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VILLAGE THEATRE: What inspired It Shoulda Been You?
BARBARA ANSELMI (Composer): It Shoulda Been You actually started out as a concept piece called "The Wedding Project." I had been to a whole bunch of weddings in a short period of time and I started to notice that what was going on with the guests (especially at one wedding in particular) was incredibly interesting. At the time I had to come up with an idea for a second year project in the BMI workshop and I thought it would be really fun to explore many different guests view of a wedding. I was working on this with a bunch of different lyricists when the song "It Shoulda You" was written. I presented it in class and someone's comment was, "I wanna know what happens next." Well, so did I, so I went on a search for a bookwriter. I finally met Brian and when I asked him to write the book for the show he replied…
BRIAN HARGROVE (Bookwriter and Lyricist): "Hell no. Are you crazy? I hate weddings. Weddings are borrrrriinnnng!" Well, that's only partly true, but weddings can be pretty boring. We kind of know what's going to happen – the couple is either going to get married or they're not. And, let's face it; doing a musical about a wedding is not exactly a new concept. I'm sure cave men and women were dancing and singing around the fire about weddings before they even realized they could put that fire in footlights. But, I loved Barbara's songs. And the characters in the song "It Shoulda Been You" were so well defined, that I found the idea of expanding on them intriguing. So I asked her to let me think about it, and if I could think of a story that surprised and interested me, it would probably do the same for an audience, so I did and we did and there you have it.
VILLAGE THEATRE: It Shoulda Been You was a hit at Village Theatre's 2010 Festival of New Musicals. How did that experience affect the development of the show? Have there been any major changes to the show since then?
BARBARA: "First of all, the Village Festival was such an amazing experience for us. It was incredible to see people who didn't know us from a hole in the wall, watch and react to the show. It was such a wonderful feeling. On a more technical point, it was good to see what was and wasn't working with different parts of the book and music. We have made some pretty big changes concerning certain characters and songs. And a lot of that was due to that one (magical for me) night."
BRIAN: What she says. That was a great experience for us. The theatre, the audience, the whole community was so welcoming and supportive that it made us all the more enthusiastic about the show. Also, part of your process is both a talk back with the creators and questionnaires that you ask the audience to fill out about the show. I have to admit that it took me a month to read them – mainly because it was such a great experience I didn't want it sullied if someone absolutely hated us. There weren't any haters, but there were several specific criticisms that we found very helpful. Of course, my favorite comment was – "This show should go straight to Broadway!" I couldn't agree more, but that doesn't really help you make it better.
STILL BRIAN (I know, he does like to hear himself talk, doesn't he?)
As to whether we have made any major changes to the show, the answer is yes and no. The essential story hasn't changed, but we've rewritten a lot, both adding and cutting songs and beefing up some of the character's development. For instance, Albert (the Wedding Planner) is now an integral part of the story. We always wanted him to be, but to be honest, there was no there there. Now he has his very own song, which although worked pretty well where it was, we're trying in a different spot in the show so it will (hopefully) work even better. Also, the young people's parts have grown and become more three-dimensional: especially Annie, the Bride's best friend and co-maid of honor. We hope by the end of the show, you will have more sympathy for why and how things go down the way they do. And finally, we are in the process of writing a duet for Brian (the Groom) and George (Father of the Groom), which is going to get it's first outing here at the Village. This new song will replace a scene between the two of them. We hope we've gotten it right, but if not, we'll fix it in rehearsals. That's one of the joys of working at the Village Theatre. You give us the freedom to try new stuff.
VILLAGE THEATRE: A lot goes into developing a new musical. What have you found to be the most rewarding parts of the experience? What about the most challenging?
BARBARA: The most rewarding part for me is to (during a performance) sit back and go on the ride. Because at that point as a writer, you've done all you can do. You've tried to implement everyone's notes, you know you are about to see a story you love and you have absolutely no control! During the production at George Street I was telling that to someone in the green room and Tyne came over to me and said, "Now you know what it's like to have kids." The most challenging part is the moment before you are able to solve a situation that's not quite working during the rehearsal process. It's also one of the more fun parts of the process because I love figuring things out. I love letting my mind go to weird places and come up with ideas that are not quite right, because eventually they lead you down the right path and there's often lots of laughter involved, especially when you take an idea a little bit too far.
BRIAN: Every time a show goes in front of an audience is a lesson. It's funny really; sometimes you want a moment to work so badly. And you'll try it out a few nights, hoping that the first time it didn't work was a fluke, and the second time, it was too hot in the theatre or someone coughed during it. Until finally, you have to admit that you're the only one laughing. But that in itself is rewarding. Writers have a saying that can sound a little harsh, but it's true – "you have to kill your babies. " The best line, the best musical or lyrical phrase, the funniest joke you've ever written will be none of those things if the show as a whole doesn't work. So you have to be willing to cut things that you love in order to make a show work. But not to worry, you can always recycle them –where do you think "trunk songs" come from?
VILLAGE THEATRE: Why should audiences be excited to see It Shoulda Been You at Village Theatre?
BARBARA: First and foremost, it's a new musical with an original story written by an awesome librettist. Second, it's a slice of real life. Although some parts are heightened for the comedy, I can tell you that everything the mom says are things that many moms say. If I had a dime for the amount of people who came over to me after a talkback and said, "That's just like my family," and also, when the grandchildren of the woman that Judy Steinberg was named after came to see the show, they said, "You totally nailed Grandma." Third, it's a multigenerational story. You get to spend time with many different points of view that all come together on this one day and highlight the idea of deciding to take the wheel of your own life-a moment I hope the Village Theatre audience can relate to and be inspired by.
BRIAN: Well, I can't really improve on that except to say that the music is exceptional and that many people wanted to buy the cast album after hearing it the first time. Plus, Barbara and I would really like to be able to start flying privately, and the more of you who come; the sooner you can make that a reality. Seriously though, audiences do seem to enjoy the show. They laugh and they cry and they laugh some more. You'll be seeing something that very few others have seen AND you'll be one of the first. Love it, hate it, – hopefully love it – that's got to be a chance worth taking and an experience worth having.


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Resale value
Resale value
Well, rate of decline declines over time, so the experience of Roadster owners that about 2%/yr would leave you at about 90%, slowly declining to 70% over another 10 yrs. That would be about the same as a 60 kwh. battery, currently. So it would have about half the range of the new battery, and would be declining more slowly.
Hard to say how the market would evaluate that, but say 1/3 the new battery's value (battery only).
I really hope that tesla uses the S form factor over a long period, and that future packs are compatable. I would hate to not be able to replace it in 15 years.
@email@example.com, I really believe the Model S frame and form factor will be the staple for all the cars going forward. It's just too perfect with the CoG the way it is and convenience for battery replacement and added safety. I ask myself, why would they change it?
I can't come up with a valid answer to why they would.
In about 5 to 15 minutes, prop the car up, drop the battery down and swap.
BTW, here is a very similar thread that is only a few months old. May be interesting to read:
In a volume fully robotized operation, it supposedly could take less than a minute. Nothing like the Roadster, which almost has to be partially disassembled.
Well, the batteries could always get smaller, and not fit. Say, if they were narrower for example. Or the voltage or amperage could change and not be compatable. At some point it must change. Everything does. Eventualy, the Tesla will have a 1 pound cold fusion power source the size of a grapefruit that will power the car for a million miles. (OK, I made that up), but I think that in 20 years, the future we are experiencing here might look kind of quaint... : )
Twenty years from now we'll all seem like primitive, unfashionable dorks if history is any indication. But the Model S will still be a classic :)
Yeah, titanium and CF will be as common as aluminum and plastic! Cars will drive themselves at 150 mph. And pharmacies will sell pixie dust!
I can hardly wait.
Assuming that rejuv kicks in in time ...
Mr Spaghetti. I completly agree. The Sigs should appreciate and get collector status like the 64-1/2 mustang ragtop. It is a beautiful car.
Brian. Saw a couple in the wild tonight. My wife says plural form is Teslae. Sounds right. Thoughts?
Actually, Tesla was Serbian. So probably Teslaj? ;)
I like the way Teslaj sounds.
I was thinking more about the way antenna changes with plural form to antennae in English.
tesla, teslae (like nauta, nautae, a noun of masculine gender that changes by the 1st declension)
tesla, tesle
so: Tesla, Tesle
"Teslaj" may sound offensive...
Nice touch, making it masculine (nauta, nautae, as opposed to amica, amicae).
Hm, ja, I was thinking of Esperanto, and thought it had borrowed j from the Slavic/Balkan languages. Oh, well.
I purchased a Zero DS9 in May of this year (first truly usable electric motorcycle). I'll trade it in on the MY13 DS which sports significant upgrades including the battery. I will loose my rear end when I do this.
If Tesla makes as many cars as they anticipate, there will be less demand in the secondary market. I read somewhere that BMW sells 11k Seven Series in the US a year so 20K cars world wide will be more than enough. I hope I am wrong but it would seem reasonable that Tesla would not outsell the Seven Series in its first full year. Then again, who would have forecast MT Car of the Year?
EV technology will march forward at a greater rate than ICE and thus I expect my Model S will depreciate more like a stone then a Seven Series. I guess this is another example of how the Tesla model is more like Apple then GM. That being said, the 85kw battery has an eight year warranty. Even a zero value at eight years makes the whole adventure more than worth it for me.
This is just my two cents worth. I hope I am wrong and the Model S follows the Roadster path. Plan for the worse and enjoy any upside has always worked for me.
TM projects 8% reduction per year in the cost of a kWh capacity. May result in cheaper battery for same size, or larger size for same price. Nobuddy nose.
I believe you are correct. Without us, the revolution wont happen, so im looking at it the same way. Its V1.0, but without buyers well never get to 2.0, 3.0, 4.0
lajollan, here's the official statement. Not what you wanted to hear, though:
Given rapidly changing battery technology, it is impossible to accurately forecast the cost of future battery replacements.
Doesn't necessarily follow. It will be compared in price to ICE cars of the same vintage, favourably.
Resale value will be determined by several unknowns: long term reliability, long term viability of Tesla, acceptance of EVs, gas prices, and replacement battery costs or remaining battery capacity.
I believe better, cheaper batteries will mean higher value for future used Model S'es since they are designed for easy replacement and assuming they are made available for it. Better batteries and time will bring more consumers into the new and used EV markets.
The upcoming price hike doesn't hurt, either! ;) Many more to come!
Should make these forums really *interesting* for a while!!

subset: commoncrawl


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Family Trivia: 3 More Layouts
As a scrapbooker (and the family storyteller), you know that the cool and interesting "betcha didn't know this!" trivia is exactly what you want to capture on your layouts. Read on for three ideas to help you get started scrapbooking the intriguing stories and trivia about your family that you never want to forget.
Create a timeline documenting your heritage over several generations.
Anna Aspnes' layout records the tradition of military service that's important to her family, tracing it from the present day back to the First World War. Consider your family's history and think of common links that you could scrapbook in a timeline.
Almost One Hundred Years of Military Service by Anna Aspnes. Digital Supplies: Software: Adobe; Cardstock, patterned paper, brad, and stitching: Anna Aspnes; Fonts: Carpenter and Times New Roman.
See more Family Trivia layouts on page 2.
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Simon & Garfunkel's "Sound of Silence" and Van Cliburn's monumental 1958 Moscow performance are among the 25 "culturally" or "historically" significant sound recordings selected as the 2012 inductions to the National Recording Registry collection at the Library of Congress.
Spanning from 1918 to 1980, the 2012 inductees "reflect the diversity and creativity of the American experience," according to a statement from the Library of Congress.
Below is a full list of the recordings, in chronological order, along with their official descriptions from the Library of Congress and, when available, the recording.
1. "After You've Gone," Marion Harris (1918) In one of the first recorded versions of this American standard, cabaret star Marion Harris sang in a relaxed, near-swinging style, a profound departure from then-current singing styles. Her performance matched perfectly the lyric of this unsentimental love song by Turner Layton and Harry Creamer and its sleek, blues-inflected melody and harmony. The songwriters were part of a small group of African Americans who wrote for Broadway revues during the 1910s. This recording of "After You've Gone" led the transition in American popular singing from a full-throated, relatively stilted style, to a manner more relaxed, subtle and evocative.
2. "Bacon, Beans and Limousines," Will Rogers (Oct. 18, 1931) A recording artist and star of stage and screen, Will Rogers also became a natural star of radio broadcasting because of his folksy but pointed ruminations on topical matters. At one of the lowest points of the Great Depression, he took part in a national broadcast with President Herbert Hoover to kick off a nationwide unemployment-relief campaign. Rogers praised Hoover's integrity and intentions, but also decried the tragedy of such hard times in a land of plenty: "We'll hold the distinction of being the only nation in the history of the world that ever went to the poorhouse in an automobile," he observed. "The potter's fields are lined with granaries full of grain. Now if there ain't something wrong in an arrangement like that, then this microphone here in front of me is—well, it's a cuspidor, that's all." The broadcast demonstrates the status Rogers had gained as a spokesperson for the "common man," who used popular culture to satirize financial and political corruption, especially as the country went from the extravagant 20s into economic depression. Although Rogers is sardonic, the talk also conveys his fundamental optimism and faith in the good-heartedness of the American people.
3. "Begin the Beguine," Artie Shaw (1938) To have ended up as one of the indisputable classics of the Swing Era, "Begin the Beguine" had an inauspicious start. Cole Porter wrote it for the 1935 musical "Jubilee" which, despite good reviews, closed after a short run. Artie Shaw remarked on how close he came to not knowing about the song: "I happened to get to the theater on Friday and the show closed Saturday." Shaw remembered the song, however, and in 1938 wanted to record "Beguine" in spite of its long, complicated structure. According to guitarist Al Avola, Shaw changed the usual slow tempo of a beguine to a 4/4 time called "bending the Charleston." With some reluctance, Shaw's new record company RCA Victor allowed him to release the recording as the "B" side to "Indian Love Call." "Begin the Beguine" quickly became a hit, bringing fame to Shaw and his band. Although Shaw became disenchanted with having to play the song at every performance, the impact of this powerful recording of such a complex tune has remained a milestone in recorded sound history.
4. "You Are My Sunshine," Jimmie Davis (1940) Jimmie Davis, country music singer and two-term governor of Louisiana, adopted "You Are My Sunshine" for his successful 1944 election campaign after recording it in 1940. It subsequently became one of the most popular country-music songs of all time and has been recorded by artists in the U.S. and abroad in many styles. At least three recordings preceded Davis' and, while he is credited as co-composer of the song on sheet music, the song's authorship is the subject of dispute. Davis' recording, featuring guitar, steel guitar, trumpet, clarinet, bass and piano, added jazz styling to the simple tune. "You Are My Sunshine" became the official song of Louisiana in 1977.
5. D-Day Radio Broadcast, George Hicks (June 5-6, 1944) The D-Day invasion was still secret when radio correspondent George Hicks committed his observations of it to a portable film recorder on the deck of a ship carrying troops to the beaches of France. Although the first official bulletins of the fighting aired in the early morning hours in the U.S., the public had little more to go on than the occasional updates and speculation that filled radio airwaves throughout the day. Hicks' recording aired late that evening, and when his voice was heard over the din of combat, audiences found it riveting. Highlights were later released on 78-rpm records, and his spontaneous descriptions and composure under fire won him wide praise. Until this point, recordings had only very rarely been used in reporting the news, but as one commentator stated later that week, Hicks' work showed that they could be "more alive than a 'live' program."
6. "Just Because," Frank Yankovic & His Yanks (1947) As a child in Ohio in the 1920s, Frank Yankovic learned to play music of his parents' Slovenian homeland on the accordion. By the 1930s, however, Yankovic was playing in the polka style popular in Cleveland, a lightfooted and energetic fusion that incorporated influences from various Germanic and Eastern European traditions. Yankovic added flavoring from Italian, pop, jazz and other styles to this mix and experimented with the instrumentation as he built audiences. This eclectic approach served him well at his first major-label recording session, when he insisted on performing "Just Because," a country and western song of more than a decade earlier. Driven by the bright and melodic twin accordion leads of Yankovic and Johnny Pecon, and the jazzy inflection and syncopations of Hank Bokal's drumming and Georgie Cook's Dixieland tenor banjo, the pop and ethnic fusion of "Just Because" reached a national audience and established Yankovic as polka's top artist and innovator.
7. "South Pacific," Original Cast Album (1949) Acclaimed as one of Richard Rodgers' and Oscar Hammerstein II's greatest musicals, the Pulitzer Prize-winning "South Pacific" also has achieved landmark status in recorded sound history. Although the long-playing record (LP) was launched in 1948, sales did not take off until the next year when Columbia Records released the original cast recording of "South Pacific" in both 78-rpm and LP formats. It became one of the best-selling records in the industry's history and initiated a bidding war among record companies for the rights to record original cast albums. The show brought the subject of racial prejudice to a mainstream audience, and through the album, its message spread beyond Broadway to millions of American living rooms. Record producer Goddard Lieberson saw the show 14 times while preparing the album, but realized that the most important decisions occurred in the recording studio itself. "It is there that ingenuity must substitute heightened musical effects for the action and scenery of the theatre," he insisted. Lieberson's goal—to create during the recording session "the elusive quality of atmosphere"—became the model for many great cast albums that followed "South Pacific."
8. "Descargas: Cuban Jam Session in Miniature," Cachao Y Su Ritmo Caliente (1957) Inspired by the all-star jam sessions that Norman Granz organized and recorded for his Jazz at the Philharmonic series, Cuban bassist Israel "Cachao" Lopez—already a giant of Afro-Cuban music—sought to accomplish something similar with his peers in Havana. He brought musicians into the studio for two early morning sessions, when they were still fully charged up from their evening's work in nightclubs and ballrooms. Rather than record Granz's previous long-form jams, the12 musicians Cachao recruited created 12 short, spontaneous "miniature" pieces, each of which highlighted key instruments and facets of Afro-Cuban music. The resulting fusion seamlessly blended African, European and American influences. The album has had a lasting impact on Latin music, especially on the Salsa style that emerged in the 1960s, and Cachao organized many similar sessions for further albums both in Cuba and in America where he settled after the Cuban revolution.
9. Tchaikovsky's Piano Concerto No. 1, Van Cliburn (April 11, 1958) Twenty-three-year-old Texas piano prodigy Van Cliburn won the prestigious Tchaikovsky International Piano Competition in Moscow in April 1958, charming a critical but rapt Russian audience with his performance of Tchaikovsky's Piano Concerto No. 1 in the finals. Time magazine noted that his competition appearance and subsequent concert tour of the Soviet Union, broadcast over radio and television, "has had more favorable impact on more Russians than any U.S. export of word or deed since World War II." Composer Aram Khachaturian stated, "you find a virtuoso like this only once or twice in a century." Although Cliburn later recorded the concerto for an RCA Victor commercial release that enjoyed immense popularity, the archival recordings from the finals of the competition convey the sense of Cold War history in the making.
10. President's Message Relayed from Atlas Satellite, Dwight D. Eisenhower (Dec. 19, 1958) On December 18, 1958, the U.S. launched into orbit the world's first communications satellite in response to the Soviet Union's successful orbiting the previous year of Sputnik, the world's first artificial satellite. Sputnik had panicked many Americans, who worried that the U.S. was losing the space race and that the nation's science, education and defense establishments were failing. Although he was not impressed by Sputnik, President Dwight D. Eisenhower responded to these anxieties by reluctantly increasing defense spending. Created under the auspices of the Defense Department's newly formed Advanced Research Projects Agency, Project SCORE (Signal Communications by Orbiting Relay Equipment) carried by an Atlas satellite transmitted a prerecorded message by Eisenhower on Dec. 19, the day after its launch. It was heard on ground stations via shortwave radio after signals from earth had triggered a tape recorder aboard the craft. The President's greeting was succinct, conveying peaceful wishes to the whole world. The launch, the first time a missile-guidance system steered a satellite into orbit, and the transmission of the president's message were promoted as a major propaganda victory. Project SCORE spurred developments in telecommunications, and in July 1962, the Telstar satellite relayed the first television images.
11. "A Program of Song," Leontyne Price (1959) "A Program of Song," Leontyne Price's 1959 debut recital recording at Town Hall in New York, showcases the soprano's beautiful, well-balanced voice that had been garnering praise since the early 1950s. As a student at the Juilliard School of Music she caught the attention of Virgil Thomson and was invited to sing the role of Saint Cecilia in the 1952 revival of his "Four Saints in Three Acts." Success soon followed with U.S. and European tours and debuts in opera houses around the world. Known for her insightful and adventurous musicianship, as well as the dramatic feeling she brought to roles, Price, in 1960, became the first African American to sing the leading role of Aida at the Teatro alla Scala in Milan. Featuring renditions of French and German works by Gabriel Fauré, Francis Poulenc, Richard Strauss and Hugo Wolf that are considered to be among the most challenging of vocal pieces, "A Program of Song" revealed to listeners at home an artist of amazing power, range and depth.
12. "The Shape of Jazz to Come," Ornette Coleman (1959) On his debut album for Atlantic Records, Ornette Coleman pushed the boundaries of jazz even further into the unknown than he had on his earlier efforts for Contemporary Records. Critic Ralph J. Gleason observed that "the musical and critical world [was] split neatly in two" by Coleman's willingness to abandon bebop's harmonic structure and timing when his music required it. What Coleman never abandoned was the centrality of improvisation to jazz. In this effort he is ably assisted by Don Cherry on cornet, Charlie Haden on bass and Billy Higgins on drums—all musicians with whom he had played intermittently for several years. Cherry and Coleman achieve a close interaction on several tracks, particularly in their speedy unison playing at the beginning of "Eventually" and "Congeniality." Haden not only accompanies the other musicians, but also stretches the melodic potential of his instrument, particularly in his solo on "Focus on Sanity." For all the record's iconoclasm, it swings and even Coleman's more outrageous timbral experimentation can be understood as rooted in the expressiveness of the blues.
13. "Crossing Chilly Jordan," The Blackwood Brothers (1960) Known to gospel fans since 1934, one of the most popular U.S. southern gospel quartets is the Blackwood Brothers. The quartet has been credited with creating enthusiastic audiences in the 1950s and '60s for music once considered unexciting and transforming the genre by adding African-American musical forms (blues, jazz, black gospel) to their own traditions. Written by quartet member, J. D. Sumner (considered by many to have had the lowest vocal range of any bass in gospel), "Crossing Chilly Jordan" is an outstanding example of this spirit and style. With its jubilant infectious rhythms, rousing tempo, call-and-response style and four-part harmony, the song was often used as their encore number in live performances. The Blackwood Brothers were inducted into the Gospel Music Hall of Fame in 1998.
14. "The Twist," Chubby Checker (1960) Chubby Checker's rendition of "The Twist" became emblematic of the energy and excitement of the early 1960s. Originally a 12-bar blues song written and released as a "B" side in 1959 by Hank Ballard and the Midnighters, "The Twist" enjoyed only moderate success until American Bandstand host Dick Clark selected Checker, a young singer from Philadelphia, to record a new version and perform it on his program. Checker's recording quickly became a hit with teens and the model for many takeoffs. "The Twist" also caught on with adults when café society worldwide embraced the dance craze—even as teens were moving on to such new steps as "the mashed potato" and "the slop." Frank Sinatra recorded a "Twist" song, "The Flintstones" twisted and Bob Hope quipped, "If they turned off the music, they'd be arrested." Reissued in 1962, Checker's version soared again to the top of the charts, ahead of the other "Twist" records that had inundated the recording industry in the intervening months.
15. "Old Time Music at Clarence Ashley's," Clarence Ashley, Doc Watson, et al. (1960-1962) Born in Tennessee in 1895, singer/banjoist Clarence Ashley grew up steeped in the folk music of Appalachia. In the 1920s and 1930s, he recorded many classic 78s in the old-time style that flourished before bluegrass and modern country music. His music was rediscovered in the 1950s as part of Harry Smith's Anthology of American Folk Music, but no one knew he was alive and well until Ralph Rinzler and John Herald met him at an old-time music contest in 1960. Rinzler arranged to record Ashley, whose band included the much younger Arthel "Doc" Watson—a blind guitarist with similarly deep roots who had also absorbed jazz influences and played in local country and rockabilly bands. Watson turned classic fiddle tunes into blistering guitar showpieces with ease and memorably embellished the old songs he and Ashley sang. These recordings helped make them stars of the folk revival. Over the next 50 years, Watson played all over the world, teaching and inspiring countless young folk musicians.
16. "Hoodoo Man Blues," Junior Wells (1965) "Hoodoo Man Blues" is cited as one of the first studio recordings to capture the energy of a Chicago blues club. Delmark Records owner Bob Koester was so anxious to record an album with blues singer and harmonica player Junior Wells that he allowed Wells to choose his sidemen and songs. Because Koester believed the selected guitarist was contractually obligated to another company, guitarist Buddy Guy was billed as "Friendly Chap" on the original LP release. Koester also allowed Wells to extend the length of his songs when the norm for a blues record was three minutes or less. One bit of bad luck turned out to be a godsend. During the session, Buddy Guy's amplifier quit working and while it was being repaired, engineer Stu Black wired him through the Leslie speaker of the studio's Hammond B-3 organ. This gave Guy's guitar a distinctive sound, easily noticeable on the title cut. Koester later remarked, "I've always been amazed at how rarely reviewers commented on the guitar-organ tracks."
17. "Sounds of Silence," Simon and Garfunkel (1966) The initial success of Simon and Garfunkel can be traced through the evolution of the title of their first hit record. The original acoustic version, called "The Sounds of Silence," was released on their debut album, which sold poorly; the duo split up. Without their knowledge, Columbia Records producer Tom Wilson overdubbed drums, electric guitar and electric bass for the song's release as a single. No stranger to merging rock music with folk lyrics, Wilson that very day had worked on Bob Dylan's "Like a Rolling Stone." This new version of "The Sounds of Silence" climbed the singles charts, prompting Simon and Garfunkel to reunite to record another album, "Sounds of Silence" (in which the single's title was changed to "The Sound of Silence")—this time in the folk-rock style of their surprise hit. The duo's Everly Brothers-influenced harmonies remain, augmented by electric guitars, keyboards, drums and even horns. "Somewhere They Can't Find Me" shows the extent that their sound had changed in such a short time, displaying the influence of British guitarist Davey Graham, who contributed the opening of his now classic "Anji," also covered on the album. Simon and Garfunkel would continue to grow as artists, but their success began with a re-edited single they knew nothing about.
18. "Cheap Thrills," Big Brother and the Holding Company (1968) This hotly anticipated album was Janis Joplin's second release with Big Brother and the Holding Company and her soulful, bluesy singing reaches transcendent heights on the disc. Big Brother and the Holding Company, however, was not just a backing band for Joplin. Part of San Francisco's Haight-Ashbury music scene, it was an excellent psychedelic rock band in its own right that existed before Joplin joined and re-formed after she left later that year. The solid rhythm of Dave Getz's drums, James Gurley's scorching, wildly overdriven guitar solos and the spidery interplay between his and Sam Andrew's guitars on several tracks all attest to the band's expertise. The album's showstopper is the cover of Erma Franklin's "Piece of My Heart," which in Joplin's hands expresses both desperation and endurance. Remarkably, even when her voice seems to be breaking up she stays in tune.
19. "The Dark Side of the Moon," Pink Floyd (1973)
"The Dark Side of the Moon" benefits from the fact that Pink Floyd worked out the songs in live performances for months before going into a studio. When they did, there were such recent technological innovations as 16-track recorders and synthesizers at their disposal. Rather than overdoing it, "The Dark Side of the Moon" is an example of brilliant, innovative production in service of the music. The album is notable for the close vocal harmonies of Richard Wright and David Gilmour and for the double tracking of voices and guitars. More unusual effects include the flanged choir in "Time," the precisely placed delays in "Us and Them," and a tape loop at the beginning of "Money" that was so long a microphone stand had to be used to hold it up. Band member Roger Waters interviewed studio staff and others responding to a series of flashcard questions, then used snippets of their answers throughout the album. Befitting its title, the themes of the concept album are dark—madness, violence, greed and the passage of time culminating in death. As Waters put it, "those fundamental issues of whether the human race is capable of being humane."
20. "Music Time in Africa," Leo Sarkisian, host (July 29, 1973) "Music Time in Africa," first aired in 1965, is the longest-running English-language show in the history of Voice of America (VOA), the U.S. international news and information broadcasting agency. Leo Sarkisian, the creator and host of the program, made his first trip abroad to record traditional music in the field in the late 1950s. A one-time artist and music editor, Sarkisian was recruited in 1963 to work at the VOA by Edward R. Murrow, then director of the United States Information Agency (USIA), the organization responsible for communicating U.S. policy abroad and carrying out much of the government's international information and cultural programs. Over the next 30 years, Sarkisian would record in every nation on the African continent, as well as in Asian countries such as Bangladesh and Pakistan. Letters to Sarkisian from African listeners thanked him for introducing them to music from other nations on the continent. On this representative program from 1973, Sarkisian discusses and presents music recorded in Mauritania. At the time of Sarkisian's retirement in 2012 at the age of 91, his original library numbered over 10,000 one-of-a-kind, reel-to-reel recordings. Housed at VOA headquarters, the Leo Sarkisian Library of African Music (1958-1990s) is being digitized by the University of Michigan.
(This is an interview with Sarkisian from 2013)
21. "Wild Tchoupitoulas," The Wild Tchoupitoulas (1976) Since the 19th century, bands of African-Americans in New Orleans have masqueraded as American Indians during Mardi Gras. They wear elaborate, homemade costumes planned and constructed throughout the year preceding the celebration, and take to the streets chanting merry boasts about their tribes. Their music is one of the many rich strands of New Orleans music, and Indians themselves are celebrated in many songs originating in the city. George Landry, an uncle of the famous Neville Brothers, formed the Wild Tchoupitoulas Indian group in the 1970s. The Nevilles were not yet performing as a group, but two brothers belonged to the Meters, New Orleans' top R&B and funk group. The Meters and the other Nevilles formed the backing group for the Wild Tchoupitoulas album, and with Landry and the other Wild Tchoupitoulas, they celebrated this century-old tradition and broke new musical ground at the same time. Although it was not a success outside of New Orleans, the album has attained classic status and marked the beginning of the Neville Brothers as a performing group.
22. "Ramones," The Ramones (1976) Clash band co-founder Joe Strummer said that the first time he saw The Ramones, the band generated a "white heat" attributable as much to the speed of the songs and volume of the amplifiers as to the fact that "you couldn't put a cigarette paper between the end of one song and the beginning of the next." The band's first album captured the incandescence of guitarist Johnny Ramone's speedy no-nonsense playing, Dee Dee Ramone's propulsive bass and the surfy sonorities of Tommy's drums. The youthful tone of Joey Ramone's singing voice was equally influenced by Iggy Pop and bubblegum rock. When combined with the backing vocals and lyrics portraying teen love and anxiety, it gave the album a strong pop flavor despite its heavy sound and the disturbing aspects of other songs dealing with drug use, Nazism and male prostitution. Recorded on a minuscule budget with little separation between instruments, few overdubs and no guitar solos, the album is an early example of a do-it-yourself aesthetic that inspired thousands of teens to form bands. First-generation British punkers (Strummer, The Sex Pistols, Captain Sensible of the Damned), hardcore bands (Husker Du, Black Flag, The Minutemen), alternative rockers (Nirvana, Sonic Youth, Soundgarden) and post-rockers (Sleater-Kinney) have all been influenced by this recording for more than three decades of punk rock's history.
23. "Saturday Night Fever," The Bee Gees, et al (1977) "Saturday Night Fever," the soundtrack to the popular movie starring John Travolta, was released in November 1977 as the disco dance craze was in decline. The popularity of the album, featuring the Bee Gees trademark falsettos over vibrant and infectious beats, was a major factor in reversing that course. It is estimated that more than 20,000 discotheques opened during the next year, attracting some 36 million patrons. Following "Saturday Night Fever's" success, disco records became a major component of the music business. Along with the Brothers Gibb, this disco masterpiece features songs by Tavares, Yvonne Elliman, K.C. & The Sunshine Band, Kool & The Gang and David Shire.
24. "Einstein on the Beach," Philip Glass and Robert Wilson (1979) Influenced by non-Western music and avant-garde theater, composer Philip Glass and theater director Robert Wilson created "Einstein on the Beach." The nearly five-hour opera incorporated visual images, dance, and both internationally renowned and untrained singers and performers dressed as Albert Einstein. Characterized by one reviewer as "a heterogeneous surreal entertainment of 'spectacle' and 'event,'" "Einstein on the Beach," though lacking in narrative action, provides a series of "living pictures" divided into four acts, nine scenes and five connecting "knee plays." The opera revolves around three recurring visual images: trains, a trial and a spaceship, each with corresponding music. Glass has written, "My main approach throughout has been to link harmonic structure directly to rhythmic structure, using the latter as a base." Premiering in 1976 and called a "mixture of mathematical clarity and mystical allure" by New York Times reviewer John Rockwell, the opera was performed by an ensemble of amplified wind, voices and keyboards, as well as violin solos, solo soprano arias and a cappella choruses.
"The Audience with Betty Carter," Betty Carter (1980) After 20 years as a professional jazz singer that were sometimes frustrating, in 1969 Betty Carter took the difficult and risky step of starting her own label, Bet-Car Records, which proved fortuitous for her. Once she was in charge of her own recording, she entered the most productive and successful phase of her career. Her double album, "The Audience with Betty Carter," was recorded with her instrumental trio during a three-night engagement at San Francisco's Keystone Korner, one of her favorite venues. The material is divided between her original compositions like "Sounds (Movin' On)," her 25-minute tour de force of improvisation and scat singing; an eclectic mix of standards such as "The Trolley Song" and "My Favorite Things"; and more obscure gems such as Charles Henderson and Rudy Vallee's "Deep Night." Throughout, one can appreciate the special rapport with her musicians and listeners that informed her live performances, which enabled her to gain recognition as a superlative musician during a lean era for jazz singers.


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North Warp 2007
North launch the last of their 2007 range actually in 2007!! The sail is split into 2 ranges: 10m and up is for Formula and 9.9m down is for slalom/speed.
The sail will be in the hands of Bjorn Dunkerbeck & Karin Jaggi at this season's numerous PWA Slalom & Speed events and North reckon it's acceleration factor, when powering out of gybes, will be one of the key factors giving their Team and you the edge over fellow competitors!
To achieve this dragster affect the sails have a very high luff tension. But power is nothing without control so in order to maximise top speed and fatigue free control combined with the acceleration factor, Kai devoted a lot of time to optimizing the sail's twist characteristics.
This is what North had to say:
M.B.S.CONFIGURATION (maximum batten stiffness configuration)
For optimum profile stability we used only super stiff tube battens with a large diameter. Apart from two piece tubes (solid tip plus tube with extra large diameter) we used some three piece battens with an oversized second tube over an inner tube for extra stiffness.
Cam Spacer
The Cam Spacer allows sailors to individually tune the camber tension at the mast either remove the cam for ease of rotation or with spacer for more profile stability.
The complete double surface mast pocket is now made with high-tech yacht sail material (PH2X Cloth) with minimum stretch.


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McDonald's, a multibillion-dollar worldwide corporation, attacking a little mom-and-pop restaurant for making a chicken sandwich similar to theirs. I don't get it. If you're truly that upset about that measly 1% not coming to you for that service, MAKE YOURS BETTER. If you want to win them back, then improve what you have to offer. Don't continue in the same unpleasant vein that drove that 1% away from you in the first place, or it will grow to 5%, 10%, 30%. That's not what you want, so why are you doing things to encourage it along?I could suggest many changes that would benefit all women and that would be less likely to drive women away from hospitals. Navelgazing Midwife already has. Of course, home birth would not entirely disappear even with the most progressive hospitals. That's a topic for another post, though...
Tuesday, September 16, 2008
Marketing advice for ACOG
4 comments:
- Anonymous9/16/08, 10:21 PM
Hey now! I'm a long time lurker, but for those of us without a Chick Fil A (small town) we love the Southern Style Chicken! Just Kidding (well sort of)! I love your blog, I think hombirth is a wonderful event, keep up the good work. And congrats on your pink line!ReplyDelete
Woo, I feel like I should start saying smart things now. :P Thanks for the nod!ReplyDelete
Awesome analogy. SO so true.ReplyDelete
In terms of the ACOG (and the AMA for that matter) I was at a recent conference for my branch of the health system (veterinarian) and what I heard that was interesting to me was an explaination for how/why chiropracters (which, at one time was considered "quack" medicine) have now become mainstream ...I did not realize that in the 1970s/early 80s there was a law suit filed against the AMA by four chiropracters and the AMA was essentially found guilty of conspiracy to keep chiropracters under wraps (Wilk vs AMA) - sounded somewhat similar to the whole midwife/homebirth situation. Personally, I think it is time we take the AMA to task and make midwives and homebirths the rule rather than the exception.ReplyDelete


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Saint Bernardino of Siena, O.F.M. (also known as Bernardine; 8 September 1380 – 20 May 1444) was an Italian priest, Franciscan missionary, and is a Catholic saint. He is known in the Roman Catholic Church as "the Apostle of Italy" for his efforts to revive the country's Catholic faith during the 15th century.[1] His preaching was frequently directed against gambling, witchcraft, sodomy and usury - particularly as practiced by Jews.
Two hagiographical lives of Bernardino of Siena were written by two of his friends; the one the same year in which he died, by Barnaby of Sienna; the other by Maffei Veggio, soon after his death.[2]
Bernardino was born in 1380 to the noble Albizeschi family in Massa Marittima (Tuscany), a Sienese town of which his father, Tollo, was then governor. Left orphaned at six, he was raised by a pious aunt. In 1397, after a course of civil and canon law, he joined the Confraternity of Our Lady attached to the hospital of Santa Maria della Scala church. Three years later, when the plague visited Siena, he ministered to the plague-stricken, and, assisted by ten companions, took upon himself for four months entire charge of this hospital.[3] He escaped the plague but was so exhausted that a fever confined him for several months.[4] In 1403 he joined the Observant branch of the Order of Friars Minor (the Franciscan Order), with a strict observance of St. Francis' Rule. Bernardino was ordained a priest in 1404 and was commissioned as a preacher the next year.[5] About 1406 St. Vincent Ferrer, a Dominican friar and missionary, while preaching at Alessandria in the Piedmont region of Italy, allegedly foretold that his mantle should descend upon one who was then listening to him, and said that he would return to France and Spain, leaving to Bernardino the task of evangelizing the remaining peoples of Italy.[3]
The period of Bernardino's public engagement coincided with a time when the Catholic Church was responding actively (through civil and armed means) to pressures that it regarded as heretical, and which were gaining popularity in southern France and northern Italy, as well as to pressures of some reformed monastic orders. Instead of remaining cloistered and preaching only during the liturgy, Bernardino preached directly to the public.
For more than 30 years, Bernardino preached all over Italy and played a great part in the religious revival of the early fifteenth century. Although he had a weak and hoarse voice, he is said to have been one of the greatest preachers of his time.[4] His style was simple, familiar, and abounding in imagery. Cynthia Polecritti, in her biography of Bernardino, notes that the texts of his sermons "are acknowledged masterpieces of colloquial Italian." He was an elegant and captivating preacher, and his use of popular imagery and creative language drew large crowds to hear his reflections. And, as Polecritti also notes, the subject matter of his sermons reveals much about the contemporary context of 15th-century Italy.[6]
He traveled from place to place, remaining nowhere more than a few weeks. These journeys were all made on foot. In the towns, the crowds assembled to hear him were at times so great that it became necessary to erect a pulpit on the market-place.[7] Like Vincent Ferrer, he usually preached at dawn. His hearers, so as to ensure themselves standing room, would arrive beforehand, many coming from far-distant villages. The sermons often lasted three or four hours. He was invited to Ferrara in 1424, where he preached against the excess of luxury and immodest apparel. In Bologna, he spoke out against gambling, much to the dissatisfaction of the card manufacturers and sellers. Returning to Siena in April 1425, he preached there for 50 consecutive days.[7] His success was claimed to be remarkable. "Bonfires of the Vanities" were held at his sermon sites,[3] where people threw mirrors, high-heeled shoes, perfumes, locks of false hair, cards, dice, chessmen, and other frivolities to be burned. Bernardino enjoined his listeners to abstain from blasphemy, indecent conversation, and games of hazard, and to observe feast days.[7]
Both while he was alive and after his death (the first edition of his works, for the most part elaborate sermons, was printed at Lyon in 1501), Bernardino's legacy was far from benign: of fanatical moralizing temperament, he preached fiery, intransigent sermons against many classes of people. His sermons were riddled with ostensible anti-Semitism, misogyny, and homophobia. He demonized many women as "witches", and called for homosexuals (or "sodomites" as he called them) to be either completely isolated from society or eliminated from the human community. He thus became a major exponent of what historian Robert Moore has called "the persecuting society" of late medieval Christian Europe.[8]
Bernardino is particularly regarded today as being a "major protagonist of Christian anti-semitism". He called for Jews to be isolated from the wider communities in which they lived; blaming the poverty of local Christians on Jewish usury. His audiences often used his words to reinforce actions against Jews, and his preaching left a legacy of resentment on the part of Jews.[9]
On sodomy (particularly homosexuality), he keenly pointed out the reputation of the Italians beyond their own borders.[10] He particularly decried Florentine lenience; in Verona, he approvingly reminded listeners that a man was quartered and his limbs hung from the city gates; in Genoa, men were regularly burned; and in Venice a sodomite had been tied to a column along with a barrel of pitch and brushwood and set to fire. He advised the people of Siena to do the same. In 1424 he dedicated three consecutive sermons in Florence to the subject, in the course of a Lenten sermon preached in Santa Croce, he admonished his hearers:
Whenever you hear sodomy mentioned, each and every one of you spit on the ground and clean your mouth out as well. If they don't want to change their ways by any other means, maybe they will change when they're made fools of. Spit hard! Maybe the water of your spit will extinguish their fire.[11]
In Siena he preached a full sermon against sodomy (including homosexuality) in 1425 and then 1427. Over time his teachings helped mould public sentiment and dispel indifference over controlling sodomy more vigorously. Everything unpredictable or calamitous in human experience he attributed to sodomy, including floods and the plague. As well as linking sodomy to local population decline[12]
Especially known for his devotion to the Holy Name of Jesus,previously associated with John of Vercelli and the Dominican order, Bernardino devised a symbol—IHS—the first three letters of the name of Jesus in Greek, in Gothic letters on a blazing sun. This was to displace the insignia of factions (for example, Guelphs and Ghibellines). The devotion spread, and the symbol began to appear in churches, homes and public buildings. Opponents thought it a dangerous innovation.[4] Nonetheless, Bernardino used the devotion to calm strife-torn cities, reconciling feuds and factionalism by his counsel and performing miracles.
In 1427 Bernardino was summoned to Rome to stand trial on charges of heresy himself for his promotion of this devotion to the Holy Name of Jesus. Theologians including Paulus Venetus gave their opinions. Bernardino was found innocent of heresy, and he impressed Pope Martin V sufficiently that Martin requested he preach in Rome. He thereupon preached every day for 80 days. Bernardino's zeal was such that he would prepare up to four drafts of a sermon before starting to speak. That same year, he was offered the bishopric of Siena, but declined in order to maintain his monastic and evangelical activities. In 1431, he toured Tuscany, Lombardy, Romagna, and Ancona before returning to Siena to prevent a war against Florence. Also in 1431, he declined the bishopric of Ferrara, and in 1435 he declined the bishopric of Urbino.[13]
John Capistran was his friend, and James of the Marches was his disciple during these years. Cardinals urged both Pope Martin V and Pope Eugene IV to condemn Bernardino, but both almost instantly acquitted him. A trial at the Council of Basel also ended with an acquittal. Holy Roman Emperor Sigismund sought Bernardino's counsel and intercession and Bernardino accompanied him to Rome in 1433 for his coronation.
Soon thereafter, he withdrew again to Capriola to compose a further series of sermons. He resumed his missionary labours in 1436, but was forced to abandon them when he became vicar-general of the Observant branch of the Franciscans in Italy in 1438.
Bernardino had worked to grow the Observants from the outset of his religious life: although he was not in fact its founder ( - the origins of the Observants, or Zelanti, can be traced back to the middle of the fourteenth century.) Nevertheless, Bernardino became to the Observants what St. Bernard had been to the Cistercians, their principal support and indefatigable propagator. Instead of one hundred and thirty Friars constituting the Observance in Italy at Bernardino's reception into the order, it counted over four thousand shortly before his death. Bernardino also founded, or reformed, at least three hundred convents of Friars. Bernardine sent missionaries to different parts of Asia, and it was largely through his efforts that many ambassadors from different schismatical nations attended the Council of Florence in which we find the saint addressing the assembled Fathers in Greek.[3]
Being Vicar General inevitably cut back his opportunities to preach, but he continued to speak to the public when he could. Having in 1442 persuaded the pope to finally accept his resignation as vicar-general so that he might give himself more undividedly to preaching, Bernardino again resumed his missionary work. Despite a Papal Bull issued by Pope Eugene IV in 1443 which charged Bernardino to preach the indulgence for the Crusade against the Turks, there is no record of his having done so. In 1444, notwithstanding his increasing infirmities, Bernardino, desirous that there should be no part of Italy which had not heard his voice, set out to the Kingdom of Naples.
He died that year at L'Aquila, in the Abruzzi. According to tradition, his grave continued to leak blood until two factions of the city achieved reconciliation.
Bernardino was a great systematizer of Scholastic economics. His greatest contribution to economics was a discussion and defense of the entrepreneur. His book, On Contracts and Usury, dealt with the justification of private property, the ethics of trade, the determination of value and price, and the usury question.[13]
In January 1427 he was in Orvieto, where he preached on the topic of usury, urging the executive to take stringent steps against all such as were addicted to this business, of whom the majority were Jews. In Milan, he was visited by a merchant who urged him to inveigh strenuously against usury, only to find that his visitor was himself a prominent usurer, whose activities were prompted by a wish to lessen competition.[7]
Reports of miracles attributed to Bernardino multiplied rapidly after his death, and Bernardino was canonized as a saint in 1450, only six years after his death, by Pope Nicholas V. His feast day in the Roman Catholic Church is on 20 May, the day of his death.
Bernardino lived into the early days of the print and was the subject of portraits in his lifetime, as well as a death-mask, which were copied to make prints, so that he is one of the earliest saints to have a fairly consistent appearance in art; though many Baroque images, such as that by El Greco, are idealized compared to the realistic ones made in the decades after his death.
After his death, the Franciscans promoted an iconographical program of diffusion of images of Bernardino, which was second only to that of the founder of the order. As such, he is one of the earliest saints whose appearance was given a distinct and readily recognisable iconography. Artists of the late medieval and Renaissance periods often represented him as small and emaciated,[14] with three mitres at his feet (representing the three bishoprics which he had rejected) and holding in his hand the IHS monogram with rays emanating from it (representing his devotion to the "Holy Name of Jesus"), which was his main attribute.[15] He appears to have been a favourite in the works Luca della Robbia, and one of the finest examples of Renaissance art includes relief carvings of the saint, which can be seen on the oratory of Perugia Cathedral.
A portrait is known to have circulated in Siena just after Bernardino's death which, on the basis of physiognomic similarities with his death mask at L'Aquila, is believed to have been a good likeness. It is thought probable that many subsequent depictions of the saint derive from this portrait.
The most famous depictions of Bernardino are found in the cycle of frescoes of his life, which were executed towards the end of the fifteenth century by Pinturicchio in the Bufalini Chapel of Santa Maria in Aracoeli, Rome. There is also an altar panel at the Alte Pinakothek in Berlin, done by Pietro Perugino, known as The Virgin appearing to St. Bernard. This shows the saint experiencing a vision of the Virgin Mary.
Saint Bernardino is the Roman Catholic patron saint of advertising, communications, compulsive gambling, respiratory problems, as well as any problems involving the chest area. He is the patron saint of Carpi (Italy); the Philippine barangay Kay-Anlog; the barangay Tuna in Cardona, Rizal; and the diocese of San Bernardino, California. Siena College, a Franciscan Catholic liberal arts college in New York state, was named after him and placed under his spiritual patronage.
His cult also spread to England at an early period, and was particularly promulgated by the Observant Friars, who first established themselves in the country in Greenwich, in 1482, not forty years after his death, but who were later suppressed.[14]
San Bernardino County, California, California State University, San Bernardino, California, Mexico, San Bernardino Mountains


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The DTS Powermark engine dynamometer carries a reputation as the most durable water brake engine dynamometer available. Most DTS Powermark customers have operated their dynos for 20+ years without replacing a bearing or seal in the absorber and as a result these dynamometers command a premium on the used market. The problem is the data acquisition system was designed in 1988 with components from the early 1980s so it lacks features and capacity to adequately test modern engines and the majority of the electrical components required to service the data acquisition and control system are no longer available.
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SuperFlow's WinDyn® 4.0 Software is the most feature-rich system available for dynamometers today. We've included all the tools you need to make a SuperFlow® dynamometer a successful piece of your business. WinDyn® is preconfigured with industry standard tests to get you up and running quickly. But, we didn't stop there… We've also developed powerful configuration and test editors that offer you complete, customized control of the dynamometer, the test cell and the tests you're running.
The SuperFlow sensor box is the brain of the 139 channel WinDyn data acquisition system. Its advanced electronics measures high-resolution data at up to 2,500 Hz depending on the channel and sends the data to the operator station via a simple Ethernet connection for live monitoring.
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Website design and development by Spindustry Digital, Des Moines, Iowa


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Napoli thrilled to be returning to World Series champs
BOSTON -- Sure, there was a business element to Mike Napoli's free-agent negotiations. However, the slugger made it clear that his top priority was to remain with the Red Sox, and he got his wish.
A week after agreeing to terms on his new two-year, $32 million pact that will have him taking aim at the Green Monster through the end of 2015, Napoli and the Red Sox formalized the contract with a conference call on Friday afternoon.
BOSTON -- Sure, there was a business element to Mike Napoli's free-agent negotiations. However, the slugger made it clear that his top priority was to remain with the Red Sox, and he got his wish.
A week after agreeing to terms on his new two-year, $32 million pact that will have him taking aim at the Green Monster through the end of 2015, Napoli and the Red Sox formalized the contract with a conference call on Friday afternoon.
"There were a lot of teams [interested] actually," said Napoli. "I'm not going to get into specifics, but there were a lot of teams in it, but ultimately it came down to [the fact that] I told my agent I wanted to come back to Boston and play there. We were able to get something worked out."
Like many of the players general manager Ben Cherington signed in the offseason prior to the 2013 season, Napoli fit in seamlessly both in the lineup and in the clubhouse.
Napoli can now continue the relationship for at least a couple of more years, providing protection for David Ortiz in the lineup and giving the Red Sox a solid glove at first base.
Winning the World Series was pretty much the best time Napoli has had in his career, and he made sure to enjoy it, hanging around Boston for a couple of weeks after the fact.
"I definitely had a good time after the World Series," Napoli said. "I just spent time with my family and my friends, the fans and the people in Boston. It was a great time, something I'll never forget."
It's also something that won't make Napoli content. If anything, he now has a burning desire to experience the same thing all over again -- hopefully in 2014.
"I think after going through this, being able to sit down and realize what happened for me, it makes me hungry," said Napoli. "I started training again and I can't wait to get back on the field, be with my teammates again and try to do it again."
After the complications of last winter, when an MRI revealed that Napoli had necrosis in his hips and his original three-year deal was turned into a one-year contract, Napoli was glad his physical was straightforward this time around.
And when you tack his current two-year deal on to the one he got last year, he ended up getting his three years after all, making a total of $45 million instead of the original three-year, $39 million pact that fell apart.
"After going through what I went through last year, it was definitely a relief just to go through this and it was easier than last year," Napoli said. "Ultimately, I'm happy to be back. I wanted to be in a place to be comfortable and in a place where I could win."
"There are no special covenants or anything like that related to the hip," Cherington said. "We're confident that Mike is healthy and we feel he's going to be a big part of our team over the next couple years."
Getting Napoli back in the fold was no small part of Boston's offseason blueprint.
"It was important," Cherington said. "It was clearly one of our priorities as we got into the offseason. Having spent several months around him, it became very clear that he was not just a really important part of the team on the field and what he does on the field, but he was a particularly important guy in the clubhouse.
"Really, just a lot of things that Mike does as a player are things that we believe in strongly. He's accountable, he's responsible, he's prepared, he's a unique player in a lot of different ways. Obviously if you talk about the power and all that, and he certainly has power, but he just does a lot of things on the field that we think help the team win. He's an excellent baserunner.
"He worked his tail off to become an excellent defender at first base. He sees a ton of pitches. Even when the results aren't good, he sees a ton of pitches, so there are just a lot of things he does that contribute. So it's important on a number of levels for us to bring him back."
Though the offseason can sometimes feel quick for a player when he comes off a World Series championship, Napoli sounds like a man who can't wait to reunite with his teammates in Fort Myers, Fla., in a couple of months.
"As a player, it was probably the best time I ever had being around the group of guys," Napoli said. "It was a lot of fun going to the park seeing those guys, going to the park every day and seeing what was going to happen every day. It was fun going to the ballpark every day."
Ian Browne is a reporter for MLB.com. Read his blog, Brownie Points, and follow him on Twitter @IanMBrowne.


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Flat eye contour brush with synthetic fibres for shading
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We look forward to investing in, and supporting, extraordinary people and businesses that address the consequences of climate change, increasing demand for low carbon energy, and stress on the Earth's natural resources. We believe innovative solutions to these global challenges will benefit society and offer outstanding investment opportunities.
Leveraging a 37 year friendship and business partnership between the principals, Roger Strauch and Dan Miller, The Roda Group is committed to sharing its collective wisdom, extensive network of contacts, and financial resources to build the businesses with which we are associated.
The Roda Group's most recent investments:
Axine based in Vancouver, Canada, has developed a low-cost, chemical-free solution for treating high concentrations of problematic, toxic organics, ammonia, and other pollutants in industrial wastewater solving a multi-billion dollar problem for large companies in a wide range of industries. Its energy-efficient, scalable system treats recalcitrant and non-biodegradable organics, ammonia, and some inorganics (up to 10,000 mg/L COD) at up to five times lower cost than conventional chemical or biological solutions.
Gridtential Energy, Inc., based in San Jose, California, is developing an advanced lead-acid battery that incorporates semiconductor wafers in the battery which results in more depth and rate of discharge and longer lifetime. The combination of a well-established battery chemistry with a manufacturing process from the semiconductor industry is expected to produce batteries with significantly better performance and lower cost, especially in energy storage and traction applications.
Inventys Thermal Technologies, based in Vancouver Canada, has developed a post-combustion CO2 capture technology for coal and natural gas power plants. The Inventys VeloxoTherm™ system can capture CO2 for $15 a metric ton (capture only), which is a fraction of the cost of existing solutions. The system is also a fraction of the size of current chemical-based capture systems, making it much easier to retrofit existing power plants. The markets for the VeloxoTherm™ system includes Enhanced Oil Recovery (EOR), Carbon Capture and Sequestration (CSS), and providing CO2 feedstocks for chemical manufacturers. The company recently secured $9 million dollars in Canadian and British public financing for pilot plant facilities.
mOasis, based in based in Berkeley, California, has developed a polymer based soil amendment called BountiGel™ that increases water and nutrient retention around the seeds and roots of plants. The BountiGel "aquamer" is low cost, non-toxic, and lasts for many rain or irrigation cycles. Several dozen well regarded California farmers and agricultural institutions have tested the product and the results show an increased crop yield of 25% with 25%+ less irrigation water for some crop and soil types. BountiGel offers a compelling value proposition to farmers in a water-constrained world.
Latest News
24 May 2018 - New silicon-based lead-acid batteries could power new generation of micro-hybrids
13 Feb. 2019 - Vancouver-based innovator Axine offers a solution for wastewater treatment
28 June 2018 - Even if you're not into ag tech, these 4 innovations are just cool
17 Mar 2019 - The growing market of everyday products made from greenhouse gases


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DOGGIES necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 229 diseños de 44 diseñadores freelance.
My name is Angela and next month I'll launch a new website about dogs, named DOGGIES.
DOGGIES' is a search engine for dog owners, containing categories such as Dogspots (fun places to go to with your dog), Dogwalks, Dogtivities (agenda with activities and events about/for dogs), Doggie Daycare Centre, etc. All visitors to the site can add content (companies, locations, activities) to complete the data.
My goal is to make DOGGIES the new Dutch Wiki-Dog-Pages ;)
Dog owners and lovers
I am looking for a very simple yet happy and rascally logo containing the image of a dog (with or without body/legs, your choice) + my company name, DOGGIES (in capitals).
I would like the logo to be in black and white with or without black or gray filling for the ears or a simple spot around the eye or on the body. The logo will be used on bright colored backgrounds.
To give you an idea of the type of dog I'm looking for, I've attached two documents with a few examples (please ignore the colors). I like hand drawn or doodle style images as well as computer animated ones. These examples are just rough guidelines. Feel free to be creative!
I like bold, handwritten fonts and I love fonts like Sudsy, Sundae and Sudsy Outline (http://www.myfonts.com), but I'm open to other suggestions.
The winning dog image will become DOGGIES' mascot. Therefore it's important that he dog image (without the company name) is suitable to express different emotions and activities. If possible, please show me one or two suggestions for this.
Keywords: Simple, Fun, Rascally.
Thank you and Good Luck!
PS. I am not sure what format I will need the logo in yet; please make sure you can supply me with the logo in different formats if needed.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Nice article here by Kareem Copeland on Woodson's evolving role on defense. The article talks about how Woodson was essentially playing safety a fair amount in yesterday's game. For a while now in fact, he has been playing both safety and CB – depending on the play calls from Dom Capers. This article has a nice breakdown of this.
One interesting thing I noticed last night watching the Steelers play the Colts was just how similar Woodson and Polamalu function out there. Both creep up at the line and then either blitz, run down a runner, fake the blitz and drop into coverage – etc. Both create nightmares for QBs as QBs worry about what they might do. I don't think it would be a stretch to argue that part of the reason for the success of both LeBeau and Capers is their decision to use players like Woodson/Polamalu in these roaming/havoc causing roles. Just makes sense and at the very least – casts an annoying doubt in the mind of the opposing QB.


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95 Mustang Wiring Diagram Download | Wiring Diagram 95 mustang wiring diagram Collection-99 04 mustang fog light wiring diagram wiring diagram rh01 Mustang Fog Light Fuse Diagram - Diagram Of Fuse Box On 01 Mustang. welcome to my blog here I will show you a little more what you are looking for Diagram Of Fuse Box On 01 Mustang below there are some photos and a little about Diagram Of Fuse Box On 01 Mustang that you can see and read, hopefully in accordance with what you are looking for.. Nov 22, 2018 · 1969 mustang fuse box wiring diagram in addition 71 f100 fuse box furthermore 72 monte carlo wiring harness moreover 1969 shelby wiring diagram along with pontiac firebird fog light relay wiring diagram in addition 64 chevy pickup fuse box wiring diagram together with free 71 mustang wiring diagram as well as 67 mustang front suspension as well as 1994 jeep cherokee. 99-04 mustang fog light wiring diagram including 1967 mustang wiring diagram along with 1992 mustang wiring diagram along with 1985 mustang wiring diagram together with 70 mustang wiring diagram furthermore 82 mustang wiring diagram as well as 1993 mustang wiring diagram pdf also with wiring diagram 1984 mustang 302 also with.
2005 Mustang Fog Lights Diagram ~ welcome to our site, this is images about 2005 mustang fog lights diagram posted by Benson Fannie in 2005 category on Oct 20, 2018. You can also find other images like wiring diagram, parts diagram, replacement parts, electrical diagram, repair manuals, engine diagram, engine scheme, wiring harness, fuse box, vacuum diagram, timing belt, timing. 01 mustang headlight switch wiring diagram furthermore wiring diagram autocad file as well as schematics h along with 1291582 duraspark 2 tachometer wiring also 70 chevy blower motor wiring diagram together with ap7l 15573 as well as wiper motor schematic moreover 2006 chevy impala wiring diagram as well as suzuki bandit ignition wiring diagram along with 1966 ford aftermarket wiring. Aug 10, 2018 · Anyone know whick tab on the relay is the ground? im trying to get my fog lights to stay on with my high beams..
67 Mustang Wiring For Fog Lights (Oct 21, 2018) ― Knowledge about 67 mustang wiring for fog lights has been published by Maria Rodriquez and tagged in this category. Sometimes, we might have to slightly modify the design, colour, or even accessories. We require a whole new thought for it then one of these is this 67 mustang wiring for fog lights.. In the engine compartment fuse box, check the 20A DRL, FOG, HORNS FUSE and confirm that the FOG LAMPS RELAY is in place. Fog lamp operation depends upon the DRL setting so the DRL circuit may be defective which would account for the headlight problems.. The fog light feed starts on the passenger side with a blue 2-plug which exits next to all the other light plugs below the radiator. 1 side has a grey wire (+) and the other side is black (-). The black wire junctions into a ground "joint" about 6 inches into the harness..
Listed below is the vehicle specific wiring diagram for your car alarm, remote starter or keyless entry installation into your 1999-2004 Ford Mustang.This information outlines the wires location, color and polarity to help you identify the proper connection spots in the vehicle.. 01 F150 Fog Light Wiring Diagram ~ you are welcome to our site, this is images about 01 f150 fog light wiring diagram posted by Benson Fannie in Diagrams category on . You can also find other images like wiring diagram, parts diagram, replacement parts, electrical diagram, repair manuals, engine diagram, engine scheme, wiring harness, fuse box, vacuum diagram, timing belt, timing. Apr 29, 2005 · Instead of re-wiring the foglights I stumbled across this. Fog Light Mod: Cut one terminal off of the Fog Light Relay which keeps the fogs on when your high beams are on..
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Car Audio Tips Tricks and How To's : 1995-2002 Toyota 4Runner Fog ... Fuse Relay Wire Wiring Location For Factory Fog Lights Toyota 4Runner


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Ford was 9 years old the day I dropped him off for his first Little League practice. He ran from the car with only his glove and a bottle of water, then he turned around and came back.
"I don't think that's my team," he said, pointing with his thumb at the ball field behind him.
I looked out across the playground and beyond the fence with yellow plastic on it. Boys who looked like small men were playing catch.
"They do look older, don't they?" I said. "But the coach said to meet here, and that's the field, so …"
Ford headed to the ball field again, a little slower this time. As I watched him go, I noticed his loose baseball pants and how his small, bouncy steps were still those of a little boy.
By the second year of Little League, Ford had grown an inch or two, but he was still the smallest on the team. Our league keeps players together and with the same coach for all four years, so Ford's teammates — the older ones, especially — were like mentors for him. The experience of Little League was as much about the game as it was time in the dugout.
On the field, what little experience Ford had was starting to show — from the way he handled the ball to his more confident stance at the plate. But he still missed more pitches than he hit, and he usually got on base by way of the other team's errors.
Ford began his third year of Little League with his younger brother Owen. It was an exciting season to be on the team. They won all but two games and went on to win the championship. Another highlight for Ford was when the coach asked him to pitch a few games. Physically, his shoulders were getting (just barely) broader, and he had outgrown some of his pants.
Ford began his fourth and final year of Little League with "A Field of Dreams"-style aspirations. He was a team captain, one of the big kids — the ones who hit home runs or stole bases — that he remembered looking up to. But while some of his friends had already had their growth spurts, Ford was still among the shortest.
He had become a great fielder with "a soft glove," as one of the dads put it, and I no longer held my breath each time the ball came his way. I knew he would make the play. But he wasn't a big hitter. (A growth spurt probably would have helped with that.)
Ever aware that this was his last year, Ford went into each game with a growing sense of bittersweetness. After the last game, the coach called Ford up in front of the team. He choked on his words as he said goodbye to him, and tears made tracks down Ford's dirty face.
You probably wanted a happy ending for this, but there isn't one. Ford never hit a home run. He wasn't the hot-shot pitcher. And he still hasn't hit his growth spurt. What's worse: He didn't make the All-Star team.
These are moments we can't make better for our children.
Ford shut himself in his room that night, angry at the world. While I cried myself, I took out his first and last years' team pictures and looked at them side-by-side. At 9 years old, his big, eager smile said, "I can't believe I'm on Little League!" At 12, his tough-guy stare with only a glimmer of a smile revealed just how tumultuous and ambiguous these years must feel. Little League was Ford's boyhood, and now it's gone. As the oldest of three brothers, he has no one to show him what's next.
Yet, even though Ford has not reached his height, and he's stuck in the difficult place between being a boy and a young man, when I looked at those pictures, I knew he had grown in perhaps a more important way. He had just learned that we don't always get what we want, even when it's all we've ever wanted. He learned that life sometimes feels unfair and not everything comes easily. He had learned that wanting something and earning something are two different things. And soon, I hoped, he would also learn that disappointment gets easier over time, and, if we let it, makes us more determined in the future.
Which reminded me of a column titled "Lessons from the Dugout" that I wrote when Ford first started tee-ball. I had wanted to go into the dugout and "save him" from kids who might make fun of him after missing the ball.
But my husband had said, "Do not go in the dugout." Some things, he told me, Ford had to learn on his own.
So I wrote: "I guess being a mother means allowing you to have experiences that will break my heart, even while they build your character."
This column also appears in Sarah Smiley's book, Got Here as Soon as I Could.