text:
Armodafinil in Treating Fatigue Caused By Radiation Therapy in Patients With Primary Brain Tumors
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01032200
Recruitment Status : Completed
First Posted : December 15, 2009
Results First Posted : February 13, 2017
Last Update Posted : September 10, 2018
- Study Details
- Tabular View
- Study Results
- Disclaimer
- How to Read a Study Record
RATIONALE: Armodafinil may help relieve fatigue and improve quality of life in patients with cancer receiving radiation therapy to the brain.
PURPOSE: This clinical trial is studying how well armodafinil works in treating fatigue caused by radiation therapy in patients with primary brain tumors.
|Condition or disease
|Brain Tumors Nervous System Tumors Cognition Disorders Fatigue
|Drug: Armodafinil Other: placebo
|Phase 2
- To estimate study accrual, adherence, retention, and participation of patients with primary brain tumors undergoing partial- or whole-brain radiotherapy who are randomized to receive armodafinil or placebo.
- To estimate the variability of fatigue, quality of life, and neurocognitive function in these patients.
- To obtain a preliminary estimate of the effect of armodafinil on fatigue as measured by the fatigue subscale of the FACIT-F and the Brief Fatigue Inventory.
- To estimate the rates of toxicity and adverse events associated with armodafinil.
- To obtain preliminary estimates of the effect of armodafinil on sleepiness as measured by the Epworth Sleep Scale; overall quality of life and brain-specific quality of life as measured by the FACT-G with the brain subscale; and cognitive function as measured by a comprehensive Wake Forest Cognitive Function Battery.
OUTLINE: This is a multicenter study. Patients are stratified according to therapy (radiotherapy alone vs radiotherapy and chemotherapy) and Karnofsky performance status (60-80% vs 90-100%). Patients are randomized to 1 of 2 arms.
- Arm I: Patients receive oral armodafinil once daily beginning no later than the fifth fraction of brain radiotherapy and continuing for 9-11 weeks in the absence of unacceptable toxicity.
- Arm II: Patients receive oral placebo once daily beginning no later than the fifth fraction of brain radiotherapy and continuing for 9-11 weeks in the absence of unacceptable toxicity.
Patients complete questionnaires assessing fatigue, quality of life, and neurocognitive function at baseline and periodically during study.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|54 participants
|Intervention Model:
|Parallel Assignment
|Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
|Primary Purpose:
|Supportive Care
|Official Title:
|A Feasibility Study of Armodafinil for Brain Radiation-Induced Fatigue
|Study Start Date :
|August 2010
|Actual Primary Completion Date :
|November 2013
|Actual Study Completion Date :
|November 2013
Experimental: Arm I - Armodafinil
Patients receive oral armodafinil once daily beginning no later than the fifth fraction of brain radiotherapy and continuing for 9-11 weeks in the absence of unacceptable toxicity.
Drug: Armodafinil
Given orally
Placebo Comparator: Arm II - Placebo
Patients receive oral placebo once daily beginning no later than the fifth fraction of brain radiotherapy and continuing for 9-11 weeks in the absence of unacceptable toxicity.
Other: placebo
Given orally
- Retention [ Time Frame: 4 weeks post-RT (approximately 3 months post randomization) ]Retention is defined as the percentage of participants who complete the 4 week post-RT questionnaires.
- Adherence [ Time Frame: 4 weeks post-RT (approximately 3 months post randomization) ]Adherence is the percentage of ideal number of pills taken while on study (based on returned diaries)
- Fatigue [ Time Frame: 4 weeks post-RT ]Fatigue is measured by the fatigue subscale of the Functional Assessment of Chronic Illness Therapy Questionnaire. It consists of 13 questions each answered on a 0 to 4 scale. The fatigue score is the sum of the responses with some questions reverse scored. The total Score ranges from 0 to 52, with higher scores indicating less fatigue.
- Sleepiness [ Time Frame: 4 weeks post-RT ]Sleepiness as measured by the Epworth Sleep Scale. It consists of 8 questions that measure daytime sleepiness in which the patient records their likelihood of dozing or sleeping during a number of routine daily activities. ESS scores range from 0 to 24. Higher scores denote greater sleepiness.
- HVLT-IR [ Time Frame: 4 weeks post-RT ]HVLT-IR is the Hopkins Verbal learning test - immediate recall. Participants are given 12 words to remember. They are then asked to recall those words. This is repeated 3 times. Minimum recalled words 0 maximum 36. The HVLT-IR score is the sum of correctly recalled words across the three trials. Higher scores indicate better recall.
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria
Histologically confirmed primary brain tumor, including any of the following:
- Glioblastoma multiforme
- Anaplastic astrocytoma
- Anaplastic oligodendroglioma
- Anaplastic mixed oligoastrocytoma
- Low-grade glioma
- Meningioma
- Ependymoma
- Other primary brain tumor histologies
Planning to undergo external-beam cranial radiotherapy (partial- or whole-brain radiotherapy) meeting all of the following criteria:
- Total dose ≥ 4,500 cGy
- Total number of fractions ≥ 25 fractions
- Dose per fraction ≥ 150 cGy
- Karnofsky performance status 60-100%
- Hemoglobin ≥ 10.0 g/dL (erythropoietin or transfusion allowed for symptomatically anemic patients with a hemoglobin < 10 g/dL)
- Creatinine ≤ 2 mg/dL
- Total bilirubin ≤ 2 times upper limit of normal (ULN)
- SGOT and SGPT ≤ 3 times ULN
- Not pregnant or nursing
- Negative pregnancy test
Sexually active women of childbearing potential must use a reliable method of birth control
- It is recommended that patients use non-hormonal contraceptives, in addition to or in place of hormonal contraceptives, during and for one month following treatment with armodafinil
- Prior malignancies allowed
Exclusion Criteria:
- No baseline headaches (i.e., headaches occurring in the week before baseline assessment) of grade 4 severity (defined as severe and disabling headaches, requiring analgesics, and interfering with and preventing function or activities of daily living)
No concurrent uncontrolled illness that may cause fatigue; interfere with drug absorption, distribution, metabolism, or excretion; or limit compliance with study requirements including, but not limited to, any of the following:
- Ongoing or active infection
- Chronic renal insufficiency
- Psychiatric illness (psychosis, psychotic disorder, history of suicide attempt, or actively suicidal)
- Extreme social situations (e.g., transportation issues that would preclude study compliance)
- Patients with a history of cardiac issues (symptomatic congestive heart failure, unstable angina pectoris, cardiac arrhythmia) should not use armodafinil as it may cause chest pain, palpitations, dyspnea, and transient ischemic T-wave changes on ECG
- No history of allergic reaction attributed to modafinil or armodafinil
- No anticipated or planned excessive consumption of coffee, tea, and/or caffeine-containing beverages averaging > 600 mg of caffeine/day (i.e., approximately 6 cups of coffee/day, 12 cups of hot tea/day, or 12 cans of cola/day)
- See Disease Characteristics
- No prior fractionated external-beam cranial radiotherapy
- More than 30 days since prior monoamine oxidate inhibitors or investigational drugs
- More than 2 weeks since prior and no concurrent modafinil (Provigil), donepezil (Aricept), memantine hydrochloride (Namenda), methylphenidate (Ritalin), dextroamphetamine-amphetamine (Adderall), ginkgo biloba, or any other cognitive function-enhancing drugs
- At least 4 weeks since prior and no concurrent interstitial or intracavitary chemotherapy and/or radiotherapy or stereotactic radiosurgery (i.e., Gamma Knife, Linac, or Cyberknife)
- No concurrent erythropoietin, transfusion, or iron therapy (unless patient is symptomatically anemic with hemoglobin < 10 g/dL)
- Concurrent chemotherapy allowed
Concurrent hormonal therapy for other malignancies allowed
- No concurrent non-hormonal therapy (e.g., Herceptin and other targeted agents), or cytotoxic chemotherapy
- No concurrent clopidogrel bisulfate (Plavix)
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01032200
|United States, North Carolina
|Wake Forest University Comprehensive Cancer Center
|Winston-Salem, North Carolina, United States, 27157-1096
|Principal Investigator:
|Edward G. Shaw, MD
|Wake Forest University Health Sciences
|Responsible Party:
|Wake Forest University Health Sciences
|ClinicalTrials.gov Identifier:
|NCT01032200 History of Changes
|Other Study ID Numbers:
U10CA081851 ( U.S. NIH Grant/Contract )
REBACCCWFU97509 ( Other Identifier: NCI )
|First Posted:
|December 15, 2009 Key Record Dates
|Results First Posted:
|February 13, 2017
|Last Update Posted:
|September 10, 2018
|Last Verified:
|August 2018
|Individual Participant Data (IPD) Sharing Statement:
|Plan to Share IPD:
|Studies a U.S. FDA-regulated Drug Product:
|Studies a U.S. FDA-regulated Device Product:
cognitive/functional effects
adult giant cell glioblastoma
adult glioblastoma
adult gliosarcoma
adult anaplastic astrocytoma
adult anaplastic oligodendroglioma
adult mixed glioma
adult diffuse astrocytoma
adult pilocytic astrocytoma
adult pineal gland astrocytoma
adult subependymal giant cell astrocytoma
adult oligodendroglioma
adult anaplastic ependymoma
adult ependymoma
adult myxopapillary ependymoma
adult subependymoma
adult anaplastic meningioma
adult grade I meningioma
adult grade II meningioma
adult grade III meningioma
adult papillary meningioma
adult brain stem glioma
Brain Neoplasms
Nervous System Neoplasms
Cognition Disorders
Signs and Symptoms
Central Nervous System Neoplasms
Neoplasms by Site
Brain Diseases
Central Nervous System Diseases
Nervous System Diseases
Neurocognitive Disorders
Mental Disorders
Central Nervous System Stimulants
Physiological Effects of Drugs
Wakefulness-Promoting Agents
Cytochrome P-450 CYP3A Inducers
Cytochrome P-450 Enzyme Inducers
Molecular Mechanisms of Pharmacological Action


text: Having won an international reputation for their atmospheric, low-key pop with strong Americana influences, the Swedish ensemble the Chrysler got their start in a seemingly unlikely manner — as part of Stockholm's electronic music community. Singers and guitarists Pelle Lindroth and Anders E. Rudström first collaborated as members of Moder Jords Massiva, an electronic dance group, but they both found themselves writing songs that didn't fit the group's rigid format, and they began exploring the idea of forming a side project. Teaming with keyboard player Nya Sampan (who had recorded some influential drum'n'bass material as Saemundur Graettisson) and bassist Herman Arfwedsson, the Chrysler began working up Lindroth and Rudström's new songs, and with the help of Henrik von Euler, who contributed keyboards and electronics along with the use of his home studio, they recorded a demo tape in mid-2002. The demos attracted enough attention to draw invitations for live appearances from the new band, and with Martin Sörbom behind the drums, the Chrysler hit the road. After several visits to a recording studio in Stockholm, the Chrysler released their first album, Failures and Sparks, in the waning months of 2003, and while sales were disappointing, the disc received enthusiastic reviews, and the group began solidifying its reputation as a live act with a residency at a Stockholm club, where a number of guest musicians would often join them to fill out their arrangements. In 2004, the band began work on their second long-player, Cold War Classic, which was released in the autumn of that year to rave reviews and significantly better sales than Failures and Sparks; the band continued their live work in support, with new bassist Peter Rudström replacing Arfwedsson in the group. Word about the Chrysler began spreading to the United States, and the American label Galaxy Gramophone gave both albums an expanded stateside release. ~ Mark Deming

subset: commoncrawl


text:
PALM BAY, Fla. - Residents inside a Palm Bay home beat, kicked and used a Taser to shock a 19-year-old during a home invasion.
Michael Maxwell, of Palm Bay, was charged with one count of home invasion robbery with a firearm or deadly weapon and four counts of battery after police were called about 1 a.m. Wednesday to investigate a disturbance at a home in the 700 block of Monterey Drive.
Maxwell was being held on a $51,000 bond at the Brevard County Jail Complex in Sharpes. Police also arrested a 17-year-old companion of Maxwell on the same charges.
Police said that several men, including Maxwell, arrived at the home in a gold 2004 Chevrolet Malibu and stormed the home, but the residents inside managed to fight off the attack.
Maxwell, who police said works as a tattoo artist, was taken to Holmes Regional Medical Center in Melbourne for treatment after he was repeatedly kicked, Tased and struck by the victims, according to police reports.
Police questioned the victims but did not immediately report whether they knew Maxwell, the teen or the other men.
The case remains under investigation. Anyone with information about the incident is asked to call police at 321-952-3456.
Watch Local 6 News and stay with ClickOrlando.com for more on this story.
Copyright 2013 by ClickOrlando.com. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
Week after week, year after year, ministers rise to preach knowing their flocks expect them to deliver messages that are truly inspired by God or, at the very least, somewhat uplifting. After years facing United Methodist congregations in the Bible Belt, the Rev. Harold Bales had an epiphany about this duty -- although some might consider his candid vision a kind of ecclesiastical nightmare.
Imagine what would happen if a pastor stepped into the pulpit and said something like the following.
"Dear friends, in the past week I have prayed and prayed," said Bales, describing this scenario. "I have read my Bible, talked to other colleagues and read stacks of inspirational journals -- seeking a word from the Lord.
"Well, what I need to tell you is that I have heard nothing from the Lord this week. I was kind of wondering: Have any of you heard from Him?"
It's hard for clergy to imagine doing such a thing, said Bales, because most are afraid to be this transparent. Some fear that members of their flock will freak out and call their ecclesiastical superiors to register a complaint or, worse, to express concern that the pastor may be cracking up.
In addition to his years in what Southerners call "tall steeple" churches in cities like Charlotte and Asheville, N.C., Bales has also been on the administrative side of this kind of drama. He served as superintendent of Salisbury District in Western North Carolina and, for many years, was on the staff of his denomination's General Boards of Evangelism and Discipleship.
In other words, Bales has fielded his share of appeals from ticked-off church members, as well as having inspired a few such calls himself. A native of Knoxville, Tenn., he is now semi-retired, living in Kannapolis, N.C., and writing columns and bites of social media linked to his TheSouthernFriedPreacher.com website.
The bottom line for many pastors, said Bales, is that they are afraid to level with their people -- person to person.
"Let's face it. Your people can run you crazy. But that's really not where ministers get into deep trouble," he said. "Through the years, I have been especially interested in all the ways that ministers struggle with their own humanity. You see, they expect so much out of themselves, which can be hard since their people keep trying to hold them to standards higher than the saints and the angels."
Try to imagine, he said, a pastor speaking these words to the faithful: "Dear friends, I am undone. My marriage is in shambles and things aren't going great with my kids, either. My emotions are wracked. I'm stressed out. ... You see, I'm prepared to minister to you, but who is going to minister to me?"
Or here is another one Bales tried to deliver a time or two: "Dear friends, I need more nerve. I need help, because there are hard truths I need to tell you. That frightens me because I yearn to be loved by everyone. I also crave success. So you see, I'm afraid of you. I'm afraid to tell you the truth."
All of this stress adds up and, thus, Bales said he has seen research indicating that every year another 18,000 pastors surrender and quit the ministry.
Yes, it's important for the faithful to pray for their ministers, he stressed. It's also important for them to know that clergy can feel isolated from the people around them and, thus, struggle to develop real, honest friendships. Like many lay people, pastors also get suckered into believing that "humor and delight, joy and pleasure are somehow unspiritual," he explained. When in doubt, it never hurts to tell your pastor a joke or to suggest that it's time to "clock out" and go get some barbecue.
It's also important to "respect how emotionally vulnerable a pastor can be. ... Those who give the appearance of great strength are very human and unless they are deluded about themselves, are subject to inner struggles and self-doubt," noted Bales. It helps to grasp the truth that "unless your minister is experiencing an occasional failure, he or she is probably not risking enough for God's sake."
Every now and then, he said, a pastor simply must have the freedom to say things like, "I don't know" or even, "Ouch! I was wrong."


text:
- 3 Beds
- 2 Full
- 1,562 +/- Sqft
Property TypeResidential – Duplex
SubdivisionWILDERNEST SUB
Listing Date10/08/18
Year Built1979
Lot Size0.13 Acres
Parking1 Car Garage, Detached
Property Description
BACKUP OFFERS ENCOURAGED, CONTINGENT ON SALE OF ANOTHER PROPERTY BY DECEMBER 26. CALL FOR DETAILS. Wonderful home among aspens in quiet neighborhood. Enter into bright, sunny & open main level. Updated kitchen opens to large dining area & LR. Side deck off dining area. Main level w/2 BR & full BA, big laundry room. 2nd level w/large master, walk-in closet & renovated BA. Tall ceilings, nice open feel. 1 car garage w/storage. Hike from front door into Natl For. trails across the street.
Presented By
- Adjacent to Natl Forest
- Bus Route
- Woods
- On Bus Line
- Cable Available
- Deck
- Vaulted Ceilings
- See Remarks
- Hiking / Pedestrian Trails
- Cable Tv
- District Sewer
- District Water
- Electricity
- Gas
- Phone
- Snow Removal
- Trash Pickup
- Baseboard
- Electric
- Dryer
- Washer
Financial Information
About Silverthorne-Wildernest
Wildernest is a true Colorado outdoor town. Experience excellent hiking and biking trails out your front door, while being surrounded by breathtaking views of Lake Dillon, Centennial Divide and Keystone Ski Resort. Seated atop a beautiful hill filled with aspens, this neighborhood is truly a nature lover's dream. With the non-motorized backcountry access for pristine trails and quiet hikes, it's no wonder locals have decided to call this place home. If you ever decide to leave this beautiful location, Wildernest is also a quick drive into the heart of Silverthorne and is in close proximity to all of Summit County's ski resorts.
Area Market Data
3 Beds 2 Baths
2 Beds 2.5 Baths
3 Beds 3 Baths
2 Beds 1 Baths
2 Beds 1 Baths
3 Beds 3 Baths
We get asked this question a lot. Below is a tool that gives you the ability to see what the market is like in your community. Find out what homes like your own are selling for right in your back yard. Simply enter in your address, choose the proximity of the search and find out market data for other homes that are selling near you.
While we'll provide you with plenty of information, this is a snapshot of your market data and there are real people behind the high-tech and automated tools. If you would like more detailed information or help in understanding the results we are here to help.
Until then, enjoy the tools!
The data relating to the real estate for sale on this website comes in part from the Internet Data Exchange program of the Vail Multi-List Service, Inc.
Copyright © 2019 Vail Multi List, Inc. (VMLS). The information displayed herein was derived from sources believed to be accurate, but has not been verified by VMLS. Buyers are cautioned to verify all information to their own satisfaction. This information is exclusively for viewers' personal, non- commercial use. Any republication or reproduction of the information herein without the express permission of the VMLS is strictly prohibited.
Listing courtesy of Chuck Leathers Real Estate


text:
Temperature limits
The permissible operating temperature for CARB bearings can be limited by:
- the dimensional stability of the bearing rings
- the cage
- the seals
- the lubricant
Where temperatures outside the permissible range are expected, contact SKF.
Bearing rings
The rings of CARB bearings are heat stabilized up to 200 °C (390 °F).
Steel or brass cages can be used at the same operating temperatures as the bearing rings. For temperature limits of polymer cages, refer to Polymer cages.
The permissible operating temperature for seals depends on the seal material:
- HNBR: –40 to +150 °C (–40 to +300 °F)
NBR: –40 to +90 °C (–40 to +195 °F)
Temperatures up to 120 °C (250 °F) can be tolerated for brief periods.
Temperature limits for greases used in sealed CARB bearings are provided in table 1. For temperature limits of other SKF greases, refer to Selecting a suitable SKF grease.
When using lubricants not supplied by SKF, temperature limits should be evaluated according to the SKF traffic light concept.


text:
Talaris Conference Center in Seattle
Minutes from the city. Miles from distraction.
Talaris Conference Center is Seattle's best kept secret, and an oasis for inspired meetings, events and overnight stays. Located on 18-acres in a natural, park-like setting near the University of Washington Talaris is just minutes from downtown Seattle and within walking distance to University Village, Husky Stadium and Seattle's Children's Hospital.
Featuring 31 guestrooms, over 7,000 square feet of function space, and ample complimentary parking, this serene environment is an ideal, casual destination for intimate training workshops, meetings, retreats and other events for up to 150 people. And if business or personal travel brings you to the University District, we are the perfect lodging alternative to a traditional hotel.


text:
Ken Hawley necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 158 diseños de 40 diseñadores freelance.
LHL Group
We are a company of surveyors and architects who work across a wide number of sectors. Our aim is to help our clients get the best out of their property assets whether it be new or existing buildings. We work with modern architecture and with historical buildings.
Our approach is to provide our clients with a friendly and professional service that will leave them wanting to do more business with us. Our last job is the best advert we can get. We are always looking for an improvement in the way we deliver our services to fit our client's requirements.
Our image is very important to our marketing plan and the new logo will be replicated on all our stationery, marketing material, our website (http://www.lhlgroup.co.uk) and on our electronic communications.
We want the logo to make people look again and again and to remember who it represents.
We employ around thirty five staff and work throughout England. We are soon to relocate our head office to what is commonly known as the chocolate factory in York. This is an opportunity for us to rebrand the company.
Our target audience spans new and exisiting clients. We want to be instantly recognisable as LHL Group through our logo.
Our clients are both public and private sector organisations as well as private individuals.
The people we target for work opportunities are owners and occupiers of property, developers and potential purchasers of new and existing property. They can be private individuals, landlords, tenants, large and small companies. We can be targetting an owner of a large private house one day and the CEO of a large company the next day.
We need a logo that grabs peoples attention, is forward looking and positive in it's message. It needs to be brightly coloured and represent what is good in modern design
It needs to be suitable for small reproduction on letterheads, business cards and for larger signs that go on construction sites and will be used in our marketing initiatives on display boards, building and banner signs.
We are not precious about keeping the word 'Group' in our title.
We are not fixed on using upper case or lower case letters.
Our strapline is 'Property and Construction Consultants' but this does not have to appear in the logo.
You can access our website to look at the styles we have adopted but please ignore the logo that we curently use. I am not attaching any files to show what we have now as this may inhibit your creativity.
We are open to all ideas and the succesful design will be used throughout our business.
Good luck.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text:
|Manufacturing time line:
Custom furniture pieces will generally take 4-5 weeks to manufacture from time of ordering, will ship the 6th week. Call to expedite your order - extra charges may apply. Pictures of finished item can be sent for approval before shipping. Quantity orders generally take anywhere from 6-8 weeks to manufacture. We urge you to place your order with sufficient time for manufacturing, packing and delivery, as orders are NOT subject to cancellation.
We utilize various shipping companies to obtain the best price to designated locations and special requests. Shippers regularly used are Southwestern Motor Transport, Fed Ex Freight, Saia, Central Freight Lines. Southeastern Freight, Southwestern Freight and Con Way. Packing costs on furniture may vary on items purchased. Palletation for larger furniture items generally run anywhere from $25.00 - $50.00, to ensure their safe arrival. Quotes can be stated simply by calling 915-702-8876. Please specify drop shipping order requests. We ask that customers inspect deliveries with driver present. In an event that the furniture is damaged, a claim can be posted and money refunded, or item re-manufactured. All freight companies used are insured. Please Note: Inside delivery is only available to commercial deliveries when delivered by freight companies. We do offer direct delivery and inside furniture set up to certain areas. Container pricing for 28', 40', 53' containers also available.
SWSF will repair any piece of furniture, which is defective in material or workmanship. To exercise your rights under this warranty, you must submit both the original sales receipt and delivery ticket when making a claim. Southwest by Santa Fe's warranty period begins at the time you receive the product in your home. You will not be charged for any repair services, delivery costs, or replacement furniture. If you notice a defect, it is important that you promptly notify us. The limited warranty is one year from the date you receive the product in your home. Southwest by Santa Fe's will not repair or replace your furniture if improper maintenance or improper use causes damage. This warranty does not apply if your Southwest by Santa Fe product is damaged by negligence, abuse, normal wear and tear, or accidents such as: cuts, burns, scratches, watermarks or pet damage.
Buyer authorization:
A non-refundable 50% deposit is required with order. Furniture orders are not subject to cancellation. Availability of merchandise is estimated according to information at time the order is written. The date of actual availability may vary from this estimate and buyer agrees that changes in availability will not invalidate this order. SWSFis not responsible for fastness of color or variations in fabric or leather dye lots or wood finishes. SWSF purchases full leather hides in which natural bruising and branding is visible, please let us know if you absolutely will not accept these natural imperfections, and we will work around them (cost may vary). Most wood bought custom grade and will have knots, which will be puddied or bonded if necessary. Please let us know if knots are not acceptable and straight lined wood will be purchased for your order (price may vary). Buyer shall measure doorways, stairways and areas to be used before ordering. SWSF assumes no responsibility for merchandise purchased that is to large to fit. Balance is due 10 days prior to delivery. Storage fees may apply to furniture with balances left unattended to 30 days ($150.00 / week) and any balance left unattended for over 60 days will be considered abandoned. A certified letter will be sent to advise you of your rights and furniture may be sold in accordance to letter.
|All pictures copyrighted by Southwest by Santa Fe © 2009
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text:
Buh-bum. Buh-bum. Buh-bum. We all have our own interpretations of what a heartbeat sounds like but here is what it looks like during heart surgery. It looks like it's rolling in place inside your chest. Pretty amazing.
BoingBoing said that this footage was taken during Toronto's Sunnybrook Hospital's live-tweeting of a coronary artery bypass graft done to prevent a heart attack. It's hypnotic to watch (if you can stomach it).


text:
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This page
It is a rare company that can say of its products that Presidents and Kings have sworn by them for centuries—that they consoled Abraham Lincoln, crossed the American continent in countless prairie schooners, sailed the seven seas, and still stand today beside almost every literate user of the English language as his source of knowledge and inspiration. There can't be many organizations that can make such a claim, but one is the Oxford University Press. The oldest publishing house in the English-speaking world, Oxford University Press with its many overseas branches is a global enterprise that has played an important part, though a quiet one, in the unfolding drama of our civilization. For books accumulating man's knowledge and expressing his aspirations have exerted a force as mighty as armies in changing men's beliefs and their way of life. In producing such books the Oxford University Press has helped to establish our modern world. Now approaching its 500th anniversary, the Press in England and elsewhere in the British Commonwealth has been a client of Deloitte, Plender, Griffiths & Co. since 1939. The American branch of the Press, operating as a separate company with headquarters in New York, has been a New York client since 1940. The Press is by no means an ordinary book publisher. In many publishing houses, merchandise ranging from the finest to the most sleazy can all pass under the name of "book," provided only that it has printed pages and a cover. Oxford, however, has won worldwide fame as a publisher of the highest quality books, noted for the lasting value of their contents, beauty of design and excellence of manufacture. The Press did not win its reputation overnight; it took a few centuries to reach the top. The first known printed book from a press at Oxford, a commentary in Latin on the Apostles' Creed attributed to St. Jerome, appeared in 1478. This was about twenty-five years after Johann Gutenberg's first work printed from movable type appeared, and just one year after William Caxton produced the first book printed in England. The Oxford book was the press-work of Theodoric Rood, who had journeyed to Oxford from Cologne, Germany. The Press then languished through a century of intermittent activity, this being a time when the crown closely controlled the use of the printing press because rulers considered it a danger to the stability of the realm. Finally the Earl of Leicester, a favorite of Queen Elizabeth I and Chancellor of Oxford University, obtained a court decree in 1586 authorizing the University to print. From that date to this, the Oxford University Press has been in continuous operation. And how it has grown! Today the New York branch of the Press offers 6,000 titles in its annual catalog. In England it offers 10,000 titles of Oxford books in print, ready for shipment. In addition, the Press in England distributes many books originating in other publishing houses abroad, so that its total offerings in Britain run close to 18,000 titles. Until 1880 the only office of the Press was at Oxford, except for the Bible warehouse in London. Then Henry Frowde, warehouse manager, was appointed the first "Publisher to the University," with the function to distribute books issued by the Press in Oxford. Before long the London department began to originate books outside the fields of academic scholarship, to which the Press had confined itself. Now the London department is one of the largest publishers in Britain. Its books bear the imprint "London, Oxford University Press," to distinguish them from those produced in the city of Oxford, which read: "At the Clarendon Press." Copyrighted -- License from Black Star
Object Description
Fine bookmaker to the world
Seed, Brian
Stevens, Roy
Oxford University Press
Deloitte, Plender, Haskins & Sells
|Personal Name
Rippington, A. H.
Prentice, J. Ness
Roberts, C. H.
Carter, Harry
DeJager, Harold R.
Gummer, Robert J.
Tiedemann, Frank H.
Alence, Richard C.
Rippington, A. H.
Prentice, J. Ness
Roberts, C. H.
Carter, Harry
DeJager, Harold R.
Gummer, Robert J.
Tiedemann, Frank H.
H&S Reports, Vol. 05, (1968 spring), p. 04-09
|Originally published by: Haskins & Sells
|Copyright and permission to republish held by: Deloitte; Photographs by Brian Seed, Black Star and Roy Stevens
|PDF page image with corrected OCR scanned at 400 dpi
|Deloitte Digital Collection
|Digital Publisher
|University of Mississippi Library. Accounting Collection
|Date-Digitally Created


text:
Local government area for Sisters Beach, TAS
Not the 'Sisters Beach' you were after? Try the other Sisters Beach (the regional area) in Tasmania.
Create a custom map: Click here to create a custom map including 'Sisters Beach'
Link to this page: Click here to see how
©2019 Digital Atlas Pty Limited | Usage Terms | Data Sources
If you do not agree with the Usage Terms then do not access this website.


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I read an interview with Martin Amis once where he said that when you're writing a novel you write about the things you didn't know were on your mind. This certainly rings true for me.
When I'm writing I certainly don't set out to write about myself and nobody who has read Song of the Sea God has suggested it might be autobiographical. My tale of the rise of a would-be god on an island of misfits told by a dwarfish mute is hardly Cider with Rosie.
And yet, I think that the big things and the little things in anything you write hark back to your own personal experience.
By big things I mean themes, and however much you marry these to your plot, your characters and so on, there will be something of your own concerns in there too. For example, in the book I wrote after Sea God, which is called the Pick Up Artist, and isn't published yet, the main character's mother died when he was young and this certainly influences his development and actions. I didn't think much about this when I was writing but it's certainly true that my own mother died only a couple of years before I wrote the book. And though I was a lot older when my mother died than when the character in my book lost his, well, we all feel too young when our parents die don't we?
As for little things – here I'm taking about incident, asides, scraps of plot, flashes of character. I mean the jokes, the turns of phrase, the lines of dialogue, the descriptions. They all come from somewhere, and though they are all 'made up' in so much as they start life in your head and finish up on the page, many of them will track back to your own life, your own concerns or ideas.
So what of myself have I left on the page in Song of the Sea God?
People who have been kind enough to review the book on Amazon tend to talk about three things. They talk about the language, they talk about humour and finally they talk about the darkness. Where does this darkness come from?
Well firstly I suppose it reflects the confusion I feel about religion. I'm not religious, in so much as I wouldn't identify with a particular faith and, if pushed, I would describe myself as agnostic. But admitting that I don't know the mysteries of the universe is definitely not the same as saying I believe there are no mysteries. The feeling that there must be something more than what our senses tell us, the god-shaped hole in our lives, is something we all share I'm guessing, and those feelings are at the heart of the book.
Then there's a sense of isolation in the text I think. The island the story is set on, which seems divorced from the rest of the world; the mute outsider who tells the tale. There is a loneliness here despite all the jokes and wise-cracks. I've always been blessed with a fantastic and close family – both growing up and now as an adult. Still, I think it's possible to feel that as a person, you come into this world and go out of it alone, you are essentially isolated – an individual. John Donne said 'no man is an island' but I think Song of the Sea God suggests that's exactly what each of us is.
I didn't set out to write about these things, and yet that is what I ended up doing. I believe the process of writing goes far deeper than our conscious mind knows.
Don't forget if you get a moment to take a look at my book Song of the Sea God. You can look inside to read the first few pages free and download a free Kindle sample for UK readers here. And for readers in the USA here.


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Download File VAE S18 2019 rar
"The barrier between success is not something which exists in the real world: it is composed purely and simply of doubts about ability." ~ Franklin D. Roosevelt
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Wamidan Brings Down the Houseby Karen Handley • March 25, 2005 Share:
The Wabash College world music ensemble, Wamidan, brought down the house at its fifth annual year-end concert. (Click on the link below to see pictures from this year's concert.)
Founded in the fall of 2000 with an initial focus on East African music and dance traditions, Wamidan has since expanded its programs and presentations to cover other music and dance cultural regions of the globe. This year's program featured music and dance traditions from various regions including Australia, East Africa, Latin America, West Africa, the Arab World, and South Africa.
Wamidan also shared the stage with the Middle Eastern Tribal Bloom Belly Dancers. Based in Bloomington, Indiana, Tribal Bloom performs American Tribal Style Belly Dancing, which is a fusion of Middle Eastern belly dancing along with elements of flamenco, Indian, North African, and Central Asian folk dancers.
The performance marked the end of the Wabash performance careers of Wamidan veterans Julian Moreaux, Alpha Newberry, and Josie Beckley. Dancers from the Crawfordsville community and DePauw University augmented the performance.


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Give Now
WFIU Public Radio
WTIU Public Television
Choose which station to support!
We're spending time with composers who played and wrote for bass instruments, and we'll explore music for three violins and hear chant from the Thomas Gradual.
What is RSS? RSS makes it possible to subscribe to a website's updates instead of visiting it by delivering new posts to your RSS reader automatically. Choose to receive some or all of the updates from Harmonia Early Music:
Harmonia Early Music, from WFIU Public Radio, is a nationally syndicated early music program hosted by Angela Mariani, and a podcast hosted by Janelle Davis. Learn more »
Indiana Public Media is the home of WFIU Public Radio & WTIU Public Television, including your favorite programming from NPR and PBS. Learn More »
© 2019, The Trustees of Indiana University • Copyright Complaints
1229 East Seventh Street, Bloomington, Indiana 47405


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When submitting your proposal please include the following information:
If your proposal is for product placement or film sponsorship, you will need to include additional information. See the product placement and film sponsorship page for details.
Please submit your proposal online using the following form:
We will respond to all proposals within five working days of receiving your submission.
Due to the large number of proposals we receive, we are not able to enter into individual discussions about each proposal. We will evaluate the proposal based on the information provided and contact you accordingly.


text: A still from Texas Chainsaw Massacre: The Beginning. Apparently, the 2006 film was a parable about class, power and food behaviors. Van Redin/AP hide caption toggle caption Van Redin/AP The Salt The Politics Of Cannibalism. Or, Crazy Things Academics Write About November 9, 2011 Once intellectuals get rolling down the food aisle, who knows where they'll end up. One just ended up in a really dark corner. Here's his latest contribution to our understanding of the subject — a journal article analyzing the "foodways" of The Texas Chainsaw Massacre series.


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State Policy Description
Indiana - Energy Efficiency Resource Standard
Policy Components Questions
- 1. Does the state have an EERS? No
- 2. Is the standard mandatory? No
- 3. Does the mandatory EERS include a demand response standard? No
- 4. Does the mandatory EERS apply to both electric and natural gas utilities? No
- 5. Does the state's mandatory EERS require electric utilities to achieve more than 1% annual savings per year? No
Policy Component information last updated July 30 2018
Energy efficiency is often considered an objective of our public utilities – yet, there may not be a real incentive to the utility to make their consumers more productive or efficient users of electricity because that means selling less and reducing revenues. If legislatures want to ensure a more productive and efficient system that is taking advantage of the latest technological innovations, they may want to require that a utility demonstrate a percent reduction in demand through efficiency programs or "demand side" programs. This is considered an Energy Efficiency Resource Standard (EERS) – for example: x utility will achieve a 10% reduction in demand (or demand growth) over the next 10 years. For more information, see the full policy brief.
For more information on the components of the policy see the full policy brief.
More Information
Recent Legislation
- For historic legislation, visit http://www.aeltracker.org/


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We threw Alessia's 3rd birthday party a little earlier this year because her sister is due 3 days before her real birthday & all of our family is in Ohio. I also only throw a big party every other year & this was her PARTY year!
We decided on a Bubble Guppies Swim Party theme. I started my pinterest board of ideas. Then went to Swoon Soiree with the idea to have her create the invite & printables. Once the adorable invite was set I could start coming up with more ideas on food & activities.
The food table was all about the kids. I went with very simple food items that still went with the color theme. The background is streamers & paper dots. I seriously couldn't do any of this without Taylour from Swoon Soiree she is amazing!
The first thing I was on a mission to find were the thank you gifts for the kids. In every episode of Bubble Guppies they say What time is it? It's time for lunch! Then 3 bubble guppies sit down to go over what is in their lunch box. So LUNCH BOX it was & how perfect for the kids to be able to store their nick knacks in them. My mom found these perfect white lunch boxes on Oriental Trading Co. I cut out the names on vinyl and added to the lunch box. For an extra details I made tissue fringe (you can find a tutorial here).
Turkey with cheese sandwiches wrapped in parchment paper with a bubble guppies sticker to hold together. Oranges slices with Pink & Blue jello filling. The orange slices were so easy and they were a HUGE hit at the party even with the adults.
Cheetos cones that Swoon Soiree made with cute bubble guppies stickers.
I wanted the cake to be very simple, but go along with the invite and the ombre scales & incorporate the pink, but I didn't want any bubble guppies on the cake because I thought there would be enough on everything else.
On all of the episodes they have school of fish that help the kids answer questions. I thought it would be adorable to have a cake pops of school of fish. I got gum balls to match the sea blue, pink, & orange colors then put them in the holders from Swigs Shoppe on etsy. Rock Candy & Pop Rocks because the Bubble Guppies always say YOU TOTALLY ROCK!
Vendor Credits
Swoon Soiree - Invite, Happy Birthday Sign, Circle Cut outs in the back ground, Bubble Station label, Sandwich label, Cheetos label, water label, Jello Wedges label
Oriental Trading Co - Lunch Box
Walmart - Bubble Guppies Cups
Frosted - Cake
The cake Shop - Fish Cake pops
Party City - candy, balloons, orange streamers, plates, forks, & silverware
HomeGoods - Teal basket with Cheetos cones


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- Warning
GW Instek GDS-2202A 2 Channel 200MHz Oscillscope
GW Instek GDS-2202A 2 Channel 200MHz Oscillscope
GDS-2000A Series Digital Storage Oscilloscope offers 2 and 4-channel configurations and wide bandwidth selections, including 300MHz, 200MHz, 100MHz and 70MHz. Each model provides 2GSa/s maximum real-time sampling rate and 100GSa/s high-speed equivalent-time sampling rate. Equipped with an 8-inch 800 x 600 high-resolution TFT LCD display, 1mV/div to 10V/div vertical range and 1ns/div to 100s/div time base, the GDS-2000A Series is able to faithfully demonstrate waveforms of complicated and obscure signals.
- *300MHz/200MHz/100MHz/70MHz Bandwidth ,2 or 4 Input Channel
- *2GSa/s Real-time Sampling Rate and 100GSa/s Equivalent Time Sampling Rate
- *2MegaPoints Record Length
- *1mV /div to 10V/div of Vertical Range
- *1ns/div to 100s/div of Time Base Range
- *80,000 wfm/s of Waveform Update Rate
- *8 inch 800*600 High Resolution TFT LCD Display
- *Built-in Segmented Memory and Waveform Search Functions to Optimize the Efficiency of Record Length
- *Zoom Window and Play/Pause can Rapidly Navigate the Waveforms
- *36 Automatic Measurement Functions Offers Various Measurement Selections
- *Optional 8 or 16 digital channel with Logic analyzer(MSO)
- *Optional Function Generator
- *Flexible Remote Control Connectivity(Standard:USB ;Option:LAN/GPIB)
- *Upgradable CAN/LIN bus analysis ,Advanced Logic ,Datalog ,DVM and H-expansion functionalities


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Classic EM: Inside A Tribe Called Quest's 'Low End Theory'
We look back inside ATCQ's The Low End Theory sessions, from Carl Jacobson's 2011 interview with producer/engineer Bob Power, back on the 20th anniversary of that landmark album.
Twenty years ago, rapper/producer Q-Tip, DJ/producer Ali Shaheed Muhammad, and rapper Phife Dawg, collectively known as A Tribe Called Quest, returned from the studio with The Low End Theory, a watershed album that ushered in a new era of hip-hop. Sounding fresh even today, the record has gone on to earn "top albums of all time" recognition from no less than Rolling Stone, Spin, Vibe, The Source, Blender, Pitchfork Media, the All Music Guide, and countless artists. The group is also now the subject of a new documentary film directed by Michael Rapaport entitled Beats, Rhymes & Life: The Travels of A Tribe Called Quest. With rekindled interest in the group on the 20th anniversary of this groundbreaking recording, what better time to dig deeper into the making of The Low End Theory?
This summer I had the pleasure of interviewing Bob Power, who engineered this landmark album. Power has produced, recorded, and mixed thousands of recordings (including numerous Grammy winners) for the likes of Erykah Badu, D'Angelo, India.Arie, Ozomatli, Common, Miles Davis, The Roots, Macy Gray, Curtis Mayfield, David Byrne, and Citizen Cope. He's also now a faculty member at the Clive Davis Institute of Recorded Music at New York University, but in 1991, he was a young man engineering one of the most influential albums of all time.
How did you come to work with A Tribe Called Quest?
In the later half of the '80s, this new wave of hip-hop, The Native Tongues, started coming through the studio—De La Soul, Black Sheep, the Jungle Brothers—and in 1989, Tribe Called Quest came in, with another engineer, Shane Faber, to make their first record, People's Instinctive Travels. We all got along really well, and I ended up splitting that first record with him. I then went on to do four records with them.
What's so special about The Low End Theory?
The Low End Theory was an interesting record; in a way, it was The Sgt. Pepper's of hip-hop. It's a record that changed the way that people thought about putting music together. I'm not a big hip-hop historian; I just know the stuff that I worked on. Until that point, when people used samples on records, it was pretty much one loop that played throughout. With The Low End Theory, and People's Instinctive Travels, to a lesser extent, Q-Tip and Ali Shaheed were at the leading edge of a new wave where people started making elaborate musical constructions out of samples from different places that would not, and in many ways, could not, have been played by regular players. It was a big growth time for all of us. I was learning a lot, they were learning a lot, so it was fun.
What do you mean by, "could not have been played by regular players"?
Musicians study all their lives how to fit into a track, stylistically and tie-wise. With elaborate sample constructions, these sounds weren't made to go together in the first place, so the time feel would be very unique to the specific combination of samples from different records. If you told a musician, "play this part on this track," he would play to the track and it wouldn't have the "rub" of the parts that were never meant to go together. I used to get hired to replace guitar samples, to replay them for copyright concerns. When I first started doing this, I played the part to the new track and it never sounded right. Once I started playing to, and only listening to, the source track, and playing with that time feel, all of a sudden it worked. That's probably a good tip for anyone who has to re-record a sample.
A Tribe Called Quest (left to right)—Q-Tip, Phife Dawg, and Ali Shaheed Muhammad.
How were these records realized in the studio?
I took a lot of pains to make sure it worked. They would often bring in stuff sequenced on an E-MU SP-12 or the early Macs. You couldn't slip tracks on the SP-12, so I'd say to them, "Let me go away for 45 minutes with this." I'd then take it into my Atari, running Creator (the precursor to Logic), where I could do track slipping and slide things around until it felt good, but not so much that it took all of the soul out of the music.
I also spent a lot of time on The Low End Theory taking extraneous noise out of the samples—something I'd never do today—which is one of the reasons why it sounds very dimensional. If you listen, you won't hear a lot of surface noise, crackles, or pops. Back then, we didn't have software that did it, so I did all sorts of nutty things. Among other things, I used an esoteric piece of gear called the Burwyn Noise Eliminator, and some high-end home stereo components that took clicks and pops out. I brought those into the studio, got an impedance-matching box, went through the tracks.
How about the process of the recording itself? Do you remember how the sessions were structured, the order that things were laid down, etc.?
That record was tracked mostly at Battery Studio [in New York City]. In most cases, the drums and bass would go down first, then layering in other elements. One of the issues at that time was sample memory. A standard Akai S-900 had, I believe, less than two seconds of sample time—750Kb or something. So we'd have to lay down tracks, load up a different sample, and repeat. I mixed the record on a Neve 8068.
The Low End Theory is noted for introducing people to the connection between hip-hop and jazz. Legendary jazz bassist Ron Carter played on the song "Verses from the Abstract"; what was it like to work with him?
Let's start with an engineering tip: If the musicians are good and studio-savvy, always ask them what they do and what sounds best on their instrument. They know how they sound best, and if you do that, they'll play better and make you look very good as a recordist.
I said, "Ron, this is how I'm going to record you; is that okay?" I was going to compress him a little with my old Neve 2254E, but he said, "no compression." So I just put my old Neumann U47 on him, and he loved it and sounded great.
Tip had a bass-line riff from a record that he wanted Ron to play. Ron sketched it out on staff paper and went into the booth. He started playing, and a couple of notes weren't right. Tip, Ali, and I all looked at each other, and were all like, "No, you tell him." This is Ron Carter, after all. We were all shaking in our boots, but I went in and said, "Ron, look, the last 16th note, it's an Eb, not a Bb" And he simply said, "Okay," and played it right.
For me, that track was a great lesson in professional musicianship. We were worried about Ron being a bit prickly, but discovered that he's really just a super-pro working musician. If the circumstances are professional and he's not cast adrift . . . if you have a chart and know what you want, he comes in, does his job, and is great.
Talk a bit about "Scenario." That's a hugely influential track and might be the greatest "posse cut" of all time.
"Scenario" was huge for A Tribe Called Quest, and as far as I know, a real breakout track for Busta Rhymes, formerly of Leaders of the New School.
There was electricity in the air that night. What you hear is really what went down in the studio: all the MCs feeding off each other, one after another.
To get the best, sonically, but also to keep the flow going, I set up five different mics in the booth. Each MC would come in, and I'd ask, "Say the same thing on each one." They'd go through the mics; I'd say, "number 4," and we'd cut the vocal.
Everyone did their rhyme and then Busta came in with one of the great recorded MC performances of all time: "Oh my God! Oh my God!" I remember being blown away by the pure, visceral energy, and Busta's feature raised the bar considerably that night.
Speaking of "Scenario": Miles Davis, Ohio Players, Kool & the Gang, The Emotions, Hendrix . . . so many samples. Do you think that that record could be made today?
It could be, but I don't know if it would be made today. Nor would it have the same resonance. I know you're speaking about something different, but records are a moment in time; you can't re-create that moment in time. So many different things come together—the place, the social and musical ethic of the times, the personalities, and also the intangibles, like, "wow, it was a good night." These things generally never happen in the same way twice, especially in different musical eras.
People have done and continue to do records like that since then, but they don't have the same resonance. I wonder how much of it is that the newer record doesn't have universal appeal or that those sounds were fresh and more appealing to us at the time?
Another example: People say, "Why doesn't Stevie Wonder make the kind of records he used to?" But if he did, they'd say, "Oh, he's just doing the same thing," and then if he changes too much, they'd say, "That''s not as good as the old stuff." It's tough to call that one. One of the wages of success.
How did The Low End Theory affect your career?
It hugely affected my career. Partially because Tip called me out on the record a couple of times, and there was that funny little, "Bob Power . . . you there?" skit.
Often, when MCs were doing takes, I wasn't really listening to the words; I was listening to the music, paying attention to the console, making sure that everything was happening sonically and technically . . . but this time, I was really into his rhyme he was doing, and he goes, "Yo, my mic is sounding bug; Bob Power, you there? Adjust the bass and treble make my shit sound clear." After the take I said, "You should have me on the talkback going, 'Yup,'' and answering you," and he said, 'Yeah, that''s what I meant.'' So it was a funny synchronicity.
It was also a big growth time for me as an engineer. I took a lot of time with the sonics of that record. I have a certain way that I go about things, and it's hard to explain verbally, but it's nice when you have a big, full low end but there's still definition within it. It was fortuitous that I did so much hip-hop early on, because it forced me to get a handle on low end, which is usually the big, final frontier for engineers. It's often the hardest thing to really get together.
Is there anything different in your approach to how you'd mix hip-hop as opposed to rock?
In hip-hop, for the most part, the bottom has to be pretty aggressive. Although when I mix rock stuff, it also tends to be pretty full and muscular on the bottom. I like to mix "tall," meaning that I like everything to be well-represented, top to bottom. A lot of people, especially with rock stuff, like to work in the mid range a bit more, so that's where my approach is different.
You continued to work with Tribe on Midnight Marauders and beyond; how were the later sessions different?
It was clear right away that they wanted Midnight Marauders to be a grittier album. Tip even said as much to me. So I didn't spend the time cleaning samples like I did with The Low End Theory.
I think a record should be as interesting to listen to on a purely sonic level as it is on a musical level. On the other hand, a good record is still about a compelling performance of a great song. I have what I call "Power's Laws of Production"—truthfully, they're neither laws nor all mine—that I use as talking points in my classes at NYU. One is, "you need to know when to keep the good mistakes," and another, "every song should have one thing that doesn't belong there."
One of the big things that hip-hop taught me is that everything doesn't have to be shiny, like a Barbara Streisand record. Just like an outfit, you can have different pieces of clothing that are a little worn but have lots of character. As much as I used to fight it, it's usually the things that are kind of fucked up and not quite right sonically and/or musically, or really funky source material, that give the record its special and unique flavor.


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