text:
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text: Reports back from SC 2004 please? Nice for those of us (sob) who were not able to attend. ps. For anyone interested, I should be posting from my new address at Streamline Computing next week. Kicking myself for arranging to start a new position too late to ask to go to SC.

subset: commoncrawl


text:
Ramapo College Textbooks > Choral Music
Choral Music 2th edition
Publisher:CENGAGE Learning
Renting Options
Own it? Sell it back
Men's volleyball looks to improve record at ECAC
On My Block improves upon its debut storyline
Ramapo anniversary celebrated with look back at firsts
Democracy Matters event promotes student involvement
The Perfect Date is a perfect coming of age film
Women's softball shuts out colleges in double header
Publisher:CENGAGE Learning
Own it? Sell it back
Employers can list job opportunities for studentsPost a Job
Housing Providers can list available housingPost Housing
Post your own housing listing on Uloop and have students reach out to you!


text:
bidoo needed a new logo design and created a contest on 99designs.
A winner was selected from 1427 designs submitted by 293 freelance designers.
Bidoo.com is a new penny auction website where users compete against each other to win the right to buy a top brand product for an amazing discount.
Every bid increases the price auction by 1 cent and the last person to bid when the timer runs out wins the entire auction.
Penny auctions combine the thrill of shopping with gaming and intense bidding, to form a highly captivating and enriching experience.
Users can save up to 90% off the value of the product.
Our leading competitors are Swoopo.com and Bidrivals.com
18 - 60 years old
We're looking for a great logo that conveys "professionalism" , "trustworthy and "excitement"."
°The logo will be used primarily on a white background.
°We want the word Bid in green color.(simple and clean)
°We want the OO in other color.
°With the double O we want convey something of personal and unique.
°The word "bidoo" Must be easy to read
- Main logo for branding on website
- App logo for smartphones
- Print & web
- Vector based images so we can resize without losing quality
The files we require:
Native file format - .ai or .psd
Web file format - .jpg and .png
- A logo that needs lots of colors to work
- Any stock images or clip art in the logo
-The word bidoo inside strange figures
Find out how a design contest works or learn more about our logo design services.


text:
Tire price comparison service in the USA
United States
LIONHART tires
On this page you will find information about LIONHART tires. You can directly choose your tires from the most popular tires. You can also find the detailed list of LIONHART tires referenced on our website by clicking on the 'all dimensions' or 'all models' links. Buy discount LIONHART tires with TireComp.com.


text: On Thu, Oct 21, 2004 at 10:48:33AM +0200, Alan Scheinine wrote: > Many venders sell U1 cases for dual Opteron based on the Tyan > main boards, but on the other hand, a vender here says that the > product Newisys 2100 is much more reliable than Tyan though it > costs 10 to 20 percent more. I have not previously heard of > Newisys and I do not recall it being mentioned in this mailing > list. Would anyone like to comment? > best regards, I'm familar with 48 sun v20z (newisys) machines around here, only one died so far with a hard memory error (I.e. won't boot). We also have 40 ish Tyan systems without any failures, all were burned in by the vendor. Speaking of which, has anyone done anything useful with the v20z LCD display, ours just say something like IP address of the management interface and OS booted or similar. I was hoping for hostname, maybe system load, even a way to pull a node out of the queue (there are several buttons under the LCD). -- Bill Broadley Computational Science and Engineering UC Davis


text:
Stevie Pullthru needed a new web page design and created a contest on 99designs.
A winner was selected from 61 designs submitted by 14 freelance designers.
City Swingers
City Swingers is a new, exciting club based in an elite, exclusive residence in the heart of the city. It is designed for swingers to meet on a regular basis in plush, sexy surroundings and party to the wee hours. We are looking for a classy, sexy look but not smutty or pornagraphic, our clients wear expensive clothes, drive expensive cars and are used to exclusive and elite surroundings, this needs to reflect that, this business is the best of the best and this website should attract that clientele.
Well dressed, well groomed professionals looking for an exclusive club to meet new couples and have a great time. For those already involved in the swingers circles, this club sets the bar to a new high and there are many looking for that elite experience.
Firstly, we need a logo to go with the website so please feel free to incorporate this into the design. Designers, you are free to be completely creative on this one, a new business with a new, fresh sexy look.
Secondly, sexy, classy stock photos are to be incorporated, and the colours should used should be lush, moody and alluring. Most swingers parties are held in the evening, so its okay to use dark colours.
Thirdly, a panel needs to be incorporated fairly clearly for new members or existing members to either register or log in, which will then transfer to a new area where they can fill out information on themselves and their partner.
In respect to the logo, you also have free reign and will be very open to new and fresh ideas. We are on a strict deadline so their must be a winner reasonably quickly.


text:
Delivery from 1 to 10 minutes. Because of Steam rules, you can not add the game to inventory, only accept it to your account. When buy, you add the account address to which the game will be delivered (for example, https://steamcommunity.com/profiles/89911112235711 or https://steamcommunity.com/id/anycoolnik) After the purchase, you accept a request to friends from the free2play account and your game.
More information about the game: https://store.steampowered.com/app/851100/


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text:
Global Drum Project (L-R): Giovanni Hidalgo,
Zakir Hussain, Mickey Hart and Sikiru Adepoju.
Photo: John Werner © 2006
Like most of the projects Mickey has been involved with, Global Drum Project represents a joyful and spiritual union of the primal and the modern—percussion and technology. At its heart are rhythms pounded, banged, shaken and tapped on an incredible array of instruments that live in the giant main room of Mickey's Studio X in rural Sonoma County, Calif. But beyond the pure rhythms—both primitive and sophisticated—the sounds were often treated in subtle and extreme ways, with Mickey and Zakir adding assorted reverbs, delays and layers of electronic processing in real time as the pieces were performed in the studio. This is a path Mickey has been following since his days in the Grateful Dead, of course, culminating a few years back with the development of his complex RAMU system, which allows him to manipulate his percussion work in unprecedented ways as he plays.
There's a marvelous sense of dimensionality to the music on Global Drum Project; at the same time it feels very intimate. As you might expect, there are influences from many cultures here—African, Indian, Middle Eastern, South Pacific, etc.—all blended into a wondrous fusion that has its own personality. There are parts of tracks that have a sort of modern trance vibe to them; others feel ancient-hypnotic. There's electronically altered sitar that sounds like electric guitar; bits of radio broadcasts sneaking in and out deep in the mix on a couple of pieces; voices from the New Guinea rainforest; tars joined in a rapid heartbeat; even a bubbling vocal from the late, great Babtunde Olatunji on the leadoff tune. In short, it's just another voyage into the cool beyond with Mickey and friends.
On September 16, I drove up to Studio X to interview Mickey and Zakir about Global Drum Project (and whatever else came up). Mickey's spread includes the sprawling ranch house he shares with his wife (and manager) Caryl, the state-of-the-art studio (which is in its own building), a Japanese garden, a small lake…it's quite a slice of paradise, and considerably more uptown than his famous Novato ranch of yesteryear. When I arrived at the studio, Zakir was working with the group's live sound engineer on some preparations for the Global Drum Project tour, which began September 20 at the University of Arizona and goes through late October. (For a complete listing of tour dates, click here). So Mickey and I adjourned to his office above the studio's control room, and started the interview without Zakir; he joined us after a few minutes. Outside, in some fields behind the studio, I could see llamas munching on dry grass, while hawks made circles in the clear blue skies above a nearby grove of trees…
Giovanni, Mickey, Zakir and Sikiru in action. Photo: John Werner © 2006
When you're going out on tour to promote an album like this, it's not quite the same as when you're promoting an album of "songs." How fully formed do they feel in the sense of being "performable"?
They're all performable. That was part of the challenge and part of the adventure: Taking all these sophisticated and extreme [electronic] processes and being able to dance with them on the road and actually create a percussion orchestra—or gamelan—and have fun with it and not let the machines tear you apart. So we're triggering all our loops and doing sound-on-sound and things like that. Instead of overdubs like in the studio, we can do it live and be facile with it. With something like Baba's vocal [on "Baba"], it would be very difficult to bring him back for a return engagement, and of course the beautiful voices from the Papua New Guinea rain forest—that would be difficult as well, since Stephen Feld recorded them so beautifully. So we licensed them. We take care of the people who made it and honor them, give money back to them. And then musically we're able to go around the world to the rainforest and other places we normally couldn't go to.
When I was up here about a year ago interviewing you for my Grateful Dead Gear book you were showing me a new thing you had within your setup where you were randomly turning into radio stations and then altering the signal as it came through.
Yeah, that's on the CD. I've actually got it working now! That's really great, and it's all about randomness. I turn on the radio and tune it into whatever I want to—in the case of this CD it was 740, the local AM news station. You don't know what's coming up so it's random. Obviously you could tune it into a Chinese station or a political talk show or anything. Then you put it through a delay, some reverb, or you can tap in delay factors in at whatever tempo you want.
I knew it was on the recording but didn't know whether what's on there was random or placed there.
No, it was random and then I flew it in. I mean, I chose that over some others, but I didn't choose it because it was so meaningful or something. I wasn't going for the literal translation.
Is there a typical way that the sessions for this album occurred? Would you arrive at the beginning of an afternoon or evening and say "Here's the kind of space we're going to try to investigate this time"?
Usually it comes from a dream, so I'll have some kind of notion: "I want to do something on The Beam." So I dial up something that is pleasing or interesting, or I find a space Zak and I want to go to and Zakir will respond to that. Or he'll do the same thing: He'll come in with a rhythm and then I will respond to the rhythm and we'll build it from there. Or there's a Giovanni track or a Sikiru thing. In the case of "Baba," it was the Giovanni vocal and the Baba track that started it. Or I'll have a loop.
Where did the Olatunji vocal come from?
They came from some sessions we did in the early '90s, after the first Planet Drum. He came by from time to time—[smiling] in fact he still visits—and I'm always rolling tape, as you know, so this is one I put away for a rainy day, so to speak. It was so charming. It's basically just him speaking gibberish and laughing, but it has so much of his spirit in it. I used to call it our secret language.
Right, it was in the Supralingua. That's sort of the idea of the supralingua: Beyond words, beyond language.
So it started with that tape and then you built around it?
Right. Giovanni came in with that dum-de-doo-d-dum-do-do-do-do, then I drop the octave and put a subharmonic thing on it so it sounds like bass…
How edited are these performances? They're pretty compact. One would sense that at the time maybe they were all a lot longer.
Oh, they go on for hours! [Laughs] They're all performances, and what we do is take a piece of the performance; you take a chunk of it, six or eight minutes, and refine that and work with it a little more. These guys [the musicians] are so good; they're better than machines because they live, they breathe. That's why they don't sound like robots. Of course it's edited because once we start we go for hours and you slip in and out of different places.
You know who used to do this kind of thing? The band War. They used to play and play and work on these grooves and then at some point they'd go back and chop a section out and it would become a song.
Miles Davis, too—the way [producer] Teo Macero would go into the tapes and chop out hunks.
Sure. Lots of people do that. The Grateful Dead used to do it. You play and play and play and there's a sweet spot you come to in the middle or the end or wherever and you say, "OK, here's ten or 15 good minutes," and then you find the sweet spot in that and you bring it down.
Do you keep track of all this in your mind?
Yes. I have a memory for that. I concentrate and focus on this every day. I go into the studio every day and do something.
Do you ever note it and deal with it right after it's occurred?
Not usually. There's a playing time and there's an editing time, and they're not typically in the same moment. Because I like to sit with it a little. I'll make a rough mix later and then play it in different environments. I'll play it in the car or in my house. I'll broadcast it on a little FM frequency so I can hear it on a transistor radio around the property.
When you're recording at all times, how do you determine when a body of work is worthy of starting an album? Because I know you have people up here all the time and in different configurations; people come up and jam…
Well, first of all, I put it all away. I never erase anything. That's the first thing you should know: This is a recording studio, not an erasing studio. It's all on hard drives and backed up. Some things I recorded in 1995, say, really didn't make it into my consciousness or my repertoire; maybe they didn't feel like urgent musicological statements at the time. But I make CDs out all of them and put them away. I have a whole building with walls lined with CDs and DATs and multitracks. I always burn CDs at the end of the day. On my desk each morning is the previous day's work. A lot of times I listen to them; sometimes I don't. Sometimes something will pop out and I'll go, "Wow, let's either use this or go back and do this right." I call them "sound safaris."
There's my headline: "On Sound Safari with Mickey Hart"
The sound safaris started when I used to go out to Tower Records or Virgin or wherever and sample the world's music by buying a few hundred bucks of random world music that I'd never heard. Those were sound safaris. Then it became my personal sound safaris that I recorded or collected, and I code them and number them, and I have a big database so they're all accessible to me. There was a point where I felt like I was just overrun with stuff—"Oh my God, how can I keep track of all this?" Because if you don't know what it is and where it is, you're just collecting stuff for no reason and you can't reference it. So we developed a library data base to keep track of it all and it's worked out great. Now I can easily go back to that '95 material and see if something in there means more to me now.
There are great periods of your music that have not been represented on commercial CDs, like Bembe Orisha, which I thought was a great band…
It was, but it was really best as a performance band. It was definitely time very well spent, but it never quite reached that place where I wanted to put my stamp on it in the commercial world and say, "This is what I sound like and this is where I want to go." Playing it was a joy but it never made it to the next level.
[Zakir arrives from the studio downstairs.]
So, getting back to the new CD, you gave a call to Zakir and said, "It's time!"?
It's time to drum! But we know each other so well and we're in touch all the time. The thing, he's on a different continent every weekend. The hardest thing is not playing and composing with him. The hard part is getting all of us together at the same time because they're all over the map. Yeah, it was time. We haven't had a real serious work together in many years.
Like Spirit into Sound?
No, no. That was just an addendum to the book, a few little loose things.
I don't know what you consider "serious." I thought it was pretty cool.
It was cool, but it wasn't serious. Jimmy Buffett told me he gets massaged to it every day. I love it! [Laughs]
Zakir: He gets a massage every day? I don't think I'm getting enough massages. I haven't had one in about a year. [Laughs]
How about Superlingua? That was serious.
M: That was a serious work. But it wasn't really a co-composition.
Z: Most of what emerges or finally arrives to be recorded is a thought; it's an idea or a vision or it's a sonic dream that comes, and it usually emerges from the crazy mind of Mickey Hart.
M: The great and evil mind of Mickey Hart.
Z: And you get a call: "I have this thought…" "Oh yeah? OK." And then you arrive here and there's one little thing that Mickey has discovered. It might just be a bell being hit. Just a bell being hit, but suddenly you are inside the bell; suddenly you're seeing every little groove that the carver had made into it and you can see it all vibrate and you can see all the harmonics that bell is putting out, even though it's one tone. And suddenly it's not just a point, it's a line and that leads somewhere. That's what my experience with Mickey has been—to get inside each instrument and discover that world.
Do you remember what the point was on this album?
Z: It was in fact in that room downstairs that Mickey called me in and said, "Listen to this," and it was a metal bell—ding-ding-da-ding—and then it went from that to being something else altogether. It was a mutant X-Men bell. [Laughs] An X-Bell, and it morphed into a different tonal texture and went somewhere else and it became rhythmic and a pulse appeared in it and all from that one little stroke. And that was the beginning of this crazy idea.
M: That was the literal place this album started, but the overall vision was: We've done acoustic records slightly processed, but now with the smart machines, the thought was to take it out and process it very sophisticated, with Echo Boy and different technologies. Now you can play into the process and perform the processes, instead of doing it in post [-production]. So we thought that would be a worthy thing to go after, instead of just putting reverb on it and echo and delay and all that, but actually come up with some sort of soundscape that we would go inside of and develop, with all the filigree and arabesques that you can create in that kind of sonic architecture. And do it in real time. So that was the overview.
I would think that being able to do it all in real time would change how you think about playing.
Z: Absolutely.
M: You're not thinking about fixing it in the mix. The way it is, is the way you played it.
Z: It's like playing against a wall, or playing the Taj Mahal. [In the Taj Mahal] you hit a note and it goes on for 16 seconds, so when that happens you play accordingly. You react to what has happened and you move the sound in different ways. So that's basically what was going on here.
When you hit a drum and you're over there, you hear a boom. But when you put your ear to it there's a whole different world of sound that appears. You hear it in layers and you hear it in its multidimensional harmonics. Just imagine all the different harmonics of each instrument and they're all traveling together. Sometimes you hit it and you hear the top tone and the tone that ends it, and you work with those. But here you've got all these different frequencies and they are all running simultaneously in different ways—curves, braids, and all that's happening live. If I'm playing a madal, it can become a chorus of madals and then in my playing I'm reacting to that delays and the reverbs and how it moves and you can see it bouncing of all sides and it appears to you in many different shapes and sizes. So that's fun and it allows us to compose on the stage as we play.
It's certainly an extension of the types of things you used to do with the Dead and with the RAMU setup in your post-Dead world.
M: Definitely. This setup we've got now, though, works the best of all. All those years were experimentation that's led up to this. If we didn't have all those small successes and failures through the years, we wouldn't be where we are.
Z: They're all stepping stones.
M: My God, remember Bob Bralove back there on a 60-channel board and turning knobs [during GD drum solos]? We've been through every imaginable permutation. But that was in the analog world. Now we have these very power sound droids—'bots!
So, Zakir, is this now something you do, too? Working with your own electronics setup?
Z: I have been corrupted by Mr. Hart; it's true.
M: Absolutely! And he's very good at it.
How about Giovanni and Sikiru?
M: No, they're just playing. They're focusing on their performance. But we also have an operator, Jonah Sharp, who helps us a lot in getting all this together.
Z: It's not all electronic. We're also going into the organic world. You will see Mickey and me sitting in the front playing the balafon on a regular microphone. Or shakers…
M: Or tar. Or drums. So that which began the journey is still with us.
Let me ask you about a couple of pieces on the CD. What going on in "Dances With Wood"?
M: It actually comes from tree stumps. We actually performed on the stumps and then put it through the same sonic experience so it became a whole orchestra unto itself. One of those stumps is something like 250 pounds. We have an old-growth grape chardonnay vine that was in the ground during the Civil War, and it's extraordinarily resonant. And so was the redwood stump we used.
I really like the altered sitar on "Under the Groove" and "Kululi Groove." At first I thought it was an electric guitar, but then on "Kaluli Groove" you can hear the unmistakable sitar twang coming out of the sustained notes.
Z: Isn't that wonderful? That's Niladari Kumar, who's a young man I work with when I travel and perform. In fact he'll be with me next year when I play the Palace of Fine Arts [in SF.]. We tried a few different things with him, but a lot of what's on there is just processing. Now, when we go out on tour, I'm going to play that—but not on a sitar. I'll have a trigger device that will make that happen. It can be a box with pads on it or an instrument with triggers. These are things we're working with, experimenting on, learning from, to see where it goes. The original idea of doing this has been achieved somewhat, but it's still a learning process.
M: That's right. We can say that we've achieved some of the vision, but not all of it. It will develop as we play it live, too, and that will be a challenge. Because it's one thing to do this in the studio when you're inspired; it's another to be able to take it out on the road and play with it every night and see how it develops and where it leads. But then the next one will be beyond this, absolutely.
Z: Sometimes I leave here with a CD and I play it the next day and it sounds completely different to me and I come back and say to Mickey [he whispers], "I was up early and I did some things to it…what do you think?"
M: And it kind of builds that way. On this project we were in no particular hurry, because we didn't have any touring plans originally. So we worked at the pace that felt right. It was getting together and exploring at a fairly leisurely pace, and then at a certain point it became clear: "Hey, we could have some fun playing this," and then we started to view it a little differently. We went out played a few dates on the West Coast and that was successful. We came back and developed the music more and finished the CD, and now we have real soundscapes to play into.
You guys are always so busy. When you get together after not having together played in while, do you share with each other what you've learned in the interim?
Z: That goes on even when we're not together: "Did you hear this? Did you read this? Did you watch that?" Sometimes I'll get a crazy mail from RAMU. [Laughs]
M: A RAMU-o-gram!
This just in: "BWOONNNNNNG!"
Z: [Laughs] Exactly! There's always that connection. It's 30-some-odd years now. I never feel like when I come back I have to restart again. It's just starts again from where we left off.
Is it hard for you when you go to India and play many concerts in a traditional style to then come back to this?
Z: No, because it's been going on simultaneously with me for almost my entire life. Even when I was in India as a teenager, I was playing in Bollywood recording studios, and that put 60 or 70 musicians of all varieties in a room playing together—you'd have piano and sitar and sarangi and cello and bassists and guitarists. I grew up doing that, and at the same time my dad [legendary tabla master Alla Rahka] brought me Grateful Dead records and Jefferson Airplane and Quicksilver and Ellington. So I was listening to all that.
M: Our first collaboration was on my first record, Rolling Thunder [1972]. Then, of course, the seminal album was Diga [1976]—that launched a thousand ships and really started this journey in way.
I hear there are plans to rerelease that. How does that sound to you today?
M: Actually, I haven't listened to it in a long time, but I've always loved it.
Z: It was recording experiment, with baffles being built, rooms being built within Mickey's studio [the barn in Novato, Calif.] for us to crawl into. We literally had crawl in and sit down so the tabla players could be blocked off.
M: There were translucent Plexiglas baffles, so we had some isolation but still could see each other. Most of the people in the group were Zakir's students.
What a great band: Jim Loveless, Ray Speigel, Tor Dietrichson...
M: …Vince Delgado. They were all great players. They'd never been in the studio and they had to learn how to play with headphones [on]. The compositions were very complex, some of them based on traditional classical pieces, at 10¼, 205 beats [as in the song "Tal Mala"]. We did nines…
Z: The 205 wasn't my fault; that was you! [Laughs]
M: That's right! I fingerpicked something on a guitar and then Zak put it into a rhythm…
Z: And it turned out to be 102½ beats, one cycle, but the half-beat was difficult so we did two cycles and made it 205 beats.
M: It was 10¼, ten times. You don't do that in America. In fact Zakir told me they don't do it in India either! [Laughs] I thought maybe people were playing in 10¼ on the street corners. But Alla Rakha composed it with us, so it was worthy thing.
Z: Diga was a recording nightmare for an engineer, too, to get any kind of separation. Plus Mickey was having tubes built that would go out of the studio out into the field, with microphones on one end of them, trying to get some sound.
He must be stopped!
M: We were getting real delay. I had two tubes in the barn that were 30 feet, and two out in the forest, and we had a Lionel railroad track and we had a locomotive at one end with a little RE-15 [microphone] and we had a speaker on the other end, and we had a little transformer. And the locomotive, as it went closer to the speaker, for each foot you got one millisecond of delay. But we lost that because of some raccoons. [Laughs]
The important thing to know about that recording is you had the quietest percussion instruments of the world trying to communicate with the loudest—like a trap [drum] set. I was in my own isolation booth. Then you had various duggies, and these folk drum instruments that were sort of in the middle, and you had congas and marimbas and a vibraphone and everything in between.
I would guess that there's hours of stuff that no one's ever heard from those sessions.
M: Sure. There's a whole bunch of stuff. There was a day when Jerry came over and jammed with us.
You mean for "Razooli" and "Happiness Is Drumming"?
Z: No that was different. This is just a great jam. We call it the "Diga Jam."
Put it out, man!
M: Yeah, in all my spare time. One day it will see the light of day…
Look, they're always searching for bonus material for these re-releases—there's you're ticket right there. The fans would go nuts…
M: That's a good idea. I never thought of that..
Z: I remember he was playing that white guitar.
The Travis Bean.
M: Right, he'd just gotten it. It sounded great.
Z: It think that was around the time we did a three- or four-day jam session.
M: One time we went for four days and nights with the groove going. That was an experience. People would sleep here and there, but we always kept the groove going. When you went to the bathroom, you had to keep the groove going on the tambourine or something, or clapping. It was outrageous.
Seems like a lot of your favorite instruments are still working for you—the tar, the balafon.
M: They're like the pet instruments.
Z: They make some of the most beautiful organic tones in the world. You have to go to the source to be able to have that inspiration to be able to take it another step. The balafon is such a beautiful instrument.
M: And now they're like Rolls Royces. The are some amazing ones being built. The tar was the soft side for me.
Z: What did you call it? "The romancing of the ear."
M: I also could take it everywhere. In those days you wouldn't get arrested for playing a tar in an airport; I'm not so sure now. Also, you could clean your pot in it. [Laughs] There was a period there—it might've been about five years—that I had it with me every day. I'd take it on the road. My mom made me a tar case. It became my constant companion. So when you have a relationship with a drum like that, it never leaves you.
And then there was Hamza [El Din], who introduced me to that tradition: The desert. I had never been to the desert, but this drum would take me there. It became a very powerful sound symbol for me.
Zakir, you're obviously most closely associated with the tabla, but on Mickey's sessions through the years you've played a wide variety of percussion instruments. What are some of the other instruments you feel like you've really gotten inside of?
Z: The madal is a set of tuned Indian folk instruments that I've gotten into and inside of. I've been playing some Indian folk drums from the western coast like the dolac and the nal. These are things I was not playing before.
The madal has a sort of bell-like tone, doesn't it?
Z: Yes, it's bell-like and very resonant; a very melodic instrument. It's been one of our source sounds for this album. So those things…and playing the tar with maestro here. I've also been getting into playing with sticks…
What's that like for you?
Z: It's great. It's fun to do, but it's also strange, because I'm thinking about fingers…
You have ten sticks!
Z: Right! And when you play with sticks your missing a bunch of them.
M: It's a totally different sensibility, because the way he uses his fingers is very sophisticated—the way he gets all these different tones, a different feeling when he's leaning back or laying into the beat…
Z: I have to be very thankful because the association with Mickey and this journey has really revealed a whole different world of information and tradition and different genres and styles of drumming to me, which has actually helped me a lot in every aspect of my drumming. I have to say that be it Latin percussion, Nubian, jazz, rock, whatever—a big concoction of that has seeped into my tabla playing. My tabla playing has gotten richer because of this union.
I don't think Mickey gets enough credit for really revealing this world of rhythm to the world.
What's the technical term for when your "speaking" beats—"taka-taka-ta-ta-ta.."?
Z: They are known as boles or paran.
Is that you singing on "Heartspace"?
Z: Yes it is. That's another thing he's twisted my arm to do.
I think you sound good on that.
Z: But I don't sing.
M: We call him "Achmed." Zakir doesn't sing, but Achmed can sing! "Achmed, go out there and sing!" [Laughs]
Z: Which reminds me, I have to go back down and work on "Heartspace" right now, getting it ready for the road. See you later! [He departs.]
Mickey, let me ask you one question about Tom Flye, who's recorded most of your albums and mixed this CD. If so much of the music was being done live during the tracking sessions, does that mean he didn't have as much as usual to do at the mix stage?
No, he was still very involved! He's got the ear and he has the sensibility. He's my reference point. My ears are not what they once were. I can hear detail and my recordings still sound fine, but a lot of it has to do with Tom. I'll say, "Tom, am I pushing too much at 8000?" Or, "Am I laying on this too hard?" And he gives me the absolute truth. He'll say, "Oh, Mickey, that gated reverb there is too severe." I like that about Tom. He also has the kind of telepathy where he won't even have to say anything—he'll just look at me and he'll want to see if I blink. So he'll suggest something and we'll change it a little. He's such a wonderful guy, and he has no ego. He's only interested in excellence.
Would the songs arrive to him already edited, in terms of the lengths of pieces?
No, he would come by and check every now and then. I have him come in and make sure I haven't gone off the deep end, if all the processing is in phase; something I might've missed. It's like he makes house calls. [Laughs] So he's familiar with the material before he starts mixing, but then he also comes in with a fresh ear and he finishes it off.
How did you know when the CD was done?
You know when it's done. Actually Zakir plays a big important part in that because I can go on forever. And he'll say, "Enough!"
I was going to ask you what the nature of your co-production with Zakir is.
He just knows so much about music. He's got a degree in music. He understands when something is out of tune more than I would. He's got perfect pitch. He has an extraordinary memory, as you might imagine, being able to remember and recite all those boles. It's, it's…disgusting! [Laughs] He's about as good as it gets in a human being when it comes to perfect recall. He never forgets anything.
He is the sane one. I am the man of chaos, he is the man or order. And we love each other's eccentricities. He can veer to the world of being too perfect, and I can go to the world of chaos. We meet somewhere in the middle and it comes out great. It's just like in the Grateful Dead: You can't explain the alchemy of it, the chemistry of it. I'm just fortunate that I can play with Zakir…and Giovanni and Sikiru. Any day playing with them I feel is paradise on earth.
What do Sikiru and Giovanni bring to it?
They're the spine. They're brothers. They can play with anybody. Giovanni is Zakir's counterpart in the Latin world. They're deities. They're special. They live in a place that no one else lives. They have the incredible skill, but they also have the knowledge of western music and all these different traditions. I am so lucky to have encountered all these guys, and so many others, too—Baba, Airto…it's a long list. I know how fortunate I've been.
Click here to purchase the new Global Drum Project CD from the Dead.net
online store.


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Baseball fans around the world know "Big Papi." David Ortiz is one of the greatest baseball players in the world. He's broken records and won awards, and his face is seen in magazines and on television. At the same time, he's built both a family and a charitable foundation. David is living out the dreams he had when he was growing up in the Dominican Republic. Read David's story--and find out how he traveled from the Dominican Republic all the way to the Big Leagues. Discover how he came to be the Big Papi that fans adore!
Many basketball experts consider Michael Jordan the greatest player in the history of the game. During his 15 seasons in the NBA, Michael was voted the leagues Most Valuable Player six times. He was the leagues leading scorer a record 10 times. And, most important, he led his team, the Chicago Bulls, to six NBA championship titles. But Michael Jordan is much more than a basketball legend. Through his winning personality, his sense of style, and his many product endorsementsalong with his on-court heroicsMichael became one of the most recognized personalities in the entire world. He helped define what it meant to be cool for a generation of kids. Today Michael remains involved in the NBA as owner of the Charlotte Bobcats. By supporting a variety of charities, he continues to be a role model as well.
Sheryl Swoopes established herself as one of the best basketball players in the world while she was still in college at Texas Tech. In 1997 she was the first player signed to a new all-womens professional basketball league, the WNBA. During her career in the WNBA, Sheryl led her team to four championships, was voted Most Valuable Player three times, and was a perennial player in the annual All-Star game. She also earned three Olympic gold medals while playing for the U.S. national team. Sheryl is one of the most decorated basketball players in history, but she is also a role model for young people everywhere. This book details Sheryls many successes, both on and off the court, and discusses how she became one of the best and most influential basketball players.
Tim Duncan might just be the greatest power forward in NBA history, and strangely enough, he almost never learned how to play the game. Duncans first love was swimming, but when a devastating hurricane left his training area in polluted ruins, he turned to basketball. Hard work and a great talent for the game would take him on a journey from his hometown of Christiansted in the Virgin Islands to Wake Forest and ultimately to the San Antonio Spurs. Duncan has led the Spurs to four championships, winning the NBA Finals Most Valuable Player award on three occasions. He has been chosen for the NBAs All-Star team 13 times, and was named the league MVP in 2002 and 2003. Despite his quiet demeanor, Tim has become a dominant force on the hardwood. He has also found success away from the game in family life with his wife Amy and their two children, as well as in his work with the Tim Duncan Foundation.
Venus and Serena Williams grew up in Compton, California, where they sometimes heard gunfire as they learned how to play tennis at a local playground. As teenagers, they grew into athletic women whose powerful serves often overwhelmed their opponents. In time, each sister would climb to the top rankings of international womens tennis. They have also maintained interests off the court: Venus has become a successful interior designer, while Serena has taken several acting roles and also designs womens fashions. But there have been dark days for the two sisters, as well. Both have had to deal with racism, and to endure nagging injuries that have sidelined them for months. They also experienced the tragedy of a sister murdered on the streets of Compton. Venus and Serena have stayed competitive, however, and each is committed to remaining among the best players on the womens tennis tour for many more years.
Juan Uribe has come a long way from his roots in the Dominican Republic. He's played in two World Series, and he earns millions of dollars every year. But it's his roots that still make him strong. Uribe is proud of his homeland--and his homeland is proud of him! Read about Juan Uribe's life. Find out what it takes to be a baseball superstar!
Miguel Tejada is a Big League baseball player who has been part of teams like the Oakland As, the Baltimore Orioles, the Houston Astros, the San Diego Padres, and the San Francisco Giants. He grew up far away from these teams, however, in a poor nation in the Caribbean Sea. Today, he's a superstar in the baseball world, a fast and powerful player who never lets his teammates down. Find out how he traveled so far . . . from the Dominican Republic all the way to the Major Leagues!


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A Conscious Conscience Cleansing — with Blood
- Jimmy Gentry
- 2015 24 Mar
It's true, you know. Forgiveness, loving kindness, mercy, and compassion were given to us by the blood of Jesus — the "Blood of an Innocent One." That's what the author of Hebrews assured a group of persecuted believers in the text I read from Hebrews 9.
I read all these verses because their leading theme is blood as the way of life-giving power. Did you hear what is said here? "Christ freed us from sin forever. He did this by offering his own blood instead of the blood of goats and bulls" (Hebrews 9:12). The Blood of an Innocent One — not the blood of goats and bulls, mere animals; but by the blood of a human being, Jesus. His blood is much more powerful — it clears "our consciences" (Hebrews 9:14).
What's your conscience telling you today? Everybody has a conscience. It comes with the created outfit. It was put there at birth. You can't get rid of it. You can't ignore it. The Bible speaks of the conscience in at least 28 passages in the New Testament. All of them say essentially the same thing: my conscience makes me aware of the rightness or wrongness of my conduct with the urge to prefer right over wrong.
Nearly 500 years ago a Saxon monk by the name of Martin Luther believed the church needed an overhaul. So on October 31, 1517 he walked down the street to the Castle Church in Wittenberg, Germany and nailed up on the front door 95 reasons why the church needed repair — he didn't mean the physical structure of the building, either. All pandemonium broke loose as the Protestant Reformation began, from which Baptists would emerge. Four years later, in 1521, in Worms, Germany, Martin Luther was tried for heresy. He was given the chance to recant. "Friar Martin, do you recant?" he was asked. He responded, "My conscience is held captive to the word of God. I can do no other." He did not recant and was excommunicated from the church.
Oh, how glad I am Martin Luther chose the right thing: a conscience held captive by scripture. How I wish I chose the right all the time. I'm sorry to say that I don't. Neither do you. I choose the wrong at times and so do you. This is why there is to be a conscious conscience cleansing. Say it fast enough and you'll find it's a tongue twister. A conscious conscience cleansing is needed. One with blood — the Blood of an Innocent One.
You and I made a choice to come here today. Prayerfully we've come to worship to do just that: worship. Sadly some of us don't come to worship to worship. Some come out of a sense of duty or requirement. Some come out of a sense of guilt or as a result of some bargain they made with God. Some even come thinking if they live right and show up at 10:30 every Sunday, God will shower them with an abundance of possessions.
Practically all of us, at some time or another, have traveled through the motions of worship. We've walked right into this place and walked right out as if absolutely nothing ever happened. This is why, right now, I want to invite us to make a conscious choice — to have our consciences cleansed by the Blood of an Innocent One. This cleansing will allow us to do just what we are called to do in this hour: worship. This cleansing has to be with blood. A cleansing with blood. Sounds kind of yucky.
Now there are all kinds of cleansers on the market today. There are facial and body cleansers designed to remove all the deep filth in the skin to give us better complexions and help us to look younger. An assortment of household products is available to cleanse floors and walls in bathrooms and kitchens. There are cleansers intended to remove spots on clothes. You can get your teeth cleansed with stuff that will make them whiter than white. There is, I suppose, deep within each of us a desire, a longing to see life clean. Who wants to go around dirty and grimy all the time? I'm sure there are folks who do, but I'm happy to say I'm not one of them.
Two weeks ago today, while in Mozambique, I got up and took a cold shower. There was no hot water because the power was out in Nampula. I don't like taking cold showers. I certainly don't like shaving with cold water. The power goes off every Sunday morning in Nampula, so if you don't get up early, you're out of luck. My host, Mike McCoy, forgot to tell me that. That's why he took his shower early. When we got back that evening after worshipping with other evangelical missionaries, not only was there no electricity, there wasn't any water. Mike said that happens too. On Monday morning there was electricity, but no water. We had to leave for the bush early. So I didn't take a shower on Monday. And I didn't take one on Tuesday because they don't have showers out in the bush — although the good folks there do provide a ten gallon bucket of hot water, that has been heating all night on an open fire, for you and three or four others to use. I went from Sunday morning to Wednesday morning without bathing. I looked rough and probably smelled rougher. When we got back to Nampula, the first thing I did was wash my hands with hot water and soap. Out in the bush about the only thing you can do is use wet-wipes and waterless hand sanitizer. But those things don't get all the grime off. When I washed my hands at Mike's apartment, I couldn't believe how filthy they were. And the shower and shave with hot water? Ah, they really were heavenly! I was reminded that there really isn't a substitute for hot water and soap.
There is no substitute for the blood — the Blood of an Innocent One. When all is said and done, the blood is life. The blood of Jesus Christ, the very life of Jesus Christ, is the key to life in all its fullness. His blood, His very life is what cleanses our consciences and enables us to live joyfully and faithfully, giving ourselves unconditionally to him, preferring right over wrong. His sinless life allowed for His blood to be a cleansing agent, a purifier to clean us up. Because He gave Himself as an eternal and spiritual sacrifice to God for us, "Now we can serve the living God and no longer do things that lead to death" (Hebrews 9:14). There it is. Because of what He did, we can prefer right over wrong and right always leads to life while wrong always leads to death. There really is no substitute for the blood, is there?
And because there isn't, when our consciences are consciously cleansed with blood, a result is empowerment to serve the living God. What does your service amount to today? Each of us knows, don't we? None of us can serve Him with gladness of heart if we haven't allowed the blood of Christ to cleanse us. If there is no cleansing, there is no power. One of the reasons why pessimism pervades some quarters of the church is because the church, that is the people, has forgotten the blood. When the Blood of an Innocent One becomes the filter, we can, without a doubt, experience an invasion of optimism in the people of God. What a way to serve the living God — allowing optimism to saturate our existence, to inform everything we do.
At once that saturation of optimism leads us to realize that Jesus "offered himself" (Hebrews 9:14). A conscious conscience cleansing with blood will direct us to offer ourselves. So what are we offering today? We know that, too, don't we? There is so much you and I can offer — particularly in our material possessions. The truth is if we are conscious about having our consciences cleansed with His blood, we'll show it with our checkbooks and we'll do so we great optimism. Remember, Jesus "offered himself." It stands to reason, then, that we are to offer ourselves — everything about us. In doing so we are offering hope to a world that is hopeless without the blood, without the life of Jesus Christ.
Yesterday The Times-Georgian had the headline, "Keeping the Faith in HOPE." The story focused on Georgia parents' worry that the HOPE Scholarship isn't going to last. It may not. For selfish reasons I hope we can keep faith in HOPE. I borrow the headline today to remind you and me that we are to "keep the Faith in HOPE — the hope that our consciences can be cleansed by the Blood of an Innocent One, the blood of Jesus Christ and the hope that all the consciences in the world can be cleansed with the same Blood of the same Innocent One. Let us consciously allow Christ's shed blood to cleanse our consciences. Let's consciously pattern our way of living in accordance with His way of living. There's no other way to live life. There's no other way.
Depart, now, in the fellowship of God, your Heavenly Father, with great shouts
of joy. And as you go, remember:
In the faithfulness of God, the foundation of your life, you are being
made strong as He provides you refuge each day;
By the grace of God, you have been delivered from the deep darkness
of sin into the brilliant light of His salvation; and
In the love of God, revealed in Jesus Christ, your conscience is being
cleansed as a result of the shedding of His blood — blood that
will never lose its power.
Thanks be to God! All Hail King Jesus! Now and forever! Amen and Amen.
Jimmy Gentry is pastor of Tabernacle Baptist Church in Carrollton, Georgia.
All scriptures, unless otherwise noted, are from the Contemporary English Version.


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Burlington, VT — Luis Calderin, principal of OKAY!! OKAY!!, a full service boutique marketing & design agency, is excited to announce his participation in the renowned ING New York City Marathon on November 7, 2010. Calderin was asked to join Team Stoked, the division of runners for Stoked Mentoring. The non-profit organization, founded in 2005 by Sal Masekela, X Games and E! Daily 10 Host, and Steve Larosiliere, Huffington Post blogger, began with the mission to develop Successful Teens with Opportunity, Knowledge, Experience and Determination through action sports and mentoring. Stoked was created on the belief that at-risk and disadvantaged youth can prosper and grow by learning life lessons and skills through the teaching of action sports. The teens work with mentors and supportive communities where they gain personal development, academic achievement, positive relationships and healthy lifestyles.
"I am a Stoked kid," Calderin said. "I grew up in cities, facing many of the same challenges these kids face today. When my mother moved us to Burlington, Vermont, I met guys that were involved in snowboarding and they exposed me to a whole new world. At a young age, I was guided by people who saw potential in me and that set my life in motion and in a direction that was totally opposite of where I was headed. I believe in this program and what it can do to help peoples' lives and that's why I am committed to running 26.2 miles in the greatest city on earth to raise awareness and money for the Stoked program."
All of the money that Team Stoked raises will directly support Stoked Mentoring's skateboarding, surfing and snowboarding programs. Calderin hopes to raise more than the minimum $2,500 through a limited edition line of OKAY!! OKAY!! marathon and running-themed hoodies, posters, and pins for sale on his fundraising website, which can be found at bit.ly/okokteamstoked. A portion of these profits will also be dedicated to covering the costs of travel to send Calderin's family down to support him.
"We saw this as an opportunity to create some really cool imagery around running and our fictitious athletic program by producing limited edition pieces that folks can receive in return for their donation," Caldern said. "The profit after production costs is how we intend to raise our goals. You get some very special goods and we raise money for the group."
Other Team Stoked runners include Sal Masekela and Steve Larosiliere, Stoked founders; Tricia Byrnes, Olympic Snowboarder; Keir Dillon, X Games Host, Dew Tour Host, and Professional Snowboarder; and Michael Orenstein, Brand Manager at marketing agency 72andSunny.
The 26.2-mile ING New York City Marathon is considered one of the world's greatest road races since its start in 1970. The race draws more than 100,000 participants annually, crossing five bridges and finishing at Tavern on the Green in Central Park. The race is cheered on by two million spectators and watched by 315 million television viewers worldwide.
Tune in on November 7, 2010 to watch Calderin and Team Stoked in the ING New York City Marathon. To track Calderin's progress in the race, enter bib #611805 at http://www.nycmarathon.org/athlete_alert.htm.
For more information on the ING New York City Marathon, visit http://nycmarathon.org.
For more details on Stoked Mentoring and Team Stoked, see http://www.stoked.org and http://www.teamstoked.org.
To donate to Calderin's efforts on behalf of Team Stoked, head to http://bit.ly/okokteamstoked.


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Saira Rizwan is a leading and prominent fashion designer in Pakistan who is very well apparent and talented. Recently, Saira Rizwan has launched its newest bridal wear collection 2015. This bridal wear collection is full of modern style, color shades and designs. The attractive colors you can see in this bridal wear collection are beautiful such as mushroom. Saira Rizwan is a clothing brand who has been working since many years ago. Saira Rizwan has presented many other collections that have gained huge response from fashion lovers. This bridal wear collection has consists of bridal dresses such as sharara, lehenga, churidar frock, long maxis and so many others. Fawn, golden, brown and so many others these bridal dresses 2015 for women have decorated with high ends fashion and modernity.
Everyone knows very well the wedding season of winter bridal wear collection 2015 is on and girls are looking some luxury outfits for brides and weddings are looking for their vision bridal dresses. All dresses are perfect and ideal for valima brides. Bridal wear collection dresses are looking magnificent and elegant. Saira Rizwan brings for you royal embroidered lehnga collection, open kurti bridal wear and pure formal shalwar kameez decorated with luxurious motif and Zari fabrics. Hope you will like these bridal wear collections 2015.


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Opinion: Benedict and the Vatican Morass
Columnist Dan Henninger on Pope Benedict's tumultuous eight-year papacy and unexpected resignation. Photo: Associated Press
This transcript has been automatically generated and may not be 100% accurate.
... I ... welcome to Opinion Journal and Mary Kissel you're looking a live shot of the Vatican we had very surprising news today Pope Benedict ... announcing his resignation ... so what kind of church will bespoke leave behind ... Wonderland Columnist Dan Henninger and fellow Catholic joins me ... I tend to and from what is this Pope's greatest legacy was there a theme ... of his captaincy ... well I think it began when it was carnal Colonel Joseph Ratzinger and Ratzinger was a very powerful Awana ... apologist defender of the Catholic faith and of the Western tradition I'm it's a very ... very importantly the idea that ... we have a culture based on the reason rationality and moral structure ... and he did an excellent job of defining of them I think that's cool off as for defending it as well ... he also had a very tumultuous tenure and the child abuse cases for instance ... really marked ... Marquez administration how do you think he dealt ... with those cases ... I think you don't want them very well Marius matter fact offer ... as Cardinal he immerse themselves in the de tails of those cases and then after he became Pope ... he gradually adopted in the zero tolerance policy towards trial abuse ... and prosecuted a couple of very famous cases of father Mafia all in Mexico ... and a Legion of faith on the whim of sharply criticized ... we came to United States in two thousand and eight ... he met personally with the families of abuse to do would be different views themselves or their families ... from Boston ... and address that several times so ... in that respect I think they they they face up to it ... of publicly ... but administratively finding a structure ... with which we can deal with these cases has been much more difficult for the church he he also has a real challenge in reaching out to Catholics around the world that the opposition in the church is changing a lot ... aam honeydew for example with cassis in the Middle Eastern Catholics in China ... well ... it's good thing to bring up married because they had set up as an explicit goal in defending ... Liao are persecuted Christian minorities in the Middle East the Assyrians in Iraq the Coptic Christians in Egypt and now the Christians in Syria ... and ... it was a well intentioned goal but by and large those Christians are being driven out of those countries ... so the ... intention is not ... the intention is not really been matched by execution ... the fund to criticize this Pope and this Vatican Mary I think you would probably be that the bureaucracy of the Vatican ... is simply not suited to the twenty for Sentry world is virtually a sixteenth century bureaucracy ... and it often undermines the Pope's goals and good intentions it's not good at executing them and you'd ministrations ... this is of very serious problem for the Vatican on I think the Catholic Church generally even here in United States We thought about that the twenty first century I think we've got a shot of the Pops Twitter account at Ponte effects ... to weaken Klepierre on the screen ... I wanna come back to this bureaucracy and how it inhibits the church ... particularly with the child abuse cases to stand at the Calliope was my press back EU and say no ... he's such a good job why didn't they prosecute these priests earlier ... omniscient we see many more in these cases going into our justice system around and be handled internally by the church ... well I've The it up so that public authorities to take up the prosecution of the church itself is going to prosecute these cases ... bought off I think that that quietly Benedict himself was ... our didn't end to push hard against the trial the use cases ... and you know I have to push back a little bit against the public perception here because I think ... quietly they were doing a lot to try to bring ... these instances to the surface Benedict himself was the problem again what is the Vatican bureaucracy in the Catholic Church bureaucracy which moves so slowly if at all it undermined the Pope's ... expressed intention to bring these cases to the surface ... this is been in a significant problem for the Catholic Church ... the relationship with other states there was a big flap at the beginning ... of his tenure ... I'm talking about and that Muslims and violence I got a lot of pushback ... you think he was misunderstood or did he actually ... found this is the famous Regensburg lecture around me and I think that one was mis understood that one was so to my mind up early eloquent defense of reason and rationality rather than achieving one's Coulter ... um through blood as he put it and he was trying to push back against the idea that ... radical Islamic was not seem to be unable to integrate itself with the art traditions and structure ... of the West and that's what he was criticizing him for was trying to reach in dialogue with them ... again area relates to those ... strategies to defend Christians in the Middle East ... and Wall ... I thought he was eloquent in the way his state of these things it was the execution by the Vatican and the bureaucracy ... that and ultimately failed to carry for calm on the Pope's good intentions so could we see a Coke Timothy Dolan and any any pics and come out and I am to feed only great I think the younger they should try it for a younger Cardinal who's going to upgrade the manager real side of the Catholic Church because they just cannot afford an the twenty for Sentry to continue ... well with the bureaucracy that they've got which which fails the Pope appear rocker see frustrating executive sure sounds familiar here now Wonderland Columnist Dan Henninger thanks so much for being with us


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patterns > Martingale > MORE Sensational Knitted Socks
> Hourglass
Pattern Summary: Instructions include variations for use with 4 or 5 DPN's, or two circular needles. Complete instructions are included for both top down and toe-up.
Pattern Section: This pattern is in the 'Six-stitch stranded patterns' section. Patterns in this section have different patterns on the cuff and the foot and include a chart for both The pattern also warns that since this is a stranded pattern, it will be less elastic than a sock knit with one yarn.
Notes on gauge: As with all of the patterns in this book, with the aid of an included chart the pattern can be adjusted to your gauge, and desired finished measurements.
Related Patterns: The following have the same number of stitch repeats and thus the same sock construction:
The color charts for the cuff and the sole are on page 103, and the sock pattern starts on page 53.
- Page created: August 16, 2007
- Last updated: November 15, 2018 …
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Marion golf team shows promise
Staff writer
Although Marion High School has a smaller golf team this year, co-coach Thane Schwartz is still determined to teach his players the game of golf — and how to be accountable, even when no one is watching.
"It's an important life skill to have," the second-year coach said. "Golf gives them a chance to practice it."
Schwartz and co-coach Lucas King direct the Marion High School golf team, featuring six players. Three golfers — Hogan Lovelady Jared Hague, and Aaron Molleker — are returning letter-winners, having played more than two games at varsity level. Other members are: Dylan Goebel, Lauren McLinden, and Brandt Stephenson.
Schwartz said the team had not practiced much on the green, but that has not stopped them from developing their swing.
"You've got to follow through," Schwartz told his players during a mini-practice session last Thursday. "Otherwise, you won't hit the ball."
Schwartz said the team has the basics of the game, but now they need to refine their technique. This year, he wants his players to focus on playing around the green.
"The kids usually focus on the tee," he said. "They want to make sure they're hitting the ball. But they've also got to learn to look and see where it is going."
Schwartz said he is impressed with the quality of the Marion team this year — and is looking forward to seeing how they improve as players throughout the season. At this point, Schwartz said he has four standout players.
"Hogan is a pretty good one to watch; he's almost pro," Schwartz said. "Aaron has good drive, so does Jared. Lauren does a good job of keeping it on the green as well."
The team's first golf tournament is at 1 p.m. April 2 in Herrington. Schwartz said he hopes the local golf ranges dry out soon, so that the team can practice on the green before their first meet.


text: Flavobacterium akiainvivens (ATCC® BAA-2412™) Strain Designations: IK-1 / Type Strain: no / Biosafety Level: 1 General Information Characteristics Culture Method History Documentation Print Email Share Share this product Facebook Twitter Google+ Permits and Restrictions View Permits Deposited As Flavobacterium sp. Strain Designations IK-1 Biosafety Level 1 Biosafety classification is based on U.S. Public Health Service Guidelines, it is the responsibility of the customer to ensure that their facilities comply with biosafety regulations for their own country. Product Format freeze-dried Storage Conditions Frozen: -80°C or colderFreeze-Dried: 2°C to 8°CLive Culture: See Propagation Section Preceptrol® no Type Strain no Medium ATCC® Medium 44: Brain Heart Infusion Agar/Broth Growth Conditions Temperature: 26°CAtmosphere: Aerobic Name of Depositor S Donachie References Kuo I, et al. Flavobacterium akiainvivens sp. nov., from decaying wood of Wikstroemia oahuensis, Hawaii, and emended description of the genus Flavobacterium. Int. J. Syst. Evol. Microbiol. 63(9): 3280-3286, 2013. PubMed: 23475344 Permits These permits may be required for shipping this product: Customers located in the state of Hawaii will need to contact the Hawaii Department of Agriculture to determine if an Import Permit is required. A copy of the permit or documentation that a permit is not required must be sent to ATCC in advance of shipment. Basic Documentation Product Sheet Certificate of Analysis SDS


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Citi said it expected the Bank of England to keep rates at 0.5pc until mid-2017.
The Bank of England cut interest rates to 0.5pc in March 2009, the lowest since the central bank was founded in 1694.
A possible eight years of low interest rates would be welcomed by borrowers but cause continuing difficulties for people who depend on interest on their savings.
Citi cut its 2013 growth forecast for the British economy to 0.4pc from 0.8pc and said it expected growth to remain weak – at about 0.7pc – in 2014.
It also predicted that the UK would lose its AAA rating this year.
In December, Standard & Poor's became the last of the three main ratings agencies to put Britain's top rating on a "negative outlook". It said its decision reflected the weak recovery and sharply rising national debt.
Citi predicted that the Bank of England would leave interest rates at 0.5pc until mid-2017 – a year longer than expected.
Michael Saunders, chief UK economist at Citi, said in a research note: "The economy is likely to disappoint again in 2013, with little or no growth, sticky inflation and persistent deficits on both the current account and fiscal balance."
Ray Boulger, senior technical manager at John Charcol, said that Citi's interest rate forecast was "plausible".
"Even if [the rate] is not 0.5pc in 2017, it's not likely to be much higher," he said. "The state of the economy is such that even when it does go up, it will go up slowly.
"The market does expect the bank rate to stay low and that is reflected in the much lower morgage rates that we've seen in the past few months."
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2019 Ford F-150
$45,639 • New
Asking Price
Ext. Color
Stock Number
6 Cylinder
Int. Color
Blk Unique Spt Clth
Four Wheel Drive
Installed Options
Autonomous Braking, Wifi Capable, Pre-Collision Warning System Audible Warning, Pre-Collision Warning System Visual Warning, Infotainment With Android Auto, Infotainment With Apple Carplay, Audio Streaming: Bluetooth, Audio Voice Recognition, Phone Wireless Data Link Bluetooth, Phone Voice Activated, Engine Auto Stop/Start, Headlights Automatic High Beam Dimmer, Remote Engine Start, Rear View Camera, Airbags - Front - Side, Airbags - Front - Side Curtain, Airbags - Rear - Side Curtain, Audio - Radio: Touch Screen Display, Drivetrain Transfer Case: Electronic Hi-Lo Gear Selection, Linked Or Integrated Apps, Cruise Control, Electronic Messaging Assistance With Read Function, Electronic Messaging Assistance With Voice Recognition, Power Steering Speed-Proportional, Towing And Hauling Trailer Wiring: 4-Pin, ABS Brakes (4-Wheel), Audio System 6 Speakers, Drivetrain 4WD Type: Part Time, Power Windows: With Safety Reverse, Seats Cloth Upholstery, Tailgate Power Locking, Audio Auxiliary Input: IPod/IPhone Integration, Audio Auxiliary Input: USB, Air Conditioning - Front, Auto-Lock, Cornering Brake Control, Emergency Braking Preparation, Exterior Mirrors Power, Programmable Safety Key MyKey, Keyless Entry Keypad, Daytime Running Lights, Front Fog Lights, Multi-function Remote Keyless Entry, Electronic Parking Brake Auto Off, Rear Seats 60-40 Split Bench, Security Perimeter Alarm, SYNC - Satellite Communications, Traction Control With Trailer Stability Assist, Seats Front Seat Type: 40-20-40 Split Bench, Air Conditioning - Air Filtration, Capless Fuel Filler System, Floor Mat Material Carpet, Rear Brakes Ventilated Disc, Spare Wheel Steel Rim Type, Airbags - Side-curtain Rollover Sensor, Security Remote Anti-Theft Alarm System, Linked Or Integrated Apps - Security: Remote Locking, Linked Or Integrated Apps - Security: Remote Locking Horns And Light, Rear Seats Folds Up, Towing And Hauling Tow Hooks: Front, Towing And Hauling Trailer Hitch: Bumper Hitch, Windows Front Wipers: Variable Intermittent, Windows Privacy Glass, Braking Assist, Drivetrain Drive Mode Selector, Braking assist hill start assist, Active Grille Shutters, Airbags - Front - Dual, Front Brakes Ventilated Disc, Power Brakes, Rear Seats Split Folding, Security Engine Immobilizer, Transmission Temperature Gauge, Front 12V Power Outlet(s), Rear 12V Power Outlet, Floor Mats Front, Rear Floor Mats, Steering Wheel Tilt And Telescopic, Windows Solar-Tinted Glass: Rear, Child Seat Anchors LATCH System, Driver Seat Adjustable Lumbar Support: Manual, Front Suspension Classification: Independent, Front Suspension Type: Double Wishbones, Front Suspension Type: Strut, Headlights Auto On/Off, Multi-Function Display, Passenger Seat Adjustable Lumbar Support: Manual, Spare Tire Fullsize Non-Matching Size, Audio - Radio: AM/FM, Electronic Brakeforce Distribution, Engine Alternator: 200 Amps, Compass, Headlights Auto Delay Off, Multi-function Remote Keyless/illuminated Entry, Audio - Radio Data System, External Temperature Display, Fuel Economy Display MPG, Fuel Economy Display Range, Rear Bumper Color Chrome, Rear View Monitor In Dash, Stability Control, Traction Control, Airbags - Passenger - Occupant Sensing Deactivation, Cargo Bed Light, Grille Color Chrome, Inside Rearview Mirror Manual Day/Night, Reading Lights Front, Reading Lights Rear, Seatbelts Emergency Locking Retractors: Front, Seatbelts Seatbelt Force Limiters: Front, Seatbelts Seatbelt Pretensioners: Front, Tachometer, Tailgate Protection Cap, Warnings And Reminders Maintenance Reminder, Engine Battery Saver, Transmission Tow/Haul Mode, Floor Material Carpet, Headlights Wiper Activated, Multi-function Remote Keyless Entry With Panic Alarm, One-Touch Windows: 2, Steering Wheel Mounted Controls Audio, Steering Wheel Mounted Controls Cruise Controls, Steering Wheel Mounted Controls Multi-Function Screen Controls, Steering Wheel Mounted Controls Phone, Steering Wheel Mounted Controls Voice Recognition Controls, Storage Front Seatback, Storage In Seat Cushion, Storage Under Rear Seats, Vanity Mirrors Dual, 2-stage Unlocking, Air Conditioning - Front - Single Zone, Armrests - Front Center, Engine Hour Meter, Exterior Mirrors Manual Folding, Grille Color Black Surround, Impact Sensor Alert System, Impact Sensor Door Unlock, Impact Sensor Post-Collision Safety System, Mirror Color Black, Retained Accessory Power, Roll Stability Control, Seatbelts Seatbelt Warning Sensor: Driver And Passenger, Towing And Hauling Cargo Tie Downs, Window Trim Black, Adjustable Rear Headrests, Assist Handle Front, Assist Handle Rear, Audio - Antenna: Mast, Audio System 80 Watts, Automatic Hazard Warning Lights, Body Side Reinforcements Side Impact Door Beams, Child Safety Locks, Clock, Crumple Zones Front, Digital Odometer, Driver Seat Manual Adjustments: 4, Driver Seat Manual Adjustments: Recline, Energy Absorbing Steering Column, Front Headrests Adjustable, Front Seatbelts: 3-Point, Headlights Halogen, Linked Or Integrated Apps - Information And Entertainment: Google POIs, Linked or Integrated Apps - Information and Entertainment: Google Search, Linked Or Integrated Apps - Vehicle Utility: Parked Car Finder, Linked Or Integrated Apps - Vehicle Utility: Service And Maintenance, Number Of Front Headrests 3, Number Of Rear Headrests 3, Passenger Seat Manual Adjustments: 4, Passenger Seat Manual Adjustments: Recline, Pickup Bed Type Styleside, Seatbelts Second Row 3-Point, Spare Tire Underbody Mount Location, Storage Accessory Hook, Storage Door Pockets, Suspension Front Shock Type: Gas Shock Absorbers, Suspension Front Spring Type: Coil Springs, Suspension Rear Gas Shock Absorbers, Suspension Rear Leaf Springs, Tailgate Removable, Trip Computer, Trip Odometer, Warnings And Reminders Low Fuel Level, Warnings And Reminders Low Oil Level, Windows Lockout Button
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Not all vaccines are created equal, and the myriad of choices can be confusing. Your veterinarian is the best resource to help you sort through product information and make science-based vaccine recommendations to provide complete protection for your herd. If your cattle aren't fully protected against respiratory and reproductive diseases, your herd's health, productivity and profitability could be at risk.
"Vaccines need to be carefully assessed and chosen to ensure your dairy operation isn't in danger of a disease outbreak," says Greg Edwards, DVM, Cattle Technical Services, Pfizer Animal Health. "The investment you make in selecting the right disease prevention products also can help reduce the significant costs and labor associated with disease treatment."
Dr. Edwards suggests sitting down with your veterinarian to evaluate vaccines based on eight areas of product differentiation and pick vaccines that best fit your management needs and vaccination program goals.
- Label indications and levels of protection: The U.S. Department of Agriculture (USDA) grants label claims based on demonstrated efficacy for each disease organism in the vaccine. These levels of protection include: Prevention of Infection, Prevention of Disease, Aids in Disease Prevention, Aids in Disease Control and Other Claims.
- Duration of immunity: Duration of immunity (DOI) is the minimum amount of time you can expect a vaccine to help protect your cattle, based on manufacturer efficacy and disease challenge studies. A vaccine's DOI should help protect during the critical risk period for disease risk. Your veterinarian can help schedule revaccination protocols according to your vaccines' DOI.
- Immune response time: Some types of vaccines stimulate protective immunity more rapidly than others. For example, intranasal vaccines can help provide a quick immune response.
- Modified-live virus vs. killed virus vaccines: Modified-live virus (MLV) vaccines contain live organisms that can undergo limited replication within the body. MLV vaccines can have benefits including rapid immune response,1 comprehensive immune response and duration of immunity,2-4 and few post-vaccination reactions.4
- Route of administration: Follow the route of administration indicated on the label to help achieve the expected efficacy of the vaccine. Your vaccine choice and preferred route of administration may depend on your management capabilities, and training your employees on administration may be necessary.
- Safe for use in pregnant cows and calves nursing cows: Choose vaccines that are safe for use during pregnancy to help bolster immunity of the cow and enhance colostrum quality. Having flexibility to revaccinate cows during gestation provides protection against viral shedding and supports herd immunity.
- Convenience: Vaccines come in a variety of combinations that can be tailored to fit your disease challenges and management needs. Your veterinarian can help you identify disease risks based on herd history or geographic challenges. When choosing combination vaccines, remember that DOI and levels of protection may be different for each antigen in the vaccine.
- Cost-effectiveness: Profitability on the operation is important, and cost-effectiveness is always a factor in product selection. Work with your veterinarian to discuss factors that impact a cost-effective vaccine, including management time and labor for administration, vaccine combinations, levels of protection, duration of immunity, cost of a potential disease outbreak, and price.
Partner with your veterinarian to select vaccines that provide complete protection for your cattle and optimal results for your operation.


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Whether you are buying a new home, on the hunt for a commercial property or would like expert, tailored property advice in the Hawarden area, Right Surveyors Hawarden are here for you.
Instructing a HomeBuyers Survey may enable you to drive down the purchase price dramatically or give you some room for negotiation.
As members of the Royal Institution of Chartered Surveyors (RICS) we pride ourselves on our professional and ethical approach to all clients and their requirements. We are also approved to act as Expert Witness and have a wealth of experience in this area. We can report on matters such as quality of materials and/or workmanship relating to construction projects either for on-going or completed projects.
If you're interested in a product or service that is not listed below, don't hesitate to contact us - our expert property surveyors carry out a wide range of services and surveys to suit your every need.
Alternatively, visit our website at www.buckleysurveyors.co.uk for information on our specialist surveys and services.
As well as one of our lead Chartered Surveyors, Richard is a registered valuer and a Member of the Royal Institution of Chartered Surveyors, making him a prominent name in the Chartered Surveying community.
Richard is an experienced professional with a diverse range of skills. Having lived in this region of England for the majority of his life, his experience, expertise and detailed knowledge of local property and market conditions are second to none.
Right Surveyors North Wales Ltd is a RICS regulated firm of chartered building surveyors. With years of experience in Defect Diagnosis and Building Pathology, we can offer Building Surveying services ranging from Residential Homebuyer and Building Surveys to Commercial Dilapidations.
We offer a wide range of property services and defect analysis reports from qualified, experienced chartered surveyors who take pride in their work.
It is quite unusual to find a property without a single defect - instructing us to undertake a Full Building Survey, House Purchase Survey Report or HomeBuyers Report will give you peace of mind, the potential to save on the purchase price and the ability to plan for the future.
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Keiji Inafune produced Dead Rising, which is influenced by George Romero's Dawn of the Dead. It wasn't just that classic horror flick that inspired the creation of Dead Rising.
In a recent interview with Dengeki Online, Inafune says that it was Resident Evil 4 that sparked his desire to make a zombie game. During the development of Resident Evil 4, Inafune noticed that the "zombies", as he calls them, could run.
"I thought, Mikami, what are you doing? Why are they running?" Mikami is Shinji Mikami, the creator of the Resident Evil franchise.
"If I made my own," he recalls thinking, "there wouldn't be zombies like this."
There is some debate, however, whether the "zombies" are actually zombies in the traditional sense as they have been infested with parasites. By comparison, Inafune's zombies in Dead Rising are the more traditional slow-moving zombies.
【洋鯨亭 第32回】『デッドライジング2』プロデューサー・稲船氏インタビュー [電撃オンライン via はちま起稿]


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Event : Rabsang Rinpoche Mani Retreat, Fire Puja and Chang Chog
Date : September 1-2
enue : Drikung OM centre
Address : #03-00 Leow Shih Building 24, Lorong 29 Geylang
Website : http://www.dkomcentre.org.sg/" onclick="window.open(this.href);return false;
Facebook :
http://www.facebook.com/pages/Drikung-K ... 6406988625" onclick="window.open(this.href);return false;
Programme :
September 1 9:00am - 9:00pm
Avalokiteshvara Fire Puja and Mani Recitation
September 2 10:00am - 6:00pm
Buddha Amithaba Chang Chog
Rabsang Tulku Rinpoche is the reincarnation of Drubwang Rabsang Rinpoche who was born in a nomad's family in Traga district of Tibet, and ordanied as Konchok Rabsang. As a young monk, Drubwang Rabsang Rinpoche learnt Tibetan and various texts and rituals. He received various transmissions and empowerments of the Drigung lineage from the two Drigung Kyabgon, Chuntsang Rinpoche Chokyi Lodro and Chetsang Rinpoche Zhiwe Lodro. And from the Drigung Thil Monastery retreat master, Drubwang Triyin Osel, he received the 5 Limbs of Mahamudra and the 6 Yogas of Naropa and went into a strict retreat. He also received from his teacher Tulku Jamyang Wangje, and was given the transmissions and empowerments of 13 classics as well as the Longchen Nyingthig. Drubwang Rabsang Rinpoche then went again into long term retreat in the practice of Mahamudra, and also the profound path of perfection, gaining a very high realisation. Many tulkus of that time have made the journey to see him to receive instructions on the profound path of perfection. When he passed on at over 70 years of age, Drubwang Rabsang Rinpoche's body shrank tremendously. When his body was finally laid to rest in the mountains, it reduced itself to nothing but hair and nails, an evident sign that he has achieved the rainbow light body.
The current reincarnation, Rabsang Tulku Rinpoche, Konchok Trichin Rabsel, was born in the Water Ox year of 1973 in a village in Tashi Jung, near the Drigung Thil Monastery. His father Konchok Tashi and mother Laisang, saw various auspicious signs during his birth. Since he was a young child, Rabsang Tulku was always very compassionate to all animals, and very devoted to the Dharma, always asking his parents to visit the monasteries. Hence, his parents brought him before the great Drubwang Pachung Rinpoche, who told them :" this child has a very meritorious and virtuous connection, his wisdom will manifest in the future once he has been ordained." So Rabsang Tulku was ordained at Drigung Thil Monastery under Pachung Rinpoche, and was named Konchok Trichin. He studied intensely the various teachings and rituals, subsequently visiting HH the 14th Dalai Lama as well as the two Drigung Kyabgon. He has also studied Sutra and Tantra at the Drigung Institute and Thrangu Institute.
In 1999, during the Snake Year Drigung Prayer Festival, Drigung Kyabgon Chetsang Rinpoche recognised Rabsang Tulku as the reincarnation of Drubwang Rabsang Rinpoche and named him Konchok Gyurmin Rabsel. He was also enthroned then. Since then, Rabsang Tulku Rinpoche received many teachings, transmissions and empowerments from the 2 Drigung Kyabgon, HE Garchen Rinpoche, Thrangu Rinpoche and many other great teachers. Rabsang Tulku Rinpoche currently resides in Rinchenling Monastery, propagating the Dharma and ceaselessly engaged in his practice and studies.
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Fearless_Eater needed a new logo design and created a contest on 99designs.
A winner was selected from 49 designs submitted by 17 freelance designers.
We're looking for something snazzy yet elegant based on the acronym HCEF. A possible subtitle could be Harvard Undergrad (or Undergraduate) Entrepreneurship, or Harvard College Entrepreneurship Forum.
Harvard College Entrepreneurship Forum
We are a college entrepreneurship organization, dedicated to cultivating student interest in entrepreneurship and provide resources to student innovators already working on projects or companies. We're an organization that values initiative, ideas, creativity, excitement, and flexibility. We're all about expanding people's dreams, and making their dreams become a reality.
We're looking for a logo, something snazzy yet elegant. The logo should be based on the acronym HCEF. A possible subtitle could be Harvard Undergrad (or Undergraduate) Entrepreneurship, or Harvard College Entrepreneurship Forum.
We're pretty open to ideas, so long as the end product looks professional and non-generic. Having a visual element besides the text would definitely be a plus. Some icon of different areas of entrepreneurship (biotech, cleantech, web 2.0, non-profit, in-person stores, etc) might work, or something about the process (imagining, building, showcasing) could look good. We don't want to restrict your creativity. That being said, we really don't want a logo with a light bulb.
For colors, the Harvard crimson color is an obvious choice, but, again, we're open to other options if they look good.
This logo should scale well, so that it would still be recognizable when it's seen at 30%. It should also look good on a computer screen or in print.
- Includes the text HCEF
- Optional subtitle of Harvard College Entrepreneurship Forum or Harvard Undergraduate Entrepreneurship
- An accompanying visual; something iconic. For instance, something depicting the entrepreneurial process, or something showing some of the content in entrepreneurship.
- Elegant logo style, simple yet non-generic
- Crimson color is probably best
- Logo that scales well and would look good in print or web
- The accompanying visual to the logo should not be cliche (please no light bulbs), and should clearly be related to entrepreneurship.
- We don't want just the plain text HCEF, but something else to go along with it.
Find out how a design contest works or learn more about our logo design services.


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Feeding South Dakota in Rapid City Gets New Home
RAPID CITY - The Rapid City-based Feeding South Dakota is moving into a new building that will allow it to serve more people.
The Rapid City Journal reports that Feeding South Dakota is moving into a new building that will triple its capacity, allowing the organization to serve more people.
The new 30,000-square-foot warehouse includes a large freezer and cooler, loading docks, office space and parking.
In the last 17 years, the Rapid City food bank has more than doubled its food distribution from 1.34 million pounds to more than 3.2 million pounds.
Matt Gassen is the executive director of Feeding South Dakota. He says the organization is excited about the new home, but also disheartened by the size because it means there is that much of a need.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Motor Trend
Recall Roundup: BMW X5, X6 and Mercedes-Benz E350 Wagon
Two German luxury brands have recently issued recalls. Mercedes-Benz is recalling model year 2007-2009 E350 4Matic wagons for suspension issues, while certain 2012-2013 BMW X5 and X6 diesel models are being recalled to prevent steering problems. 2007-2009 Mercedes-Benz E350 4Matic Wagon Mercedes-Benz is recalling a number of previous-generation E350 wagons manufactured from July 1, 2006 to April 30, 2009 due…Read More


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Point Sur hightower skinny jean in Drifter wash
Size & Fit
- Sits above hip.
- Skinny through hip, thigh and leg.
- Front rise: 10 3/4".
- 30" inseam.
- 11 3/4" leg opening (based off size 28).
Product Details
You know those vintage jeans you go on an all-out search to find after you see them on some cool girl? Well, these are those jeans. In modern fits. With lots of attitude. They're made in LA, the capital of denim, in perfect washes with a worn in-feel that usually takes years to earn. Now you're that girl. This pair is made from soft ringspun cotton and all the details are entirely done by hand, right down to every stitch. We love the superskinny silhouette, cut with a waist-whittling high rise that's incredibly flattering.
- Cotton/viscose/poly.
- Traditional 5-pocket styling.
- Machine wash.
- The nature of this product may result in color transfer—we suggest laundering at home in your machine before wear.
- Item A4449.


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needgraphics needed a new button or icon design and created a contest on 99designs.
A winner was selected from 11 designs submitted by 5 freelance designers.
We need the products and services redone for our website.
we will be keeping our website as is, but need to redo the products, and service representations.
Current website : http://www.cyberxing.com
we are a hosting company, and our prior graphics person used some graphics from http://www.mediatemple.com, which of course we need to now change.
looking for graphics to represent our hosting packages, and services.
- we like the graphics used on http://www.mediatemple.com as they depict what we do as well. so that mentality is good, and of course we are open to new ideas as well. Just dont want to be plain.
- Item 1...