text:
Afro-Cuban jazz
|Afro-Cuban jazz
|Stylistic origins
|Cultural origins
|Cuban immigrants in New York City, United States
|Typical instruments
Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation.
Afro-Cuban jazz first emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans, based in New York City. In 1947, the collaborations of bebop innovator Dizzy Gillespie with Cuban percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, most notably the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as Dizzy's and Pozo's "Manteca" and Charlie Parker's and Machito's "Mangó Mangüé", were commonly referred to as "Cubop", short for Cuban bebop.[1] During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba itself.[2]
In the early 1970s, the Orquesta Cubana de Música Moderna and later Irakere brought Afro-Cuban jazz into the Cuban music scene, influencing new styles such as songo.
"Spanish tinge"—the Cuban influence in early jazz[edit]
Although true clave-based Afro-Cuban jazz did not appear until the mid-twentieth century, the Cuban influence was present at the birth of jazz. African American music began incorporating Afro-Cuban musical motifs in the nineteenth century, when the habanera gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. The habanera rhythm (also known as congo,[3] tango-congo,[4] or tango.[5]) can be thought of as a combination of tresillo and the backbeat.
Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera, "reached the U.S. 20 years before the first rag was published" (1999: 12).[6] Scott Joplin's "Solace" (1909) is considered a habanera.
For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African American popular music.[7] Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clave".[8] Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music.
"St. Louis Blues" (1914) by W.C. Handy has a habanera/tresillo bass line. The first measures are shown below.
Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori": "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting a similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues," the instrumental copy of "Memphis Blues," the chorus of "Beale Street Blues," and other compositions."[9]
Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz.[10] Morton stated, "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording)."[11] An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo.
Although the exact origins of jazz syncopation may never be known, there's evidence that the habanera/tresillo was there at its conception. Buddy Bolden, the first known jazz musician, is credited with creating the big four, a habanera-based pattern. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[12] As the example below shows, the second half of the big four pattern is the habanera rhythm.
In Early Jazz; Its Roots and Musical Development, Gunther Schuller states
It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz... because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as the Europeanization progressed. It may also account for the fact that patterns such as [tresillo have]... remained one of the most useful and common syncopated patterns in jazz.[13]
The Cuban influence is evident in many pre-1940s jazz tunes, but rhythmically, they are all based on single-celled motifs such as tresillo, and do not contain an overt two-celled, clave-based structure. "Caravan", written by Juan Tizol and first performed in 1936, is an example of an early pre-Latin jazz composition. It is not clave-based. On the other hand, jazzy renditions of Don Azpiazú's "The Peanut Vendor" ("El manicero") by Louis Armstrong (1930), Duke Ellington (1931), and Stan Kenton (1948), are all firmly in-clave since the 2-3 guajeo provides the primary counterpoint to the melody throughout the entire song.
Mario Bauzá and Machito[edit]
The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in-clave was "Tanga" (1943) composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans. "Tanga" began humbly, as a spontaneous descarga (Cuban jam session) with jazz solos superimposed on top.
The first descarga that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauzá, Machito's trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play El Botellero composition and arrangements of the Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune.
On this Monday evening, Dr. Bauzá leaned over the piano and instructed Varona to play the same piano vamp he did the night before. Varona's left hand began the introduction of Gilberto Valdés' El Botellero. Bauzá then instructed Julio Andino what to play; then the saxes; then the trumpets. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Gene Johnson's alto sax then emitted oriental-like jazz phrases. Afro-Cuban jazz was invented when Bauzá composed "Tanga" (African word for marijuana) that evening.
Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. In August, 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. The jams which took place at the Royal Roots, Bop City and Birdland between 1948 - 49, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard of before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz.
The Machito orchestra's ten- or fifteen-minute jams were the first in Latin music to break away from the traditional under-four-minute recordings. In February, 1949, the Machito orchestra became the first to set a precedent in Latin music when it featured tenor saxophonist Flip Phillips in a five-minute recording of "Tanga." The twelve-inch 78 RPM, part of The Jazz Scene album, sold for $25.— Max Salazar (1997).[14]
The right hand of the "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords. The sequence of attack-points is emphasized, rather than a sequence of different pitches. As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping.[15] The following example is in the style of a 1949 recording by Machito, with René Hernández on piano.[16]
10 Innovations by the Machito's Afro-Cubans[edit]
- The first band to make the triumverate of congas, bongo, and timbales the standard battery of percussion in Afro-Cuban based dance music. Because of this, all three instruments heightened their respective roles in Afro-Cuban based dance music. The use of broken bell patterns by the bongocero in mambo horn sections, the increased rhythmic vocabulary of the conga drum and its function in a band setting, the increase importance of the timbales role in setting up figures played by the horns and accenting them as a jazz drummer would do in a big band. e.g. "Nagüe," also the first recorded example of all three percussion instruments playing as a section.
- The first band to explore jazz arranging techniques with authentic Afro-Cuban rhythms on a consistent basis giving it a unique identifiable sound that no other band in the genre of Afro-Cuban based dance music had at the time. Cuban big band arranger Chico O'Farill stated: "This was a new concept in interpretating Cuban music with as much (harmonic) richness as possible. You have to understand how important this was. It made every other band that came after, followers."[17]
- The first band to explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective through their recording of "Tanga." Of note is the sheet of sound effect in the arrangement through the use of multiple layering.
- The first big band to explore, from an Afro-Cuban rhythmic perspective, large-scale extended compositional works. e.g. "The Afro-Cuban Jazz Suite" by Chico O'Farill.
- The first band to successfully wed jazz big band arranging techniques within an original composition with jazz oriented soloists utilizing an authentic Afro-Cuban based rhythm section in a successful manner. e.g. Gene Johnson - alto, Brew Moore - tenor, composition - "Tanga" (1943).
- The first TRULY multi-racial band in the United States.
- The first band in the United States to publicly utilize the term Afro-Cuban as the bands moniker (Machito & The Afro-Cubans), thus identifying itself and acknowledging the West African roots of the musical form they were playing. This was/is in and of itself a long overlooked contribution by the orchestra in effect to the then burgeoning civil rights movement. It forced both NYC's Latino and African American communities to deal with their common West African musical roots in a direct way, whether they wanted to publicly acknowledge it or not.
- The first Afro-Cuban based dance band to OVERTLY explore the concept of clave conterpoint from an arranging standpoint. The ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement.
- The band because of its forward thinking, musical director, Mario Bauzá, and its lead vocalist, Machito, promoted and set a standard of professionalism and musical excellence that had to be met by other subsequent band leaders. José Curbelo, Tito Puente, Marcelino Guerra, Tito Rodriguez, Elmo Garcia and any other group that followed. Although it could be clearly argued that Xavier Cugat had established an extremely high level of professionalism much earlier with his orchestra at the Waldorf Astoria Hotel (1931), the sound emulated by the majority of bandleaders in NYC was not that of Cugat, but that of the Machito Afro-Cubans. Cugat performed for NYC's high society elite and not for NYC's Latino community, which was concentrated in East Harlem (El Barrio) and subsequently the South Bronx. Cugat's sound was one they may have experienced through recordings on radio, but this community had little direct live access to it both because of their social and economic strata.
- The Machito Afro-Cubans provided a proving ground for the exchange of progressive musical ideas, experiences, and performance of musical compositions and arrangements for Afro-Cuban based dance music and its fusion with jazz arranging techniques along with jazz oriented soloists in a multi-racial framework that had not existed until the orchestra was formed. Because of this, they completely revolutionized the way Afro-Cuban dance music and in a sense, the way jazz was played. Dizzy Gillespie and "Manteca" would never have even existed if it were not for the existence of Mario Bauzá and his influence on Dizzy Gillespie. Tito Puente's musical genius would not have developed in the way it did if this orchestra had not existed—Sanabria (2008).[18]
Mario Bauzá developed the 3-2 / 2-3 clave concept and terminology. A chord progression can begin on either side of clave. When the progression begins on the three-side, the song or song section is said to be in 3-2 clave. When the chord progression begins on the two-side, it is in 2-3 clave.[19]
In North America, salsa and Latin jazz charts commonly represent clave in two measures of cut-time (2/2); this is most likely the influence of jazz conventions.[20] When clave is written in two measures (above) changing from one clave sequence to the other is a matter of reversing the order of the measures. Bauzá consciously maintained a balance of Latino and jazz musicians in Machito's band, in order to realize his vision of Afro-Cuban jazz. Bauzá had the unique experience of mastering both types of music, but it took time for him to teach the jazz musicians in Machito's band about clave. The first time jazz trumpeter Doc Cheatham joined the band, Machito had to fire him after just two nights because he couldn't cope with clave.[21]
When Mario first utilized Edgar Sampson to write the very first drafts of arrangements for the Machito and his Afro-Cubans, he would draw three sticks for Sampson underneath the bar with the three-side and two sticks underneath the bar with the two-side. This way he would always know rhythmically where he was in the chart and supervise Sampson who was unaware of the clave concept in Cuban music. Mario utilized Sampson's harmonic mastery and Mario utilized his rhythmic mastery. Sampson asked Mario "Why does it have to be this way?" Mario told me that he looked at Sampson and said "This is what makes Cuban music Cuban!"— Sanabria (2010: 248).[22]
Dizzy Gillespie and Chano Pozo[edit]
Mario Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer, dancer, composer, and choreographer Chano Pozo. The brief collaboration of Gillespie and Pozo produced some of the most enduring Afro-Cuban jazz standards.
"Manteca" (1947), co-written by Gillespie and Pozo, is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would have been strickly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn't resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge."[23] It was the bridge that gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauzá's modal "Tanga" of a few years earlier. Arrangements with a "Latin" A section and a swung B section, with all choruses swung during solos, became common practice with many "Latin tunes" of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "A Night in Tunisia", "Tin Tin Deo," and "On Green Dolphin Street."
Gillespie's collaboration with Pozo brought African-based rhythms into bebop, a post-modernist artform. While pushing the boundaries of harmonic improvisation, cu-bop as it was called, also drew more directly from Africa, rhythmically.
Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins, ... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947."[24] On a live 1948 recording of "Manteca," someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song.[25]
The rhythm of the melody of the A section is identical to a common mambo bell pattern:
Other notables[edit]
In early 1947 Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo.[26] Some consider the piece to be the first Afro-Cuban jazz recording by American jazz musicians. John Storm Roberts observes that the piece "has no Latino instrumentalists on it, a lack of that is obvious; the crisp, fast montuno with which the piece opens is weighed down by not-so-adept drumming from Shelly Mann."[26] Later, on December 6 of the same year, Kenton recorded an arrangement of the son "The Peanut Vendor" with members of Machito's rhythm section. Kenton continued to work with Afro-Cuban rhythms and musicians for another decade; the 1956 Kenton album Cuban Fire! was written as an Afro-Cuban suite by Johnny Richards.
Cuban percussionist Mongo Santamaría first recorded his composition "Afro Blue" in 1959.[27] "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola.[28] The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12
8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time."
In the mid-1940s, the mambo craze originated with the recordings of Perez Prado, who included jazz elements, and ideas from Stravinsky in his arrangements.[29] The giants of this era in New York were Tito Puente, Tito Rodríguez, and Machito and his Afro-Cubans. Also important was the great double-bass player Cachao (Israel López), who organized a number of descargas (jam sessions) in Havana (1950s) and New York (1970s). One of the most respected Afro-Cuban jazz combos was led by vibraphonist Cal Tjader. Tjader had Mongo Santamaría, Armando Peraza, and Willie Bobo on his early recording dates. In 1975, Tjader hired a young Poncho Sanchez to fill the conga chair. Sanchez went on to become one of the most successful Latin jazz artists.
Guajeos (Afro-Cuban ostinato melodies), or guajeo fragments are commonly used motifs in Latin jazz melodies. For example, the A section of "Sabor" is a 2-3 onbeat/offbeat guajeo, minus some notes. The following excerpt is from a performance by Cal Tjader.
1980s New York City[edit]
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Afro-Cuban jazz has been for most of its history, a matter of superimposing jazz phrasing over Cuban rhythms. However, by the early 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz. The time had come for a new level of integration of jazz and Cuban rhythms.
This era of creativity and vitality is best represented by the González brothers, Jerry and Andy, who in 1967, at the ages of 15 and 13, formed a Latin jazz quintet inspired by Cal Tjader's group.[30] Jerry plays congas and trumpet and Andy plays bass. During 1974–1976 they were members of one of Eddie Palmieri's most experimental salsa groups. Andy González recounts: "We were into improvising... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set."[31] While in Palmieri's band, the González brothers started showing up in the Down Beat Readers' Poll.
In 1974, the González brothers and Manny Oquendo founded the progressive salsa band Libre. While in the band, the brothers began experimenting with jazz, using a variety of authentic Afro-Cuban rhythms. Libre recorded Charlie Parker's "Donna Lee" as a danzón, Miles Davis's "Tune Up" as a conga de comparsa, and Freddie Hubbard's "Little Sunflower" as a mambo. In 1979, Jerry González released his first album as a leader: Ya yo me curé. His Afro 6
8 rendition of Wayne Shorter's "Nefertiti," accompanied by three shekeres and a hoe blade as the only percussion, was a jazz milesone.
Soon, he formed his best-known band: Jerry González and the Fort Apache Band which included his brother Andy and other members as Kenny Kirkland, Sonny Fortune, Nicky Marrero, Milton Cardona, Papo Vazquez and the late Jorge Dalto. The ensembles first two albums were recorded live at European jazz festivals, The River is Deep (1982) in Berlin and Obatalá (1988) in Zurich. These were followed by their hit album, Rumba Para Monk (1988), earning them recognition from the French Academie du Jazz with the Jazz Record of the Year award. This was the record that caught the ears of the jazz community, and is still considered a stellar project.[by whom?] After that, the 15 member-band was compressed into a sextet: Larry Willis (piano), Andy Gonzalez (bass), Steve Berrios (Drums) and Carter Jefferson (sax) and Joe Ford (sax). The Fort Apache Band had established by this time, a new standard for the integration of jazz and Afro-Cuban music.
In the 1980s, Tito Puente began recording and performing Latin jazz on a permanent basis. The González brothers worked with Puente as well as Dizzy Gillespie. Even McCoy Tyner hired the brothers when he tried his hand at this deeper level of Afro-Cuban jazz. The new wave of Latin jazz artists from the Big Apple include Bobby Sanabria, Steve Turre, Conrad Herwig, Hilton Ruiz, Chris Washburn, Ralph Irizarry, David Sánchez, and Dave Valentine.
Global resurgence in Afro-Cuban jazz
The new wave of Afro-Cuban jazz became global. In the San Francisco Bay Area, John Santos' Machete Ensemble featured a stellar line up of artists who have gone on to record in the genre under their own names: Rebeca Mauleón, Wayne Wallace, and John Calloway. Other notable Bay Area musicians include Michael Spiro, Latin jazz veteran Mark Levine, and the Cuban-born Omar Sosa and Orestes Vilato.
Jan L. Hartong's Nueva Manteca is based in The Hague, Netherlands and Yilian Cañizares in Lausanne, Switzerland.[32]
The Cuban branch[edit]
"Jazz bands" began forming in Cuba as early as the 1920s. These bands often included both Cuban popular music and popular North American jazz, and show tunes in their repertoires. Despite this musical versatility, the movement of blending Afro-Cuban rhythms with jazz was not strong in Cuba itself for decades. As Leonardo Acosta observes: "Afro-Cuban jazz developed simultaneously in New York and Havana, with the difference that in Cuba it was a silent and almost natural process, practically imperceptible" (2003: 59).[33] Cuba's significant contribution to the genre came relatively late. However, when it did come, the Cubans exhibited a level of Cuban-jazz integration that went far beyond most of what had come before. The first Cuban band of this new wave was Irakere.
With Irakere, a new era in Cuban jazz begins in 1973, one that will extend all the way to the present. At the same time, this period represents the culmination of a series of individual and collective efforts from our so-called transition period, which will end with the Orquesta Cubana de Música Moderna. Irakere was in part a product of the Moderna, as its founding members completed their musical training in that orchestra and also played jazz in the different quartets and quintets that were created with the OCMM. Among the founders of Irakere were pianist Chucho Valdéz, its director since the beginning, [and] saxophonist Paquito D'Rivera, who acted as assistant director— Acosta (2003: 211).[34]
"Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines, that departed from the more "angular" guajeo-based lines typical of Cuban popular music.
"Chékere-son" is an extremely interesting one. It's based on a legendary 1945 Charlie Parker bebop composition called "Billie's Bounce." Almost every phrase of the Parker song can be found in "Chékere-son" but it's all jumbled together in a very clever and compelling way. David Peñalosa sees the track as a pivotal one - perhaps the first really satisfying fusion of clave and bebop horn lines— Moore (2011: web).[35]
The horn line style introduced in "Chékere-son" is heard today in Afro-Cuban jazz, and the contemporary popular dance genre known as timba. Another important Irakere contribution is their use of batá and other Afro-Cuban folkloric drums. "Bacalao con pan" is the first song recorded by Irakere to use batá. The tune combines the folkloric drums, jazzy dance music, and distorted electric guitar with wah-wah pedal.
According to Raúl A. Fernández, the Orquesta Cubana de Música Moderna members would not have been allowed by the orquesta to record the unconventional song. The musicians travelled to Santiago to record it. "somehow the tune made it from Santiago to radio stations in Havana where it became a hit; Irakere was formally organized a little bit later" (2011: web).[36]
Ironically, several of the founding members did not always appreciate Irakere's fusion of jazz and Afro-Cuban elements. They saw the Cuban folk elements as a type of nationalistic "fig leaf," cover for their true love—jazz. They were obsessed with jazz. Cuba's Ministry of Culture is said to have viewed jazz as the music of "imperialist America." Pablo Menéndez, founder of Mezcla, recalls: "Irakere were jazz musicians who played stuff like 'Bacalao con pan' with a bit of a tongue in cheek attitude—'for the masses.' I remember Paquito d'Rivera thought it was pretty funny stuff (as opposed to 'serious' stuff)" (2011: web).[37] In spite of the ambivalence by some members towards Irakere's Afro-Cuban folkloric/jazz fusion, their experiments forever changed Cuban popular music, Latin jazz, and salsa.
Another important Cuban jazz musician is pianist Gonzalo Rubalcaba, whose innovative jazz guajeos revolutionized Cuban-style piano in the 1980s. Like the musicians of his generation who founded the timba era, Rubalcaba is a product of the Cuban music education system. Initially he studied both piano and drums. Rubalcaba began his classical musical training at Manuel Saumell Conservatory at age 9, where he had to choose piano; he moved up to "middle-school" at Amadeo Roldan Conservatory, and finally earned his degree in music composition from Havana's Institute of Fine Arts in 1983. By that time he was already playing in clubs and music halls in Havana.
Egrem Studios of Havana was the first to record his music during the early and mid '80's, and these discs are still being released (recently Inicio, an album of piano solos, and Concierto Negro.) With Orquesta Aragon he toured France and Africa in 1980. He introduced his own Grupo Projecto to the North Sea and Berlin Festivals in 1985. Beginning in 1986 Gonzalo began recording for Messidor of Frandfurt, Germany, and put out three albums for that label with his Cuban Quartet, Mi Gran Pasion, Live in Havana, and Giraldilla.
Today, Afro-Cuban jazz from Cuba is consistently the most rhythmically complex form of Latin jazz. Many outstanding Cuban jazz bands, such as the saxophonist Tony Martinez's group, perform at a level few non-Cubans can match rhythmically. The clave matrix offers infinite possibilities for rhythmic textures in jazz. The Cuban-born drummer Dafnis Prieto in particular, has been a trailblazer in expanding the parameters of clave experimentation. See: "Drum Solo with Displaced Clave" (Dafnis Prieto). In other forms of virtuosity, the Afro-Cuban jazz singer, Daymé Arocena, has been described as a "cross between Celia Cruz and Aretha Franklin".[38]
Clave license[edit]
More than a half century ago, Mario Bauzá developed arranging in-clave to a high art. Another name for clave is guide-pattern, and that is certainly how Bauzá related to it. Bauzá taught Tito Puente, and Puente's arrangers in turn, learned from him.[39] The techniques were passed down from one generation to the next. It's worth noting that many of the highly educated, new generation of Cuban musicians reject the idea of 3-2/2-3 clave. Both the clave genius Dafnis Prieto, and Alain Pérez, an important innovator in timba and Cuban jazz, reject the concept.[40] Many of the younger musicians even reject the fundamental concept of "clave rules." Pérez states: "I just don't treat the clave as a study or a profound analysis conceived around where it overlaps and where it comes in. I didn't learn it in that way" (2002: web).[41] New York-based Bobby Sanabria laments the pervasiveness of this attitude in Cuba: "The lack of clave consciousness in Cuba is starting to be felt more and more where the rhythmic equilibrium established by the clave direction is being sacrificed due to lack of knowledge in how to work with it from an arranging standpoint by young arrangers especially in the timba movement" (2010: 251).[42] Perhaps Juan Formell, founder of Los Van Van, summed up this contemporary Cuban clave attitude best when he said: "We Cubans like to think we have clave license . . . and we don't feel obsessed about the clave as many others do" (1999: 16).[43] There is currently a "clave schism" between these two schools of thought.
Important albums[edit]
Machito's Kenya: Afro-Cuban Jazz was released in 1958, when Afro-Cuban jazz was no longer fresh and original, and was slipping into cliché and formula, but as there are not many classic Afro-Cuban jazz albums, this is regarded by Tony Wilds of Allmusic as "essential".[44]
Other important albums:
- Afro – Dizzy Gillespie
- Afro-Cuban – Kenny Dorham
- Cuban Fire! – Stan Kenton
- Motherland – Danilo Perez
- On Fire – Michel Camilo
- La Verdad – Eddie Palmieri
- Mi gran pasion – Gonzalo Rubalcaba
- ^ Fernandez, Raul A. (2006). From Afro-Cuban rhythms to Latin jazz. University of California Press. p. 62. ISBN 9780520939448. Retrieved 17 June 2011.
- ^ Acosta, Leonardo (2003: 59). Cubano be, cubano bop: one hundred years of jazz in Cuba. Washington, D.C: Smithsonian Books. ISBN 158834147X
- ^ Manuel, Peter (2009: 69). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
- ^ Acosta, Leonardo (2003: 5). Cubano Be Cubano Bop; One Hundred Years of Jazz in Cuba. Washington D.C.: Smithsonian Books.
- ^ Mauleón (1999: 4) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.
- ^ Roberts, John Storm (1999: 12) Latin Jazz. New York: Schirmer Books.
- ^ Roberts, John Storm (1999: 16) Latin Jazz. New York: Schirmer Books.
- ^ "Wynton Marsalis part 2." 60 Minutes. CBS News (26 Jun 2011).
- ^ Father of the Blues: An Autobiography. by W.C. Handy, edited by Arna Bontemps: foreword by Abbe Niles. Macmillan Company, New York; (1941) pages 99,100. no ISBN in this first printing
- ^ Roberts, John Storm 1979. The Latin tinge: the impact of Latin American music on the United States. Oxford.
- ^ Morton, "Jelly Roll" (1938: Library of Congress Recording) The Complete Recordings By Alan Lomax.
- ^ Marsalis, Wynton (2000: DVD n.1). Jazz. PBS
- ^ Schuller, Gunther (1968: 19) Early Jazz; Its Roots and Musical Development. New York: Oxford Press.
- ^ Salazar, Max (1997). "The Beginning and Its Best" Latin Beat Magazine v.7 n. 1.
- ^ Peñalosa, David 2010. The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins p. 256. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
- ^ Moore, Kevin (2009). Beyond Salsa Piano; The Cuban Timba Piano Revolution v.2 Early Cuban Piano Tumbao (1940–1959) p. 17. Santa Cruz, CA: Moore Music/Timba.com. ISBN 144998018X
- ^ Notes from The Mambo Inn -The Story of Mario Bauzá. PBS documentary (1998).
- ^ Bobby Sanabria, posting to the Latinjazz discussion list (2008).
- ^ Peñalosa, David 2010. The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins p. 133–137. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
- ^ Mauleón, Rebeca (1993: 52) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.
- ^ Don Cheatham quoted by Roberts (1999: 78). Latin Jazz.
- ^ Bobby Sanabria quoted by David Peñalosa (2010: 248). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
- ^ Dizzy Gillespie, from his book To Be or Not to Bop (1985); cited by John Storm Roberts in Latin Jazz 1999. p. 77.
- ^ Thomas Owens from his book Bebop: The Music and Its Players; cited by Roberts (1999). Latin Jazz. p. 77.
- ^ Dizzy Gillespie and his Big Band, featuring Chano Pozo. GNP CD 23 (1948).
- ^ a b Roberts (1999: 73).
- ^ "Afro Blue," Afro Roots (Mongo Santamaria) Prestige CD 24018-2 (1959).
- ^ Peñalosa, David (2010). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins p. 26. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
- ^ Acosta, Leonardo 2003. Cubano be, cubano bop: one hundred years of jazz in Cuba. Smithsonian, Washington, D.C. p. 86 etc
- ^ Andy Gonzalez interviewed by Larry Birnbaum. Ed. Boggs, Vernon W. (1992: 297–298). Salsiology; Afro-Cuban Music and the Evolution of Salsa in New York City. New York: Greenwood Press. ISBN 0313284687
- ^ Boggs 1992 p. 290. Andy Gonzalez quote.
- ^ "Die Sängerin und Geigerin Yilian Cañizares in Moods". Neue Zürcher Zeitung. 16 September 2013. Retrieved 12 June 2015.
- ^ Acosta (2003: 59). Cubano be, cubano bop: one hundred years of jazz in Cuba. Washington, D.C: Smithsonian Books. ISBN 158834147X
- ^ Acosta, Leonardo (2003: 211). Cubano be, cubano bop: one hundred years of jazz in Cuba. Washington, D.C: Smithsonian Books. ISBN 158834147X
- ^ David Peñalosa quoted by Kevin Moore (2011: web). "Areito 3660 and 3926 (1976)," History and Discography of Irakere. Web. Timba.com. http://www.timba.com/encyclopedia_pages/1976-are-to-3660-3926
- ^ Raúl A. Fernández quoted by Moore (2011: web). Timba.com. http://www.timba.com/encyclopedia_pages/1976-are-to-3660-3926.
- ^ Pablo Menéndez quoted by Moore (2011: web). Timba.com. http://www.timba.com/encyclopedia_pages/1976-are-to-3660-3926.
- ^ "NPR Music's 50 Favorite Albums Of 2015". NPR.org. Retrieved 2017-04-28.
- ^ Bobby Sanabria quoted by Peñalosa (2010: 248). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
- ^ Peñalosa (2010: 249).
- ^ Interview with Alain Pérez by Pepe Martínez. Web. Timba.com.
- ^ Bobby Sanabria quoted by Peñalosa (2010: 251).
- ^ Juan Formell quoted by Rebeca Mauleón (1999: 6). 101 Montunos. Petaluma, CA: Sher Publishing.
- ^ Tony Wilds. "Kenya: Afro-Cuban Jazz - Machito | AllMusic". Retrieved 17 June 2011.


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6th Annual YLG Cascadia Regional Conference (Portland)
The ULI Northwest and British Columbia Young Leaders Group would like to invite you to join us for the 6th Annual YLG Cascadia Regional Conference on July 18 & 19 in Portland! The conference promises to be two days full of lively discussion, exciting project and neighborhood tours, networking events, and beautiful Portland summer weather.
This year's keynote speaker will be Dan Miller, Co-Founder of Fundrise, an innovative online investment platform that gives individuals the ability to directly invest in commercial real estate.
The conference will also feature panel discussions on topics like New Models of Real Estate Finance and Affordability and Livability in the Pacific Northwest, and tours of innovative development sites that are integrating jobs, housing, and transit inro existing neighborhoods and connecting communities on both sides of the river.
Friday, July 18 | Saturday, July 19
University of Oregon in Portland
Light Court Commons
70 NW Couch St.
Portland, Oregon
$60 / $80 for ULI members/non-members (student)
$95/ $130 for ULI members/non-members (public sector, non-profit, Young Leaders*)
$130 / $175 for ULI members/non-members (private sector)
*Young Leaders are real estate professionals under 35.
Fees include breakfast and lunch on Friday, July 18 and lunch on Saturday, July 19. All fees are in USD.
Register by June 16 and save $20 ($10 for students); fees increase by $10 after July 17.
Online registration deadline: Thursday, July 17
Register online at Northwest.sandbox.uli.org or by phone at 1-800-321-5011.
Photo Competition
In conjunction with this year's conference, ULI Northwest is debuting the first annual photo essay competition. Visit the competition website to learn about this year's theme, the prizes, and jurors. The jury will announce the winners and discuss their selection process at the conference in July. Read ULI Northwest's Press Release on the competition here.
Attending from out of town? Reserve your discounted hotel room now!
Rooms are blocked from Thursday, July 17, through Friday, July 19 (checking out Saturday). Rates are $189/night at both locations. Ask for the Urban Land Institute Group Rate, or use the group code listed below.
Hotel Modera
515 SW Clay St
Portland, Oregon 97201
Group Code: ULI2014
Reservations by attendees must be received on or before Friday, June 6
Residence Inn Portland Downtown/Pearl District
1150 NW 9th Avenue
Portland, OR, 97209
(503) 220-1339
Group Code: M-1O5IYSX
Reservations by attendees must be received on or before Thursday, June 19
For more information, please contact us at firstname.lastname@example.com or 503-224-0300.

subset: commoncrawl


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Grand Opening: Room 68
- Location: Jamaica Plain, MA
- Specialty: Furniture and Design
- Price range: $$-$$$
- Website: room68online.com
Store History
- Founded: 2011
- Founded by: Nick Siemaska, Brent Refsland, Eric Portnoy
- Headquarters: Jamaica Plain, MA
The newest design destination to hit Jamaica Plain, Room 68, just held their official grand opening over the weekend. The shop was well received if the turnout was any indication. Designers mingled with locals and there was plenty to chat about. The overall aesthetic of the store is a bit tough to pinpoint, but once you learn a bit about the owners it all comes together.
The shop showcases a number of beautiful pieces of wood furniture, both from local designers and well know wood workers. This is no doubt due in part to the fact that one of the partners in the business, Nick Siemaska, teaches furniture restoration (he also happens to be an Apartment Therapy Contributor). The layout of the shop along with the artsy, quirky housewares, has a sort of museum gift shop feel to it. One would expect this can be attributed to the fact that Brent Refsland, the creator and curator of the nearby Hallway Gallery, also has a hand in the business. Rounding out the collaboration is Eric Portnoy, a design enthusiast who had been contemplating opening up a shop for some time.
Here is what you won't find at Room 68, anything mass produced that you assemble at home with an allen wrench. What you will find? A well curated collection of finds that bring a strong element of design to any interior.
Images: Kim Lucian
Around the Web
- This Seat's Taken[Boston.com]
- Room 68 Emerging Design[DailyCandy]


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"I write lying down — much like Marcel Proust. The only thing I have in common with him," Chris Weitz says, laughing.
Known as a director and screenwriter, Weitz has just published his first novel, "The Young World" (Little Brown: 384 pp, $19), a YA thriller set in a dystopic Manhattan. "It's a lot less recursive and reflexive than Proust," he notes. "There's a higher body count."
In his book, a virus has wiped out all the adults and small children, leaving only teens. The survivors have formed regional tribes; the one based in Greenwich Village is led by slightly uptight teenager Jefferson and the sassy girl he pines for, Donna. The two tell the story in alternating chapters.
"I believe in the Society of Mind Theory," Weitz says, citing neurologist Marvin Minsky. "When you're writing characters, I think you're trying to emulate different people in different facets of yourself. So somewhere in me is a teenage girl just waiting to get out."
This seems a little incongruous for the 6-foot-tall Weitz, but he's been able to tap into teen emotions before. There was "The Twilight Saga: New Moon," which he directed; the drama "A Better Life," about an undocumented immigrant father and his teen son; and 2002's "About a Boy," the film he co-wrote and directed with his brother, Paul.
Weitz, who has a degree in English from Cambridge University, says, "I always thought I'd do something to do with books. My first job out of college was reviewing books. And I've adapted a lot of books into films. Movies were a way for me to deal with my love of books, and how I was going to stay in that world."
After directing so many films featuring teens and young people, Weitz was deluged by young adult books and scripts for possible projects. "Lots of them were great," he says diplomatically, "but I thought, maybe I should try this."
In "The Young World," Donna, Jefferson and other members of their diverse tribe set out across Manhattan to try to understand what's gone wrong, encountering a gantlet of cruel private-school boys, canny subway dwellers and cultish cannibals. You could call it "The Warriors" meets "Logan's Run" meets the 1966 Star Trek episode "Miri." There are piles of film referents, many of which appear unabashedly in the text. The characters even power up a precious generator so they can watch "Star Wars Episode IV: A New Hope" together.
His affection for science fiction goes way back: Weitz, 44, is so steeped in "Star Wars" that, sitting in a Santa Monica restaurant, he describes the killing of Luke's aunt and uncle as "my death of Bambi's mother — it was very distressing to me. They're smoking skeletons." As someone who understands the mechanics of narrative, he adds with a chuckle: "But it had to be done."
That's because the idea of the hero as orphan is so mythically powerful. "That is kind of the fairy-tale idea writ large," Weitz says. While he was writing the book, Weitz was working on a project based on another classic fairy tale: the screenplay of "Cinderella" for Disney. "It was a little difficult at times to switch between writing 'Cinderella' one day and then post-apocalyptic teens the next," he admits.
While there are plenty of musician-slash-novelists, only a handful of film directors write fiction. What it takes to run a blockbuster production may be at odds with the solitary writer's life.
"Frankly, you get spoiled when there are 60 or 70 people helping you do what you're trying to do," Weitz says. "You don't get that [writing books]. Just you and the computer."
Weitz comes from a showbiz family: His grandfather was an agent, his grandmother, the 104-year-old Lupita Tovar, starred in Spanish-language movies in the 1930s. His mother, Susan Kohner, earned an Oscar nomination for her role in "Imitation of Life." She raised her children in New York City. Its landmarks — Central Park, the zoo, the public library with its lions out front — feature prominently in this novel.
"I spent oodles of time in the main branch [of the library]. I love it so much," he says. In tribute, he's cast it and the rest of the city in a state of early exquisite decay. Grand Central is there but changed; art can still be found at the Metropolitan Museum, but so can destructive new inhabitants.
In "The Young World," there are brutal fights and genuine threats of violence. After finding some of the dystopian books he's read to be "a bit glossy," Weitz created "a world with some ugly things happening in it."
The recommended age is 15 and up — a little older than your average YA novel. By that age, he says, "kids have contemplated these things — sex, death, money, power — already, whether or not they're talking about it."
His book includes drugs and drinking, exploitation and the implication of rape. "It's funny to talk about writing realistically about teens in a sci-fi setting, but I did want their behavior to be believable," he says. "The fact that this is a world in which rape happens is a little concerning. … but — Steubenville," alluding to the 2012 rape case involving two high-school football players and several onlookers.
It's not just that terrible incident that was on Weitz's mind when he was writing: He saw positive aspects of contemporary society too. "My story is probably more inspired by Occupy Wall Street or Zuccotti Park or Burning Man," he says.
From those movements he took the ideas of self-sufficiency, creativity and the effort to create a society from scratch. Weitz attended Burning Man, the anarchic desert arts festival, for more than a decade; it's where he met his wife, Mercedes Martinez.
Weitz will write two more books — "everything has to be a trilogy now," he says — and films will follow. Warner Bros. picked up the rights to "The Young World" in June.
"I just try to keep on doing different things," Weitz says. "Which in a way is a stupid idea because the people who ... are well-regarded are people who do the same things over and over again."
Like passing notes in class; I'm @paperhaus on Twitter


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KENNESAW, Ga. (Jan. 7, 2010) -- With an unblemished Atlantic Sun Conference record, the ETSU men's basketball team will try to stay unbeaten in league play as the Buccaneers make a two-game swing through Georgia this weekend.
The road trip begins with a 5:30 p.m. meeting with Kennesaw State Thursday afternoon inside the KSU Convocation Center, followed by a Saturday afternoon showdown with Mercer at 3:30 p.m. in Macon, Ga.
ETSU hopes to improve on the start it enjoyed a year ago in league play, when the Bucs opened A-Sun action at 5-0.
For more on the game, click on the game notes link located above, or read the game notes below.
Buc bits
The ETSU men's basketball team hopes to keep its unblemished conference record intact as the Bucs head on the road for a critical two-game road swing through Georgia ... The Bucs, 7-7 overall, 3-0 in league play, open the swing with Kennesaw State Thursday afternoon at 5 p.m. in the KSU Convocation Center, followed by a Saturday showdown with the Mercer Bears at 3:30 ... ETSU is currently 5-1 inside the ETSU/MSHA Athletic Center this season, but are just 2-6 on the road this year ... Preseason All Atlantic Sun Conference pick Mike Smith (Vandalia, Mo.) remains doubtful for the USC Upstate game after having missed the Bucs last four contests ... In Smith's absence, junior forward Tommy Hubbard (Boston) and junior guard Justin Tubbs (Trussville, Ala.) have stepped up their games � In fact, Hubbard has posted double-doubles in seven of his last 13 games ... When he was picked A-Sun Player of the Week on Nov. ,30, he posted a career best 32-point effort against the Razorbacks and a game-high 25-point effort in the victory over UNF ... Meanwhile, Tubbs posted a career best 29 points against CofC and 21 against Arkansas, to go with nine rebounds ... Currently, Hubbard and Tubbs lead the team in scoring, with Hubbard averaging 14.2 points per game, and Tubbs pitching in 13.2 a contest.
The series against Kennesaw State
The Bucs are 6-1 all-time against the Owls, including an 81-46 win over Kennesaw State in the last meeting between the two on Feb. 26, 2009, inside the ETSU/MSHA Athletic Center.
Last time against Kennesaw State
JOHNSON CITY, Tenn. (Feb. 26, 2009) - In need of a confidence boost and looking to get his ETSU men's basketball team back on the winning track, senior guard Courtney Pigram (Memphis) responded to the fans' pregame chants of "Let's go, CP!" by scoring a game-high 16 points and dishing out seven assists in the Buccaneers 81-46 win over Kennesaw State Thursday night inside Memorial Center ... The crowd of 3,149 was treated to one of the Bucs' best performances of the season, as they shot 49 percent from the floor and held the Owls to just 26 percent shooting. ... After several tough games shooting the basketball, Pigram looked more relaxed on a night when the ETSU fans began chanting his name even before the tip. The senior led all scorers with 10 point in the first half, going 4-of-10 from the field in the first 20 minutes and helping stake the Bucs to a 34-25 halftime lead ... The Bucs defensive effort was also stellar in the first half as ETSU's fullcourt press attack was initiated from the outset and held the Owls to just 29 percent shooting the first half. Meanwhile, the Bucs hit on 47 percent from the field and outrebounded Kennesaw State 20-14 ... In the second half, the Bucs only turned up the heat and outscored the Owls 47-21 to leave no doubt about the game's ultimate outcome. For the game, the Bucs outrebounded KSU 47-31 and forced 21 turnovers on 12 steals. ... Along with Pigram's 16, ETSU got 13 points from freshman guard Jarvis Jones (Memphis), while freshman Adam Sollazzo (Tampa) and senior forward Kevin Tiggs (Flint, Mich.) pitched in 11 apiece ... For Kennesaw State, only one player reached double figures with Kurtis Woods scored 12 to lead the Owls.
Last time out
SPARTANBURG, S.C. (Jan. 4, 2010) - Despite giving up a 15-point lead over the final 10 minutes and facing a tie score with 58 seconds left, an unlikely scenario involving an injury to sophomore forward Isiah Brown (Miami) and a made foul shot by a freshman forward Lukas Poderis (Tampa) lifted the ETSU men's basketball team to a 63-62 win over USC Upstate in Atlantic Sun Conference basketball action inside the E.B. Hodge Center. ... The Bucs - who scored a season-low 16 points in the second half - held a 58-43 lead with 10:12 left and only managed five points the rest of the way. In fact, the Bucs (7-7 overall, 3-0 A-Sun) overcame six missed foul shots and two turnovers in the final minute to still manage a victory thanks to an unusual finish. ... When Upstate's Carter Cook missed a potential game winner with 15 seconds left, Brown came down with the rebound and was fouled to the floor. The foul left Brown holding his right ankle and heading to the ETSU bench. By rule, USC Upstate coach Eddie Payne was then allowed to pick who would replace Brown at the line. ... Poderis hit the first shot of the one-and-one bonus, giving the Bucs the lead at 63-62. His second shot missed, but the Bucs managed to stop Upstate from scoring. ETSU's Micah Williams (Manchester) was then fouled and missed the front end of the one-and-one with six seconds left, but again the Spartans were unable to make a miraculous shot at the end. ... The Bucs were led by a game-high 21 points from junior forward Tommy Hubbard (Boston), while Poderis added a career best 14 and Williams pitched in 12. Upstate had three players in double figures, with both Pat Posey and Cedric Koffi netting 12 points each ... The Bucs got off to a slow start and trailed by as many as 11 at 23-12 with 10:18 left in the first half. However, a 16-0 offensive run was just what ETSU needed as the Bucs built a 28-23 lead and ultimately grew their advantage to as many as 14 at 47-33 with 33 seconds left in the half. The Spartans hit a three as time wound down, and the half ended with ETSU leading 47-36. ... The Bucs shot 56 percent from the floor, and despite just shooting 63 percent from the line on the season, ETSU hit on 17-of-19 from the charity stripe for a clip of 90 percent before the intermission. Hubbard led the Bucs with 15 points and six rebounds in the first 20 minutes. ... In the second half, ETSU pushed the lead to 15 at 58-43, but from there Upstate outscored the Bucs 19-5. For the game, ETSU hit on 41 percent of its shots from the floor, and despite the solid free throw shooting numbers in the first half, ultimately finished at 68 percent for the game after going 2-of-9 from the charity stripe in the second half.
Smith's status still in doubt
Though he has played in four games this season and most recently scored a season high 14 points against UAB (12/4), senior guard Mike Smith (Vandalia, Mo.) continues to battle nagging injuries ... This has left his status for this week -- and the rest of the year -- still in doubt ... No decision has been made at this point on whether Smith will redshirt this season or whether he will attempt to return to the floor this year ... Smith has been out of practice the last few days.
Williams bringing more offense to the table
Junior guard Micah Williams (Manchester) has worked his way into the starting lineup thanks mainly to back-to-back strong efforts on the offensive end ... Against North Georgia, Williams posted a career high 22 points in leading the Bucs to the win, and he followed that effort with an 18-point night against Murray State ... He has scored in double figures in five of his last six games ... Currently, Williams is one of three Bucs averaging double figures scoring this year with 10.6 points per game.
Grimm steps up at the point position
As the 2009-10 season
has progressed, the Bucs have struggled to find a player who can consistently provide quality minutes at the point guard position ... While helping rally the Bucs against Murray State, freshman point Bruce Grimm (Rochester, Ind.) turned some heads and ultimately earned the start against Morehead State ... He has eclipsed double fitures in two of the last four games, and in his last game against Jacksonville he posted a career best six assists ... He has started the last three games at point for the Bucs.
Hubbard steps up his game, averaging
Much has been written and reported about junior forward Tommy Hubbard (Boston) and his efforts to improve his offensive game, and those strides most recently led to being selected A-Sun Player of the Week one week ago ... Already considered one of the best defenders in the A-Sun, Hubbard posted a 32-point and 10-rebound effort in the win over Arkansas and dropped in another game-high 26 in the win over UNF ... He currently leads the Bucs with 15.2 points per game and 8.3 rebounds a contest ... while he has posted double-doubles in seven of the last 11 games, his efforts began to pay off on the offensive end against Chattanooga back on Nov. 17 ... Setting career bests for points (26) and rebounds (13), Hubbard collected his first career double-double against the Mocs ... In addition, he hit his first 3-point shot in three seasons with the Bucs, and didn't stop there -- ultimately finishing with four long-range bombs on the night.
Record setting night from the arc for Bucs
Hitting on 11-of-14 shots from 3-point range against Arkansas, the Bucs put their name in a multiple of record books ... First, those numbers set a new school record for 3-point field goal percentage in a game with a 78.6 percent mark, breaking the previous record of 66.7 percent which had been done three times previously ... In addition, it was the best shooting effort in the "nation" this season for teams taking more than 10 shots in a game ... And it was the best percentage by a team in the A-Sun since Nov. 28, 1999 when UCF was 11-of-14 in a game against South Carolina state.
Sollazzo to honor Coy with number change
When ETSU's rising sophomore forward Seth Coy (Montgomery, Ind.) was tragically killed in a car accident this summer, it left the entire Buccaneer community with a deep sense of loss ... As is often the case, those that are left to mourn have looked for ways to remember the Bucs' 6-foot-11 "Gentle Giant." ... For sophomore guard Adam Sollazzo (Tampa), who was Coy's roommate, the answer was simple ... Changing his jersey number from No. 20 to Coy's No. 43, Sollazzo will play the 2009-10 season to honor his friend and have that memory with him each night.
Big questions surround Bucs entering 2009-10
With the loss of seniors Courtney Pigram and Kevin Tiggs -- one of the most dynamic offensive duos in the country -- the Bucs have a lot of questions to answer on the offenisve end of the floor this season ... Having averaged 78.1 points a game a year ago, which ranked 21st nationally in all of Division I play -- ETSU has lost 44.0 of those points to graduation when one includes now departed senior Greg Hamlin in that trio ... In addition to the losses on offensive, the Bucs' 13-man roster includes just eight players who have experienced actual floor time in college ... The other five players are either true freshmen, redshirt freshmen or walk-ons.


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When the story broke that a little girl was trapped in a well in San Marino, thousands of Angelenos snapped on their television sets. They kept them on for the next 27 hours.
The year was 1949 — decades before live coverage of car chases, hostage crises and other breaking news became commonplace.
"That was the first time anyone realized that television had this remarkable ability," Stan Chambers, one of the two reporters on the scene for KTLA-TV Channel 5's unusual broadcast, recalled years later of his role in TV news history. "It was then that I decided that I really wanted to be in news."
Chambers, who stayed on the story through its heartbreaking ending to become one...


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Joseph Altuzarra's Emmy Green Room
The Emmy Awards this past Sunday marks the start of awards season. The dresses! The awkward moments! The long speeches! The Green Room, where the stars congregate backstage, is the center of the action behind the scenes. Designed by fashion designer Joseph Altuzarra, this year's Audi-sponsored design embodied both efficiency and luxury.
Tell us a little bit about the green room you designed for the Emmys.
The goal for the design of Emmys Green Room is to demonstrate that sophistication, efficiency and utility— qualities prevalent in both Audi and Altuzarra — can coexist in design. The Green Room melds the sleek lines and efficient design of the Audi TDI with the French sensibility and American pragmatism of Altuzarra. Inspired by the color palette of both brands, the room includes dove gray, black and metallics as a nod to Audi, and is punctuated with classic Altuzarra accent tones of blush and lavender. Elements combine to create an opulent atmosphere without compromising efficient design. Dove gray walls with french molding are accentuated by botanical elements like soft mosses and succulents. Plush wall-to-wall carpet is easy on the eye and stiletto-clad guests alike. Elegant, curved and faceted mirrors are both theatrical and functional, while a sleek Italian bar, modular seating and modern accent pieces by the likes of furniture designer Karl Springer combine to give guests a refined yet relaxed environment for this year's Emmys green room.
What's inspiring you these days?
Different aspects of workwear, travel. Actually, LA in the past few days has been very inspiring!
Seeing as its Emmy week, what's your guilty pleasure TV show?
In general, I love Food Network!
What's your favorite home from a TV show?
Olivia Pope's DC Apartment in Scandal.
What's the most recent thing you've purchased for your home?
Lots of different succulents.
What do you like best about your home?
The feeling of it being an oasis in the middle of busy Manhattan.
My home doesn't feel complete without...?
My dog, Bean and my partner, Seth.
What's your favorite design moment (house, restaurant, building, public space, hotel) in LA?
The Getty Museum.
You're throwing an Emmy party for friends who are coming over to your house to watch the show on TV. What are you serving? What are you drinking? Champagne and popcorn, of course!
For more about Joseph Altuzarra and to see his Spring/Summer 2014 collection, click here.
(Images: Audi; Michael Buckner/WireImage, used with permission)


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A statewide environmental group and wind energy advocates from Cape Cod unveiled a report Wednesday they say shows the potential benefits of wind energy and the need for extending federal tax benefits for the technology.
HYANNIS — A statewide environmental group and wind energy advocates from Cape Cod unveiled a report Wednesday they say shows the potential benefits of wind energy and the need for extending federal tax benefits for the technology.
"Time is running out," Danielle Falzon, energy associate with Environment Massachusetts, said during a press conference at the Hyannis Transportation Center.
Wind energy production in Massachusetts has reduced carbon emissions equal to taking 3,000 cars off the road, Falzon said. If the current pace of wind energy development in the state continued during the next three years, emissions equivalent to that created by 14,000 cars would be avoided, she said.
Over the past 20 years, the federal production tax credit for wind energy has been allowed to expire three times before being reinstated, leading to dramatic reductions in the amount of wind energy produced in each of the following years, according to the U.S. Energy Information Administration.
With the credit about to expire again, production from additional wind-energy projects could decline to almost nothing across the country in the coming years, Falzon said.
"As competitive as wind is becoming it still needs the support of the (investment tax credit) and the (production tax credit,)" said Richard Elrick, energy coordinator for the towns of Barnstable and Bourne.
Wind energy is key to avoiding the worst consequences of climate change, Elrick said.
Residents in Massachusetts send 80 percent of the $22 billion they spend each year on energy out of state, said Megan Amsler, executive director of Cape and Islands Self-Reliance, a local energy cooperative.
Local development of responsibly sited wind energy projects could help keep those dollars local, Amsler said.
Although the effects of human-induced climate change are already apparent — including the effect of higher sea levels on the storm surge from Hurricane Sandy — reducing the consumption of fossil fuels can limit the rate of global warming, said Woods Hole Research Center president and executive director Eric Davidson.
Reducing the use of fossil fuels has local and global effects through the reduction of pollution that can cause health problems, Davidson said.
"Renewables are and will have to be going forward a critical component of the electricity production system," said Dan Dolan, president of the New England Power Generators Association Inc., a trade group that did not take part in Wednesday's press conference.
Traditional sources of fossil-fuel-powered energy, however, are necessary, he said.
The key is to foster as much certainty as possible in regulations and what is expected of power producers and let the marketplace drive what sources are used, Dolan said.
"I don't think picking a certain type of technology and deeming it to be the winner is the way to go," he said.


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In an interview with CNN, costume designer Lyn Paolo — who works on ABC's Scandal — explains how she dresses Kerry Washington for the part of Olivia Pope, the D.C. "fixer" based on real-life crisis management expert Judy Smith.
When you talk about Washington D.C., you think of dark gray and navy blue. Look at a picture of Congress. Everyone pretty much looks the same. ... My idea was, we should always have Olivia Pope standout in some way.


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Beating Georgia Tech with a healthy Logan Thomas was a stretch. Virginia Tech's offense was too inept, its defense too human.
Beating Georgia Tech – on the road?! -- with Thomas enduring "the worst pain" of his life?
But that's precisely what the Hokies did Thursday night, escaping Grant Field with a 17-10 victory rooted in Thomas' grit and the defense's brilliance.
"The kids said, 'Hey we don't want any excuses. We're gonna go down there and get it done,'" coach Frank Beamer said, "and that's what they did. … This is a special win right here."
There were many excuses, reasons actually, for Virginia Tech to lose, including the short week to prep for the Yellow Jackets' veer option, the Hokies' season-long struggles on offense and, most notably, the abdominal strain that precluded Thomas, their senior quarterback, from practicing since Saturday's triple-overtime victory over Marshall.
Georgia Tech (3-1, 2-1 ACC) entered the game undefeated, one victory away from seizing control of the ACC's Coastal Division and again posting silly rushing totals. Virginia Tech (4-1, 1-0) arrived in Atlanta with Thomas mired in a year-plus funk and the offense floundering as a result.
Sure, coordinator Bud Foster's crew was playing lunch pail-caliber defense, but against the Yellow Jackets, hiccups are inevitable, and expecting the offense to overcome them seemed too much to ask.
The Hokies went off as 7-point underdogs and hadn't won amid such few expectations since 2008 at Nebraska, where they were touchdown pups and won 35-30. On that night, quarterback Tyrod Taylor accounted for 258 yards.
Thomas mirrored that performance Thursday, producing 279 yards, 221 passing and 58 rushing, and both Virginia Tech touchdowns. He connected on 19-of-25 passes and did not throw an interception for the first time this season. His completion percentage of 76.0 was the second-best of his career, behind the 92.0 (23-of-25) versus Miami in 2011.
Thomas was most effective early, completing his first nine attempts, including a 21-yarder to D.J. Coles for a first-quarter score. He was most durable later, carrying an otherwise impotent ground attack on his broad shoulders, gaining 26 yards on one run and scoring from 5 yards out on another.
"I knew I was going to have to grind this one out," Thomas said.
Indeed, say what you will about his in-game demeanor, about his penchant for publicly reprimanding receivers and trouble reading route progressions. But at 6-foot-6, 254 pounds, he is built, and is willing, to absorb a pounding.
"He's going to play in this game," said Beamer, Thomas' chief defender.
But as efficient as Thomas was, and even with considerable contributions from receivers Demitri Knowles, Willie Byrn and Coles, the Hokies still only scored 17 points, three in the final 41 minutes. New coordinator Scot Loeffler called an effective game – the misdirection and play action on the touchdown pass to Coles were perfect, and Thomas sold the fake like Pacino's Ricky Roma in Glengarry Glen Ross – but Virginia Tech's offense hasn't scored more than two touchdowns in regulation against a Bowl Subdivision opponent since last October against Duke.
Enter the defense.
"We're fortunate to have some veterans up front that had played against this offense a couple of times," Beamer said. "It's a rugged offense. You have to be rugged yourself. You have to be precise."
The Hokies were all that and then some, limited the Jackets to their fewest yards (273) and points in this series since Paul Johnson arrived in 2008 and installed the option.
Virginia Tech tackles Derrick Hopkins and Luther Maddy owned the interior of Georgia Tech's offensive line, combining for nine solo stops. Ends James Gayle and J.R. Collins continued to establish residency in the opponent's backfield, while Kyle Fuller had two tackles for loss and forced a fumble at whip linebacker.
Kendall Fuller, Kyle's brother, ended Georgia Tech's last-ditch drive with an interception, and fellow freshman cornerback Brandon Facyson forced a fumble, recovered a fumble and intercepted a pass – the latter tying him for the national lead with four.
The Hokies pitched a fourth-quarter shutout for the fifth time in as many games and created three turnovers for the fourth consecutive contest.
"Credit to our defensive staff," said middle linebacker Jack Tyler, whose second-quarter tackle for loss on a third-and-1 forced a punt. "They came up with a great plan. … Coach Foster, he's brilliant, he really is."
Eliminate safety Detrick Bonner's gaffes – he allowed completions of 40 and 41 yards and committed two pass interference penalties – and the defense approached flawless.
The Jackets rushed for, by their standards, a meager 129 yards, and the 3.1 per-carry average was their lowest against the Hokies under Johnson. Georgia Tech's previous norms versus Virginia Tech ranged from 6.8 in 2010 to 3.5 last season.
The Jackets damaged their own cause with nine penalties, most committed by an offensive line unnerved by Virginia Tech's pressure, leaving Johnson in a vintage foul mood.
"The scheme is not any different than what most people play against us," he said. "The players are pretty good, but for whatever reason, it seems like we self-destruct."
Also: "I've never seen so many mistakes. … We had a hard time picking up the blitz. It was a comedy of errors."
And finally: "I've told you all along, we're not very good with the option. We're terrible in fact, and it showed. We're not going to throw the ball 24 times and win very many games."
Vad Lee may become the best passing quarterback Johnson has had, but the Hokies' blitzes and coverages harassed him into a 7-of-24, two-pick night.
Johnson even took himself to task, for attempting a fourth-and-2 from his own 33 midway through the fourth quarter. Gayle and Tyler stuffed David Sims' inside run a yard shy.
"That was probably not the smartest decision in hindsight," Johnson said. "It was pretty dumb."
Dumb squared, even though Cody Journell missed a subsequent field goal attempt. The stunt sparked memories of the teams' meeting two years ago in Atlanta.
Then the Jackets faced fourth-and-1 from their own 31. Then Tyler and Collins stopped quarterback Tevin Washington for no gain, and the Hokies countered with a critical touchdown in a 37-26 victory.
When will Johnson learn?
After condensing three coin-flip wins – East Carolina, Marshall and Georgia Tech – into 12 days, Virginia Tech has time to exhale before a three-game, Coastal Division homestand: Oct. 5 versus North Carolina, Oct. 12 against Pittsburgh and Oct. 29 versus Duke.
That's not Murderer's Row, mind you, but the 2012 Hokies played miserably against the Tar Heels and Panthers, losing 48-34 and 35-17, respectively, and allowing 1,070 yards in the process.
This defense doesn't figure to be as docile, and as Thomas theorized, if the offense progresses, "we'll be pretty dangerous."
Some other nuggets from Thursday:
* Georgia Tech's 3.1 per-carry average was its fourth-lowest in 70 games under Johnson. The others: 1.7 versus Gardner-Webb (79 yards, 47 attempts) in 2008, 2.4 at Miami (95 on 39) in 2009, and 2.8 at Miami (134 on 48) in 2011.
And where do the Jackets play next week? At Miami.
* Journell returned from a one-game suspension – his transgression has not been specified – hoping to solve the Hokies' ramblin' wreck of a kicking game. Virginia Tech had missed five consecutive goals, two by Journell at East Carolina and three by Ethan Keyserling against Marshall.
That was the Hokies' longest such stretch since 1987, Beamer's first season, when Chris Kinzer missed five straight, four from 44-56 yards.
Journell connected from 39 yards but missed from 25, both in the fourth quarter. It was his first miss inside of 30 in 17 career attempts.
* Virginia Tech is now 10-1 under Beamer when given less than a week to prepare. That's coaching, kids.
* Thursday was the ninth consecutive game in which the Hokies had at least one interception and sack.
I can be reached at 247-4636 or by e-mail at firstname.lastname@example.com. Follow me at twitter.com/DavidTeelatDP
Here's a link to my Daily Press print columns.


text:
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|2013-06-19, 14:59
|Link #1
Last Engage
Join Date: Jun 2007
Location: Florida
Walkure Romanze
From the makers of Princess Lover!, comes the second game about royalty and high class, but this time with jousting.
Game Site
Anime Site
Last edited by Midonin; 2013-06-20 at 13:06.
|2013-06-19, 16:05
|Link #6
Enjoying Snack Time!
Cool this finally gets an anime. I'm following the manga version of this and am really liking the premise of jousting, which is unique because basketball and baseball seem like a popular concept when it comes to sports anime.
I enjoyed Princess Lover and I hope this will be a great adaptation.
|2013-06-19, 19:50
|Link #10
Join Date: Dec 2003
Age: 36
I never completely finished this game for whatever reason, but I'm about 2/3 of the way through it (and will get around to finishing it at some point). In general, I quite liked it and think that it's a good choice for a TV anime (with your expectations firmly in check in terms of what sort of plot can be done in a one-cour show).
Spoiler for Very general premise information:
Last edited by relentlessflame; 2013-06-20 at 17:53.
|2013-06-19, 22:11
|Link #12
Senior Member
Join Date: Apr 2006
I hope they will retain the game's seiyuus this time. It would be the first time that Kei Mizusawa (AKA Rino Kawashima in eroge) has gotten a starring role in a mainstream TV anime series, since she voiced Celia in the original Walkure Romanze game.
|2013-06-19, 22:29
|Link #14
Senior Member
Join Date: Apr 2006
It'd still be great if Kei Mizusawa ("Rino Kawashima" is her 18+ productions pseudonym) beat the odds and rose to mainstream fame and acclaim through this role, however, assuming they retain the game's seiyuus this time around.
|2013-06-19, 22:48
|Link #16
reading #hikaributts
Join Date: Feb 2009
While "Kawashima Rino" is one of the better known eroge seiyuu in the industry (eventhough she has been doing more side-characters instead of main heroines lately), there is almost no chance that she will breakthrough as a regular seiyuu.
Also i didn't like the original VN that much, because i found most of it pretty boring and i ended up dropping it half way.
edit: maybe it got better in the other routes but i didn't like Mio's story and i originally played it for her route because of her seiyuu
|2013-06-19, 23:10
|Link #17
Senior Member
Join Date: Apr 2006
|2013-06-19, 23:11
|Link #18
Part-Time TTK & Master
Join Date: Jun 2006
Location: Iwakawa base and Chaldea
Age: 38
It's just that Mio suffers from the "default heroine syndrome", aka her route is kinda plain. And she can't really hold a candle in term of charisma to Celia, the blonde ojou-sama. Celia's route is full of f yeah moments as far as jousting and VN are concerned, her chemistry with the MC feels the most natural imo. Finally, she is in my eyes the quintessential character type that Ricotta does the best, the oujo-sama and big sister type. In other word, my favorite type of character (which is one of the reason I supported Meiya Mitsurugi over Sumika Kagami in Muv Luv =p).
So yeah, MC x Celia shipper here.
|2013-06-19, 23:58
|Link #19
reading #hikaributts
Join Date: Feb 2009
Most eroge seiyuu's are either newbie seiyuu's without many roles and who haven't had a "break" or "older" seiyuu's who don't get many (if any) roles in animes these days on a regular base.
|ecchi, harem, jousting, knights, romance
|Thread Tools


text:
Thanks 40hz.Not exceptionally paranoid yet - but it feels like I'm working on it!BTW, I've considered that but I do have some trepidation about Dropbox - they really do seem more geared toward sharing and not so much on privacy/security. Also. I'd have to go to copy/paste I think; Keepass doesn't do form-filling well. At least it didn't the last time I tried it. Maybe they've gotten better.One more thing I need to do - get all the logins I have added recently to LP and get them into Keepass. I initially made sure they were identical but adding stuff on the fly to LP was easy; replicating that same info to Keepass not as easy. I know there's stuff that never made it into KP. Whatever I do I think it will be a lot of manual entry. Thanks again!Jim-J-Mac (June 19, 2012, 12:30 PM)
Yeah, I trust them almost as much as that Nigerian guy who has $11,438,00 waiting for me as soon as I send him my bank account number.-J-Mac (June 19, 2012, 11:38 AM)
First of all, IMO credit monitoring is a huge fraud itself. It doesn't really protect people at all; it just funnels even more money to the organizations that cause a lot of the credit fraud in the first place: the credit reporting companies. Credit monitoring alerts you AFTER someone has fraudulently opened an account in your name. What it does not do is prevent it in the first place. And in many cases the fraud perpetrator used information garnered from that same credit reporting company you're paying for the monitoring service. What a racket! These are the same companies that sell you a peek at your credit report for $10 - $12 but sell that same report to corporations for about $0.20! Yeah, I trust them almost as much as that Nigerian guy who has $11,438,00 waiting for me as soon as I send him my bank account number.-J-Mac (June 19, 2012, 11:38 AM)
I use 1Password and have been very happy with it.-wraith808 (June 19, 2012, 01:20 PM)
Yeah, I trust them almost as much as that Nigerian guy who has $11,438,00 waiting for me as soon as I send him my bank account number.-J-Mac (June 19, 2012, 11:38 AM)Oh man, you should get in touch with the Nigerian barrister who contacted me! He told me there was a lot more money than that waiting for me. Maybe I'll just do you a favor and send your details to him. -Deozaan (June 19, 2012, 01:57 PM)
From: FEDERAL BUREAU OF INVESTIGATION (FBI)AGENT RONALD T. HOSKO. <[email protected]>To: undisclosed-recipients:THIS IS THE (F.B.I)FBI HEADQUARTERS IN WASHINGTON, D.C.FEDERAL BUREAU OF INVESTIGATIONJ. EDGAR HOOVER BUILDING935 PENNSYLVANIA AVENUE,NW WASHINGTON, D.C. 20535-0001E=MAIL: ( [email protected])FEDERAL BUREAU OF INVESTIGATION (FBI)ATTENTION DEAR THIS IS THE FINAL WARNING YOU ARE GOING TO RECIEVE FROM ME DO YOU GET ME????I HOPE YOURE UNDERSTAND HOW MANY TIMES THIS MESSAGE HAS BEEN SENT TO YOU?.WE HAVE WARNED YOU SO MANY TIME AND YOU HAVE DECIDED TO IGNORE OUR E-MAILS OR BECAUSE YOU BELIEVE WE HAVE NOT BEEN INSTRUCTED TO GET YOU ARRESTED, AND TODAY IF YOU FAIL TO RESPOND BACK TO US WITH THE PAYMENT THEN, WE WOULD FIRST SEND A LETTER TO THE MAYOR OF THE CITY WHERE YOU RESIDE AND DIRECT THEM TO CLOSE YOUR BANK ACCOUNT UNTIL YOU HAVE BEEN JAILED AND ALL YOUR PROPERTIES WILL BE CONFISCATED BY THE FBI.WE WOULD ALSO SEND A LETTER TO THE COMPANY/AGENCY THAT YOU ARE WORKING FOR SO THAT THEY COULD GET YOU FIRED UNTIL WE ARE THROUGH WITH OUR INVESTIGATIONS BECAUSE A SUSPECT IS NOT SUPPOSE TO BE WORKING FOR THE GOVERNMENT OR ANY PRIVATE ORGANIZATION.YOUR ID WHICH WE HAVE IN OUR DATABASE BEEN SENT TO ALL THE CRIMES AGENCIES IN AMERICA FOR THEM TO INSET YOU IN THEIR WEBSITE AS AN INTERNET FRAUDSTERS AND TO WARN PEOPLE FROM HAVING ANY DEALS WITH YOU.THIS WOULD HAVE BEEN SOLVED ALL THIS WHILE IF YOU HAD GOTTEN THE CERTIFICATE SIGNED, ENDORSED AND STAMPED AS YOU WHERE INSTRUCTED IN THE E-MAIL BELOW.THIS IS THE FEDERAL BUREAU OF INVESTIGATION (FBI) AM WRITING IN RESPONSE TO THE E-MAIL YOU SENT TO USAND AM USING THIS MEDIUM TO INFORM YOU THAT THERE IS NO MORE TIME LEFT TO WASTE BECAUSE YOU HAVE BEEN GIVEN FROM THE 3RD OF JANUARY.AS STATED EARLIER TO HAVE THE DOCUMENT ENDORSED, SIGNED AND STAMPED WITHOUT FAILURE AND YOU MUST ADHERE TO THIS DIRECTIVES TO AVOID YOU BLAMING YOURSELF AT LAST WHEN WE MUST HAVE ARRESTED AND JAILED YOU FOR LIFE AND ALL YOUR PROPERTIES CONFISCATED.YOU FAILED TO COMPLY WITH OUR DIRECTIVES AND THAT WAS THE REASON WHY WE DIDN'T HEAR FROM YOU ON THE3RD AS OUR DIRECTOR HAS ALREADY BEEN NOTIFIED ABOUT YOU GET THE PROCESS COMPLETED YESTERDAY AND RIGHT NOW THE WARRANT OFARREST HAS BEEN SIGNED AGAINST YOU AND IT WILL BE CARRIED OUT IN THE NEXT 48HOURS AS STRICTLY SIGNED BY THE FBI DIRECTOR.WE HAVE INVESTIGATED AND FOUND OUT THAT YOU DIDN'T HAVE ANY IDEA WHEN THE FRAUDULENT DEAL WAS COMMITTED WITH YOUR INFORMATION'S/IDENTITY AND RIGHT NOW IF YOU ID IS PLACED ON OUR WEBSITE AS A WANTED PERSON, I BELIEVE YOU KNOW THAT IT WILL BE A SHAME TO YOU AND YOUR ENTIRE FAMILY BECAUSE AFTER THEN IT WILL BE ANNOUNCE IN ALL THE LOCAL CHANNELS THAT YOU ARE WANTED BY THE FBI.AS A GOOD CHRISTIAN AND A HONEST MAN, I DECIDED TO SEE HOW I COULD BE OF HELP TO YOU BECAUSE I WOULD NOT BE HAPPY TO SEE YOU END UP IN JAIL AND ALL YOUR PROPERTIES CONFISCATED ALL BECAUSE YOUR INFORMATION'S WAS USED TO CARRY OUT A FRAUDULENT TRANSACTIONS, I CALLED THE EFCC AND THEY DIRECTED ME TO A PRIVATE ATTORNEY WHO COULD HELP YOU GET THE PROCESS DONE AND HE STATED THAT HE WILL ENDORSE, SIGN AND STAMP THE DOCUMENT AT THE SUM OF $400 USD ONLY AND I BELIEVE THIS PROCESS IS CHEAPER FOR YOU.YOU NEED TO DO EVERYTHING POSSIBLE WITHIN TODAY AND TOMORROW TO GET THIS PROCESS DONE BECAUSE OUR DIRECTOR HAS CALLED TO INFORM ME THAT THE WARRANT OF ARREST HAS BEEN SIGNED AGAINST YOU AND ONCE IT HAS BEEN APPROVED, THEN THE ARREST WILL BE CARRIED OUT, AND FROM OUR INVESTIGATIONS WE LEARNT THAT YOU WERE THE PERSON THAT FORWARDED YOUR IDENTITY TO ONE IMPOSTOR/FRAUDSTERS IN NIGERIA LAST YEAR WHEN HE HAD A DEAL WITH YOU ABOUT THE TRANSFER OF SOME ILLEGAL FUNDS INTO YOUR BANK ACCOUNT WHICH IS VALUED AT THE SUM OF $10.500,000.00 USD.I PLEADED ON YOUR BEHALF SO THAT THIS AGENCY COULD GIVE YOU THE 2011/02/16 SO THAT YOU COULD GETTHIS PROCESS DONE BECAUSE I LEARNT THAT YOU WERE SENT SEVERAL E-MAIL WITHOUT GETTING A RESPONSE FROM YOU, PLEASE BEAR IT IN MIND THAT THIS IS THE ONLY WAY THAT I CAN BE ABLE TO HELP YOU AT THIS MOMENT OR YOU WOULD HAVE TO FACE THE LAW AND ITS CONSEQUENCES ONCE IT HAS BEFALL ON YOU.YOU WOULD MAKE THE PAYMENT THROUGH MONEY GRAM TRANSFER OR WESTERN UNION MONEY TRANSFER WITH THE BELOWDETAILS.RECEIVER NAME ==== FRANK OBISICOUNTRY========== NIGERIACITY============== LAGOSTEXT QUESTION==== URGENTTEXT ANSWER===== MATTERAMOUNT=====$400 USDSENDERS NAME======SEND THE PAYMENT DETAILS TO ME WHICH ARE SENDERS NAME AND ADDRESS, MTCN NUMBER, TEXT QUESTION AND ANSWER USED AND THE AMOUNTSENT.MAKE SURE THAT YOU DIDN'T HESITATE MAKING THE PAYMENT DOWN TO THE AGENCY BY TODAY SO THAT THEY COULD HAVE THE CERTIFICATE ENDORSED, SIGNED AND STAMPED IMMEDIATELY WITHOUT ANY FURTHER DELAY.AFTER ALL THIS PROCESS HAS BEEN CARRIED OUT, THEN WE WOULD HAVE TO PROCEED TO THE BANK FOR THE TRANSFER OF YOUR COMPENSATION FUNDS WHICH IS VALUED AT THE SUM OF $10,500,000.00 USD WHICH WAS SUPPOSE TO HAVE BEEN TRANSFERRED TO YOU ALL THIS WHILE.NOTE/ ALL THE CRIMES AGENCIES HAS BEEN CONTACTED ON THIS REGARDS AND WE SHALL TRACE AND ARREST YOU IF YOU DISREGARD THIS INSTRUCTIONS.You are given a grace TODAY to make the payment for the document after which your failure to do that will attract a maximum arrest and finally you will be appearing in court for act of terrorism, money laundering and drug trafficking charges, so be warned not to try any thing funny because you are been watched.THANKS AS I WAIT FOR YOUR RESPONSERESPECTIVELYAGENT RONALD T. HOSKO.EMAIL: [email protected]FEDERAL BUREAU OF INVESTIGATION (FBI)
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text:
Linked by twitterfire on Tue 25th Oct 2011 21:15 UTC
ABC.net.au has published an article titled "The Case for Piracy". The writer shows how copyright has been hijacked by corporations and that publishers are their own worst enemies. "One of the main reasons we all have anti-piracy slogans embedded in our brains is because the music industry chose to try and protect its existing market and revenue streams at all costs and marginalise and vilify those who didn't want to conform to the harsh new rules being set."
Permalink for comment 494699
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RE[2]: Piracy is a poor "solution"
by benali72 on Fri 28th Oct 2011 04:31 UTC in reply to "RE: Piracy is a poor "solution""


text:
Many footballers fail to make the transition into senior football after initially impressing at youth level.
The likes of Barcelona superstars Xavi and Andres Iniesta make it to the top, while some, like Freddy Adu, don't.
Here in this piece, we'll see the players who many reckon to be the super stars of tomorrow.
This article will outline the world under-21 best XI.
Write for GiveMeSport! Sign-up to the GMS Writing Academy here: https://gms.to/130seMa
DISCLAIMER: This article has been written by a member of the GiveMeSport Writing Academy and does not represent the views of GiveMeSport.com or SportsNewMedia. The views and opinions expressed are solely that of the author credited at the top of this article. GiveMeSport.com and SportsNewMedia do not take any responsibility for the content of its contributors.


text:
Katie Holmes & Suri: Gymnastic Class!
Suri Cruise hides behind one of her stuffed animals as she and mom Katie Holmes head inside Chelsea Piers on Friday (April 27) in New York City.
The 6-year-old daughter of Katie and Tom Cruise was there to attend a gymnastic class.
PHOTOS: Check out the latest pics of Katie Holmes
The day before, Katie was spotted taking a stroll through NYC's Tribeca neighborhood.
Earlier in the week, the mother-daughter duo grabbed a cupcake treat at a NYC bakery!
10+ pictures inside of Katie and Suri leaving gymnastics class…


text: Help WITNESS raise $105K by helping them reach their $35K Challenge by June 18th and two generous donors will match all donations dollar for dollar! For every $1 donated = $3! These funds will support WITNESS' work to strategically use video to advance and protect human rights all over the world. Every contribution, no matter its size, makes a difference.


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Macklemore Responds To SCOTUS's DOMA Decision
Our straight ally boyfriend Macklemore penned a thoughtful response to Wednesday's Supreme Court rulings. Here's what he had to say!
Today is a historic day for civil rights in America. By declaring DOMA unconstitutional, the Supreme Court has stated that the U.S. Government can no longer deny federal benefits to same sex couples. This means that people like my uncles, who have been in a committed relationship for over 20 years, will now receive the same rights that my parents have. Personally, I feel reconnected to my American identity, and am proud of the progress we have made in recent years. Today gives promise to the hope that we can and will change when our nation isn't fair and just. It's a victory not only for the LGBTT community and those rejoicing with friends, family and loved ones, but also a victory for all who devote their lives to fight for what is constitutionally and ethically right.
While today's ruling was monumental and imperative, we have a long way to go. There are still 37 states in our country that must shift legislation on same sex marriage before equality for same-sex couples is reached. But the real work lies in deconstructing the core of where the fear around same-sex couples comes from. Homophobia and intolerance continue to play a strong role in many households, schools, media and religious institutions in our country. Without directly addressing the real issues and where they stem from, America's momentum towards justice will be stagnant and insincere.
This ruling gives us all an opportunity to address equality for same-sex couples in our homes, our schools and our social circles. We must continue to have dialogue and discussions around this issue, and push ourselves past the point of what's comfortable and socially accepted. We, especially those of us whose rights are secure, are challenged to not sit passively in this crucial moment of cultural progress. True change lives in the minds and hearts of the people that make up our country, and must be cultivated, not mandated. We all have a part to play.
Mama, can we keep him???
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Also report any of the following medications if you are taking them at the moment: oral contraceptives, isoniazid, cimetidine, digoxin, asthma, sedatives, ketoconazole, antihistamines, tranquilizers, theophylline, seizure meds, disulfiram, muscle relaxants, medications for depression, fluoxetine, or sleeping pills. link look source visit http://gesiceqomu.hostzi.com/buyabilify2mg.html : diazepam may harm an unborn child and pass into breast milk - so you will need to discuss everything with your doctor if you think you need to be taking this medication.
THIS is what every pop/rap star needs to aspire to!!! "Same Love" has 54 million+ views on YouTube, and is now a Top 40 hit. That song - and those words and that message - are being heard by millions of impressionable ears across this country every single day. He might not know it, but that simple, beautiful, and potently honest song is a revolutionary game-changer. THANK YOU, MACKLEMORE (and Lewis, and Mary Lambert)!!!
Well said! i also posted Post SCOTUS historic decision thoughts I wish to share: Bob and I have been together 34 years, a long time to wait for this day. We are so very fortunate to have lived to see it and hope now only to live out our senior years more secure and assured of civil equality than ever before. We do so with thanks to all those before us and with us who fought to minimize the existence of the unjust prejudices inevitable and undeniably inherent among a naturally diverse citizenry. Opponents and proponents have risen to protect the common values that preserve the beloved and sacred democracy that our forefathers devised to protect the melting pot that is the lifeblood of our American culture and history .
Life, society and the values that guide mankind are in every respect an evolutionary process. Remain vigilant and cautious. The wheels of justice move slowly. There remains much work to be done to hold the ground of civil equality gained and yet to be won.
Despite our endless stream of differences, it is our mutual responsibility to do no less for future generations. Those who will become or already are victims of ignorance, fear of the unknown and misunderstood intentions because of the natural differences between them and the majority views du jour that shape the social evolutionary processes deserve no less consideration.


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Jan. 24, 2008
After trailing by seven points on the road at half time, Lipscomb battled back in the second half to take a 79-72 lead over the Mercer Bears. However, the young Bisons team could not hold off the Bears in the closing minutes of the game, and Mercer went on to win 84-82.
The Bisons will now fall to 8-12 on the year and 2-4 in the Atlantic Sun. Mercer improves to 9-10 overall and 4-2 in the A-Sun.
The Bisons had won seven straight games against the Bears up until this game. Last season Lipscomb defeated Mercer three times, including a win in the Atlantic Sun Tournament. Lipscomb has been the team to knock Mercer out of the A-Sun Tournament in both of the last two seasons.
The lead went back and fourth for both teams in the first half. Mercer jumped out to a 4-0 lead, but the Bisons fought back to make it 9-8 at the 12:20 mark. The two teams continued to stay close until Mercer went on a 20-9 first half run to bring their lead out to 12. However, the Bisons put together 5 unanswered points to close the half and cut the lead to 7. Going into intermission, the Bisons trailed the Bears 45-38.
Lipscomb came out of the locker room looking to add to their 5-0 run that closed the half. The Bisons scored 4 quick points to cut the lead to 3. Mercer held a 57-53 lead over Lipscomb when things began to turn the Bisons way. Lipscomb went on a 16-5 run and found themselves leading 69-62.
Another break came for the Bisons at the 7:34 mark in the second half. Mercer's sophomore James Florence committed his 5th foul and had to watch the remaining minutes from the bench.
The Bisons did not give up their lead until under the 2:00 mark. Mercer took an 82-80 lead, but Lipscomb would not go down easily. Freshman Josh Slater drained a mid-range jump shot with 38.4 seconds remaining to tie the game at 82. However, the Bisons efforts were not enough. Mercer regained the lead on the next possession to make it 84-82. The Bisons could not make anything of their last possession and found themselves on the losing end of another close game.
Senior Eddie Ard led the way for the Bisons in scoring with 21 points. His fellow Senior Jason Hopkins pulled down a team leading 8 rebounds. Freshman Jimmy Oden delivered a career high 9 assists to lead the Bisons.
The Bisons fall to 8-12 on the year and 2-4 in the A-Sun. Mercer improves to 9-10 overall and 4-2 in the Atlantic Sun.
Lipscomb will have to recover fast because their next action comes against Kennesaw State on Saturday at 6:30 p.m. CST. Coverage of this game can be heard on 900 AM as well as online at Atlantic Sun Television.


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JOHNSON CITY, Tenn. (April 17, 2008) - The ETSU women's tennis team will look to win their second Atlantic Sun conference championship this weekend during the Atlantic Sun Conference Tournament at the ETSU Tennis Center. The Lady Bucs (12-10, 8-3), enter the tournament as the No. 2 seed and will look for a rematch of last season's title game against top-seeded Jacksonville.
The 2008 A-Sun Tournament will mark the third postseason appearance for ETSU as members of the Atlantic Sun. The Lady Bucs are set to face No. 7 Mercer on Friday, April 18 at 11:30 a.m. When ETSU faced Mercer earlier this season they topped the Bears, 7-0. The first round match-up will be played at Milligan College.
Should the Lady Bucs advance to the semi-finals they will take on either No. 3 Stetson or No. 6 Gardner Webb. ETSU has already faced both teams this season defeating Stetson, 4-3 on March 15 and Gardner Webb, 6-1 on April 6.
During Thursday night's conference banquet five Lady Bucs were honored by the A-Sun office. Senior Olya Batsula (Minsk, Belarus) and sophomore Yevgeniya Stupak (Kyiv, Ukraine) were both named to the Atlantic Sun All-Conference First Team, while junior Tara Byrne (Johnson City, Tenn.) was named to the Atlantic Sun All-Conference Second Team. Andra Voinea (Brasov, Romania) and Tara Sheets (Gate City, Va.) were both named to the Atlantic Sun All-Freshman Team.
Results from the Atlantic Sun Conference Tournament can be found at www.ETSUBucs.com or www.atlanticsun.org.


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Monica's Art Deco Era Kitchen
Located in the neighborhood called The Plaza in Kansas City, Missouri, Monica's home has some Art Deco era design influences, including narrow hallways and round windows. Rather than fight the inherent structure, Monica heightened it by incorporating a little Hollywood glamour into her decorations, including in the design of the kitchen.
See the Full Tour: Monica's Handmade Modern Hollywood Home
Related: Food Lover's Guide to Kansas City
(Images: Sarah Rae)


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Monday, Oct 28th: Minneapolis Plain Language Charter: Simplicity or Uncertainty?
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Next week, Minneapolis will vote on whether or not to adopt a new 'Plain Language' version of its city charter. The Charter Commission is proposing twoamendments on the ballot which completely rewrite and modernize the City's Charter. The Commission says this new revision eliminates outdated details (the original version was written almost a century ago), clarifies ambiguous language, and re-organizes information, making it easier to reference, while at the same time preserving the way Minneapolis has traditionally been governed. This means there are no changes to the roles of the Mayor, the City Council, or the roles of our independent Boards, such as the Parks Board and the Board of Estimate and Taxation.
Careful attention has been applied to this revision process (watch video), which has taken over a decade to complete, but is it possible to preserve all of the same parameters of governance in this new charter draft that is merely one third the length of its predecessor? Is simplicity a virtue in the city's supreme legal document? City Attorney, Susan Segal has stated that she sees 'more risk than benefit,' but can anyone really know without putting the new charter to the test? If adopted, there would be one year between the time the new charter draft is adopted to the time it is implemented. This would give the City Council and the City's Independent Boards time to respond to any resulting ambiguities left by the new language and pass clarifying ordinances.
This revision proposal is not without precedent. St. Paul drafted and adopted an updated City Charter in 1972, and just two years later Minnesotans took an affirmative vote to redraft the Minnesota State Constitution. Has the last four decades been enough time for Minneapolis to catch up? Can its residents be confident this plain language draft will serve them the same as the current charter has? TruthToTell's Andy Driscoll and Michelle Alimoradi discuss this and more with this Monday's guests.
DAVID TILSEN – Member, Minneapolis Farmer-Labor Association; former Mpls. School Board member
LYALL SCHWARZKOPF- Former Minneapolis City Clerk and Minneapolis City Coordinator, Secretary, Minneapolis Charter Commission.
BARRY CLEGG- Chair, Minneapolis Charter Commission, Business and Tax Attorney for Gray, Plant, Mooty