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So this blog is (finally) waking from its hiatus. I've relaunched Nashville Byline over at Huffington Post.
Check it out, along with my review of the Americana Music Festival, here.
So this blog is (finally) waking from its hiatus. I've relaunched Nashville Byline over at Huffington Post.
Check it out, along with my review of the Americana Music Festival, here.
Posted at 03:36 PM | Permalink | Comments (0)
It's about 6 o'clock on a Friday evening, and Ben Clemons, 35, is making me a signature drink off No. 308's menu. The Monster Kazoo, with Bulleit Bourbon, pineapple juice, walnut liqueur, and Fino Sherry, will turn out to be the best drink I've had Nashville. And that's not damning with faint praise. Nashville doesn't have the cocktail clout of D.C. or New York, but No. 308 is now the third bar in town--along with Patterson House on Music Row and Holland House just down the street in East Nashville--with mixology cred, the too-cute term fancy bartenders use to distinguish themselves from their less hifalutin brethren.
Clemons, who made his first Manhattan for his dad at age nine, doesn't like the word. "I think there's an air of pretension among some young bartenders now. They start making Pisco Sours and they think they're above calling themselves bartenders anymore," he says. "They don't go out to bars to enjoy themselves, they go out to critique and dissect other bartenders." (Interestingly, this is actually a criticism you frequently hear about music and musicians in Nashville.)
"As far as I'm concerned, the only difference between a bartender and a mixologist is a curly mustache."
And that's the driving philosophy behind this place, No. 308, the Gallatin Road spot Clemons and his fiance Alexis Soler opened in December. Bring good drinking to the masses. Drop the airs of the cocktail scene, but still foster a taste in the corner pub crowd for something more ambitious than tequila, ice cubes, and store-bought sour mix, or Jack & Coke happy hours.
"I think Patterson and Holland House did a great thing by bringing higher-end cocktails to Nashville, by getting people interested in them," Clemons says. "But I think there's room for a next phase, now. A place like Patterson is great to visit with some friends, you know to sit, sample some great drinks, and leave. But you don't drink there. It's not a place that's going to become your favorite, everyday sort of bar. We want people to drink here. We want to serve original, creative, great-tasting drinks, but without the stuffiness. You can cut loose a little. Go ahead and unwind. Get loud."
Patterson House, a popular after-show destination for big music acts in town, has an amusing set of rules posted in its lobby (also, it has a lobby). Among them, "No starfucking". There's also a peculiar rule preventing men from chatting up women who didn't accompany them unless the woman initiates the conversation. "So yeah, I'd say that here we would definitely encourage men to introduce themselves to women. Go ahead and take a shot," Clemons says.
The tabletops at No. 308 are lined with pages from Clemmons' and Soler's favorite books. The main bar is all Charles Bukowski, which sort of fits, and sort of doesn't. On one hand, if you had bellied up to a bar with Bukowski and ordered something called a Monster Kazoo, he'd probably have punched you in the mouth. But then there's also something appropriate about the words of a guy who became an art house crowd darling because of his frank depictions of blue collar drinking, fucking, and fighting papering a bar where tattooed lit buffs sling house-made liquers and top-shelf gin to a gentrifying East Nashville neighborhood. It's a sophisticated place, but with a populist finish.
In the back of No.308, you'll see a live Meyer Lemon Tree looking over the bar from behind a full-length window. "I've always liked the idea of having something living here that grows up with the bar," Clemons says. "I like the idea of someone coming back here in 10 years, seeing the thing poking through the roof, and saying 'I saw that tree when it was just a few feet high. Plus Alexis' middle name is Meyer."
That again would Soler, 28, Clemons' fiance and co-owner. And here's where the story gets sappy. Ben and Alexis met in New Orleans at Taste of the Cocktail, the annual confab of the country's top bartenders. Keeping with the Craigslist theme: He was the disarmingly charming, noticeably tattooed, bespectacled lad who tended bar and did some liquor consulting in New York. She was the flirty, sultry brunette pulling the same gigs in Miami. They fell in love. Thirty days later, she proposed to him at the Ace Hotel in New York City. In room number 308. He said yes. They went out for matching "No.308" tattoos to mark the occasion. Hence, you know, the name.
So why Nashville?
"I had a friend in Miami who got a job in the music industry here," Soler says. "Then, all of the sudden, like 17 or 18 of my friends in Miami picked up and moved to Nashville, too. It was kind of strange. But it seemed like a great city. I was working as a rep for a liquor company at the time, and I convinced them to send me here. Ben did the same thing." Once here, the two soon found funding from a friend, and started making plans to open the bar.
"We absolutely love it here," Soler says. "Business has been great. And there's just a great, laid-back feel to East Nashville."
As I'm talking to Clemons toward the beginning of the evening, the bar phone rings. He excuses himself to pick it up. So in the meantime I chat with a barback who looks like Andy Samberg (he's in a band, they're playing at the Exit/In this month), and Minas Kaliamouras, a cocktail consultant with a ferocious beard that could probably kick my ass by itself.
And what exactly does a "cocktail consultant" do?
"I open bars," Kaliamouras says. "People hire me to come down to help them set a menu, select spirits, train bartenders, all the things that go into opening a bar." So he flies from city to city, opening trendy cocktail spots, all on someone else's dime.
"It's a pretty great job."
Minutes later, Clemons returns from his phone conversation, giddier.
"I love when that happens," he says. "So we have this thing on the menu called the 'Leap of Faith.' You name a few flavors or spirits you like, and we build a drink around them. I had a lady in here the other night who brought in some Honeybell tangelos, so I made her a drink with them. She loved it."
"What did you call it?"
"Tupelo Honey."
Of course.
"She liked the drink so much, she's having a party tonight, and she just called me for the recipe."
"Did you give it to her?"
"Oh yeah. Definitely."
I ask Clemons what he thinks of the idea now making its way around mixology circles that bartenders should be allowed to copyright their cocktails.
"I think it's absolutely ridiculous. And I'm good friends with the guy who's pushing it. But it's just stupid. I mean take the lady I was just talking to. She's probably going to take my recipe and she's probably going to alter it based on what she has around the house. And you know what? She might make it better. She'll probably make it better. And if she does, I hope she'll come back and tell me about it. Pass on the knowledge. The bartending scene is exploding with creativity right now, and it's doing it without everyone copyrighting their drinks."
Clemons continues. "You want to cash in on a drink? Publish a book of recipes. Sell the printed recipes. But don't try to say no one else is allowed to make your drink. Back in the 1890s, there was whiskey, bitters, lemon, and lime. That's what most places had to work with. And that's what cocktails sprang from. Just altering the proportions of those ingredients a little bit here and there. Can you imagine if people had been allowed to copyright drinks back then?"
No. 308's good taste/appeal to the masses concept applies to its menu, too. Chef Duncan Pritchard was working at Firefly when he answered the ad Clemons and Soler put on Craigslist. He won them over with the dish I tried, a tasty small plate of pumpkin ravioli with bacon, apple, and Brussels sprouts.
"I think the menus at most places known for their alcohol serve up fried food aimed at getting you to drink more," Pritchard says. "We kind of take a different approach. I wanted to make food from scratch that compliments the drinks -- that you could almost pair with the drinks."
By about 11 the volume had picked up, both in bodies and the level of noise. At more formal speakeasy-style cocktail bars, it can take several minutes to prepare a drink. Here, they sling them quickly--part of the ethos is that you shouldn't have to wait for a good drink. And so by the time they're churning out drinks to a full bar, drinks like flips and fizzes that require vigorous beating or shaking, you get the sense that this isn't the job for Coach Ernie Pantusso anymore. There's a fitness requirement to make drinks at a place like this.
About halfway through the evening, a guy who reads my work at Reason magazine showed up. I had earlier posted on Twitter that I was trying the place out. He works for an insurance company. When there's a natural disaster, he hops in a van and drives off to survey what's left. It seems like the kind of job that would demand a drink now and then. He's never had a homemade liqueur, or flavored bitters, or drinks that are dressed up with walnut, and he at first seems skeptical when looking over the menu. But after two samples, including a savory drink that tastes vaguely like celery, he's on board. "That's really good," he says. "I never imagined alcohol tasting like that. Or that I'd enjoy it."
A few more photos below.
Posted at 04:44 PM in Food and Restaurants, Nightlife, Scenes From Nashville | Permalink | Comments (2)
When I first met him over drinks at Nashville's Patterson House, Tom House seemed reserved. Maybe even a touch shy. I was drinking bourbon. A good, well-aged whiskey releases its depth and character with a splash of water. House reveals his when you put a guitar in his hands. And maybe a couple of those whiskeys. House's back country warble calls out haunting, sometimes violent tales about killers, mental patients, drunks, hypocrites, addicts, and other troubled souls--all over deceptively soothing strums of that acoustic guitar.
House was a well-published poet years before he started recording music, an influence you'll pick up in his disregard for traditional time and meter, his sometimes surreal imagery, and some fiendish turns of phrase that'll grab you by the mouth.
House doesn't exploit the unsavory characters in his songs. He's provocative, but not for the sake of provocation. There's a gentleness to his edge--a genuine empathy for the characters he writes about. But he isn't overly sentimental, either. He just tries to become these people. So empathy, yes. But not always sympathy. Esquire wrote that House "is a literary man, a Nashville barroom poet who . . . relies on the populist impulse to make the least hint of the literary disappear. He writes primitive songs so thrilling they could have been written a hundred years ago." That's true. There's a timelessness to his music, a sense that he's singing a song passed down for generations, even when he's singing about something he just read in the newspaper.
House is sometimes compared to Tom Waits, pre-Newport Bob Dylan, and the old-timey Appalachian folk singer Doc Boggs. But the first time I heard House I actually thought of Victoria Williams. There's a quirky vulnerability to his vocal that you get from Williams, both use music to paint evocative vignettes, and both play with rhythm and meter in ways that can at first be startling, even off-putting, but ultimately resolve into something satisfying. Both revel (and sometimes wallow) in their southernness, and both trawl it for material.
In his endorsement of The World According to Whiskey, House's published collection of poems, poet and anthology editor David Rigsbee wrote, "Tom House's poems carry the tradition of the Troubador into bars, motels, fundamentalist pulpits, and back yards of the New South. His work heal[s] the divorce that sundered poetry and music at the dawn of modernity."
I chatted with House earlier this month. He was also kind enough to play a few songs from my couch: his own songs "Jaime" and "Nothing at the Core", plus a cover of Leonard Cohen's "Suzanne".
Thanks to Mark Crozier for handling the sound editing. (The sometimes spotty camera work is all on me.)
So how did Tom House, the poet, become a singer and songwriter?
I started writing poems around age 17 or 18, I guess. I knew that's what I wanted to be, what I wanted to do. I had been writing short stories for some time, but around 19, my mind started to splinter a bit. Maybe that's because that's about the time I started doing a lot of drugs. But I liked poetry better because it was more image-driven. I've always played guitar, too, but it took a while to figure out I could put the two into a package. So I started writing poetry when I moved to Chapel Hill to attend North Carolina, and kept writing for about 10 years. I did do some folk singing, too, but I was always nervous in front of people, especially when I tried to play my own songs.
Then I moved to Nashville in my mid-20s. And everybody I knew and got to know here was a songwriter. At the time, and this was the mid-70s, the places where you would play would give you free beer, maybe a sandwich to come in and sing. They had writers' nights at the music clubs where they hadn't booked anyone, and you could just go in and play your songs. So I think that's how I started finally getting comfortable playing my own songs.
But I still considered myself a poet. I started a magazine called Raw Bone in about '82. That went on for eight or nine years. There was a pretty active small press scene at the time that had evolved from the mimeograph movement. The slams then got popular and took poetry off in another direction, and that was a direction I was never really comfortable with. And I think that's really when I lost interest in it. But I've published hundreds of poems and a number of chap books. In 2003 I had my first collection published by New South Press. But somewhere down the line I just geared more toward the music than the poetry. And I got a recording deal. Some guy just came up and asked if I would mind if he tried to do something with some of my songs. I had never really even considered that. And that was the start of my recording career.
Are there any poets who particularly influenced you?
I'm not sure any really influenced me. I was always impressed by Rimbaud, Baudelaire, guys like that. I hate to say it because it's a cliche for a whole generation, but when I discovered Bukowski, it really hit me that there was a whole other kind of poetry, a more conversational sort of poetry. It was more storytelling. I think that's where poetry and songwriting started to convene for me. I have a friend, David Rigsbee, who says poetry is a slice across the throat of time. You walk into a scene and you pick out all the details that are important to the scene, and that's the poem. Songwriting is kind of like that too.
I've started writing poems again, and I think the music has had an impact. After the songwriting, I find I'm writing with more internal rhyme, more of a rhthym.
Many of your songs defy traditional time and meter. I read a review in the Nashville Scene with a quip that you must be a nightmare for session musicians.
I probably am. I think the standard formula is that you write words to fit the form of the song. Maybe it's because I started in words, but for me the words have always come first, and I bend the song around them. For me the drama is in the words. That's what I'm most interested in emphasizing. I wrote some theatrical music for a while, and there you're dealing with ensembles, so you have to play more by the rules, and I think that made me pay at least a little more attention to time and meter. But even there I had some songs that didn't bend at all, and I guess it drove some people crazy.
You helped write an opera based on the work of Faulkner. Tell me about that.
Several years ago David Olney approached me about writing music for an adaptation of As I Lay Dying, along with Tommy Goldsmith and Karen Pell, who was writing for Reba McIntire at the time. We got about 10 or 11 songs into it, then discovered that someone else had already bought the grand performance rights to the book. So we switched over and wrote an opera from the first chapter of Light in August. We were then commissioned by Opera Memphis to sing the songs to open for the opera there, and we kind of blew the opera off the stage. We ended up performing them a couple times a year for about 15 years, including at the Faulkner Festival in Oxford, Mississippi. It went really well. But I think we just eventually kind of outgrew it. And of course Dave ended up having a bigger career than the rest of us, so it just started to fall apart over time. But it was a lot of fun while we did it.
What was Nashville like when you first arrived?
Well I came here with about $50 in my pocket. I was part of what you might call the second generation, after Kristofferson and all of them. I started working at a bookstore in Hillsboro Village, which was great, because I'd get off at 5:30, right at happy hour. So I could walk down the street and hear Steve Earle, or Dave Olney, or Richard Dobson, or Walter Hyatt. There was just all kinds of great music here. I came from Durham, North Carolina, and there was no music there at all. Any time you got more than ten teenagers together, the cops would come and arrest everybody. I remember my first week I heard some guy in a kilt playing bagpipes. I thought, "Man, this is one cool town. I gotta' stay here."
How did you hook up with Octus Orbus publishing?
Between the mid-80s and about the mid-90s, there used to be an open mic poetry night downtown, at the old Windows on the Cumberland. It was a cool thing. It was the first Thursday of every month, and anyone who wanted could sign up to read. The whole town came together for those readings. You'd have artists types along with professors from Vanderbilt and Fisk, cab drivers, songwriters. You might have a five-year-old girl read, and then I'd follow up with my scatological stuff, and then you'd have an old black woman who was a Sunday School teacher. Just all kinds of people. That was a big deal for about 10 years, until it ran its course.
Andy Valentine started Octus Orbus, and one of the things he did was publish a book of poetry from those readings over the years. So I knew Andy had this little publishing company. I then went on the road, and we didn't stay in touch much. Andy's actually a very good poet, though that's not his primary interest in life. But I knew he had this company, and we met up again a few years ago and he said he wanted to get Octus Orbus up and running again. So we worked out a deal for him to buy songs and poems.
Andy's putting some business savvy behind the nonsense I've been doing all these years. You know I remember going to college in Carolina and thinking all the business majors were dorks and idiots. But of course business majors run the world, now. I've seen some great people come through Nashville who never made any headway at all. The ones who did knew how to deal with the business side of things. They might not be as good onstage as the more artistic or genius oriented types, but they're the ones who made it. Some managed to navigate both sides really well. Steve Earle is a good example of that.
But Andy's been trying to get me some exposure, and he's been taking care of the business ends that I've left dangling all these years.
Do you think the music and song publishing industries here are moving more toward smaller outfits like Octus Orbus?
I think that's the direction the world is moving, not just Nashville. Nashville used to be like a church. There was only one way here, the Nashville way. I knew people who would drive themselves insane trying to get a song cut. If you didn't fit into one of the labels' little slots, you were just down the tubes. It's why I never really got involved in the music scene for such a long time. I had people tell me, "Well, you can think you're the resident genius all you want, be an 'artist' if you want to, but you're not going to get anywhere in this town with that." And I guess they were right.
But the Internet is changing all of that. I have pockets of fans now in the oddest places. I'm big in Winnipeg, Canada. I go up there once a year, and I play two nights to totally packed houses. It's nutty. Or I'll get an email out of the blue asking me to play in Charlottesville, Virginia. I have a pack of devoted fans in Seattle, Washington. For some reason, they love me in Sweden.
This is all the kind of stuff that never would have been possible before. Before, there were a few guys in offices who would determine whether or not you could write songs. That was it. If they didn't like you, you had no other options. Now I sell all my CDs through the Internet on CD Baby. For whatever reason, I sell most of them to people in Scandinavian countries. I don't really sell many in the U.S.
So do you have any good "only in Nashville" stories for me?
Let me see. Well about 25 years ago at Springwater we started something called the "Working Stiff Jamboree". The only stipulation to play at the jamboree was that you couldn't have a job in the music industry. You had to have a regular job. Terry Cantrell let us put them on long as we didn't advertise. So that went on for a long time and got pretty big, just by word of mouth. It wasn't glamorous. There used to be holes in the roof, so when it would rain, the show could sometimes get rained out. The water in the room would be an inch or two thick. But it was a very democratic thing. A lot of the songwriter nights can get pretty political about who gets on stage. But for this, anyone could come up. You could be some left-wing Irish political band, a jazz band, German polka, whatever. We had them all.
You'd get some crazy people in the audience at those shows. Sometimes you'd find yourself having a dialogue with someone in the audience in the middle of the song. People would just start talking to you. I remember one guy, this character David Wall, he used to line up beer bottles on a table in the front row, and he'd blow across the tops of the bottles along with whatever song they were playing on stage.
In tune?
Yeah. In tune and everything. He was a weird and talented guy. Looked like Tom Waits. He moved to Nashville after he got out of prison. He had this homemade three-string guitar, and he actually wrote a few good songs for it. He'd just slide his finger up and down that one string. Really one of Nashville's true characters. He lived here about 10 years. I think he's in California now.
But the best story from those shows I can remember, there was a couple on stage singing this really stilted, operatic version of "God Bless the Child". The woman, I think she worked in public radio, she was a very nice lady, but I think she thought of herself as some sort of classical singer, which didn't go over well. There was a guy in the audience--and he's still around so I won't mention his name--he got fed up. He was a hard-core music fan, used a lot of drugs, he's pretty well-known around town. Anyway, he gets fed up, so he walks up to the stage and he actually sets the sheet music on fire while they're playing. The poor woman didn't know what to do. Her music was on fire. Of course, the place just went nuts.
That's a magnificent story. What's the best show you've seen in Nashville?
Hmm. That's a tough question. Dave Olney and the X-Rays were the hottest thing around in the late 70s. They'd close Springwater at 3 am every other weekend. The combination of him and Pat McLaughlin was just so dynamic and amazing to watch.
But I'd have to say the best single show I've seen in Nashville was Marshall Chapman in 1976. She'd just come out with Somewhere South of Macon, and was backed by this slinky, country swamp rock band. She went a little more rock 'n' roll after that, but that show, she was just so sultry and sexy. I got so damn drunk back then I didn't know where I was, but I definitely still remember that show. Still one of the hottest shows I've ever seen.
You write about some unsavory characters. Drunks, addicts, mental patients, murderers, scoundrels. How do you get into the heads of the people you write about?
I think it varies from song to song. Sometimes I know exactly what I want to write. But sometimes I just start drinking, and then I start writing, and then I wake up in the morning I get to see what the whiskey fairy left me. There are times when I'll wonder the next day what I was thinking, but then I get out the guitar and start beating the lyrics into shape, and that's when I realize my subconscious was trying to take me somewhere I needed to go. I just didn't know quite how to get there.
But I think on those first-person songs, it's about getting locked into the head of the character, and then to not feel any embarrassment about being there. It's a lot like method acting, I think. You try to become the person you're writing about, to speak like they do, and think like they do. I love Tom Waits and Richard Thompson, who are both so good at that. But I like the old time stuff, too. There's some unabashed darkness in those old songs. You know Doc Boggs would write about just taking someone and slicing their throat. Some of that sentiment and some of that imagery can make people uncomfortable. I've got some songs I don't do anymore because of that. I've got one, "Karen Gracen," about a mental patient who "bites her lip bloody then she disappears" as one of the orderlies at the hospital rapes her each night.
You want to challenge people, but you don't want to make them uncomfortable, or make their night out a bad experience. That's no fun. So there are some songs I just don't do much anymore.
At the same time, everyone loves the old folk murder ballads. And there are plenty of popular blues songs about beatings, death, murder. Hell, that is the blues.
Yeah, people in the audience ask pretty often if I'll play some murder ballads. And I say, "Yes! I have lots of them!" But they're of course wanting the old time stuff. Maybe it's about time. The closer the what you're singing about is to the present, the more uncomfortable people get. There aren't many songs today that have that kind of dramatic movement. I guess "Independence Day" does.
Which, strangely, conservative pundit Sean Hannity uses as the theme for his radio show . . .
. . . I also love "Whiskey Lullabye", which a lot of people couldn't take. But to me that line, "He put that bottle to his head and pulled the trigger," I mean, wow, what an image.
Seems like a good time to talk about one of your more controversial songs, "I'm in Love With Susan Smith", about the notorious South Carolina woman who murdered her two young sons. How did you come to write that one?
It just kind of happened. I remember watching that story as it was unfolding on TV. I remember seeing her on TV, and thinking her story--that a black guy had stolen her car and kidnapped her sons--I remember thinking she sounded so phony as she was telling it. I was working at a Dillards department store at the time, and we'd watch the story there. I was working with these mostly upper middle class, more upscale women. I remember then after it came out what she had done, they were all so arrogant and judgmental about the whole thing.
So I started reading about her. You know, her father was the head of the Republican Party there in Columbia, South Carolina, and he'd been raping her since she was a kid. Her mother knew about it. But it was that southern thing, you know? You keep your problems private. The more terrible the problems, the more private you keep them. It's this mentality that this is just the lot women have to deal with. You put up with it so you can keep your nice house and your place in society.
So then Smith's husband left her, and she started seeing another man. The new man wanted her, but not the kids. So she killed the kids. It struck me that there's so much more to the story than just this evil woman who killed her kids. It isn't a defense of Susan Smith at all. It's more looking at what else was hidden in that story. It was so convoluted, there was so much else going on there.
I had no idea what kind of effect that song was going to have. To me it was just, "Here's a new song I wrote." But the first time I played it, I mean jaws just dropped. I played that song at South By Southwest a few years back, and when I got to the line "Kill the bitch, there ain't no mitigating factors", these two cowboys in the audience stood up and cheered. And of course the next line is, "I'm in love with Susan Smith." And so in one line, they went from cheering to flipping me the bird and walking out. My guitarist leaned over and said to me, "One of these nights, you're going to get us killed."
I don't play that one very much any more, either. Except, oddly enough, in South Carolina. I always, always get requests for that song when I play in South Carolina. I'm actually playing in Columbia next week, and I'm sure I'll be asked to play it.
Talk about one of the songs you played for us, "Nothing at the Core".
That song was inspired by the book Things Fall Apart, by the South African author, what's his name . . .
Achebe, I think.
Yes, Achebe. That's one of the lines in the song, "things fall apart". The song is a somewhat pessimistic view of the United States in the 21st century. I'm not anti-American. I'm very pro-America when it comes to the things America is supposed to stand for. I just don't think we stand for those things anymore. We've lost our core.
Well since you brought it up . . . how would you describe your politics?
I can't call myself a liberal anymore. I just can't. And I'm damned sure not a conservative. I think the more I hear about it, the more I like the libertarian idea--the whole idea of being socially leftist and fiscally conservative, you know, rightist on the economic issues. That makes a lot of sense to me. I like the idea of a social network for people down on their luck, but you know I remember in the 1980s with Ronald Reagan, he was getting a pension for being governor of California, a pension for being president of the actors' union, he was getting his presidential salary, and he was getting Social Security. The guy was making millions from a life of supposed public service. And then he was getting Social Security on top of that. Seems like no matter how-well intentioned government programs are, all the benefits go to the wrong people. And then the politicians tell us that the government is trillions in debt, but we have to keep fighting these wars in Iraq and Afghanistan that no one can really justify. They can't say why we're there, what we're supposed to achieve, what or when we'll have won.
I just feel like little of what we're doing right now is working.
Thanks, Tom.
Posted at 11:51 PM in Interviews, Music, Nashville History, People, Songs From My Couch | Permalink | Comments (3)
Posted at 12:30 PM in Scenes From Nashville | Permalink | Comments (0)
(Courtney Jaye, Thad Cockrell, Jessie Baylin)
On Sunday night, The Basement hosted a book release party for Nasvillian Kristin Russel, whose new novel Recovering Ramona includes a fictional character who once had a fictional relationship with the late, great, decidedly non-fiction Gram Parsons. So it was all a bit of a tortured excuse to host a Gram Parsons tribute. But frankly, any reason to host a Gram Parsons tribute is an acceptable one.
And I'm apparently not the only one who thinks so. By the time Nashville artists Matthew Perryman Jones and Courtney Jaye took the stage to start the show at around 8:30, the place was all asses and elbows. As it turns out, that first song was the best Parsons cover of the night, a soulful rendition of "A Song for You."
Other Nashville musicians followed to mix interpretations of Parsons' oeuvre with their own stuff, including Jessie Baylin, Leigh Nash, Trent Dabbs, Molly Thomas, and Thad Cockrell.
Dabbs played an inspired take on "Wild Horses" (the Flying Burrito Brothers actually recorded the song before the Rolling Stones did), while Cockrell had the closing--and strongest--set of the night, in part because Cockrell's just a great live performer, but also because he was accompanied over the course of the set by Baylin, Perryman Jones, and Jaye. Sort of an all-star set of Nashville Americana.
(Trent Dabbs)
All of which also gives me an excuse to hop on a hobbyhorse of mine. (Yes. You might call it a grievance.) : Parsons may be the most influential artist yet to be inducted to either the Rock and Roll or Country Music Hall(s) of Fame. And it's a damned shame.
I suppose there are a number of reasons for the oversight. He died young of a heroin overdose, six weeks too young even for the 27 Club. He didn't already have the commercial success of Hendrix or Joplin or Morrison when he died, so his death didn't have the same effect on his legacy as it did on theirs. He only put out two solo albums, along with two albums with the Flying Burrito Brothers, one with his first band the International Submarine Band, and he was basically a member of The Byrds for Sweetheart of the Rodeo. None of them sold particularly well.
Part of the problem may also be that neither Hall is entirely sure whether he belongs in one or the other. But that's also testament to Parsons' influence. He's now widely cited as the patriarch of Americana music, or what in the late 1990s/early 2000s we called alt country, and what Parsons himself dubbed "cosmic American music". In recent years, Nashville has become the hub of Americana. (People here seem to spend as much time touting the sound as they do trying to define it.)
There's a bit of irony in that. While Sweetheart was recorded on Nashville's Music Row, the first time Parsons and the Byrds played Nashville's venerable Ryman Auditorium in 1968, they were nearly heckled off the stage. Grand Ol' Opryans thought Roy Acuff went with patchouli like ice cream with mayonnaise. These California longhairs were fouling Oprytown with the stench of hippie--corrupting country's heart with the swagger of rock 'n' roll. The Byrds were never invited back. After the Ryman debacle the group then had a contentious on-air session with legendary Nashville DJ Ralph Emery. He didn't like them, either.
So the town that once wanted nothing to do with Gram Parsons now claims the sound he more than anyone else is largely credited with inventing. Or at least synthesizing and popularizing. How that happened is interesting, too. A big part of Americana's draw is its authenticity. It's a wide-reaching, amorphous collection of musical styles, but if there's one thing that defines Americana, it's roots. Its component parts--jazz, blues, gospel, country, bluegrass--sprang up from barns, fields, clubs, churches, street corners, and parlors--not recording studios. I think you could argue that much of Nashville's jones for Americana is a reaction to the polish and commercialization of soulless, big label country. When Parsons and his co-writer and co-vocalist, the Americana icon Emmylou Harris were asked by a Long Island DJ in the early 1970s what they thought of "progressive country", Harris quipped, with some truth, that she and Parsons actually played "regressive country."
Which means we've done some circling back, now. The Byrds and Parsons were booed at the Ryman because they were debasing real country with rock and roll. Now Americana has taken grip of Nashville because . . . . well, because it's more country than what's become of country. For these reasons and others, Rolling Stone put Parsons at #87 in its 2005 list of most influential rock artists of all time. Parsons brought country to rock. Brought some rock to country. And he left a legacy that, decades later, may actually give country back to country. So yes. Definitely. He deserves his place, in both Cleveland and Nashville.
If you're not buying any of that, induct him for no other reason than that he introduced the world to Emmylou Harris.
Here's my favorite Parsons song, "In My Hour of Darkness". Parsons wrote it for two childhood friends that had passed on before him. But the second verse reads rather hauntingly as if Parsons is mourning himself.
Posted at 07:16 PM in Music, Nashville History, Nightlife | Permalink | Comments (6)
I have a longish new post in the works. In the meantime, there's an ice storm coming. So enjoy this video of Nashvillians driving on ice. (Via Nashvillest)
Posted at 08:48 AM | Permalink | Comments (5)
Posted at 08:40 AM in Scenes From Nashville | Permalink | Comments (1)
I want to give a thanks and plug to Jay Rubin, who helped me design and launch this site.
Check out Rubin's photography service, Letterten Photo, here.
Posted at 11:40 AM | Permalink | Comments (0)


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The Center for Computer-Assisted Legal Instruction (CALI) seeks one or two 2L or 3L law students for part-time employment beginning fall 2013. Tasks are varied and include some legal research, proofreading CALI lessons (that's right you are paid to learn) and some office tasks. Basically you will assist CALI's staff with any of its projects.,/p>
Hours vary per week. Up to 20 hours per week / $10 per hour.
Our office is located on the 5th floor of Chicago-Kent College of Law. Some projects require your presence in our offices and other projects can be completed remotely.
Please send your resume, the name of your favorite CALI lesson, and a paragraph outlining what skills you'd bring to CALI to Deb Quentel email@example.com.
As you are starting your new classes, we'd like to remind you about CALI Lessons.
If you are unfamiliar, CALI Lessons are interactive, computer-based tutorials provided by the nonprofit Center for Computer-Assisted Legal Instruction (www.cali.org). They are written by law professors and librarians and are great for mastering course material during the semester and for studying for exams. There are more than 900 lessons available to help you study 32 different legal subject areas at www.cali.org.
Best of all? It's totally free for you to use!
When registering a new account at cali.org, you must use our school's authorization code to create your account. Ask a law librarian to get this code. You'll only need to use the school's authorization code once. After that, you may use the e-mail/password you used to sign up in order to login at cali.org.
Good luck with the rest of the semester!
Sarah Glassmeyer
Center for Computer-Assisted Legal Instruction (CALI)
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They sold for millions of dollars even though they hadn't even run a race. In the thoroughbred business, good bloodlines means big money for breeding, if not for racing, investors are known to snap up horses who count racing legends as relatives.
Some of the thoroughbreds in the slides ahead eventually went on to win races, but others were used to breed future generations of racehorses. Click on to learn the highest prices paid for thoroughbreds at auction.
By Joseph Pisani
Posted Oct. 15, 2010
» More on horse investing


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RequirementsMAJOR 34 credits
Political Science involves the systematic study of the public affairs or politics of the state. Political Scientists study all factors instrumental and influential in the acquisition and exercise of power for the purposes of public control or governance on the local, national and international level. In a globalizing world emphasizing organizational skill, socio-political knowledge and communications, political scientists find a wide array of career options and opportunities. The Yeshiva College Department of Political Science seeks to help equip students with the knowledge, research and analytical skills necessary to live and to work in a competitive and fast changing global world. The major is designed to give the student a breadth of knowledge of the discipline while affording him the opportunity to gain specialized knowledge through an area of concentration of his choice.
Four categories make up the required 34 credits for the major: (1) 4 introductory courses covering the four fields of Political Science: Introduction to American Politics (Pol 1101), Fundamentals of Political Science (Pol 1501), Introduction to International Relations (Pol 1301) and Great Political Thinkers (Pol 1401) or 12 credits; (2) four courses in a chosen area of concentration or 12 credits; (3) three elective courses within the Department or 9 credits; and (4) a written Senior Project (Pol 4580) for 1 credit.Minor 18 credits
Eighteen credits with the following distribution: (1) Fundamentals of Political Science (Pol 1501); (2) one of the following three courses: Introduction to American Politics (Pol 1101), Introduction to International Relations (Pol 1301), Great Political Thinkers (Pol 1401); and (3) any 4 courses within the Department.


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Jason Momoa stops for a photo with Elisabeth Moss while attending the President's Dinner during the 2014 Sarasota Film Festival on Saturday (April 12) in Sarasota, Fla.
The 34-year-old actor was in attendance at the festival to premiere his movie Road to Paloma.
Elisabeth was in attendance alongside director Charlie McDowell to premiere their movie The One I Love that evening.
The day before, Jason attended the Cinema Tropicale event at the festival and poses for some fan photos. All of his funny poses and faces prove that he is the master of fan pics!
30+ pictures inside of Jason Momoa and Elisabeth Moss at the film festival… More Here! »


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You haven't seen girl power until you've seen one of Lauren Moffatt's models holding a badminton racket. These ladies were determined to get those birdies flying in the name of fashion, pausing only to strike a pose in her spring '13 collection — which featured plenty of stripes, polka dots, and patterns. Greeting guests with bright colors and runways of (imitation) grass, Lauren took retro backyard fun to a whole new level. Backstage, she told us a little bit about the inspiration behind her collection, explaining that it's "a combination of the very classic look of lawn tennis in the '60s, and a colorful city pool." Well, she nailed it.
Lauren also decorated her models with a slew of seriously chic accessories from Selima Optique eyewear, Growing jewelry, and Tracy Watts headwear (did we mention there were visors?). For footwear, models wore repurposed Keds, which Lauren put on platforms and covered in canvas (you know, for that added height over the net).
We were smitten with the bright coral accents strewn among the pieces, which Lauren admits she's unable to resist for warmer weather. "For us, spring is always very, very colorful. Lots of pops of bright orange — we were sort of feeling a really coral-y orange — with teal. That's our go-to. I can't get around it in the summer."
Lauren's presentation reminded us of the fleeting, carefree days of summer — and the promise of its fashionable return. Though we love a bit of Andy Roddick on the tennis court, Lauren's girls stole the show with their flying birdies and effortless glamour.


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By Fernando H Ahuvia
Montpellier defender Vitorino Hilton has exclusively told Goal.com that he chose to leave Olympique de Marseille after a robbery at his home left him and his family psychologically scarred.
The 35-year-old Brazilian said that, while he was contemplating leaving the club anyway, the incident gave him no choice but to move on to pastures new.
"I wasn't getting the opportunities I wanted from the coach [Didier Deschamps] and I needed a new club to show that I could still perform well," he told Goal.com.
"Besides, I couldn't stay at Marseille after my house was robbed. My family and I didn't have the psychological strength to stay in the city after that. It was a very tough moment for me.
"Montpellier came at the final hour and I decided to accept their offer, since I wanted to stay in the southern part of the country and I knew it was a quieter place than Marseille."
Hilton was part of Montpellier's title-wnning side last season, and he says it was the belief of the side that gave them the edge ahead of Paris Saint-Germain.
"No one imagined that we would manage to stay at the top of the table for the entire season, but the team fought from the start to ensure that would happen.
"The team grew as the time passed and, as soon as we passed PSG, we had the personality to hold on to top position," he continued.
In terms of his future, Hilton revealed that he wants to return to his native homeland to finish his career.
"I do think about finishing my career in Brazil," he added. "I've had a dream since I was a child of playing at Flamengo, the team that I love."


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Style # 213466
Subtle floral print, iconic comfy fit and cuffed hemline make this pair of bebe denim shorts a hot way to update your denim collection. Try yours with a breezy top and embellished sandals for an instant day look.
- 54% cotton, 44% lyocell, 2% spandex
- Rise: 8" (20 cm)
- Inseam: 3" (8 cm)
- Leg opening: 23" (58 cm)
- Machine wash according to care label
- Imported
- Model is 5'9" and is wearing a US size 27
Pop Floral Denim Shorts is rated out of 5 by 1.
Rated 5 out of 5 by BebeDiva from Love these shorts Nice and a bit different so worth the money. The fit is a bit large around the waist (drop hip area) so if you are teetering on size you may want to go down one size, I think I could have, but don't mind as they are a bit loose but comfortable.
Date published: 2013-05-28


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Interactive Alphabet
Interactive Alphabet – ABC Flash CardsEvery letter is a unique, interactive toy! Play the xylophone on the 'X' card, make the 'D'inosaur roar, 'Z'ip the Zipper, etc! It is a hands-on, memorable learning experience for babies, toddlers, and preschoolers! Features: ✓ Universal app for iPad/iPhone/iPod: You can use it at home or on the go! [...]
Articulation Quick Screener
Multiplication Charts HD
Skip Counting
Geometric Cabinet
Montessori Approach to Geography HD - Animals of North America
Dexteria Dots 2
World Landmarks Exlorer
Memory Matching by Mobile Montessori
SoundMatch by EdNinja
Pocket Charts! Pro
Touch and Write Storybook: 3 Bears
Autism DTT Pro - Professional Discrete Trial Training
Musical Instruments - A Montessori Vocabulary Exercise HD
Number Sequencing: What Comes Before, After & In Between.
The Animal Kingdom : Vertebrates
Endless Numbers
Animals of Africa - A Montessori Approach to Geography
The Very Hungry Caterpillar & Friends - Play and Explore
Talking ABC
Avokiddo ABC Ride
Even Monsters Are Shy
Alphabetizing - A Montessori Approach to Language
Words that Go with Richard Scarry's Busytown Cars
Word Sundae
Intro to Colors, by Montessorium
Quick Clocks
Math Rings
Middle School Confidential 2: Real Friends vs. the Other Kind.
Martha Speaks: Word Spinner
Set your Twitter account name in your settings to use the TwitterBar Section.


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Gold, Silver, Bronze - three award events still up for contention Recognising excellence in our community
Posted on 27 Jul 2015 under Blog & Industry News
3 award events are still up for contention this year, each recognising excellence in our community.
See more for details:
1) Australian Event Awards 2015 – nominate before 10th August 2015.
Deni Ute Muster won Best Regional Event at The Australian Event Awards in 2014. Now's your opportunity to nominate for 2015.
Event organizers, managers and companies have until 10 August 2015 to enter their work in Australia's broadest awards programme for the events industry at www.eventawards.com.au.
All entrants receive feedback from the panel of
industry experts who judge the awards. Entrants don't have to provide any
financial records and won't be identified unless selected as a finalist or
state winner.
There have been a number of changes for 2015, making the Event Awards fairer and easier to enter than ever. There is also a change to the nomination process for Australia's Favourite Event. Read about all the key changes for this year on the Event Awards website.
Enter at www.eventawards.com.au
2) Nominate your tourism business for recognition
Dobija Print World Events & Tourism Award
entrants have a chance to win state-wide television advertising thanks to
This award recognises all the fantastic work you
do and the tourism initiatives you provide to your community. The Award is a
great way to highlight how you involve the community in your Festival as well as
the engagement of local stakeholders to ensure the event is a local success.
Nominating is simple, free and easy. Please
follow this link to the website: http://awardsaustralia.com/appl/nomination.php?program=regional-achievement-community-awards&state=nsw and select the Dobija Print World Events and Tourism Award, and
register your details and press at the bottom of the page save draft!
This will generate a password and a link so you can access your application as
many times as you need to up until nominations close on Thursday 13th
August 2015. Please make sure you put as much information as you
can into the application!
Should you have any questions regarding the
nomination process please contact the NSW/ACT Regional Achievement and
Community Awards on 1300 735 445.
3) Raise your business profile through the NSW Tourism Awards
Has your business achieved great things in 2014-15?
Now in their 26th year, the NSW Tourism Awards celebrate and showcase the state's finest tourism operators. This is your opportunity to gain exposure for your business achievements and leverage the publicity and marketing opportunities that being a finalist of the NSW Tourism Awards provides.
An effective platform for business improvement
Through a thorough application process, entry to the NSW Tourism Awards provides an opportunity to increase your competitiveness: Understand what your business is doing well; Identify opportunities for growth; Identify areas for improvement; Use the application process as a springboard to apply for government grant funding; and Opportunity to further profile your business to new consumers as a potential finalist or winner.
With 29 categories across the industry spectrum,
the Awards recognise outstanding business achievements in all areas of tourism
including: attractions, accommodation, festivals and events, ecotourism, tour
operators, transport, marketing, outstanding contribution from individuals and
much more.
Awards event: 26 November, 2015
Nominations close: 20 August
Submissions close: 31 August
Cost to enter: FREE for Tourism Industry division members of NSW Business Chamber
For further information visit the NSW Tourism Awards website or call 13 26 96.


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Justin Theroux for Dr. Strange role?
- Bang Showbiz
- 17 April 2013
Justin Theroux is allegedly being lined up to play the lead in Marvel studio's upcoming comic book inspired flick
Justin Theroux is rumoured to be starring in 'Dr. Strange'.
The actor is being lined up for the lead role of magician Stephen Strange in Marvel's upcoming comic book adaptation, according to CHUD.com.
Justin could additionally be involved in writing the screenplay, having successfully penned scripts for the likes of 'Rock of Ages', 'Iron Man 2' and 'Tropic Thunder'.
It is not know whether any other actors are being auditioned for the role, although Seamus O'Grady is also thought to be a hot contender for the role.
Dr. Stephen Strange, a character created by Stan Lee and Steve Ditko in the Sixties, is a neurosurgeon who loses control of his hands before being taught mystic arts in the Himalayas and transforming into "the mightiest magician in the cosmos".
Kevin Feige, Marvel's president of production, confirmed the studio is looking to adapt the superhero tale back in January.
He told MTV at the time: "'Dr. Strange', which I've been talking about for years, is definitely one of [the films in development]. He's a great, original character, and he checks the box off this criteria that I have: he's totally different from anything else we have, just like 'Guardians Of The Galaxy'.
"He's totally different from anything we've done before, as is Ant-Man, which keeps us excited."
Justin was most recently seen on the big screen opposite his real life fiancé Jennifer Aniston in 2012's 'Wanderlust'. He is currently working on the 'Zoolander' sequel script.


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A European Commission-funded Sector Competitiveness Project is one of several implementation support projects of the Investment Compact for South East Europe, and examines the potential sources of and obstacles to competitiveness in the Western Balkans. The project analyses specific sectors with significant employment potential, such as:
The Western Balkans Sector Competitiveness Project brings together policy experts from the region and the OECD to address sector specific competitiveness challenges and make specific recommendations for policy measures addressing these challenges.
The first phase of the project was completed in June 2009 with the publication of Sector Specific Sources of Competitiveness in the Western Balkans.
The second phase focuses on implementation of co-ordinated initiatives for each sector as part of a regional investment strategy. Specifically:
Automotive Industry Conference: Sources of Competitiveness and Investment Opportunities, 17 June 2010
4th meeting of the Human Capital Working Group, 9 June 2010
Conference on access to finance, 8 June 2010
Regional Competitiveness Initiative experts' workshop, 2-3 June 2010
Improving skills for the ICT sector, 17 September 2009
Developing and promoting the automotive industry, 19 June 2009
Related Documents


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Stanbridges - Perth's #1 Hobby Shop
Established in 1948
Stanbridges is a general hobby shop in Perth, Western Australia
We have specialist staff for all areas of the shop with a mechanic in the radio control area. Stanbridges has a dedicated plastic kits and wooden ships room, a dedicated room for model trains, and also for slot cars.
We believe in providing the best service possible and will try to find and source hobby items not readily available for our customers.
Online Ordering
Use our website for online ordering or just to browse. We only show what we currently have in stock or new or restocked items where we have expected delivery dates.
Our database is usually updated every 2 hours during the day. The time and date of the last update is shown in the footer of any page just under our logo.
All prices are current as at this date and shown in Australian Dollars including GST. Non Australian Currency prices do NOT include GST.


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New Video on Demand: Download 'The Perks of Being a Wallflower' Weeks Before Disc
Check out what's new to rent and own this week on the various streaming services such as cable On Demand, Amazon, iTunes, Vudu, Blockbuster and, of course, Netflix.
Cable On Demand
Cable offers VOD programming (same-day-as-disc releases, older titles and pre-theatrical exclusives) for rent, usually for 24- or 48-hour periods at prices from about $2.99 for older titles to $9.99 for new or exclusive releases. Since cable offers a direct connection from your cable provider, its VOD offerings are usually less prone to outside interference and can be streamed with surround sound and 3D when available.
Precious director Lee Daniels' The Paperboy follows two investigative reporters (Matthew McConaughey and David Oyelowo) as they try to exonerate a violent death-row inmate (John Cusack) who they believe was framed for killing a corrupt local sheriff. Zac Efron plays the titular paperboy and younger brother of McConaughey who becomes infatuated by the prison groupie played by Nicole Kidman in this trashy Southern-fried film noir set in 1960s Florida. You don't have to buy the Blu-ray or DVD to see Kidman pee on Efron—it is available the same day on cable On Demand.
While indie-film enthusiasts are kicking around in Park City right now for the Sundance Film Festival to buzz about movies that might make it to theaters one day, one of last year's entries, The End of Love, is about to get a limited release in theaters this March. The Mark Webber-directed drama about the relationship between a young father and his infant son after the boy's mother's death stars Michael Cera, Shannyn Sossamon and Amanda Seyfried. You can rent it right now on cable On Demand before it even debuts in theaters.
Opening this Friday in theaters is the comedy Supporting Characters about two New York film editors (Alex Karpovsky and Tarik Lowe) who juggle their personal relationships while reworking a movie in crisis. You don't have to wait until Friday or even tromp to a theater to get your indie fix—this one can also be rented early right now on cable On Demand.
Attention documentary lovers: there are three new docs debuting on cable On Demand today, the same day they are all released on disc. The Imposter is a British documentary about the 1997 case of the French confidence man Frédéric Bourdin, who impersonated Nicholas Barclay, a Texas boy who had disappeared at the age of 13 in 1994. Searching for Sugar Man is a British/Swedish doc about two Cape Town fans investigating the rumored death of American musician Rodriguez. Finally, Undefeated is an Oscar-winning 2011 documentary about a Tennessee high school football team struggle to have a winning season.
These four services stream movies to your TV via computer, Blu-ray player, game console or other compatible connected device. Like cable VOD, they offer new titles for rent from about $3.99 to $6.99, but, unlike cable, they also offer the option of downloading the movie to own from about $14.99 to $19.99. Usually movies presented in HD cost a bit more than streaming a SD version.
The only VOD service that has all of the movies listed above on cable On Demand available for rent and/or download is iTunes. Amazon offers them all except The End of Love, Vudu has everything except Supporting Characters and also offers a free 10-minute preview of Searching for Sugar Man, while Blockbuster only has the latter on its digital service.
The high school coming-of-age drama is set to make a comeback with The Perks of Being a Wallflower starring Logan Lerman, Emma Watson and Ezra Miller. This celebrated adaptation of Stephen Chbosky's beloved novel doesn't debut on DVD and Blu-ray until February 12, but you can download it to own—not rent—right now on Amazon, iTunes and Vudu. The latter even offers a digital bundle pack with an exclusive behind-the-scenes featurette.
Scott Adkins faces off against Jean-Claude Van Damme and a back-from-the-dead Dolph Lundgren in Universal Soldier: Day of Reckoning. The latest sequel in the Universal Soldier series comes out today on disc and is also available for rent and/or download on Amazon, Vudu and iTunes.
Netflix's all-you-can-stream buffet costs $7.99 per month and gives instant access to thousands of movies and television shows via a computer, Blu-ray player, game console or other compatible device. Don't depend on Netflix streaming for same-day-as-disc releases, however. Instead, Netflix offers catalog titles, vintage movies, indie flicks and TV episodes with unlimited access for one monthly price.
Even though it just came out on DVD and Blu-ray today, Death Race 3: Inferno is already a part of Netflix's Watch Instantly library. The latest sequel stars Luke Goss as Carl "Frankenstein" Lucas—a repentant convict and legendary Death Race driver who is only one victory away from freedom at the Desert Death Race in South Africa's Kalahari Desert. Danny Trejo and Ving Rhames costar in this insane blood-sport opus.
While a celebration of tricked-out gas guzzlers debuts on Netflix, the VOD titan is retiring the documentary Revenge of the Electric Car. Also, if you want to see the movie, Winter's Bone, that earned Jennifer Lawrence her first Oscar nomination and started her on the path to The Hunger Games and Silver Linings Playbook you'd better hurry—Netflix is shelving the flick on Saturday.
Movies.com, the ultimate source for everything movies, is your destination for new movie trailers, reviews, photos, times, tickets + more! Stay in the know with the latest movie news and cast interviews at Movies.com.
Copyright © 2018 FANDANGO MOVIES.


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Honeywell Circular Chart 30755317-001
Box of 100. Normally Available from Stock. Chart Size (Diameter): 11-7/8-Inch
Compatible Recorders: [LINK]
A box of blank Truline charts is all you need to have a virtually infinite selection of charts at your disposal. Truline draws its own chart as it records, so it can chart up to four variables on the same timeline. And it can print identifying information right on the chart, including (but not limited to) time, date, parameter ranges, engineering units for all measured processes, and any alphanumeric messages you choose.
Honeywell 30756150-001 Chart Hub Kit
Normally available from Lesman stock, ready to ship within 24 hours
Replacement chart hub kit for Honeywell 10" and 12" circular chart recorders (DR4200, DR4300, and DR4500 series). Contains three different style hubs, one spring and one allen wrench.
United Electric 24-013 Differential Pressure Switch
Delivery: Normally Available from Lesman Stock
UE 24 Series Delta Pro DP Switch for General Service Use
Adjustable Range: 1 to 9 PSID; Deadband: 0.75 PSI
One SPDT; Screwdriver Adjustment, No Reference Dial
Working Pressure: 150 PSI; Proof Pressure: 150 PSID
1/4-In NPT Brass Process Connection
Model formerly designated with factory stock number 24-013 (96162)
Replacement Pen Arm 30756304-501
Normally available from Lesman stock, ready to ship within 24 hours
Please note: Honeywell is experiencing longer-than-normal lead times on this product due to a materials shortage.
United Electric 10-C11 Pressure Switch
Delivery: Normally Available from Lesman Stock
UE Spectra 10 Miniature Cylindrical Pressure Switch
Adjustable Setpoint Range: 10 to 150 PSI
One SPDT Output, 20-In Leads, NEMA 4, Internal Adjustment, Aluminum Enclosure
Deadband: 2 to 10 PSI, Proof Pressure: 3000 PSI, Overrange Pressure: 1500 PSI
Universal Marking Product 82-39-0202-06 30735489-002
Pack of 6. Normally Available from Stock. Replaces Pen 390-370-2 and Honeywell Pen 30735489-002. Red Marker, Nib Size: 0.370-Inch
Compatible Recorders: ABB Kent-Taylor Pre-75J Series, 1900, Fulscope ER/C, 12-Inch Fulscope, 25, 76, 78, 120, 124, Foxboro 30, 40, Honeywell AR100, DR4200 GP/EV, DR4500 Classic, Servoline 1-4 Pen, 15, 22, 45, 60, 70
Lesman Instrument Company: Your source for process control instrumentation.
Free UPS Ground shipping on orders over $500.
Good only on orders placed through this website, shipping within the continental US.


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Tim Wakefield's career
Tim Wakefield's career
Tim Wakefield decided to retire after 19 seasons in Major League Baseball, the last 17 spent with the Red Sox.
Wakefield's final win, on Sept. 13, was the 200th of his career. His career record was 200-180.
Wakefield arrived in Boston in 1995, when he posted a 16-8 record and helped lead the team to an AL East title.
Wakefield, second from right, bridged several generations of Red Sox players and was a teammate to Roger Clemens, left.
Wakefield was especially versatile, serving as a starter, reliever and closer during his tenure. In 1999, he saved 15 games.
Wakefield surrendered the game-ending home run to Aaron Boone in Game 7 of the 2003 ALCS against the Yankees.
Wakefield won two World Series with the Red Sox, and was part of the 2004 team that ended the 86-year title drought.
Wakefield began his career with the Pirates, with whom he played from 1992-1993.
Wakefield's 17 seasons in a Red Sox trailed only Carl Yastrzemski (23), Ted Williams (19) and Dwight Evans (19).


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While many of our readers have been worried about Facebook sharing too much information, others see that as a great feature. One of the latest ways of sharing your life with your family and friends is a feature called Facebook Timeline. It took a bit of time, but Facebook has just announced that Timeline is available for Android as well as on their mobile site.
Facebook Timeline allows you to share your life with others, in a historical, sequential timeline. It collects all of your information since you opened your Facebook account and organizes it by year, showing all of your life quests in an organized way. After signing up for this feature, you can go ahead and edit the timeline as you please, including adding things from before there ever was a Facebook. You can take off posts, add posts, select which groups can see them and change the way things look around your Timeline.
This is all now available from your Android device, and can be accessed via the recently updated Facebook app. Simply update to version 1.8.1, and you will be able to access your Timeline with no problem (if you have signed up for it already).
Here are the other updates that come with version 1.8.1:
- Navigate anywhere, fast: Get to your groups, apps, pages, and settings with a single press
- Search and you will discover: Look through friends, subscribers, apps, and pages
- See your friends tags on pictures and zoom: New photo viewing experience
- Faster notifications: Get alerted in real time with new push notifications
- Games & Apps: Play games and access your favorite apps on the go
- Access to mobile timeline (If you already have a timeline)
- Access to friend lists and subscriptions
Go download the new version of Facebook to enjoy the new timeline feature. What do you guys think? Is Timeline a cool feature, or would you rather keep the course of your life away from the online community?


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In the November issue of Texas Highways, writer Helen Bryant takes readers to the Famous! Kings Inn in Riviera, whose recipe for tartar-sauce remains a closely guarded secret. We can't claim to have the official recipe, but these—adapted from versions we found online—comes pretty close. The first one makes enough for Coxey's army; adapt and adjust as you (and your hungry crowd) wish.
- 1 quart mayonnaise
- 1 quart Miracle Whip
- 10 eggs, hard-boiled, peeled
- saltine crackers (3 tubes or 3/4 box)
- 5 stalks celery
- jalapeño pepper, seeded (to taste)
- 2 1/2 ounces Worcestershire sauce
- salt (to taste)
- 2 small bell peppers, seeded
- 1 (4 ounce) jar pimientos
- 1 (2 ounce) can anchovy fillets
- 1 large onion
- fresh garlic (to taste)
Finely chop celery, jalapeños, bell peppers, anchovies, garlic, and onion. Add salt and Worcestershire sauce. Mash the hard-boiled eggs together with the crackers, then mix all ingredients together with the mayonnaise and Miracle Whip.
Here's a recipe that has been adapted for home use. Note that this one doesn't contain anchovies.
- 1.5 cups salad dressing (Miracle Whip)
- .5 cup mayonnaise
- Jalapeño peppers to taste
- 4 boiled eggs
- 10 saltine crackers, crushed
- 2 ounces bell pepper, shredded
- 2 stalks celery, shredded
- 2 ounces garlic, minced
- 1 tablespoon Worcestershire sauce
Combine ingredients and serve!


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ATLANTA, May 29 (UPI) —
Last year's preliminary number of U.S. births was 3,957,577 — an increase of 4,736 births from 2012 — indicating the baby recession may be over.
A National Vital Statistics Report by Brady E. Hamilton, Joyce A. Martin, Michelle J.K. Osterman and Sally C. Curtin of National Center for Health Statistics, part of the Centers for Disease Control and Prevention, said the birth rate declined steadily since 2007, the recent high, by more than 2 percent a year — coinciding with the Great Recession.
The general fertility rate was 62.9 births per 1,000 women ages 15 to 44 — down slightly from the 2012 record low. The birth rate for women in their early 20s declined last year, to a record low of 81.2 births per 1,000 women. However, the birth rates for women in their 30s and 40s rose last year.
The number of births to U.S. teens ages 15-19 last year was 274,641, down 10 percent from 2012 and the lowest number of teen births ever reported for the United States, the report said. Last year's number of births was 38 percent fewer than 444,899 in 2007 — the most recent high — and 57 percent fewer than in 1970, the all-time peak year for the number of teen births at 644,708.
The birth rate for teens ages 10 to 14 was 0.3 births per 1,000 in 2013, down from 0.4 in 2012, an historic low. The number of births to mothers in this age group decreased 15 percent in 2013, to 3,108 births, the lowest number of births to this group ever reported for the nation, the report said.


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International Calendar of Information Science Conferences (ICISC)
Easy RSS Instructions
|A collaboration between the International Information Issues SIG and the European and New England chapters of the Association for Information Science & Technology
We thank The Haworth Press, Inc., publisher of important and helpful books in library and information science, for their kind support.
Visit their website to request free sample copies of journals and to learn about new titles.
What is RSS?
RSS is a type of technology that lets you keep track of any new information provided by web sites that you care about. If a site provides their updates via RSS you will usually see the orange or blue buttonand/or the words "subscribe to the feed" on their web page. All you need is a "RSS aggregator" or "feed reader" and you will be able to receive the updates in one place rather than having to go check all the web sites individually to see if there is anything new. Below are some basic instructions to get started.
If you use the most recent Firefox or Safari browsers, you can track updates right in your browser. Or you can register with a web-based aggregator/reader and keep track of all the sites you like on one easily bookmarked page. If you are having any trouble, please don't hesitate to Contact Us.
October 2005, NEW TUTORIAL - John Iliff of Palinet just introduced a great new tutorial for getting started: http://www.palinet.org/rss/toti/tsstutorial.htm
Browser-based Aggregators/Readers
Firefox browser
You can get live updates right from your toolbar with the "New Live Bookmark" function in the latest version (1.0.4) of the Firefox browser.
1. Get or update your Firefox browser to version 1.0.4.
Safari also offers an internal feed reader/aggregator. For all you MAC heads, here are the Safari RSS Instructions
Web-based Aggregators/Readers
Web-based Aggregators/Readers store the headlines/updates of all your favorite web sites on a single page and often have the advantage of giving you a little paragraph as well as the headline. They will also delete the headlines/updates you've read, so you will only see new stuff. They are also good if you are away from your main computer alot and want to check your feeds over the web. There are lots of RSS aggregators/readers out there (some Top Picks). Bloglines is one of the top ones. It's free, web-based for access from anywhere, and you can probably get yourself set up in less than 10 minutes.
Return to the Calendar
This work is licensed under a Creative Commons License
by SIG/III, ASIST/EC and NEASIST
Last updated: 18 September 2005
Contact: firstname.lastname@example.com


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Chocoholics should head to Grand Avenue and Maple Street on Saturday, when the Downtown Business Association hosts its fourth annual For the Love of Chocolate and SweetArt Fest.
Chocolatiers, candy vendors, and wine and Champagne makers will fill downtown streets and shops for an afternoon of tastings and shopping.
From 2 to 8 p.m., Maple Street Plaza will be renamed Sweet Street, where vendor booths will be set up for chocolate tastings. There will be live music and a Champagne garden as well restaurant tasting booths and jewelry and gift vendors. Admission to Sweet Street is free, but there is a fee for all purchases and tastings.
For $35, patrons can buy tickets for 10 paired tastings of chocolate with beer and wine (ages 21 and up only). The tastings will be held inside 15 downtown businesses, mostly along Grand, throughout the afternoon. And for those who would prefer not to walk, there will be horse and carriage rides down Grand Avenue, with live music by Slow Burn and Open for Business.
For families with small children, there will also be five downtown businesses offering kid-friendly activities for a group price of $10.
For details, call (760) 715-3230 or visit


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1000 Heroz Review
1000 Heroz is certainly ambitious. The premise for this fairly bare-bones side scroller is that every day a new level is unlocked, leading to an eventual 1000 levels– each with a different character. The mere logistics of how much space the game might eventually take up are mindboggling, but kudos to the developer if they can manage this herculean task.
1000 Heroz is a game purely about running and jumping through side-scrolling obstacle courses to attain the best possible time. You can then share your time with the world via Game Center and OpenFeint, and see how you've fared against everyone else. Each level can generally be completed in less than 20 seconds, and since there's a new track each day, 1000 Heroz has a nicely addictive quality. Following the leaderboards and tracking your times against other players could shove the more obsessive-compulsive among us into a life-sucking vacuum.
That said, the game is very focused on its central gimmicks. Daily new content and easy tracking of the competition will likely end up being the sole appeal. All you do is guide your character left or right, and jump. The controls are iffy with floaty physics and a slightly unresponsive feel.
Just standin' here, mindin' my business.
Level design is generally clever. The incredibly compact tracks frequently offer multiple paths to the finish line, and are littered with pace-killing obstacles such as rocks and pits. Springy branches, bouncy globs, and springboards can prove to be a boost or a hindrance, and the touchy jumping segments can be frustrating. Thankfully, the levels are so short that having to repeatedly start one over isn't a big deal.
The cartoonish graphics are sharp and colorful, and the handful of levels available show off a decent variety of scenery. While each new level brings a new character, there's really no difference between these motley cave men and women. They all look like characters from an old Saturday morning cartoon, but there's no back story or character building to be found in 1000 Heroz.
For a quick, cheap gaming fix on the go, 1000 Heroz has enough going for it to be worth a look. Although the controls aren't nearly as precise as we'd like, the sheer variety (and potential variety) of tracks and the generally good level design makes up for other shortcomings. The creative focus on leaderboards adds an entertaining sense of competition to the simple gameplay. We can't imagine too many players still racing by the time the 1000th level is released, but for now this is a decent way to spend a buck.