off the ground. International connectivity is vital to our economic future," Telecommunications Users Association head Paul Brislen told NBR.
But for Hawaiki Cable boosters, their was little concrete news.
And the picture only got fuzzier after Hawaiki sales director Ludovic Hutier got in touch with NBR last night.
"Building such a system is an exciting and ambitious challenge for our team members and partners," Mr Hutier said
"At this stage of the project, our focus is to finalise the funding plan and obtain all necessary approvals to go ahead."
He understood people wanted more detail, but said, "We believe it is too early to communicate in details on the project."
Hawaiki goes public on fresh bid to build Pacific cable
Sept 6: Hawaiki Cable has publicly emerged as the latest player promising to build a trans-Pacific fibre optic cable after its plans were aired at last month's Polynesian Leaders' Group meeting.
The company wants to build a two fibre pairs submarine cable system spanning the Pacific with an 8 terabit per second capacity, according to its website. The cable will link Auckland, Sydney and Hawaii, with connections on Norfolk Island, New Caledonia, Vanuatu, Fiji, Wallis, Samoa and American Samoa.
The new entrant enters the market after Pacific Fibre shut up shop when it failed to attract the $400 million it needed to fund the project, leaving Southern Cross Cable the only international cable network operating in New Zealand.
The project is headed by Remi Galasso, a former Alcatel Lucent executive who founded Noumea-based telecommunications infrastructure company Intelia in 2005. Intelia designs and implements wire and wireless networks and backhaul, and can design and build IT systems.
Not so new
Most recently, Mr Galasso has been associated with SPIN (the South Pacific Islands Network), which also proposed to link New Caledonia to Auckland, Sydney and Hawaii.
Spin made a public push during 2009, and numbered the French government among its investors. But the cable was never laid, and SPIN quietly faded from the scene.
Hawaiki features a number of SPIN veterans in its ranks.
"It's the same team from SPIN but a different name," Pacific Fibre cofounder Mark Rushworth told NBR earlier today. "The CEO has been trying to connect the Islands for the last seven years."
Hawiaki has told media it has signed one major (un-named) customer, that it has been talking major players in New Zealand such as TelstraClear and Vodafone.
Mr Rushworth said New Zealand still needs another cable to break the 50% Telecom-owned Southern Cross monopology.
But earlier, Pacific Fibre co-founder Rod Drury said no private cable would be built out of New Zealand following Pacific Fibre's funding failure.
The start-up got good support, with Vodafone, iiNet (the largest independent Australian ISP) and an un-named US telco signing anchor customer contracts.
"But those guys will be loath to put their hands up again," he told NBR.
2014 goal
Hawaiki's NZ area manager Kevin Millar did not immediately respond to a request for comment.
Mr Millar is a former chief operating officer of TelstraClear. His current day job is general manager of services at Downer Engineering - where reception but through NBR's call which went to his voice mail.
Last month, the Cook Islands News reported Hawaiki was looking to complete the project by the end of 2014 at a cost of hundreds of millions of dollars, contingent on getting all countries on board by the end of this year. The company is also proposing links to the Cook Islands and Tahiti, the paper reported.
"We are very keen to see the project get off the ground. International connectivity is vital to our economic future," Telecommunications Users Association head Paul Brislen told NBR.
But right now, with scant detail, Mr Galasso's track record, and potential anchor customers burnt by Pacific Fibre's failue, it's not immediately clear how that will happen.
More by Chris Keall and Paul McBeth
Comments and questions17
Drury and Rushworth, the masters of spin whining about someone else who may actually get this to work and in doing so connect up a number of Pacific Islands.
Fast Internet connections in the islands could really help with remote medical situations versus fast internet in NZ which allows more illegal downloads.
Do the moral math Rushworth..!
Ruthworth and Drury both said they are keen to see a second cable run out of NZ. Drury's opinion was that a privately funded effort would not get off the ground.
I think a big question is, do they have much more hope of securing additional government and NGO help this time around? The fact that they're planning to link the Pacific Islands does provide another angle. They might be very interested, but I can't imagine the PI governments themselves can provide much funding themselves, but other governments could, including ironically the Australian and New Zealand governments. And of course they did get something from the French government last time. This could provide an added boost to get them over the line which Pacific Fibre lacked.... I suspect SCC will also have to be more careful with their countercable spin as well.
Also they're only going to try and land in Haiwaii. I know some others have claimed the Californian landing point was one of the sticking points for Pacific Fibre. (And again, having the Pacific Islands involved could perhaps help them with landing issues.)
Well, I hope they don't drag the hoary old chestnut about redundancy as a reason why they need state assistance for their project, like Pacific Fibre did as they were shutting up shop.
If you see the Southern Cross Cables website you will see that they offer a loop, not a cable.
A loop with NZ landing points only a handful of kms apart. Yep, that's a robust topology.
Never mind that, anyway. The bigger problem is the single vendor and pricing which follows the doctrine of artificial scarcity.
Phil Stevens has a good point and I think people often underestimate the importance of redundancy until they need it, having communications majorly disrupted for several weeks is no fun I can tell you that. In the modern world, relying on satellite backups just doesn't cut it.
Having said that, I'm not sure how far apart not only the landing points but the planned Hawaiki Cable are supposed to be. Anyone living in or even having contact with those in quite a number of East or South East Asia after the 2006 Hengchun earthquake will probably know having many different cables doesn't help if they go through the same earthquake prone stretch....
Whereabouts were the Pacific Fibre and Hawaiki cable proposing to land? If in Auckland, then the redundancy isn't much greater if its a natural disaster in Auckland you are worried about.
Its not really a single vendor monopoly rorting us though is it? I understand that Southern Cross charge NZ traffic the same rates as it charges Oz, and Oz has multiple cables which provide the competitive pricing.
So whilst NZ doesn't have competition - it isn't paying over the odds.
All the best to them...however I might have more faith in their plan if the website ran properly. Sure, setting up a website isn't the same as funding and managing a fibre optic cable - its just that one of them is cheaper, easier, and less complicated to get right.
OH: Vodafone " the cost of international bandwidth is now cheaper than domestic"
Not much of a business model
I dont understand why they are so interested in trans tasman, the pacific islands and Southern cross
They want to lay cables to Pacific island, NZ, Australia, US? Who cares! Something is wrong.
The money is between Oceania and Asia. They should be looking at a a AJC replacement circuit or the SMW3 circtuit Perth to Singapore.
The lion's share of NZ's international data traffic is with the US. That's not going to change any time soon.
But you forgotten that Southern Cross cable is own by Telecom NZ, Telstra, Singtel-Optus and Verizon.
Who is this hazy company trying to achieve? Wake up and smell the coffee
What cant Mark wake up and find a decent job?


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My approach to asking zone-oriented questions is:
My approach to asking zone-oriented questions is:
1. Ask in Guild first
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3. Only ask once each time.
Then it's time for Wowwiki or Wowhead.
If you need detailed class-oriented or skill-oriented help, I strongly recommend the following:
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2. Make an open-ended request for help: "advice needed from raid-geared lock - please wsp"
3. Usually someone is nice enough to respond and you can ask your question with confidence.


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by Columbian | Item #: 553682 |Model #: WEVCO929 |
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My name is Ciel Phantomhive. I own a toy factory called Funtom Co. and live alone in a large mansion in the country. Well, as alone as you can get with three idiot staff and a perfect butler who is also a demon. I've sold my soul to this demon whom I've named Sebastian, after my old dog we used to have. I have devoted the rest of my expectedly short life to discovering who set my mansion on fire and murdered my parents, And who branded me with this infernal mark on my side. I'll drag the ones who hurt my pride and ruined my name out into the open, and punish them as they deserve. They will die with my smile as the last image imprinted on their eyes.
So…Sebastian told me today that he hated dogs.. I guess that is why we never completely liked each other. Well you know what. Fucking WOOF.
We as humans have the power to do such, but whether we grab on to the thread or not is our choice to make.


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Bright blue pique polo shirt
Item No.2850108068
This bright blue pique polo shirt from Puma is regular fitting with a lightly ribbed collar and is detailed with a bright orange logo applique on the chest and hem.
- 95% cotton, 5% elastane
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What shows are getting canceled?
NBC will announce their new fall lineup next week but we already know a few shows that won't be on it. The network announced earlier this week they have cancelled the drama Deception,as well as the comedies Up All Night, Guys with Kids, Whitney and 1600 Penn. Meanwhile NBC has renewed Parks and Recreation, and is still deciding about Go On, The New Normal and Community.Among the new shows they've picked up:About A Boy, a TV adaption of the Hugh Grant movie, starring Minnie Driver;Believe, a J.J. Abrams series about the relationship between a young girl with a gift and a man sprung from prison to protect her;Crisis, a Washington-based drama starring Dermot Mulroney and Gillian Anderson and the comedy Sean Saves the World, starring Will & Grace's Sean Hayes.


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Hi my name is Carlo. I like certain types of horror and lots of sci-fi movies.
Hey Carlo Welcome to Kickit365 a soccer league and social club dedicated to providing coed soccer leagues and community events in San Francisco. Our social events will include happy hours, themed pub crawls, wine tastings, beer tastings, group trips and party buses to the SF Giants, SJ Earthquakes & SF 49ers and much more"
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Recently, from deep within what I call my Closet of Doom, I unearthed a bag of celluloid treasures. Some were tucked inside square, yellow Kodak cartons and bore labels such as "The Desert Town" and "D&D Movie '81." Others, spooled naked on plastic film reels and wrapped with decomposing rubber bands, had no labels at all.
I knew these relics dated to the 1970s and '80s, to an era when I was going to be the next Steven Spielberg. I shot dozens of Super 8 cartridges to capture my teenage world. These short movies had not seen the light of day in decades, nor the light of a projector bulb.


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Excellent location – rated 9.1/10! (score from 2574 reviews)
Rated by guests after their stay at Wyndham New Yorker Hotel.
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The Standard, High Line New YorkLatest booking: 6 hours ago There are 9 people looking at this hotel.
In the Theater District and within a 3-minute walk of Times Square, this hotel features a fitness center and a concierge service. Rockefeller Center is a short walk away.
Score from 2286 reviews Good
This Manhattan hotel is across the street from Madison Square Garden and Penn Station. The hotel offers a gym and a tour desk with ticket services.
Score from 9357 reviews Review score
Just under a mile from Central Park and Times Square, this modern Manhattan hotel features completely renovated rooms, equipped with amenities including a flat-screen TV.
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Hilton Garden Inn Central Park SouthA 7-minute walk from Central Park, this Manhattan hotel features an on-site fitness center and rooms with city views. Times Square is just over half a mile away.
Score from 876 reviews Very good
comfortable room
long wait to check in
location and wifi good
showers are very bad. not hot at all. rooms very small.
We were going to the theatre and this was a great location that was about a 15 minute walk. We had the New Yorker Suite which worked out well for the group of five of us.
Close to transport, met and taxis. Great food available close by including sit down cafe or fast food. Retro feel seemed authentic. Linen was good condition and hotel has Eco ethic but not always upheld by house staff. Close to auto bank, citibank on 36th, coin Landry quick walk down on 9th ave and 37, also tailor for clothes repair. Plenty of elevator access.
Laundry in house facility exhorbitently priced. Our room though clean was brown and drab. Tick Tock cafe needs an overhaul. A bit noisy at night for us with constant sirens, trucks reversing beepers, and occasional water noises from adjacent room.
Excellent location, friendly staff Were liked the diner in the hotel, but like all fast food eateries in NYC it could do with being a little cleaner
See above
Convenience to Penn Station and public transportation in general. Lots of natural light in very comfortable room. Excellent housekeeping and other services.
Lack of restaurant room service. Had to pay for really good WiFi connectivity.
The location is fantastic. Walking distance to most things - empire state building, Macy's, the highline & time square. with Penn station right there should you need to catch a train. Staff are great & always happy to help.
Room is a bit small & bathroom is definitely dated. Having to go to another floor for ice. A bar fridge would have been a great addition to keep some bottles of water in.
I like everything. Location is excellent, wi fi very good. Close to major shops.
No breakfast. We had to go and scant for food. Over priced for some of the nights
Clean, great staff. Will be back.
Wi Fi Option bites
-Location, Location, Location. -Concierge staff were excellent, esp Tony. -We had an early flight into NY & were given an early check in.
Front desk staff were a little rude. Wi-Fi was weak & you had to sign in via the hotel's portal every day which was slow. Wi-Fi is very important for international travellers & this hotel had the worst of all on our trip. Room was tiny, which we expected in NY but we both had to enter the room & squash in to one side of the bed before you could close the door.
The suite was clean and confortable
For five persons on the reservation, we had three towels only but they corrected right away on request.
The central location was great and the room we had was large and very quiet
Location and staff
Rooms and beds too small. We made reservations for a King bed and what was in the room was the size of a full bed.
Location was excellent, clean and very friendly staff.
Bathroom very small.
The hotel is perfectly located right at the Penn station exit of the subway and about 15 minutes walk from times square. Best connection to JFK and all parts of Manhatten trough the subway. We had ordered a tower suite and were luckily upgraded to an excetuive suite with great view over Manhatten. The room was very nice and really comfortable for our party of 4 (parrents and two grown up sons). We especially appreciated the too bathrooms. Staff was friendly and helpful. All in all a great stay with good value.
Staff answered questions in a friendly manner
Had problem with availability of second room.
The location was good. That's it!
The room was tiny, not fit for two people. The price was way to much for the room. The bathroom was disgusting and the shower only half worked. Upon check out we had to pay to storage our luggage! After staying two nights they would not even store luggage free. The staff were unfriendly and made a young couple feel unwelcome.
Daily rate and fees
The rooms were clean and very comfortable! The location was so convenient and was a great stay for my first time in NYC.
Location was great. Steps from our train at Penn Station. Tick Tock Diner always came through with a very good meal when we were too tired from touring the city to explore other options. Comfortable beds and a room with a view of 34th St and the Empire State Building.
Room with 2 double beds was a bit tight for 3 family members. Need a mirror over the desk to serve as a vanity for makeup, hair, etc. Sink in bathroom was a pedestal, with no side shelf to place curling iron, cosmetics, toothpaste, etc down on. Bathtub was slippery after using body wash that was supplied.
Location, fast wifi
Size of the room is small
Perfect Location
Room with a view from 37th floor. Didn't get disturbed by the cleaning staff
Got very busy at certain times of day (but then it is a large hotel) Scaffolding and building works in progress - hopefully should be completed soon
Bed comfortable; room clean; employees friendly and helpful
All hot water ; no cold; air conditioning poor
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(via TumbleOn)
millennium gif. :P
hey force, whoever made you, is seriously a genius. and should win a nobel prize. js.
omfg. i can't fucking even wait.
Sooo six more days until i'm HERE. I'm going to ride this ride with the lovely Sabsmarie16. We are also going to see...
MIlllllllenniummm forceeee
Cedar Point!!! #millenium #gif #thingsIneedtodothissummer


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Home > Post > Post 3 > Post 3 News Release > 2012 News Releases > News Release
News Release
Trooper Jonathan M. Biven
Public Affairs Officer
Kentucky State Police
Post 3, Bowling Green
(270) 782-2010
Click here to e-mail Trooper Jonathan M. Biven
Munfordville Man Arrested on a Five Count Felony
Date of News Release: 05/21/2012
(Bowling Green, KY.) -- On Sunday, May 20, 2012 at 10:37 P.M.(CST), Kentucky State Police Post 3 Bowling Green, was contacted regarding an alleged rape complaint in Hart County, Kentucky.
On Monday, May 21, 2012 at 6:30 A.M. (CST), Kentucky State Police Post 3 Bowling Green arrested Michael Manzo (40) of Munfordville, Kentucky and charged him with the following:
- Sodomy 1st Degree
- Rape 1st Degree- Domestic Violence
- Unlawful Imprisonment 1st Degree
- Wanton Endangerment 1st Degree
- Assault 2nd Degree Domestic Violence
Preliminary investigation states that on Sunday May 20, 2012, the accused allegedly raped the victim while holding a firearm on the victim. He then restrained the victim from leaving his residence by physical force and through the use of a firearm.
Michael Manzo is lodged in the Hart County Jail.
The investigation is still ongoing and is being led by Detective Erik Salman. He was assisted on scene by Trooper Joel Huff.


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First step. While the bill authorizes resources to increase the number of federal analysts and collection agents and calls on the DNI to set standards for collection and analysis, it is largely a top-down reorganization that may not achieve the level of change required, say critics like David Rothkopf, senior associate with the Carnegie Endowment for Peace. The government must "find a way to start dealing with the core issues within these agencies, changing the culture, putting a high emphasis on finding objective truths and giving policy makers the information when they need it," he says.
The bill is a "good first step," nonetheless, Rothkopf says. As one congressman said during the House floor debate over the bill, it advances the ball down the field toward the goal of homeland security, even if it doesn't score a touchdown.
That's a view widely shared by intelligence professionals, even though they see flaws in the new law. Former Director of the CIA, Admiral Stansfield Turner, for example, agrees that the intelligence reform bill was on the right track when it moved from having the head of the CIA also be the director of all the intelligence agencies within the government. The newly created DNI "will not be running any agency and will, therefore, hopefully, listen to all of them," says Turner.
"Pre-9-11 the Director [of Central Intelligence] wasn't listening to the diverse views because he was concentrating on running the CIA.... Whereas this new DNI will not have an agency of his own to listen to and give preference to," he says.
Further, the new law gives the DNI "authority to be sure that there is adequate exchange of information--as there wasn't before 9-11--between the various agencies," says Turner. But the most difficult problem the new DNI will face is "to get these 15 agencies to set aside their own parochial turf considerations and do what is best for intelligence," he notes.
To encourage the development of a truly national strategy on intelligence, the bill also establishes a Joint Intelligence Community Council chaired by the DNI and composed of the secretaries of State, Treasury, Defense, Energy, and Homeland Security, plus the Attorney General and others the President may designate.
But the DNI's powers to get the intelligence agencies to work together toward any unified objectives set by the council has its limits. For example, the Joint Military Intelligence Program is not part of the newly consolidated National Intelligence Program that the DNI oversees, although the DNI "shall participate in" and consult with Defense with regard to military intelligence budgets and use of resources.
The military's remaining autonomy is seen as a weakness by some observers. Turner says that under the bill "the various collection systems like satellite photographs and electronic listening are too much under the control of the Defense Department."
This criticism is significant given that during his tenure at the CIA, Turner led the intelligence community in adapting to a new era of real-time photographic satellites, forming the basis for the current system. "In the Cold War," he says, "there may have been a perverse logic to the Defense Department controlling 80 percent of the intelligence assets because the threat was a military threat. In the war on terrorism, there's not an excuse for the military being that dominant in our intelligence because they're only part of the solution, and somebody with a national perspective, not a military perspective...should be in charge of that 80 percent."
Another former director of the CIA, James Woolsey, disagrees with Turner's assessment, however. "The military was not the problem pre 9-11," he says.
Regardless of who controls the military intelligence gathering, the government needs to think more strategically than operationally about intelligence, says Ernest May, Charles Warren Professor of American history at Harvard. The reorganization does move intelligence in that direction with the creation of the NCTC, which presents "a model for the way in which the government might organize itself to deal with a variety of problems," he says.
The bill extends that model to weapons of mass destruction by also establishing a National Counter Proliferation Center that will be the primary organization in the government for analyzing and integrating all intelligence pertaining to the proliferation of weapons of mass destruction. The bill also gives the DNI the authority to establish other intelligence centers focused on new threats as the need arises.
Budget. While the bill does establish a strong DNI with a role in the budget process, it does not endow the position with the clear and absolute budget authority the 9-11 Commission proposed. In fact, because the issue was contentious, the bill "doesn't really settle the question of how the budget would be developed, nor does it really settle the question of what are the ultimate managerial responsibilities of the new director," says May.
Turner agrees that the bill is not "firm enough in regard to budgetary authority." However, he says that the president has the power to imbue the DNI with the requisite authority to ensure effectiveness, regardless of who determines the budget for, say, spy satellites.
Others are skeptical. "Any time we create csars who are essentially bureaucratically orphaned from any control of any large organization, in the past there was not a real strong reason to think they [would] become powerful in Washington budget wars," says Michael O'Hanlon, senior fellow at the Brookings Institute. Although O'Hanlon acknowledges that the new DNI will have substantial authority, he says "it's very hard for these people who are outside of agencies to make a huge difference operationally and in the details."
Career clout. Though O'Hanlon sees the DNI as potentially orphaned, with no agency as its own, the position is intended to be viewed by all agencies as the ultimate boss. In that context, an important aspect to the new DNI is that "now there is one person who will have something to do with the careers of everyone in intelligence," says May.
The career issue is key, says Rothkopf, adding that the government should work toward "jointness" where "people who work for different agencies are trained in other agencies and can't advance in their careers unless they have worked in different agencies."
With that goal in mind, the new law calls on the DNI, in consultation with the heads of the other agencies, to "make service in more than one element of the intelligence community a condition of promotion to such positions within the intelligence community as the Director shall specify."
Similarly, another provision addresses the need for integrating the training of agents across agencies. It calls for cross-disciplinary education and joint training exercises.
At the same time, the act directs the FBI to continue to follow a dual criminal justice/national intelligence mission and to build its domestic intelligence collection capabilities by developing agents, analysts, linguists, and surveillance specialists.
See all the latest links and resources that supplement the current issue of Security Management magazine.


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My Visit to Hemingway's Toilet.Sunday, January 5, 2014
and the Hemingway pool, with its cement elephants to hold the Hemingway drinks:
and the Hemingway grounds:
and the famous Hemingway six-toed cats:
The King broke the eggs neatly and dropped them into the heated oil. The yolk was rich-gold and its circling jelly sputtered and hissed against the heat and began to set and all at once the sizzle filled the hut. It filled the minds and filled the hearts and made the juices flow. But no one said anything or did anything. Except Tex. He forced himself up and walked out of the hut. . . . . "Jesus H. Christ," Byron Jones III said to no one, choked. "I wish it would rain." No one answered. For no one heard anything except the crackle and the hiss. The King too was concentrating. Over the frypan. He prided himself that no one could cook an egg better than he. To him a fried egg had to be cooked with an artist's eyes, and quickly – yet not too fast."My second favorite egg passage takes place in Hemingway's GARDEN OF EDEN. Hemingway was always good with food, but this passage was like a revelation. "Oh," I said first time I read it, "so that is how they should be eaten." It's actually good, too, though I think you need to eat them at that very cafe, at that very time of day, while in the midst of a similar type love affair:
He loved her very much and everything about her and he went to sleep thinking about her cheek against his lips and how the next day they would both be darker from the sun and how dark can she become, he thought, and how dark will she ever really be?
"You know I haven't done anything bad to us. I had to do it. You know that."
Be careful, he said to himself, it is all very well for you to write simply and the simpler the better. But do not start to think so damned simply. Know how complicated it is and then state it simply.
At the cafe he found the morning paper and the Paris papers of the day before and had his coffee and milk and the Bayonne ham with a big beautifully fresh egg that he ground coarse pepper over sparsely and spread a little mustard on before he broke the yolk.


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Sports Events
Comments and discussions on major sports events
Monthly Archive for August, 2013
NFL cheerleader uniforms then and now
The pom poms have gotten smaller and then disappeared altogether, but the size of the uniforms themselves has remained about the same since the 1980s. And one cheer squad's outfits have hardly changed at all. [Read More]
Readers' choice: Your most-hated sports rivals
When we asked you to name your most-hated sports rivals last week, over 150 of you responded. We chose 12 of the most frequently mentioned, some players, some announcers, some coaches. Rivals of the 49ers and Giants were the most commonly referenced. It's worth noting that there were almost no votes for NBA players. If […] [Read More]


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Chris Huhne should keep his mouth shut
Did Chris Huhne not get the memo? When a senior politician is publicly disgraced, he or she should either (a) devote themselves to good works; (b) become a born-again Christian; or (c) both. You should emphatically NOT become a columnist for the Guardian and devote your first column to blaming your downfall on Rupert Murdoch. If your marriage collapses, your son turns against you and you're found guilty of perverting the course of justice, it may be time to examine the beam in your own eye. But whatever you do, you should do it in silence. This is the first bullet-point in the disgraced politicians' handbook: You should observe at least a year's silence after being released from prison.
Recommended Reading: Porridge and Passion by Jonathan Aitken.
Read more by Toby Young on Telegraph Blogs
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3 Parenting Dilemmas—Solved!It's no small feat beating TV and video games in the battle for your kids' attention, but here's one way to win: Just point your finger.
In a new study, University of Virginia researchers found that if an adult gestured with their index finger, children were more likely to believe that person was more knowledgeable than an adult who used a palm-down grasping gesture. "Children interpret pointing as a marker people use when they are trying to share or teach something," says study author Carolyn Palmquist, a Ph.D. candidate in psychology at Virginia. Of course, attention problems might only be the tip of your parenting iceberg, so here's how to handle a few more daily dilemmas.
More from Men's Health: The 4 Worst Foods for Kids
"Stop screaming in the store!"
Don't try to reason with your kid during a full-on meltdown, says marriage and family therapist Susan Stiffelman, author of Parenting Without Power Struggles. You need to get your kids to say "yes"; shoot for three times. Stiffelman suggests something like, "You really wanted that candy? It doesn't seem fair that you couldn't have it? A lot of times dad says 'no' when you want to hear 'yes,' huh?" By showing that you hear and understand them -- and getting an affirmative response -- it should help to bring tempers under control. But don't be afraid to let them spend a few extra minutes watery-eyed, because tears help the body flush out the stress hormone cortisol. (Then again, sometimes there are times when you need to fib a little -- like with these 10 Lies Every Parent Should Tell.)
More from Men's Health:10 Lies Every Parent Should Tell
"Eat your vegetables!"
Let your kids save their least favorite item on the plate until the end. Why? When psychologists gave people five different types of chocolate to try in a recent study, they consistently rated the final piece as the best, regardless of its actual flavor. "If you save a mediocre thing for the end, it may all of a sudden not seem so bad," says study author Ed O'Brien, a graduate student at the University of Michigan. Emphasize that they only have to eat one more bite of broccoli or beans, and pretty soon they might begin to appreciate their greens. For a meal that your kids will love, learn how to Pack the Perfect School Lunch.
More from Men's Health: Pack the Perfect School Lunch
"Go to bed!"
You probably have a narrow window of time between when you get home from work and your children's bedtime, and most dads like to play and roughhouse. But all that excitement can make it tough to get your kid to lie down and close his eyes. "Plan on at least an hour of quiet time, either reading or singing to your child before lights out," says Stiffelman. Young children also benefit from having something to occupy their mind other than a dark ceiling, she says, so try a night light that projects constellations or other images onto the wall. And if you have trouble nodding off at night, try using these 6 Ways to Get More Sleep.
More from Men's Health: 6 Ways to Get More Sleep
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Getting Back to Hot
If you're lost in no-libido land, know this: you're not alone, and there's hope.
The #1 Habit of Great Dads
You want your kids to be just as fit as you, right? Well, quit missing family dinner—frequent family meals mean healthier eating and a lower body mass index in children, according to a new review of 68 reports on the subject by Rutgers.
23 Life Lessons to Teach Your Kids
If you want to pass on something to your kids, try these 23 tools for living that'll endure long after you're dead.


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Reader Comments (Page 1 of 1)
Actually, I think that it has merit... It just all depends on how it is executed.
I think expertise should not change that much, but there should be a penalty for having your attacks dodged or parried, just not what it was in Vanilla-WOTLK: parry hastened blows. It needs to be a small penalty, but not so small that it can be ignored; perhaps something to do with our next attack or resource.
I like the idea with hit, but with a small change. Dont make it so much a mitigation stat like GC described, but make it so that when a shield tank has to block, it checks 2 numbers: your hit rating and your block rating (via mastery). Hit determines if we can actually block the attack (just like hit determines if you actually hit) and then it checks the block chance to determine how much you block.


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The program SAMOVA implements an approach to define groups of populations that are geographically homogeneous and maximally differentiated from each other. As a by-product, it also leads to the identification of genetic barriers between these groups. The method is based on a simulated annealing procedure that aims at maximizing the proportion of total genetic variance due to differences between groups of populations (SAMOVA, Spatial Analysis of MOlecular VAriance). The author is Isabelle Dupanloup.
The web site of the current version (1.0) can be found here.
Dupanloup, I, S. Schneider, L. Excoffier (2002) A simulated annealing approach to define the genetic structure of populations. Molecular Ecology 11: 2571-81.