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This interview was originally broadcast on February 21, 2011.
Blues and jazz singer Catherine Russell says she frequently listens to the radio while washing dishes. One night, she was by the sink listening to a Chick Webb compilation when Ella Fitzgerald's "Under the Spell of the Blues" came on. The song struck her.
"The lyric came on, and it was just a beautiful story, and then I [was] compelled to learn the tune, and then I learned about everything surrounding it," she says.
The result is now one of 14 songs on Russell's fourth solo album, Strictly Romancin', and one of the tunes she sings during Tuesday's Fresh Air in-studio interview and concert. Other songs in the concert include "Everything's Been Done Before," "Wake Up and Live" and "Romance in the Dark." Russell grew up on these tunes, in addition to a mix of rock, blues and classical arrangements.
"My mother had a radio in the kitchen when I was growing up, and we used to listen to William B. Williams Make Believe Ballroom on WNEW-AM," she tells Fresh Air's Terry Gross. "So every morning, I was listening to Ella, the Mills Brothers, Steve Lawrence and Eydie Gorme, Judy Garland, Peggy Lee. Everything that was popular of the day and before that. ... That really formed my appreciation of phrasing, of how the people sang these tunes in those days."
Russell's household was always filled with music. Her father, the late Luis Russell, was Louis Armstrong's musical director from 1935 to 1943. Her mother, Carline Ray, performed with the International Sweethearts of Rhythm, an all-female orchestra, during WWII and has performed with Wynton Marsalis and the Lincoln Jazz Center Orchestra.
"Their appreciation of traditional and different types of jazz kind of formed my young ears," she says. "Mom played a lot of different things. ... And she also let me listen to a lot of things that she didn't particularly like. ... She let me listen to my Led Zeppelin records loud. ... She never said, 'Turn that down. I hate it. This is terrible.' She always let me listen to everything I wanted to listen to."
Catch A Rising Star
As Russell grew older, she realized she wanted to be a singer. One of her first regular gigs was in between sets at a comedy club called Catch a Rising Star in New York. Russell was allowed to sing for 15 minutes and pick three tunes.
"The first song would be an uptempo soul tune, the second would be some kind of blues or a ballad and then the third would be an uptempo tune, and I wouldn't finish the tune. The band would keep playing and I'd say, 'Good night everybody!' and leave the stage," she says. "Not only weren't they my audience, but it would take a tune or two to have them say, 'Oh, okay, she can sing,' and then they would go back to tallying up their checks."
Russell says singing to a relatively indifferent audience was actually excellent training.
"You really have to work so hard to win them over," she says. "You only have 15 minutes, and you have to put all of yourself into every note. And I could sing whatever I wanted to sing. So it was a way for me to change up repertoire and add repertoire and know what was and wasn't going to work."
After that gig, Russell sang backup for people like Jackson Browne, Rosanne Cash, Steely Dan, Paul Simon and David Bowie. She also backed Bette Midler, Al Green and Beth Orton on David Letterman's show. Rehearsals, she said, often took place on the same day as the show.
"Sometimes they'll send you the tune beforehand, but really, we're working out the parts that day," she says. "Those of us working out those parts are continually rehearsing that day until we're on camera. So we keep rehearsing the parts in the dressing room; as we're going down the stairs to the studio, we're rehearsing in the wings, in the green rooms, right up until the cameras roll."
Performing as a solo artist, Russell says, requires a different set of nerves.
"It was terrifying at first, really," she says. "I just thought, 'What have I done?' But then the more I did it, then the more comfortable I got, and then I thought I need to start enjoying my life."
After a sold-out performance at the Rochester Jazz Festival a few years ago, Russell says she needed to become more comfortable.
"I realized, 'You need to just start to own this,'" she says. "Because if people come to see you, you can't be cowering and looking nervous and being unsure of yourself. So I did a lot of talking to myself about that. ... I said, 'God meant for me to do this. My mother wants me to be proud. And I'm too old to be standing up too-nervous in front of an audience. And there's a reason why I have this opportunity, and I need to take it and own it.'"
This is FRESH AIR. I'm Terry Gross. On this Memorial Day, we have a performance by a singer who I consider one of the best jazz and blues singers around, which isn't to say she's well-known. Her name is Catherine Russell, and for many years she worked as a backup singer for Paul Simon, Steely Dan, David Bowie and others.
But for the past few years, she's been performing and recording under her own name. A lot of the material she does is jazz, blues and pop dating back to the 1930s and '40s. Her father, Luis Russell, who was a pianist, composer and arranger who worked as Louis Armstrong's music director in the mid-1940s.
Her mother, Carline Ray, performed with the all-women's band The International Sweethearts of Rhythm. Catherine Russell's FRESH AIR performance was recorded in February, after the release of her latest album "Strictly Romancin'." With her was guitarist Matt Munisteri, who plays guitar on the album, served as the music director and did many of the arrangements.
Catherine Russell, Matt Munisteri, welcome to FRESH AIR. We've been so looking forward to this. It's really great to have you. So Catherine, I'm going to start by asking you both to do a song, and I'd like you to introduce it for us.
CATHERINE RUSSELL: We're going to do a song called "Under the Spell of the Blues," which was written by Edgar Sampson and Ken Harrison, and Edgar Sampson was associated with the Chick Webb Orchestra, and this was one of Ella Fitzgerald's earliest hits.
GROSS: And I should mention it's the first song on the new album "Strictly Romancin'."
RUSSELL: (Singing) I turn my head to the sky when you pass by, but I want to cry because my heart is under the spell of the blues. For I go around acting gay, say it's OK, pretending each day, but I'm alone and under the spell of the blues.
(Singing) Since we're apart, the dawn brings only heartache to me. You're born, I'm like a lost ship at sea in my misery. I'd say that I'm satisfied, no use to hide what goes on inside. It's true, my heart is under the spell of the blues. Since we're apart, the dawn brings only heartache to me. You're gone, I'm like a lost ship at sea in my misery.
(Singing) I'd say that I'm satisfied, no use to hide what goes on inside. It's true, my heart is under the spell of the blues.
GROSS: That's fabulous. Thank you so much for performing that. That's Catherine Russell, singing in our studio, accompanied by Matt Munisteri on guitar. Thank you so much. That's so - I love your voice so much.
I love a lot of early jazz and pop, and one of the things I love about your work is that you love that music, and you bring it to life in such a beautiful and committed way.
RUSSELL: Thank you very much.
GROSS: And you know the language of it. I mean, I think a lot of singers don't have the right rhythm when they sing old songs because they grew up with rock, and they just don't feel a jazz rhythm. But you grew up with jazz.
RUSSELL: I grew up with jazz, but I grew up with rock, too. I grew up with blues. I grew up with classical. My mother had an old radio in the kitchen when I was growing up and we used to listen to William B. Williams Make Believe Ballroom.
GROSS: On WNEW.
RUSSELL: On WNEW, yeah, AM. Every morning, I was listening to Ella, the Mills Brothers, Steve Lawrence and Eydie Gorme, Judy Garland, whatever, Peggy Lee, everything that was popular of the day, which - and before that. So that was late '50s, early '60s now. So that really kind of formed my appreciation of phrasing, of how the people sang these tunes in those days.
So I always, you know, was in the mirror with a toothbrush when I was a little girl, trying to sing these songs and everything.
GROSS: Now, I grew up with that radio station, too, because my parents listened to it. And I hated it then. I really hated it because I wanted to hear rock 'n' roll. And - but you grew up with parents who were jazz performers. You know, your father, the late Luis Russell, was Louis Armstrong's music director for a while. Your mother sang with the International Sweethearts of Rhythm during World War II, which is an all-women jazz band.
And so did the fact that they loved the music bring the music alive for you?
RUSSELL: Yes, my dad's music was some of the first music I ever heard in the house growing up, and my mother was so happy that I kind of took to it, you know, when I was very little because I liked to dance and I loved swing. And so, yes, I would say that their appreciation of traditional and different types of jazz kind of formed my young ears with that.
GROSS: Were they determined to get you to love the music? Did they play you things and hope that you would love it?
RUSSELL: No, they - you know, mom played a lot of different things. So she's happy that I did, but she also let me listen to a lot of things that she didn't particularly like. I grew up on "American Bandstand," so if there were groups on there - she never told me, oh, turn that stuff off, I hate it, never. She always let me listen to my Led Zeppelin records loud.
RUSSELL: So she, you know, got me a little stereo, and I had it, you know, the kind that you pick up, and I had that in my room when I was growing up, and she never said turn that down, I hate it, this is terrible. She always let me listen to everything I wanted to listen to, so...
GROSS: Well, I'm going to ask you to perform another song that's also featured on your new album "Strictly Romancin'," and this song is called "Wake Up and Live," and I love this song. I was not familiar with it until you sang it. Tell us why you chose it.
RUSSELL: This is another song that I actually heard when I was growing up. I remember this, it's written by Mack Gordon and Harry Revel, and I hope I'm pronouncing that correctly. I remember that from the radio, as well, so I think that William B. Williams played that one, also.
And on the Chick Webb - that's also from this Chick Webb selection. It's a vocal trio on that collection, and I remember that recording very faintly when I was little, and Cab Calloway also recorded it. So I loved his version, too. And it just reminds me that I have to really do something with my life. You know, I like to sleep late and everything. So this is a good song for me.
GROSS: And I should mention that Matt Gordon, the lyricist for this song, also wrote the lyrics for "Chattanooga Choo-Choo," "I Had the Craziest Dream," "The More I See You" and "There Will Never Be Another You." And Harry Revel wrote "There's a Lull in my Life," which is a great song.
RUSSELL: Oh yeah, beautiful.
GROSS: So let's hear it.
RUSSELL: Let's do it.
RUSSELL: (Singing) Wake up and live, don't mind the rainy patter, and you will find it's mind over matter. Dark clouds will break up if you will wake up and live. Yeah, wake up and live, show the stuff you're made of. Just follow through, what are you afraid of? You'll try it, won't 'ya? Why don't you wake up and live?
(Singing) Come out of your shell, hey fella. Find your place in the sun. Come out of your shell, say fella. Just be a go-gettin' son of a gun. Wake up and live, if Lady Luck is yawning. Up on your toes, a better day is dawning. Don't let up, get up and give. Just give yourself a shakeup just to wake up and live.
(Singing) Come out of your shell, hey fella. Find your place in the sun. Come out of your shell, say fella. Just be a go-gettin' son of a gun. Yeah, wake up and live, if Lady Luck is yawning. Up on your toes, a better day is dawning. Don't let up, get up and give. Just give yourself a shakeup just to wake up and live.
GROSS: Yeah, that was great. Thank you both so much. That's Catherine Russell singing with Matt Munisteri featured on guitar, and Catherine Russell has a new album, which she performs that song, and it's called "Strictly Romancin'." But today, Catherine Russell and Matt Munisteri are performing in our studio.
So let's talk about your first regular gig in New York. I should mention you were a backup singer before you became a soloist.
RUSSELL: For many years, yeah, yeah.
GROSS: But one of your first regular jobs, maybe your first regular job, was at Catch a Rising Star in New York, where you sang when the checks were being given out, when it was really noisy and when there was, like, a famous comedian testing out a new routine. None of the other comics would want to follow that.
RUSSELL: Wanted to follow him, yes.
GROSS: So you would kind of sing right in between to break it up a bit.
RUSSELL: Yeah.
GROSS: So it wasn't necessarily going to be your crowd because they're a crowd who came to see comedy, not music. What songs went over for that crowd?
RUSSELL: It was a 15-minute slot for everybody. So comedians, singers - there are a few of us who sang. And so I chose soul and blues. So I would sing three songs, and the first song would be a kind of an up-tempo soul tune. The second would be blues or some kind of a ballad like, you know, Aretha Franklin. And then the third one would be an up-tempo tune, and they would - so I wouldn't finish the tune.
So the band would keep playing, and I'd say good night everybody, you know, and leave the stage. And so really, after whatever comedian was on, the singer - they'd announce the singer, and the people would go - uh, you could hear it, hear it in the crowd.
RUSSELL: So not only weren't they my audience, but, you know, it would take a tune or two to kind of have them say, oh, all right, she can sing, you know, it's OK. And then they would go back to tallying up their checks, you know.
GROSS: And you also did backup for a long time. You sang with Steely Dan and with David Bowie, with Paul Simon...
RUSSELL: Jackson Browne, Roseanne Cash. I did J. Geils Band. I sang with Bernie Worrell of P-Funk fame, you know, a whole bunch of people and then also backed a lot of people up on television shows, on, you know, David Letterman, on the late-night shows: (unintelligible), Bette Midler, Beth Orton, Al Green, Ray LaMontagne, you know...
GROSS: So for that kind of backup singing, you've got to, like, really deliver. I mean, you've got to be every-note precise, right?
RUSSELL: Yes, it's really important. You know, we rehearse beforehand. You go in on the day, and so sometimes they'll send you the tune beforehand, but then really you're - we're working out the parts that day, and then whatever group of us there are will continually rehearse those parts until we're on camera.
So we keep rehearsing the parts in the dressing room, we're rehearsing as we're going down the stairs to the studio, we're rehearsing in the wings, in the green room, right up until those cameras roll.
GROSS: What was it like for you when you started singing solo to be the front person because when you're the backup singer, you're not supposed to be upstaging the actual performer. But when you're the soloist, you have to have a persona onstage.
RUSSELL: It's different - you know, I've sung lead in different bands for a long time. So they were bands that weren't under my name, which was still fine because it wasn't under my - my name wasn't on the ticket. But as soon as my name was on the ticket, I thought wow, OK, now, you know, I'm getting to the venue, and I'm looking around for the star, and it's me.
RUSSELL: I'm looking around for the other person. They're like hi, Catherine. You know, it's like oh my goodness. So it took me a few years, actually. Now we've been doing this maybe five, a little over five years. It took me a few years to get used to that. That was terrifying at first, really. It was really nerve-wracking.
Then the more I did it, you know, then the more comfortable I got, and then I realized wait a minute, I need to start enjoying my life. So at some point, there was a - I did Rochester Jazz Festival a few years back, and we sold out, and I realized, oh, my goodness, all these people came to see me, oh.
So at that point, I think - you were with me at that - Matt was with me. And then I realized, wow, you need to just start to own this because if people come to see you, you can't be cowering and looking nervous and being, you know, unsure of yourself. So I did a lot of talking to myself about that.
GROSS: What did you say to yourself?
RUSSELL: I said God meant for me to do this. I mean, this may sound corny, but, you know. God meant for me to do this, my mother wants to be proud of me. I'm representing a lot of people here. And I'm also too old to be standing up and being nervous in front of an audience. So there's a reason why I have this opportunity, and I need to take it and own it. So this is what I say to myself.
GROSS: So my guest is Catherine Russell, and she has a new album, which is called "Strictly Romancin'," and with her today, accompanying her on guitar, is Matt Munisteri. And let's take a short break here; then we'll hear some more live performance in our studio.
RUSSELL: Excellent.
GROSS: This is FRESH AIR.
GROSS: If you're just joining us, my guests are singer Catherine Russell and guitarist Matt Munisteri. And Catherine has a new album called "Strictly Romancin'," and Matt is the music director, the primary arranger and the guitarist on the album. So I'd like you to do another song that's featured on the new album, and this one is called "Romance in the Dark." And I have to say it's a very sexy song, especially the way you sing it.
RUSSELL: Thank you.
GROSS: So tell us why you chose the song.
RUSSELL: It's just such a - I love the blues. And I just love the pictures that the song creates with the lyric.
RUSSELL: (Singing) In the dark, it's just you and I. Not a sound, baby, not one sigh. Just the beat of my poor heart in the dark. In the dark, I get such a thrill when he places his fingertips upon my lips, and he begs me please be still, in the dark.
(Singing) Oh, soon this dance will be ending, and I know, baby, you are gonna be missed. Gee, you know I'm not pretending 'cause you know it's fun, fun to be kissed. In the dark, I know we will find what the rest, what the rest, what the rest have left behind. So just let them dance while we find romance in the dark. Yeah...
(Singing) Oh, soon this dance will be ending, and I know, pretty baby, you are gonna be missed. Ah, honey, but gee, I'm not pretending when I tell you it's fun, fun to be kissed. In the dark, I know we will find what the rest, what the rest, what the rest have left behind. So just let them dance while we find romance, oh baby, in the dark.
GROSS: Wow, that was fantastic.
RUSSELL: Thank you.
Performing for us in our studio, Catherine Russell, singing with Matt Munisteri accompanying her on guitar, and that is one of the songs that's also featured on her new album, which is called "Strictly Romancin'." Whoa.
GROSS: You know, I wish our audience could see you because your hand movements are so beautiful when you sing. You studied acting, didn't you?
RUSSELL: Yes, I did. I went to the American Academy of Dramatic Arts and graduated from there with honors. So I'm very proud of that.
GROSS: Catherine Russell and guitarist Matt Munisteri will be back in the second half of the show. I'm Terry Gross and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Today we're featuring a concert and interview with jazz and blues singer Catherine Russell. She has a new album called "Strictly Romancin'. Some of her material dates back to the 1930s and '40s.
Her father, Luis Russell, was Louis Armstrong's music director in the mid-1940s. Her mother, Carline Ray, is a bass player and guitarist who played with the all-women's band, The International Sweethearts of Rhythm. Accompanying Catherine Russell in our studio is Matt Munisteri, who is the guitarist and music director on Russell's new album.
Now you're here singing live for us, which is thrilling. But there's an album - there's a song from the new album I actually want to play from the album because your mother is featured on it singing a duet with you on a Rosa Tharpe gospel song.
RUSSELL: Sister Rosetta Tharpe and Sister Maureen Knight recorded a lot together back in the 1940s. And I actually got to meet and sing with Sister Maureen Knight on her last album that Larry Campbell, the great multi-instrumentalist, produced and played on. She did an album, which was a dedication to Reverend Gary Davis. So it was blues song, kind of gospel, spiritual songs. So I began to listen to the songs that Maureen Knight recorded back in the 40s and she swung, you know, that's what also grabbed me about her music. And so then, listening on to this collection that I have of hers, I came upon this song, "He's All I Need," and I thought my mother is a very spiritual, you know, she's a woman of faith, of deep faith. And I thought what can I sing with her that will be simple that will really grab her that we can sing together?
GROSS: And I should say, she's in her 80s.
RUSSELL: She is going to be 87 years young in April, and still singing, still playing bass and she's one of the strengths in my life. So I brought her into the studio to sing this song with me because she also really connected with the lyric.
GROSS: So let's hear the track from the album in which you sing a duet with your mother. And this is "He's All I Need." And this is my guest, Catherine Russell with her mother Carline Ray, who used to perform most famously in the International Sweethearts of Rhythm, an all-women's band during World War II. And this is from Catherine's new album, which is called "Strictly Romancin'."
RUSSELL AND CARLINE RAY: (Singing) If I was hungry without bread to eat. Well, if I was naked with no shoes on my feet. Well, if I was wondering oh Lord, where will I be? The Lord, he is my shepherd, yeah, yeah, and that's all I'll ever need. Oh, now the Lord is my shepherd. He is my shepherd. The Lord is my shepherd. And that's all I need to know. Oh, now the Lord is my shepherd...
GROSS: So that's Catherine Russell dueting with her mother, Carline Ray, from Catherine's new album "Strictly Romancin'." I really like that so much. At a time when there were few women instrumentalists in jazz your mother was playing guitar with the International Sweethearts of Rhythm.
RUSSELL: Yes.
GROSS: In the 1940s during World War II. And then your father dies when you are seven.
RUSSELL: Yeah.
GROSS: So your mother is on her own...
RUSSELL: Yeah.
GROSS: ...raising you.
RUSSELL: Yes.
GROSS: So you must've gotten the impression from her that women can definitely be strong and do things that are unconventional for women.
RUSSELL: Yes. You know, even when my dad was alive, I mean she was always very independent because she left home to go on the road and women just didn't really do that, you know. So my grandfather, she used to tell me the story, you know, my grandfather would say, you'll be back, you know, when you've...
RUSSELL: You'll be back, you know. And she left and she didn't come back, really. You know, she just left and started working right after she graduated from Juilliard School of Music. And, you know, she wanted to play and she was inspired by all the jazz on 52nd Street and hearing, you know, Billie Holiday live. And she's got a story about how, you know, Art Tatum played, accompanied her one night and all these great stories. And so she was really determined - she has always been very determined and very independent and very focused, you know.
GROSS: Do you think that that affected your stage fright at all, having a mother who was so, you know, so kind of capable and brave and out there and...
RUSSELL: Yes. You know, absolutely. I mean I grew up looking at a degree from the Juilliard School of Music...
RUSSELL: ...on the wall, and right under that a degree from the Manhattan School of Music. And I just thought I'll never, you know, A, I'll never live up to that. And B, you know, she was always doing these - and she's got a very low voice. She's a classical contralto so she sounds like this, you know, and she's always been very strong and I'm not, you know, quite as strong that way. I'm a little more outwardly emotional, maybe in things like that, you know, so I really had to work on that. That's what took - and, you know, then she, I didn't let her - when I was in acting school I did not let her come to my plays for two out of the three years that I was at school because I didn't want to see her in the audience, you know. And, but, now I welcome her in the audience so I've made some progress.
GROSS: That's great.
RUSSELL: But she - yeah, she's still very, very - I ask her everything.
GROSS: If you're just joining us, my guests are singer Catherine Russell and guitarist Matt Munisteri. They're performing some songs for us today. Catherine Russell has a new album out, which is called "Strictly Romancin'." And Matt Munisteri is the guitarist and music director for the album.
We'll be back after a break. This is FRESH AIR.
GROSS: If you're just joining us, we're doing something special today. We have Catherine Russell performing some songs for us in our studio, accompanied by guitarist Matt Munisteri. And Catherine Russell has a new album, which is called "Strictly Romancin'."
So both your parents were jazz musicians.
RUSSELL: Yes.
GROSS: But you grew up hearing all kinds of things growing up in the '50s and '60s. I'm going to ask you to sing a song that meant a lot to you when you were coming of age musically and when you were really impressionable and learning new things.
RUSSELL: All right. Well, my first 45 that I bought was a Supremes 45. I think it cost me about 40 cents back in 1964, -5, something like that. And then with all the girl groups, I loved a song called "Nowhere To Run" by Martha Reeves and the Vandellas. Then, later on I realized that the Isley Brothers also recorded it and I loved their version of it. So that's where I take this version from.
GROSS: Fantastic. And this is my guest Catherine Russell singing with guitarist Matt Munisteri.
RUSSELL: (Singing) Nowhere to run to, baby. Nowhere to hide. I got nowhere to run to baby. Nowhere to hide. It's not love I'm running from. It's just the heartache I know will come. 'Cause I know you're no good for me. But you've become a part of me.
(Singing) Everywhere I go, every, face I see, every step I take you take with me, baby. Nowhere to run to, baby. Nowhere to hide. Oh, got nowhere to run to, baby. Nowhere to hide.
(Singing) I know you're no good for me now. But free of you I'll never be, yeah. Nowhere to run to, baby. Nowhere to hide. Oh, yeah. Nowhere to run to, baby. Nowhere to hide. Nowhere to hide.
GROSS: That was great. And what an achievement to sing that solo without a backup group, you know.
GROSS: It's funny because that's the kind of song that's usually so dependent on like the backup singers. You used to be a backup singer and here you are doing it solo.
RUSSELL: I don't know. I just love that song. I love the fact that it's actually blues, you know. It's a sad song but it's, you know, we used to dance to that song when I was a kid, so.
GROSS: Well, thank you so much for performing that.
GROSS: And I should mention, Catherine Russell has a new album, which is called "Strictly Romancin'." And now, Catherine, you're here today with guitarist Matt Munisteri. And Matt, you're the music director of the new album, the primary arranger and the guitarist. You've been working together, how did you first meet?
MATT MUNISTERI: Catherine called me maybe four years ago to start doing some stuff with her. And I'd heard about her maybe a year before that, because our mutual friend, Michelle Garnier, mentioned her. And I realized when Michelle was telling me about her that I'd played with her and heard her a very long time ago at the Berkshire Mountain Bluegrass Festival. We were in a parking lot picking session when I was like 16 playing banjo and she was playing the mandolin and singing Bill Monroe tunes. And for...
MUNISTERI: For years, for years, I thought about this woman - I'm not joking - and the incredible focus and pain and living inside the song that she brought to this, you know, performance of, I think it was "In the Pines."
RUSSELL: Yeah, I grew up on "Hee Haw" and everything else, so I was listening, you know, Buck Owens. And early on I loved acoustic instruments. You know, loved the sound of acoustic...
...and everything else. So I was listening to, you know, Buck Owens and from early on I loved acoustic instruments. You know, loved the sound of acoustic instruments, and maybe one of the turning points in my life is hearing a traditional Irish string band when I was about 15 years old.
And my grandfather had a mandolin in the house, because he played the mandolin. So I grew up, kind of, fooling around on it, but then - you know, and I used to sing (singing) Hello, my baby. Hello, my honey. Hello, my ragtime gal. (Speaking) Because it's three chords and it was easy to play.
So, you know, when I was like 10 years old I would fool around on that. But then when I heard this traditional Irish band out in California when I was 15, I thought I have to - I've really got to study the mandolin and learn how to play fiddle tunes. So that's really what sparked me to start learning that music.
GROSS: I'd love for you to do another song and this is a song by Fats Waller that's the title track of one of your earlier albums called "Inside This Heart of Mine."
RUSSELL: Yes. Yes.
GROSS: And one of the things I love about this, I mean, it's a beautiful song but, you know, you always associate Fats Waller with these, like, up tempo kind of jokey songs and this is a really, like, heartbreaking song. And it's just not what you'd expect and it's a beautiful song. Tell us why you chose it.
RUSSELL: That's why I chose it, because another instance of me, you know, cleaning up the kitchen after a great meal I said let me put Fats Waller on. You know, and I was kind of, you know, dancing around the kitchen and then I heard this song and I thought, he's kind of jokingly singing it, but it's just such a - it just struck me as such a beautiful song and the lyric just kind of caught me.
And I thought wow. And I just listened to it about 10 times after that and I said, OK, I have to learn this. I have to sing it.
GROSS: Well, you're not kidding around when you sing it.
RUSSELL: Thank you.
GROSS: So this is my guest Catherine Russell with Matt Munisteri on guitar and they're performing in our studio. And she has a new album which is called "Strictly Romancing."
RUSSELL: (Singing) Outside it's sunny but in this heart of mine the world is gloomy, the sun refuse to shine. I've done the best that I could do all for you. Now we're through. Sunshine brings danger inside this heart of mine. Blue skies taunt me, memories haunt me. You don't want me. Let me be alone and have my cry. Outside it's sunny but that's a real bad sign. Love is a stranger inside this heart of mine. Blue skies taunt me. Memories haunt me. You don't want me. Let me be alone and have my cry. Outside it's sunny but that's a real bad sign. Love is a stranger inside this heart of mine. Inside this heart of mine.
GROSS: Fabulous. Thank you so much. I love the way you do that song. That's Catherine Russell singing the Fats Waller song "Inside This Heart of Mine" which is on one of her previous albums. Her new album is called "Strictly Romancing." And Matt Munisteri, who's accompanying her on guitar today, is the guitarist and music director on that new album.
You didn't have your first solo album till you were 50.
RUSSELL: Yeah.
GROSS: Which is, I mean, that's pretty old for the first solo album, considering you've been performing for decades.
RUSSELL: Yeah.
GROSS: So before that did you think it's never going to happen for me? I'm never going to be, like, the real soloist. And did that bother you?
RUSSELL: I knew that there was a piece missing from my life and I had - but I didn't know how to do it. You know, I didn't know how to make it happen. I had co-written a bunch of songs with a friend of mine years and years ago, 20 years ago now, and I never finished them and I thought, gee, do I want to be singing like this when I'm 70? I don't know.
And then I had gone to see Alberta Hunter when I was a kid too, at the Cookery in New York City. She was very inspiring. I had seen Ruth Brown, and - because my mother was in her band for maybe five or six years. And so I really had to evaluate, kind of, what am I going to do and how do I do this?
And, you know, I just didn't think I'd ever have any assistance doing it.
GROSS: So how did it happen?
RUSSELL: Well, I came home from a David Bowie tour in 2004, and I was kind of, you know, we got home from tour and I thought, gee, OK, now what? Now what am I going to do, you know? And so then my friend Paul Kahn said, you know, you should really make a - people had asked me why I hadn't I recorded my own stuff before and I thought, ah, well, you know, I don't know.
I don't know how to promote it, and he said, well, I want you to do it. You know, I think it's time for you to do this, you know. I said, yeah, OK. So I just put together 14 songs that I knew. He said I have a friend in the Chicago area with a studio.
So send him, you know, the music ahead of time, the source material, and he'll gather up the musicians and we're just going to go out there and make a record. So that's what we did. And that turned into "Cat". That turned into the debut album.
So then I was performing at the St. Peter's church weekday jazz series. So Paul invited two record company people down there to hear me. So it was myself and a piano player. I was doing a duo. And so then the next day we were sitting down having a meeting about giving me a record contract.
GROSS: Well, Paul Kahn who you mentioned...
RUSSELL: Yes.
GROSS: ...and who helped you become a soloist and get your first record...
RUSSELL: Yes.
GROSS: ...is with you today and is in our studio. So I just want to say thank you, Paul.
GROSS: Much appreciated. if you're just joining us, my guests are singer Catherine Russell and guitarist Matt Munisteri. There will be more music and conversation after we take a short break. This is FRESH AIR.
GROSS: With me in our studio is singer Catherine Russell and guitarist Matt Munisteri. They're performing some songs for us. She has a new album which is called "Strictly Romancing." He's the feature guitarist and music director on the album.
So I hate to say it, but I think our time is up. And before you leave I'd love for you to sing another song for us.
GROSS: And I have one to recommend. It's called "Everything's Been Done Before." It's one of the songs on the new album which is called "Strictly Romancing" and, again, tell us why you chose this one.
RUSSELL: I was once again listening to a compilation, you know, in the evening in my apartment, and this time it was a Louis Armstrong compilation and Decca had just put this compilation out.
GROSS: Was your father on these records?
RUSSELL: Yes. And this is during a period when my dad was musical director and one of the arrangers for Louis Armstrong's orchestra. It was actually my dad's orchestra, during the years of 1935 to 1943. This collection goes up to 1946, but many of the tunes are, you know, my dad's arrangements.
And so when I listen to this music it's like I'm just home. You know, so when I hear Louis Armstrong sing, everything he sings, he's so inspiring to me because he had a hard life and everything he sings his life is in every lyric. You believe everything he sings, you know?
And so when I heard this song "Everything's Been Done Before" I thought anyone else singing that, you know - I'd never heard it before. Anyone else, it would kind of be corny sounding to people, maybe. I don't know. But when he sings it, it's so real that it just drew me in and I thought what a simple idea. What an old fashioned, romantic idea.
GROSS: So was your father music director when Armstrong sang things like "Got a Brand New Suit" or...
RUSSELL: Yeah. Yes.
GROSS: No, really?
RUSSELL: Yes. Yes. Yes.
GROSS: Or "On a Coconut Island"?
RUSSELL: Yep. That's one the--
GROSS: Oh, I love that stuff.
RUSSELL: All of those things on are that, yeah, during those years.
GROSS: Oh, wow.
RUSSELL: Yeah. In the '30s.
GROSS: So that was actually your father's band?
RUSSELL: Yeah. That was his orchestra. That was his orchestra.
GROSS: Wow.
RUSSELL: So it was a lot of the guys that he came up from New Orleans with. You know, the orchestra changed personnel starting maybe in 1940. But from 1935 to 1940 it was a lot of guys that, you know, my dad made records on his own as well. So it was a lot of those same people. You know, it was like the New Orleans brotherhood, really, you know.
And my dad, of course, was from Panama, but the first place he went was New Orleans. You know, so it's very - it's got the whole spirit of New Orleans in it for me.
GROSS: Wow. Catherine Russell, it has been really very special to have you here performing today. Thank you so very much.
RUSSELL: Well, thank you. You have no idea. It's been so special for me and I just want to say dreams can come true. So...
GROSS: And Matt Munisteri, thank you so much for being here today. So we're going to hear one more song and this is, again, a song from Catherine Russell's new album "Strictly Romancing" but she's performing in our studio with Matt Munisteri on guitar. Thank you both again.
RUSSELL: (Singing) Everything's been done before. To share a kiss, a moment's bliss, and hear you whisper you love me, sweetheart, it's thrills as old as the hills but it's new to me. Oh, everything has been done before. The birds that sing the song of spring always singing above me yet with you their singing is something that's new to me.
(Singing) Life is strange. We hate to change from what is tried and true. Although I know I'm only doing what the others do, yet it all seems new. Oh, everything's been done before. To fall in love with stars above began with Adam and Eve but when I'm with you I just want to do what's been done before.
(Singing) Oh, life is strange. We hate to change from what is tried and true. Although I know I'm only doing what the others do, yet it all seems new. Everything's been done before. To fall in love with stars above began with Adam and Eve but when I'm with you I just want to do what's been done before.
GROSS: Catherine Russell's performance with guitarist Matt Munisteri was recorded last February. Her latest album is called "Strictly Romancing." You can download podcasts of our show on our website freshair.npr.org. Transcript provided by NPR, Copyright NPR.


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Aer Lingus, in partnership with Etihad Airways, has launched the International Hurling Festival.
The launch took place at the Irish Consulate in New York, with a reception for invited guests at Desmond's on 7th Avenue. Special guests included former President of the GAA, Joe McDonagh and Galway Hurling Team Manager, Anthony Cunningham.
From the September 18 to 21 2013, Aer Lingus in partnership with Etihad Airways, will host the first ever International Hurling Festival. The qualifying games will take place in regional towns around Galway with the finals being staged at Pearse Stadium.
Aer Lingus in partnership with Etihad Airways is inviting teams from all over the world to compete in this unique tournament. Sixteen overseas teams will participate in the competition including teams from the UK, Continental Europe, New York, San Francisco, Canada, the Middle East and Australia. The tournament will also serve as an opportunity to promote the game of hurling in developing regions by including teams such as Buenos Aires, Milwaukee, Indianapolis and a Europe team made up of non-Irish nationals.
The four festival host towns will be Gort – hosts to the New York team, Loughrea Ballinasloe and Galway West. The festival hotels in each town will provide accommodation for the overseas teams. A number of lively traditional music and dance events will be staged in these venues throughout the festival.
Aer Lingus will play host to a local underage Hurling Tournament that will run in parrell to the adult International Hurling Tournament.
Aer Lingus Chief Human Resources Officer Michael Grealy said, "We are very excited to bring this one of its kind hurling festival to Galway City and County, in the year of The Gathering. The game of hurling is uniquely Irish, like Aer Lingus, and is a source of enormous pride to the Irish all around the World.
He added, "We are calling on all GAA fans in New York to come home to Ireland to support your team, be our guests at the Hurling Festival and to enjoy the sport, ceol agus craic, in September."
Anthony Cunningham, Galway Hurling Team Manager said, "As a member of Galway GAA, I am proud that our county will be the home to such an exciting and unique celebration of our Gaelic games. All the visiting teams and their supporters will receive a fantastic Galway 'Cead Mile Failte', in September"

subset: commoncrawl


text:
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LEXINGTON, Va. – The Washington and Lee defense forced five turnovers and sacked the quarterback five times in posting a 38-27 victory over Hampden-Sydney to win the ODAC football championship on Saturday afternoon at Wilson Field.
The Generals (7-2, 6-0) won their sixth-straight game en route to finishing the season with a perfect ODAC record for the first time in program history. It is also W&L's second conference title in the last five years and qualifies the Generals for the NCAA Division III Tournament.
Each team exchanged a pair of scores in the first 20 minutes and change until the Generals assumed control with 2:44 left in the half when junior running back Harrison Hudson (Salem, Va./Salem) finished a 9-play, 67-yard drive with a 1-yard touchdown run for a 21-14 lead. The W&L defense then stopped the Tigers (8-1, 4-1) on a 4th-and 3 from the W&L 47-yardline with 1:26 to play and the Generals drove to the H-SC 19-yardline before junior placekicker Peter Alston (Norfolk, Va./Norfolk Academy) booted a 36-yard field goal with two seconds remaining for a 24-14 lead at the break.
Neither team could find paydirt in the third quarter, but the Generals took a 31-14 lead with 12:37 left in the game on a 2-yard touchdown run by sophomore running back Brett Murray (Lookout Mountain, Tenn./Baylor). The Tigers answered 3:21 later on a 4-yard touchdown pass from junior quarterback Travis Lane (Richmond, Va./Mills Godwin) to junior wide receiver Kyle Vance (Onley, Va./Broadwater Academy) to make it 31-21, but Hudson scored on an 18-yard touchdown reception from junior quarterback Charlie Westfal (New Canaan, Conn./New Canaan) to put the game away (38-21). Hampden-Sydney tacked on a late score with seven seconds remaining for the final margin.
The Generals were held under 400 yards rushing for the first time in six games, but still managed 316 yards on the ground and 375 yards overall. Hudson paced W&L by rushing 18 times for 100 yards and two touchdowns and catching two passes for 27 yards and another score. Murray tallied 95 yards and two touchdowns on 16 carries, while sophomore running back Luke Heinsohn (Charlottesville, Va./Covenant) notched 78 yards on 23 rushes. Westfal completed 5-of-8 passes for 59 yards and a score and rushed for 29 yards on eight carries.
Defensively, junior linebacker Rob Look (Dallas, Texas/Hillcrest) had a team-best seven tackles, while junior cornerback Mike Hartford (Pittsburgh, Pa./Fox Chapel) had six stops and a pair of interceptions. First-year linebacker Sam Zimmer (San Diego, Calif./Central Catholic) chipped in three tackles and 1.5 sacks.
Lane completed 29-of-52 passes for 295 yards and three touchdowns, but was intercepted four times. He also was the team's leading rusher with 55 yards and a touchdown on 16 carries. Vance snared 11 passes for 78 yards and a touchdown, while senior wide receiver Andrew Bruckner (Chesterfield, Va./L.C. Byrd) added nine catches for 126 yards and one score. Senior linebacker Trevor Ikwild (Philomont, Va./Loudoun Valley) led the defense with 14 tackles.
Washington and Lee hits the road for its regular season finale, playing at Juniata on Saturday at 1:00 pm.


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Ozone Oxid Gaming Headset Review
A headset is a key part in any PC gamer's setup. They offer hands free online communication and clear, personal audio, while staying relatively cheap. Most gamers will find themselves with a basic wireless headset that probably doesn't completely fulfill their audio needs. Generic headsets commonly have terrible microphone quality and mediocre audio quality at best. Buying a premium and/or gaming-oriented headset guarantees a more desirable gaming experience. You'll find better mic and audio quality, along with other features such as better comfort, inline controls and more.
Today we have the Oxid Professional Gaming headset from Ozone, maker of professional gaming products. The Oxid takes the premium and/or gaming route and offers an adjustable headband, padded ear-cups, retractable microphone and a built in USB sound card. This sounds like perfect addition to a standard gaming setup. Let's see how it fits in with the already populated gaming headset market.
Closer Look:
The Ozone Oxid comes in medium sized box with a red and black color scheme. Around the front you get the name and a nice large picture off the headset in action. Around the back you get a very detailed diagram of the headset. Along the bottom you have the basic specifications in five languages. The left side gives you a quick run-down of the Oxid's special features while the right side has a window to the inside of the box. The front opens up to reveal a full-on view of the headset.
Inside the package you'll find the headphones, manual and drivers CD. Being that the headphones are USB powered and have integrated audio processing, the whole package remains fairly simple.
Opening up the box you find the headset all by itself; no driver CDs, manuals, extra cables, etc. So without further ado, let's check out the actual headset.


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Virgo maintenance39 Feedback reviews, 100% positive
VIRGO,the Zodiac sign = attention to detail, exacting and industrious which is how I would describe my ethos. I have over 25 years experience in property maintenance, managing my own self build propertys,and property refurbishments as well as all those "niggling" Handyman...
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By sue301268 on 7th Jul, 2017
A2Z Property Maintenance153 Feedback reviews, 98% positive
Welcome to my profile page. Over 150 satisfied clients on Mybuilder alone and counting! I am a city & guilds qualified multi-skilled Carpenter/Joiner, I am able to carry out a variety of tasks. I have been in the trade for over 20 years. I am trustworthy, reliable,...
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By luben1 on 30th Oct, 2018
Beckham's Decorating and Maintenance23 Feedback reviews, 100% positive
Hi i'm Scott, a kent and london based decorator/handyman, specialising in victorian properties. i am currently renovating my own home and so looking to take on small jobs to keep the bank manager happy
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By sam83878 on 20th Nov, 2018
Fred Cavanagh15 Feedback reviews, 93% positive
I am an independent Handyman, Landscaper and Tiler . I have a broad experience of domestic construction work that includes a range of skills as already mentioned which include Plasterboarding, furniture assembly, turf laying, floor and wall tiling amongst others. I undertake...
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By mathieu79 on 27th Oct, 2018
It's Fixed42 Feedback reviews, 95% positive
We provide all the household services you require in one place. Don't waste your time phoning multiple tradespeople when you can call one number and It's Fixed!
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By dave7847 on 2nd Dec, 2018
coastal kitchens and bathrooms22 Feedback reviews, 95% positive
i have been running my own company for 19 years,and have joined this site hoping to put myself out to the public a bit more.I promise a clean and friendly service and hope to build a good reputation.hope you choose my service to fix any problems you have.......paul
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By maxim1_93 on 11th Dec, 2018
RT Property Maintenance13 Feedback reviews, 100% positive
I am a one man business. Having my own rental properties, I have experience in most areas of maintenaning both residential and commercial properties
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By shane_311 on 28th Oct, 2018
C&T Renovation and Property Services11 Feedback reviews, 100% positive
I have a wide range and years of experience in the small to medium size building work. Drylining, plastering, plumbing, painting, joinery, roof repairs, bathroom & kitchen fitting, electrical, curtain fitting. Recently I have been involved in a project, with a client from...
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By andycollier on 26th Sep, 2018
D&D Building Services37 Feedback reviews, 100% positive
We cover the majority of general building work, ranging from building a 2 storey extension to the rear of a 1750's cottage to building flat pack furniture. We undertake property refurbishments for Landlords/Lettings Agents, outside building work such as fencing, paving,...
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By linda77378 on 11th Dec, 2018
Hire A Hubby Faversham Limited9 Feedback reviews, 100% positive
Hire A Hubby Faversham offers a complete Handyman and Property Maintenance service.I provide a no obligation quote, with no hidden costs. I am TRUSTMARK approved, CRB checked, have £5m public liability insurance and all work is guaranteed.
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By sunnyday_35 on 18th Jan, 2014
Peter James Property Services36 Feedback reviews, 100% positive
A family run business that is able to repair upvc windows and doors. Handles, hinges, locks, gaskets, glass units can all be supplied and fitted in order to bring your windows or doors back to full working order. We fully respect our customers properties leaving them clean...
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By kate_r0n on 2nd Mar, 2018
AG Roofing & Property Maintenance27 Feedback reviews, 96% positive
We're a small family business that thrives on customer satisfaction. With many years of experience in all aspects of roofing and repairs,old or new,kent peg or slate.all lead work and flat roofs. I also have years of experience in maintenance,...
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By suzannejcross on 15th Nov, 2017
Wilsh Property Maintenance23 Feedback reviews, 96% positive
I have been in the building trade for over 15 years and have a wide range of knowledge accross most trades. I am a fair reliable and honest tradesman with positive feed back from ALL the jobs i have completed. I provide a professional friendly service with no hassle, please...
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By kelly_429 on 22nd Sep, 2018
LF Properties29 Feedback reviews, 100% positive
Hi, I have worked as a general builder for over 13 years. Before that I studied at Canterbury College for 4 years in construction I do total refurbishment of houses. As a trade, I do plastering, tiling, painting, plasterboarding and some plumbing and electrical work.
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By isabelle35270 on 21st Jul, 2018
R L Locksmiths13 Feedback reviews, 100% positive
My name is Rich and I am local 24 hour emergency locksmiths, I cover all of Kent. I am reliable and professional and have many years experience.
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By dave7847 on 3rd Dec, 2018
Need a tradesman?
Post a job on MyBuilder to find a quality, local tradesperson.
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First, create a job listing for your handyman project. It's quick, easy and free - the first step to finding recommended handymen in Canterbury.
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Having met our recommended handymen in Canterbury and read customer reviews, you're ready to decide which handymen to hire.
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After your project is successfully completed, you can leave a review for your handymen. This review helps you and future MyBuilder users.
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Michael L. Brosnan
Senior Deputy Comptroller Large Bank Supervision
Michael L. Brosnan is Senior Deputy Comptroller (SDC) for Large Bank Supervision in the Office of the Comptroller of the Currency (OCC).
As SDC for Large Bank Supervision, Mr. Brosnan is responsible for supervision activities in the largest national banks and federal branches and agencies, and oversees operations of the International Banking Supervision group and the OCC's London Office. In addition, he serves as a member of the OCC's Executive Committee and the Committee on Bank Supervision. He assumed these duties in December 2010.
Previously, Mr. Brosnan served as Deputy Comptroller for Large Banks, where he was responsible for line supervision of a portfolio of large banks, ensuring that risk-based strategies and staffing are effectively aligned and executed.
Mr. Brosnan rejoined the OCC in 2008 from Bank of America, where he served as the Enterprise Operational Risk Executive. He also served as the Risk Manager for the Global Technology and Operations, Chief Administrative Office, and Supplier Risk Management organizations of the bank. Mr. Brosnan previously served as Compliance Executive for Bank of America Card Services, and he oversaw the Operational Risk Management Division of MBNA America.
Before joining MBNA (which subsequently was acquired by Bank of America) in 2004, Mr. Brosnan spent 21 years with the OCC, most recently as Examiner-in-Charge for Bank of America. In 2003, he was named Senior National Bank Examiner, the highest honor and designation available to bank examiners.
In previous roles at the OCC, Mr. Brosnan served as Deputy Comptroller for Risk Evaluation and as Director of Treasury and Market Risk. He also served as Chairman of the OCC's National Risk Committee and the OCC's Steering Committee representative on the President's Working Group for Financial Markets. He first joined the OCC in 1983 in Miami, and was commissioned as a National Bank Examiner in 1986.
Mr. Brosnan holds a bachelor of arts and a master's degree in business administration from Lynchburg College in Virginia. He has also earned the Chartered Financial Analyst designation.


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WASHINGTON — Hours after the Federal Emergency Management Agency denied Illinois disaster aid related to the Nov. 17 tornadoes, the state of Illinois announced that half a dozen state agencies will be pooling funds to help local governments rebuild.
In front of a landscape dotted by tornado-ravaged homes, Governor Pat Quinn held a press conference Wednesday morning in Washington. With dozens of Washington citizens and state officials standing around him, Quinn announced a $45 million state relief package to help municipalities with expenses related to the Nov. 17 storms.
"We saw the destruction when we visited after the tornado hit," Quinn said Wednesday morning. "Washington and a lot of other communities needed help and we're not getting that from the federal government."
The formula used by FEMA to calculate who gets aid was blamed by Quinn as the reason the governing bodies of Washington, East Peoria and Pekin did not receive federal aid.
"I really feel the federal law that FEMA follows is fundamentally unfair and needs reform. We've got to change that," Quinn said. "It's not a fair formula for large states that have a big city and rural areas. Those rural areas can get ignored."
"I made a decision yesterday to use our own state of Illinois resources to help," Quinn said. "Every department of the state is going to help our state."
According to a press release from the governor's office, the money Quinn was able to gather for tornado-ravaged communities comes from half a dozen state government agencies.
The Illinois Department of Commerce and Economic Opportunity (DCEO) and the Illinois Department of Transportation will both give up to $10 million to communities to rebuild tornado-damaged infrastructure.
DCEO will also be giving $4.5 million to rebuild housing for low-income residents. The Illinois Housing Development Authority will also provide $2.5 million for low-income assistance.
The Illinois Finance Authority will have $4.5 million in below-market rate loans made available while the Illinois Environmental Protection Agency will offer similar loans up to $5.35 million to repair damaged water systems.
The Illinois Emergency Management Agency will also give $3.55 million to pay for costs already incurred in cleanup activities such as debris removal and overtime pay.
The aid package applies to nine counties in all, including Tazewell and Woodford. "We just want everyone to get back on their feet and get on with life," Quinn said. "This is a good start in that direction."
Among the many state and local officials that spoke at the press conference, Illinois Secretary of Transportation Ann L. Schneider said there is an estimated $7.5 million in infrastructure repairs in Washington alone, with over 50 roads that need repairs.
Washington mayor Gary Manier also spoke at the press conference and expressed his gratitude towards Quinn and the state for stepping in to help his city.
"He made a commitment day one to help us. He's a man of his words," Manier said of Quinn. Asked if the state's aid will be enough to help rebuild his city, Manier said "I believe so. It's going to have to fund all needs, no wants, but we'll get it done."
Zach Berg can be reached at email@example.com or 686-3257. Follow him on Twitter @ZacharyBerg.
Gov. Pat Quinn announces state aid package after FEMA rejection
WASHINGTON — Hours after the Federal Emergency Management Agency denied Illinois disaster aid related to the Nov. 17 tornadoes, the state of Illinois announced that half a dozen state agencies will be pooling funds to help local governments rebuild.


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Egypt charges 75 people in deadly soccer riot
CAIRO – Egypt's top prosecutor has charged 75 people with murder and negligence in connection with a deadly soccer riot last month in the Mediterranean city of Port Said.
At least 74 people were killed in the Feb. 1 riot, the world's worst soccer-related disaster in 15 years.
Those charged on Thursday include nine police officers and two minors. Among the police officers are Maj. Gen. Issam Samak, who was Port Said's chief of security at the time of the riot.


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Fatal crash on I-75
A trooper at the Wapakoneta Post of the Ohio State Highway Patrol has confirmed there has been a fatality in the crash along southbound Interstate 75.
Due to the crash, traffic had to be routed through Wapakoneta using Ohio 67, County Road 25A, Wood Street and Bellefontaine Street. The crash caused delays in school buses getting children home after school today.
Auglaize County Emergency Management Agency Director Troy Anderson responded to the scene because of a diesel fuel spill.
Wapakoneta Fire Department and Wapakoneta EMS personnel responded to the crash which occurred in the southbound lanes Interstate 75, just south of the Bellefontaine Street overpass or exit 111. A second vehicle is believed involved in the crash.
Troopers with the Wapakoneta Post of the Ohio State Highway Patrol responded to the scene and blocked southbound traffic, which backed up as far as Cridersville.
Officers with the Wapakoneta Police Department also responded and directed traffic at the scene and through Wapakoneta.
See Friday's edition of the Wapakoneta Daily News for more information.


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YOU CAN EDIT THIS PAGE! Just click any blue "Edit" link and start writing!
So Madeira is an archepelo with two islands, Porto Santo and Madeira. Am I crazy for wanting to have just one page for the two islands (both pretty small) and then just link to city articles to cover the specifics? I just can think of what would be on the Madeira(island) article that wouldn't be on the Madeira(archeplo) article, same with Porto Santo... we can always spilt them up if there turns out to be a whole bunch of details I'm missing... Majnoona
External links
Not sure if either http://www.madeira-web.com/ or http://www.madeirahelp.com/ is MoS.


text:
Watch Description
Watch - The "Springfield 065" is the 65th one-of-a-kind piece in Vortic's "Springfield" line of the American Artisan Series. This watch features a water-resistant, titanium 3D printed case and a round, copper alloy crown. The mechanics of the restored movement are visible through the Gorilla Glass cyrstal of the exhibition style, stainless steel back.
Dial - The original, blued steel, "whipped-spade" style hands point to a metal dial with bold, serifed, concentric, Arabic numerals.
Movement Info - Originally produced by the Illinois Watch Company in 1921, this "406" grade movement is in excellent condition.
Movement Features - The movement has nickel plated bridges and main plate decorated with wide, straight Geneva stripes and circular graining, a fully jeweled gear train (19 jewels) with gold jewel settings, a fully gold gear train, gilt lettering and decoration, highly polished winding wheels, adjustment to 3 positions, a Reed whipspring regulator, and a split-plate, fingered bridge design.
Original Serial: 3921933
All product and company names, logos, brands, and other trademarks featured or referred to within Vortic's products and services are the property of their respective intellectual property rights holders, if any. Those intellectual property rights holders, other than Vortic, LLC, are not affiliated with Vortic, LLC, our products, or our website. They do not sponsor or endorse our materials.
Watch Specs
- Manufacturer: Vortic Watch Company
- Product Year: 2017
- Warranty: Vortic 2-Year Revolving Warranty
- Watch Dimensions:
- Diameter = 46mm
- Height = 12mm
- Lug-to-Lug = 55mm
- Lugs = 22mm
- Case Finish: Raw Titanium
- Crown/Hardware: Round Raw
- Crown Location: 12 O'Clock (Open Face)
- Water Resistance: 1 ATM
- Crystals: Anti-Fingerprint Gorilla Glass
- Case Back: Exhibition, Stainless Steel
- Hands: Original Blued Steel
- Strap: Leather
Movement Specs
- Original Manufacturer: Illinois Watch Company
- Jewels: 19j
- Size: 12s
- Function: Manual Wind
- Power Reserve: 36-42 Hours
- Finish: Nickel
Vortic's mission is to salvage, restore, and preserve an important part of United States history. Today, beautiful antique pocket watch mechanisms are often cast aside when their original case is scrapped for precious metal value. American pocket watches were made with an incredible level of quality. So, after 100 years, many simply need a little patience from a skilled individual to make them run like new. Vortic fully restores these mechanisms and builds them into wristwatches to make them functional again and to preserve them for another 100+ years.
Truly American MAde
We feel proud and blessed to live in the country, state, and city that we do. However, our motivation to build everything in the United States, and to source locally whenever possible, is derived from a different source of inspiration. We believe that the close relationships, face-to-face interaction, and tight quality control we achieve while dealing domestically produces a truly superior product. Because of this, we are very transparent about where our components are made as we continue to build our in-house capabilities.
2-Year Revolving Warranty
Vortic's 2-Year Revolving Warranty gives individuals the opportunity to warranty their watch for a lifetime. We exist in a throw-away society and we believe that's not right. The mechanisms inside our watches and the watch cases we build around them were made to last forever if taken care of. That is why our 2-year warranty re-starts when your watch is serviced by Vortic.
The United States has a rich history of manufacturing the best watches in the world. The greatest challenge for the watch industry is longevity, and these movements have passed the ultimate test of time by maintaining their integrity for over 100 years. Vortic is able to preserve the legacy of American watchmaking in the 21st century because of the unbelievable standard of quality that was commonplace during this era.
Many individuals are not aware that the United States was the leader in mechanical watch manufacturing during the late 1800's and early 1900's. Prior to this, watches were produced one-at-a-time and each part of a watch was made by one individual (mostly in England and Switzerland). The industry was not optimized to meet demand, and Americans seized the opportunity to manufacture watches in a new way that would encourage widespread use of timepieces, and pocket watches in particular.
American companies invented countless tools and machines for cutting metal parts that allowed them to make a superior product for a reduced price. Additionally, this advanced machinery developed for watch parts quickly spread to other industries. In fact, many believe that this is what led to America's reputation for industrial prowess in all forms during the 19th and 20th centuries. The original great American watch companies were known for their skill, craftsmanship, and ability to produce each part of a watch more efficiently, more accurately, and on a larger scale.
Eventually, the Swiss adopted American machinery with great success, and the introduction of cheap, disposable, battery-powered, quartz watches in the 1960's led to a rapid decline in demand for quality mechanical watches. The art of American watchmaking quickly vanished and each historic company was ultimately purchased by foreign investors.
The Illinois Watch Company produced some of the most beautiful and high-quality watches of the time, but their shorter-lived prominence led them to make significantly fewer pieces than companies like Elgin or Waltham. Eventually producing approximately 5.7 million watches in their lifetime, the beginnings of the company tells a story of trial and error
The Springfield Watch Company was formed in 1869 when a man named John C. Adams convinced the city that an establishment of industry, and specifically a watch manufacturer, would have massive benefits for the growth of the city and the wealth of the stockholders.
Following this, Adams solicited workers from the Elgin factory and most notably hired Otis Hoyt. In 1870, Hoyt and team began the daunting task of building the machinery and systems to produce watches efficiently. By 1871 they were fabricating watch parts, and by 1872 they had finished the first watch models; 18 size, hunting, key-wind.In 1873 the company employed 125 individuals and was building 25 watches per day. However, the company had trouble with sales and accrued a stockpile of inventory and debt. This situation would continue to deteriorate until 1875 when the company reorganized as the Illinois Springfield Watch Company.
By 1876 the company was producing 100 watches a day in additional sizes, but the losses continued. By 1878 the company was again reorganized as the Illinois Watch Company, and the company produced millions of watches under that name. It was at this time that Ilinois started getting serious about manufacturing. Illinois manufactured the first open face movement in the United States, the first nickel movements produced in the United States, and the smallest watch movement built in the United States at that time. Until 1902 the company had been producing medium and lower grade watches, but in 1903 the company shifted focus to building exclusively higher grade watches with 17+ jewels. Additionally, the company found great success building high-performance railroad grade movements.
At their height, Illinois employed almost 1,000 individuals and made over 500 watches per day. The rapid decline in the demand for quality watches caused the company to sell to Hamilton in 1928. The Illinois factory continued producing watches under Hamilton supervision until 1932, and Hamilton fabricated Illinois models in their facility until 1939.
The Vortic Watch Company is a high-end wristwatch engineering and manufacturing company based in Fort Collins, Colorado. Their inspiration lies in pairing classic watchmaking techniques and traditions with cutting-edge, modern technology.
After conceiving the company in Pennsylvania and attending Penn State, the founders relocated themselves and the business to Fort Collins, Colorado. The move was originally conducted to pursue career opportunities prior to full-time employment opportunity with Vortic. However, the pair fell in love with the location and decided to officially base the company in Fort Collins.
Since its founding, Vortic has been recognized by the likes of the New York Times, NPR, The Boston Globe, WatchTime Magazine, About Time magazine, and many other publications for their work in preserving United States history. Additionally, Vortic watches have been inducted to the NAWCC museum in Columbia, PA as well as the Charles River Museum of Industry in Waltham, MA.
The company is currently applying its product-focused attitude, unique aesthetics, and fresh ideas to creating additional products and perfecting their trade.
Watch Builder
Use the watch builder tool to design and order your own custom built American Artisan Series watch.


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SHU vs. Quinnipiac: The 10 best games
Since making their moves to the NCAA Division I ranks as members of the Northeast Conference, Quinnipiac and Sacred Heart, who joined one year apart in 1998 and 1999, respectively, have been joined at the hip.
However, Thursday night's game at the Pitt Center will mark the final time the men's basketball teams will meet in a regular-season conference game. Quinnipiac is moving to the Metro Atlantic Athletic Conference next season, and the future of the Merritt Parkway rivalry seems to be in jeopardy.
Only one game separates Quinnipiac (12-13, 8-5 NEC) and SHU (9-15, 7-6) in the standings as the conference heads into its final two weeks of regular-season play.
Sacred Heart, which won the first game this season 80-74 to even the D-I series at 14-14, holds a 40-22 all-time lead in the series.
Here's a look at the 10 most memorable meetings between the teams since 1999:
10. Quinnipiac 66, SHU 64 (Feb. 5, 2009): After losing three straight times to Dave Bike since taking over at QU, Tom Moore finally posts his first win in the series. James Feldeine had 12 points and 10 rebounds to lead the five Bobcats who scored in double figures in the road win. Trailing 44-37 with 11:55 to play, QU went on an 8-0 run, taking a 45-44 lead, to climb back into it. The Bobcats' 79.2 percent (19-for-24) foul shooting paid off in the end. SHU had two players post double-doubles with Joey Henley (21 points,11 rebounds) and Corey Hassan (20 points, 13 rebounds).
9. SHU 68, Quinnipiac 55 (Dec. 1, 2011): The Pioneers ended a five-game losing skid vs. QU with a victory at the TD Bank North Center in the first NEC game of the season. Shane Gibson scored 21 points and Femi Akinpetide scored a career-high 11, with nine coming in the second half. SHU was 5 of 9 on 3-pointers in the first half to build a 34-24 lead. Ike Azotam finished with 18 points and 16 rebounds for the Bobcats.
8. SHU 76, Quinnipiac 74 (Jan. 31, 2004): Maurice Bailey went 6-for-6 from the foul line in the final 21 seconds and finished with 22 points at the Pitt Center. QU had won the first game that season with a 90-62 rout, but the Pioneers were ready in the rematch. Bailey would make 16-of-17 foul shots and SHU made 25-for-35 for the game. Kason Mims had 23 points in the loss.
7. Quinnipiac 83, SHU 70 (Dec. 8, 1999): In the first NEC meeting between the schools, coach Joe DeSantis and the host Bobcats were led by 19 points apiece from Jared Grasso and Nate Pondexter in front of 1,368 fans at the Burt Kahn Center. QU shot 57.9 percent from the field, including 7-for-12 on 3-pointers. Grasso made five of them. SHU was led by 15 points from Donte Lloyd.
6. Quinnipiac 79, SHU 75 (Feb. 8, 2007): DeMario Anderson scored 31 points off the bench to give the host Bobcats their first win in the series at the TD Bank North Center, which opened two weeks earlier. Anderson hit a jumper with 1:28 left to give QU a 75-74 and they held SHU to one point the rest of the way. Brice Brooks scored 19 points in the loss.
5. Quinnipiac 90, SHU 87 (Feb. 6, 2010): In a scheduling quirk, the schools met twice in three days, with the Bobcats completing the sweep in Hamden. QU blew out the Pioneers in the first meeting, 86-71, but SHU jumped out to a 17-6 lead in the rematch. Jerrell Thompson scored a career-high 30 points, and SHU made 12 3-pointers and led 45-42 at the half. None of it could have stopped the Bobcats, who grabbed a 67-66 lead with 9:04 to play on James Feldeine's jumper and never lost it. Feldeine had 22 points while big man Justin Rutty finished with 16 points and 13 rebounds. QU went on to take the top seed in the NEC tournament, but lost in the title game to Robert Morris.
4. SHU 75, Quinnipiac 74 (Jan. 26, 2008): Drew Shubik made two free throws with 25 seconds left to give SHU a one-point lead at the Pitt Center, which drew a building-record crowd of 2,012 fans. The Bobcats' DeMario Anderson missed a potent game-winning jump shot with one second left. Anderson scored 30 points in the loss and helped QU erase a 10-point second-half deficit. Shubik led SHU with 20 points.
3. SHU 87, Quinnipiac 84 (Feb. 26, 2007): The second-to-last regular season game turned out to have a huge impact since it helped SHU lock up the No. 2 seed in the conference tournament. Adam Gonzalez scored 37 points, but it wasn't enough for the Bobcats to win at the Pitt Center. Shubik scored 22 points and Jarrid Frye added 19 as SHU -- which had five players score in double figures -- recovered from a 31-28 halftime deficit.
2. Quinnipiac 88, SHU 83 in OT (Feb. 3, 2005): Rob Monroe poured in 40 points, but the Bobcats needed extra time to win at home and end a five-game skid. Monroe dominated the OT with 11 points, including a 3-pointer and 8-for-8 performance at the foul line. He scored 36 points in the second half and OT combined to post his second 40-point game of the season. Sacred Heart held the Bobcats to one point in the final five minutes of regulation and came back from eight points down, tying it on Joey Henley's layup with 57 seconds left. Mike Parker missed a layup at the buzzer that could have won it for SHU. Henley finished with 19 and Eugene Pettway added 16, including a 3-pointer on that second-half run.
1. SHU 83, Quinnipiac 69 (March 4, 2007): The NEC semifinal game would change the history of both programs as the schools met for the first and only time in the postseason. Freshman Ryan Litke and Shubik each scored 16 points to lead the host Pioneers to their first conference championship game. After leading 35-33 at halftime, SHU would never trail once it went on an 8-2 run to start the second half. The Pioneers would go on to lose to Central Connecticut in the title game, but proved it had finally arrived in the conference as a contender. Meanwhile, the Bobcats would fire DeSantis after the season and hire Jim Calhoun protege Moore.
firstname.lastname@example.com: @wspaxton


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Alternative loans are private loans that are not funded by the federal government and are approved based on the good credit history of the student and/or co-signer. Most lenders require a credit-worthy co-signer. The co-signer does not need to be a parent.
You should exhaust all of your scholarship, grant and federal student loan options before applying for an alternative loan. Alternative loans should be used as a last resort in funding your education.


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Tim Johnson Skater Profile
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|2007-04-03, 17:45
|Link #1
Senior Member
Join Date: Jan 2006
Supernatural - Death Gods and Death Note Rules
Out of this world influence is a very important aspect of the Death Note universe.
Shinigami, their Death Notes, and several other supernatural aspects are major factors in this story. We don't know much about of them, and most of the information we have comes either from the Shinigami themselves (and they can lie) or from the so-called "How to use" rules for Death Note.
Of course, the latter are far from actually being just "How to use", especially with rules such as XXXVI
Rather, these are an attempt to answer some of the readers questions.
A list of them was on infoseek, but it is no longer there.
There are two sets of them - one being in Japanese, the other in English.
How different are they?
What exactly do those rules mean, what would happen if ...? Why are some of them so controversial and illogical? Are all of them true? What made the author create such rules?
Please discuss these and other questions regarding anything supernatural in the Death Note here.
Last edited by SinsI; 2007-05-01 at 13:35.
|2007-04-04, 05:56
|Link #3
Witch of Betrayal
Join Date: Jan 2006
rule XXIX
"You cannot kill humans with less than 12 minutes of life left (in human calculatons)."
I guess this means that the wacko who was going to kill Misa along with himself would really only have killed Misa
rule XXXIV
"...a god of death who comes to the human world,in the objective to kill the owner of the DEATH NOTE,will not be able to do so."
"Only a god of death that has passed on their DEATH NOTE to a human is able to kill the owner of the DEATH NOTE."
Rem can't really kill Light
|2007-04-04, 06:19
|Link #4
Senior Member
Join Date: Jan 2006
I think everything the rules say about remaining lifespans (i.e. halving one's life in exchange for the eyes) is false, the main reason being the Death Note itself.
We already know that if you kill a murderer his victim's life would be extended.
And Kira is killing dozens of those every day, irreversibly changing the fates of all their future victims. Add the "butterfly effect" - and it becomes obvious that no such thing as "remaining lifespan" could exist.
I think this rule is a Deus ex machina, reflecting the author's dislike for superpowered characters and his desire to kill'em off faster.
|2007-04-04, 08:24
|Link #6
Senior Member
Join Date: Nov 2003
|2007-04-06, 07:41
|Link #8
Join Date: Feb 2007
Location: Currently, Leicester UK
some of the rules are weird, for example in the previous episode i watched the rule "if the name is written in two death notes then the first to be completed takes effect" or something similar.
but in the next episode it said "if the same name is written within 0.006 seconds in another death note then they cancel each other out"
is this really neccesary
|2007-04-16, 17:19
|Link #9
Kira's Faithful Follower
Join Date: Apr 2007
Age: 28
Death Note: How to Use It XI covers most of your next question;
Not concerning the above rules...
My favorite rule has always been from XXXVI, as mentioned in the first post of this thread. I understand why it was written, to answer fans' questions avoid as many creepy fanfics as possible, but still. It's called "Death Note: How to Use It" and that has nothing to do with actually using the Note XD
|2007-04-24, 19:47
|Link #10
The Superchunky from Hell
Join Date: Dec 2006
Location: Penn's Woods
Age: 28
I'm especially interested in the punishments that the Death Gods receive for breaking the rules... Considering the highest-level ones result in death, the Shingaimi must not break the rules very often. I guess they're vunerable to things in their own realm.
|2007-04-27, 11:29
|Link #11
Junior Member
Join Date: Apr 2007
L gets an idea
this is cute, also makes me wonder if anyone would've actually done this lol
|2008-08-24, 17:22
|Link #13
L-sama's little sister
Join Date: Jul 2008
Location: dallas tx
Age: 26
well the rules dont make much sence cuz i got the 'how to use 13' n they 'explain' the rules n all but all they r doing is re-writeing them
anyways my fave. rule is the one that was first posted ^_^
its funny to me
n also the one that says :
the god of death will not die from lack of sleep. moreover, gods of death do not really need sleep. the means of sleep for gods of death is essentialy different from humens and is merely lazyness.
thats calling all shinigami lazy ^_^
|2008-08-25, 14:30
|Link #14
Senior Member
Join Date: Feb 2008
They pretty much are. Shinigami lead pretty boring and crappy lives. It's the trade off for being immortal. Human's only live a short time but can have much more fufilling lives and the human world is much more interesting. Balances everything out.
|2008-09-27, 14:19
|Link #16
Senior Member
Join Date: Feb 2003
(That would also imply that people who he thought he saved early on would not have died, but that's not much of a stretch.)
|2008-09-29, 04:34
|Link #17
Junior Member
Join Date: Sep 2008
i haven't really know that!?
|2008-11-17, 12:35
|Link #19
Absolute Haruhist!
Join Date: Mar 2006
Age: 31
A neat one: http://www.zanpakuto.com/viewblog?id=29
|2008-11-17, 12:48
|Link #20
|Thread Tools


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Jesse wrote:Henry Hank wrote:I don't even want to put expectations on Caputi. He had a big year in the OHL last year, but he also was an older player and played on a power house team.
I cannot stress this enough.
I was thinking that all weekend while checking this thread. He was a 20 yo in his 4th junior season last year when he had a "breakout" season. Doesn't sound so impressive when most of his competition was 17, 18 and 19 year olds. He did, I thought, have some decent numbers for WBS in the playoffs though.


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rustychisel wrote:toff wrote:An interesting motorpace bike from Switzerland... I wonder what those 2 extra supports are for? Wind vibration?
The others you can keep, what is that titanium thing anyway? but that motorpace bike is just brutal. I'd need to be at 40kmh just to spin the crank over and I'd never get it turning anyway. Eeeek.
The supports are just that, bracing against the rather serious forces on a banked track when hitting the curves at 80kmh. One slipping bar stem and it's all over. Which brings me to ask, is that a Campagnolo Sheriff Star front wheel hub radially laced???? I'm sorta wondering at the stiffness of the build and the forces it would have to endure. Scary S***.
On your wheels- You run fuse-wire round and round (many times) on the cross-overs, and solder... that strengthens 'em up. Radial Spoked?


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University of Vermont
2011-12 Online Catalogue
College of Nursing and Health Sciences (CNHS)
Contact InformationUniversity of Vermont
College of Nursing and Health Sciences
105 Rowell Building
106 Carrigan Drive
Burlington, VT 05405-0068
Phone: (802) 656-3858
Fax: (802) 656-2191
Email: firstname.lastname@example.com
The College of Nursing and Health Sciences (CNHS) offers undergraduate and graduate programs in a variety of health disciplines. The entry-level degree programs prepare the student for initial entry into clinical or health-related practice and the pursuit of further education. The curricula include rigorous academic preparation and extensive field experience at selected facilities. The graduate programs prepare students for advanced practice in the health care disciplines and to assume leadership roles in practice, education, and research. The faculty of the CNHS is committed to excellence in teaching, the conduct of research that extends knowledge and contributes to the science of each discipline, and public service to improve the health of citizens of state, national and global communities.
The following entry-level degree programs are offered: Bachelor of Science degree programs in Athletic Training; Communication Sciences and Disorders, Exercise and Movement Science, Medical Laboratory Science; Nuclear Medicine Technology; Nursing; and Radiation Therapy. In Physical Therapy, an entry-level doctoral degree program is offered. Communication Sciences and Disorders offers a master's degree program. Nursing offers an entry level master's degree program for non-nurse college graduates. Graduates of the entry-level professional programs are eligible to sit for the appropriate licensure examination and enter practice or other health-related fields. All of the professional programs needing accreditation and/or state approval for licensure eligibility have achieved and maintain such status.
A non entry-level graduate program leading to a Master of Science degree is offered in Nursing (Advanced Practice Psychiatric-Mental Health, Primary Care Nursing, and an accelerated RN-BS-MS track). The Nursing graduate program is designed to enhance the clinical and academic background of licensed registered nurses and prepare them for advanced practice and research.
In Medical Laboratory Science, a post-baccalaureate certificate program that prepares students to sit for the National Certification Exam is offered through Continuing Education.
More information about the College, its mission and philosophy, faculty, and programs can be found under the appropriate academic program headings on the UVM website (http://www.uvm.edu/~cnhs) and in the Graduate Catalogue.


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OAKLAND, Calif. (AP) — After her daughter underwent a supposedly routine tonsilectomy and was moved to a recovery room, Nailah Winkfield began to fear something was going horribly wrong.
Her 13-year-old, Jahi McMath, was sitting up in bed, her hospital gown bloody, and holding a pink cup full of blood.
"Is this normal?" Winkfield repeatedly asked nurses.
With her family and hospital staff trying to help and comfort her, Jahi kept bleeding profusely for the next few hours then went into cardiac arrest, her mother said. The girl was declared brain dead on Dec. 12.
Now, the hospital wants to disconnect her life support, the family says, but their lawyer Christopher Dolan has refused permission and is trying to keep Jahi on a ventilator through the holidays while the family obtains another opinion on her condition and reviews medical records. A court hearing was set for Friday.
Hospital officials said they couldn't discuss the case because the family hasn't given them permission to do so.
In a statement late Thursday, Dr. David Durand, the hospital's pediatrics chief, wrote of Jahi's case: "We are unable — without the family's permission — to talk about the medical procedure, background or any of the details that are a part of this tragedy.
"We implore the family to allow the hospital to openly discuss what has occurred and to give us the necessary legal permission — which it has been withholding — that would bring clarity, and we believe, some measure of closure and deeper understanding of this medical case," the doctor added.
In an interview at Children's Hospital Oakland on Thursday night, Winkfield described the nightmarish turn of events after her daughter underwent tonsil removal surgery to help with her sleep apnea.
She said that even before the surgery, her daughter had expressed fears that she wouldn't wake up after the operation. To everyone's relief, she appeared alert, was talking and even ate a Popsicle afterward.
But about a half-hour later, shortly after the girl was taken to the intensive care unit, she began bleeding from her mouth and nose despite efforts by hospital staff and her family.
"I kept saying, 'Is this normal?'" said Winkfield, recalling that she had her daughter's blood all over her clothing.
Family members said there were containers of Jahi's blood in the room, and hospital staff members were providing transfusions to counteract the blood loss.
"I don't know what a tonsillectomy is supposed to look like after you have it, but that blood was un-normal for anything," Winkfield said.
The family said hospital officials told them in a meeting Thursday that they want to take the girl off life support quickly.
"I just looked at the doctor to his face and I told him you better not touch her," Winkfield recalled.
California mother tells of tonsil surgery tragedy
OAKLAND, Calif. (AP) — After her daughter underwent a supposedly routine tonsilectomy and was moved to a recovery room, Nailah Winkfield began to fear something was going horribly wrong.


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My baby boy is 8 months old. He goes to daycare 5 days a week. While he is at daycare he drinks a total of 8 onces of breastmilk and he eats solids while he is at daycare. When we are at home I only nurse I don't give him any solids. He still wakes frequently at night about every two hours. On the weekends I nurse on demand and I don't give any solids on the weekend. When I am at work I pump 3 times. I am at work for 8 hours. I pump for 10 minutes and then I hand express . I have always pumped enough for the next day plus a little extra. Well I noticed last week that I was just not pumping enough. So I bought new membranes and other pump parts. But when I pumped this morning my output was down awful. Is this normal? I know your milk regulates after a while, but I assumed mine was already regulated since my baby is 8 months old. Also, I have had a few people tell me I need to feed him solids at home too. But he seems satisfied with just nursing. I am afraid if I give him to many solids that my milk will decrease too much. My goal is to nurse to at least one year. I hope I can go longer than that.
One more piece of information. I have also heard that your milk supply can decrease a little when you are fertile each month. I still haven't had a period, but last week I had symptoms of ovulating. If I was ovulating could this be a reason my milk supply is lower.


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Today I'd like to introduce myself and how I became a true crime writer:
I'm Jayne Hitchcock and back in 1996, when the Internet was in its infancy, I got involved in a cyberstalking situation, where I was the victim. Because of what was happening with me, I co-founded Working to Halt Online Abuse and Maryland, where I lived at the time, became the first state in the country to pass an internet-related law – I testified for it twice before it finally passed. After that, I helped get other laws passed in many states so that all 50 states now have applicable laws. I began teaching law enforcement how to track down cyber criminals and today I am considered a noted expert on cyber crime. I published Net Crimes & Misdemeanors in 2002, the 2nd edition in 2006, and my new book is True Crime Online: Shocking Stories of Scamming, Stalking, Murder and Mayhem.


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The Central Connecticut women's track & field team opened their outdoor season at the UCONN Spring Invitational in Storrs, CT.
Senior distance runner Alasia Griebel broke the CCSU school record in the 1,500m placing second with a time of 4:36.64. Sophomore Elizabeth Eberhardt finished sixth in the event with a time of 4:43.52, her personal best.
Sophomore Meghan Burns posted a 1:01.70 time in the 400m placing third. Sophomore Shavonne Dash and senior Kate McGuire finished right behind Burns placing fifth (1:02.37) and sixth (1:02.57) respectively.
Sophomore Krisztina Dearborn ran a personal best 17:39.83 time in the 5,000m placing third. Junior Rachel Dombroski placed sixth in the 200m recording a 26.32 time.
In the field, freshman Erin Howe recorded a 10.98m distance in the triple jump placing fourth. Junior Ahj Meeks placed sixth in the high jump with a height of 1.48m. In the pole vault, sophomore Jess Davis stamped a 2.90m height, good for seventh place.


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GameBirdHunts.com is your online source for hunting & shooting news. All of our news is organized by US state to make it easy for you to quickly find the Pheasant Hunting News that is of interest to you! Click on the link below to browse your states upland hunting news or use the search box above! If you have a hunting story you would like to submit please use this link:
There has not been a lot of good news recently when it comes to pheasant hunting, especially in the North and South Dakota areas. In some estimates the number of birds has dropped by 68%; however those numbers could have been inaccurate with late roosting hens not included in the count. The drop has been blamed on the weather and the reduction in the land provided for these birds.
Hunters across the two states, and others, have found that areas which were once open to hunting are now no longer available or have been turned into ploughed fields. A sad sight has been the number of signs which state land was open to hunters being piled up at the game and fish offices.
There has also been the 'big unknown' that has heavily affected the land which the beloved game birds need to survive – the oil boom.
It has been clear that the effect is taking its toll on hunter numbers as well as the bird's. This year 25,000 fewer hunter licenses were sold by the Dakota authorities. This is a double blow for the sport as it shows a decrease in the numbers but also a loss in funds which are required for the continued success of the game birds.
Many current hunters state that the decline in the birds has led to a number of 55 to 70 year old hunters now quitting the sport.
These hunters need to be replaced if the sport is to continue to survive. One method is to entice younger generations into joining the sport. Some states have already taken proactive measures to address this with workshops designed to introduce the sport to the next generation.
If it is a success, then at least one area of concern will be addressed and the sport can be given life again. However, pheasant hunting still requires the habitat to be given back to the birds. Without this, the hunter numbers are likely to continue their downward trend.
Do you think that the younger generation can keep the sport going strong? Are you a young hunter who has joined the sporting community recently?
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Kissing My Love
Bill Withers
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