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Date: February 1988
Location: Clinton Sound Studios, 653 10th Avenue (between 46th and 10th), New York
Label: MUSICMASTERS/Amreco
Peggy Lee (ldr), Gregory K. Squires (pdr), Bill Kipper, Andrew Milano (eng), John Chiodini (g), Jay Leonhart (b), Mike Renzi (p), Grady Tate (d), Mark Sherman (per), Peggy Lee (v)
|Master Take (MusicMasters)
|See See Rider - 5:06(Traditional) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Basin Street Blues - 3:10(Spencer Williams) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Squeeze Me - 2:47(Thomas 'Fats' Waller, Clarence Williams, possibly Andy Razaf) / arr: {Head Arrangement}
Jazz Heritage Society/Amerco CD65064 2 — [Various Artists] Exclusively Yours; Jazz Heritage Romances (2003)
|Master Take (MusicMasters)
|You Don't Know - 4:09(Walter Spriggs) / arr: {Head Arrangement}
MUSICMASTERS/Amreco CD65064 2 — [Various Artists] MusicMasters Jazz Sampler (1989)
Jazz Heritage Society/Amerco CS/CD312870Y & 912870A (also 512870T) — [Various Artists] Jazz Sampler (1991)
|Master Take (MusicMasters)
|Fine And Mellow - 5:13(Billie Holiday) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Baby, Won't You Please Come Home - 3:25(Charles Warfield, Clarence Williams) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Kansas City - 3:43(Mike Stoller, Jerry Leiber) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Birmingham Jail - 4:15(Traditional) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Love Me - 4:10(Joe McCoy) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Beale Street Blues - 2:52(W. C. Handy) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|Ain't Nobody's Business If I Do - 5:45(Porter Grainger, Robert Graham Prince, Clarence Williams) / arr: {Head Arrangement}
MUSICMASTERS' The Jazz Foundations CDD 126466 — [Various Artists] Prime Time; Giants Of Jazz In Their Prime (1999)
|Master Take (MusicMasters)
|God Bless The Child - 3:14(Billie Holiday, Arthur Herzog, Jr.) / arr: {Head Arrangement}
|All titles on:
|MUSICMASTERS/Amreco CS/LP/CDCijd 40155h/20155k/60155f//2ndPressing:5005 4c/5005/5005 2c — Miss Peggy Lee Sings The Blues (1988)
Musical Heritage Society/Amreco CS/CDMhc 312487x / Mhs 512487m — Miss Peggy Lee Sings The Blues (1990)
Jazz Heritage Society/Amerco CD5124878 — MISS PEGGY LEE SINGS THE BLUES [K2 Laser Cutting Remaster] (2002)
The Recording Session(s)
In early February 1988, Peggy Lee came to New York for a two-week engagement at The Ballroom. Her engagement was so successful that it was extended for three additional weeks. "We had two days off at The Ballroom and I just brought the musicians over the recording studio and we did [this album]," Peggy Lee told Fred Hall in a 1990 interview. The album to which she was referring was Miss Peggy Lee Sings The Blues, whose masters are listed in this session. Guitarist John Chiodini told biographer Peter Richmond that he was actually the one who had "encouraged [Lee] to do an album devoted entirely to the blues, for the MusicMasters label."
During the aforementioned oral interview with Fred Hall, Peggy Lee also pointed out: "no rehearsals -- any. That is true jazz; they didn't -- there was no rehearsals. All of those things they had in mind, like let's do a doo dah dah dah ...[...] ... [such spontaneous ideas would] set off a whole chain of things they'd play. [The album] sounds almost as if it has been arranged just right there."
The exact dates on which Peggy Lee recorded the material included in Miss Peggy Lee Sings The Blues are unknown to me. The approximate dating that I have entered herein is based partly on information gleaned from various periodicals and partly on data drawn from two other sources (an oral interview, some album outtakes). Specifics are discussed in the next paragraphs.
On Sunday, January 31, 1988, a Newsday article reported that Peggy Lee was "recording an album this weekend, for MusicMasters." Two days later (February 2, 1988), a New York Post article quoted Lee as having said that "[I] will do part of it before I'm in the Ballroom, and the rest after."
Lee's engagement at The Ballroom started on the very evening of the second article's publication (February 2). As for the last scheduled day of the two-week engagement, it was Saturday, February 13.
If the plans that Lee had shared with the press were carried out, then the recording dates can be pinpointed with only a small margin of error. The earlier sessions would have taken place during the last weekend of January (i.e., between Friday the 28th and Sunday the 31st). The later sessions would have happened in mid-February, possibly Sunday the 14th and Monday the 15th.
But even the best laid plans can go awry. For one, and as already mentioned, Lee's engagement was extended for three more weeks. Since the decision to extend it was presumably made after Lee had already performed for a few days, the pre-engagement quotes that she made to the press do not reflect this change of schedule, which might have caused in turn a re-schedule of the recording sessions. Second, the session(s) planned for the pre-engagement period could have been postponed: in the pre-engagement articles, the reporters and the singer make references to some diabetes-related difficulties that Lee was having.
Third, the date of one of Lee's 1988 MusicMasters sessions is actually known: on Monday, February 8, 1988, she recorded at least a couple of numbers, both of them album outtakes. (See next session.) It stands to reason that some of the songs included in the album were recorded on that same date, but it is not known which ones, nor how many.
In the aforementioned 1990 interview, conducted by radio broadcaster Fred Hall, Lee states that the album was done in just two days. If her recollection is completely accurate, and if we factor in the outtakes' date, the correct recording dates for all of these masters could be February 7 and 8 or February 8 and 9, 1988.
Be it as it may, and due to the absence of more specific information, I have chosen to enter a safer, more general and encompassing dating: February 1988.
1. Gregory K. Squires
2. Andrew Milano
A fair number of MusicMasters CDs list George K. Squires as part of their sessions' personnel. Usually he is identified as the record engineer, but in the case of Miss Peggy Lee Sings The Blues he is credited as the producer. (The mastering of the album is credited to Bill Kipper at Masterdisk Corp.) Squires' website indeed describes him as both a producer and engineer who majored in French horn and who is a faculty member of the Manhattan School of Music.
A September 1989 Audio magazine review of the album states that "[t]he sound has been beautifully recorded at New york City's Clinton Sound by the uncredited Andrew Milano. Produced by George K. Squires ..."
Masters And Labels
1. Amreco
2. Amerco
All issues from the Musical Heritage family of labels bear two company ownership credits, one for the label itself and another for a company that, curiously, seems to have changed its name. For further details, see notes under session dated November 1-3, 1989.
1. The Album Miss Peggy Lee Sings The Blues At The Grammys
Held on February 22, 1989, the 31st Grammy Awards ceremony found Peggy Lee's name back in the category of Best [Jazz] Vocal Performance, Female, after twenty years of absence. The nomination was for the album Miss Peggy Lee Sings The Blues. Her fellow nominees were Betty Carter, Lena Horne, Rickie Lee Jones and Carmen McRae. The winner was Carter, for her album Look What I Got!. Lee's next nomination would take place on the following year; see session dated November 1-3, 1989.
2. The Correct Album Title
The album actually has two valid titles: Miss Peggy Lee Sings The Blues and, more simply, Peggy Sings The Blues. The reason why both titles are valid is that they are jointly used in most configurations of the album. More specifically, these issues shows the title Peggy Sings The Blues in the front cover, but the variant Miss Peggy Lee Sings The Blues inside, in the actual disc and tape. (As for the spine of the cassette, it uses the Miss Peggy Lee Sings The Blues variant.)
3. The Correct Release Date Of Miss Peggy Lee Sings The Blues [CD]
The compact disc edition of Peggy Sings The Blues was originally released in November 1988 or a bit earlier, as proven by articles that were published that year, and backed by a couple of record guides published in subsequent years. Although most of the aforementioned reviews make no reference to the configurations in which the album was originally released, I believe that all three (LP, cassette, CD) were simultaneously available from the start. (Actually, I do have what I believe to be an advance review of the CD. It dates from September 1988).
However, the CD is given a 1989 release date in a few record guides. Presumably, such a dating points to a second pressing or, otherwise, is erroneous. (Since November 1988 is close enough to 1989, there is also the possibility that those record guides are listing the release date of the album outside of the United States.
In any case, 1988 is the copyright and sound recording copyright year given in all configurations of the album. I have thus chosen to give a 1988 date to the original release.
4. MusicMasters' Various Pressings of Miss Peggy Lee Sings The Blues
The album under discussion has gone through a fair amount of pressings and reissues, starting with those on the releasing label, MusicMasters (LP, CD, cassette).
In 1990, MusicMasters' parent company, Musical Heritage, reissued the album in two configurations (CD and cassette). This reissue sports a cover different from the original one on Musicmasters. Lee wears the same coiffure but a different attire. The photographer is Hans Albers on both cases, and the year is 1988. Musical Heritage uses black and white, not color.
MusicMasters' sister label, Jazz Heritage, reissued the album in 2002, in superior sound quality. Although Jazz Heritage is clearly identified as the releasing company in the front and back covers, the disc itself bears only the Musical Heritage logo and copyright. The front cover photo is the same one as in the original MusicMasters issue, with a few minor differences. (For one, it has been darkened.)
Curiously, different shots from the same photo session were used for the front covers of the 1990 Musical Heritage CD and cassette. The CD's photo shows Lee from the waist up, and was taken at a greater distance, from a higher angle. Furthermore, the CD's photo makes it clearer that Lee is sitting on a chair.
To see the above-discussed covers, check this discography's photo gallery for Late Period albums.
5. Re-pressings Of Miss Peggy Lee Sings The Blues
A new catalogue number was assigned to MusicMasters' own 1992 re-pressing of the original 1988 album.
There has also been at least one licensee's pressing, which bears two catalogue numbers. The first of the two numbers is among those listed above (5005-2-C). The other catalogue number, D 143661, is accompanied by the legend "Mfd. for BMG Direct Marketing, Inc. under License," etc.
In a record guide, I have come across yet another catalogue number (820809) for the MusicMasters CD. This number is linked to S&R, which I presume to be another licensee, or perhaps a distributor.
Although those are the only pressings of which I am fully aware, I do not discard the possibility of others, which could bear entirely different catalogue numbers.
6. Foreign Versions Of Miss Peggy Lee Sings The Blues
Of course, there have also been non-USA pressings of this original MusicMasters albums, on labels such as Limelight, Polygram, and Phonogram. For a listing of those, consult this discography's Miscellanea section, specifically this page and this page.
7. MusicMasters' Technology
The Musical Heritage family of labels took pride in its use of innovative aural technology for its original recordings. Both of Lee's albums for MusicMasters bear legends pointing to a technological bent; they are called "[full] digital" recordings. Meanwhile, the cassettes are labeled "chrome" or "compatible chrome." Moreover, the album's 2002 CD edition on Jazz Heritage is a remastering for which "K2 technology" was used.
This concern with up-to-date technology dates back to the company's early dates and is probably an offshoot of an audiophile orientation among classically minded fans. In 1971, the Musical Heritage Society was being listed among the international leaders in using Dolby noise reduction technology for their cassettes of classical music. Earlier in the same year, Musical Heritage's decision to use TDK Super Dynamic tape had put the label in the news, too.
Collectors' Corner
1. Different Album Covers On MusicMasters And Musical Heritage
The respective Musicmasters and Musical Heritage CD editions of Miss Peggy Lee Sings The Blues sport different photos of Lee. Read details above, under Issues, point #4.
Date: February 8, 1988
Location: Clinton Sound Studios, 653 10th Avenue (between 46th and 10th), New York
Label: MUSICMASTERS/Amreco
Peggy Lee (ldr), Gregory K. Squires (pdr), John Chiodini (g), Jay Leonhart (b), Mike Renzi (p), Grady Tate (d), Mark Sherman (per), Peggy Lee (v)
|Master Take (MusicMasters)
|Since I Fell For You - 2:42(Woodrow "Buddy" Johnson) / arr: {Head Arrangement}
|Master Take (MusicMasters)
|How Long Has This Been Going On? - 3:06(George Gershwin, Ira Gershwin) / arr: {Head Arrangement}
|Both titles unissued.
These two vocals are outtakes from the Miss Peggy Lee Sings The Blues sessions.
Date: August 29 - September 2, 1988
Location: Clinton Sound Studios, 653 10th Avenue (between 46th and 10th), New York
Label: HARBINGER
Peggy Lee (ldr), Ken Bloom, Bill Rudman (pdr), Keith Ingham (pdr, con, p), Tim Martyn, Andrew Milano (eng), Phil Bodner (f, as), Ken Peplowski (ts), Glenn Zottola (t, fh), George Masso (tb), John Chiodini (g), Jay Leonhart (b), Mark Sherman (vib, per), Grady Tate (d), Peggy Lee (v)
|Master Take (Harbinger)
|Look Who's Been Dreaming - 2:35(Harold Arlen, Dorothy Fields) / arr: Keith Ingham
|Master Take (Harbinger)
|Love Held Lightly - 4:12(Harold Arlen, Johnny Mercer) / arr: Keith Ingham
|Master Take (Harbinger)
|Buds Won't Bud - 3:24(Harold Arlen, Erwin 'Yip' Harburg) / arr: Keith Ingham
|Master Take (Harbinger)
|Can You Explain? - 3:34(Truman Capote, Harold Arlen) / arr: Keith Ingham
|Master Take (Harbinger)
|Wait'll It Happens To You - 2:26(Harold Arlen, Johnny Mercer) / arr: Keith Ingham
|Master Take (Harbinger)
|Come On, Midnight - 4:33(Martin Charnin, Harold Arlen) / arr: Keith Ingham
|Master Take (Harbinger)
|Happy With The Blues - 4:18(Harold Arlen, Peggy Lee) / arr: Keith Ingham
|Master Take (Harbinger)
|Bad For Each Other - 3:21(Carolyn Leigh, Harold Arlen) / arr: Keith Ingham
|Master Take (Harbinger)
|Love's No Stranger To Me - 2:46(Harold Arlen, Truman Capote) / arr: Keith Ingham
|Master Take (Harbinger)
|I Could Be Good For You - 2:36(Martin Charnin, Harold Arlen) / arr: Keith Ingham
|Master Take (Harbinger)
|Got To Wear You Off My Weary Mind - 4:06(Harold Arlen, Johnny Mercer) / arr: Keith Ingham
|Master Take (Harbinger)
|I Had A Love Once - 2:40(Harold Arlen) / arr: Keith Ingham
|Master Take (Harbinger)
|Love's A Necessary Thing - 3:31(Harold Arlen, Ted Koehler) / arr: Keith Ingham
|Master Take (Harbinger)
|My Shining Hour - 2:30(Johnny Mercer, Harold Arlen) / arr: Keith Ingham
|All titles on:
|CAPITOL's Angel CS/CD4 Ds/CDs 0777 7 54798 — Love Held Lightly; Rare Songs By Harold Arlen (1993)
HARBINGER CDHcd 632433 2401 2 0 — LOVE HELD LIGHTLY; RARE SONGS BY HAROLD ARLEN (2006)
The Recording Session
After going through a couple of rehearsals at her home in California (with producers Ken Bloom and Bill Rudman, along with their favored pianist Keith Ingham), Peggy Lee came to New York to record the above-listed masters. "She came scrupulously prepared," Rudman told biographer Peter Richmond. Relying on his conversations with the producer, Richmond adds that at the dates Lee was "[b]y and large ... the essence of professionalism."
Lee is known to have had at least one argument with Ingham. The specifics are vague; one of the pianist's arrangements or performances was apparently the source of the difference. According to Richmond, a musician present at the date has claimed that Ingham had to "retreat to a closet until the squall had passed over. But otherwise, Lee was agreeable to most of Ingham's arrangements." Hearsay suggests that Lee actually wanted Mike Renzi, her regular accompanist, to play at the sessions.
In Rudman's opinion, Lee's work during the sessions was a success. "It was as if she'd finally come home," Rudman told Richmond. "Her voice came from this quiet place, and she was the essence of Peggy Lee. She took in the energy of the musicians, of the art, and she was totally present in each moment."
1. Peggy Lee's Assessment
2. Ken Peplowski
While talking to music critic Will Friedwald about one of the session's performances ("Can You Explain?"), Peggy Lee praised the musicians in the Keith Ingham Octet: "The way it came together was very nice. They were all marvelous in their own way, especially Kenny [Peplowski]. I don't often work with saxophones, but I came to love that horn all over again after hearing him. He reminds me of Ben Webster."
3. Tim Martyn
4. Andrew Milano
Tim Martyn is credited for the mastering of the Angel edition of Love Held Lightly, Andrew Milano for the mixing of the Harbinger edition.
Labels And Issues
1. The Delayed Release Of Love Held Lightly
Though recorded for Harbinger Productions in 1988, this session's masters were first released in 1993 by Angel Records.
Peggy Lee herself was the cause of the five-year delay. In the spring of 1988, when plans to issue an album were well in advance, the singer asked the producers to pull the plug on the project. She is said to have given various reasons for her decision, including some eccentric ones which might or might have not been uttered with tongue planted in cheek (e.g., her consultation with an astrologist who told her that the stars were not aligned in her favor and that "Mercury was in the retrograde"). Rudman's own opinion was that the artist had become scared because the songs had "put her out there emotionally in a way she hadn't been in a long, long time." Lee herself acknowledged her high sensitivity to the material, due in part to the emotions that Arlen's numbers had always aroused in her. She was also concerned about the weighty responsibility at hand: the release of tunes, most of them never published before, written by one of the greatest American composers.
But the principal source of her objections seems to have been more specific. In comments that Lee made to the press after she finally authorized the release of Love Held Lightly, it is the album's mix that comes off as the crux of the matter. After first listening to a rough mix, she had asked the producers to strengthen the masters' overall sound by adding more percussion and brass (trombone). Rudman had agreed with Lee's assessment, and had fulfilled her request. His acquiescence turned out to be of little avail, though. Despite further work on the masters, Lee remained dissatisfied. She felt that the mix (or the way that she had been miked) failed to capture the "layers of overtones" that she often pursued in her vocal interpretations. "When they use those limiters and high-tech things on the human voice, it doesn't even sound like yourself when you hear the playback," she explained to the San Francisco Chronicle's Lee Hildebrand in 1993. For their part, the producers suspected that Lee's impressions on the mix had been colored by the visceral reaction that she had had to the original, unmixed tapes: the artist had not found them as smooth as she had hoped they would be.
But the passing of time apparently mollified Lee's misgivings. In 1992, she gave a fresh listening to the mix and unexpectedly called Rudman to authorize the album's release. As Rudman remembered, Lee said to him on the phone, "you know, dear, I've been listening to this tape, and it's really pretty good. I don't see any reason why you shouldn't put this out if you want to."
For the extremely considerate producers, the news of Lee's approval were very welcome, and a sign that they had proceeded wisely. In 1989, they had had to face the unpleasant prospect of telling their investors that the album had been cancelled. After doing so, they had decided to just sit and wait. As experienced producers who had already worked with a fair share of artists, they had thought it would be best to "be cool about it and not in any way pressure her, which we knew would backfire," Rudman explained to biographer Peter Richmond.
Added the ever-thoughtful Rudman: "We also did this because we knew that she had taken incredible risks on the project ... The Arlen songs ... required total nakedness in performance. From the beginning, that's what attracted her to the project. But embracing a project is not the same as embracing your work on it and knowing when to let go."
2. Angel Records
Once Lee gave her blessing (1992) to the release of the Arlen songbook, Bloom and Rudman took on the task of finding new investors in order to continue the project. After they completed that task, the producers' next hurdle was to convince the record labels that the album merited commercial release. Some of their past Harbinger projects had been successfully licensed to Stash Records, but in 1992 they were not finding any takers. "We sent tapes all over the place," Rudman told Cleveland Plain Dealer reporter Rebecca Freligh, "and we kept getting told, Peggy sounds terrific, but why did you record all these songs that nobody knows?, which was very discouraging."
Finally, the album was picked up by Angel Records, a label whose specialty was classical American music. According to what the company's vice president of marketing (Linda Sterling) told Freligh, Love Held Lightly struck the label as "a natural" for them. Since Angel Records was in reality a New York-based branch of Capitol, their release of Love Held Lightly signified Peggy Lee's return (of sorts) to her mother label.
3. Love Held Lightly [CD; Harbinger Reissue]
Harbinger CD #2401 is a reissue of Angel CD #54798. In both issues, the same masters are included. The artwork is only slightly different. But the Harbinger reissue boasts richer writing: essays not only by Edward Jablonski and Will Friedwald (both reprinted from the 1993 Angel issue) but also longer, newly written notes by producers Rudman and Bloom. For a look at the covers, click here and here.
4. I Had A Love Once [LP]
A British music fan once told me that a Peggy Lee LP titled I Had A Love Once had been released abroad. No other sights of an album with that title are known to me. Most likely, the fan was confused about the title, and was actually thinking about Love Held Lightly. The album configuration that he cited is another curious detail; to my knowledge, Love Held Lightly has been issued only on cassette and compact disc, not on LP.
1. Clinton Recording Studios
2. Classic Sound Studio
In their aforementioned essay, Rudman and Bloom identify Clinton Studios as the location in which these session's masters were recorded. They make this identification just in passing, without dwelling on it.
Another source ties these masters to Classic Sound (then located at 211 West 61st Street, New York). The source does not clarify if Classic Sound was the original recording location, or the place where some of the subsequent mastering and mixing took place.
I have naturally given greater credence to the comment made by the producers themselves.
1. "Happy With The Blues"
Peggy Lee originally wrote lyrics for the melody of "Happy With The Blues" back in 1961. Those original lyrics were commissioned for a television special in honor of songwriter Harold Arlen. (Details about that special, which was broadcast on September 1961, will be found in this discography's television section, once that section is finished and ready for viewing.)
Lee was never satisfied with the lyrics that she wrote in 1961. "Of all people," the artist said to an interviewer, "I admired Harold so much, and I wanted them to be really good. I suppose that's what kept me from writing my best." These Love Held Lightly sessions gave Lee the opportunity to do a revise her lyrics, making them more suitable for Arlen's music.
2. "Unrecorded" Songs
Although no unissued Lee masters are known to exist at Harbinger, there is knowledge of at least two other rare Arlen songs that she and the company's producers considered to record: "I'm Off The Downbeat" and "Green Light Ahead."
Date: November 1, 2, 3, 1989
Location: BMG Studios, New York
Label: MUSICMASTERS/Amreco
Peggy Lee (ldr), John Chiodini (pdr, g, elg, bkv), Peggy Lee (pdr, v), John Snyder (pdr), Joe Lopes, Jay Newland (eng), Sanford Allen (con, vn), Mike Renzi (con, p), Jay Leonhart (b), William Galison (hps), Peter Grant (d), Mark Sherman (per), Robert Fuchs, Winterton Garvey, Stanley Hunter, Regis Iandiorio, Louann Montesi, Dale Stuckenbruck (vn), Diane Barere, Melissa Meell (vc), Milt Grayson (bkv)
|Master Take (MusicMasters)
|Circle In The Sky - 2:55(Peggy Lee, Emil Joseph Palame, Jr.) / arr: Mike Renzi
|Master Take (MusicMasters)
|I Just Want To Dance All Night - 3:59(John Chiodini, Peggy Lee) / arr: John Chiodini
BMG MUSIC PUBLISHING CD[promo] Pub 016 — PEGGY LEE: SONGWRITER (2001)
|Master Take (MusicMasters)
|He's A Tramp - 2:32(Joseph F. "Sonny" Burke, Peggy Lee) / arr: Mike Renzi
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
|Master Take (MusicMasters)
|There'll Be Another Spring - 4:16(Peggy Lee, Hubie Wheeler) / arr: Mike Renzi
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
|Master Take (MusicMasters)
|Johnny Guitar - 5:18(Peggy Lee, Victor Popular Young) / arr: Victor Young
|Master Take (MusicMasters)
|Fever - 3:21(Otis Blackwell aka John Davenport, Eddie Cooley, Uncredited Second Lyricist) / arr: Peggy Lee
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
Jazz Heritage Society/Amerco CD65064 2 — [Various Artists] Exclusively Yours; Jazz Heritage Romances (2003)
|Master Take (MusicMasters)
|I'll Give It All To You - 2:30(John Chiodini, Peggy Lee) / arr: John Chiodini
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
|Master Take (MusicMasters)
|Sans Souci - 3:06(Joseph F. "Sonny" Burke, Peggy Lee) / arr: Gordon Jenkins
|Master Take (MusicMasters)
|Where Can I Go Without You? - 4:48(Peggy Lee, Victor Popular Young) / arr: Mike Renzi
|Master Take (MusicMasters)
|Boomerang (I'll Come Back To You) - 3:26(John Chiodini, Peggy Lee) / arr: John Chiodini
Jazz Heritage Society/Amerco CD65064 2 — [Various Artists] Exclusively Yours; Jazz Heritage Romances (2003)
|Master Take (MusicMasters)
|Things Are Swingin' - 2:27(Peggy Lee, Jack Marshall) / arr: John Chiodini
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
|Master Take (MusicMasters)
|Over The Wheel - 3:26(John Chiodini, Peggy Lee) / arr: John Chiodini
|Master Take (MusicMasters)
|The Shining Sea - 2:35(Peggy Lee, Johnny Mandel) / arr: Johnny Mandel
Armed Forces Radio Service 12" Transcription DiscP 26543 - P 26544 — Basic Music Library [6 songs from album There'll Be Another Spring] (1990)
|All titles on:
|MUSICMASTERS/Amreco CS/LP/CDCijd 40249l/20249/60249k//Reprints: 503422 4c/60340k/503424 2c — THERE'LL BE ANOTHER SPRING; THE PEGGY LEE SONGBOOK (1990)
Musical Heritage Society/Amreco CS/LP/CDMhc 40249l[CS]/20249[LP]/912697z[LP]/60249k[CD] — There'll Be Another Spring; The Peggy Lee Songbook (1990)
Jazz Heritage Society/Amerco CD515674h — There'll Be Another Spring; The Peggy Lee Songbook (1999)
Songs And Songwriters
1. "Fever"
2. Peggy Lee
This session's version of "Fever" boasts a couple of verses never heard in previous versions. They were newly written by Lee for this occasion. Also included in this version are some -- not all -- of the verses that were first heard in Lee's 1958 version, and which have been wrongly credited to the original songwriters (Otis Blackwell and Eddie Cooley).
1. John Chiodini
2. Mike Renzi
John Chiodini and Mike Renzi were the co-conductors of this session's masters.
John Chiodini conducted "I Just Want To Dance All Night," "I'll Give It All To You," "Sans Souci," "Boomerang," "Things Are Swingin'," and "Over The Wheel."
Mike Renzi conducted "Circle In The Sky," "He's A Tramp," "There'll Be Another Spring," "Where Can I Go Without You?," and "The Shining Sea."
3. Victor Young
The credits in the album There'll Be Another Spring: The Peggy Lee Songbook correctly identify Victor Young (1900-1956) as the original arranger of "Johnny Guitar," but wrongly credit the long-deceased composer with conducting this 1989 version. The conductor must have been instead either Renzi or Chiodini.
4. Sanford Allen
Sanford Allen conductor of strings only.
5. Milton Grayson
Milton Grayson sings background vocals in "Sans Souci" only.
6. Sammy Cahn
Lyricist Sammy Cahn wrote the short but highly laudatory liner notes for The Peggy Lee Songbook. Though a good longtime friend of Lee's, Cahn makes a point of mentioning that the person who asked him to write the notes was Warner / Chappell's Frank Military (rather than Lee herself).
7. Jeffrey Nissim
Founder of MusicMasters Jeffrey Nissim is listed as the executive producer in the original album.
8. Peggy Lee
Notice that Peggy Lee receives producer credit on this session, along with John Chiodini and John Snyder.
1. Mixing And Mastering
According to the discographical notes that are part of The Peggy Lee Songbook, the album's masters were recorded on a Sony 48-track digital recorder, then mixed and mastered to a Sony PCM 1630. The mixing took place on December 4, 5 and 6, 1989, the mastering on December 7, 1989 and on January 10, 1990.
Arrangements (And Issues)
1. Misleading Credits
Contrary to what the credits in the album The Peggy Lee Songbook might seem to suggest, Gordon Jenkins, Johnny Mandel, and Victor Young were not present at these sessions. Instead, those credits point to the fact that their respective arrangements of previous Peggy Lee recordings were used by Lee and company.
1. Jeffey Nissim And The Peggy Lee Songbook Series
Peggy Lee told the press that the idea of doing an album consisting entirely of her lyrics had been suggested by MusicMasters' president Jeffrey Nissim. The vocalist made all the song choices in tandem with one of her right-hand musicians, John Chiodini. She also mentioned that the album had been conceived in commemoration of her 70th birthday, on May 26, 1990. (MusicMasters' original advertisement for the album actually lists it as "available March 13, 1990," a date which would have taken advantage of her concurrent engagement at The Ballroom, in New York City. Late March reviews of her Ballroom concerts indeed make mention of the album, thereby suggesting that it was already out. However, music sites and record guides generally give the album's official release date as June 25, 1990. Perhaps that summer date points to the national, wide release.)
Lee actually had plans to record a whole series of albums dedicated to the songs that she had written. In fact, the 1990 album was identified in some press reports as volume 1. (The album itself does not bear such a rubric, however.) MusicMasters' own press release refers to it as "a release of our first of multi-volume project entitled The Peggy Lee Songbook." For the second album, the singer-songwriter was contemplating recording just songs that she and Dave Barbour had written. (Lee's intention to carry out this plan is apparent from the fact that There'll Be Another Spring, the first album in the prospective Peggy Lee Songbook series, does not include any collaborations with Barbour.) Unfortunately, no other songbook albums were made, for reasons unknown.
2. The Album There'll Be Another Spring: The Peggy Lee Songbook At The Grammys
Both of Peggy Lee's albums for the MusicMasters label earned her Grammy nominations in the category of Best Jazz Vocal Performance, Female. In addition to repeat nominees Betty Carter, Carmen McRae and newly emerging Dianne Reeves, the other nominee in this category was the woman who had won the award on almost every single year in which she had been nominated: Lee's beloved friend Ella Fitzgerald. With her album titled All That Jazz, Fitzgerald did it again, for one final time.
This was also the last of Peggy Lee's 14 Grammy nominations (12 bestowed on her, including one win; two bestowed on others but pertaining to her records). Or almost her last. In 1995, Peggy Lee received a very significant honor: The Grammy's Lifetime Achievement Award.
A few years after Lee passed away, there were also two Grammy nominations in connection to her 2004 set The Singles Collection. (Details can be found in the notes under the Capitol session dated February 18, 1952.)
3. MusicMasters' Various Pressings Of The Peggy Lee Songbook [LP, CS, CD]
There'll Be Another Spring was originally sent to stores on CD and cassette. The LP version was at that time available only to members of the Columbia House Club.
Following the original 1990 release, MusicMasters did another pressing, to which it assigned a new catalogue number. That second pressing is from around 1992.
Somewhat mysteriously, I have also come across listings for a CD edition of The Peggy Lee Songbook which is credited to neither MusicMasters or to Musical Heritage, though it bears the same year as the original release. Its catalogue number is S&R 8208212. I presume S&R to be a licensee or a distributor.
Although the above-listed pressings of the album are the only ones known to me, I do not discard the possibility of others, which could also bear entirely different catalogue numbers.
As shown in the issue entries above, the album was reissued on MusicMasters' parent company, Musical Heritage, too. There are also non-USA (re)issues of There'll Be Another Spring: The Peggy Lee Songbook on labels such as Limelight, Polygram, Phonogram, and Venus. A listing can be found in the Foreign Pressings page of this discography's Miscellanea section.
Collectors' Corner
1. The Peggy Lee Rose
Gracing the cover of The Peggy Lee Songbook is a drawing of the Peggy Lee Rose, a flower that the American Rose Society officially named after the singer in 1983.
2. Slightly Different Album Covers On MusicMasters And Musical Heritage
The same front cover graces all pressings and (re)issues of The Peggy Lee Songbook, but some minor differences are evident among them. MusicMasters' cover is in color, the Musical Heritage cover in black & white. (This detail has been corroborated only for the LP format. I have not been able to inspect Musical Heritage's reissues in the compact disc and cassette formats.) The cover of the Jazz Heritage CD is also in color, and differs from the MusicMasters cover by the addition of a pink framing around all four sides of the drawing.
3. Lyrics Sheet
To my knowledge, all the editions and configurations of There'll Be Another Spring have all the lyrics printed. (I have yet to come across an item that does not have them.) In the CDs, they are printed in the booklets, as expected. Also as expected, the Musical Heritage LP features them in its back cover. But the original LP on MusicMasters does not follow expectations. Its lyrics are printed in a jacket insert: one sheet of high gloss paper, almost the same size as the LP's jacket.
Masters And Labels
1. Amreco
2. Amerco
All issues from the Musical Heritage family of labels bear two ownership credits, one for the label itself and another for a company that, curiously, seems to have changed its name at some point in time. The company's name was given as Amreco, Inc. until some time in the late 1990s or early 2000s, when it was changed to Amerco, Inc.
In the albums, Amreco/Amerco is usually tied to the sound recording copyright ( ℗ ), occasionally to the registered trademark ( ® ). The regular copyright symbol ( © ) is attached to the Musical Heritage labels.
Date: Probably 1990
Location: Carpenter Avenue Elementary School, 3909 Carpenter Avenue, Studio City, California , & Stagg Street Studio, 15147 Stagg Street. Van Nuys, California
Label: MUSICMASTERS/Amreco
Peggy Lee (ldr), Wendy Raksin (dir), John Chiodini (pdr), Glen Aulepp, Gary Denton, Joe Lopes, Jay Newland (eng), Unknown (afp), Dom DeLuise, Other Individuals Unknown (v), Peggy Lee (v, spk), The Carpenter Avenue Elementary School Chorus (bkv)
|Master Take (MusicMasters)
|Everybody Needs A Santa Claus - 1:51(John Chiodini, Peggy Lee) / arr: John Chiodini, Peggy Lee
|Master Take (MusicMasters)
|We Be Friends - 3:02(John Chiodini, Peggy Lee) / arr: John Chiodini, Peggy Lee
|Both titles on:
|MUSICMASTERS/Amreco cassingle5500 4 Cs — EVERYBODY NEEDS A SANTA CLAUS / WE BE FRIENDS (1990)
At The Recording Session
Julena Stinson and Beverly A. West, both erstwhile members of the Carpenter Avenue Elementary School chorus, have kindly shared with me their memories of some events that transpired at this session and at its rehearsal.
Julena Stinson and I came into contacted in 2004. Julena remembers rehearsing with both Peggy Lee and John Chiodini at one point, but believes that only Chiodini was present during the chorus' actual recording of the vocal. Julena's understandably vague recollection is that Lee had become ill, and could not be present. (See second reminiscence, below, for a different take on this matter.) She further recalls that the session had been scheduled to be recorded at Stagg Street Studio, but plans had to be canceled when the permits for bus transportation could not get processed in time. Instead, the chorus recorded its vocal at the school's auditorium. A 22-year-old when she spoke with me in 2004, Julena believes that she was about 7 at the time of the recording session, a detail which would point to 1989 as the (unclear) recording year for this session.
Beverly A. West contacted me in 2009. Beverly specifically remembers Peggy Lee being present during the recording. Adds Beverly: "she was definitely ill — in a wheelchair, if I remember correctly. She apologized to us at one point because she had to stop to eat a sandwich because of her health. She was a very nice lady. Asked about the year in which the session took place, Beverly answered as follows: I was in the fifth grade at the time, so it would have been in fall 1989 or spring 1990. I suspect it was in the spring of 1990."
This session's date remains unknown to me. The two possible years are 1989 and 1990, as suggested by the details given below.
The cassette single that contains these performances identifies 1990 as the year of copyright. (Some online servers give an October 12, 1992 release date to the cassingle, but I am inclined to think that the servers' information is erroneous. Or, otherwise, it could point to a re-release, although I have found no evidence of one.)
For the songs themselves, the following information is given in the cassingle: Words & Music: Peggy Lee/John Chiodini © 1990, 1989. It is clear that "We Be Friends" had already been written by early 1989: Lee was singing this song live, in concert, during April of that year, in San Francisco's Fairmont Hotel.
An article published in the December 1990 issue of Interview Magazine suggests that "Everybody Loves A Santa Claus" was written that same year. Interviewer Linda Ekblad quotes Peggy as saying that she was "writing a Christmas special called The Legend of Christmas .... Dom DeLuise is going to be one of the Santa Clauses. Won't that be perfect? We're trying to get Jonathan Winters. I have written a song for it: Everybody Needs A Santa Claus." (This prospective TV special probably did not come to fruition. Lee is known to have rehearsed for it, and a tape of the rehearsed songs has been preserved.)
If Lee truly wrote "Everybody Loves A Santa Claus" for a special that was in the making in 1990, then it would be logical to assume that this session's masters were also recorded in 1990. Adding to the circumstantial evidence is the cassingle's year of copyright, and also Beverly A. West's inclination toward the spring of 1990 as the correct period.
1. Dom DeLuise
Dom DeLuise participates in "Everybody Needs A Santa Claus" only.
2. Peggy Lee
Peggy Lee's speaking voice is heard only in portions of "Everybody Needs A Santa Claus."
3. Wendy Raskin
Wendy Raskin was musical director for The Carpenter Avenue Elementary School Chorus only.
1. Mixing
The cassingle credits the mixing of these performances to John Chiodini and Gary Denton.
2. Gary Denton
3. Glenn Aulepp
4. Joe Lopes
5. Gary Newland
Engineers Gary Denton and Glen Aulepp are credited for both masters. (Denton is the owner of Stagg Street Studio.) Aulepp is identified as the "2nd. engineeer." Joe Lopes and Gary Newland are credited for "Everybody Loves A Santa Claus" only.
Peggy Lee At MusicMasters And At Harbinger Records
Peggy Lee At Jeffrey Nissim's MusicMasters Records
MusicMasters was actually a branch of Musical Heritage Society, a New Jersey-based, family-owned mail order company which had been releasing licensed European classical music since 1962. The MusicMasters branch was created around 1983 (or in the late 1970s, according to another account) by Jeff Nissim, son of Musical Heritage's president Albert Nissim. The branch's purpose was to release both newly recorded and previously unissued performances from the worlds of classical and jazz music. Among the catalysts which led to Jeff Nissim's foundation of his label was the news that Benny Goodman possessed a fair number of self-owned, hitherto unissued classical material. MusicMasters ended up amassing a remarkable collection of albums by not only Benny Goodman and Peggy Lee but also Dave Brubeck, Benny Carter, Lionel Hampton, Freddie Hubbard, Artie Shaw, Stanley Turrentine, etc. The branch seems to have stopped releasing new music around 1997, but its catalogue has lived on through the still ongoing mother label, and through a more recently formed sister branch (Jazz Heritage Society, 1995). Furthermore, Nissim struck in 2008 a deal to sell downloads from the MusicMasters catalogue through a digital company.
In January 1988, a press release indicated that Lee would be "recorded in performance live by MusicMasters Records during several nights of her upcoming two-week engagement at The Ballroom ... Jeffrey Nissim, President of MusicMasters ... said: It is indeed an honor to add the legendary Miss Lee to our growing roster of classic jazz artists. It is our hope that this album will become only the first in a series of jewels Peggy Lee will favor MusicMasters with."
MusicMasters might have taped the Ballroom performances as planned, but ultimately no concert album came out. A studio album was issued instead. From comments that Lee made to New York Times arts critic Stephen Holden shortly before the start of the Ballroom five-week engagement, it is apparent that both albums had been planned at first. "She has plans to record four albums for two different record companies," wrote Holden, "including one live at the Ballroom. One of the others will concentrate on vintage blues songs of the Bessie Smith era."
Peggy Lee's association with MusicMasters was a lasting and productive one. After the initial album, recorded in 1988, the association bore another album in 1989, whose concept was suggested by Nissim himself. (See sessions below, dated November 1, 2, and 3, 1989.) Plans to do more albums -- a series of Lee songbooks -- were made but, for reasons unknown, did not come to pass. In addition to the albums, Lee also recorded one MusicMasters single around 1990 and one guest performance in 1995. Her final studio recording (the 1995 guest performance) was in fact done for this noteworthy label.
Peggy Lee At Ken Bloom's And Bill Rudman's Harbinger Records


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I am not normally a fan of RMK ... their stuff hasn't been outstanding in my opinion and the colors/formulas just rarely worked for/appealed to me (just a few items).
However this spring I really fell in love with their cute new Translucent Cheeks & Eyes palette in 01 Translucent Coral Pink. And since I found the items already listed on Facial-Shop along with a few other RMK spring items I ordered it right away. The price was very good (US$44.90 shipped whereas it retails for 5250 Yen which converts to about US$59 right now).
I won't go into detail now as thorough reviews/swatches will follow. So here is just a pic of the items:
-Translucent Cheeks & Eyes 01
-Translucent Eyes 05 Translucent Gray
-Irresistible Lips C #25 Shiny Coral Beige
All sales closed
8 years ago

subset: commoncrawl


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The Future of Insurance
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So I'm sat in the departure lounge waiting to be called. I've just filled myself up with jacket potato, chilli, sour cream and melted cheese. And don't forget the diet Coke.
I am away a whole week. 8 days in fact. That's 8 days I cannot weigh for. How scary is that. I need to be so good this week but I really want to enjoy myself too. Which is more important though? Surely I can still enjoy my holiday without having to over indulge.
There are lots of salads and grilled meats to be had. And I will have to keep topped up with water and diet pop.
We will see.


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NASCAR will return to Kansas for its Sprint Cup and Nationwide Series race weekend on October
Just a quick note Dave--I was at the the tire test this week in the stands and did make an observation that Kyle Busch was also running a few laps in the 20 car. I recognized his voice on the scanner and he also had tweeted a picture on Tuesday of the speedway. Joey was driving the car on Tuesday, but Kyle was in the car for a while on Wednesday.
Just a thought it was worth a mention since nobody seemed to notice.
I had my 4 year old son with me on Wednesday morning while the 88 car was working on its 30-lap run for Goodyear and of course as soon as he needed to use the little men's room, 20 steps away from the stands Dale popped his tire. There were marks from the bottom of the track in turn one straight up to the entrance of 2 and marks all the way down the SAFER barrier to the start of the backstretch. Looks like it must have been a heck of a hit. Glad he's okay.


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When you let dental anxiety keep you from routine trips to the dentist, you're putting yourself at risk for all sorts of health problems down the road. It can also keep you from having the beautiful smile you've always wanted.
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The small town of Moalboal is a favorite spot for divers because of its famous sardine run. Non-divers are welcome as well since the sardine run can also be experienced by snorkeling. The town can be your base as you explore the south-western to southern tip of Cebu. You may also book canyoneering tours here so there's no need to transfer to Badian.
- Book a flight to Mactan-Cebu International Airport. Major airlines like AirAsia, Cebu Pacific and Philippine Airlines have direct flights to Cebu. You may also use your GetGo points if you have some to spare. Flight time: 1 hour 15 minutes
- From Mactan-Cebu International Airport, ride a taxi to Cebu's South Bus Terminal. Travel time: 20 – 30 minutes.
- At South Bus Terminal ride a "Bato via Barili" bus. This will pass by Moalboal. Alight at Gaisano Grand Mall or the Moalboal Municipal Hall. Bus Ride time: 3 hours.
- From either Gaisano Grand Mall or Moalboal Municipal Hall ride a tricycle to your accommodation. Travel time: 10 – 15 minutes.
There are two main beaches in Moalboal. You may either stay at Panagsama Beach or White Beach. Most budget hotels are located at Panagsama Beach, while most mid-range to high-end resorts are located at White Beach. Stay at White Beach if you want a laid-back escape away from the crowd.
We decided to stay at Panagsama Beach because of its proximity to cheap restaurants and tour agencies. There are also a couple of bars both locals and foreigners frequent. The cheapest accommodation option would probably be Moalboal Backpacker Lodge (Hostelworld). We recommend reserving beforehand since it's usually fully-booked . Midrange hotels are also available in Panagsama Beach.
The main activity to do in Moalboal is to experience the popular sardine run. There are tour/dive shops around town that offer island hopping tours which includes a snorkel with the sardines. A standard "island hopping" tour would consist of Turtle Point, Sardine Run at Panagsama and Pescador Island. We joined a "Joiner tour", so we only paid P500/head. A private tour would cost around P1,500 – P2,000/boat which can accommodate four to six people.
The meet up time for the tour would be around 8 in the morning and will start with a visit to Pescador Island. The island, located just 30 minutes of the coast of Moalboal, is a great place to snorkel since it is surrounded by a coral reef. We spotted a dozen of jellyfish in the snorkeling area so it's advisable to wear a rash guard while snorkeling.
After Pescador Island, the boat will head back near the mainland to Turtle Point. You may also snorkel here and hopefully get a glimpse of turtles visiting the area. Luckily at our time, there were three adult pawikans foraging the area.
Lastly, you will head back near the town of Moalboal just in front of Panagsama beach for the sardine run. To our surprise, we found out that the sardines were just 50 meters away from Panagsama!
If you're on a budget, just rent a snorkel and a mask and swim to where the reef drops to get a glimpse of the sardine run. Wearing a life vest is recommended since the waves can get pretty busy near the shore.
There are beach front restaurants and bars where you could hang out, grab a few drinks, eat and enjoy the sunset. There are a lot of international tourists that visit Moalboal so booking your accommodation beforehand is recommended.
If you have spare time, you may drop by White Beach. You may also try canyoneering in Badian, Cebu. Booking canyoneering tours in Badian is now available in Moalboal. To avoid the hassle of transfers, you may book the tour in Moalboal instead.
- Transportation: Cebu – Moalboal Bus P130, Moalboal – Cebu Bus P130, Taxi to/from Cebu Airport- South Bus terminal P100-P150, Habal habal to/from Pinagsama-Bus-stop P40/ride
- Activities: Cayoneering P1,500, Island Hopping for Sardine Run P500
- Accommodation: P750/head, Cheaper if Moalboal Backpacker Lodge
- Food: P100-P250+/meal, there are ihaw-ihaw areas around town for budget meals
- If you're traveling alone or a couple and are planning to go island hopping, book your trips a day in advance for a chance to join a group.
- Canyoneering tours are fixed at P1,500 whether you book from Moalboal or Badian. The rate is inclusive of equipment, life vests, helmet, guide, etc. Some tours would include lunch.
- Book at Moalboal Backpackers Lodge, probably the cheapest accommodation at Pinagsama. It get full though. Better book at least a month in advance.


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As the closest holiday park to the beach, our dedicated footpath to the beach will take you straight to the heart of Woolacombe through National Trust countryside within 10-20 minutes and allows you to avoid parking charges and explore the beautiful surroundings.
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If you prefer to relax in your accommodation you can soak in the beautiful sunsets with a bottle of wine from our onsite shop or enjoy the views from the new sun terrace in The Clubhouse with a cocktail and dinner.
As a small family owned and run business we continually reinvest profits to improve the park for your enjoyment. Over the past couple of years we have seen new caravans added to our fleet, chalet improvements, a new children's park, Clubhouse refurbishment and arcade refurbishment, a new sun terrace, new toilet and shower blocks for the campers, road improvements, a new kitchen in the shop to extend their breakfast, lunch and dinner menu and recently we have added Sea View Cabins, built more seasonal pitches and so much more. Click here for more details on our recent work.
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If you decide to bring your dog, we offer pet-friendly accommodation and have a dedicated dog exercise area situated in the park and a stunning Woodland Walk through the Bluebell Woods with amazing views through the valley. We welcome well-behaved dogs into our Clubhouse too so no need to leave them in your accommodation!
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Two days after saying she doesn't want to talk about President Trump anymore, and that there isn't enough support to proceed with impeachment, House Speaker Nancy Pelosi slammed Trump, declaring that the President is 'involved in a criminal cover-up'.
Pelosi was responding to questions from reporters regarding Trump's comments that he would be open to using information gathered by foreign nationals on his political opponents.
"Everybody in the country should be totally appalled by what the president said last night," Pelosi declared. "But he has a habit of making appalling statements. This one borders on so totally unethical that he doesn't even realize it."
Earlier in the press conference, Pelosi said of Trump "he does not know the difference between right and wrong, and that's probably the nicest thing I can say about him."
Pelosi proclaimed that Trump's comments represent "an assault on our democracy" and that he is 'inviting foreign intervention further' in American elections.
"What is it about the Republicans in Congress, how much more can they bear of the president's unethical behavior that they think that they are honoring their oath of office?" she asked.
When asked if she still thought it a good idea to accuse the President of being involved in a cover-up right before an infrastructure meeting, Pelosi replied "I say almost every day that the president is involved in a criminal cover-up, he just chose to pick it up that day."
"I've said that before and our investigation is demonstrating that," Pelosi added. "I don't take any responsibility for the president's behavior except to say that we're going to hold him accountable for it."
Responding to the outcry on Twitter, Trump defended his comments and said that Democrats' criticisms are part of the 'witch hunt' against his presidency which represents the "worst political scandal in the history of the United States of America."
I meet and talk to "foreign governments" every day. I just met with the Queen of England (U.K.), the Prince of Wales, the P.M. of the United Kingdom, the P.M. of Ireland, the President of France and the President of Poland. We talked about "Everything!" Should I immediately….
— Donald J. Trump (@realDonaldTrump) June 13, 2019
….call the FBI about these calls and meetings? How ridiculous! I would never be trusted again. With that being said, my full answer is rarely played by the Fake News Media. They purposely leave out the part that matters.
— Donald J. Trump (@realDonaldTrump) June 13, 2019
When Senator @MarkWarnerVA spoke at length, and in great detail, about extremely negative information on me, with a talented entertainer purporting to be a Russian Operative, did he immediately call the FBI? NO, in fact he didn't even tell the Senate Intelligence Committee of….
— Donald J. Trump (@realDonaldTrump) June 13, 2019
….which he is a member. When @RepAdamSchiff took calls from another person, also very successfully purporting to be a Russian Operative, did he call the FBI, or even think to call the FBI? NO! The fact is that the phony Witch Hunt is a giant scam where Democrats,…
— Donald J. Trump (@realDonaldTrump) June 13, 2019
….and other really bad people, SPIED ON MY CAMPAIGN! They even had an "insurance policy" just in case Crooked Hillary Clinton and the Democrats lost their race for the Presidency! This is the biggest & worst political scandal in the history of the United States of America. Sad!
— Donald J. Trump (@realDonaldTrump) June 13, 2019
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I gave all my five stars to Adriana Law's Poker face.
I found it as a freebie on Amazon kindle and never regretted downloading it. I honestly loved this book! The plot was fast, the characters developed in a very realistic manner and the hot scenes were exactly the right dose to make it a pageturner.
I immediately downloaded the sequel, The dead man's bluff, where Adrianna Law kept on streching Megan and Drew's love to extremes with a more emotional twist this time.


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|Ideas as Objects (Source)
We typically think of thoughts as mental constructs without physical properties. And yet, it is remarkably common to use physical metaphors when dealing with these mental constructs. For instance, to say that you "cooked up" an idea is to suggest that ideas may have physical properties. With this logic, it is possible that engaging in physical acts with our thoughts might actually change their influence on our attitudes. A recent article that we read in SWAG tested this prediction.
In the research, Brinol and colleagues (2013) predicted that the act of throwing away a piece of paper with a thought might render that particular thought with less meaning (i.e., because it's trash) and therefore reduce the influence of the thought on one's own attitudes. Two studies were conducted to test this hypothesis [Actually three studies, but one was reported in the General Discussion as a "bonus study." For brevity, I've left out the details from this bonus round. That's super weird by the way!].
In the first study, participants were high school students who wrote down a list of positive or negative thoughts about their body on a piece of paper. Participants were then either assigned to throw away the idea in the trash or to check it for spelling errors. Participants attitudes about their body were then assessed. Participants who wrote about positive things about their body had more positive attitudes after checking the article for spelling relative to when they threw away the thought in the trash. Throwing away the negative thoughts versus checking them for spelling showed no differences in attitudes.
In the second study, participants were asked to read about a Mediterranean diet (I'm not sure what this diet consists of, but the description suggests that it involves drinking olive oil and eating "legumes"). Participants were then assigned to write positive or negative thoughts about the diet on a piece of paper and then were assigned to three conditions: In the first, participants threw away the thought. In the second, participants folded the corners of the paper. In the third, participants folded the thought and placed it in their wallet. This latter condition was expected to influence judgments because keeping a thought/object suggests its importance and value. Results confirmed these expectations: Keeping the thought resulted in attitude change toward the diet consistent with the original thought (i.e., positive thoughts increased positive attitudes about the diet). In contrast, throwing away the thought led to inconsistent attitudes about the diet (i.e., throwing away positive thoughts about the diet increased negative attitudes toward the diet).
Overall, the results show some evidence suggesting that the meaning of thoughts, when represented in the physical space, can be changed based on the physical acts we engage in. The results did have some inconsistency that we discussed in SWAG. For instance, throwing away negative thoughts about body image did not improve body image attitudes in Study 1. It was puzzling that Brinol and colleagues never mentioned this peculiarity of the results in the paper (this probably led to the largely inaccurate press release accompanying the paper).
We did reach some consensus about the studies. Specifically, SWAG thought that the neatest aspect of this research is that it provides some experimental evidence suggesting that throwing objects away can be a cathartic experience--objects in the trash are rendered less meaningful. I'm sure that many people throw out objects because the objects remind them of something unpleasant (e.g., after a break up, a person might throw out pictures of their ex).
We also agreed that Trader Joe's ginger snaps are delicious!
Do you throw out things to help you forget about them? Does it work for you?
Briñol P, Gascó M, Petty RE, & Horcajo J (2013). Treating thoughts as material objects can increase or decrease their impact on evaluation. Psychological science, 24 (1), 41-7 PMID: 23184587


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This is one of my son's favorite soups. I must tell you that he is a very picky eater. I am happy when he eats the whole bowl of it so I can make sure that he gets something very nutritional.
- 1/2 lb of ground beef
- 1/3 cup of uncooked orzo pasta
- 2 cups of cooked green lentil
- 1 small size of onion
- 2 tbsp of vegetable oil
- 2 tbsp of tomato paste
- 1/2 tsp of ground black pepper
- 5 cups of boiling water
- salt


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Scientific Initiatives
The Office of the National Coordinator for Health Information Technology (ONC) conducts projects that leverage the existing health IT investment to support the biomedical and health services research enterprise. In addition, ONC coordinates related health IT policy and programs with key federal and private sector stakeholders such as the National Institutes of Health (NIH) and the Food and Drug Administration (FDA). Key relevant programs and projects are highlighted below.
National Health IT Priorities for Research: A Policy and Development Agenda
ONC led the development of an Agenda that articulates a vision of a health IT infrastructure that supports alignment between the clinical and research ecosystems. The Agenda outlines nine priorities, including concrete strategies and actions intended to address relevant data, tools, and infrastructure needs over the next 3 to 5 years, enabling researchers to pursue more complex questions and make faster, more reliable discoveries.
Precision Medicine
The Precision Medicine Initiative (PMI), launched in 2015, is a nationwide initiative to move away from the "one-size-fits-all" approach to health care delivery and to instead tailor treatment and prevention strategies to people's unique characteristics, including environment, lifestyle, and biology.
Patient-Centered Outcomes Research (PCOR)
Since 2013, the Office of the National Coordinator for Health Information Technology (ONC) has led or collaborated on 10 projects that inform policy, standards, and services specific to the adoption and implementation of a PCOR data infrastructure.
Leading Edge Acceleration Projects (LEAP) in Health Information Technology (Health IT)
LEAP in Health IT funds projects that address well-documented and fast emerging challenges that inhibit the development, use, and/or advancement of well-designed, interoperable health IT.
Health Information Technology Workflow Automation Policy Development
ONC is leading a project to establish a policy and development agenda around workflow automation through the use of health information technology (health IT).
How Artificial Intelligence (AI) Can Transform Health and Healthcare
ONC and the Agency for Healthcare Research and Quality (AHRQ), with support from the Robert Wood Johnson Foundation, turned to JASON, an independent group of scientists and academics that has been advising the Federal government on matters of science and technology for over 50 years, to consider how AI might shape the future of public health, community health, and healthcare delivery.
Artificial Intelligence for Health and Health Care [PDF -817 KB]


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Sep 26 2012
Install Ubiquiti mFI via APT on Ubuntu Precise Pangolin (12.04).
The new mFi is a full-featured platform consisting of a family of hardware devices that combine environmental reporting and remote machine control and configuration across a unified IP Network with an intuitive, powerful and customizable software interface.
This suite can quite easily installed via APT (under Ubuntu Precise Pangolin in this article).
Continue reading


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Luxury automaker Porsche deepens its involvement in yacht design through a collaboration with six-year-old builder Dynamiq Yachts.
Luxury automaker Porsche deepens its involvement in yacht design through a collaboration with six-year-old builder Dynamiq Yachts.
Driving one's Porsche into the water is a surefire way to destroy a luxury automobile, but seven lucky people will get the opportunity to operate a superyacht with Porsche DNA embedded throughout its 115-foot hull. Monaco-based yacht builder Dynamiq is in the process of building the first yacht in its Gran Turismo Transatlantic line, the GTT 115, at its shipyard in Viareggio, Italy.
The all-aluminum hull was designed by Vripack, but the exterior design was handled by Studio F.A. Porsche, the renowned carmaker's design house, which engages in a wide variety of projects, from sunglasses and watches to high-end furniture and yachts. The obvious Porsche elements include "Targa-style mullions" and transom lines that come from the futuristic Mission E concept. Owners — there will only be seven, as that is all the GTT 115s Dynamiq plans to build — can order their yacht in Carrara White, Rhodium Silver, Chalk or Monte Carlo Blue, which are all Porsche exterior colors.
The bow is plumb and somewhat axe-like, to cleave through the water, and a combination of Humphree fins and interceptor tabs, four each, provide stabilization. Top speed is predicted to be 21 knots thanks to twin 1,650 hp MAN V-12 diesels attached to Fortjes pods. A hybrid system is an option.
Three- and four-cabin layouts are available; the master is full beam either way. The interior, also designed by Studio F.A. Porsche, is as elegant as one would expect: silk, bamboo and wool carpets; marble counters and walls; cashmere pillows; and Pepita houndstooth-pattern exterior cushions like one would find in the 911R.
The $13.2 million yacht, the first of which is expected to splash this fall, has far too many features and options to cover here — a flybridge that's 54 feet long, a karaoke system, a Sundeck cinema and disco package, a small pool — but the Porsche DNA and the exclusivity of only seven being built are sure to attract high-end buyers with a flair for automobile design.
Dynamiq Yachts, bedynamiq.com


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Founded in 1855, The Children's Hospital of Philadelphia is the birthplace of pediatric medicine in America. Throughout its history, a passionate spirit of innovation has driven this renowned institution to pursue scientific discovery, establish the highest standards of patient care, train future leaders in pediatrics, and advocate for children's health. A haven of hope for children and families worldwide, CHOP is a nonprofit charitable organization that relies on the generous support of its donors to continue to set the global standard for pediatric care.
Contact Info:
Booth #616
34th and Civic Center Boulevard
Philadelphia, PA 19104
Contact: Angie Skipper


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Weekend links 446
Jan 6, 2019
The Ghost Box label releases a new album by the excellent Pye Corner Audio in February (previews are here). The spectral design, as ever, is by Julian House. • "In October 1966, Phyllis Willner arrived on motorcycle in San Francisco as a teenage Jewish runaway from Jamaica, Queens. She quickly fell in with the Hell's […]
Posted in {art}, {books}, {design}, {electronica}, {film}, {gay}, {illustrators}, {music}, {occult}, {photography}, {politics}, {religion} | 2 comments »


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Rib Bralette
$85 $175
Our knit Rib Bralette is the ideal cropped tank: fitted, comfortable, and skims the top of all your favorite high-waisted styles. Made in a beautiful blue marl knit composed of cotton and lycra for the perfect amount of stretch.
- Fitted
- 90% Cotton, 10% Lycra
- Dry Clean Only
- Color: Blue Marl
- Model is 5'10 and wearing a size Small
Made in a fair trade factory in Peru; Designed and developed in NYC
Join as Seller


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Monday, 25 January 2016
I'm this weeks GUEST at Always Playing with Paper
9 comments:
- Diane Jaquay said...
Wonderful vintage feel to your card, Ina, and such a great take on the inspiration photo! So happy to have you creating with us this week at The Challenge!
- 12:22 am, January 26, 2016
- Lesley said...
Ina, you did a superb job with your card! Love all the stamping and the way you made the challenge shine! Thank you so much for being our guest! xo
- 10:04 am, January 26, 2016
- Lori said...
You picked the perfect images for this challenge! Love the vintage feel of your design. Thanks so much for being our guest this week at The Challenge!
- 1:29 pm, January 26, 2016
- Judy Woodland said...
This card is just amazing!!! I love the vintage-y feel, and yes, it screams MAN CARD!!! I love the collage-y look of it too, and great use of the colors. Really, really nice!!!
- 12:44 am, January 27, 2016
- Verna Angerhofer said...
What a wonderful tag card and love that old vintage style you did with the rusty old truck and the distressing.
- 2:31 am, January 27, 2016
- Happy Dance said...
This is just a wonderful masculine card. That truck is amazing, and looks so much like the one in the inspiration photo! Love all those colors and the distressing you've done on this card. Those copper brads and that jute string are the perfect finishing touches for this great design. Love it. Bev
- 11:10 am, January 27, 2016
- Notes by Nina said...
I love the rustic layered look of your card, fantastic card.
- 5:11 am, January 28, 2016
- Kathy Krug said...
Wonderful tag. It suits the inspirtion so perfectly.
- 4:07 am, January 31, 2016
- Jinny Newlin said...
What a fantastic take on the inspiration photo, Ina! Love the textures here! So happy to have you guesting with us this week! Hugs!
- 3:12 pm, January 31, 2016


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Padecky: Sonoma Raceway president Steve Page a humble hero
SONOMA — It's not every day I can predict a reaction about something I write. This time I can. Steve Page is really going to hate this column. It's about him. I had no choice. Just like it was a year ago, when Page had no choice.
For Page, a couple handshakes, a bear hug and maybe a free pumpkin spice latte would have been enough recognition for what he did for people a year ago. Page opened up his Sonoma Raceway — oops, sorry, Steve, I know you don't own it, you just run it — for all those who needed a place to stay while the October wildfires tore through wine country like a blowtorch.
The word spread as fast as the fires. Go to Sonoma Raceway. You can stay there on the field they own east of the racetrack. They will take care of you. They will feed you breakfast, lunch and dinner. They will let you sleep in the drivers' lounge. They somehow will even find a RV for you if you don't want to sleep on the ground. Bring your pets. Bring your Kleenex. Bring whatever you want. Even if it's two parrots, 11 dogs and 14 chickens that the family and relatives of Jennifer Gray Thompson brought.
It was around a thousand people the first day, the Tuesday after the horror broke on that Sunday night. A lot of people found shelter here, including Page, his wife Judy and Grover, the gooby-gooby basset-beagle. They were evacuated from their Sonoma home that Sunday.
Fast-forward now to June of this year. Diana Rose, the racetrack's vice president of marketing and communications, got wind of this NASCAR award. It would be given to someone who exhibited exemplary philanthropy within the industry. She and her most capable assistant, Jennifer Imbimbo, submitted Page's name.
"Of course I didn't tell Steve," Rose said. "He wouldn't have allowed it."
If every NASCAR fan who came to the raceway in June didn't know Steve Page from a bag of beans, the president and general manager would rest quite comfortably in his anonymity. Sure, Taylor Swift runs the place. Whatever.
A couple months passed. Rose was notified Page was a finalist along with NASCAR drivers Joey Logano and Ryan Newman. Now came the tough part. Rose had to tell Page he was a finalist.
"You're not going to be happy about this," Rose began.
That was followed quickly by a response that revealed as much.
"Steve growled at me," Rose said. "A glare, too."
Page shifted nervously in his chair. It was as if Rose just told him the IRS was asking for his tax returns.
"What I did was nice, but it didn't rise to the level of heroism that we saw from so many people in this county," Page said. "It makes me a little uncomfortable."
Rose then made it palatable. Page would get $30,000 if he didn't win and $60,000 if he did.
"I'm all over it, when I heard that!" Page said. "GO ME!!!!"
The money, you see, would go to Speedway Children's Charities, the nonprofit arm of the racetrack that has distributed more than $6 million to Sonoma County youth groups since 2001.


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Glasshouse Christian College prides itself on being the only Apple Distinguished School on the Sunshine Coast in Queensland and one of only a few Apple Distinguished Schools in Australia.
"Apple Distinguished Schools are centres of leadership and educational excellence that demonstrate Apple's vision for learning with technology — and we believe they are some of the most innovative schools in the world." – Apple®. (Retrieved from: https://www.apple.com/education/apple-distinguished-schools/.)
You can read more about GCC's visit to the Apple Distinguished Schools' Conference where staff and students were given the opportunity to share about The DeLorean Project – an innovative project that allows Glasshouse Christian College students to engage in working collaboratively, thinking innovatively and contributing to the world genuinely by using an entrepreneurial mindset and by leveraging technology.
We are a Sunshine Coast private school leading the way in innovation through technology, where your child will develop a love of learning in a warm and stimulating environment.


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Today's Gospel: Matthew 14:1-12
This Gospel is just a little sickening, with the conglomeration of sin that's crammed into a few sentences. To be honest, I always feel sorry for Herodias' daughter. Herod just promised her half his kingdom for her dancing skills (which, granted, probably weren't ballet) and when she asks her mom for advice, the end result is a platter with the head of the man her mom wanted revenge on. No sparkly jewelry, no noble title, just the fallout of her mom's pride and lust.
Contrast the sordid story of Herod, Herodias, the daughter, and court intrigues with the simplicity of the last two lines of today's Gospel. "His disciples came and took away the corpse and buried him; and they went and told Jesus." When their world finally fell apart, and John's disciples were overwhelmed by grief and the sins of the world, they performed the task they knew needed to be done, and then went to Jesus. I can't help but think that a majority must have ultimately followed Him, remembering John's words to them, "Behold, the Lamb of God."
It's easy to get overwhelmed by the chaos and sorrows of the world around us. I read the news every day, and just scanning the headlines is enough to make me curl up in an incoherent little ball of tears. But the best thing to do, and really the only thing, is to continue performing our daily duties despite our fear, and then go and tell Jesus all about it.
What is one fear I have today that I can tell Jesus about?
Lord, help me to pursue the duties of my state in life with the knowledge that You are watching me and helping me, despite all my fears.
Copyright 2017 Rebecca Willen


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Adelanto News
No Fire, Only a Heater Malfunction at Bradach Elementary School
ADELANTO-(VVNG.com): At about 7:55 a.m. on Monday, December 14th the cafeteria at Bradach Elementary School located at 15550 Bellflower Street had a heater malfunction causing smoke. The occupied school took precautions to assure student safety at all times, and upon firefighter arrival the situation was quickly resolved and the source of the smoke was identified.
Fire Department officials said there never was an actual fire, only smoke. No injuries were reported, and there was no reported damage to the structure of the school.


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Tagged: ed coleman
What are the Mets and 710 WOR doing?
Months before the 2014 baseball season starts The Mets, along with their new radio broadcast partners 710 WOR, have already found a way to stir up the fan base. It appears decisions have not yet been made on one of the few things this franchise has going for them, their broadcasting teams. Gary Cohen, Keith Hernandez, Ron Darling and Kevin Burkhardt are arguably the best team in television, but the Radio booth of Howie Rose, Josh Lewin and Ed Coleman is held in the same high regard among the fan base.
In a shocking development, there were initial reports stating that WOR may look to replace the entire team and go with a fresh start. That would mean letting go of Howie Rose! Thank god the Mets stepped in on that matter and assured Rose would be part of the radio booth team, though no contract has been finalized yet. I mean could you imagine if HOWIE ROSE was replaced??? A move like that could have quickly turned an entire fan base against the station. Now it appears the question is, who will be joining him?
Josh Lewin is the man who has caused the most headlines during this whole ordeal. There has been plenty of speculation that Lewin is the man who could potentially be replaced. Lewin joined Rose in the booth two years ago, when he took over for the all too forgettable Wayne Haggin. I was hesitant to take in Lewin at first, but I quickly grew to love this combination during games. It's as though you were hearing any two Mets fans having a conversation during a game, making it a very friendly and welcoming broadcast to listen to.
Unlike TV, you cannot let the game speak for itself, there is no room for awkward silence. It's hard to force chemistry between two people, either you have it or you don't, and Howie and Josh have it. The two of them grew up Mets fans, albeit different generations, but having that connection with listeners of knowing these two have been through the same ups and downs with you for all those years makes you feel a connection. Lewin excels in the play-by-play role, Howie gives us his analysis and historical perspective, simply put, it works. He adds a bit of humor to the booth when it is needed, which is has been in his two years, and he is able to relate with the younger fan base. It would be a shame to see him leave so soon.
I understand Coleman's situation is a little bit different. He is a full-time employee of WFAN and does more than just Mets baseball with the station. It will be hard to initially accept, but it seems all but a foregone conclusion that he will not be making the move with the team over to WOR. Although he won't be apart of the games broadcast anymore, he will still having a meaningful presence covering this team on the radio. WFAN is the most powerful sports radio station in NY, Coleman will surely stay on as the stations team correspondent and spend much of his time giving us updates as a guest across all of their programs.
The easiest comparison to make, for anyone who is an addicted WFAN listener like myself, is that Eddie Coleman will essentially become what Sweeny Murti has been for the last several years. The only thing that will really change with our relation to Coleman will be his absence on the pre and post game show. Truth be told, he is better off staying put. That way he will still be able to host an occasional show and keep his presence on a more meaningful sports station.
The two names that have been tossed around most often are former Mets Darryl Hamilton and Cliff Floyd. I have watched both recently in their roles as analysis on TV, granted it's a small sample size, but they seem pretty good at their jobs. I'm not underestimating their abilities to be great broadcasters, my biggest argument is why fix something that isn't broken? We have a tremendous team already in place, I can't think of any reason why they should be split up for someone who is unproven in this type of role.
I understand both Rose and Lewin have other obligations besides the Mets. Rose calls Islander games and Lewin does San Diego Chargers games, causing them both to miss a few Mets games throughout the course of the season. Part of the thing that makes this team so great is that when one game is absent, the other takes control of the play-by-play call alongside a fill in, most often that was Ed Coleman. If you are going to bring in one of these guys to do pre/post game show duties, while occasionally filling in the radio booth, that's great. However, I'm not sure if either of them would leave their TV studio gigs for that sort of opportunity.
Whoever it is that possesses the power to make these decisions needs to comes to their senses and lock up both Howie Rose and Josh Lewin. I would love nothing more than to see Ed Coleman make the leap as well, but I've come to accept his inevitable departure. Losing one of these guys is enough, don't make the mistake in losing another.


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Amanda Rockman
- Executive Pastry Chef
- South Congress Hotel
Amanda Rockman's interest in the culinary field began at an early age. Growing up in Katy, Texas, she was inspired by the dinner parties her mom would throw for friends. Rockman remembers seeing her mom dust the outline of the Kremlin on a chocolate sachertorte, thinking it was the coolest thing she'd seen. Her mom's passion for food sparked the same interest in her.
Rockman went on to attend The Culinary Institute of America in Hyde Park, New York, where she received her A.O.S. in Baking and Pastry Arts and completed an internship under Emily Luchetti at Farallon in San Francisco.
Her career then took her to Chicago, where she worked at the acclaimed TRU, Spring, three Michelin-starred L.2o, and The Peninsula Hotel. Rockman also opened The Bristol, Balena and Thompson Hotel's Nico Osteria as Executive Pastry Chef.
Having previously worked in Austin as Executive Pastry Chef at Fino and Asti, Rockman returned to Texas in 2015 as Executive Pastry Chef at South Congress Hotel. There, she oversees the pastry and bakery programs for in-room dining, banquets, and the hotel's four food & beverage outlets: Café No Sé, Central Standard, Mañana Coffee & Juice, and the Stephen F. Frostin' ice cream truck.
Rockman was named a James Beard Foundation Award Semifinalist in 2015, received the Jean Banchet Pastry Chef of the Year Award in 2011 and 2012, and was named Chicago Tribune's Pastry Chef of the Year in 2012. She has appeared on Top Chef Just Desserts, Hungry Hound, The Better Show, and Windy City Live. She currently writes her own pastry blog, Pastrylandia.


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Becoming a member of our Church family is a blessing and an opportunity to serve with God and fellow Christians.
There are three ways to join Providence United Methodist Church:
- Transfer of Membership
- If you are currently a member of another church, you can transfer your membership. The process is very simple. Once you have joined Providence UMC, our Membership Secretary will send a letter to your previous church requesting that your certificate of membership be transferred to Providence UMC. The Membership Secretary from your previous church will then send a letter acknowledging the transfer of your membership.
- Reaffirmation of Faith
- If you were once a member of a church but are no longer affiliated with one, you can join Providence UMC by reaffirmation of faith.
- Profession of Faith
- If you have never been active in a church and are now professing your faith in God, you can join by profession of faith.


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Family Portraits | How to make the most of your family photo session
Each and every year can bring about family changes such as growth, personality and new additions and recording these times of changes in your family is important for future generations to come not to mention bring back fond memories you may want to enjoy at a later time when the children are all grown up with families of their own to add to the family album.
Here at This is it Babies; we understand what is involved in creating the perfect family portraits no matter the occasion whether for a birthday, holidays, special events or any other occasion that may arise. You will be able to share your special family portraits with family, friends and future generations which is why it is important to have a professional photographer take photos of these momentous times with your family.
You will be able to share your family portraits as gifts, in your family album, pictures displayed throughout your home, your office and on your walls for all to see. Because you will be sharing your family portraits with others you will want to ensure that everyone is dressed appropriately.
Be prepared before your family portrait session, dress the way you want to be photographed. We want you and your family to be as comfortable as possible. Make sure that everyone is well fed, rested and ready. Boys, make sure that you're shaved and ready and girls, make sure your hair and makeup is done the way you want it before the session. You may choose to bring different wardrobes if that is your wish and we provide you and your family with the privacy of change rooms.
Please feel free to voice any concerns you may have before or during your family portrait photography session so don't hesitate to communicate with your photographer. We value the uniqueness of each and every family capturing the love that makes each image come to life.
This is it Babies – San Jose Bay Area Family Photography Studio


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Difference Between Flowering & Non Flowering Plants
Flowering plants, also called angiosperms, are the most diverse group of plants on earth, with over a quarter million species in 435 families. What sets angiosperms apart extends beyond the presence of often bright, showy blossoms when compared to their more demure, non-flowering relatives. Flowers signify differences in reproduction and evolution between different types of plants.
There are four major classifications of plants: mosses, ferns, gymnosperms and angiosperms. Gymnosperms are non-flowering plants that produce seeds, while angiosperms are flowering plants that produce seeds. Angiosperms evolved most recently of the different types of plants with current ideas pointing to the development of large magnolia-like flowers on evergreens in the Mesozoic era, thus introducing flowering plants into the plant kingdom. Therefore, in terms of evolution, flowering plants are much younger than their non-flowering counterparts.
Because flowering plants are more highly evolved, their anatomy is more complex as well. Flowers contain both male and female reproductive structures, including an ovary attached to a structure called the stigma that captures the pollen that fertilizes the ovary. The ovaries of flowering plants often develop into fruit, which aids in seed dispersal. By comparison, gymnosperm plants--the most familiar example of which is the evergreen tree--develop seeds directly outside the plant, without the protection of an ovary. Ferns and mosses both reproduce using spores.
The differences in anatomy between flowering and non-flowering plants further suggest different methods of pollination. Moss and ferns, being the most simplistic plants in terms of evolution, rely on water to transport their spores. While gymnosperms have evolved seeds, they need the wind to carry pollen to the exposed seed. On the other hand, the flowers themselves of angiosperms are essential to ensuring pollination. The often brightly colored and sweet-smelling flowers attract pollinators such as bees and butterflies to feed at the flower, carrying pollen from one plant to another.
Seed Structure
The evolution of the seed is considered one of the most important evolutionary developments in plants. Mosses and ferns rely on spores to reproduce, while gymnosperms and angiosperms produce seeds. The hard outer coats of seeds keep them protected, and dispersal of seeds is easier than the dispersal of spores, which requires water. Between flowering and non-flowering seed plants, further differences exist that illustrate the more advanced evolution of the flowering plant. In flowering plants, a process called double fertilization creates an extra layer inside of the seed called the endosperm. The endosperm contains nutritive substances used to nourish the embryo inside of the seed. Furthermore, the seeds of many flowering plants produce yet another layer called the pericarp, which we recognize as fruit. This "fruit coat" offers nutrition to animal species who, upon consuming the fruit, disperse the seeds contained within to distant locations.
Nutrient Transport
The phloem of a plant is a vascular system used to transport nutrients from the leaves to other parts of the plant. While all plants except mosses have phloem, flowering plants have developed companion cells in their phloem. Companion cells actively transport nutrients created in the leaves of the plant into the sieve elements through which nutrients move throughout the plant.


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New research from anti-virus gurus McAfee shows that spam email – which accounts for 80 per cent of the world's email traffic – uses as much electricity as 2.1 million US homes; over 33bn kilowatt-hours of electricity.
The report estimates that 62 trillion spam messages were sent last year. The energy involved in creating and deleting these unwanted emails accumulates to the emission levels generated by 3.1 million cars.
"As the world faces the growing problem of climate change, this study highlights that spam has an immense financial, personal and environmental impact," said Jeff Green, a senior vice-president at McAfee.
The McAfee research comes as a rival online security group, Symantec, shows a 192 per cent increase in spam email. It is thought 90 per cent of these messages are generated by 'bot networks'; computers which have been hijacked and then programmed to relay and send spam emails without the owner's knowledge or consent.
Saint Google
Google transformed its homepage to celebrate St. George's Day on April 22nd this week and visitors to the site were treated to an image honouring the patron saint of England.
This isn't the first time Google has modified its logo to reflect changing times. Images celebrating Christmas, Thanksgiving and St. Patricks Day have all featured on the Google homepage. A selection of our favourite logos from the company's 10 year history include:
Andy Warhol's Birthday - August 6, 2002
Leonardo da Vinci's Birthday - April 15, 2005
Election Day - November 4, 2008
50th anniversary of the LEGO brick - January 28, 2008
The Week in Stats
58 per cent of UK internet users have at least one social networking profile on sites such as Facebook or MySpace.
Yahoo has reported a Q1 net profit of $118 million, down 78 per cent on last year's profits. The company has said it will cut an additional five per cent of its staff.
The Information Commissioner's Office (ICO) has ruled that Google's Street View application – which covers 25 UK cities – does not breach the Data Protection Act. 74 written enquiries/complaints were made to the ICO regarding the service.
The BBC iPlayer service, which allows users to access BBC television and radio online, received an overhaul this week. Video quality has been improved to 15000kps stream and a HD mode has also been added. iPlayer 3.0 is due for release in summer 2009.


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Juventus striker, Gonzalo Higuain, has accepted a loan switch to AC Milan, according to Sky in Italy.
Chelsea were interested in the Argentina international, but he looks set to remain in Serie A for the foreseeable future.
Higuain was the subject of talks between his brother and agent, Nicolas and new Milan director of football, Leonardo, who both arrived at Casa Milan on Monday evening.
Milan will pay out €18million for a loan move, with an option to buy at the deal's conclusion for another €36m.
It now means Chelsea will likely step up their rumoured interest in Robert Lewandowski.