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She is full of life, energy and most importantly always smiling. Remember the girl with red streaked hair in Jaane Tu…Ya Jaane Na? Meet Sugandha Garg, the next 'it-girl' on the block! The 'spontaneous' actor was recently in Delhi for her show It happens only in India, which showcases some of the most amazing and quirky stories from across the country.
Last seen on a television show, What's with Indian Men Sugandha says, "Indian men are really close to their moms, they are 'momma's boys'. But, they take real care of their women. On the other hand, they are really confused about the concept of the 'modern' woman." Ask her about the men in Delhi, she laughs and says, "Men in Delhi are slightly aggressive, they are possessive and even flirt."
Gul Panag, former Miss India and Bollywood Actress, complained about eve teasing in Delhi on Twitter, a social networking website. According to Gul Panang's tweet : "Delhi men won't let go of any opportunity to touch women." After reading this tweet post many inhabitants of Delhi felt offensive. According to them just because of the misdeeds of one or two people, we can not blame the whole city.
However, Gul Panag was defensive and later said that she has full right to generalize the statement as it is not about a celebrity but about every women in Delhi. She strongly felt that women of Delhi would agree to her experience. Apart from Gul Panag, few other bollywood celebrities are of the same opinion. In an interview with Hindustan Times, Minnssha Lamba, actor and model said " Men are same every where .. their behavior depends on their social conditioning" Sophie Choudry, a singer, also said "The average Delhi Guy still has a slightly regressive attitude towards women."
Related articles
- 'National' govt & media sinks into obsolescence (indologygoa.wordpress.com)


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Tim Hardy: 1987 Suzuki Samurai
The Ultimate Rigs of UA 2011
Ali MansourWriter4 Wheel & Off-Road StaffPhotographer
Driver: Tim Hardy
Stomping Grounds: The Wild West
Tim Hardy is a virtual walking, talking Swiss Army Knife. He can make stuff that doesn't exist, repair the irreparable, and even manage to pull a trailer through trails that the average rig can barely drive through. Tim has been on almost all Ultimate Adventures, each time piloting one of his seemingly low-budget yet indestructible Suzukis. And while the UA F-150 was the first official IFS rig to lead the pack, it hasn't been the only IFS rig on the UA. Tim piloted an IFS Sidekick on UA 2007.
- Engine: Stock
- Transmission: 5-speed
- Transfer Case: Stock with a custom low-range gearset
- Axles: EZ Locker, 5.12 gears
- Springs & Such: Spring-over with Rancho shocks
- Tires & Wheels: 35-inch BFG M-Ts custom grooved on 15-inch aluminum wheels
- Custom Samurai trailer on 35s that hauls enough spare parts to build an additional Samurai
Related Articles


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|Total Items = 0
|Total Price = £0.00 GBP ($0.00 USD)
Mary Ward Books is an independent online bookstore specialising in second hand, out of print books and used books such as The Book of Golf Quotations by Bob Chieger, Patrick Sullivan. We offer a book search facility and secure payments via PayPal and Nochex.
We aim to be of service, please click here to read our testimonials from past customers - and please feel free to leave your own feedback!
Mary Ward Books is based in East Anglia, United Kingdom. We were established in 1997 and have been selling books online since 2002. We ship worldwide, please click here to see our shipping charges for The Book of Golf Quotations by Bob Chieger, Patrick Sullivan.
We have many other books in our Sport - Ball Games. section for sale of which below is a selection - Please feel free to browse them or press the 'continue shopping' button below to see the entire Sport - Ball Games. category.
The Book of Golf Quotations by Bob Chieger, Patrick Sullivan Price: £6.93 GBP ($0.00 USD)
The Book of Wimbledon by Atkin, Ronald Price: £6.3525 GBP ($0.00 USD)
The Boundary Book: Second Innings : a Lord\'s Taverner\'s Miscellany of Cricket by Leslie Frewin Price: £18.15 GBP ($0.00 USD)
The Illustrated History of the Test Match by Arnold, Peter Price: £9.24 GBP ($0.00 USD)
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Tag: titans
T.C. Williams rebounds with thrashing of Lee Lancers
On the road and looking to rebound after two consecutive home losses, the T.C. Williams Titans dominated against a winless Robert E. Lee team...
T.C. Williams Titans struggle in season-opening win
The T.C. Williams Titans officially opened their 2011-12 campaign with a solid win Saturday night, but questions about the team's identity remain. The Titans bowled...
End of an era for T.C. basketball
Loss ends T.C.'s four-year district championship run
Late Goal Dashes T.C. Playoff Run
Langley advances to Northern Region quarterfinals in field hockey with 1-0 win over Titans.
A roundup of Alexandria high school football results from last week.
Titans Roundup
Recent scores from T.C. WIlliams High School.
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Rusting barrels of nuclear waste dumped by UK between 1950 and 1963.
Enlarge image
Nuclear waste is often just dumped with little thought to safe storage.
Decommissioning nuclear facilities will also create large amounts ofradioactive wastes. Many of the world's nuclear sites will requiremonitoring and protection for centuries after they are closed down.
The global volume of spent fuel was 220,000 tonnes in the year 2000, and is growing by approximately 10,000 tonnes annually. Despite billions of dollars of investment in various disposal options, the nuclear industry and governments have failed to come up with a feasible and sustainable solution.
Most of the current proposals for dealing with highly radioactivenuclear waste involve burying it in deep underground sites. Whether thestorage containers, the store itself, or the surrounding rocks willoffer enough protection to stop radioactivity from escaping in the longterm is impossible to predict.
An example of where industry plans have been exposed as flawed is the proposed dump site at Yucca Mountain in Nevada, US. After nearly 20 years of research and billions of dollars of investment, not one gram of spent fuel has so far been shipped to the site from nuclear reactors across the US. Major uncertainties in the geological suitability for waste disposal at the site remain, with on-going investigations into manipulation of scientific data and the threat of legal action by the State government.
In addition to high-level waste problems, there are numerous examplesof existing disposal sites containing low level waste which are alreadyleaking radiation into the environment. Drigg in the UK and CSM in LeHague, France being just two.
Currently no options have been able to demonstrate that waste will remain isolated from the environment over the tens to hundreds of thousands of years. There is no reliable method to warn future generations about the existence of nuclear waste dumps.
Remember that renewables are the future!
Read about he Real Face of the IAEA's Multilateral Nuclear Approaches, the proliferation of nuclear weapon material & environmental contamination report.
Download our Nuclear Glossary.
Noveber 2009 Greenpeace expedition to AREVA uranium mines in Niger found high levels of radioactivity in the nearby town of Akokan where villagers are exposed daily.
This briefing details why nuclear power is neither a necessary nor a beneficial part of a sustainable energy strategy for countries experiencing rapid industrialisation.
Nuclear energy is often touted as a solution to climate change, however, economically inefficient, however carries enormous dangers in terms of waste, is economically inefficient and will have a marginal impact on emissions.
The European Pressurised Reactor (EPR) is a new reactor design developed by the French company AREVA in co-operation with the German firm Siemens. Serious doubts have been raised about the safety and cost of the EPR. Study of the EPR's blueprints...
1 - 4 of 4 results.


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Orgran Buckwheat Pasta Spirals (Gluten-Free) -- out of stock
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ORGRAN GLUTEN-FREE BUCKWHEAT PASTA SPIRALS (8.8 oz.)
Orgran Buckwheat Pasta is a nutritious, quality pasta product, which is
naturally wheat-free and gluten-free.
Buckwheat is not related to wheat in any way
and actually belongs to the rhubarb family of plants.
It is one of the best sources of high-biological
proteins in the plant kingdom.
Ingredients: stone-milled buckwheat flour (80%), and
rice flour.


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At first I thought it was impossible to even think about it — a streetstyle blog that documents style in Manila. My apprehensions included my perception that there just weren't enough stylish people, that it's impossible to dress up well in a tropical country since we couldn't use many layers, and that, well, the Philippines is a third-world country and one needs money to dress well.
Guess what? I was proven wrong time and again.
The pictures I have taken for my other blog, La Folie Douce, show that people with different personalities have their own way of showing them through their clothing, which even in a single layer are more than enough. I have found stylish people not just in fashion shows and amongst the fashion crowd; I have also spotted them in the numerous malls scattered across Manila, bumping into them while walking in the business district or finding my way in the dirty, littered streets of the old capital. Of course, not all of them were wearing designer clothing. I have found that the more creative and sophisticated are the most well-versed in flea-market bargaining.
Indeed, style is everywhere. One need only to pay attention and look close enough.
Someone asked me what I looked for when I took pictures. I said that no matter what they were wearing, every piece should be "them"—a part of their identity, like an unmistakable badge. I know it's very abstract, but you'll know it when you see it.
I find that such stylish people find it easier to smile and laugh at themselves while staying confident. This I'm sure is true not just for Manila, much less, just for the "third-world".


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The Persistence of Vision Raytracer (POV-Ray).
This is the legacy Bug Tracking System for the POV-Ray project. Bugs listed here are being migrated to our github issue tracker. Please refer to that for new reports or updates to existing ones on this system.
FS#288 - Tolerance problem with refraction in blobs in CSG intersections.
Opened by Simon (infoised) - Monday, 29 April 2013, 18:49 GMT
Last edited by William F Pokorny (wfpokorny) - Tuesday, 17 January 2017, 17:54 GMT
If a blob is intersected by something else, the composite object has incorrect refractions if it is too small (in absolute units). Having the same object constructed without a blob, the errors happen at much smaller scales. The errors don't affect solid objects, just refractions.
An example shows a half-sphere, constructed as CSG sphere + plane, and identical half-pshere, constructed as CSG blob + plane. When the scale of the entire construction is changed, the refractions disappear first for the blob, and at 100x times smaller scale, also for the sphere. The right side shows the solid version, showing that the surface intersection test is ok, it's just the refraction that fails.
The problem is not present when looking from the curved side (the blob side). So the ray that hits the blob, gets refracted correctly, but the ray that hits the intersecting plane first, and should then refract in the blob from the inside, doesn't work. If in attached sphere, you exchange -y with y in clipping planes, everything is ok.
The scale when this happens is not very small - blobs of radius 0.02 already fail (noticed because in 1=1metre scale, blob raindrops on a glass plate didn't have intersections when looking from the back).
Examples are named by factor=9,0.9,0.09,0.009 and you can see first the blob (top) refraction gets smaller and disappears, then later the bottom (sphere) also gets the same problem.
- Field changed: Status (Unconfirmed → Tracked on GitHub)
Now tracked on github as issue #187.


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Clock card racks are for employees to store their clock cards when CLOCKED IN or CLOCKED OUT, placed either side of the clock. Fitting racks will improve clocking speed as it forces traffic in one direction. Don't use the same racks for both purposes as it creates a traffic jam, it slows clocking, and costs you money.
Fit them so the first rack they naturally walk to when coming to work is the 'OUT' rack, they take their card, clock in, and as they move forward they put that card in the 'IN' rack.
Stay Organised with a Time Card Rack for this Card, available by clicking here.


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Thousands of people turned out Saturday to give Olympic Gold medalist Laurie Hernandez a hero's welcome in her New Jersey hometown.
The 16-year-old gymnast traveled to the gathering in Old Bridge in a motorcade that included police, local officials and gymnastic groups.
The event culminated with a ceremony at a school football field where residents packed the bleachers, many cheering and holding signs praising Hernandez's efforts.
Hernandez won gold and silver medals in Rio de Janeiro. She was the youngest member of the five-person U.S. Olympics gymnastic team.
Her teammate Aly Raisman was also treated to a festive welcome Saturday in her hometown of Needham, Massachusetts. The Boston suburb hosted a "Rally for Aly."
Raisman won two individual silver medals and a team gold medal in the games that wrapped up earlier this month in Rio de Janeiro.


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Buy the best flavored coffee beans online
Flavored coffee fans, we get you. We know who you are, we know what you like, and we understand why you like it.
Flavored coffee fans, we know you've been misunderstood and mistreated before. You've heard the coffee snobs behind you in line snickering when you order. You've caught the barista rolling her eyes. And time after time, you've been sold flavored coffee made with inferior grade beans, just because certain closed-minded people think the good beans would be wasted on flavored coffee.
Flavored coffee fans, it's time to stand up for yourselves. After all, good coffee tastes great. So does vanilla. And they taste great together. What could be wrong with that? Not a thing.
We look at it this way. If a coffee from one country tastes great, and a coffee from another country tastes great, and their flavors complement each other, why not blend them together to make a brand-new great tasting coffee? That's what we do every day: we mix flavors to produce new coffee blends. So what if a flavor happens to come from something other than a coffee bean? If the result is a brand-new great tasting coffee, then we think it makes perfect sense.
What doesn't make sense is trying to make a brand-new great tasting coffee with coffee beans that are less than the very best. That's why we use the same top quality coffee beans in our flavored coffees as we use in our Signature Blends. That's something different about the way we do things here, and it's a difference you'll be able to taste.
Flavored coffee fans, welcome to The Roasterie.
Vanilla Hazelnut Flavored Coffee Decaf
Vanilla Hazelnut Flavored Coffee
Southern Pecan Cream Flavored Coffee Decaf


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Nasal Inhaler (Ya dom poy sian) is a two-in-one tiny bottle. Nasal inhaler, Ya dom poy sian, can be inhaled and applied from the same application. Use for relief of nasal congestion and help free breathing system. Ingredients: Menthol, camphor, eucalyptus oil, borneol. Pack of 2 pieces. Weight: 1.50oz. Product of Thailand.
Copyright © 2004 - 2019 GroceryThai.com


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RPC.RUSERSD(8) NetBSD System Manager's Manual RPC.RUSERSD(8) NAME rpc.rusersd, rusersd -- logged in users server SYNOPSIS /usr/libexec/rpc.rusersd DESCRIPTION rpc.rusersd is a server which returns information about users currently logged in to the system. The currently logged in users are queried using the rusers(1) command. The rpc.rusersd daemon is normally invoked by inetd(8). rpc.rusersd uses an RPC protocol defined in /usr/include/rpcsvc/rnusers.x. SEE ALSO rusers(1), w(1), who(1), inetd(8) NetBSD 9.0 June 7, 1993 NetBSD 9.0
You can also request any man page by name and (optionally) by section:


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Somewhere near breakfast Juan Duran signaled, and one by one the train of now-dusty cars pulled to the left and parked near a field. The field was full of crops, something low-cut and greenish, like parsley; and speckled throughout the harvest were farmers in old Dodger caps and white t-shirts, digging up produce and depositing dirty bunches into large wooden crates beneath umbrellas of bright orange and yellow and pink.
You mean the umbrellas aren't for the workers? I asked Ricky in a hushed voice.
What? Donna, who was riding shotgun, asked.
The umbrellas, I said, pointing, you mean they aren't…
Unbelievable, Donna said, before opening her door and directing a sharp glare at Ricky. I thought she grew up on a farm. I should have guessed this from you, she said, though it was unclear to whom she was speaking. Then she slammed the door and walked off barefoot towards the lead Caddy, mumbling under her breath.
I sat in the backseat with my hat in my lap, stunned and looking at Ricky. It was a vineyard, I said quietly, a small one. When we hired people it was just a few and they used the house.
Hey, don't worry about it, Donna's second husband, Christopher, said as he pushed the tip of his foot against the e-brake and took the keys out of the ignition. She's still bitter about the scars and the smell of cilantro brings it back. Then he opened his door and slipped out after Donna, carrying her heels in his left hand and her sunglasses in the other.
Ricky slipped an arm around my shoulder and rubbed the back of my head with his palm. Hey, don't worry about it. How could you have known?
You could have told me, I thought. Should I apologize?
Nah, she'll forget about it before lunch. Just next time, maybe save your questions for when we're alone. He opened his car door and let in a burst of golden light that had been previously muted by tinted windows.
Right, I said, pulling on my hat and pushing my sunglasses against my face.
Oh, come on, Magsie, Ricky said, ducking back into the car and planting a kiss on the top of my head. Don't let it get you down. He tugged on my arm and I let him slide me across the leather seat and out of the car.
Outside, doors and trunks began to click open and slam shut as the Mora de la Cruz family poured out of their air-conditioned cars and into the heat of the Mexican morning sun. Their polo shirts and pressed Levis contrasted loudly with the tattered, muted colors of the farm around them.
We walked en masse along a cracked dirt driveway and into a stucco barn-like structure that functioned as sort of multipurpose dining room/mess hall. The girls and their men spread out and took up occupancy around the various tables, fanning each other with poorly folded maps and sun hats while Ricky, who held tightly to my hand, was corralled by his father into the kitchen.
Three old ladies tied up in faded paisley aprons—their arms covered in cornmeal to the elbows—were pounding tortillas, while a small, gold, portable radio hummed Mexican folk songs from the windowsill. When they saw Ricky they exploded into Spanish pandemonium, exclaiming and folding Ricky and Juan Duran into a sweaty embrace and littering their faces and starched black shirts with kisses and corn-covered pats. Overwhelmed, I managed to wrestle my hand from Ricky's grasp and took a seat on a wooden crate in the corner. The old lady shrieks seemed to set off some sort of chain reaction and, before long, what appeared to be the entire town had gathered around, some of the children and a few older boys singing in broken English and particled Spanish, He's here. He's here. Yup the guy from California and his son. Happy.
Of course, the Spanish part I didn't understand. My mother had been trying to teach me a working vocabulary since before I could walk, and Ricky had managed to teach me a word or two, but for the most part I nodded a lot, held up my fingers and used gestures. It worked well, but there were a few flaws. For example, my hand held like a cup to my lips seemed to be the universal sign for water (agua, duh), but even with the word there was no gesture for water from the bottles in the back of the truck and not Mexican water from a rusty pipe. So rather than ask I'd just brave the heat, follow the dirt drive back to the car, fish around under the tarp of the truck, wrestle with a gallon sized jug and pour myself a hot glass of L.A. tap. And that's how it happened. How it hit me. How I knew that it would be water, in small plastic bottles, sold to America by a Mexican son. The irony was enough to make me choke, but I didn't. Instead I spit the water from my mouth in a single stream onto the cracked brown dirt below and twisted the cap back on the recycled gallon-carton.
Of course, I could have said all this to the adoring crowd assembled around Ricky, but I didn't.
Unlike Ricky I didn't say a word. Didn't correct a single fact. Didn't rearrange anything at all. Instead, I stood with my back to the sea and looked around at Ricky's assembled beach-front audience. I eyed each of the interns in turn. I scanned tanned and tucked faces illuminated by the subtle orange glow of Tiki torches and tried to figure out which one. Which slut. Which common whore was screwing my husband right under my $22,000 nose?


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A Compilation of Environmental Education News from Across Louisiana.
Small Grant Announcement - Region 6 EPA (Deadline: September 1)
The Environmental Education Association of New Mexico (EEANM) has been awarded a grant of $150,000 from the US EPA to administer a small grant program throughout EPA Region 6. EEANM is partnering with the Texas Association for Environmental Education, the Louisiana Environmental Education Association, the Arkansas Environmental Education Association, the Oklahoma Association for Environmental Education, and the Albert I Pierce Foundation to solicit proposals for projects that meet state association priorities. Projects may include professional development, student projects, or statewide capacity building for delivering environmental education. Each state association will provide a team of reviewers to select projects for awards up to $5,000. At least 19 grants will be funded throughout the five-state region. The deadline for applications is September 1. The projects will be selected by December 2012. The grant period is one year. The Request for Proposals, the Grant Application, and a Press Release are attached and available at http://eeanm.org/small_grant_program.html.
My Air, My Health Challenge from HHS and EPA (Deadline: October 5)
The My Air, My Health competition asks participants to create a personal sensor system that measures air pollution and a person's physiological response to it. The competition will offer cash awards to finalists. The goal is to help researchers, communities, and physicians better understand the connection between air quality and health. A total of $160,000 in prizes will be awarded. Four finalists will receive $15,000. One finalist will receive $100,000 for the most effective solution! Submissions are due October 5, 2012. Details and entry information available at the links below:
Press release announcing the competition: http://www.nih.gov/news/health/jun2012/niehs-06.htm
Challenge details: http://challenge.gov/HHS/372-my-air-my-health-challenge
Informational webinar: http://www.health2con.com/devchallenge/my-air-my-health-an-epahhs-challenge/
Enter a submission: www.innocentive.com
Southeast Environmental Education Alliance Mini Grant Program - Request for Proposals Now Open (Deadline: November 1)
The Southeast Environmental Education Alliance (SEEA) is partnering with the professional environmental education associations across the southeast to provide small grants in support of programs and projects that support and advance environmental education (EE) and environmental literacy in the region. Grant requests must not exceed $5,000 and require a non-federal match of 25% of the total project cost. Proposals may be submitted electronically to firstname.lastname@example.com by November 1, 2012. Hard copy submissions will not be accepted. For the full RFP and application, visit www.kaee.org/grants/.
2012 Oceanic Research Group Marine Scholarship (Deadline: October 1)
The Oceanic Research Group is accepting applications for the 2012 Oceanic Research Group Marine Scholarship. Undergraduate students entering their junior or senior year or graduate students with an overall GPA of at least 3.0/4.0 and demonstrated financial need are eligible for the scholarship. Students must be enrolled or accepted in an accredited United States college or university for the 2012 fall term with a marine-related major. The deadline to apply is October 1, 2012. The $1000 Marine Scholarship will be awarded in late 2012. To learn more about the application process, visit: http://www.oceanicresearch.org/scholarship/scholarship.htm.
CPEX's Smart Growth Summit (August 27-29)
Join CPEX for their seventh Smart Growth summit at the Shaw Center for the Arts Manship Theatre in downtown Baton Rouge. The summit will cover topics such as parks and greenways, bike Infrastructure, art for revitalization, financing, water management, neighborhood redevelopment, transit and housing investments, coastal communities, communications, green building, planning in rural communities and economic development. Speakers will include Mitchell J. Silver, Chief Planning and Economic Development Officer for the City of Raleigh, urban designer Victor Dover, Robert Grow, pioneer in regional visioning, and Greg LeRoy, director of Good Jobs First. Continuing education credits for attorneys as well as self-reporting credits for planners, architects, landscape architects, engineers, and realtors, will be offered. For more information and registration, visit: http://summit.cpex.org.
Center for Natural Resource Economics & Policy (CNREP) Announces First Call for Abstracts (Deadline: November 12)
CNREP is announcing a call for abstracts for: CNREP 2013: Challenges of Natural Resource Economics & Policy, the 4th National Forum on Socioeconomic Research in Coastal Systems. The conference will be held March 24-26, 2013 in New Orleans, Louisiana. This triennial forum focuses on the opportunities and challenges of socioeconomic research in the development and evaluation of coastal resource restoration and management. Potential session topics include market and nonmarket valuation of ecosystem services and coastal resources, environmental benefit-cost analyses, economic linkage/impact assessment, input-output modeling, and comparative assessments of resource management and restoration policy. Basic and applied research, extension-oriented, and policy discussion submissions are all welcome. Deadline for abstract submission: November 12, 2012. Call for abstracts available at: http://www.cnrep.lsu.edu. CNREP information: http://www.cnrep.lsu.edu/AboutCNREP.html. For more information, contact: Rex H. Caffey, Professor and Director, CNREP, Louisiana Sea Grant and LSU AgCenter, 225-578-2393, firstname.lastname@example.com.
US Fish & Wildlife Service National Conservation Training Center - Supervising Young Adults in Conservation archived webinar course code: OUT8045. http://www.doi.gov/doilearn/index.cfm. This and other webinars are available to non-governmental employees.
Workshops on Estuaries and Watersheds
Mississippi Dept. of Marine Resources 2012 Teacher Professional Development. Estuaries 101 September 27-28, 2012 and Watersheds October 11-12, 2012. Contact firstname.lastname@example.com firstname.lastname@example.com more information.
OneNOAA Science Seminars: August 2012
New Elevation Inventory for the Nation
Add This OneNOAA Science Seminar to your Google Calendar
Date/ Time: August 01, 2012, 14:00-15:00 Eastern Time Zone
Location: NOAACoastal Services Center (remote access only)
Speaker(s): Lindy Betzhold (NOAA Coastal Services Center)
OneNOAA Seminar Sponsor: NOAACoastal Services Center
Toxic Algae and Dead Zones: Resurgence of Old Problems in Lake Erie
Add This OneNOAA Science Seminar to your Google Calendar
Date/Time: August 02, 2012, 12:00-13:00 Eastern Time Zone
Location: NOAA SSMC-4Room 9153 (1305 East-West Hwy, Silver Spring, MD 20910)
Speaker(s): Dr. Don Scavia(Graham Family Professor of Environmental Sustainability, University of Michigan)
OneNOAA Seminar Sponsor: NOAANOS Science Seminar Series and National Centers for Coastal Ocean Science
ISO Metadata Training Series: Unified Modeling Language (UML) Basics
Add This OneNOAA Science Seminar to your Google Calendar
Date/Time: August 07, 2012, 10:00-11:00 Central Time Zone
Location: Webinar access only
Speaker(s): email@example.com(NCDDC)
OneNOAA Seminar Sponsor: NOAANODCNCDDC
How NCCOS Provided Public Access to Their Technical Reports via E-Readers
Add This OneNOAA Science Seminar to your Google Calendar
Date/ Time: August 08, 2012, 12:00-13:00 Eastern Time Zone
Location: NOAA SSMC-4 Room 8150 (1305 East-West Hwy, Silver Spring, MD 20910).
Speaker(s): Shellie Jacobson(Intern, Center for Coastal Monitoring and Assessment, CCMA) and Becky Wynne(Communications and Marketing specialist, CCMA)
OneNOAA Seminar Sponsor: NOAANOS Science Seminar Series and the National Centers for Coastal Ocean Science
ISO Metadata Training Series: Tool Overview
Add This OneNOAA Science Seminar to your Google Calendar
Date/ Time: August 14, 2012, 10:00-11:00 Central Time Zone
Location: Webinar access only
Speaker(s): firstname.lastname@example.com(NCDDC)
OneNOAA Seminar Sponsor: NOAANODCNCDDC
E-reader Access: Making NOAA Technical Memoranda Available on Mobile Devices
Add This OneNOAA Science Seminar to your Google Calendar
Date/ Time: Wednesday, August 15, 2012, 12:00 - 1:00 Eastern Time Zone
Location: NOAA SSMC-4Room 8150, (1305 East-West Hwy, Silver Spring, MD 20910)
Speaker(s): Shellie Jacobson, Intern, NCCOS Center for Coastal Monitoring and Assessment (CCMA) and Rebecca Wynne, Communications and Marketing Specialist, CCMA
OneNOAA Seminar Sponsor: The NOS Science Seminar Series and National Centers for Coastal Ocean Science (NCCOS)
Drought Monitor
Includes forecasts, maps, statistics, animations and other useful information.
Earth Gauge Visuals & Videos
Earth Gauge visuals and video clips may be freely used on-air, online, in community outreach and in educational settings. Include information on wetlands, fertilizer, water use, and more.
Storm Surge and Coastal Inundation
New NOAA storm surge website provides comprehensive information on topic.
Scope-On-A-Rope Survey & Updates (Deadline: August 17)
LSU's Scope-On-A-Rope Program needs your help! They would like to know how to better serve hard-working teachers and to keep up with the latest technology. Please click on the link below to fill out a short survey to help them determine the future of this program. EVERY participant will receive a free color printed curriculum booklet of choice, and entered to win one of three Dlite USB microscopes! Responses are due by Friday, August 17th. https://www.surveymonkey.com/s/Scope-On-A-Rope
SOAR Program Updates:
1. The LSU Scope-On-A-Rope Program has moved to the Cain Center, in 252 Hatcher Hall. The mailing address is College of Science, 336 Hatcher Hall, Baton Rouge, LA 70803.
2. Scopes are still available for loan and the program offers FREE professional development workshops on ANY type of video microscope. Email firstname.lastname@example.com you are interested in participating in this program.
3. You can continue to contact the Program Coordinator, Adrienne Steele (formerly A. Lopez), at firstname.lastname@example.com at the new SOAR email address: email@example.com. The phone number is the same: 225-578-3080.
New "Magic School Bus" Book Explores Diesel Emissions
EPA, in collaboration with Scholastic, has created a new book in the popular "Magic School Bus" series for children. In "The Magic School Bus Gets Cleaned Up," the children and their teacher, Ms. Frizzle, explore the pollution emitted from their own diesel school bus and learn how to reduce emissions as they travel through the diesel engine. Quantities are limited due to the popularity of the book and available in both English and Spanish versions. Individuals, schools and libraries may order one copy each at no charge. Non-profit organizations and state and local governments working on diesel and clean air education may request more. (Approval is on a case-by-case basis.) For more information, visit: http://www.epa.gov/cleandiesel/sector-programs/msb-book.htm
Find out about wetland outreach activities including symposiums, conferences, meetings, educational opportunities, volunteer opportunities, and related support material at the Louisiana Unified Coastal Community Calendar at http://lacoast.gov/calendar/
Venise Ortego, Environmental Education Coordinator, 337-948-0255, firstname.lastname@example.com
Juliet Raffray, Environmental Education Assistant Coordinator, 225-765-0124, firstname.lastname@example.com
Louisiana Environmental Education Commission (LEEC) – www.wlf.louisiana.gov/eec


text: I saw Roger Hodgson one of the original song writers and singers from Supertramp in Atlantic City last night. Roger last toured with Supertramp in 1983. Turns out that The Fixx was the opening act for some of that tour. Supertramp introduced their fans to The Fixx and I have been hooked on The Fixx ever since. Funny how in 2012 I would see both of my all time favorites in concert. Roger at 62 years of age pulled off a great show along with a 4 piece band. He played 16 songs from his catalog of solo albums as well as his penned Supertramp classics like The Logical Song, Take The Long Way Home, Give A Little Bit and Dreamer. I sat with my older brother 2nd row center stage. To be this close to one of my favorite performers was a dream come true for me. This guy plays his guitar beautifully just like the original songs that he recorded. To be so close and to see his fingers moving on the threats of his guitar was beautiful to see. When at the keyboards I had no visual so I just sat and listened to his great playing. This guys song stories are on the same playing field as The Fixx. Album titles like Crime of the Century, Crisis, What Crisis? and In The Eye of the Storm are firmilar themes of disconnect with what is going on in this crazy world we live in. Now we have the new Fixx cd singing about these same never ending themes. Thanks for reading this.


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Artist's description:
Black velvet has been earned by the subjects chosen. The paintings I do are tributes to the beauty of the subject and are done in a classical photo-realism that does the subject justice. I consider it my own style and unique. The black velvet creates a background of perfect quiet to better display the power and majesty of the subject.
Painted on black velvet with oil paints with a brush
Signed on the front
The size 50x30 (centimeters)
Can be hung without a frame. the fabric wraps around to the back
Materials used:
On black velvet oil
Passion (2016)
Oil painting by Vlad Atasyan
- Oil painting on Fabric
- One of a kind artwork
- Size: 11.81 x 19.69 x 3.15 in (unframed)
- Ready to hang
- Signed on the front
- Style: Photorealistic
- Subject: People and portraits
This artwork is sold by Vlad Atasyan from Armenia


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BACnet Help API - How To
BACnet is a data communication protocol for building automation and control networks. It was designed to allow such networks to communicate with heating, ventilation, air-conditioning, lighting, access, and fire detection systems and their associated equipment. BACnet Help assists users in making full use of their BACnet networks by letting them take snapshots of networks for immediate or future reference. BACnet Help's functions are accessible using REST calls in JSON format.


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Last week, the Monterey Jazz Festival opened up their archives and released a handful of classic concerts featuring the likes of Miles, Monk, Dizzy and Louis Armstrong.
New, previously unissued Armstrong recordings are always a cause for celebration and I awaited the Monterey release with great anticipation for the last four or five months. After receiving my copy, I listened to it a few times and am now prepared to commence with my verdict: it's not an essential release and should really only interest Armstrong die-hards only.
I know, I know, I can't believe I wrote that myself. I've embraced every note Armstrong ever played and I personally love the Monterey concert, but for different reasons than most. You see, there's one major problem with this disc: Armstrong's chops are down and it's sad to hear him struggle. At the same time, the masochistic side of me finds it inspiring to hear Armstrong work through the pain to give the audience an incredible show. And thanks to the gorgeous sound of the disc, you can really hear the audience laughing and screaming their approval throughout the disc's generous 80-minute running time. To set the stage quickly, the concert took place on opening night of the very first Monterey Jazz Festival on October 3, 1958. Concert producer Jimmy Lyons loaded the opening night with traditional jazz artists, climaxing in a performance by the All Stars in front a crowd of 5,000.
Lyons hired Dizzy Gillespie to introduce Armstrong, a moment captured at the start of the CD: "And now, ladies and gentlemen, just the greatest, the king, Louis Armstrong, Satchmo!" You can hear the mutual appreciation between the two trumpet masters as they greet each other onstage. Armstrong warms up a bit and we're off with "Sleepy Time Down South." Armstrong often began it by playing the melody for 16 bars, but here he only plays it for eight. I didn't pay it no mind at first listen because I'm always swept away by any version of "Sleepy Time," lulled into a state of mellow euphoria, knowing the delights that are to follow. And of course, "Indiana" follows, the customary warm-up. Some critics complained about the inevitability of "Indiana" but I always picture a concertgoer in the audience, seeing Armstrong for the first time, and hearing the absolutely blazing sounds that erupt from Armstrong's horn on "Indiana." I never get tired of listening to it and its fascinating to hear all the different variations in Armstrong's solo between 1951 and 1956. It was in 1956 that he finally chiseled out a perfect solo and this one would remain "set" for years to come. And that's the first thing that distressed me about the Monterey concert: Armstrong doesn't solo on "Indiana." He plays the standard two ensemble choruses at the beginning, tearing through them without a hint of a problem. But after solos by Billy Kyle's piano and Mort Herbert's bass, it's almost a shock to hear Peanuts Hucko enter on clarinet instead of Pops. You can hear Armstrong say something during Kyle's solo and he plays a quick, low pedal tone at the start of the bass solo, but he must have felt something was wrong to eliminate his solo. Of all the versions of "Indiana" in my collection (and you don't want to know how many that is), this is the only one I know of until 1967 where Armstrong doesn't play a solo. Hucko and Trummy Young solo well before Armstrong reenters to play the rideout chorus. Again, I'm not saying he sounds bad, but when you become so accustomed to hearing Armstrong play at full power, it's noticeable when he's not 100% and here that's noticeable in the highest parts of his upper register, where he sounds like he's really pushing to get those notes out. He gets them out all right, but you can hear the effort.
Next, Armstrong plays a request, "Blueberry Hill," which conveniently rests his chops (the man did know how to pace himself!). There's a lot of live Armstrong discs from the 1950s and it's interesting to see how many don't feature this Armstrong staple (the Crescendo Club from 1955, the Chicago Concert from 1956, Newport 1957, all the European stuff from 1959). Armstrong sings it beautifully and you hear the audience crack up at some of his humorous phrasing. Properly rested, Armstrong calls "Tiger Rag," which had emerged into a quick, two-minute romp played to get the audience's blood pumping. Usually, Armstrong would have played "Indiana," maybe "Basin Street Blues" or "Bucket's Got A Hole In It" before tearing through "Tiger Rag." And when he was really feeling good, the encores would start flowing (as on volume four of the Storyville "In Scandinvia" series). But it wasn't to be that night in Monterey. Like "Indiana," Armstrong gets through the racehorse opening ensemble choruses without much of a struggle. And then Hucko solos…a note about Hucko: I must take back some of the harsh things I've said about Hucko in the past. Hucko joined in July and was obviously still full of inspiration at this October concert. I've never heard him play so well with Armstrong; by the 1959 European tour, he sounded bored and he left at the end of that year. But at Monterey, he was smoking.
Back to "Tiger Rag," though. You can hear Armstrong play a few quiet notes behind Hucko to make sure his chops are together and then he's off! This was another solo that Armstrong had pretty much set but this time, he doesn't quite pull it off. His phrasing is a little slower than usual as he sounds almost too careful and on his first break, which usually featured a gliss into a high note or a fleet-fingered phrase, he instead flickers a valve quickly, producing a an exciting tremolo effect (reminds me of Red Allen), but it's not as effective as what he played on a good night. After the break Armstrong goes into the "Pagliacci" quote he had been playing on "Tiger Rag" since the early 30s, but he actually mispitches one of the notes (a true rarity). It's amazing listening to his brain work, though. He was a great editor and, knowing his limitations on that night, his phrasing has more of a legato feel and most of little quick phrases that dotted his solos are gone as he kind of floats through his statement. But then comes maybe the saddest moment of the disc. Armstrong would usually hold an Ab as the band would reenter to play the rideout chorus but when he tries it here, he again falters and loses it for an instant. But then this is followed by maybe the most triumphant moment of the disc: he continues to hold the Ab, slowly getting stronger before he gives his all in the ride out, hitting a series of high C's. This was all part of the routine and Armstrong probably could have played it safe and improvised something in the middle register but on this night, in front of such a huge, adoring audience, he couldn't. He keeps playing the two-note phrase, Ab to high C, over and over, glissing some of them, not exactly on top of the beat as he usually is, but he's pretty damn close (chasing Trummy Young around the stage the entire time!). During the break he even glisses from high C, down to Ab and back up to C. As he continues driving home those high C's, it's clear that this is painful, punishing work. After listening to it a couple of times, tears actually welled up in my eyes, in awe of how much he gave his audiences no matter the shape he was in. He ends "Tiger Rag" on an even higher Eb, as the crowd roars its approval. Armstrong sounds pretty happy, too.
And then it was time to rest the chops again with the medley of tunes from High Society. Armstrong was always proud of the songs he performed in films and he always performed them live. "A Song Is Born" stayed in the repertoire from the time of the original 1947 movie of the same name until about 1950, when Armstrong introduced "A Kiss to Build A Dream On" in The Strip. Trombonists Jack Teagarden and Trummy Young were always featured on "Basin Street Blues," until Armstrong sang it in the Glenn Miller Story, at which point he reclaimed it, always announcing the song's presence in that film. And after the huge popularity of 1956's High Society, Armstrong would include "Now You Has Jazz" and "High Society Calypso" in his repertoire until around 1964, the dawn of the "Hello, Dolly" period. Critics frowned, wishing those spots in the show would be instead filled by "Beau Koo Jack" or something from the Hot Five days, but they're fun numbers and audiences clearly dug them. One great thing about the Monterey recording is the way it captures the vibrant audience, laughing heartily at Armstrong's reference to Trummy Young as "Bing Crosby in Technicolor" on "Now You Has Jazz" and to his mugging and singing on "Calypso." There is one chorus of trumpet on "Now You Has Jazz" and it's prefaced by a somewhat odd moment. When Armstrong had trouble with his chops, he would usually blow softly before his solos to make sure everything was in order. On "Now You Has Jazz," Danny Barcelona would take a drum break, Trummy would say, "Now listen to/ you know who" and Armstrong would enter with one of his patented blues phrases. At Monterey, though, Barcelona's in the middle of his solo when you hear Armstrong play the first phrase of his solo loudly. It almost sounds like he came in too early, but he'd played the song a hundred times by that point and obviously knew when to come in. He just plays the opening of his solo, lets Barcelona finish, lets Trummy introduce him, then starts his solo with the same exact same phrase…but then pauses. He obviously felt wrong something in his chops to stop for that second but once he rights himself, he blows one chorus of blues, displaying his fattest tone up to that point in the concert.
After "High Society Calypso," Armstrong tells the audience one of his favorite jokes, prefacing it by mentioning how he told it to the co-stars of High Society, Frank Sinatra, Bing Crosby and Grace Kelly. Yes, it's the "Alligator Story" and if you don't know, it here's how he told it that night in Monterey: "I was telling about the time when I was a cute little boy in Boutte, Louisiana and one morning, my mother sent me down to the pond to get the pail of water and when I come back, I didn't have the water so Mayann, my mother, she said, 'Boy! Where's that water?' I said, 'Well, Mama, there's a big, old, rusty alligator in that water and I didn't get it, that's all.' She said, 'Son, go get that water. Don't you know that alligator is as scared of you as you is of him?' I said, 'Well, if that alligator is as scared of me as I as of him, mama, that water ain't fit to drink!'" The laughter Armstrong receives sounds like a Redd Foxx record. It goes for about 15 seconds and even causes Armstrong to miss his entrance on "The Bucket's Got A Hole In It!" Fortunately, Young and Hucko weren't phased and they start playing their parts without Armstrong, but he quickly joins in, though you can hear him still laughing to himself before he starts his vocal. Trummy Young shares the vocal with Armstrong and during his chorus, you can hear Armstrong playing his trumpet mouthpiece in the background, still searching for something to get those chops warmed up. I love "Bucket's Got A Hole In It" and I think it's one of the most irresistible staples of the All Stars's repertoire. Armstrong might have been struggling with his embouchure but he still felt good enough to play an encore of "Bucket's Got A Hole In It," something he did often in the Edmond Hall years but infrequently thereafter. He still doesn't sound like he's at ease, but he blows some exciting riffs, getting terrific backing from Trummy. By the end, Armstrong does the fast tremolo he did on "Tiger Rag," and even finds the power to gliss way up from the customary final high C to a high F. He sounds happy as hell as the audience roars, alerting them that "The cats was wailin' there!"
Continuing the pattern, after such fierce, probably painful blowing, Armstrong rests while featuring the other fellows in the band. Billy Kyle's up first with "Perdido," which gets off to an peculiar start as Kyle decides to extend his introductory vamp without bassist Mort Herbert knowing so Herbert ends up walking the chord changes too early, creating a bit of a clash. Otherwise, it's a smooth solo, though once more, at 1:36, a few small beeps can be heard in the background as Armstrong prepares himself for his role in "Perdido," a series of stirring F's He hits them, very strongly. Kyle then takes an encore, originally stomping at it off a ludicrously fast tempo, before settling in with the same uptempo swing. Just a few years later, he would indeed take it at that ludicrous tempo! The encore is interesting because Kyle was really a guy who never, ever changed his set solos, some of them staying in concrete for over ten years. But on the encore, he improvise a terrific, block-chorded bridge, hinting at Ben Webster's solo on "Cotton Tail."
Then it's on to another rarity: a sideman feature where Armstrong doesn't play. Armstrong usually played on everyone's feature until Edmond Hall came around with "Daradenalla." Hucko's "Autumn Leaves" always gave Armstrong approximately two minutes to sit in the wings and rest. It's a short solo, but a good one, the rhythm section locking into a nice groove). Hucko then follows with an exciting "After You've Gone," Armstrong entering a minute in to play the melody, indeed sounding a bit refreshed. "After You've Gone" might contain Armstrong's best blowing on the disc and at the end of the encore, Armstrong screams up to a high D, holding it before resolving to a higher F. On other, stronger occasions, Armstrong could be even more daring and exciting on "After You've Gone," (check out the version on volume 3 of the "In Scandinavia" series), but on this grueling night in Monterey, it's a highlight.
Next up is bassist Mort Herbert, who joined the band in January of 1958. Herbert didn't have the raw power and drive of Arvell Shaw but he still swung the band nicely and served Armstrong well for four years. Armstrong liked to give his bassists long solos and, perhaps needing to regroup after "After You've Gone," Herbert takes two long, slow choruses on "These Foolish Things." I think it's a fine solo (Herbert was a good quoter) but the highlight is when Armstrong enters three-minutes in to play the melody. I don't have any other versions of Herbert playing this as his feature (though newspaper reviews of the period mention him playing this), so it's valuable to hear Armstrong play a standard melody not often associated with him. He sticks close to the melody, but infuses it with the usual Armstrong soul and feeling, making it a moment to remember. Herbert, too, gets an encore (the whole performance clocks in at a hefty 7:32) and on it, Armstrong still sounds like he's pushing hard to get those notes out and when he gets to the high G at the end of the chorus, his tone has a little shaky feel to it that's reminiscent of Armstrong's trumpet work during the Russell Garcia-arranged Verve sessions of 1957, another time when his lip simply wasn't rested. But after a humorous extended coda where Herbert quotes "Holiday For Strings," Armstrong ends with a gorgeous high Eb.
"Mack the Knife" is up next, uptempo, though it would get even faster in the next couple of years before slowing back down to a medium pace in the 60s. The trumpet stays in good form here (with a little more blowing during the drum break to keep everything copasetic), though throughout the concert, his tone consistently sounds a tad smaller than usual, even a little cloudy at times. Every high note, even when he hits them right on, contains the sound of anguish. Still, he drives himself through Danny Barcelona's drum feature on "Stompin' At The Savoy," an arrangement that featured a lot of trumpet, including playing the melody an octave higher than usual towards the end.
Trummy Young's feature on "Undecided" was always fast and exciting but by the 1958, the tempo had started to creep into warp-speed territories. While still exciting, it became so frantic, it lost some of the effectiveness of versions from 1955 and 1956 (by 1962, it would become even faster and thus, became even less effective). Armstrong always took a monster solo on "Undecided," upstaging Young at times (check out the Ambassador Satch version from '55). But in Monterey, Armstrong struggles with the tempo, beginning with some phrases that border on incoherent before he relaxes and stops trying to keep up with the horserace going on behind him. Like the Armstrong of the early 30s, he begins playing slower phrases, floating over the bar lines and sacrificing velocity for some stronger, higher notes. On the encore, he continues this trend to better effect and manages to gliss up to an impressive high F at the end of his solo. Nevertheless, compared to some other versions of "Undecided" in the Armstrong canon, this one is pretty forgettable.
Velma Middleton joins the group for "St. Louis Blues," always one of my very favorite All Stars performances. Honestly, when I first popped this disc in my CD player, I went straight to the final minute of "St. Louis Blues" because I love the transition from Trummy's roaring trombone to Armstrong's rideout lead so much. Listening to the entire track, it's clear that something's still wrong in the opening. The group usually played W.C. Handy's 16-bar minor-strain as an introduction before Velma would begin. But after 16-bars, Armstrong keeps playing, realizes the introduction was supposed to end and improvises a confused sounding wrap-up phrase as Velma enters. In all, it's a somewhat sloppy 18-bar introduction. The only way I can defend the All Stars without seeing this performance is offering a guess that maybe Velma hadn't stepped fully up to the microphone yet as a performance of "St. Louis Blues" from Sweden in January 1959 has a similar confused introduction. Once Velma starts singing, it's clear she's having a good night, but Armstrong's obbligato is very tentative. When Velma sings, "Louis Armstrong blows so nice and high," Armstrong would usually respond with a cute quote of Handy's "Memphis Blues." However, on this night, Armstrong chose to play nothing at this point in the song. He just stops playing and scats softly. On top of that, the band would usually play one chorus of blues before Armstrong would sing but even that chorus is gone! The concert was nearing its end and Armstrong knew he had some fierce blowing to do at the end of "St. Louis Blues" so he was now conserving like crazy, eliminating obbligatos and complete choruses. Fortunately, the band strikes a helluva groove, everyone solos well and Armstrong summons up whatever he had left in his lip to blow two passionate rideout choruses, staying in upper register during the last 12 bars.
For Velma's second tune, they chose "That's My Desire." "Ko Ko Mo" was usually the second tune Armstrong and Middleton would perform during this period in the band's history, but that piece had entirely too much trumpet work. On "That's My Desire," Armstrong just had to play behind Velma for eight bars. However, as on "St. Louis Blues," he begins to play his standard obbligato and then stops. Incredibly, Billy Kyle picks up the slack! Armstrong's beautiful obbligato didn't change over the years and when Armstrong's forced to give up playing it, Kyle steps in and plays Armstrong's closing phrase perfectly on the piano. I thought it was a great moment of sympathetic teamwork and more proof that the All Stars were better with team players such as Kyle instead of egotists like Earl "Fatha" Hines. Armstrong and Velma slay the audience with their routine, a comedy exercise they hadn't really changed since 1947 but one they always put over as if performing it for the first time.
Finally, the end of the concert arrives with "When the Saints Go Marching In." How Armstrong's lip had anything left is a miracle and even at the beginning, his trumpet misses a note in the second phrase (the "in" in "go marching in"). His tone is now smaller than ever before but he goes on tentatively. Everyone solos, Armstrong lets them take a bow and then he picks up his trumpet one last time to blow the exciting outchoruses he had perfected with the All Stars over the last decade. He already noodled a bit more behind Trummy's solo and even during Barcelona's break, keeping the chops warm as the rideout approaches. The first time I listened, I actually felt nervous inside because I didn't want to hear him suffer anymore. Armstrong plays the final three choruses and it's tough going but it's more triumphant than sad though there are some rough moments. His phrasing still isn't as smooth as on other versions of "The Saints." he cracks his "Here Comes The Bride" quote badly, and his lip gives out during the first phrase of the second chorus. But he recovers, eliminating some of the quicker notes in his set pattern to instead focus on hitting the high notes square, which he does, ending on a very strong high D. The crowd goes wild and the concert is over.
Phew…after listening to it in such detail, I feel as tired as Armstrong's lip after 80 minutes of blowing that evening. I've been writing this blog entry with whatever free time I've had over the last three days but earlier today, at work, I decided to listen to it one more time, but without focusing on the minutia and without constantly rewinding passages or raising the volume to see if I could make out voices in the background. I just listened to it in full as if I were in attendance in Monterey that evening and I don't think it's possible to be more entertained. The pacing of the show is so perfect, I'll never fault Armstrong for sticking to what works. The lively instrumental showpieces, the swinging features for the other wonderful members of the bands, the comedy routines that are very funny…it works. Around the time of track eight, when Armstrong's "Alligator Story" leads into the joyous romp on "Bucket's Got a Hole In It," the thing feels like a damn party! Then, a little later on, Armstrong's trumpet gives "These Foolish Things" such a wistful feel, I couldn't help but shake my head at the pure beauty of his interpretation of the melody. And "St. Louis Blues" rocks, plain and simple, especially hearing Velma and the band members vocally exhorting every soloist on. "That's My Desire" made me chuckle out loud and the "Saints" was as joyous a finish as could be. It worked. In his liner notes, Richard Hadlock notes that the concept of a set "stage show" evolved from vaudeville and was a constant source of anguish for the hardened jazz critics who got sick of seeing the same routines over and over.
What's important to understand is by this point in his career, Armstrong was touring at a nonstop pace. And the two-week stints in major nightclubs were becoming scarcer and scarcer as his popularity grew throughout the 50s. In fact, earlier in 1958, Armstrong played a tour that consisted of 61 colleges in a row! "I've got more alma maters than anybody," he told Jet on April 17, 1958. "They're all the same…they jump." Armstrong knew what worked and always strived to put on the best show that was possible. It's a tradition that's still carried on with performers such as B.B. King and Tony Bennett. In the last five years, I've seen King six times in six different venues and Bennett five times in five different venues. Each time, their shows varied little. Even their between-song patter and jokes remained the same. And each time, the different audiences (including myself) were entertained beyond belief. I'd go back to see King or Bennett anytime, even if I know the songs and jokes aren't apt to change, just because it's such an entertaining show.
But what makes Live At The 1958 Monterey Jazz Festival so important is how it catches Armstrong on an off night, at least in terms of the trumpet. But even with all the problems with his chops I've detailed above, he still put on a masterful show. He paced himself with songs that featured his trumpet, never taking more than three or four minutes off at a clip. He eliminated choruses and obbligatos when he knew he couldn't play them. All of this must have hurt him mentally, but he didn't let it show. He sang his ass off, told the alligator joke, and kept the massive audience entertained the entire time. It's one of the most noble entries in the Armstrong discography, even if I wouldn't recommend it to a novice fan. I also wouldn't recommend it to someone who bashes Armstrong's later years. The set list contains no surprises (except maybe "These Foolish Things") and his trumpet is not in peak form. It's perfect fodder for people who don't understand Armstrong's later recordings to say, "See, there's nothing great about this concert? It's the same old songs and his trumpet sounds deteriorated. Back to the Hot Fives for me!"
And, to me, that's nonsense. Listening to this concert caused my eyes to well up. Just think about how hard it was being Louis Armstrong in 1958. You're 57 years old, you've changed music history, yet younger musicians are embarrassed by your antics and jazz critics constantly knock your live performances. You spend the bulk of the year in buses and in hotel rooms, dealing with racism and sometimes less-than-ideal performance conditions. You push yourself so hard that your lip sometimes gives out and you can't play at full capacity, yet you still must go out and give the performance of your life. And when it's over, it's back to the bus for a night's rest with the hope that for tomorrow's show, your chops will return to form. It wasn't easy to be Louis Armstrong in 1958 which is why I particularly love the cover photo of the Monterey Jazz Festival disc:
That's not the grinning, Satchmo we're used to seeing, the "buffoon," as Gunther Schuller would put it. No, that's a tired man. His eyes look heavy and there's no trace of a smile. The scar on his lip looks more pronounced than ever before. Yet, when Dizzy introduced him, he came to life and still managed to give 5,000 people a tremendous show. It was not easy being Louis Armstrong and it's about time that his later years start to receive more credit instead of just being shrugged off as the period where he played the same songs every night.
But even with such a high-profile release as this one from Monterey, critics still don't seem to be listening. In his notes, Richard Hadlock admits to being one of the jazz writers from the 50s who was disappointed in the unchanging All Stars stage show (though it did change more than you'd believe...a subject for another blog…). Hadlock writes, "After 'St. Louis Blues' gave us Velma in good voice, highlighted by splendid trumpet passages, it spiraled down into a most un-Handy, somewhat grubby blues contest." What does that even mean? First, Armstrong's trumpet is not splendid in the beginning of "St. Louis Blues," and I'm his biggest defender. The introduction is confused and he doesn't play the full obbligato and he cuts a chorus of blowing before the vocal. And the song builds up to a real nice, rocking groove, reminiscent of the version from the W.C. Handy album it's patterned after of. Grubby blues contest? That's just silly. But even crazier is the review posted by Ken Dryden on allmusic.com. I like Dryden and he usually demonstrates good ears in his reviews, such as his recent one on the fourth volume of the In Scandinavia series. But his four-star review of the Monterey set is bizarre in that it's basically a one-paragraph summary of Hadlock's liner notes. Hadlock mentions the set routine of the show, praises Billy Kyle as being "underrated," knocks Young's feature on "Undecided" and mentions an audio balance problem due to the musicians moving on stage causing the balance to change at times. In his review, Dryden mentions the set routine of the show, praises Billy Kyle as being "underrated," knocks Young's feature on "Undecided" and mentions an audio balance problem due to the musicians moving on stage causing the balance to change at times! He even carries over the error from the back of the CD that credits Velma Middleton with singing three songs, even though she only does two! I don't want to say Mr. Dryden didn't listen to the disc but to not even mention the problems in Armstrong's trumpet playing is a little bizarre.
To sum up, if you love Louis Armstrong, you'll enjoy this disc. If you're a casual fan, I'd say avoid it as there are better options. Hell, if you really want to hear what Armstrong could do in 1958, go to worldsrecords.com and order "Live North Bay, Ontario, May 15, 1958," on the Sterling label. It's unreleased material presented by jazz historian (and Jack Teagarden authority) Joe Showler and features 75 minutes of the All Stars playing at a half-empty dance in the middle of nowhere five months before Monterey. It was just another one-nighter and it demonstrates the different venues the band had to play. Picture it: playing in front of 5,000 people at the inaugural Monterey Jazz Festival one night, and playing for a couple of hundred dancers in the sticks another. Once again, Armstrong gives his all, fielding a number of requests including a scorching "Long Gone," a song I never knew Armstrong to have performed live (and it's clearly a request because Velma gets some lyrics wrong and the band's a bit hesitant with the routine). Armstrong plays one of the most exciting "Muskrat Rambles" I've ever heard (with a rare encore that features him quoting "The Song Is Ended") and there's a Trummy Young feature on "You Can Depend On Me" that might be one of my top ten favorite All Stars performances of all time. If you really believe Armstrong's trumpet skills eroded over time or that the All Stars played the same songs every night, please don't hesitate and order this disc immediately.
And speaking of 1958….hey, Sony! Wake up! Columbia recorded Armstrong's entire set at the 1958 Newport Jazz Festival yet has never released it (yet we have alternate takes of Miles Davis coughing). Three tracks—"On the Sunny Side of the Street," "Rockin' Chair" and "Ko Ko Mo"—have trickled out on three completely different samplers over the years and each one features gorgeous stereo sound. Armstrong's in top form and the show even featured a Armstrong reunited with Jack Teagarden and Bobby Hackett. One song from this reunion is captured in the film Jazz on a Summer's Day, but come on, they also played "Pennies From Heaven" that night and I want to hear it!
Well, I've gotten carried away and I'm sorry for the graphic length of this post. Allow me to recoup for a day or two and I'll be back with some more song breakdowns by the end of the week. For now though, if you appreciate Louis Armstrong, check out the Monterey set and marvel at how he overcomes his lip troubles and plays through the pain to give a wonderfully entertaining concert. And it all goes to a good cause as the proceeds from the Monterey discs goes to serve a jazz education program for young people in California. Louis Armstrong would be proud….
Monday, August 27, 2007
Live At The 1958 Monterey Jazz Festival
Posted by Ricky Riccardi at 8/27/2007 08:30:00 PM
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Tue, 27 April 2010
Margo Thorning warns that Obama's cap and trade scam will be very costly to Iowans. Congressman Tom Latham ...issues... Emmett McGroarty say Iowa's Core Curriculum is rotten. Then, what's the real reason Franklin Graham got bounced from the National Day of Prayer...
Direct download: mickelson-2010-04-27.mp3
Category:podcasts -- posted at: 10:19am CST


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We have been using MongoDB for a few weeks. One thing we could not understood is Pre-allocated file. Is there any way to check whether the pre-allocated file is currently used by MongoDB or not?
We have planned to implement "Quota File". So we need to ensure the pre-allocated file is currently used or not.
For Example, I have the database file as follows:
sgserver.0 ---> 16MB
sgserver.1 ---> 128MB
sgserver.2 ---> 256MB
sgserver.3 ---> 512MB
How do I check the pre-allocated file
sgserver.3 is used by MongoDB (for example, this database is used by any BSON or its Un-used)?


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"Evolution in a Toxic World" is, in some ways, a story of the evolution of one toxicologist's personal and professional evolution in a field that is, by her account, at last merging with the insights available from the field of evolutionary studies. For it turns out that toxicology has much more to concern itself with than the occasional dramatic case of humans being poisoned by their own chemical creations. The emerging reality about the interactions of thousands upon thousands of "new" chemical compounds with the evolved biology of every living thing is an area that requires careful study and new ways of defining just what dangers might lurk in our present and future environments (as altered by human activity).
The reality is this: we industrious humans have liberated tons of heavy metals and naturally-occuring materials from the earth through our mining and burning and manufacturing. Along the way we have invented chemical compounds that have never existed in nature. It stands to reason that such an environment — changed as it is from the one we evolved in — might produce some surprises in our biology, and this is proving to be the case.
But this case is sometimes subtle and nuanced — not always a tale of deathly poisons, but often of chemicals whose molecular shapes resemble hormones, say, and that fool living cells into taking them up in ways that alters reproductive cycles or DNA.
This book is not alarmist, even if there are alarming revelations as the author takes us along on her own journey into our evolutionary past in order to better understand the task that is before scientists such as her (and humankind). it is a well-written, cogent and enjoyable book to read, well worth your time if for no other reason than the fact that you have to live your life in this new chemical world we have created.
I highly recommend this book.
t.n.s.r. bob
Tags: boblog, Evolution, evolutionary science, humanity, reproduction, REVIEWS FROM THE REV: "Evolution in a Toxic World: How Life Responds to Chemical Threats" by Emily Monosson, the church of bob, toxicology


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Cheers for Pirates
Thank You Pittsburgh
Our western Pennsylvania friends knocked off the Mets this afternoon so now we trail NY by 1.5 games, one game in the loss column.
Last Night
Cole and Brad were outstanding and the offense produced a couple of runs that produced an ESPN national telecast win last night in San Diego.
Cole was a perfect example of what throwing strikes can produce (OK, OK, I overused that word). Of the 97 pitches he threw in eight innings, 73 were strikes. Lidge: 11 of 19 pitches were strikes.
We won two games in San Diego and on the trip, 1-0 and 2-1. A 2-5 trip isn't want we wanted. It could have been better, but on the other side of the coin, it could have been worse.
Last night's win certainly made the charter flight home much more pleasant. By switching to a night game for ESPN, it meant a much later departure from San Diego. The team charter touched down in Philly at 6 this morning to rising sunshine.
Last time we had a poorer west coast trip was May of 1989 (also May in 1988), a 1-8 journey through LA, SF, SD each season. That's 1989, B.B. (Before Bloggers).
ESPN Record
We're now 3-0 on Sunday night ESPN telecasts. That's good news.
And, we're back on ESPN this Sunday night (Dodgers at home). Yes, change your Phillies calendar from a 1:35 p.m. game to 8:05 p.m.
ESPN can change one more Phillies Sunday game and September 7 at Shea Stadium is being eyed.
Any ideas?
Offense has been struggling, quite evident with 6 hits in each of the three games in San Diego.
"I stay up at night thinking about how I can get our offense going and clicking again like it was. I'm puzzled by it. I'm open to suggestions and I'll listen to what anybody has to say. Fans, cabdrivers or President Bush or anybody," Charlie Manuel said in Ken Mandel's story on this site.
Minor League Notes
RHP Kris Benson gave up 5 runs (4 earned) in 5.1 innings last night at Lehigh Valley. It was the first time he's allowed more than three earned runs over his previous five starts . . . 3B Pedro Feliz was 0-3 plus a walk in a rehab start at Clearwater. He'll play there again tonight and hopefully rejoin the Phillies on Wednesday.
Deepest Sympathy
Our prayers and thoughts are extended to the family of Darrin Winston, a left-handed pitcher who pitched for us in 1997 and 1998. The 42-year-old died on Saturday in Freehold, NJ, from leukemia. He is survived by his wife and six children.
1 Comment
Well, since Charlie asked, I'm giving my 2 cents :o) If anyone is interested, my ideas on fixing the offense are here: http://philliesphollowers.mlblogs.com/ (article "Eighth Time Is The Charm For Hamels").
I would also like to extened my condolences to the Winston family. It is always a tragedy to lose a loved one, but especially so young. My heart goes out to them.


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City of Lincoln
Mayor's Office
2004 Media Releases
Mayor Coleen J. Seng today accepted the report of the Advisory Committee for Streets Roads and Trails (SRT) on funding future street improvements and construction. The Committee recently held five forums throughout the City where citizens learned about funding options and expressed their preferences.
Mayor Seng thanked the chairpersons of the Committee – Russ Bayer, Jan Gauger, Brad Korell and Dan Marvin – and the other Committee members for their hard work on behalf of the citizens of Lincoln.
"I hope people realize the long hours they have volunteered over the past seven months and tremendous amount of personal time they committed to this effort," Mayor Seng said. "We are very fortunate to have very community-minded and public-spirited people who are willing to step forward and do their part to make Lincoln such a wonderful place to live.
"I also need to thank the hundreds of Lincoln residents who participated in the Community Solutions forums or visited the Web site. The public involvement on this issue was most unique in comparison to many other communities. This wasn't a conversation of elected officials in closed door meetings. This wasn't a decision made by power brokers and people with money. This was a decision made by the community for the benefit of all who want a future Lincoln that is as prosperous as our current one.
"Compromise and consensus are not easy when you involve as many people as participated in the Build Lincoln's Future campaign. I honestly believe that years from now, after the streets are built, we will share a great sense of pride in having found the consensus that has allowed our children and their children to enjoy an even better Lincoln, Nebraska than the one we inherited. I thank you and congratulate you all.
"We still have a journey ahead. This document identifies the options for our community to deal with the challenges of building streets. We still have to show the resolve and commitment to actually select from the options and proceed to build the streets.
"The first step is mine. As I am putting the final touches on next year's City budget, I will review the work of the SRT Committee. On Monday, I deliver the State of the City message. As part of that, I will announce how we will present the options to the Council for their consideration. The Council has followed closely this community solution process, and I am confident we can achieve consensus and move forward in a timely manner. I look forward to leading the charge to Build Lincoln's Future."
The report of the Streets, Roads and Trails Committee will be available on the City Web site at lincoln.ne.gov.


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Food & Drink
Tall ships: 5 ways to blow your hair back this summer
By Thom Patterson, CNN • Updated 29th March 2013
View Gallery
9 Pictures
The age of sailing ships may be over, but the romance and adventure they inspired still blows our hair back.
This summer, majestic, one-of-a-kind tall ships may be coming to a city near you with their sails unfurled. In the Great Lakes, captains will repeat a waterborne war that hasn't been seen in 200 years. In Miami, a spectacular Spanish vessel will join a 500th birthday celebration. And the West Coast's largest tall ship festival promises a party for 200,000 visitors.
First, let's take a moment to appreciate the tall ships.
These boats are run by fearless sailors who sprint hand over hand
up masts that stretch 100 feet into the air. While the ship rolls and pitches with the wind and waves, the crew members work in unison to unfurl massive sails measuring 45 feet wide. In a stiff wind, these sails can pull a 400-ton ship across the water at 20 mph.
Tall ships ruled the ocean for centuries and changed the world from flat to round. Sadly, they also fueled the slave trade, while helping a new nation stretch from the Atlantic to the Pacific. Today, replicas and other traditionally rigged sailing vessels reflect some of the deepest-seated aspects of American culture: independence, mobility and team work. They remind us that because wind power was a renewable resource, hundreds of years ago, it opened the door to global travel for the first time in human history.
Here are
five events guaranteed to be a sailor's delight this summer:
Tall Ships Challenge
, Great Lakes region
This is the captain of American sailing events.
From June through September, more than a dozen vessels from around the world will show off in spectacular fashion in Chicago; Cleveland; Green Bay, Wisconsin; Duluth, Minnesota; Toronto; Erie, Pennsylvania; and elsewhere.
Without a doubt the highlight will be the
bicentennial re-enactment of 1813's Battle of Lake Erie on
Labor Day weekend
Never before has there been a better American opportunity to get your
"Master and Commander"
For the first time in 200 years, 17 tall ships will line up against each other and fire black gunpowder cannons to recreate the fight against the British that allowed the United States to secure its current border with Canada.
Stars of this massive choreographed water dance include the stunning 210-foot, 86-year-old training vessel Sorlandet -- which will sail all the way from its home in Norway.
Track the ship
Also look for the
Pride of Baltimore II
, a 100-foot replica of a 19th-century privateer schooner.
But the big daddy of this battle is the 110-foot
U.S. Brig Niagara
, which bills itself as the largest wooden square-rigger in the United States that still takes people sailing.
When the shooting starts at noon September 2, expect the sound of cannon fire to carry at least five miles to the nearby Put-in-Bay, Ohio, resort area. Tickets to board the warships range from $285 to $975. Expect about 1,000 pleasure boaters to make the 40-mile trek from Cleveland or Toledo, Ohio, or Detroit to the battle site in the middle of Lake Erie. "Let's just say the west end of Lake Erie is going to be busy with a lot of traffic," Niagara Capt. Wes Heerssen said.
The budget for this once-in-a-lifetime event totals around $850,000, which -- in addition to everything else -- will help pay for a fireworks display, concerts, food, entertainment, arts and crafts, the Ohio State University Marching Band and a live TV broadcast of the battle.
Festival of Sail
, San Diego
They say it's the West Coast's largest tall ship festival.
And in the California tradition, it's got a movie star.
The festival draws about 200,000 visitors to San Diego's North Embarcadero area each Labor Day weekend -- many who come to see the tall ship HMS Surprise, star of
"Master and Commander: The Far Side of the World" with Russell Crowe.
The Surprise is a replica of a 24-gun British frigate.
The fun starts on August 29 when the tall ships strut into the harbor and fire off their canons before docking.
"We'll have two or three ships in a battle out here on San Diego Bay, and you can hear it from all over the place," said Maritime Museum of San Diego's Robyn Gallant.
Also check out the parade, fun pirate culture and memorabilia.
The Surprise shares the festival spotlight with another legendary tall ship: the Californian, a 145-foot replica of a cutter designed to catch smugglers during the 1840s Gold Rush.
Viva Florida 500
, Miami
It's named the Juan Sebastian de Elcano, and what sets this tall ship apart is its immense size.
It's damned long: 370 feet. That's longer than an American football field.
Only two other tall ships in the world are larger.
It's tall, too. Its four masts stretch nearly 160 feet into the sky. That's about as high as a 16-story building.
This training vessel for navy midshipmen in Spain's Naval Academy gets around. It has circumnavigated the globe 10 times since its first launch in 1927.
The Juan Sebastian de Elcano is named after the first commander to sail around the world in the 16th century. (De Elcano's captain, Ferdinand Magellan, was killed in the Philippines and didn't complete the voyage.)
The ship will be in Miami to help Florida celebrate 500 years since Europeans discovered what's now the Sunshine State. The vessel is scheduled to anchor at the Port of Miami from May 1-6 with special events at nearby Bicentennial Park. The ship is scheduled to stop at Port Canaveral, Florida, on May 8-10.
Toshiba Tall Ships Festiva
l, Dana Point, California
This festival kicks off on September 6, with a parade of nine tall ships sailing from South Laguna to Dana Point Harbor, cannons blazing. The weekend continues with on board tours, concerts, pirate and marine science educational events.
Tall ship Elissa, Texas Seaport Museum
, Galveston
They say she's the real deal -- a piece of history.
Back in 1877 craftsmen shipwrights in Aberdeen, Scotland, laid the iron hull for a three-masted sailing gem that would be christened Elissa.
Now 136 years later, Elissa is a full-fledged Texan and is billed as one of the longest continuously sailed ships in the country, if not the world.
At full speed, Elissa unfurls 19 sails.
Like all full-rigged tall ships, Elissa has a multitude of rope lines that run the masts from top to bottom. "I love the complexity of that system -- being able to, by hand, put together a sailing ship and keep it stable and safely sailing," said ship's bosun Mark Scibinico.
The 205-foot ship recently underwent a major overhaul to repair plating to its hull, which suffered damage in 2008 from Hurricane Ike. Now it's as good as new, Scibinico said.
Elissa relies on volunteer crews to run its paces. Day sails are offered in the spring and fall.
Here's to a great summer, sailors -- may the wind be at your back and the skies red at night.
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Best Beaches
There's a perfect beach for every week of the year. Join us on a 12-month journey to see them all
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text:
Nobody in Hollywood needed a blast of cheer more than Michael Douglas, and the Oscar winner says he got it with his Golden Globes nomination for "Wall Street: Money Never Sleeps."
The legendary actor, recuperating from grueling throat cancer treatment, won a "Best Supporting Actor" nod from the Hollywood Foreign Press Association for reprising his role as Wall Street villain Gordon Gekko.
"To be selected with these extraordinary nominees is an honor and boy was I ready for some good news!" Douglas said in a statement to The Hollywood Reporter.
U.S. & World
Douglas, who was diagnosed last summer with Stage 4 throat cancer, underwent grueling radiation and chemo treatment that left him gaunt and frail. He says doctors have told him he has an 80% chance of surviving, and is already planning his next role.
Douglas plans to play the title role in Steven Soderbergh's film about Liberace, which starts shooting in May or June next year. His spokesman, Allen Burry, acknowledged that recent photos have shown the star looking frail, but insisted he is on the mend.
"He looks thin, it's true, but that is because the chemo eats everything in someone's body," Burry told RadarOnline.com. "Michael can't yet return to work and he can't work out physically, he has been ordered to take it easy and get his energy level up."
Burry said Douglas hopes to make it to the Golden Globes ceremony in LA Jan. 16.
"Michael would like to go to the Golden Globes," Burry told Radaronline. "He is planning on going."
Selected Reading: The Hollywood Reporter, IMDb, Radaronline.


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X Japan may be Japan's biggest rock band, playing arenas and stadiums throughout Asia for many years. But the group has long dreamed of touring the United States, even if it meant performing at small venues.
"Oh, my God," band leader Yoshiki (Hayashi) said by phone from his hotel in San Francisco. "Even when we started in the '80s, it was our dream to come here."
The Japanese heavy-metal band, which has sold more than 30 million albums and DVDs, made it s U.S. debut at Lollapalooza in August in Chicago. In its review of X Japan, Time Out Chicago thanked Lollapalooza co-founder Perry Farrell for booking "the coup of the festival."
USA Today wrote that "the pop-metal band was fast and furious" and compared Yoshiki's drumming to "Keith Moon on Red Bull."
"There were so many great bands there," said the soft-spoken drummer, pianist and composer. " It was an honor to be part of it."
The band's short U.S. tour commenced Sept. 25 at the Wiltern Theatre in Los Angeles. The trek includes a show Friday night (Oct. 1) at Seattle's Paramount Theatre. Tickets are $42 at Ticketmaster.
"It's kind of a showcase tour, just seven dates," Yoshiki said. "We just had the first show in Los Angeles and it went fairly well.
"We have not performed these kinds of small venues for a long, long time. About a month ago in Japan, we performed before 65,000 (concertgoers) in two nights. The other night in Los Angeles, we did about 2,500."
Indeed, for Yoshiki and bandmates Toshi (vocals), Heath (bass) and Pata and Sugizo (guitars), playing in the U.S. is like starting anew. Though there is a bit of a buzz among those familiar with the group's powerful shows in Asia, many U.S. rock fans have never heard of them.
"At Lollapalooza, there were a lot of people who were seeing us for the first time, but they were very supportive," he said.
Yoshiki said he loves the excitement of starting over in the world's biggest rock 'n' roll market.
"I like that because how many artists can do their career twice?" he said. "We kind of appreciate the chance to go back to the basics. Because when you're performing stadium shows for so many years, you start taking everything for granted. But now we're appreciating everything we do. And I'm really enjoying it."
Yoshiki, dubbed "the Bono of Japan," fell in love with Kiss when he was 10 years old.
"That album opened the door to Led Zeppelin and all those hard-rock bands," he said.
Originally called simply X, the band formed in 1982 as a power/speed-metal band, with classical touches added by Yoshiki, a classically trained pianist, and oversized hairdos.
Later changing its name to X Japan because of the Los Angeles band X, the group pioneered "visual kei," a musical movement that featured androgynous looks, flamboyant costumes, big hair and lots of makeup. It sparked the Anime craze.
The group broke up in 1997, after selling out the 55,000-seat Tokyo Dome 18 times. X Japan later reformed in 2007 and relaunched the powerful shows that had been their trademark.
Yoshiki and his bandmates – all natives of Japan – are on a mission to bring "the drama back to rock 'n' roll." They are not fans of shoe-gazing rock. Flamboyance is the name of the game.
On the U.S. tour, Toshi is singing most of the songs in English. Next winter, the band will release its first U.S. album, with lyrics that will be "90 percent English."
"We are translating our old hits into English," Yoshiki said.
The band's first single will be "Jade," which is featured on the current U.S. tour. The song was a highlight of the band's Lollapalooza show.
Yoshiki is optimistic about the band's chances for success in America. But he isn't taking anything for granted.
"I don't know if we will be successful," he said. "But music breaks down barriers. And good music is universal."
Visit X Japan's Web site here.


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Discussion in 'General Discussions' started by Qazz, January 2, 2012.
Page 1 of 152
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