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I had a traditional musical education, in a provincial English cathedral town. I was sent off to an ancient piano teacher with the requisite halitosis, who lashed with a ruler at my knuckles as if they were wasps; I added the trumpet a few years later, and had lessons with a younger, cheerier man, who told me that the best way to make the instrument "sound" was to imagine spitting paper pellets down the mouthpiece at the school bully. I sang daily in the cathedral choir, an excellent grounding in sight-reading and performance.
But what I really wanted to do, as a little boy, was play the drums, and, of those different ways of making music, only playing the drums still makes me feel like a little boy. A friend's older brother had a drum kit, and as a twelve-year-old I gawped at the spangled shells of wood and skin, and plotted how I might get to hit them, and make a lot of noise. It wouldn't be easy. My parents had no time for "all that thumping about," and the prim world of ecclesiastical and classical music, which meant so much to me, detested rock. But I waited until the drums' owner was off at school, and sneaked into the attic where they gleamed, fabulously inert, and over the next few years I taught myself how to play them. Sitting behind the drums was like the fantasy of driving (the other great prepubescent ambition), with my feet established on two pedals, bass drum and high hat, and the willing dials staring back at me like a blank dashboard.
Noise, speed, rebellion: everyone secretly wants to play the drums, because hitting things, like yelling, returns us to the innocent violence of childhood. Music makes us want to dance, to register rhythm on and with our bodies. The drummer and the conductor are the luckiest of all musicians, because they are closest to dancing. And in drumming how childishly close the connection is between the dancer and the dance! When you blow down an oboe, or pull a bow across a string, an infinitesimal hesitation—the hesitation of vibration—separates the act and the sound; for trumpeters, the simple voicing of a quiet middle C is more fraught than very complex passages, because that brass tube can be sluggish in its obedience. But when a drummer needs to make a drum sound he just . . . hits it. The stick or the hand comes down, and the skin bellows. The narrator in Thomas Bernhard's novel "The Loser," a pianist crazed with dreams of genius and obsessed with Glenn Gould, expresses the impossible longing to become the piano, to be at one with it. When you play the drums, you are the drums. "Tom-tom, c'est moi," as Wallace Stevens put it.
The drummer who was the drums, when I was a boy, was Keith Moon, though he was dead by the time I first heard him. He was the drums not because he was the most technically accomplished of drummers but because his joyous, semaphoring lunacy suggested a man possessed by the antic spirit of drumming. He was pure, irresponsible, restless childishness. At the end of early Who concerts, as Pete Townshend smashed his guitar, Moon would kick his drums and stand on them and hurl them around the stage, and this seems a logical extension not only of the basic premise of drumming, which is to hit things, but of Moon's drumming, which was to hit things exuberantly. "For Christ's sake, play quieter," the manager of a club once told Moon. To which Moon replied, "I can't play quiet, I'm a rock drummer."
The Who had extraordinary rhythmic vitality, and it died when Keith Moon died, thirty-two years ago. I had hardly ever heard any rock music when I first listened to albums like "Quadrophenia" and "Who's Next." My notion of musical volume and power was inevitably circumscribed by my fairly sheltered, austerely Christian upbringing—I got off on classical or churchy things like the brassy last bars of William Walton's First Symphony, or the densely chromatic last movement of the "Hammerklavier" Sonata, or the way the choir bursts in at the start of Handel's anthem "Zadok the Priest," or the thundering thirty-two-foot bass pipes of Durham Cathedral's organ, and the way the echo, at the end of a piece, took seven seconds to dissolve in that huge building. Those things are not to be despised, but nothing had prepared me for the ferocious energy of The Who. The music enacted the mod rebellion of its lyrics: "Hope I die before I get old"; "Meet the new boss, same as the old boss"; "Dressed right, for a beach fight"; "There's a millionaire above you, / And you're under his suspicion." Pete Townshend's hard, tense suspended chords seemed to scour the air around them; Roger Daltrey's singing was a young man's fighting swagger, an incitement to some kind of crime; John Entwistle's incessantly mobile bass playing was like someone running away from the scene of the crime; and Keith Moon's drumming, in its inspired vandalism, was the crime itself.
Most rock drummers, even very good and inventive ones, are timekeepers. There is a space for a fill or a roll at the end of a musical phrase, but the beat has primacy over the curlicues. In a regular 4/4 bar, the bass drum sounds the first beat, the snare the second, the bass drum again hits the third (often with two eighth notes at this point), and then the snare hits the bar's final beat. This results in the familiar "boom-DA, boom-boom-DA" sound of most rock drumming. A standard-issue drummer, playing along, say, to the Beatles' "Carry That Weight," would keep his 4/4 beat steady through the line "Boy, you're gonna carry that weight, carry that weight, a long time," until the natural break, which comes at the end of the phrase, where, just after the word "time," a wordless, two-beat half-bar readies itself for the repeated chorus. In that half-bar, there might be space for a quick roll, or a roll and a triplet, or something fancy with snare and high hat—really, any variety of filler. The filler is the fun stuff, and it could be said, without much exaggeration, that nearly all the fun stuff in drumming takes place in those two empty beats between the end of one phrase and the start of another. Ringo Starr, who interpreted his role modestly, does nothing much in that two-beat space: mostly, he provides eight even, straightforward sixteenth notes (da-da-da-da / da-da-da-da). In a good cover version of the song, Phil Collins, a sophisticated drummer who was never a modest performer with Genesis, does a tight roll that begins with featherlight delicacy on a tomtom and ends more firmly on his snare, before going back to the beat. But the modest and the sophisticated drummer, whatever their stylistic differences, share an understanding that there is a proper space for keeping the beat, and a much smaller space for departing from it, like a time-out area in a classroom. The difference is just that the sophisticated drummer is much more often in time-out, and is always busily showing off to the rest of the class while he is there.
Keith Moon ripped all this up. There is no time-out in his drumming, because there is no time-in. It is all fun stuff. The first principle of Moon's drumming was that drummers do not exist to keep the beat. He did keep the beat, and very well, but he did it by every method except the traditional one. Drumming is repetition, as is rock music generally, and Moon clearly found repetition dull. So he played the drums like no one else—and not even like himself. No two bars of Moon's playing ever sound the same; he is in revolt against consistency. Everyone else in the band gets to improvise, so why should the drummer be nothing more than a condemned metronome? He saw himself as a soloist playing with an ensemble of other soloists. It follows from this that the drummer will be playing a line of music, just as, say, the guitarist does, with undulations and crescendos and leaps. It further follows that the snare drum and the bass drum, traditionally the ball-and-chain of rhythmic imprisonment, are no more interesting than any of the other drums in the kit; and that you will need lots of those other drums. By the mid-nineteen-seventies, when Moon's kit was "the biggest in the world," he had two bass drums and at least twelve tomtoms, arrayed in stacks like squadrons of spotlights; he looked like a cheerful boy who had built elaborate fortifications for the sole purpose of destroying them. But he needed all those drums, as a flute needs all its stops or a harp its strings, so that his tremendous bubbling cascades, his liquid journeys, could be voiced: he needed not to run out of drums as he ran around them.
Average musical performance, like athletics and viticulture, has probably improved in the last century. Nowadays, more pianists can brilliantly run off some Chopin or Rachmaninoff in a concert hall, and the guy at the local drum shop is probably technically more adept than Keith Moon was. YouTube, which is a kind of Special Olympics for showoffs, is full of young men wreaking double-jointed virtuosity on fabulously complex drum kits rigged up like artillery ranges. But so what? They can also backflip into their jeans from great heights and parkour across Paris.
Moon disliked drum solos, and did not really perform them; the only one I have seen is atrociously bad, a piece of anti-performance art—Moon sloppy and mindless, apparently drunk or stoned or both, and almost collapsing into the drums while he pounds them like pillows. He may have lacked the control necessary to sustain a long, complex solo; more likely, he needed the kinetic adventures of The Who to provoke him into his own. His merry way of conceding this was his now-famous remark "I'm the best Keith Moon-style drummer in the world."
Keith Moon-style drumming is a lucky combination of the artful and the artless. To begin at the beginning: his drums always sounded good. He hit them nice and hard, and tuned the bigger tomtoms low. (Not for him the little eunuch toms of Kenney Jones, who palely succeeded Moon in The Who, after his death.) He kept his snare pretty "dry." This isn't a small thing. The three-piece jazz combo at your local hotel ballroom almost certainly features a "drummer" whose sticks are used so lightly that they barely embarrass the skins, and whose wet, buzzy snare sounds like a repeated sneeze. A good dry snare, properly struck, is a bark, a crack, a report. How a drummer hits the snare, and how it sounds, can determine a band's entire dynamic. Groups like Supertramp and the Eagles seem soft, in large part, because the snare is so drippy and mildly used (and not just because elves are apparently squeezing the singers' testicles).
There are three great albums by The Who, and these are also the three greatest Moon records: "Live at Leeds" (1970), a recording of an explosive concert at the University of Leeds on February 14, 1970, and generally considered one of the greatest live albums in rock; "Who's Next" (1971), the most famous Who album; and "Quadrophenia" (1973), a kind of successor to "Tommy," a rock opera that nostalgically celebrates the sixties mod culture that had provoked and nourished the band in its earlier days. On these are such songs as "Substitute," "My Generation," "Won't Get Fooled Again," "Baba O'Riley," "Bargain," "The Song Is Over," "The Real Me," "5:15," "Sea and Sand," and "Love Reign O'er Me." There is no great difference between the live concert recordings and the studio songs: all of them are full of improvisation and structured anarchy, fluffs and misses; all of them seem to have the rushed gratitude of something achieved only once. From this exuberance emerges the second great principle of Moon's drumming; namely, that one is always performing, not recording, and that making mistakes is simply part of the locomotion of vitality. In the wonderful song "The Dirty Jobs," on "Quadrophenia," you can hear Moon accidentally knock his sticks together three separate times while travelling around the kit. Most drummers would be horrified to be caught out on tape like this.
This vitality allowed Moon to try to shape himself to the changing dynamics of the music, listening as much to the percussive deviations of the bass line as to the steady, obvious line of the lead singer. As a result, it is impossible to separate him from the music that The Who made. The story goes that, in 1968, Jimmy Page wanted John Entwistle on bass and Keith Moon on drums when he formed Led Zeppelin; and, as sensational as this group might have been, it would not have sounded either like Led Zeppelin or like The Who. If Led Zeppelin's drummer, John Bonham, were substituted for Moon on "Won't Get Fooled Again," the song would lose its passionate propulsion, its wild excess; if Moon sat in for Bonham on "Good Times Bad Times," the tight stability of that piece would instantly evaporate.
Bonham's drumming sounds as if he'd thought about phrasing; he never overreaches, because he seems to have so perfectly measured the relationship between rhythmic order and rhythmic deviation. His superb but tightly limited breaks on the snare and his famously rapid double strokes on the bass drum are constantly played against the unvarying solidity of his high hat, which keeps a steady single beat throughout the bars. (In a standard 4/4 bar, the high hat sounds the four whole beats, or perhaps sounds eight beats in eighth notes.) That is "the Bonham sound," heard in the celebrated long solo—one of devilish intricacy—in "Moby Dick," on the live album "The Song Remains the Same." Everything is judged, and rightly placed: astonishing order. Moon's drumming, by contrast, is about putting things in the wrong place: the appearance of astonishing disorder. You can copy Bonham exactly; but to copy Moon would be to bottle his energy, which is much harder.
The third great Moon principle, of packing as much as possible into a single bar of music, produces the extraordinary variety of his playing. He seems to be hungrily reaching for everything at once. Take, for instance, the bass drum and the cymbal. Generally speaking, drummers strike these with respectable monotony. You hit the crash cymbal at the end of a fill, as a flourish, but also as a kind of announcement that time-out has, boringly enough, ended, and that the beat must go back to work. Moon does something strange with both instruments. He tends to "ride" his bass drum: he keeps his foot hovering over the bass-drum pedal as a nervous driver might keep a foot on the brake, and strikes the drum often, sometimes continuously, throughout a bar. When he breaks to do a roll around the toms, he will keep the bass drum going simultaneously, so that the effect is of two drummers playing together. Meanwhile, he delights in hitting his cymbals as often as possible, and off the beat, rather as jazz and big-band drummers do. The effect, of all these cymbals being struck, is of someone shouting out at unexpected moments while waiting in line—a yammer of exclamation marks. (Whereas his habit of entering a song by first crashing a cymbal and then ripping around the kit is like someone bursting into a quiet room and shouting, "I'm here!")
So alive and free is this drumming that one tends to emphasize its exuberance at the expense of its complexity. But the playing on songs like "Won't Get Fooled Again" and "Bargain" and "Love Reign O'er Me" and "The Song Is Over" is extremely complex. In addition to demonstrating intricate cymbal work, Moon is constantly flicking off little triplets (sometimes on the toms, but sometimes with his feet, by playing the two bass drums together), and doing double-stroke rolls (a method by which, essentially, you bounce the sticks on the drum to get them to strike faster notes) and irregular flams on the snare drum (a flam involves hitting the drum with the two sticks not simultaneously but slightly staggered, and results in a sound more like "blat" than "that").
New technology allows listeners to isolate a song's individual players, and the isolated drum tracks from "Won't Get Fooled Again" and "Behind Blue Eyes" can be found on YouTube. On "Won't Get Fooled Again," the drumming is staggeringly vital, with Moon at once rhythmically tight and massively spontaneous. On both that song and "Behind Blue Eyes," you can hear him do something that was instinctive, probably, but which is hardly ever done in ordinary rock drumming: breaking for a fill, Moon fails to stop at the obvious end of the musical phrase and continues with his rolling break, over the line and into the start of the next phrase. In poetry, this failure to stop at the end of the line, this challenge to metrical closure, this desire to get more in, is called enjambment. Moon is the drummer of enjambment.
For me, this playing is like an ideal sentence, a sentence I have always wanted to write and never quite had the confidence to do: a long, passionate onrush, formally controlled and joyously messy, propulsive but digressively self-interrupted, attired but dishevelled, careful and lawless, right and wrong. Such a sentence would be a breaking out, an escape. And drumming has always represented for me that dream of escape, when the body surrenders its awful self-consciousness. I taught myself the drums, but for years I was so busy being a good boy that I lacked the courage to own any drums. At school, I played in a rock band, but I kept the fact very quiet. The kids I played rock music with did not overlap with the world of classical music. Drumming was a notional add-on, a supplement to the playing of "proper" instruments. The classical-music path was the scholastic path. Choir school was like being at conservatory—daily rehearsal and performance. And then, later, as a teen-ager, to work hard at the piano, to sing in the choir, to play the trumpet in a youth orchestra, to pass exams in music theory, to study sonata form in Beethoven, to sit for a music scholarship, to talk to one's parents about Bach (or, daringly, the Beatles!), to see the London Symphony Orchestra at the Albert Hall, even just to fall asleep during "Aida"—all this was approved, was part of being a good student. Nowadays, I see schoolkids bustling along the sidewalk, their large instrument cases strapped to them like coffins, and I know their weight of obedience. Happy obedience, too: that cello or French horn brings lasting joy, and a repertoire more demanding and subtle than rock music's. But fuck the laudable ideologies, as Roth's Mickey Sabbath puts it: subtlety is not rebellion, and subtlety is not freedom, and it is rebellious freedom that one wants, and, most of the time, only rock music can deliver it. And sometimes one despises oneself, in near-middle age, for being so good.
Georges Bataille has some haunting words about how the workplace is the scene of our domestication and repression: it is where we are forced to put away our Dionysianism. The crazy sex from the night before is as if forgotten; the drunken marital argument of the weekend is erased; the antic children have disappeared; all the passionate music of life is turned off, and a false bourgeois order clothes you, with the sack and quick penury waiting if you don't obey. But Bataille might also have emphasized school, for school is work, too—work before the adult workplace—and school tutors the adolescent in repression and the rectitude of the bourgeois order, at the very moment in life when, temperamentally and biologically, one is most Dionysiac and most enraged by the hypocritical ordinances of the parental league.
So adolescents quickly get split in two, with an inner and an outer self, a lawless sprite inside and a lawful ambassador outside: rock music, or your first sexual relationship, or reading, or writing poetry, or probably all four at once—why not?—represent the possibilities for inward escape. And playing rock is different again from playing classical music, or from writing poetry, or from painting. In all these other arts, though there may be trancelike moments and even stages of wildness and excess, the pressure of creating lasting forms demands discipline and silence; mindful of Pascal's severe aphorism about the importance of staying quietly in one's own room, one does just that, and stares at the sheet of paper, even if the words are not coming. Writing and reading still carry with them the faintest odor of the exam room. (It is exam-silent in the room where I write these words, and how terrible, in a way, is this disjunction between literary expression and the violence of its content.) Rock music, though, is noise, improvisation, collaboration, theatre, showing off, truancy, pantomime, aggression, bliss, tranced collectivity. It is not concentration so much as fission.
Imagine, then, the allure of The Who, whose battering velocity was such an incitement to the adolescent's demon sprite. "I'm wet and I'm cold, / But thank God I ain't old," young Roger Daltrey sang on "Quadrophenia," in a track about a mod teen-ager (named Jimmy, no less) who gets thrown out of home:
Here by the sea and sand
Nothing ever goes as planned
I just couldn't face going home.
It was just a drag on my own.
They finally threw me out.
My mum got drunk on stout.
My dad couldn't stand on two feet
As he lectured about morality.
It is no accident that punk rock got a fair amount of its inspiration from The Who (the Sex Pistols often performed "Substitute"), or that, a generation later, a band like Pearl Jam devotedly covered "Love Reign O'er Me." Here was a band that, in one obvious way, embodied success, but that, in a less obvious way, dared failure—the large amount of improvisation in their songs, the risky, sometimes loose excess of their concert performances, the flailing earnestness of so many of the lyrics. And the epicenter of this successful failure, this man who wanted to pack as much of the fun stuff into his playing as humanly possible, was Keith Moon.
The Who was a kind of performance-art band: there was plenty of calculation amid the carelessness. Pete Townshend attended Ealing Art College (whose other musical students from the nineteen-sixties included Freddie Mercury and Ronnie Wood), and has sometimes claimed that the idea of smashing his guitar onstage was partly inspired by Gustav Metzger's auto-destructive-art movement. That high tone is quite Townshendian. But it is hard not to think of Keith Moon's life as a perpetual "happening"; a gaudy, precarious, self-destructing art installation, whose gallery placard reads "The Rock and Roll Life, Late Twentieth Century." In a manner that is also true of his drumming, he seemed to live at once naïvely and self-consciously: spontaneous in his scandalous misbehavior and yet also aware that this is how one should live if one is a famous and rich rock musician. His parody is very hard to separate from his originality; his parody is his originality. This is one of the most charming elements of his posture behind the drum kit: he is always clowning around—standing up sometimes, at other times puffing out his cheeks like Dizzy Gillespie, grimacing and grinning like a fool in some opera buffa, twirling his sticks, doing silly phantom rolls just above the skins of the drums. A child might think that Moon was a circus performer. His drumming, like his life, was a serious joke.
Nowadays, Moon would probably be classed as both A.D.H.D. and bipolar; fortunately for the rest of us, he grew up in non-therapeutic Britain, and medicated himself with booze, illegal drugs, and illegal drumming. Tony Fletcher's entertaining biography "Moon: The Life and Death of a Rock Legend" (1999) is one of the most reliable sources for all the famous "Moon the Loon" stories. Born into a modest, working-class household, in north London, in 1946, Moon had a paltry education. He was restless and hyperactive, and often played to the gallery. An art teacher described him as "retarded artistically, idiotic in other respects," and the authorities were doubtless relieved when he left school at the age of fourteen. "You never felt, 'One day he is going to be famous,' " a friend tells Fletcher. "You felt more likely that he was going to end up in prison."
He had little formal training on the drums. As Gogol's brilliant prose or Richard Burton's swaggering acting embodies the temperamental exhibitionism of their creators, so Moon's playing is an extension of his theatrical hyperactivity. His mother noticed that he got bored easily, and quickly lost interest in his train set or Meccano. Throughout his short life, he was seemingly addicted to practical jokes: he set off cherry bombs in hotels, dressed up as Adolf Hitler or Noël Coward, rode a wheelchair down an airport staircase, smashed up hotel rooms, drove a car into a pond, got arrested for breaching the peace. On planes, Moon might do his "chicken soup" routine, which involved carrying a can of Campbell's chicken soup on board, emptying it, unseen, into a sick bag, and then pretending to retch violently. At which point he "would raise it, and pour the sicklike soup back into his mouth, offering up a hearty sigh of relief while innocently inquiring of fellow passengers what they found so disgusting." Fletcher captures the patient relentlessness of this theatricalism, which often needed preparation and forethought, and certainly demanded a kind of addicted commitment: "Keith wore the Nazi uniform like something of a second skin, donning it intermittently for the next six or seven years." His boozing and coke-snorting were certainly addictions, but perhaps they were merely the solvents needed to maintain the larger, primal addiction to joking and playacting.
Performance is a way of sublimely losing oneself, and there is a sense in which Moon as drummer was another role, alongside Moon as Hitler, Moon as Noël Coward, Moon as arsonist, Moon as sick-bag buffoon, and Moon as crazy rock star. ("I don't give a damn about a Holiday Inn room," he grandly said, after some act of vandalism. "There's ten million of them exactly the same.") But "role" suggests choice, freedom, calculation, whereas these roles don't seem to have been chosen so much as depended on. Or put it another way: despite all the gaiety and partying, the only performance that seems to have truly liberated Moon was the one he enacted behind the drum kit.
I often think of Moon and Glenn Gould together, notwithstanding their great differences. Both started performing very young (Moon was seventeen when he began playing with The Who, Gould twenty-two when he made his first great recording of the Goldberg Variations); both were idiosyncratic, revolutionary performers, for whom spontaneity was an important element (for instance, both enjoyed singing and shouting while playing); both had exuberant, pantomimic fantasy lives (Gould wrote about Petula Clark's "Downtown," and appeared on Canadian television in the guise of invented comic personae like Karlheinz Klopweisser and Sir Nigel Twitt-Thornwaite, "the dean of British conductors"); both were gregarious yet essentially solitary; neither man practiced much (at least, Gould claimed not to practice, and it is impossible to imagine Moon having the patience or the sobriety to do so); and all their performance tics (Gould's hand-washing and coat-wearing and pill-popping hypochondria) have the slightly desperate quality of mania. The performance behind the instrument, however, has the joyous freedom of true escape and self-dissolution: Gould becomes the piano, Moon becomes the drums.
For both Moon and Gould, the performer's life was short: Gould abandoned concert performance at the age of thirty-one; Moon was dead by the age of thirty-two, and had not played well for a long time. He had perhaps five or six really great drumming years, between 1970 and 1976. Throughout this period, Moon was ingesting ludicrous volumes of drink and drugs. There are stories of him swallowing twenty or thirty pills at once. In San Francisco, in 1973, he took so many (perhaps to come down from a high, or to deal with pre-concert nerves) that, after slopping his way through several songs, he collapsed and had to be taken to hospital. When his stomach was pumped, it was found to contain quantities of PCP, described by Fletcher as "a drug used to put agitated monkeys and gorillas to sleep." What magically happened onstage, while Moon was being carted away, was incised on my teen-age cerebellum. Pete Townshend asked the crowd if anyone could come up and play the drums. Scot Halpin, a nineteen-year-old, and presumably soon to be the most envied teen-ager in America, got onto the stage, and performed in Moon's place. "Everything was locked into place," Halpin later said of the gargantuan drum kit; "anyplace you could hit there would be something there. All the cymbals overlapped."
Both Moon and Gould were rather delicate, even handsome young men who coarsened with age, and developed a thickness of feature, an almost simian rind. At twenty, Moon was slight and sweet, with a bowl of black hair upended on his head, and dark, dopey eyes, and the arched eyebrows of a clown. By the end of his life, he was puffy, heavy, his features no longer sweetly clownish but slightly villainous—Bill Sikes, played by Moon's old drinking friend Oliver Reed—the arched eyebrows now thicker and darker, seemingly painted on, as if he had become a caricature of himself. Friends were shocked by his appearance. He was slower and less inventive, less vital, on the drums; the album "Who Are You," his last record, attests to the decline. Perhaps no one was very surprised when he died, from a massive overdose of the drug Heminevrin, a sedative prescribed for alcohol-withdrawal symptoms. "He's gone and done it," Townshend told Roger Daltrey. Thirty-two pills were in his stomach, and the equivalent of a pint of beer in his blood. His girlfriend, who found him, told a coroner's court that she had often seen him pushing pills down his throat, without liquid. Two years later, John Bonham died from asphyxiation, after hours of drinking vodka. And then English drumming went quiet. ♦


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Before Year One, there was Pre-school...
Swear to Me!
13. Aug, 2012
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Swear to Me!
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Batman without Batman
Toy and their Boys
Kung Fu sage in my hand
BabyBatman plays Arkham Asylum (nearly rhymes)
Bubba Bats plays more Arkham Asylum
BabyBatman plays even more Arkham Asylum
BabyBatman is STILL playing Arkham Asylum
BabyBatman plays Arkham Asylum?
Too many games for Bubba Bats
How come there's no BubbaBats this week?
Belated Halloween Special!
Punch! SFX! Punch! Punch!
Say that we're sweethearts again
The Legend of Batman
Dear WB Montréal
Wonder Woman! All the world is waiting for you
Gotham Games
Save My Place
Load My Place
Author Notes:
13. Aug, 2012
A warm welcome and thank you for arriving at Baby Batman. This is my first venture into the world of webcomics. I'll be updating about twice a week. Feel free to lie to your friends and tell them it's great.
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© 2012 - 2019 Carl Denham
Comic Profile

subset: commoncrawl


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Re: ChessCube Ratings
it's great, having ur RATIIN stable .. but, this is an international chess site.. so it should have, the international chess rulez
it's only fair in my opinion..
Besides, it can only harm , players, psychic than do good, as they will have, mis conception .
But. i suppose, chesscube admin know what they are doin..


text:
Car Designers Run With Scissor Doors
Car designers have lots of tricks to get consumers to notice a new car. One that's getting a workout at this week's Frankfurt motor show is using racy vertical doors to add a spice to a design. WSJ's Joe White reports. Photo: GM
This transcript has been automatically generated and may not be 100% accurate.
... a ... I ... and ... Sethi Watsa tricks to get consumers to notice a car when it's getting a real workout at this week's Frankfurt Motor show two to receive further torture scissor doors to spikes to sign ... general Motors' ... Opel brand which is the middle of a painful turnaround is demonstrating its determination to survive the European auto ... shakeout ... that the dramatic show car called the Open monster features doors that swing up vertically Lamborghini style ... it's a dramatic look ... but it's probably not ... going to go into production ... two concepts on French auto maker Red nose stands ... are also outfitted with scissor doors ... but as you might expect German automaker Volkswagen ... she ... wants to go the French one better ... with the super high mileage XL one car ... as gullwing doors on sites are briefly opening hatchback ... with all three doors are open the car looks at a bird of prey ... one card that has scissor doors that are ... going to go into production for real is the end of the teachings ... you ... buy a plug in hybrid sports car ... it has innovated carbon fiber body structure ... and features for the opening scissor doors which gives the car ... fittingly exotic look ... for a vehicle that could be priced ... around a hundred thirty five thousand dollars ... this is Joe White lost ...


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A fire-spitting effect was removed from the Lyric Opera of Chicago's production of "Die Meistersinger von Nurenberg" on Monday after a stilt walker was seriously burned during a dress rehearsal.
Despite his flameproof costume and mask, fire-blowing actor Wesley Daniel suffered second-degree burns to his face and throat while performing in front of an audience. Daniel staggered away and collapsed just off stage. A stage manager with a fire extinguisher then put out spots of flame onstage.
"I don't think he closed his mouth quick enough, so the fire, the stuff in his mouth, came on his clothes and so did the fire, and it also dribbled all over the floor so we saw a line of fire across the stage," said audience member Karen Avgush. "And then I think he was trying to quickly get off the stage, and I think he was moving too quickly with everybody in the way, so he fell really hard off the stilts."
First responders responded to the theater, at 20. N. Wacker Dr., shortly before 5 p.m. and took the actor to Northwestern Memorial Hospital on advanced life support, officials said.
"It was really scary and nerve-wracking, and we were just all really nervous for what was going to happen to him," said child actor Mia Rehwaldt, who was on stage with Daniel when he caught fire.
Opera spokesperson Magda Krance said the 24-year-old Daniel suffered blistering around his mouth but said his injury didn't appear to be serious. Fire officials later said Daniel had second degree burns.
He was being treated at Loyola Hospital on Monday night.
The effect had been approved by the Chicago Fire Department, Krance said. Last week, another performer had experienced a lesser mishap attempting the same trick, part of a festival scene on the crowded Lyric stage.
Several hundred people made up the audience, The mishap occurred about 30 minutes prior to the end of the five-and-a-half-hour performance. The incident halted the performance for about 45 minutes before it resumed. Still, the audience missed out on the last few minutes of the show because of a union-mandated break for the 81-member orchestra.
The show opens to audiences on Friday.


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Harvard will play Hockey East opponents for the first time this season Thursday and Friday (Gil Talbot).
Complete Game Notes (pdf)
The Particulars
Harvard finishes out the 2011 portion of its schedule, stepping out of conference play for games at Providence and versus New Hampshire. Both the Friars and Wildcats are members of Hockey East.
Follow From Home
Harvard will provide streaming video (for a subscription) and live statistics for all home games and provide links for road games. Video and live stats links can be found on the women's hockey schedule on GoCrimson.com.
Series History
Despite success against Providence over the past decade, the Crimson trails in the all-time series against Friars, holding a 14-22-3 record in 39 career matchups. Harvard has claimed the last four meetings between the two teams, and is 10-1-1 in the last 12 matchups. Providence was victorious in the first 16 matchups in the series, including the inaugural game between the two, which went the Friars' way by a score of 17-0.
The last time the two teams met was January 30, 2010 and the No. 7 Crimson defended its home turf with an exciting 2-1 victory over No. 9 Providence at Bright. The Crimson struck first at the 5:16 mark of the opening period, as Kathryn Farni '10 fed Katharine Chute '11 for the game's first goal. The Friars tied it up midway through the third period, but a penalty soon after put Harvard on a power play. Farni and Leanna Coskren '11 picked up assists as Randi Griffin '10 notched the game-winning score with five minutes remaining, allowing the Crimson to claim a 2-1 win.
The Crimson also trails in the all-time series against New Hampshire, as the Wildcats hold a 27-14-3 edge over 44 matchups. Harvard's most successful stretch against UNH came from 1998-2004 as the Crimson put together 12 straight wins. Harvard's biggest win over the Wildcats came in 1999, when it defeated New Hampshire, 6-5, in the AWCHA National Championship Game to claim the lone national title in team history. In recent history, the two teams have played one another close, as three of the last four contests have gone to overtime. Harvard is 1-1-2 in its last four games against New Hampshire.
Last season, Harvard snapped a nine-game UNH unbeaten streak in the series, taking down the Wildcats, 3-1, on their home ice for the first time since 2003-04. The hosts took a 1-0 lead on a Kristina Lavoie goal at 9:10 of the first, but Josephine Pucci (Pearl River, N.Y.) leveled the score with a power-play goal at 16:16 to end the first period in a 1-1 tie. Then-rookie Lyndsey Fry (Chandler, Ariz.) took over in the second period, collecting her first and second career goals to give the Crimson a 3-1 lead. The Crimson defense went into lockdown mode in the final frame, allowing just four shots en route to the 3-1 win.
Last Time Out
Down a goal midway through the third period, Harvard found its stride offensively late in the game as the Crimson rallied for a pair of scores to top Dartmouth, 2-1, Wednesday night at Thompson Arena.
The Crimson offense got going late, upping the pressure in the back half of the final period, resulting in a goal at the 12:52 mark. Sarah Edney (Mississauga, Ont.) slid a pass to Marissa Gedman (Framingham, Mass.), who brought the puck into the Dartmouth zone and fired a long-distance shot on goalie Lindsay Holdcroft. Holdcroft made the save but let up a long rebound and Elizabeth Parker (Milton, Mass.) snuck in front of the net and put away the carom for her third goal of the season.
The tie score didn't last long as the Crimson grabbed the lead for good 1:05 later. Jillian Dempsey (Winthrop, Mass.) collected the puck deep in the corner and fed an advancing Kelsey Romatoski (Woodbury, Minn.) near the left faceoff circle. Romatoski flicked a shot on net that was redirected by Lyndsey Fry past Holdcroft for the game-winning score. The Big Green pulled its goalie and put a number of pucks on net, but Laura Bellamy (Duluth, Minn.) was rock solid, despite losing her stick for much of the final flurry, helping Harvard seal the one-goal victory.
Scouting the Friars
It has been a tale of two seasons for the Friars in 2011-12. Providence brings an 8-9-3 overall record and 6-4-1 mark in Hockey East play into the matchup with the Crimson.
The Friars had trouble getting off the ground, going winless in their first seven games of the season against some fierce competition. Since then, Providence has gone 8-4-1, bolstered by a four-game winning streak from Nov. 6-19. The Friars' biggest win came against No. 7 Boston University, taking down the Terriers, 4-3, Dec. 3 at Schneider Arena.
Abby Gauthier leads the Friars in scoring with a team-high 18 points and 13 assists. Corinne Buie is next on the list with 16 points and leads the squad with eight goals on the season. Laura Veharanta (6-9-15), Ashley Cottrell (7-6-13), Kate Bacon (6-5-11) and Jessica Vella (4-6-10) round out the sextet of Friar players with double-digits point totals.
Genevieve Lacasse is the team's go-to-backstop, starting 15 of Providence's 20 games this season. She boasts a 2.07 goals-against average and a .928 save percentage, as well as four shutouts on the year.
Scouting the Wildcats
A hot start cooled off quickly as New Hampshire, a perennial powerhouse in women's college hockey, has had a tough go of it this season. The Wildcats jumped out to a 3-0 start but have stumbled since, bringing a 6-10-3 overall mark and 0-6-2 conference record into the matchup with the Crimson.
Since it's fast start, New Hampshire has managed just three wins, taking down Dartmouth, Princeton and Union is games decided by no more than two goals. The Wildcats fought hard against Hockey East foe No. 10 Northeastern in its last time out, battling to a 3-3 tie Dec. 3 and dropping a 5-1 game the following day.
Sophomore forward has been a key member of the offense this season for UNH, leading the team in points (16), goals (7) and tying for the team lead with assists (9). Junior Kristine Horn is right behind with 6-9-15 points on the year and classmate Kristina Lavoie rounds out UNH's double-digit scorers with 6-4-10 points on the season. Lavoie also leads the team with two game-winning tallies this season.
Freshman Jenn Gilligan has seen the bulk of the action in goal this season, playing in 14 games and holding a 5-6-2 overall record. She leads the team with a 3.13 goals-against average and is just off the team lead with a .874 save percentage. Senior Lindsey Minton has also started four games for UNH and holds a save percentage of .875.
Comeback Crimson
Three of Harvard's wins this season have been comeback victories. The Crimson conceded the game's first goal in the season opener against St. Lawrence and went onto score seven unanswered to cruise to a 7-1 win. In the second matchup with Clarkson, a second-period Golden Knights tally put Harvard in a 1-0 hole, but Harvard goals 47 seconds apart later in the period allowed for a 2-1 Crimson win. In its last game, Dartmouth broke a scoreless tie in the third period, but Harvard goals 1:05 apart propelled the Crimson to a 2-1 win.
Strong in the Second
The second period has been Harvard's best in terms of goal differential this season. 12 of Harvard's 30 team goals have come in the middle stanza, making it the Crimson's most productive period. Harvard has also allowed only six goals in the second frame, also a team-best mark.
The Final Month
While the Crimson typically only plays a handful of games in the month of December, Harvard has had success in those games. In the past three years, Harvard has compiled a 4-3-2 mark in the month of December, against primarily non-conference opponents. Harvard had a tough December last year as it dropped games to ranked local foes Boston College and Boston University, but took down New Hampshire on the road. Harvard was undefeated the year before, beating and tying then-No. 2 Minnesota and topping Connecticut, 2-1. In 2008-09, Harvard went 1-1-1 in December with a win at league rival Dartmouth.
Harvard Against Hockey East
Hockey East has become one of the strongest conferences in women's college hockey, but the Crimson still holds a winning record against Hockey East teams in recent years. Since 2009-10, Harvard is 5-3-1 against Hockey East schools, bolstered by an undefeated 2009-10 campaign. Harvard tied New Hampshire, 1-1, and defeated Connecticut and Providence, 2-1, at Bright. Harvard hosted and won the Beanpot that season, downing Boston College, 5-0, in the first round and Northeastern, 1-0, in the championship.
League's Elite
As a team, Harvard ranks among the top of the league in a number of categories. The Crimson boasts the second-best scoring offense in the league as one of just two teams averaging even or better than three goals per game at 3.00 per contest. Harvard has converted on 25.5 percent of its power-play chances, which also ranks second in the ECAC, and its 12 power-play goals rank sixth in the league, despite Harvard playing the fewest number of games of any ECAC Hockey squad. Harvard has also allowed just eight power-play goals this season, the third-lowest number in the ECAC.
Owning Rhode Island
The Crimson has played some of its best hockey against opponents from the state of Rhode Island. In fact, Harvard hasn't lost to a team from the Ocean State since the 2001-02 season. Harvard is undefeated in its last eight games on the road against Providence, with its last road loss to the Friars coming Feb. 7, 1998 by a score of 6-5.
Everyday Dempsey
Junior Jillian Dempsey has been a consistent force for the Crimson this season. Dempsey missed two games while suiting up for the U.S. Women's National team, but in the eight games she has played for Harvard, she has logged at least one point in seven. Dempsey has four multi-point games on the season and has notched two points, on a goal and an assist, in three of her last five games.
Killing Streak
Harvard put together a stretch of 19-straight penalties killed, beginning in the game against Clarkson Nov. 18 and stretching to the third period of the first of two games against Minnesota. Harvard went 8-for-8 on the kill against St. Lawrence Nov. 19, its best performance on the penalty kill since the 2007-08 season. The last time Harvard was perfect on the penalty kill in a game where it had at least eight penalties was Feb. 9, 2008 in a 5-0 win over Rensselaer.
Nov. 23 against Dartmouth, the Crimson was flawless on the kill once again, squashing six Big Green chances to stretch the streak to 17. The Crimson picked up two more kills through the first two periods against Minnesota, but the Gophers converted on a 5-on-3 to snap the streak.
ECAC Recognition
After helping the Crimson clinch the season series sweep against St. Lawrence and Clarkson last weekend, Laura Bellamy was named ECAC Hockey Goalie of the Week for Nov. 21. In Friday's game against the Golden Knights, Bellamy was outstanding, recording her second-highest saves total of the season, with 29 shots in a 2-1 victory. The Duluth, Minn., native was equally solid the following night against the Saints, turning aside 26 shots and helping the Crimson go a perfect 8-for-8 on the penalty kill for the first time since the 2007-08 season. The award marks Bellamy's second league recognition of her career, as she picked up a Rookie of Week nod as a freshman.
Face The Facts
Jillian Dempsey is the go-to person when it comes to faceoffs for Harvard. The junior has posted a winning faceoff record in four of her eight games played and had her best performance on the dot against Dartmouth Nov. 23. Dempsey won 18 of 29 faceoffs against the Big Green.


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Kom Kom Miracle Knife no 018, Zig Zag, an amazing multi function knife with a scalloped blade specially designed and meticulously manufactured. Kom Kom knife uses quality High Carbon stainless steel through advanced technology production for sharpness. The knife steel is hardened and tempered. For quickly slicing all sizes of fruits and vegetables. This knife can be used to decorate fruit, slice skin or meat, carve, peel, or core. Instructions are on the package. The knife is 7 and a half inches long. Product of Thailand.
Copyright © 2004 - 2019 GroceryThai.com


text:
Resumen de la oferta
Tipo de empleado:
Tampa, FL
Tipo de empleo:
Job ID:
Descripción del empleo
Are you seeking the next lucrative move in your sales career? Why not work for a Fortune 500 company with 36 years of revenue growth? We're looking for great sales talent throughout the US. This Sales Rep will spearhead the selling of Stryker Advanced Guidance Technologies, specifically for ENT Navigation. We are looking for an energetic, hungry sales professional with a passion for selling technology and capital equipment. Apply now if you have what it takes to be the Stryker ENT Guidance Sales Rep!
What you will do
As an Advanced Guided Technologies (AGT) ENT Guidance Sales Representative, you strategically promote and sell Stryker ENT Navigation products to meet our customers' needs. You confidently conduct product evaluations in OR and office settings, persuasively demonstrating the value of our products. Systematically tracking your territory progress, you proactively communicate your findings with your Regional Manager and push yourself to exceed each goal. When onsite with clients, you use your products knowledge and quick thinking to solve product problems and inform doctors, nurses and other staff as to the proper use and maintenance of our products. You take great pride in meticulously managing and maintaining your sample inventory of products and are prepared to assist a customer whenever the need arises. As a Sales Representative you love living in the fast lane and find purpose in selling Stryker products that are making healthcare better.
- https://ent.stryker.com/medical-devices/navigation
- https://nse.stryker.com/products/TGS-navigation-system/
Responsibilities include:
- Promotes and sells Stryker Advanced Guidance Technologies specifically ENT products (Target Guided Surgery Navigation System & Fiagon ENT Navigation System).
- Educates and informs doctors, nurses, and appropriate staff personnel as to the proper use and maintenance of Stryker AGT ENT Guidance products
- Directs product evaluations in OR and office settings
- May assist in the preparation and operation of trade shows, conventions, and/or clinical meetings
- Keeps Regional Manager informed of territory progress on a regular basis
- Provides best in class customer service
- Will assist in the training, development, and daily direction of local Sales and Customer Care personnel
- Managing and maintaining a sample inventory of products
A day in the life of a Stryker Sales employee will allow you the opportunity to:
- Live our core mission: Together with our customers, we are driven to make healthcare better
- Be a subject matter expert and educate and promote Stryker's products and procedures to healthcare professionals
- Work in a highly dynamic, competitive and challenging work environment that brings something new every day
Experience Desired
- 2+ years in an outside sales position (medical related fields or b2b sales preferred
- Capital sales experience is preferred
Education Required
- Bachelor's degree from an accredited university
Stryker will provide:
- Field sales training
- In-house product training
Additional Requirements:
- Excellent interpersonal skills
- Excellent analytical skills
- Excellent organizational skills
- Exerting up to 50 pounds of force occasionally and/or up to 20 pounds of force constantly to move objects
- Must be able to communicate with large groups of people
- Must be able to communicate telephonically
- Must be able to use common office equipment (e.g. fax, modem, calculator, PC, etc.)
- Up to 20% overnight travel annually
- Must be able to drive an automobile
- Must be able to readily solve customer complaints
- Must have fundamental command of all products and be able to disseminate this knowledge to the customer
This role is eligible for Stryker's Total Rewards Benefits: health, dental vision, 401K, etc.
Work From Home: Yes
Travel Percentage: Up to 50%Work From Home: YesTravel Percentage: Up to 50%Stryker Corporation is an equal opportunity employer. Qualified applicants will receive consideration for employment without regard to race, ethnicity, color, religion, sex, gender identity, sexual orientation, national origin, disability, or protected veteran status. Stryker is an EO employer – M/F/Veteran/Disability.Stryker Corporation will not discharge or in any other manner discriminate against employees or applicants because they have inquired about, discussed, or disclosed their own pay or the pay of another employee or applicant. However, employees who have access to the compensation information of other employees or applicants as a part of their essential job functions cannot disclose the pay of other employees or applicants to individuals who do not otherwise have access to compensation information, unless the disclosure is (a) in response to a formal complaint or charge, (b) in furtherance of an investigation, proceeding, hearing, or action, including an investigation conducted by the employer, or (c) consistent with the contractor's legal duty to furnish information.


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More used to seeing rocks covered in grime after billions of years of floating around space, a team of astronomers at MIT are scratching their heads over a surprisingly pristine rock in Kuiper Belt, near Neptune.
After first spotting the rock several years ago, MIT astronomer James Elliot finally found out the true nature of the 143km-wide KBO 55636 rock using "stellar occultation", discovering it was extremely hygienic in comparison to every other object he'd seen out there. Stellar occultation is when the rock obscures the light of a star once it passes in front.
Elliot said that the reflectivity is "very high, almost 90 per cent...that's consistent with it having a very highly reflective surface like water ice". Has an alien life-form taken to the rock with a large toothbrush and some bleach? [BBC via Discover via Ebert]


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On Friday of last week, President Obama gave his signature to the Consolidated Appropriations Act of 2014, which provides fiscal year 2014 appropriations for the projects and activities of the federal government. While the bill was signed more than three months into the fiscal year, it is the first time in several years that Congress has competed work on appropriations legislation, and not resorted to keeping the government running through a series of long term "continuing resolutions."
The agreement sets an overall discretionary spending cap over over $1.01 trillion and the measure is especially kind, given the current funding and fiscal climates, to the interests of anthropologists and others who seek research funding from the federal government. For example, overall funding for both the National Science Foundation (NSF) and the National Institutes of Health (NIH), actually increased, respectively, by over four and three percent. These two funding agencies, according to AAA research, are actually responsible for most of the Federal funding allocated to anthropologists.
The NSF received over $7 billion in the omnibus bill, and the so-called "policy riders" that have, in the past, restricted political science funding at the agency have been eliminated, and draft legislative language that would have threatened peer review were not included in the final legislative package. The NIH, by far the larger agency, received almost $30 billion in funding, with the expectation, according to the Senate Appropriations Committee that the monies would go to support "as many scientifically meritorious new and competing research grants as possible, at a reasonable award level."
The protection of social and behavioral science funding and the elimination of policy riders mark a huge legislative victory for the AAA and the coalitions that we work with. AAA staff devoted a lot of time and resources on Capitol Hill over the past several months not only meeting with personal office staff, but with staff from the authorizing and appropriation committees as well. There was a lot of talk in Congress both last session and in the current legislative session last year and this year about potential cuts for social and behavioral science funding, and our lobbying efforts has a lot to do with changing conversations about the importance of funding this portfolio of research.
If you would like more information about either AAA lobbying efforts or the omnibus appropriations legislation, please contact Damon Dozier, Director of Public Affairs at email@example.com.


text: I bought a $40 Tosagata at JWW like the one below and decided to do something about the handle. I looked around on the web and found a pre-made (and pre-drilled) pakkawood/ebony handle at EE for $45. I was hoping to use the "burn-in" method of attaching the blade to the handle, but was advised that I'd need an oxy-acetylene torch to heat the tang quickly enough to avoid overheating the blade. So I went to Plan B. After a little grinding on the tang and a little filing in the handle slot, I filled the slot with Gorilla Glue and pushed the tang in, being careful to align it. Worked like a charm. I was thinking of using epoxy, but couldn't find anything thin enough to flow into that small slot and fill the handle. And the Gorilla Glue is made for furniture, so I'm hopeful that it won't be too brittle for this application. The knife is made of (unspecified) blue steel, allegedly hardened to Rockwell 63. Takes a great edge, and it feels really good in the hand now.


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MAM Perfect 6+ Modern Pattern, unisex 5
Particularly tooth friendly
Curved for maximum comfort; Skin-friendly through big air holes.
Quick & easy to grasp. For easy attachment of a soother saver.
Symmetric shape, always fits perfectly in baby's mouth. Designed with dentists for a healthy dental development.
Silky soft & feels like skin. Extra thin and super soft thanks to the unique, symmetrical Dento-Flex® teat.
MAM Perfect
Why MAM Perfect? Why develop a pacifier with a nipple neck thinner and softer than any other?
Independent scientific and medical research has shown that there is a direct correlation between pacifier usage and baby's jaw and teeth development.
Right from the start, even before the first teeth become visible, parents should choose a pacifier that supports bite development. The general rule of thumb says: the thinner, softer, and more adaptable the nipple neck is, the better for jaw and teeth.
Medicine, design, high-tech – the MAM innovation
The goal of intense medical and technical research, in cooperation with internationally recognized experts, was to design a pacifier that reduces the risk of misaligned teeth. Thanks to Dento-Flex®, the MAM Perfect's nipple neck is 60% thinner and 4 times softer* and more adaptable than standard pacifiers! So that nothing gets in the way of healthy dental development.
*On average: 36 -76% thinner / 2 -8 times softer than regular silicone pacifiers
Вы возможно также заинтересованы в следующих товарах
MAM Perfect 6+ Modern Pattern
Пустышка для правильного формирования зубов6,00 €
MAM Night 6+
Светится в темноте!7,00 €
MAM Individual Toddler Box 6+
Прелестные надписи для маленьких законодателей мод19,00 €
Learn to Drink Cup Animal Friends 190ml
Легкий переход от бутылочки к чашке6,50 €


text:
We got our first (good) look at the Under Armour Curry 4 last week. Although I can't speak for everybody, the general consensus insists that this model is definitely an upgrade and improvement from the Curry 3. Today we get an even better look courtesy of Under Armour.
The Under Armour Curry 4 opts for a modern finish by coming with a knitted upper complimented by the reinforcements noted on the side panels. Giving the shoe even more of a contemporary look is the use of a sock-like ankle collar. The all-White shoe comes with a Metallic Gold (branding and speckling) accents said to be inspired by the hunt of the Larry O'Brien championship trophy. White laces and an icy translucent outsole complete the look of the shoe.
The Under Armour Curry 4 has no release date yet, but we can expect the shoe to makes its debut during the month of October. Stay tuned as more info begins to surface.


text:
|San Bruno, Calif.
|High School:
|St. Ignatius College Prep
|Political Science
Action Photos
2012 PCSC Academic Honor Roll
AS A SOPHOMORE IN 2013: Played in 49 games while starting in 48 … had 10 runs scored and 30 hits … led the team with the most assists (100) … collected 39 total bases … had three hits including a double vs. Fresno State on Feb. 22 … hit a triple vs. St. John's on Feb. 25 … had two hits including a double vs. Sacramento State on Mar. 3 … had three RBI and a homerun vs. Oklahoma State on Mar. 10 … had a RBI vs. Idaho State on Mar. 23 … had two hits vs. LMU on Mar. 29 … had a RBI vs. LMU on Mar. 30 … had two hits vs. LMU during their second game on Mar. 30 … hit a double vs. California on Apr. 17 … hit a RBI during their first game vs. USD on May 4 … had two hits and a walk during their second game vs. USD on May 5.
AS A FRESHMAN IN 2012: Enjoyed a productive rookie season, emerging as the team's everyday third baseman ... started in 34 games after being cleared to play after the first 15 games ... registered a hit in five of her first six college games, including a 3 for 4 night against James Madison (Mar. 7) .. went 2 for 3 and hit her first collegiate homerun at LMU (Mar. 31) ... doubled and had a season-high three RBI at Sacramento State (Apr. 7) ... hit a solo homerun at Pacific (Apr. 11) ... totaled 20 hits and nine RBI while playing solid defense at third base.
HIGH SCHOOL: A 2011 graduate of St. Ignatius College Prep in San Francisco, where she led the Wildcats to the Central Coast Section (CCS) playoffs for the first time in school history … three-year varsity starter in the infield, earning All-Western Catholic Athletic League (WCAL) honors three times … was a First Team All-WCAL shortstop as a senior … named All-San Francisco First Team as a senior in 2011 … ESPN Rise All-State nominee all three prep seasons … earned the St. Ignatius 'Coaches Award' as a junior and senior … played club volleyball and also played basketball as an underclassman.
PERSONAL: Born in Redwood City, Calif. as the daughter of Mike and Connie Newell … has two older sisters, Michele and Cristina … has three nieces, Samantha, Taylor and Riley … excellent prep student, majoring in Political Science at SCU.


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Think just because it's 2012 we're going to stop running Top 5 of 2011 lists? Nope. As long as you keep sending them, we'll keep posting them. Well, maybe not, "as long as" maybe for just a week or two. Go ahead, try us.
5. Cake – We're gonna eschew some kinda "Have your cake and eat it too" or a "Let them eat cake" or "Like a fat kid loves cake" (who are you calling fat?! Sue runs off crying…) reference and just say birthdays will no longer be spent in Applebee's like the slobs of suburbia anymore. We wanna spend it alone, in a dirty wife-beater, watching reruns of intervention drinking this stuff. It's that good, even if it is the most alcohol-like tasting thing on this list. Also, Darryl wants to say this is probably the only food stuff available on set at a Max Hardcore shoot. Well, that and shame.
4. Marshmallow – Less alcohol taste than #5 and it tastes like friggin marshmallows! And not in a nasty, super sweet way either. You can almost taste the powdered sugar that should surround each shot of this stuff. You'll feel like the stay-puff marshmallow man just jizzed in your mouth, in a good way.
3. Whipped – The OG of the flavored vodkas could have been number one based solely on nostalgia. We could write loving essays about all the memories this wonderful creation has made hazy and forgotten. It comes in 3rd though, but if there's any place to start the flavored vodka journey, it's here.
2. Le Double Espresso – Move over Bloody Marys, there's a new breakfast drink in town! Like coffee? Good, now imagine all that taste (and some of the caffeine) but as a vodka! Looking to get smashed at work? Just add a shot to your coffee (or add a shot of coffee to your vodka) and mum's the word. This flavor leaves your breath smelling like coffee, not booze.
1. Butterscotch – "This is gonna be a problem" are the words of any serious drinker who tastes this stuff. Others will say "wow, this tastes like butterscotch," or "This is amazing," or "I need an adult!" That good. We've compared it to the taste of butterscotch smart water, if such a thing existed. See the problem? Neither do we.
TOP 5 CHASERS for the TOP 5 PINNACLES LIST aka WHAT TO GET THE PERSON WHO HAS EVERYTHING: Are you still chasing shots with a drink? Pfft. That's so 2010. We've moved onto the diabetes type 2 approved, solid chaser list. All of these chasers compliment any of the vodkas perfectly but some are just slightly more yum than others.
5. Meats! – Preferably ham or bacon but steak would do just fine if you're in a pinch. Just a smack of meat is all you need to achieve the delish salty/sweet combo, no need to eat the entire animal.
4. Chocolate chip cookies – Many of our favorite vodkas are almost sugary sweet so it's nice to chase it with something that's more of a mellow sweet. Bake 'em from scratch or get left-overs from your holiday party, pop 'em in the microwave, and you'll be well on your way to morbid obesity.
3. Chocolate covered pretzel – It's pretzels and beer for the new Willenium. Bonus points if the pretzel has jimmies or nuts on it or if you dipped the pretzel in chocolate yourself… because we're keeping score, right?
2. Chocolate and peanut butter granola bar – An entire bar is a little much but cut one of these babies into sixths, stick a toothpick in each one and the whole affair turns super classy. Pinkies up!
1. Reese's cup/pieces/fast break/big cup/whipped/minis/sticks – Anything the Reese's company poops out makes the best chaser for these tasty vodkas because what goes better with sweet vodka than more sweets?! Now all you have to do is pick out what color Hoveround you want when you become too obese to walk.
*after tasting many of the Pinnacle fruit flavors, we decided that they were pretty similar to other fruit vodkas on the market and just weren't tasty enough to make the list. Mix any of them with cranberry juice and have a good f'n time.


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Millions Of Americans
Millions Of Americans (born May 23rd, 1969) is a famous celebrity endorser. He primarily works in medicinal ads, although he has been mentioned in countless other commercials.
Early life[edit]
Millions was born in Colby, Kansas to Staci Americans, a struggling single mother who, like many of her lower tax bracket peers, was terrible at picking names. The name "Millions" was chosen after a deal was made with God in order to win the lottery, a deal that God reportedly still has yet to honor.
Staci Americans recalls Millions' school years as the first sign of what would be his most unusual life. His mother was brought to school a week after he was enrolled and discovered that Millions Of Americans suffered from ADHD, ADD, Asperger's Syndrome, high-functioning autism, and dyslexia in elementary school. As years went by, Millions learned to deal with these mental conditions, only to learn upon entering middle school that Millions Of Americans suffered from anorexia and bulimia.
High school brought even more worries into the Americans' lives. Millions Of Americans had trouble making friends, maintaining good grades, getting into good colleges, and paying for the ones he did get into.
Throughout his childhood, Millions Of Americans suffered from child abuse at the hand of his mother. When she was later confronted about it, she told Dateline that "Millions Of Americans made poor grades in school and used drugs and alcohol." Doctors also commented on Millions Of Americans' alcohol addiction, saying that Millions Of Americans developed alcoholism from his mother.
In 1988, Millions Of Americans had no job. He moved to San Francisco to find a woman . He wanted to take out a loan and start a frozen yogurt stand. However, he learned that Millions Of Americans' small businesses fail within the first year.
Americans' career in advertising began after a chance encounter at an Applebees. An advertising team working on a campaign for Zantax overheard him telling a waitress that he couldn't eat rare meat after he learned that Millions Of Americans get food poisoning from rare meat. They offered him a contract, which he declined at first. After some negotiation and a few too many hot cocoas (Millions Of Americans suffers from caffeine addiction) he signed a contract that allowed them to use his name without requiring him to actually appear in the commercial or even record his voice. He simply signed the contract and began receiving checks at home.
Initially, Millions Of Americans rejoiced at the idea of free money. Millions Of Americans made several appearances on morning talk shows, and had an interview published in the Wall Street Journal.[1]
During the nineties, Millions of Americans lived comfortably, started a family with a wife and two children, and moved to Los Angeles. Life was good for the Americans. However, Millions decided to become involved in politics after the 2000 election. Millions Of Americans did not vote for George W. Bush and believed that the entire election was a sham. The years that would follow only caused Millions Of Americans to become more and more outraged.
In 2004, Millions Of Americans decided to run for president.
Millions Of Americans ran on a populist platform that called for nationalization of health care, greater control over businesses, and tax cuts for the middle class. He endorsed an end to the war in Iraq, while calling for an increase in military spending to strengthen national defenses. However, he did not receive support from the Democratic party and knew early on that he stood little chance of winning the party's nomination after he was told by DNC chairman Howard Dean that "we feel like throwing another election down the toilet. Maybe in '08, champ."
Millions Of Americans, angry at the Democratic party for their consistent lack of interest in winning elections, voted for George W. Bush in 2004.
Return to advertising[edit]
While his bid for the presidency did not last very long at all, he still received attention from a variety of special interest groups, to include the American Dental Association, the National Rifle Association, and a number of consumers' rights groups. He agreed to lobby for them, and was considered by many to be the perfect spokesperson for what seemed like virtually any industry. Millions Of Americans willingly signed deals with these groups, sharing that he himself suffered from gingivitis, owned a gun and had been in a car accident as a result of a faulty car transmission. He also continued to endorse prescription drugs that he personally felt were important; Millions Of Americans suffered from genital herpes, skin cancer, and erectile dysfunction.[2]
In late 2007, Millions Of Americans was diagnosed with Parkinson's Disease, AIDS, ALS, and polio. Since then, Millions Of Americans has become an avid supporter of stem cell research. After appearing in a television ad endorsing the controversial research, Rush Limbaugh received much negative attention after he stated on his show that "Millions Of Americans faked it."


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On Friday and Saturday, the San Francisco streets were a bit more dressed up with the presence of a refurbished Chanel trolley car. Decked out in signature black and white, the Chanel Nº5 Trolley featured tweed seats and a six-window display detailing the history of Chanel Nº5.
The exhibit began with Chanel Nº5′s start as a creation of Gabrielle Chanel and perfumer Ernest Beaux and a 3D printed replica of 31 Rue Cambon.
Next, the evolution of the Chanel Nº5 bottles was displayed – also 3D printed replicas – along with the current Chanel Nº5 ad campaign featuring Brad Pitt.
As you walked through the Chanel Nº5 trolley you were invited to experience the scent of May Rose – one of the main ingredients of Chanel Nº5 – and the sweetest, loveliest rose scent I have ever experienced.
The exhibit closed with experiencing the different iterations of Chanel Nº5 – Chanel Nº5 Parfum, Chanel Nº5 Eau de Toilette, Chanel Nº5 Eau de Parfum and Chanel Nº5 Eau Premiere.
To experience each of the different interpretations of Chanel Nº5, Chanel had its patented, exclusive ceramic blotters. The use of ceramic blotters allows the user to experience the truest form of the scent without the need for spraying. While other perfume brands just water down the scent to create Eau de Parfum and Eau de Toilette, Chanel does not engage in this practice. Instead, adjustments are made to the basenotes of the fragrance for each interpretation.
Created in 1921, Chanel Nº5 Parfum is a blend of florals and aldehydes with May Rose and Jasmine, both from Grasse, France at the forefront. In 1924, the Chanel Nº5 Eau de Toilette was created with the Sandalwood scent enhanced creating a more woodsy scent. We don't see a new development until 1986 with the creation of Eau de Parfum, by Chanel Master Perfumer Jacques Polge, which softened the Jasmine and Ylang-Ylang notes. There was a large time span between the creations of Eau de Toilette and Eau de Parfum because before the 197-s Eau de Parfums did not exist. Finally in 2008, Jacques Polge created Chanel Nº5 Eau Premiere, a modern, lighter interpretation of Chanel Nº5.
After experiencing each of these fragrances, I was surprised to learn that I had never actually smelled the original Chanel Nº5. I knew that the main ingredients were May Rose and Jasmine but I could never find them in the scent. That's because the Chanel Nº5 that I was familiar with was the Chanel Nº5 Eau de Parfum and I didn't know that each interpretation was a bit different. I'm so happy that I was able to experience the true essence of Chanel Nº5 in the Chanel Nº5 trolley!
After guests made their way through the trolley to view the exhibit, they were helped off the trolley by handsome models and given a ticket that was stamped – with a stamp in the shape of a Chanel Nº5 bottle.
Once you received a ticket you were invited to visit Macy's to receive a free sample of Chanel Nº5 Eau de Parfum and Chanel Nº5 Eau Premiere.
Visiting the Chanel Nº5 was a wonderful experience – and a lovely way to start off a day of holiday shopping in Union Square, San Francisco. Attending a Chanel event lets you experience the brands exquisite attention to detail where absolutely nothing is overlooked. From the immaculate design of the trolley complete with interlocking C's on the hubcaps and steering wheel, to the tweed on the seats, to the little Chanel Nº5 bottle stamp for the tickets. If you were in San Francisco I hope you had a chance to experience this for yourself. If not, I hope you enjoy the photos.


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The Lone Cypress (My World #98)
Isn't she a beauty? Perched in her throne overlooking the ocean.
This is my entry for this week's MY WORLD. See what people shared in their world, click here.
Amateur photog's online photo cache. All photos are original pics taken by author and her husband. This is not a place to see those awe inspiring Ansel Adams, these are ordinary subjects shot on a whim most of the time.
This tree has a very interesting story for me, Maria, which relates to Donica's mother (who passed away in 2008). When she retired from her work in Monterey, her co-wrkers gave her a beautiful gold replica of this tree on a necklace. The story is longer but it's the only thing I wanted of hers after she died. I wore it for about a year.... I have never seen the tree in real life, even though I was in Monterey a couple times. Thanks for showing it to me/us.ReplyDelete
i picked my favorite photo in this photo. it's the fifth photo. enchanting!ReplyDelete
what a beautiful and strong tree. i love the fifth and sixth photos.ReplyDelete
the tree looks lonely. :(ReplyDelete
i first heard of a lone cypress tree from a manga/anime...hmmm or was it cedar?!? :D ganda!ReplyDelete
The tree definitely looks regal on that point overlooking the ocean. Thanks for bringing this lone cypress to us.ReplyDelete
She is a beauty and as always your photography is so good at capturing what you see.ReplyDelete
A great series. That tree does look outstanding on its own there. I loved what I saw of the California coast (including Monterey on our visit in 2007, and can't wait to go back for more.
Thanks for finding my blog and commenting...
Breathtaking place and your captures are superb as always! I particularly love the last two. Hope you have a wonderful week! Enjoy!
It's a pretty tree in a gorgeous location!ReplyDelete
That is a beautiful tree, the shape is so elegant, and the location is unbeatable. It's nice to know that they're around the world now. But $9 to see a tree seems pretty steep!ReplyDelete
Trees have stories too, wish this old tree could speak.ReplyDelete
I can't imagine the storms that this one solitary tree on that very exposed perch have been through all these years. Really a toughie huh!ReplyDelete
Wow! We're so snowy here, but you saw my photos! Thank you for visiting My World !ReplyDelete
she is a beauty and a toughie! imagine standing there alone all these years. i like taking photos of lonely trees.ReplyDelete
Beautiful shots. Amazing location for the tree.ReplyDelete
she's a beauty with personality. thanks for sharing your world.ReplyDelete
brilliant! the elegance and dignity with which it stands captured so well!ReplyDelete
I love old gnarled trees that are true survivors in a harsh climate. A very beautiful Cypress indeed.ReplyDelete
Wow - a lovely beauty!ReplyDelete
oh, i do hope it'll live more years for the next generations. It's just so amazing that it was able to stand through the years amidst all the elements. The boardwalk and the stairs are assuring to see that people can actually see and appreciate it closer.ReplyDelete
oh yes, the famous and most photographed Cypress tree in Monterey.:p so beautiful! nainggit tuloy ako. heeheeReplyDelete
Wow...can´t believe that this Cypress can survive there. You captured it so well!ReplyDelete
A lovely post on the Lone Cypress of Monterey. The last two photographs speak a lot.
Thanks for sharing, and have a lovely day in this wonderful world as we continue to sing in harmony.:)
Nice capture :)ReplyDelete
She is a beauty. No wonder it's $9 to see her.ReplyDelete
The Grove, the Row, the Cypress - Monterey is quite some place. And with happy flowers when it rains. That cypress is quite a tree - very photogenic. Some of you pictures has me thinking of a Japanese garden.ReplyDelete
It is gorgeous indeed! Love, love, love Monterey.
Thanks for the visit... I have the price of the villa na, I actually couldn't recall how much but I asked. :-) Check out my post again.
Thanks for sharing this, ewok. I had not heard of this tree but admire it through your photos. I think it just went on my destination list for a future visit.ReplyDelete
Thanks for commenting on my blog. It's a lovely place and worth visiting to see her! Thanks for sharing.ReplyDelete
Sitting on the edge of the coastline, that lone cypress has seen and felt the force of all kinds of weather... for over 300 years... it's amazing it's not more battered looking. Lovely series of photos.
[I'm no flower expert, but I don't think cadena de amor is the same as jasmine; however, the former does grow in white as well as pink. :-) ]
Very nice images! The Lone Cypress is fantastic.ReplyDelete
What a great place! Love the trees and your photos too.ReplyDelete
Gorgeous shot - isnb't the drive along the coast stunning? This is one of our favourite spots to visit when we're in the Monterery area.ReplyDelete
Fabulous coast and very interesting tree!ReplyDelete
Indeed that is a beautiful tree! How very romantic to be surrounded by water.
Are you drawing up list of resolutions for 2011?
Many thanks for your patience, and for visiting Norwich Daily Photo and leaving your comment. Come visit again tomorrow!


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Michigan Bars Using Coasters With QR Codes To Help Drunk People FInd A Ride Home
There will be lots of green beer going down (and unfortunately coming back up) the throats of drinkers around the country this weekend. But a new initiative in Michigan is hoping to keep drunk bar-goers from getting behind the wheel by giving them a way to find the number for a nearby taxi service.
The state's Office of Highway Safety Planning has placed coaster more than 500 bars and restaurants around Michigan that are printed with a QR code that, when scanned by a smartphone, will provide a list of numbers for cabs in the area.
Michigan officials are hoping this approach will appeal to the younger crowd of revelers who are supposed to be tech-savvy, especially since men in the 21-34 age group represents a significant chunk of those involved in drunk driving accidents or arrested for driving under the influence.
"The goal, always, is to encourage motorists to be safe and responsible when behind the wheel," said Michael L. Prince, director of OHSP. "The coasters are meant to reinforce this important message."
This all sounds like a nice idea — Give drinkers an easy, one-click way to find a list of local cabs. But we wonder if the folks that came up with this idea saw this study that showed how most college students have no idea how to scan or what to do with a QR code.
Want more consumer news? Visit our parent organization, Consumer Reports, for the latest on scams, recalls, and other consumer issues.


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The "American Idol" chopping block came down hard on Thursday night, sending four hopefuls packing.
Janell Wheeler, the blonde 24-year-old wine saleswoman from Orlando, Fla., who reportedly has a link to exiting Gators quarterback Tim Tebow, was first to get the cut.
"I had a feeling," she said after show host Ryan Seacrest delivered the news. "I really wanted a chance to play my guitar and do what I do best one more time."
Also sent away was Eva Longoria look-a-like Ashley Rodriguez, 22, from Chelsea, Mass., who had performed "Happy," a song made famous by Simon Cowell's "X Factor" protege, Leona Lewis.
"I want to say thank you to everyone who has supported me from day one," Ashley told the audience.
In more shocking elimination news, Joe Munoz, a judges' favorite from Wednesday's round of live competition, was sent home. Floppy haired Tim Urban, a latecomer to the Top 24, was saved by the cut and the camera panned to the 20-year-old Texan as he put his hands in his hair and held a stunned expression on his face.
As for Joe, he took his dismissal in stride.
"America votes, so I wasn't expecting anything," the singer said. "I was just waiting for things to happen."
The final elimination of the night was Tyler Grady, 20, from Nazareth, Penn., the young man who was influenced by '70s rock and bore a striking resemblance to Greg Brady's alter ego, Johnny Bravo.
And Tyler didn't hold back when asked about the judges' criticisms of his Wednesday performance of "American Woman," which they said was cliche.
"All the judges, I really had a great time with them, but I feel like I didn't get much constructive criticism during Hollywood Week," he said. "And I feel like what they told me [on] Wednesday, was a little bit too late."
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Ellen DeGeneres
PLAY IT NOW: Meet The 'American Idol' Season 9 Top 24 - Girls, Part I
PLAY IT NOW: Meet The 'American Idol' Season 9 Top 24 - Guys, Part I
MORE ACCESS ON THESE TOPICS: American Idol - TV - Reality TV


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French Muslims Join the protest against the Deceptive Gender Equality School Campaign*
Tens of thousands of supporters of the conservative "Manif pour Tous" movement gathered in Paris on Sunday to protest against gender equality teaching in schools and fertility treatment for same-sex couples.
Sunday's march included a prominent Muslim contribution in a protest movement, originally opposed to gay marriage legislation that was passed in 2013, that has so far been overwhelmingly linked to far-right political parties and to conservative Catholic groups.
The "Manif Pour Tous" (MPT) mounted huge protests before legislation was passed in 2013 allowing gay marriages. Its focus now is on a family law, due to be debated later in the spring, which would allow for medically-assisted procreation (MAP) and IVF treatment for same-sex couples.
Many protesters also told FRANCE 24 they were worried about the state's role in sex education, and the supposed "gender theory" lurking behind an "ABCD of equality" initiative aimed at breaking down gender stereotypes in schools.
The demonstrators claim the move is a deliberate attempt to brainwash children from an early age against what they consider the "natural" differences between men and women, boys and girls.
"The state has no business lecturing children on subjects as private as sexual identity or of imposing adult preoccupations on young children," said MPT leader Ludivine de la Rochère, voicing a concern shared by many of the Muslim associations that joined Sunday's march through central Paris.
Among the heads of the various groups was Samir Driss, of the Muslims for Childhood group.
He told FRANCE 24 that increasing numbers of Muslims were joining the MPT movement, despite its Christian and far-right reputation, attracted to its traditional and conservative view of family life.
"Education should be about teaching children skills so that they can get jobs," he said. "Sex education is not going to get them into work. Sexuality is a subject that I will raise in front of my children when I see fit. I don't want my children to go to school to learn about touching each other."
'I cannot accept it'
His words were echoed by Camel Bechikh, who heads the 'Sons of France' association of patriotic French Muslims.
"The state is responsible for practical instruction of children in schools, not their moral education, which is the business of the family," he told FRANCE 24. "When I take my children to school I expect them to be taught history and geography. I don't want them to be told the state's idea of what is morally right or wrong. That is my job as their father and head of the family."
At the very front of the march, which was dominated by middle class ethnically French demonstrators, Najib Guarraz was among a group holding a huge banner bearing the words, in French and in Arabic: "French Muslims opposed to same-sex marriage."
The 54-year-old father of two told FRANCE 24 he was protesting because the government was "screwing with children's heads".
"I am opposed to gender theory lessons in schools, I am opposed to same-sex marriage," he said. "We are in the process of destroying the fundamentals of French life.
"Gender theory will screw up our children. They are telling them that 'maybe you are a boy but you also have a bit of girl in you, and it's up to you to choose your sex.
"It's not on. Adults are screwing with children's heads and teachers are being trained to poison their minds. I cannot accept it."
Sunday's protest comes a week after several thousand people marched through Paris in a violent "Day of Anger" against the policies of President François Hollande's Socialist government, including last year's law allowing gay marriage.
Related Topics:
California Schools Prepare for Transgender Anti-Discrimination Law Changes*
Hollywood Pedophilia on the Line: Corey Feldman Speaks Out*
How Feminism Destroys Society*
A Child's Personal Sovereignty… Stolen!*


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Hope I'm wrong here and am a dory twat, ( lol ) but it was on the sky team news, I'm sure it said Keane and Jagielka to miss tonight's game. How reliable are sky ?
Maybe they know that koeman will play all his number tens centrally, I guess thats what he meant by playing Vlasic centrally.. Centre back Vlasic along with Klaassen. Rooney and Sig in the centre of midfield! i found away we can incorporate them all in to a team.. oh and Barkley behind DCL
Lyon are almost 3/1 I'm putting 500 on them, free money
Whove you robbed to get that? Coz your level of intelligence couldnt earn you that money.
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Thanks to Bonus, over at FB, the following post came to my attention.
I think this is a very interesting concept and I'm looking forward to see Atari ST graphics man to try this out.
A forum about Atari 16/32 computers and their clones. This forum is in no way affiliated with Atari Interactive.
Moderator: Moderator Team
Spectone wrote: ,,,
The only question I have with this palette is how close can the ST reproduce the colours. I don't currently have a cable to connect mine to the TV to see what it looks like.
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Access the untapped knowledge of your networks
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